Caddy - Electric Hero

Sometimes things are better if you do them yourself.  That is exactly what Norway’s Tomas Dahl appears to believe with his one man power pop band release “Electric Hero.”  

Dahl calls his solo band endeavor “Caddy.”  It is an apt name.  A caddy in golf is one who carries a player's bag and clubs and gives advice.  On this release Dahl carries all the instruments and vocals. He is the “Caddy” and the player.  Before inventing Caddy Dahl was a member of  two noted power pop bands - The Yum Yums and Wonderfools. After listening to “Electric Hero” I could not help but speculate that the album came about because Dahl couldn’t get those bands to play his music exactly how he wanted it to be played.  Caddy is Dahl’s opportunity to “have it his way” and he delivers it with relish.

Although he calls Caddy’s music “Paul Stanley and Bryan Adams writing songs together . . . in Brian Wilson’s house” that is not what I hear.  Rather, my aural palette tells me the sound is Blue Oyster Cult meets Fountains Of Wayne at a party thrown by The Black Keys.  When I realized Dahl wrote all the songs, played all the instruments, produced the album, and sang every note, I was flabbergasted. He is truly a musical army of one.

What you get with “Electric Hero” is an amazing array of catchy lyrics, blazing multi-layers of guitars, blistering drums, perfect harmonies and vocals with true grit.  The melodies are infectious.  From “Hanging On To Nothing” through “Long Way Home”  Dahl takes the listener on an accessible and astonishing power pop journey.  Just when you think the music is  becoming too sugary sweet Dahl changes it up and crush rolls you into submission.

This is not a concept album.  Each of the fourteen tracks stands on its own and each could have easily been released, and been successful, as a single.  These days Norwegian bands are generally known for “black metal” music, but none is found on “Electric Hero.” Instead, you get some of the best power pop of the past decade.  The slogan of Norway may be “Norway, Powered by Nature.” However, after you listen to “Electric Hero,” you might suggest that it be changed to “Norway, Powered by Dahl,  a force of Nature.”

- Old School 

Buy here mp3: Electric Hero 

ShroudEater - Thundernoise

Ultra-low budget Black Cobra in D flat, as played by (mostly) woman.

Quite cool: Seismically-heavy, quirkily-lurching sludge.

This is fun stuff. I wrote the first draft of this review almost immediately after listening the whole album the first time. I wanted to capture my thoughts right away, and I rarely do that.

I've listened to it five times now, in less than 24 hours.

"High John the Conqueror" lurches to and fro, radically detuned, taking its time.... "Vesuvius" with its tribal drumming opener: dig that distorted bass riff, dig that thick-ass riff over top of it, dig that double bass coming in just then, dig the feedback and double-tracked vocals at 1:15... a heavier Kylesa meets Helmet.... "Cyclone" fires up one helluva simple thick-ass riff which segues into a pedal-tone-tastic instrumental riff fest.... "Shark Valley," mandolin-intro'ed, folk-sludge crusted riffer, similarly-instrumental.... "Oubliette," a remorseful Gothic instrumental...

"Baying of Jackals" starts tribal --"Rise from the place where you hide!"-- hits a semi-syncopated odd meter (i.e., you can't dance to it and headbanging might be a challenge); the two facets compliment each other and make the tribal more tribal and the quirky more quirked. "Sinister Hunt," the more riffy, stomp-laden brother of the previous piece-- ending with a mantra and slowing slowing slowing slowing feedback....

"Hands That Prey" (see what they did there?) a one-minute, acousticed, phased, delayed intro to "Pale Rider" and its riff-armored war horse of a tune, complete with gang (really prolly just multi-tracked) vocals, raises images of an army, invoked shaman-style, chanting a victory cry. THEN: around 2:00, becomes a quiet, drum-launched fireside chant, THEN: takes off again with the screaming war-painted masses.

Nicely ended, ShroudEater.

Thundernoise does absolutely nothing original. 

But it does it very, very well.

 --Horn

Vic du Monte’s Persona Non Grata - Barons & Bankers

They’re angry.  No doubt about that.  They’re talented.  No doubt about that either.  It’s punk, sort of. This is a ragged hint of reggae, a little bit of blues, wave or two of surf music and a whole lot of venom.

Vic Du Monte’s Persona Non Grata’s new release “Barons & Bankers” crosses musical boundaries.  It shifts the focus of hard rock style and wraps it in punk fury.  The gravelly slurry vocals sometimes reminiscent of Eric Burdon, sometimes Jim Morrison, and sometimes UFO, are those of Chris Cockrell , a California desert denizen and former bassist for Kyuss, who goes on stage as “Vic du Monte.”  du Monte also plays guitar, piano and blues harp. He is backed by James Childs on guitar, keyboards and background vocals.  Childs also produces the band. Alfredo Hernandez, the former drummer of Queens Of The Stone Age, sits behind the kit. Persona Non Grata’s most recent addition is bassist Dylan Roche.

