He will forever be known as that Detroit hard rock singer who likes to party and “only” write party anthems. It doesn’t seem to bother Andrew W. K. at all. Sure he is probably best known for his song “Party Hard,” but the guy really knows how to make kick ass hard rock music.
Andrew W. K. is a positive party rock machine that spews out remarkable, ridiculous lyrics you can’t help, but enjoy every moment of it. He can be best described as having a larger than life personality like Meat Loaf, the killer jams of a Thin Lizzy and the soul of Bruce Springsteen- he’s wholesome rock n’ roll with a positive party rock attitude.
Producer, promoter, entertainer, musician and motivational speaker are just some of the hats Andrew W. K. wears. Regardless of what he does, Andrew W. K. is one energetic, engaging entertainer who knows how to put on an amazing show. Early on his career, critics and fans alike didn’t know if Andrew W. K. was playing a character, but does it real matter when an artist continues making cool music?
When I told friends I was writing a review on this album two comments constantly kept coming up: 1) Andrew W. K. is f*****g awesome! and 2) Didn’t that album come out four years ago? Sure you can easily debate the first statement (I don’t know why), but the latter needs some explaining because it’s true. Close Calls With Brick Walls is Andrew W. K.’s third album and was originally released in 2006, but only released in Japan and Korea. Eventually it was released in the United States as a limited edition vinyl with bonus tracks, but in very small quantities. Due to legal issues, it wasn’t released on CD until earlier this year when it was packaged with an additional CD containing rare and unreleased songs for the album Mother of Mankind.
Unlike previous albums, Andrew W. K. sings instead of screaming his vocals and is more experimental. The album is more traditional rock, but Andrew’s awesome and amazing high level of intensity still remains. Whether or not you appreciate his party attitude, you have to admit he continues to enjoy making music.
Close Calls With Brick Walls opens with "I Came For You" and the joyride begins for a fun, fantastic time of debauchery. “Not Going To Bed" is so over-the-top and ridiculous it’s exactly what’s needed. “You Will Remember Tonight" contains great guitar riffs and distinct drums that support Andrew W. K.’s killer vocals on this fun, fresh party song. Another amazing song is “Pushing Drugs."
It’s very rare that a song makes me want to get up and party nonstop, but that’s what “One Brother” makes me want to do. This song is an eminent example of a good party song Andrew W. K. writes. Banging my head and throwing my hands in the air I feel so alive every time I hear it.
Most of the other songs that are worth checking out include “Las Vegas, Nevada," "I Want To See You Go Wild," "When I'm High," and “Don’t Call Me Andy.” He is all over the place, which is great to see an artist explore themselves on an album. There are touches of a somber Scott Walker, 80s power metal, pure party music, soulful sounds, and just good old school hard rock music.
Mother of Mankind is a treasure trove of unusual and unique songs or as Andrew W. K. has put it as a “box of songs to explore.” For some it’s cool and others crap because some songs contain no vocals, no guitars, no instrumentation and that can be unsettling. I will let you be the judge, but it’s worth exploring if you enjoy Andrew W. K.
With about two hours of entertainment and 39 songs, what else could you ask for? Honestly, it’s truly a bargain to receive so much for so little. More artists need to be like Andrew W. K. and stock their albums full of songs instead of barely compiling a record that resembles more of an EP than album. Other fun loving artists to check out include the Aquabats and Electric Six.
TEAM ALL ABOUT THE MUSIC releases FREE Compilation, “Setting Trends And Banging Heads Vol 1”, OUT NOW!!
Just in time for the New Year, TEAM ALL ABOUT THE MUSIC is releasing a $FREE DOWNLOAD$ of the company’s first compilation, Setting Trends And Banging Heads Vol 1. Featuring a host of some of the hottest trend setting bands out there (and all with their own respective sound), Setting Trends And Banging Heads Vol 1 will surely be a good one for your listening pleasure. Get your free download of Setting Trends And Banging Heads Vol 1, here: http://www.teamallaboutthemusic.bandcamp..com
Download it, burn it, literally do whatever you want with it. Track listing for the compilation is below. For those of you who are keener on more of the creative side of things in music, make sure to listen to this from start to finish. The beautiful and absolutely stunning album art was created by Salo Sopor – check out more of his work here: http://www.salosopor.com/ .
TEAM AATM owner Alex Gilbert comments on the artwork, "I’ve always loved that city / nightlife feel, and our friend Salo pretty much accommodated perfectly, plus more than I could even imagine."
TEAM ALL ABOUT THE MUSIC – Setting Trends And Banging Heads Vol 1 1. HYPNO5E - Tutuguri 2. MARGIN OF ERROR – Your Life In Playback 3. A BAND OF ORCS – I, Gogog 4. TRUTH CORRODED - Decimate 5. MY OWN PRIVATE ALASKA – After You 6. IDOLS ARE DEAD – The Name Of My Rage 7. A BACKWARD GLANCE ON A TRAVEL ROAD – Regular Barbary 8. JOURNAL – Velvet Ribbon
...the phenomenon often credited with "creating" residual hauntings is also the aftereffect of Ritual Abuse, especially at jet engine volume-- as it's meant to be heard. It's not a coincidence that Cough's listening experience is similar to being left alone in the bowels of a haunted asylum in the small hours.
Cough are at the far left (hand path) of the metronome AND the tuner: played slow, tuned low. Some track slither by, slowing, slowing... with so much space between each count of the drummer's right hand... they're almost rubato, without time... the fifth chords ring like distant knell of a haunted church-- unpredictable and inevitable.
