Le Vice - S/T

San Francisco foursome Le Vice is an alternative indie band to watch out for. Blending hip hop, R&B, and electronica, be prepared to experience experimental music that will leave you begging for more. Their talent explodes with energetic lead singer Alex Lee commanding the way and contributing to a powerful progressive danceable debut.

 Filled with dance floor beats, the band blends bluesy guitars with eccentric keyboard effects to create a distinguished debut that seamlessly flows from genre to genre. At times their funky sound turns into hip hop or even dance pop, which makes it easy to compare them to the Black Eyed Peas. Alex Lee’s skills cement her as a person to watch and at times are reminiscent of Fergie.

Le Vice embraces each genre as its own sound whether its indie, R& B, alternative, electronic, dance pop, or hip hop. The band seamlessly switches back and forth for funky great grooves and doesn’t miss a beat. Their confidence creates concise music that is exciting, energetic, and endearing for all music fans.
          
Pure pleasure plays throughout their eponymous debut that is literally a majestic music mash up that combines the best of the 1980s rap and R&B scene, the current electronic/house sound and everything else extravagant.  Irresistible dance beats are just the tip of the iceberg.
          
Distinct drumming by Darrin Thomas, groovy guitar playing by Renzo Staiano, deep bass by Sean Stillinger and the infectious vocals by Alex Lee make Le Vice one of the year’s best new bands. Besides Fergie, Lee has a similar sexy sound to Lauryn Hill and her conceited lyrics in songs like “Uh Huh” give off an M.I.A. vibe.
          
The first track “Le Vice” is nothing mind blowing, but the album builds with “Say-A.” The synth sounding song compliments Lee’s luscious voice and invokes a fun futuristic vibe that makes you dance. Electro funk comes alive in “Hard To Be Ill” and Lee seems to emulate Eve. Now I am not a huge fan of R & B, but wow this band is just too good to ignore.
          
The ten track album is filled with sensational songs mixed for partying and good house beats. Arguably the best song on the album is “Uh Huh.” Lee’s bold bragging has her singing “Whatever you want right now/ You can get it from me” and “I’m a perfect 10 on the scale/You don’t need nobody else” makes moody, yet beautiful points about party girls.
          
Other notable songs include “Why Fight,” “Shy Guy,” “2 O’clock” and “She Wanna.” Each hip hop influenced song has its own outstanding moment that it’s truly hard to compare with other musicians. Santigold, N.E.R.D, Kid Cudi, Gnarls Barkley, LCD Soundsystem, Grizzly Bear, Erykah Badu and even The Roots remain recommended comparisons. They are part of a generation heavily influenced by all amazing music and have brought back new nasty music that is all their own. It’s obvious to see their influences and it’s fantastic to see them take it to a whole new level. The future for Le Vice looks great and I can’t wait to see what they do next.


--Mr Brownstone


Buy here: Le Vice

Doom On - Featuring Leather Nun America and Sanctus Bellum

With Ripple Music’s signing of Cleveland’s destructive Doom Gods, Venomin James, I just couldn’t resist the urge to plunge myself headlong into some serious doom metal.  Sinking down to the depths of darkness, I emerged safely, if not subtly twisted with these two doom-alicious nuggets.

Leather Nun America – Absence of Light

Not to be confused with that other Leather Nun from Sweden, or the classic underground comic by the same name, Leather Nun America sum up just about everything that I love in doom.  Ferocious riffs, massively absurd bottom end, and lyrics that search for that evasive ray of light amongst the darkness.  Coming to us on the fiercely independent underground metal label, psycheDoomelic, Leather Nun America is a surprisingly easy listen for the genre.  Vocals are roughened, but clean, not growled, gurgled or vomited, which is always a major plus for me.  The riffs, while intense and devastatingly heavy, move with a nice inherent groove, not sludgy or moribund.  And the guys actually know how to play, not hiding behind senseless walls of feedback noise.  They’re out there, right in front riffing right along.  And I like that.