The album “Barons & Bankers” starts off with an infectious song about one guy getting in the way of another guy’s pursuit of a woman. It is aptly named “Cockblocker” and could easily become a classic.  It is followed by “Raising To The Ground,” a tune that harks back to early rock blues of the 1960’s.  It is a crowd ready song that will pump the audience into a head banging call and response. The next song “Never Home” drives to the limit, pulls back on the throttle, and then again hits the gas.  It is about an attempted hook up that never quite occurs.

When the band starts up “Barons & Bankers” you are transported to the roadhouse that Jim Morrison sang about in the Doors’ “Roadhouse Blues” and you can hear the call of the Rolling Stones’ “When The Whip Comes Down.”  “Chief Running Scams” queues up next and is a classic punk type song with staccato delivery, banging guitar, screeching leads, and screamed lyrics.  A slow tune embellished by du Monte’s blues harp, “Truth And Consequences” is a quieter journey in 4/4 time.  The track that follows, called “Wog Box,” is a fun anthem about the sheer happiness of the Ghetto Blaster.  The song morphs from rock to punk rock to reggae to classic rock and it all works magnificently. 

As the band plays “Running To The Moon” you start to feel that this band could quickly become the next “big thing.”  Like Green Day did on their way to superstardom you can hear Persona Non Grata evolve toward a more accessible punk sound with a heavy rock crossover.  “Running To The Moon” is followed by a rock anthem - “Vanished From The Scene.”  It is a catchy well-written tune that quickly bops along within the echo of the wind with interesting orchestration.  The band then does “Invisible,” which starts off with a howl Wolfman Jack would have admired.  This tune is classic rock and roll and would sound right at home on the harder rocking radio stations.  Vic also uses thesong as an opportunity to show off his blues harp chops.  The album ends with “Man Trap,” a more traditional punk song, if there is such a thing.  Large amounts of air are pushed through amplifiers as the band goes into high intensity overdrive. Feedback, guitar bursts, rills, drum volleys, breakdown, anger vocals - it’s all there.

This release is an unexpected guilty pleasure.  It shouldn’t take long for Vic du Monte’s Persona Non Grata to cement itself as an iconic rock experience.  This is definitely a band that will bend your ear.

- Old School

Motorhead - The World Is Yours

In the beginning there was Link Wray. The noise that he started has been used, abused and loved by many over the years since he started the Rumble heard round the world, but few have been willing to take it to maximum like Motorhead have. 36 years into it Motorhead deliver their 20th studio album and it’s much better than it has any right to be.

Since 2004’s Inferno, Motorhead has been on a roll of putting out strong albums to support their always killer live show. Are they the equal of all time stone get-off classics like Overkill and Ace Of Spades? No, but hardly anything does by any band ever will. The World Is Yours and 2008’s Motorizer are kick ass rock n roll albums from start to finish. What more could you ask for?

Producer Cameron Webb seems to be able to get the best out of Lemmy, guitarist Phil Campbell and drummer Mikkey Dee and is insane enough to have done 4 albums with them. The band have praised him for not allowing them to write second rate songs and his ability to get a great sound and performance from the band. Anyone willing to endure their massive alcohol consumption, ear splitting volume, arguments and pranks deserves a lot of credit. He obviously knows what Motorhead fans want to hear.

“Born To Lose” starts things off in classic Motorheadbanging fashion – big drum fill, riff similar to their classic “Shoot You In The Back” and them Lemmy’s haggard growl. Sure, they’ve used the riff before and even the title way back in 1975 on “Iron Horse/Born To Lose” but who cares? By now you know where you stand with Motorhead – you love them or you cover your ears and retreat to the safety of your Wilco albums.

Most of the songs on The World Is Yours bear resemblance to some of their classic jams. “Brotherhood Of Man” is musically and lyrically an update of the world is doomed classic “Orgasmatron” and “I Know What You Need” reprises “Nothing Up My Sleeve.” The first single “Get Back In Line” is basically “Don’t Need Religion” part II. But that’s not to say that they only pinch from their own catalog. Lemmy was good friends with Phil Lynott and Thin Lizzy’s classic brawl starter “Are You Ready” shows up in “Devils In My Hand.”

 Motorhead’s on tour right now in the USA playing to generations of fans and enjoying a big swell in much deserved popularity. Part of that is due to the new documentary of Lemmy’s life, but a more important part is that they play kick ass rock n roll and hardly anyone else does. If you haven’t bought a Motorhead album in awhile, don’t snooze on this one. If you can afford it, pick up the deluxe import version that comes with a special all Motorhead issue of Classic Rock Magazine. The album cover may not be denim jacket worthy, but you already have Overkill or the classic warpig logo done in acrylic on yours, right?