Come (tune) down with us, Orpheus, let ol' Kharon carry you across, through the caves of Ritual Abuse, this slab of audible damnation--
I played Cough's previous, Sigilum Luciferi, like it emitted opium per revolution. I dig Cough, I dig their Blues for the Evil. Don't forget that's what heavy metal is: detuned blues for the suburbs, in high gain, with long hair....
Appropriate to the devil blues/ blackened doom, tracks are reviewed in backwards order.
Closer, "Ritual Abuse": sludge-crusted, sludge spraying opening riff... a radioactive riff for the day Cough are radioactive with sales....
Next: "Crooked Spine"... despair of the suicides in the acoustic intro: Neil Young in rehab for a habit he knows will kill him. An almost-acoustic piece that Alice in Chains would've written if they were truly depressed. "Who will save you now? Who will cast you out?" -- it's anguish blues for demons. Goddamned (pun intended) cool.
Next, "Crippled Wizard," the boss tritone riff connoting exactly the Fallen despair you'd expect... it's a blast.... Go on, Clyde... get in that shit....
"A Year in Suffering": the riff spiraling downward, a descent into the maelstrom in sound form, with groooove....
The overall repetition in the tunes, a psychotic delta bluesman fixated on the Riff, who must sound, like a Dervish, the deal he made with Satan...! Dig the expansion of the sound and vibe of Sigilum Luciferi, which I still herald as The Album Composed of (Sabbath's Vol. 4's) Cornucopia Riffs, aka Sludge Nirvana...!
Vocals: over-reverbed, like how they shriek during waterboarding in the Underworld... vocals that alternate between semi-sung and blared-- like the Belial or Moloch within the singer periodically gets control of his vocal chords--
Ritual Abuse is the best of Sludge Metal: a detuned corroded blues, obsessed with the flatted fifth and the satanic despair it spells when sounded. A despair for the 21st century. A despair... incurable.
After years of plying their frenzied, hard-rocking, acid blues trade in near obscurity, the love and accolades keep pouring in for JPT Scare Band. Classic Rock Magazine, one of the world’s leading magazines for good ‘ol rock and roll, honored JPT Scare Band by including their single “Not My Fault” – from the Ripple Music released Acid Blues is the White Man’s Burden -- on their November edition cover-mounted CD. After previously naming JPT Scare Band one of the “lost pioneers of heavy metal,” Classic Rock continued the love fest proclaiming that “JPT Scare Band plied a terrifying form of ear-bludgeoning hard rock that was so far ahead of its time, people are still trying to catch up.”
And it keeps getting better. A quick peruse over at CD Baby.com, the leading seller of independent CD’s, finds JPT Scare Band’s Acid Blues is the White Man’s Burden, holding down the #2 chart position in the Extended Jams Category. And extended jamming is what the band does best, as found on the monstrous acidified blues freakouts “Amy's Blue Day,” “Stone House Blues,” and the title cut “Acid Blues is the White Man’s Burden.” And with the boys back in the studio, recording songs for the follow up to "Acid Blues," you can expect more extended jam, stunning guitar work, and frightening heaviness to be unleashed soon.
It seems the world is waking up to the terror that is JPT Scare Band and the masterful, mind-boggling guitar work of Terry Swope. The Rock and Roll Report has proclaimed that Acid Blues is the White Man’s Burden, “sizzles with fuzzy guitars, gritty vocals, and extended jam sessions that instantly transports you to what feels like a Hendrix concert. Terry Swope has got to be one of the world's most underrated guitarists! If you miss the glory days of Cream, Deep Purple, and Jimi Hendrix, you have to check out these uncovered gems from JPT Scare Band.” Here Comes the Flood decrees that Acid Blues “holds its own against famous niche sharers, such as Cream, Ten Years After, Rory Gallagher and the mighty Led Zeppelin!” and Sonic Abuse gushes that Acid Blues is simply a “gem to treasure.”
Acid Blues is the White Man’s Burden is available in limited quantities from Ripple Music in two-toned, gatefold, double-LP with two bonus tracks, Deluxe digipack CD, or digital at www.ripple-music.com and all fine music sites like iTunes, Digstation, Amazon, CD Baby, and eBay.
Don’t miss out on the revival of classic acid Proto-metal and the album that the infamous Roadburn Festival has hailed as the “Album of the Day!”
Read this story on CNN, most of you probably already have but I am still playing catch-up and it is a heartwarming story for all geeks before Christmas.
I've been a geek all my life but I was lucky, I was OK at sport and big so bullying wasn't an issue for me.
My daughter, 6, blond with glasses,had to wear an eyepatch like Katie, loves Doctor Who and used to get a bit of stick at school - Doctor Who is for boys you see.
However, each week there's usually a photo of, or a picture by, a girl in Doctor Who Adventures comic and each week I say to the sprog: "See you are not alone. Stick with it."
So to all geek girls out there who are worried, don't be.
Waveriders, have we got a special treat for you! In the formative days of independent rock journalism, one of the definitive, pioneering metal fanzines was Kick Ass. Today, we got a special Ripple contribution from none other than - Mike "Artie O." Hannon, one of the original innovators at Kick Ass.
If we all clap hard, beg, and plead, we may be able to get Mike to contribute more, but in the meantime, we're thrilled and humbled to welcome Mike into the Ripple fold.
ATTENTION: Citizens of Earth! This is Alan Davey, Panic! Do you remember the following words from somewhere? "Know your body's made to move, feel it in your guts / Rock 'n' roll ain't worth the name if it don't make you strut." If you do, this Gunslinger release must certainly have been what that great sage was talking about.