Now, none of that is to say this shit isn’t heavy.  One listen to the opening of “Portcullis,” and you’d better be prepared.  The wall of despair hits you like a sledgehammer to the testicles.  Wave after wave of impossibly low-end riffs blast away, liquefying any internal organs in their path.   All the requisite influences are there, Motorhead, Spirit Caravan, Obsessed, Crowbar, and the tip of the crown to Lord and Master Sabbath.  But what Leather Nun America does with these influences is what draws me to them.  Rather than try and out doom the world, slowing things down to the absurdly slow pace of Sleep or the unwieldy (in my mind unlistenable) drone of Cough, Leather Nun America aren’t afraid to simply rock.  Check out the opening riff to “Ly Loa.”  Damn, that’s tough.  Throw in some electric soloing, searing through that monster of a groove and we really got something.  Loud?  You bet.  Dark and heavy enough to scare mother’s of small children?  Oh, yeah.  If it didn’t we wouldn’t listen to it.  But damn, besides all that, it just freaking grooves.

“Below Zero,” attacks me right out of the speakers with a Motorhead frenzy.  “Emblem” is a seven-plus minute doom epic that never loses its focus or my attention.  “Some Might Grow,” is a stunningly beautiful acoustic passage to match the best of Iommi’s classic interludes.  “Tools of the New Church” just assaults with its monolithic glory.  Beautifully done.

The album isn’t new.   Their third long player, it was originally released in 2008.  But for doom fans who like their music to move with an actual heartbeat, this one shouldn’t be missed.

http://www.myspace.com/leathernunamerica

Sanctus Bellum – Return to Dust

Man, I don’t know what’s drifting in the bayou’s down Houston way, but damn if they aren’t churning out some seriously heavy bands.  Recently, Pope touted the weighty wares of Project Armageddon, and now we got another monster of a doom band to bally about; Sanctus Bellum.   Return to Dust is their 6 song debut and if this indestructible platter is any indication, we got a monster doom player on our hands.

Recently, I’d been watching the history channel, and have become fascinated with ancient civilizations and their monolithic structures like Puma Punko, with their 800 ton ruins.  Images of those megalithic structures raced through my ravaged brain as “Shoggoth’s Ascent” erupted out of the speakers.  Truly epic in its scope, this is the music of an ancient, timeless race.  And let me tell you, those multi-ton slabs of granite at Puma Punko got nothing on the weight of the riffs here.  Small nations could collapse under their mass. Dense and impenetrable.   Sanctus Bellum lay it on thick and massive. 

Now, if the vocals sound familiar, it’s because they belong to long time Ripple favorite Mr Plow’s singer Justin Waggoner, and his vocals work perfectly here, particularly on a track like the blazing epic “Dagon’s Bride.”  Waggoner’s not afraid to gruff up his voice or leave it clean and soaring when the part calls for it.  Either way, the dude can actually sing which in my mind is always a plus for any band.

As for where Santus Bellum comes from.  Of course we got the requisite Sabbath, but they bring in more of the post-grunge riffery to them than simply lose themselves in the 70’s.  Trouble is here, so is some post-Alice in Chains, as are others.  They even bring in some tasty classic metal harmony guitar riffs which just blare out all fiery and mean.   Lyrically and thematically, each song on the self-released Return to Dust references H.P. Lovecraft, but you don’t have to be a fan of that demented author to get into the metal meal these cats lay out.  Just embrace the neck-breaking riffery of “Curwen,” or the massive epic, and monstrous refrain of “God’s Own Warrior.”  Imagine yourself at that ancient granite ruin of Puma Punko as “The Reddening West,” blares from the stereo.  See the ancient people, the warriors, the sacrifice.   Or simply lose yourself in the twilight groove of “White Cat.”  Heavy and inspiring.  Dense and moving.  Sanctus Bellum are one to watch.