 --Woody


Buy here: The World Is Yours
Buy here vinyl: The World Is Yours
Buy here mp3: The World Is Yours

Official website
http://imotorhead.com/

Marc Robillard - Left London

There is magic in music.  In what other endeavor can you subject people who don’t love you to poetic, emotional and personal thoughts and get them to listen?  Without magic there is no music and without music there is no magic.

The magic starts when a songwriter, singer, instrumentalist scratches out a few songs about life on the back of an envelope.  The songs express an inner-vision from the writer’s experience that shaped the words written and the melody later employed.

Or, the magic may come when a musician strums a progression, plays a memorable lick, beats a compelling rhythm, or finds an intriguing tone or sound.  Some artists fit words to music.  Some  fit music to words. Some do both.

It is not, yet, necessarily “music.” Now, the artist may choose accompaniment - instruments, percussion, and harmonies. Today, technical magic is needed to make songs into music.  The songs must be produced - the tone of the instruments, the recording technique and sound processing all must be planned and executed.  The technical arts are applied.  The result may be mixed, re-mixed, mastered, remastered, scribed, formatted, pressed, compressed, expanded, sparkled, equalized, etc., before we, the public, ever hear the final product.  Music is not only built with many varieties of magic it can become magic itself.

Take, for example, singer, songwriter Marc Robillard and his new CD “Left London,”  scheduled for release on March 29, 2011. Robillard is a Canadian born, Los Angeles-based singer songwriter and this is his second album inspired from his time living in London.  The songs are all Robillard.  The technical magic came from Andrew Bojanic and Liz Hooper of The Wizardz of Oz.   These “wizards” have also worked with Vanessa Hudgens, Avril Lavigne, Britney Spears and Krystal Meyers. Here, they add a “pop sheen” to Robillard, an alternative rock balladeer in the vein of David Gray. The results are phenomenal. 

The words and feelings in the music are introspective.  Just the names of the songs are illustrative - “So Much More,” “Crazy,” ”Fall Away,” “Bleed,” “The Worst Day Of My Life,” “Conclude,” “Okay,” “EverStop,” “Without You,” “Ghost,” “Unfold,” “Love Song,” “Contagious.”  Based solely on the titles, without production, most of this stuff would be considered dark poetry.  (We have got to say Marc your London experience must have been one hellish event!)  No doubt Robillard has a great voice. (You probably heard part of “So Much More” on a recent Sun Chips TV commercial.) Yet, when the wizards get a hold of it, orchestrate it, mix it, produce it, and give it a pop sheen, it becomes accessible alternative rock music and it is transformational.  There is emotion and there is substance to the words and to the music.  

Bojanic and Hooper deserve credit as great magicians.  They apply their craft in a way that makes Robillard’s lyrical songs music.  There is magic in this music and the music itself is magical.  Listen and, if you play your cards right, I think you can even hear the wizards pull a rabbit out of a hat.

- Old School


Buy here mp3: Left London

Ripple Music: 2011 Releases - Great Stuff in the Works

Ripple Music: 2011 Releases

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In light of the success that we’ve seen here at Ripple Music over the last year, we wanted to look into our crystal balls and take a stab at what we see for the coming year, and then pass these findings on to you . . . the ever vigilant fan of heavy music! 2010 saw the label release seven titles, and 2011 is promising an even greater growth. Since the first release in June, Ripple Music has welcomed two additional acts to the family and has plotted out these follow up releases:

Scheduled for release in early April, we’re looking at a deluxe CD re-issue of the Stone Axe debut album with bonus live material, and a companion DVD featuring promotional videos and tons of live footage highlighting the bands epic performances. This re-issue will be released in conjunction with the bands trek across the Atlantic to tour the UK and parts of Europe that will culminate with their appearance at 2011’s Roadburn Festival in Holland.

While we’re on the topic of Stone Axe, word has come down from Tony Reed that the band is hammering away at material for a new album. No date has been set on the release, though initial discussions have us looking at a late summer street date.

Also featuring Stone Axe, we’ll be releasing the Heavy Ripples compilation double 7”, which will include the return of Brooklyn-based stoner-fied punks Mighty High, the introduction of blues-based retro rockers from the UK, Grifter, and on loan from the incomparable Small Stone Records, Sun Gods In Exile. The 7” will be packaged in a double gatefold jacket featuring the glorious artistic touch of Wayne Braino Bjerke. Expect to see this monstrous beast of sonic debauchery in April.

Speaking of Grifter, the band is partnering up with Ripple Music to release their upcoming album! The band is currently putting the wraps on the recording of new material and both parties are shooting to have the CD (vinyl?) released in May. A UK tour and potential U.S. tour are in the works in support of the as of yet unnamed album, though odds are, it will probably be self-titled.