Friends, have I got an album for you. When was the last time you heard an album that was absolutely killer from start to stop? Better yet, absolutely killer over the course of eleven tracks?! Then when it stopped... you immediately hit start again! Well, this is one of those. Bass Assassination 101, delivered in spades, right here. I have had this one spinning on endless repeat and "Valium 10" since discovering its greatness. (Why is this scorcher not being praised on all corners of the globe? Yet shite like the latest album from Green Day is somehow honored as genius?! Questions for the ages, I guess.) I am more than a bit biased to players of this caliber, being a HUGE fan of the bass guitar and those who know precisely (and dangerously) what to do with it. Dare I say, Alan Davey is the ONLY person who could actually front Motorhead, other than Lemmy Kilmister, if the occasion ever arose. Big words, I know... but these are BIG sounds. The likes of which you just don't hear very often, if at all. Alan already did, essentially, take on that heady task during his lengthy tenure with Hawkwind. He was the perfect heir apparent, and the entire period was of great interest to me, conjuring memories of "Doremi Fasol Latido", "Hall of the Mountain Grill" and "Warrior on the Edge of Time". All older Hawkwind classics on which Lemmy had cemented the bottom so very brilliantly. Also, a few of my all-time favorite albums. So, this is where I stand in my vision here. It may be slanted, but it's slanted for all of the right reasons. If you are like-minded, please proceed and enter the craft...
The story of Gunslinger is a long one, dating back to 1979 when Alan Davey and his cousin, Nigel Potter, began to structure what they call "the sonic wall" that would soon become Gunslinger. At this time, their obsession with powerful, flat out rock and roll was beginning to take shape(s). During those early formative years, name change followed name change, but it was when they called their latest incarnation 'Chainsaw' that the real story begins... It was here that songs like "Warhorse", "Gunslinger", "Night Song" and many others first came into sonic being. The immense sound that was to become Gunslinger was thus born. With influences ranging (and raging) from Led Zeppelin, Deep Purple, Motorhead, Hawkwind and many others, the full-on assault was then thought to be in full flow. The band quickly gained a reputation for playing extremely loud and built a solid, loyal following. They then recorded a demo tape and a record deal was promised, but the deal was never signed. Alas, it was just not meant to be. As they say, the rest is history... until now, that is! But first, a short bit of further backstory is in order...
A long-time Hawkwind fan, Alan Davey ("Bass Assassin # 2", appointed that grandiose title by none other than one Ian "Lemmy" Kilmister himself), sent a demo of his playing to Hawkwind main man, Dave Brock, and was rightly recruited to join the Hawkwind ranks in 1984. Alan then went on to become the second longest-serving member of the band, playing and recording with them for 22 years. (Why didn't they make a movie about that? Instead of that crappy "Rock Star" debacle from a few years back. I'll tell ya, there is no justice in this world.) His time with Hawkwind was a very productive one, to these ears. The man's first gig with the band was at the legendary Stonehenge, for goodness sake. That is just epic stuff! No two ways about it.
But this isn't a Hawkwind write-up, it's a Gunslinger one. So, on to the meat and potatoes of this essential beast known as Earthquake in E Minor. (The album IS Earth-shaking, as the title suggests.) As advertised with the following quote: "Straight up dirty rock/metal, Alan`s 1st band with cousin Nigel Potter who wrote ALL the songs with Alan between 1979-82. If ya like old Motorhead & Hawkwind this is the perfect mix of the two!!" I couldn't say it better than that myself, so I let the quote speak for itself. Well, Motorhead and Hawkwind are two of my all-time favorite bands, so you know I'm going to praise music with a sound like that *IF* they get it right. I am happy to say that not only did they get it right, they have surpassed any expectations you could possibly have. (And I have expectations, believe me.) The music (barely) contained herein is so impressive to fans of the style, that it prompted a comment from a friend which revered: "Is this really Gunslinger? You sure it's not songs that were supposed to be on the album between Overkill and Bomber?" That is MIGHTY HIGH praise, and gives you a perfect launching pad for appreciation of the concept.
The current band is made up of Davey on bass and keys, his nephew Louis "Snag" Davey on guitar, and a young phenom simply named "Cat" on drums and backing vox. The guitar and drums on this particular album are performed by an earlier line-up consisting of Nigel Potter and the mysteriously named George A., respectively. Together, they form a triple threat, which virtually flies off the disc and comes looking for your blood. I haven't heard this kind of decimation in a LONG time, folks. (I'm a bit of a jaded old bastard, and never really heap praise like this on very much at all. I don't even write reviews, unless I've been truly inspired.) The collective is an absolute winner. Recalling, for me, the same feeling I had upon discovering Motorhead in my misspent youth. Maybe you remember when you first heard Tank'sFilth Hounds of Hades and were just pummeled from beginning to end? Well, this is that kind of deal. A real deal, made up of monster basses and all the aces!