--Racer

http://www.myspace.com/sanctusbellum

Rotor – 4

Ever wish King Crimson turned into more of a metal band after Red (1975) and ditched the vocals? Then Rotor is your dream come true. Released Zeptember first of this year, 4 is the latest from Berlin’s Rotor. Despite hailing from Germany and the German song titles, this 3 piece band is not overtly “Krautrock” but more of just a heavy band without a singer. And they’ve been at it since 1998. Maybe they’ve been around so long because they don’t have to suffer from the dreaded L.S.D. (lead singer disease).

The hype sheet that came with the CD claims “bohemian structures with groovy beats, surprising time changes, heavy guitars and distorted bass.” Finally, some truth in advertising, but only a European would use a term like “bohemian structures.” The guitar is very heavy, but with plenty of reverbed clarity to make all the lines stand out from the thick rumbly bass and thuddy drums. The production is very nice – thick sounding with lots of tube warmth and never flat or dull.

Songwriting is top notch, too. An instrumental band really needs to work out the arrangements but leave some room for improv so neither the band or listener gets bored. They keep most of the songs around the 4 minute mark and avoid a lot of the Sabbath/Hawkwind clichés that many of these type of bands often fall into. They also bring in some cool classic rock influences, too. “Karacho / Heizer” sounds like it was lifted right out of a James Gang jam at the Grande Ballroom. “Gnade Dir Gott” and “Drehmoment” boil over with King Crimson at their heaviest.

To keep things interesting, there are 2 songs with guest vocalists. “An3R4” is almost Tool-like with a heavy, circular riff and some great drum fills. A cover of The Obsessed’s “Neatz Brigade” ends the album. Before checking the credits, the first thing I thought was “this really reminds me of Wino.” I’ve never heard the original but now intend to track it down. I’m also going to investigate Rotor’s previous 3 records. Maybe in the future they can get Udo to guest on a cover of Accept’s “Princess Of The Dawn.” That would be really cool.

Another winner from the Elektrohasch label.

-- Woody

Buy here: Rotor - 4

http://www.rotorotor.de/

A Band of Orcs Warchiefs of the Apocalypse

Curse my foolishness!  One moment I am perfectly safe loitering at midday in a public square.  The next moment, I once again let my weak resolve regarding a beautiful member of the opposite sex lead me to rash action.  A thoroughly enchanting temptress caught my eye and beckoned me to follow her into an alleyway.  Any common sense abandoned me in a rush of elation, and I quickly jogged toward the periphery of the square.  The object of my chase disappeared around the corner of the building forming the right hand side of the alley.  Unfortunately when I myself hurriedly rounded the corner, instead of being face to face with the aforementioned lady I blindly ran into (or through as the case may be) a shimmering black energy field the size of a large door.

Now I find myself in a strange twilight lit cityscape that somewhat resembles the modern times of which I’m familiar, but with several important differences.  For one I look up to the sky to behold two different moons, one that is full and another showing only a waning crescent.  I drop my gaze to rooftop level and perceive illuminating lamps that are neither electrical, with no wiring or bulb in evidence, nor gas powered, as there is not a standard flame providing light.  I can only surmise that the white light emanating from inside the glass enclosures must be alchemical in nature.  As my gaze falls still further I finally observe the people surrounding me. 

The astounding assortment that greets my eyes would have easily stunned me to silence if I had been in the middle of speaking.  Fortunately I was able to keep my mouth from hanging open.  While there were humans of entirely normal proportions there were also tall pointy eared Elves, squat formidably built Dwarves, as well as diminutive hairy Halflings.  To my further amazement there was even what appeared to be a small animatronic tree selling wares at a kiosk to passersby!  If I had not been a fan of fantasy fiction I believe I would be overwhelmed to the point of incomprehension.  As it was, I barely had enough sense to recognize the small mob of young humanoid beings rushing towards me with blazing torches held high.