Being that we talk with Tony Reed on a near daily basis, we have some information pertaining to another Reed project that has us rejoicing in our sleep. We’re looking at re-releasing the first Mos Generator album as a deluxe 10 year anniversary edition. The details are still being worked out in regards to time frame and content, but much like the deluxe Stone Axe CD, expect there to be some great bonus material to be included in this package.

On the doom metal front, is arm locked with Venomin James to re-issue their debut album, Left Hand Man, on vinyl! The album will be specifically mastered for the vinyl format and will include unreleased/live bonus material. Left Hand Man will be available in the first half of the year.

Poobah will be returning in 2011 with a brand new studio album entitled Peace Farmers. Originally self released by Jim Gustafson to a limited run of less than 500 copies, Peace Farmers acts as a great follow up to the re-issue of Let Me In and features a couple of updated renditions of some Poobah classics. Initially, Peace Farmers will be released on CD only, but as the case always seems to be, the door is open to press limited runs of vinyl to accompany the CD edition.

Santa Barbara’s melodic hard rockers Tripdavon are currently working on additional bonus tracks for the deluxe re-release of their latest album Sketches From Silence. As with many of the releases for the year, the time table isn’t set in stone, though we suspect that the album will be ready for mass consumption towards the end of summer.

Finally, Ripple Music will release the latest offering from Scotland’s Iron Claw. The as of yet titled full length album is comprised of all brand new material and includes the vocal talents of new member Gordon Brown. This will initially be a CD only release, but much like the Poobah release, there’s a great chance that it will also see a vinyl edition. Tony Reed is scheduled to master the album once it’s complete and should be available sometime mid-year.

That’s it for all of the major releases for the time being, though as things go around here, that could all change in a moment’s notice and the releases may double in quantity. Also, keep in mind, this doesn’t take into consideration any of the 7” single projects that are in the works, and possibly some big news for Ogre fans . . . so keep an ear out for that news as it becomes available.

Cheers!

The Budos Band - III

Staten Island’s finest instrumental Afrobeat band went into the studio for their new album with the intention, according to their bio, of making a psychedelic, doom-rock record but admit that it came out sounding like a Budos record. That’s not a bad thing at all considering that The Budos Band are one of the best musical units around regardless of category. The creatively titled III is their third album and picks up where the first two left off, but do contain some darker grooves.

Album opener “Rite of the Ancients” is The Budos doing business as usual – upbeat, funky and tighter than hell. Excellent horn charts, powerhouse grooves and hypnotic guitar lines weave in and out of the overall sound. “Black Venom” is up next and is indeed named in tribute of Black Sabbath and Venom. It’s a darker groove than standard Afrobeat and the organ is way up front and mysterious sounding. Unfortunately, there are no musical references to any of Venom or Sabbath’s classic material but here’s hoping they cover “Angel Dust” and/or “Supernaught” soon.

For a bunch of guys from Staten Island, NY they can get downright exotic sounding on jams like “Mark Of The Unnamed” and “Raja Haje.” And I thought the most exotic thing you could get on SI are some decent rice balls. The album is paced very nicely with faster ones like “Unbroken, Unshaven” mixed up with slower ones like “Nature’s Wrath.” 11 songs in 38 minutes is just the right amount of time for a band like this. It leaves you wanting more and will have you reaching for their other two albums since no one else really sounds like The Budos Band. The only dud on the album for me is the Beatles cover “Reppirt Yad” (read it backwards). On previous albums they’ve done creative remakes of Sly’s “Sing A Simple Song” and the Temptations’ “My Girl” but this one kinda bores me. It doesn’t help that I’m not really a Beatles fan and don’t ever need to hear that song ever again but, hey, it’s the last song on the album and easy enough to skip over. It will probably help sell them a few copies, so more power to them.

The Budos are an outstanding band that should appeal to anyone with a pair of ears. Some of the guys pull double duty with the incredible Sharon Jones & The Dap-Kings and record for the consistently funky Daptone Records. As good as the records are, the live show is even better and a lot of fun. Let’s hope the next one is a double live album (recorded in Brooklyn at Southpaw, naturally).



--Woody

Buy here: The Budos Band III
Buy mp3: The Budos Band III

Buy from Daptone Records:  Here


http://www.thebudos.com/

Ripple News - Criminal Records Got it Going On - The Kut and the Exits back in the Studio and Rocketclover Takes on Anarchy in the UK

I'm not so spoiled and jaded by being a part of this music machine to have lost my basic inner fanboy nature, and let me tell you, as far as being a fanboy goes, UK-based Criminal Records know just how to feed me.

First up, great news that The Kut are back in the studio preparing some new songs.  For those who may not recall, their single (green vinyl 7") "Doesn't Matter Anyway b/w Closure" was one of my absolute favorites of 2009.  The tightness of the riffing, the driving beat, the solid songwriting craft.  Damn, it just may be one of my favorite singles period.  To this day, I can not hear that song without getting happy . . . and isn't that what music's about?