I'm not really a track-by-track reviewer, but you would be hard-pressed to find a dud in this bunch. If I was pushed to name a few favorites, I would simply and honestly respond with, tracks one through eleven (this one really does go to eleven). As I said earlier, it is a completely enjoyable experience from start to stop, and really should be consumed as a whole. Sometimes half a dose does the trick, but this is a better pill when swallowed whole. Hell, the music makes me feel young and virile again... and that's not an easy thing to do! ha (Mission accomplished... and thank you for it!) This is the kind of music that first inspired me to start a band. This is the kind of music that can start and/or end wars, whichever may be your preference, of course. If any of this sounds appealing to you, and it should, get your hands on this album. Scare your kids, scare your dog, scare your cat. Hell, scare your lion... whatever may have you. I dare you to try and tame this monster! Take the bull by the horns, yes, but be forewarned that this choice may lead to blunt trauma and (motor)head wounds. Try fighting the "Snaggletooth" and "lemmy" know how you make out... if you survive, that is. (How's that for props?) Hey, it's fun to play with words like that (I haven't used some of those wonderfully over-the-top terms in years), but I really can't emphasize enough just how strong this album is. If it had been released in the early '80s, it would have been on many different top-lists as a favorite, I'm certain of it. Alas, that was not to be. But the time is now, and there is no better time than the present. Earthquake in E Minor is a winner on all counts. I would be remiss if I didn't mention the talented lead guitar and drums of the current line-up, as well. (See vids on the Gunslinger MySpace page and YouTube.) If only more of the younger players had this kind of education. Snag and Cat are really firing on all cylinders, and I am amazed that Alan has made discoveries like this in a younger team. Kudos to you all. Top-notch!
Alan and Gunslinger are also hoping to make their way to the USA for some shows. (Isn't there someone out there who can secure this?) The last time I saw him live was on a Hawkwind tour, many moon phases ago... which is entirely too long between visits. Let's do what we can to get that in order, huh? Phone your local politicians, fly a banner from a plane... whatever! This music is made for a live setting, and I hope I will get the chance to see that happen. The band's bio included this apropos proclamation, "We're loud, mean and coming to town!" Let's hope so. I would certainly be there... and you should save a calendar date, too. Gunslinger will be releasing a live album titled "Unlawful Odds" in February 2011. I am impatiently looking forward to that release from this unlawful act. Until then, I will keep cranking Earthquake in E Minor, while I gleefully watch the neighbors' lawn die! Hell, the only complaint I have about the Gunslinger album is that there is no umlaut used above the letter "U" in the band's name. Can't get any better than that for a current release, can you?
I fully realize that there are a lot of Hawkwind and Motorhead mentions in this review. That is not the only chapter in this story, but it's almost impossible not to reference those things when reviewing this album. If you are a fan of either band, make it your business to get this album. (After all, it is the business of the future to be dangerous.) Of course, there is far more to the Church of Alan Davey, so check them @ his web site. He is involved in many creative projects and is a very crafty musician of varying styles. I enjoy them all. Maybe you will, too? They don't make 'em like this anymore, that's for sure. Alan is also currently playing with Hawklords, a collective which showcases many other important former Hawkwind alumni. "25 Years On", and all are still a force to be reckoned with. That is an impressive feat!
For your consideration (as a fun side-note): Alan has even been spotted boldly sporting a T-shirt which reads, "My Rickenbacker Is Older Than My Wife!" Hell, if that doesn't win you over... I guess nothing will sway you. Remember, "If the Bombs Don't Get Ya, the Bullets Will". Carpe diem, baby!
Update: After completion of this review, Alan has now informed me that Flicknife Records will be releasing the live Gunslinger album. And the band have also acquired an agent in the USA who can finally get them some gigs on these shores. "So watch out, we're coming!", exclaims Mr. Davey. Heed the man's words. Hope to see y'all there...
Are you ready to rock? Hot n ready? Armed and ready? Then you are ready to for these two new kick ass DVD’s to rock your television into the ground. Rockpalast (Rock Palace) is a German music TV show that’s been around since 1974 and they’re starting to release some of their historic concerts. Yours truly has already drooled all over the ZZ Top and Thin Lizzy releases here on Ripple but this double dose of primo heavy rock is a major cause for celebration.
First up is UFO live, loud, proud and drunk in Dortmund, Germany from November 1980. True, that means no Michael Schenker or Paul Raymond but the excellent Paul Chapman is on lead guitar and this is the tour supporting the solid No Place To Run album. Starting off with the high energy “Lettin’ Go” UFO comes out blazing. Chapman doesn’t have the charisma of Michael Schenker but his fiery playing is terrific and it gives Pete Way an excuse to jump around even more than usual. Watching vintage Pete Way in action, it’s obvious what a big influence he was on Steve Harris and Nikki Sixx, not only in his playing but for his awesome stripey jumpsuits. Andy Parker is one of the most underrated drummers in rock. He’s hard hitter with a huge sound and never overplays. Neil Carter does a fine job on rhythm guitar and keyboards and mainly stays out of the way. Phil Mogg is in excellent voice and his tipsy in between song banter is always entertaining. There are some great shots of the crowd. Some 13 year old little shit loves flipping the bird to the camera every time it gets near him. Classic.
The entire UFO concert is great but does drag a bit in the middle with a few too many slower songs like “No Place To Run,” “Making Moves,” and “Love To Love” all in a row. Luckily they wake everyone up with their blistering cover of “Mystery Train,” one of the highlights from the No Place To Run album. Old favorites like “Only You Can Rock Me,” “Lights Out,” “Doctor Doctor,” and of course “Rock Bottom” kick major ass. Chapman really scorches on “Rock Bottom” and proves he was probably the only guy who could replace Schenker in this classic band. (Lots of people forget that he actually played side by side with him in the short lived twin axe attack UFO line up of 1974).
Watching UFO in 1980 is the perfect warm up for the Michael Schenker Group 1981 live show. What a band! You get Paul Raymond on guitar & keyboards, Chris Glen from the Sensational Alex Harvey Band on bass and Cozy Powell on powerhouse drums. The only weak link, unfortunately, is vocalist Gary Barden. He sounds good on the opening number “Armed & Ready” but not long after that it’s obvious his voice is pretty shot. He’s not really a great frontman, either. Despite a lot of cracked notes, Schenker rescues the concert with superb playing. On a good night there are few guitarists that can come close to his tough yet melodic playing. It’s incredible what that guy can do with just a Gibson Flying V, a wah-wah pedal and FOUR STACKS of 50 watt Marshall amps.