“The Orcs are coming!  The Orcs are coming!  Come on stranger, join us.”
“Are we in danger?” I hesitantly asked the ringleader.
“Yeah we’re in danger.  We’re in serious danger of not being right in front of A Band of Orcs when they appear!”
“Hold on.  You actually want to be on the front lines when fighting erupts with some orcs?”  I tried not to sound incredulous, but I’m sure I failed miserably.
“Fighting?  What are you talking about?  A Band of Orcs is a band, and they’re playing at the amphitheater in the middle of town.”
“So they’re not actually Orcs?”
“Of course they’re Orcs!  Jeez, where have you been stranger?  Look, do you like heavy metal music?”
“I love heavy metal!”  That was one of the only things I was sure of at this point.
“Good, then take this torch and follow me.”  He handed me his torch and turned to address the others in the mob.  “Let’s go everybody!”

Together we ran several blocks to the amphitheater, extinguished our torches at the entrance, and made our way collectively to the front of the venue just as the band was taking the stage.  A Band of Orcs, not surprisingly, plays death metal.  It seems obvious that Orcs would play a brand of music as off-putting and humorless as their race’s visage.  What is somewhat surprising however is that these five Orcs appear to have shunned their historical predilections towards immediate bloody gratification in favor of practicing their craft.  Therefore no matter what kind of axe these Orcs use, their chops are guaranteed to slay their targets.

Make no mistake dear reader.  The music unleashed by this band is aimed squarely at making the listener either submit or be trampled underfoot by the onrushing horde.  This is meat and potatoes death metal made by infantrymen for the pleasure of other front line blood letters.  Granted you won’t find any real progressive elements within these six songs, but that is more than all right.  I’ve learned that Orcs don’t put on airs well, and if they try whoever is unfortunate enough to be with them inevitably gets hurt…badly.

The band’s EP, entitled Warchiefs of the Apocalypse, was played straight through in it’s entirety during the concert. "I, Gogog" started things off with a bang bumping the energy level from one to a hundred in short order.  The next two songs, "Warchiefs of the Apocalypse" and "Bring Out Your Dead", continue the onslaught of rapid fire riffs, manic double bass drumming, and demented guttural growls.  Things change up a little bit with the cover of Celtic Frost’s "Procreation (of the Wicked)," a song with a slower tempo anchored around a monstrous guitar part.  "Disassembly Line", an instrumental, follows next and toys with the listener by evolving from an ultra fast start to a short, slow melodic passage one minute and forty five seconds in before jumping once again through a warp gate for the remainder of the song.  The finale to the EP is the epic "Into the Maelstrom", the strongest track on offer, and a fitting finale to the live performance.

After the concert had triumphantly concluded, my newfound friends and I were slapping each other on the back and across the shoulders with heartfelt joy over the whole experience.  While this was going on I glanced at the side of the stage and lo and behold, the very same temptress that brought me to this land was again staring at me.  She signaled that I should come hither, and in my pseudo-intoxicated state brought on by the great music I walked over without hesitation.  When I drew near not a word was exchanged.  She leaned towards me and kissed me on the cheek. 

I opened my eyes and found myself back in the public square where this whole escapade began.  Seemingly no time had elapsed.  The people with distinctive characteristics I could remember observing earlier were exactly where I last remembered seeing them.  Surely I did not hallucinate everything?!?  No…I looked down at my feet and saw a CD lying on the ground.  Picking the jewel case up revealed it to be A Band of Orcs Warchiefs of the Apocalypse EP and I could see my reflection in the mirror like surface.  There was lipstick on my cheek.

--Penfold

Buy here:  Warchiefs of the Apocalypse
Buy Mp3: Warchiefs of the Apocalypse [Explicit]

Hailey Morgan - "You & Me"

“I love to see a young girl go out and grab the world by the lapels. Life's a bitch. You've got to go out and kick ass. “ - Maya Angelou

What were you doing when you were fifteen years old? When I was fifteen I was listening to lectures about the birds and bees in Coach Seixas’ Sex Education class, playing Little League baseball and preparing to take my driving test for a learner’s permit. Hailey Morgan, on the other hand, was recording her first professional debut album You & Me.