So it tickles my Ripple heart to hear that the girls are reading some new tracks, and the demos that I've heard so far are killer.  Absolutely killer.  Heavy, tight, punchy, punky and kicky.  Great stuff.  I'm already anticipating having a new favorite single for 2011.  Catch the video to "Doesn't Matter Anyway" below.

Following that news, it's great to hear that The Exits are back in the studio with some new songs also.  "Neon City" was one of the great driving or dancing songs of last year, so my interest is piqued to see what they turn out next.

And finally, Criminal Records newest band, Rocketclover is causing a ruckus overseas with their unusual take on a punk classic, "Anarchy in the UK."   Originally released in 1977, The Sex Pistols’ ‘God Save The Queen’ was prevented from hitting No. 1 in the charts by the British government. Today media attention in the UK and beyond seems to be devoted to Prince William’s engagement, and it is soon forgotten that mere hours ago, university students were clashing with police in a protest to education cuts.

It sounds as though history repeats itself once again, demonstrating that Sex Pistols songs are still as relevant now as they were 33 years ago. ‘Anarchy In The UK’ would perhaps be a perfect soundtrack to the state of economic turmoil in one of the hardest recessions the younger generations are facing. However, while students protest and everyone is annoyed at the state of affairs, there is no real movement. The tongue-in-cheek cover of ‘Anarchy In The UK’ by Criminal Records’s latest signing ‘rocketclover’ has had some great support, but some more politically charged opposition.

A video shot in the streets of Camden Town accompanies the release and offers an ironic twist to the Sex Pistols’ classic. Although it looks like it’s been shot by a bunch of drunk teenagers, the video is being hotly debated as a dig at the lack of political clout when it comes to the state of government.

http://www.criminalrecords.cc/criminalrecordsbands.html


 

 

White Noise Sound - s/t

White Noise is not supposed to be music. Music is not weird sounds with lyrics over it. Most parents of the 1950s disregarded rock music as “loud noise” and considered it as nothing but shrill sounds. Fast forward 60 years later and that’s more of a reality thanks largely to today’s technology. Whether or not you enjoy it, synthesizers along with a plethora of gadgets have propelled electronic music as a mainstream genre, but most people disregard the genre almost entirely.

Now that’s not a fair thing to do considering how much great electronica exists, but I can completely understand where people are coming from. Unfortunately, I have an eclectic music taste and tend to ignore anyone who is not willing to experiment with their music choices. That is why I am obligated and honored to discuss White Noise Sound. Yes, as their band name implies there is a lot of white noise and weird sounds composing their music. There is no accurate way to truly to describe them because they’re psychedelic, space rock, shoegaze, ambient and noise rock.

Feedback drenched songs haven’t sounded so good before. White Noise Sound clearly creates compelling and contemporary music that blows your mind away. The Wales-based sextet is comprised of Dan Henley (vocals & synthesizers), Adam Tovey (vocals, guitar, keys & programming), Paul Griffiths (guitar), Rhys Hicks (guitar), Chris O’Keefe (bass), and Phil Stanton (drums). Labeling this “noise” is fun, fascinating and fatiguing, but well worth the effort to explore the essence of this great band.

“Sunset” sets the psychedelic and mind-numbing noise of this throwback and energetic-filled eponymous debut album. Louder and larger than life, their sound overpowers you. Wall to wall racket rock make this a unique, unconventional and unforgettable album that should not be missed. It’s so difficult to best describe this illustrious and inventive band. Their sounds seems reminiscent of unconventional artists like Scott Walker, The Velvet Underground, Eno, and The Velvets to name a few.

Their music is hypnotizing and mesmerizing that just leaves you aching for more. Synths should never be used this much, but if this is the result I want more hypnotic effects. I have been put under a spell and I am loving every minute of it! Other contemporary bands like Bloody Knives, Soundpool, Sea Exchange, and Highspire might be up your alley if you dig this kind of music.

Oozing out unsettling, yet uncompromising sounds they push the limits of what’s possible in music. Imagine a Syd Barrett led Pink Floyd exploring all their creative juices and taking their music to the next level in the 21st century and beyond. This throwback sound can’t help, but be compared to other psychedelic and stoner rock. You are witnessing and listening to the future of greatness. “Sunset,” “There is No Tomorrow,” “Blood,” “Is It There For You,”  and “Fires in the Still Sea” are arguably the best songs found on this must-listen album. If you haven’t already, stop reading right now and go check them out immediately. You won’t be disappointed!