In 1981, only the first MSG album was out so the best songs from that like “Cry For the Nations,” “Victim of Illusions” and “Into The Arena” get played alongside UFO standards “Natural Thing,” “Doctor Doctor” and “Lights Out.” It’s a lot of fun to compare these versions with the ones on the UFO DVD. Schenker and Phil Mogg never got along too well but they did make a great team. As much as I love Andy Parker, it’s too bad they never built a super UFO with Mogg, Schenker, Chapman, Cozy, Paul Raymond and Pete Way. These 2 DVD’s is the closest we’ll ever get. Get a 15 pack of Strohs and tell the old lady to hit the road when you bring these home. Tell me your ready to ROCK!!
“All right people, now is the time. This is Flight Director Penfold speaking. I need a go/no-go for launch when I call your area of responsibility. (Meaningful Pause) OK, Booster?” “Go.” “Control?” “Go.” “Electrical?” “Go.” “Guidance?” “Go.” “Telemetry?” “Go.” “Communi…wait…stop! Astronauts, this is Director Penfold, what are you doing?!?”
I was greeted with six responses at once, one from each member of the band Suns who made up my astronaut crew, all boiling down to “nothing”.
“How did you manage to get instruments into the shuttle?” This time all six remained silent. “Do I need to explain again the seriousness of this mission? It is the mission you signed up for, is it not?” Responses included “yes”, “yeah”, “maybe”, “yes, sir”, and “think so”. “Good. Now I’m going to send up a launch pad technician to open the shuttle door and collect your instruments. Seriously, how did you manage to get a drum set in there without anyone knowing, and how can you manage to play guitars with those thick astronaut gloves encapsulating your hands? Alright, we’ve only lost a minute or too with this distraction. We should almost launch on schedu…astronauts?!?! Did one of you just hit the launch abort button? Again?”
Dead air greets me on the radio channel, and the video feed appears to show the astronauts/band members looking from one to another, and then after apparently coming to a silent agreement once again beginning to play their instruments. I tore the boom microphone I used to communicate with the shuttle off of my head and threw it on the ground. “That’s it! I’ve had it! I told NASA that combining the arts and sciences in this manner was a bad idea! But no one wanted to listen to me. I quit!”
Feeling introspective? Excellent! I’ve got some music you need to listen to right this minute. Suns is an experimental/indie band with keen musical sensibilities that are sure to titillate individuals seeking new rabbit holes to explore. For the most part I don’t agree with the indie label being applied to this band, as I find that most every song simply has too much meat, too much latent power that makes regular appearances behind the vocals. No, Suns will never be confused for a hard rock or metal act (although they do have two drummers similar to The Melvins), but there is undeniable musical weight being hoisted upon the listener on a regular basis.
Interestingly the production relates directly with the EPs title, or perhaps it’s the other way around. The sound of the instrumentation is crystal clear, but I get the feeling that there was a filter of some kind laid over top of the music in order to make it seem somewhat ethereal, somewhat distant. Often when I’m listening I make believe that I am in fact receiving an excellent feed of the band playing from orbit. The vocals on the other hand are right up front in the mix, thus making them very powerful and potent. To give you waveriders an idea of what to expect, the lead vocalist reminds me very much of Neil Young. His voice is considerably more versatile, but the way he conveys his words and phrases is very similar, almost conversational.
The song structures are also seemingly tied into the EP title. “Little Horn” is a bouncy number designed to prepare the listener for launch with alternatively spacey vocals and big powerful choruses. “You Are On” picks the tempo up for lift-off shortly after it begins. “Small Parts of Something Much Larger” reels the tempo back in slightly as the band sets to work after achieving orbit, and “Bright Lights” highlights the dreamlike state the band must be in while completing their mundane tasks. The closing track “Don’t Do It” drastically shifts gears with the band producing an ominous soundscape to go along with some tortured, anguished vocals. This song sounds exactly like astronauts who don’t wish to return to Earth, but know it must be done. All together, five great songs.
This concludes the first half of this write up. Continue reading to find out what else this band has up their sleeves.
Suns - The Howl and the Many
It was nighttime, and everything was illuminated under a full moon. I had just finished pushing a medium sized dresser up against the cabin door in a last ditch effort to barricade it from the inside when the first loud thump of hardened flesh meeting wood rang out. The sound was quickly followed by a guttural howl that was shortly answered by a few others. The beasts were out there, and they wanted inside. It was time to take inventory.
I was in a medium sized, newly fortified cabin in the woods with the six members of the band Suns. Between us there were two pistols, a shotgun, a few rounds of ammunition, and three knives. Inside the cabin we had found a fully stocked kitchen, but not much else. For reasons beyond my comprehension our current dire straits had seemingly ignited the songwriting passion in the members of the band, and all of them were huddled together playing their instruments and sharing ideas.
The second Suns EP, entitled The Howl and the Many, differs in a few important ways from the previous EP. Remember that filtered sound I referred to before? It’s been thrown away in favor of a more organic, crisp sound that evokes sensations of warmth and liveliness. Also all four songs (including the ballad “Gladys”) on this EP have a more rocking edge to them, especially when it comes to the drumming. It feels like the drummers were given free reign to let loose and propel the band forward with greater force. Finally, the four songs on The Howl produce feelings of happiness and contentment with far more regularity than the songs from Close Calls. I can’t really pinpoint exactly why this occurs, but it is true.