When I first heard the CD I figured this was an incredibly good twenty-something pop rocker.  Then I saw the promotional materials.  This is one driven lady with an incredible voice ready to kick butt.  Her voice is powerful and racked with emotion.   I was floored when I realized she was 15.  Before I read about her I thought that she had probably paid her dues in whiskey joints and two bit dance halls honing her craft through hard knocks and extensive backwater touring.  However, the truth is young Miss Morgan has been signing and performing since she was three.  You or your kids (if you have any) have probably heard her even if you have never heard of her.  She has appeared in TV commercials for Cap’n Crunch cereal and Lysol cleaning products and in many independent short films.

Her debut album is a combination of driving rock and modern mellifluous piano ballads.  She chose her producers well - Larry Anschell, who has produced Sum 41, Nickelback, Sarah McLachlan and Allison Crowe, and Rob Begg, who has produced Ron Irving and White Wolf, and played bass for The Knack, Tom Petty and Berlin. Incredibly, Miss Morgan has written all of the songs herself and they are good - damn good.  Think Sarah McLachlan meets Kelly Clarkson with an edginess neither McLachlan nor Clarkson can match.  Hailey’s parents are both professional musicians and I suppose this helps explain her amazing talents at such a young age.

Here is a a quick overview of what you will hear on the CD.  I suggest, however, that this is an artist that you must experience for yourself.  So go to her website at http://www.haileymorganonline.com/ and take a listen. The entire album is streamed there for free.

The first track, “Let Go,” will have you up and pounding your feet to a driving pop rock melody doubled with amazingly accurate harmony. Track two, “Walkin’ Down This Road,” is a slow, mournful piano ballad that allows Morgan to put her vocal range on display.  The third track, the album’s namesake, “You & Me,” is a pop rock tune that builds into a rock anthem.  The next song, “I Guess I Was Wrong,” is a soulful, melancholy piano ballad that contains a powerful angry break and a self-loathing ending. “How Does It Feel” is another rock ballad. It has a harder edge with more angst than “I Guess I Was Wrong,” but, contains much of same texture and rhythm. Track six, “Trapped Inside Your Love,” is a wonderful rocker that creates a complete tapestry of musical textures from electronica to thumping boogie.  “Broken Heart” is a piano ballad that made me think of a cross between a harder-edged Karla Bonoff and Melissa Etheridge.  The song “We Were Meant For Each Other” is a well written mournful pop tune that will wrap around you and bring you back to the days of your first love - it is a beautiful “coming of age” love song.  Track nine, “Move On,” is another piano ballad.  This one provides an interesting insight into this young teenage girl. It seems to be about her feelings as she comes of age.  The final song is “Pour On Me”  a pop rock anthem accompanied by a bit of slightly distorted guitar and orchestral strings and also reflects the changes Miss Morgan is experiencing as she grows into a woman.

If this is what she can do with a debut I can’t wait to hear what she writes and sings as she gets older.  This is a young artist to watch.  Hell, most girls her age are playing with nail polish and writing texts to their BFF about the “OMG cute boy in their English class.”  Not Miss Morgan.  She is 15 going on 26.
- Old School

File Under: Where in the Heck Was I? – Featuring the Frames and Propaganda

Sometimes it’s just inexplicable.  As much of a music omnivore as I am, it still surprises me when something so good slips past my radar unnoticed.  Granted, sometimes certain bands just don’t make it across the big pond, no matter how much of a buzz they generate in their homeland.  But still . . . you’d think I’d of at least heard of em. 

But no. Both of these bands came to me as virtual unknowns, and if it wasn’t for the painstaking work of those dedicated to getting lost classic albums re-released on gorgeous deluxe editions, they’d still remain unknown.  But thankfully, they’re not, and as these discs are spinning in my player, it’s time to spread the word.