-- Mr. Brownstone


Buy here: White Noise Sound
Buiy mp3: White Noise Sound [Explicit]
Buy vinyl: White Noise Sound

Ripple News - Five Exclusive Tracks from the Upcoming Orange Juice Box Set, Coals to Newcastle

Originally formed in Glasgow in 1976, Orange Juice were the recognized leaders of the Scottish neo-pop uprising in the early '80's. Originally dubbed the Nu-Sonics, the quartet renamed itself Orange Juice in 1979, adopting the new moniker as well as an aura of romantic innocence as a direct reaction to the increasingly macho aggression of punk. Releasing a dazzling array of new wave inspired pop, Orange Juice have been hailed as a huge inspiration by such bands as Franz Ferdinand and Belle and Sebastian, and have continued to gain legions of fan, both new and old.

Now all those fans, and us here at Ripple Central, have something to scream about.

Coming November 22nd, the release date has been set for the long anticipated for Orange Juice box set:  Coals to Newcastle.  In honor of this vey special release we're giving folks access to new and long lost songs, photos, and videos every week leading up to November 22nd. 

This week we'd like to share a sneak peak of five songs from Coals to Newcastle  for your listening pleasure. That's right 5 exclusive, Ripple tracks.  Dig in and enjoy to no end!

I know we are!

Buy here: Coals to Newcastle

Ripple News - Exploding in Sound Roars Back with another Killer Compilation -- for Free!

The never ending search for great music has become a little bit easier, thanks to SONIC WAVES, the brand new digital compilation from tastemakers ExplodingInSound.com.  Download it for FREE today and come discover your next favorite band. The line-up is a dream come true for the folks at EIS, with songs from Karnivool, Oceansize, Alberta Cross, Dead Confederate, This Town Needs Guns, Native, Retribution Gospel Choir, Tera Melos, Sebastien Grainger, Shoes And Socks Off, Medications, Night Horse, Royal Bangs, Mojo Fury, The Library is on Fire, and many more.
 
SONIC WAVES draws inspiration from a time when radio DJs played the music you needed to hear, rather than the station’s predetermined playlist.  These are the bands keeping rock music genuine, intelligent, and explosive; these are the decade’s future legends.  Fans of post-punk, progressive rock, alternative, grunge, and indie rock will surely find themselves immersed in the twenty one songs that comprise SONIC WAVES, a collection of brilliant rock music from around the globe.  With every compilation Exploding In Sound seem to outdo themselves and SONIC WAVES just might be their masterpiece.

Sharing of the compilation and the links to download is HIGHLY recommended and encouraged!  Your friends are going to want to hear this, so spread the love.  SONIC WAVES is a free compilation to be used for promotional use only, with a goal of reaching music fans worldwide, helping to provide great music to the masses.  Word of mouth is always appreciated.  Enjoy.

DOWNLOAD here:  Sonic Waves



“SONIC WAVES” TRACK LIST:

1.       Karnivool – Set Fire To The Hive

2.       Oceansize – SuperImposer

3.       Tera Melos – The Skin Surf

4.       Medications – For WMF

5.       Alberta Cross – ATX

6.       The Library is on Fire – Magic Bumrush Heartz

7.       Dead Confederate – Giving It All Away (feat. J Mascis)

8.       Native – Backseat Crew

9.       Retribution Gospel Choir – Hide It Away

10.   Vending Machetes – M.O.

11.   Shoes And Socks Off – No Fighting in C101

12.   Earthtone9 – Amnesia

13.   Mojo Fury – Deep Fish Tank [Factory Settings]

14.   Vietwow! – Irritable Brain Syndrome

15.   Royal Bangs – War Bells

16.   Sebastien Grainger – I’m All Rage [Live ‘05]

17.   Suns of the Tundra – Caught Telling The Truth

18.   Art Versus Industry – Devour

19.   Night Horse – Rollin’ On

20.   The Fling – Out Of My Head

21.   This Town Needs Guns - Panda

Handful Of Luvin - Life In Between

Seattle.  According to Bobby Sherman “the bluest skies you’ve ever see are in Seattle.”  It is the city from which sprang late-1980’s grunge bands such as Pearl Jam and Nirvana. Okay, they were great bands, but, what has Seattle done for us lately?  Can’t really say grunge has survived or evolved since the late 1990’s. So what is the new Seattle sound

Handful Of Luvin.  Founded in 2002 and in Seattle since 2005, Handful Of Luvin has crafted a unique sound.  Part folk, part Celtic, part classical, all alternative rock - the band mixes the guitar and vocals of singer David John Wellnitz; the violin, viola and keyboards of Andrew Joslyn; the bass, banjo and background vocals of Patrick Files; and the drums and percussion of Michael Knight.

Who do they sound like?  Their publicity package places their sound with groups like the Dave Matthews Band, Phish and Wilco.  It also categorizes the music as “Roots Rocks [sic], Folk, Celtic, Jam, Americana.” You can hear some elements of these bands and genres on this, their third album, “Life In Between,” but, Handful Of Luvin’s sound is unique to Handful Of Luvin.  It has the lilt of Celtic music, but it is American.  It is cerebral.  It is different.