The bottom line here is that if you are someone like me who occasionally needs a break from heavier music, but still demand music that can be very emotive, Suns is ready to accommodate your needs. These songs will whisk you away from your worries and cares for just under forty minutes, taking you on a compelling journey full of interesting roadside attractions. Have I mentioned that both of these EPs are being offered to the public at no cost? Yes, that’s right, they are both free to download. Basically, there is no reason why you should not check this band out if what I have said seems interesting. Getting back to my present situation though, I think I overheard some disturbing talk coming from the guys.
“I wish there was an army of vampires to fight off these werewolves.” I don’t know who said this, but I knew I had to stop this wishful thinking immediately.
“Hey, get your head out of your nether-regions! We’re talking about werewolves outside trying to kill us, not some fantasy creature that only exists in stories! I don’t know about you guys, but I want to make it out of this cabin alive. Now for the love of all that is good put down those instruments and start melting down that silverware! We can use the material to make silver bullets.”
--Penfold
P.S.: Does anyone else think that the covers for the two EPs should be switched? I think the band is playing a little joke on us, the good listeners.
It is just the Blues. It is often said among musicians that playing the “Blues” is “emotive” and requires less technical skill than playing “Jazz.” That is a gross over generalization. I don’t know of a guitarist who would argue that it takes more skill to play, say, “Baby, Please Don’t Go” by Big Joe Williams than it takes to play “Nuages” by Django Reinhardt. It doesn’t. However, there is, in fact, a whole sub-genre of “Blues,” as exacting as “Jazz,” that requires the skills of the technical “Jazz” musician in a “Blues” player - the “Jump or Swing Blues.”
Jump or Swing Blues is a delicious synthesis of emotion and technical prowess. It mixes conventions. Blues harp players play alongside Jazz horn players. Blues guitar styles mix with jazz guitar styles. Pioneered by the likes of big band leaders Cab Calloway and Louis Prima, it is now practiced by modern day troubadours such as Brian Setzer, Big Bad Voodoo Daddy and Cherry Poppin’ Daddies. Yet, I have never heard better jump jazz and blues than Lynwood Slim and The Igor Prado Band on their new Delta Groove release Brazilian Kicks.
Igor Prado is a self-taught left-handed guitar player who merely flips a right-handed guitar over to play. He doesn’t restring it. The high E is on top (Coco Montoya does the same thing and I have never been able to understand how he does it.) For years Prado has been in Brazil playing jump blues and western swing. He has three Prado Blues Band releases under his belt and and a well-received 2007 solo Blues album blues entitled “UpsideDown.” The Igor Prado Band adds Yuri Prado on drums, bassist Rodrigo Mantovani and saxophonist Denilson Martin and, on Brazilian Kicks, special guest pianist Donny Nichilo.
Lynwood Slim has been blowin’ the harp since he was fifteen years old and has his own recording history with six past releases - starting with “Soul Feet” in 1996 and, most recently, in 2006 with “Last Call.” In addition to his formidable harmonica chops this dude has one of the greatest smooth easy jazz/blues voices out there. His band, on his last album included guitarists Kid Ramos and Kirk Fletcher, transplanted boogie-woogie piano master Carl Sonny Leyland and mandolin master Rich Del Grosso,
Combining the talents of these artists was pure genius. Prado’s guitar playing is special. The clear, crisp and clean jazz guitar tone and Django Reinhardt-like artistry are dirtied just enough by the harp, horn, bottom and the blues tone of other guitarists . When you add Slim’s silky vocals you are taken to a place somewhere between the 1940’s and tomorrow.
“Shake It Baby” is James Brown-infused, Tom Jones singing “You Can Leave Your Hat On,” type performance with a short, but stellar, guitar solo and, of all things, a brazilian flute,“Is It True?” is a 1950’s jump blues with an amazing mixture of guitar styles - a down and dirty modern blues guitar with a jazz guitar back beat that gives way to a piano lead punctuated by horns.
“Bloodshot Eyes” is a track of wonder. I was raised on black and white “I Love Lucy” TV reruns and the tune is a return to childhood. The song sounds like it comes right out of the Ricky Ricardo songbook. The saxophone and guitar on those old shows were never this good. Igor Prado’s Band’s Brazilian influence is perfectly suited for the song. A jump blues vamp “My Hat’s On The Side Of My Head” follows with such smoothness that it will have you simultaneously reaching for your tap shoes and fedora. Then, “Blue Bop” will have you boppin’ fast and hard. The orchestration, arrangement, guitar lead, and horn solo are as good as it gets. I put this track up there with Joe Pass’, Herb Ellis’, Jake Hanna’, Plas Johnson’s and Harry “Sweets” Edison’s rendition of Oscar Peterson’s “Seven Come Eleven”on their 1973 release as one of the greatest, fast, jump jazz blues that I have ever heard.
By now the pace of the album is frantic so Slim slows it down with a slow Chicago-style Blues song, “Little Girl.” However, the pace does not slow for long. Next, the band cranks it up with another bopper, “I Sat And Cried." It has a wonderful background piano and accenting horns, but is mainly Lynwood Slim’s voice and upbeat drums.
Then, like in an old movie - the brass section slowly comes in and a slow handed precise jazz guitar plays a song suited for Frank Sinatra, “Maybe Someday.” You can envision the audience swooning to Slim’s sultry voice and the big band, Duke Ellington-esque blues arrangement. Yet, just as you are lulled into that soft, silky 1940’s sound Lynwood Slim busts out his harp and gets dirty with “Show Me The Way.” On this one there is an edge to Slim’s voice and to his harp as he performs this gritty Chicago “lost my baby” blues song. Transportation is provided back to the big band swing era with “Bill’s Change,” a instrumental that showcases Prado’s guitar and Martin’s saxophone.