The Frames – Another Love Song

What we got here is indelibly classic, rousing anthemic rock in the vein of the best of The Waterboys and The Alarm.  And if either of those bands turn you on, then The Frames are not to be missed.  Led by Glen Hansard, Another Love Song is The Frames energetic, joyous debut, full of crashing guitars, soaring chorus, impassioned vocals and walls of sound coming at you fully in The Waterboys wake.  At times atmospheric and delicate, at other times frenzied and rebellious, The Frames bring a distinct class and musicianship to their “Nick Drake meets The Pixies” version of Irish rock.

Born in Dublin, Hansard quit school at age 13 to start busking in the local streets.  Signed to Island Records on the strength of a cheap demo, Hansard set about creating a band to go with his hymns of  passion and energy.  Taking a break to co-star in the hit film The Commitments, Hansard returned to the studio with Pixies producer Gil Norton, to record their debut album.  Just one listen to opener “The Dancer” and you can tell we’re in for a wild ride.  Chunks of scratching guitar, crashing drums, soaring violin hit me with full on Waterboys bombast and just a hint of U2.  Hansard’s phrasing recalls Mike Scott’s also. But this is no Waterboys clone, it’s simply perfectly done, rousing rock and roll. 

“You Were Wrong” loses nothing as the next track, dropping in some subtle shifts in dynamics and a beautiful bass line and chugging acoustic guitar.  “Masquerade” ups the ante on the rich dramatic sound, while “Another Love Song,” rages with an almost punk frenzy.   But later on, The Frames were characterized by their more low-key atmospheric sound, which can be heard clearly on the gorgeous and moving “Downhill from Here.”

Tack on 8 bonus tracks, including a fantastic acoustic version of “The Dancer,” and we’ve definitely got an album I’m sorry I missed, and incredibly grateful that I’ve finally found.

buy here: Another Love Song
Buy mp3: Another Love Song

Propaganda – A Secret Wish

Densely atmospheric.  Throbbing in electropop intensity.  The German quartet Propaganda step up to the podium and take their place amongst the most ambitious of the 80’s synth pop bands.   Layers of synths.  Throbbing bass and rhythms lift this disc way above the ordinary.   Toss in guest stars such as David Sylvain from Japan, Glenn Gregory from Heaven 17, and Yes’s Steve Howe and we can see just how high those ambitions reached.

“A Dream within a Dream” is just that, lush and hypnotic, intoxicating in its simplicity and beauty.  The lights go out, the club patrons settle in for a late martini, melting into the overstuffed chairs in the back.  Sensual passions rise.  Love making ensues.  Yes, it’s all there in the 9-plus minutes of this song.  Sexual tension brims in the production.  Simply exquisite.  An early precursor to what would later became known as chill or late night lounge, Propaganda were way ahead of their time on this one.

“The Murder of Love,” brings in a bass line that could’ve easily been found on one of label mates Frankie Goes to Hollywood’s albums.  Thick and pulsating, dancefloor ready without being overbearing or predictable.   But Propaganda are no Frankie and immediately take the song off into their own world of synths and experimental sound effects.  Propaganda weren’t afraid to play with the formula. “Jewel,” ups the ante with a stab at electro-punk while “Duel” is pure electropop. Think a hybrid of Frankie, Art of Noise and a touch of The Human League and you’ll get the feeling here.  And if those band’s move you, then Propaganda will probably move you too. 

Compiled by Ian Peel, who’s been doing a phenomenal job of reissuing the ZTT catalog on deluxe editions, this edition of A Secret Wish comes stacked full of bonuses, both on the first disc as well as the bonus second disc.  Alternate versions, unreleased tracks.  If you’re a Propaganda fan, this is the motherlode.  While it might all be a bit too much to take in one sitting, when the moods right, you could randomly hit play anywhere and be richly rewarded.

Buy here: Secret Wish-25th Anniversary
Buy mp3: A Secret Wish


--Racer

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