Even their album is unusual in today’s “one hit song download at a time” culture.  There are few “concept albums” being produced today. The sum as greater than its constituent parts album is slowly becoming a lost art.  There are almost no more “Sgt. Peppers’ Lonely Hearts Club Band,” “The Wall” or “Days Of Future Passed” -type albums being made.  The focus today is on the song as the ultimate expression of music - not the album. Album sales have steadilly dwindled along with sales of all types of CDs. The internet has made the single song download for $.99 the new standard.  Many artists don’t even attempt to produce an album.  Instead EP’s have become all the rage.  Handful Of Luvin bucks the trend,  “Life In Between” is a modern take on the concept album.

The opening track, “Born Lucky,” is a catchy, plucky, string-based alternative rocker that asks that how long one should should keep pursuing their passion when it has yet to bring the results one seeks.  Then comes an upbeat bluegrass/folk/rock tune, “Breadcrumbs,” about fading relationships and the need  for the help of a friend to achieve one’s goals. The album moves on to“Kickdrum” a rather odd shuffle.  The violin is made to sound like an Native American reed flute. The lyrics are an homage to the power of rhythm and music.

A folk-picked guitar ballad, “Washington,” speaks from the point of view of a prisoner who can’t concentrate, is easily distracted, and can’t find any sense in his predicament.  Then, Handful Of Luvin’ releases an angry epistle about the state of the American political psyche, “This Man.”  Here’s just the first verse:

Built on a dead economy
Security found on our own bribery
Don’t get me wrong this is our accident
We side with the familiar – not the popular president


This man, with his foot in the sand
Puts a gun in my hand
Take the slip from the mail
It’s a media power facist nail


Middle America, so flat and so free
Tell me what does our, does our president mean
Is this our mothers and our fathers dream
That their freedom, has turned the color green?


I said, take your hammer construct a world
This is your people and children
This Man is our own disappointment.


Whatever happened to the protest song?  It used to be found in music like Country Joe MacDonald’s “Feel Like I’m Fixin’ To Die Rag” and The Animals’ “Sky Pilot”.  Here it is with an intellectual bent.  Following this political protest song Handful Of Luvin presents an audio clip of a lecture by the late British Philosopher Alan Watts.  Watts discusses the philosophy of living which the band backs with an instrumental piece called “The Pilgrimage (Into Chaos).” Watts explains in his lecture that our system of schooling robs us of everything in life by expectation of a reward at the end that never comes. Watts’ presentation runs into a bluegrass blues “There’s No Right There’s No Wrong” that serves almost as a counterpoint to Watts’ lecture.

David John Wellnitz wrote and performs the next track, “Lazy Men,” as a solo.  The song is reminiscent of the folk work of artists such as Tom Paxton and Tim Hardin.  The lyrics muse about our inaction over what others decide is in our best interests. The song “Treaty,”  a bluegrass rocker, is next.  It questions whether a partner in a relationship has changed to fulfill their own agenda while the questioner insists he has remained the same. After “Treaty” is “Glass Ceiling” a song in which a father tells his son to not try, yet, remain humble because the “glass ceiling” will keep him from knowing the honest true.  The son is told to ‘disrupt the norm but realize money rules.”

When Wellnitz sings “Bomb, Bomb” it is a clear song of protest over the way government treats complicated problems.  Like Rodney King asking “Why can’t we all just get along?”, Wellnitz calls upon us to love everyone and everything as he fronts a slowly building crescendo of drums and violin.  The traditional Irish melody “Harry Met Rona” follows in order to display the band’s instrumental virtuosity. The album ends with “Fingers,” a instrumental built around another Alan Watts lecture. This lecture is about prediction and its effect on people - of ultimately knowing everything will eventually fall apart and that having such knowledge is a basis for anxiety in the here and now.

Handful Of Luvin’s sound contains at least one element from the 1980’s Seattle grunge scene - angst-filled lyrics addressing social alienation, apathy, confinement, and a desire for freedom.  Mix it with guitar, bass, drums, violin and viola and you have a truly different American sound,

“Like a beautiful child growing up free and wild
Full of hopes and full of fears
Full of laughter, full of tears
Full of dreams to last the years in Seattle
In Seattle.”

- Old School


Buy here: Life In Between

A Sunday Conversation with Grifter

They’re called Grifter, but they were almost called Simon’s Fuck Hammer. Let’s hope they use that title somewhere down the line, it’s too good to throw out. Grifter are your new favorite heavy rock trio from Plymouth, England. They play it loud, proud, lean and mean. Fans of Cactus, Humble Pie, ZZ Top, Clutch and Firebird will love these guys. They boogie hard, have a great sense of humor and are fueled by Döner kebabs (aka “death wrapped in pitta bread”). Guitarist/shooter Ollie was nice enough to sit through a rigorous Ripple questioning. Check out Grifter at www.myspace.com/grifterrock.