On comes “The Comeback,” which adds piano and Slim’s blues to big band music. It creates a heavenly marriage of blues and jazz styles that uses multi-layers of sound and rhythm. When “The Way You Do” makes you realize that “Black Magic Woman” was really just an awesome jazz tune. The track is just as good as Santana’s but has a cleaner guitar sound - as if Bob Bogle of the Ventures was playing lead instead of Carlos. The disk concludes with Slim on the instrumental “Going To Mona Lisa’s” - a straight ahead harmonica blues jam.
These tracks are beautiful, emotive, inspiring and technical. This stuff takes significant musical skill and, yes, - it is just the Blues.
Never . . . ever . . . in my wildest dreams would I have imagined that I would sit down and write my thoughts about a compilation album. Compilation albums have always been a mixed bag for me. Some songs will be just okay from the artists that you expect to be great, some songs are great from artists that you would expect would suck, and every so often, you stumble on a new name that’s doing something interesting, but that in itself never warrants the penning of a review and the typical collection usually sounds mismatched and unfocused in style and sound. Well, slap my ass and call me Susie . . . I have been pummeled senseless by the fine folks at Prophecy Productions (read my thoughts on Les Discrets, Alcest, Negura Bunget . . . yeah, I’m a big fan) with their compilation of dark and moody ambient trance inducing songs entitled Whom the Moon a Nightsong Sings.
Prophecy Productions has quickly become one of my favorite labels for a few reasons, but namely the music that’s coming out from this label is emotionally complex and the kind of stuff rocks the soul rather than the body. The music is generally heavy in mood, not in overall sonic tone. The music is usually pretty dark, both in imagery and in emotion. And, the music never gets bombastic in the pummeling sense . . .it’s extreme, but on the other side of the spectrum than what we in the metal community have become accustomed to with the blastbeats and detuned instruments set to eleven. Then, of course, there’s the production value that you get from these guys! The packaging on their products is worth every red cent that one can dig from under their couch cushions or from the drink holders in their cars. Prophecy delivers a quality product . . . end of story.
This compilation is all of the above. Starting off with a quiet instrumental tune from Vali called “Hoestmelankoli”, I got this immediate sense that something tragic was about to happen. Less than a minute and a half long, this introduction to all that is Prophecy is packed with sorrow and despair, yet with an ever so faint ray of hope. The song is just a couple of acoustic guitars picking away at a gorgeous melody that escalates in epicness before morphing into a traipsing through a desolate castle sounds of Empyrium’s “The Day Before the Fall”. Laden with a multitude of instruments . . . cellos, acoustic guitars, the steady hum of what sounds like an old pipe organ . . . this song is simply mournful. This is one of those rare tracks on this album that is truly heavy in instrumentation as it is in mood and emotion. We have huge drum and distorted guitar portions in the middle passages of this one, and the whole thing builds in tension as the reality of a kingdom dissolves into ash. Absolutely brilliant!
Nebelung’s “Ich würd es hören” is a gem of a tune. Sung in native German and played with a couple of acoustic guitars and some string accompaniment, this song is a great example of how a band can create some serious mood without the massive production of a full band ensemble. Roughly translated to “I’d Hear It”, I get the sense that this is a personal tale of loss. The vocals are packed with so much sorrow, mournful . . . but not full of despair, not the suicidal type . . . this reeks of a man who has lost something of great emotional value is trying to find a way to fill that void or honor that loss. Man . . . truly a heavy song in an emotional sense! Then follow that one up with October Falls and their contribution of “Viima” and the soul is just torn apart. There is an epic sadness to the melody of this track. The acoustic guitars are played over a foundation of howling winds, which add an organic sense of natural wonder. Then, these guys add subtle flourishes of cello to create a massively heart rending texture. This is the kind of song that fits well with sitting in a darkened room, watching the rain or snow fall from a dark grey sky, and recollecting past transgressions or lost loves.
Ainulindalë’s “A Year Of Silence” was actually the first song that I heard from the album and I was immediately hooked by the vocal performances, both from the lead vocalist as well as from the choir of backing vocalists. Throw in the plaintive screams from the violins and the accents from the percussions and this song is drenched with elements that tickle the ears and, ultimately, the soul. My personal favorites on the Prophecy roster and the act that made me want to hear this compilation in the first place, Les Discrets contribute a couple of tracks back to back with “5 Montee Des Epies” and “Apres l'Ombre”. The first is a simple arpeggio being repeated on a chorused out guitar with some subtle synthesized sounds in the background, but then the second track kicks in and the sound that made me fall in love with this band hit me like an axe blade in the forehead. The strumming acoustic guitars, the textural synth flourishes, the impassioned vocals, the overall dark and shoe-gazing appeal of this song remind me of why I adore their full-length album Septembre Et Ses Dernieres Pensees as much as I do. These are two tracks that get better and better with every listen!
In truth, there is not a track on this compilation that doesn’t fit or doesn’t take me to some magically emotional place. The Musk Ox track is beautiful, the Havnatt seven minute epic . . . Wow! Ethereal beauty emanates from this one and the female vocals, sung in a native Norwegian tongue, are the key to its elegance. Dornenreich . . . stunning and I’ve only made it through the first disc in this set! Nhor, Ulver, and Neun Welten’s sprawling tune “Pan”, all stand as fantastic examples of the individual bands abilities of carving out their own niche in this organically ambient genre. Tenhi . . . Oh, Tenhi! You who I had never heard before, but now feel the need to cling to every note that you produce! Folks . . . this song is laden with so much soul shaking music that to not feel something from it would equate to one being dead inside. What is that? A mandolin being played over a throbbing and pulsating drum rhythm, those haunting and cryptic vocals, the plinking of piano keys and the constant reverberation of the violin strings . . . this song is my new life changer! The tones shift from ominous to hopeful and back again, all seamless and unforced. Remember this name. Tenhi.
It’s impossible for me to ramble on about every track on this glorious release and hope to keep from being redundant. Just know this, Prophecy Productions has some of the most wonderful songwriting talents on their roster and this compilation is perfect. Perfect, in that I have now been exposed to so many new artists who have the ability to move me on an emotional level as well as on an intellectual level. The songs have a dark, foreboding menace to them . . . a sorrow laced within the individual notes . . . an emotion that despite many of the songs being sung in languages that I don’t understand still impact me to feel shivers across my skin and my soul. All of these artists should be damn proud of the work that they’ve contributed here, but as true artists, they won’t be proud of these works. They’ll feel that these songs were simply a snapshot of how they were feeling at a particular moment and they were fortunate enough to capture those emotions forever in these recordings. For me . . . well, I’m thankful that they did. Whom the Moon a Nightsong Sings is an instant classic and ranks up there with the first Metal Massacre album. Outstanding work, folks!
Heavy. Nice and heavy, with some real balls. That's the way we like our rock and that's what Diablo Royale bring on in spades. Here's Mike, the drummer, filling us in on what makes Diablo Royale tick.
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?
There are so many of these, really. And they still happen now. Most recently was seeing Alice In Chains in NYC in the Spring. They are a phenomenal band and put on a live show to be envied. As far as the first one, for me, personally, I'd have to say seeing Lars Ulrich behind his white Tama kit. That's when I knew I wanted to play the drums.
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?
We are a riff oriented band and the songs really do start that way. They then go through a lot of revisions as a the lyrics and melody are done to make sure that it flows.
Who has influenced you the most?
As band that is really hard to say, so I won't just pick one. We are influenced by a lot of bands, AC/DC to Megadeth to Avenged Sevenfold. Not all of them are so noticeable in the music, but it's there.
For me, personally, I'd say Vinnie Paul from Pantera. He's a monster drummer that lets you know that he's there but never gets in the way of the music. As a matter of fact, he always seems to write the perfect drum part to fit the song.
Where do you look for continuing inspiration? New ideas, new motivation?
It's really not that hard, it's everywhere. Other bands that we play with, new albums that come out and going out to live shows. Just constantly being around music does the trick.
Genre's are so misleading and such a way to pigeonhole bands. Without resorting to labels, how would you describe your music?
A punch in the face without the pain.
What is you musical intention? What are you trying to express or get your audience to feel?
Energy, lots and lots of it. We want people on their feet and moving when we play. That's what we look for when we listen to music and watch bands and we make sure our audience experiences that.
Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?
Well, the worst (or best depending on your point of view) was when the tire blew out on the highway after a gig. We pulled into the nearest gas station, went to sleep and when we woke up, the mechanic wasn't showing up. So we drove another mile to the next place with the wheel making a sound that just screamed expensive and got it fixed.
What makes a great song?
Attitude, sincerity and passion that comes through from the performance of every player.
Tell us about the first song you ever wrote?
It was "Casanova" in this band. True to form, it was the riff first. Actually, it had to be, we didn't have a singer yet. Eric had the main riff and then he and Gman sat down and arranged it into a song. Adrian wrote the lyrics as soon as he joined with Eric's help. It's about the women that are teases.
What piece of your music are particularly proud of?
Personally, Greedy Dogs. I love the lyrical message, the performance and the attitude. I love playing that song live.
Who today, writes great songs? Who just kicks your ass? Why?
Right now I'm really into Avenged Sevenfold. I know it's not the first band you'd think we'd mention, but I love what they are doing. It's in your face and they aren't afraid to do their own thing. There is no pop formula there.
Vinyl, CD, or digital? What's your format of choice?
Vinyl sounds so unique and rich so it's great. But obviously most new music doesn't come out that way. So digital. You can't beat the portability and you don't have to worry about scratches.
Whiskey or beer? And defend your choice
Whiskey. Frankly, I don't like beer. And I've tried to find one I liked. Really tried. Mainstream stuff, import, microbrews, I've even traveled to England and tried to get into warm beer. No dice, it all tastes like what I'd imagine piss tastes like, except in England where it's piss they didn't bother to put on ice. Jack Daniels on the other hand never fails to deliver.
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?
We're in New York city. Sadly, there really aren't any record stores left big enough to turn around in, let alone get lost. It would have been Virgin on Union Square. Any final comments or thoughts you'd like to share with our readers, the waveriders?
Watching UFO in 1980 is the perfect warm up for the Michael Schenker Group 1981 live show. What a band! You get Paul Raymond on guitar & keyboards, Chris Glen from the Sensational Alex Harvey Band on bass and Cozy Powell on powerhouse drums. The only weak link, unfortunately, is vocalist Gary Barden. He sounds good on the opening number “Armed & Ready” but not long after that it’s obvious his voice is pretty shot. He’s not really a great frontman, either. Despite a lot of cracked notes, Schenker rescues the concert with superb playing. On a good night there are few guitarists that can come close to his tough yet melodic playing. It’s incredible what that guy can do with just a Gibson Flying V, a wah-wah pedal and FOUR STACKS of 50 watt Marshall amps.