What made you decide to record the new EP completely live in the studio? How many takes before you nailed a master?

The plan really was to just demo up a bunch of songs we had without really having any idea what to do with them. We'd kind of done the whole multi-tracking thing on the first EP so decided to just go in and nail everything live. We're a three piece, that's how the songs were written and that's how they sound best, plus we wanted to get that energy and vibe you get from playing live. It turns out that the recordings came out better than we expected so decided to approach Catacomb records about a release...and they said yes!!! As for takes...some of the tunes were nailed pretty quickly in one or two takes but some were a nightmare. If you listen to "I Jesus" about 3 seconds after the track finishes there's a huge exhalation of breath then a stream of profanity!!! We tried that track so many times and each time I screwed up the middle bit. On the final take I got past the middle bit but there was a telepathic air in the room that said "fuck up now and we kill you!!!" The swearing was the pure relief at nailing it...but we did get a pretty charged take so it was worth it in the end.

What kind of gear did you use in the studio? Was it different from your live set up?
Foz used his normal kit and Phil had his Ampeg SVT blazing away in one room as he likes to stand in front of it and feel his clothing move. The only difference for me is that I usually use one half stack...a Marshall DSL 50...but on this I knew I wanted a stereo pan on the guitars so I borrowed a second cab and split my signal into the DSL and into an old 1978 Marshall JMP50 head cranked right up then mic'd them both. In the mix the JMP sounded so sweet I'm hoping to use it for the next recording. We generally have pretty good gear so no need to change much...plus we wanted to sound like Grifter so we kept the gear pretty straight. We may play with things a little on the next recording.

I like the title of the EP – The Simplicity Of The Riff Is Key. Did the other guys try and title it Simplicity Of The Beat Is Key or Simplicity Of The Bass Line Is Key?

That'd never happen. Ideally Foz would be in a prog band and Phil would play jazz funk so for them the more complicated the better!!!! Hahaha!!! Nah, I think that was a phrase that one of us came up with at rehearsal...possibly Foz...and it stuck. All of us like the power of a simple riff and a good straight ahead hammering beat!!!

You have released a couple of EP’s. What appeals to you about the format other than it’s cheaper to record fewer songs?

I do like EPs, they don't outstay their welcome and it's good to give people a taster of the band to tease them. For the first EP, High Unholy Mighty Rollin in 2008 on Fury 76 Records they only offered us the chance to do an EP...which was fine as they were a new label and we didn't want to blow all our songs on an album not knowing if they'd do a good job for us. Turns out we were right as there wasn't a whole lot of promotion done!!! So that wasn't our choice to do an EP. For the new EP Catacomb had the full 10 songs from the live session and asked if we'd like to do an album but we figured we'd rather pick the four best songs and do another EP rather than maybe use some versions of songs where we felt we may be able to do better versions down the line. Now though we have a killer selection of songs and feel we're ready to go in and lay down an album. We've done our apprenticeship, time for the real deal!!!

How did you come up with the band name? Were you aware of the Memphis band The Grifters from the 1990’s? Or Jim Thompson’s book The Grifters (1963) or the movie they made from it in 1990?

I'd seen the film but never heard of the band to be honest. The name actually came from our drummer (again!!!). When we were kids we used to have a really popular push bike called a Grifter, kind of like a BMX but better, and Foz was a real big fan of them so one day he suggested it. Up to that point we'd come up with a few names...Greedo, Teet and Simon's Fuck Hammer but Grifter just struck a chord. I don't think any of us were really aware of it being used as a term for a con man...but that's also pretty cool I guess.

For someone who’s never heard Grifter before, how would you describe it to them?

Someone asked Phil right before a gig what sort of music we play and he just replied "rock and roll". That's what it all boils down to. We all dig the blues, we all dig Sabbath, we all dig AC/DC, we all dig Clutch but we all have disparate tastes. I'm a huge 70's freak and I love doom, Phil loves some weird angular stuff, Foz loves old school ska and reggae. Between us we listen to most stuff but it distills in us as heavy, blues based, boozed up rock and roll!!!

Grifter formed in 2003. How has the band evolved since then (musically, lyrically, songwriting, etc)?

When we started we actually had a different singer who lasted two months before I took over the vocals...that's truly when the band were born. In the early days our songs were longer, more overtly complex in structure and there was more of a doom element but I think we kind of gravitated to the more rocking and grooved up side of things as it has more soul and more of a vibe for us. Our progression has been pretty natural. The fact that we play songs in our set that are five years old and sit right alongside our newer stuff pretty much says that we've hit our stride now and are running with it. It's worked for AC/DC for over 35 years!!!

Drummer Foz is credited with van driving on your myspace page. Does he resent not being able to drink after shows? Is everyone else a good band mate and take a turn behind the wheel?

Foz has a matt black van called the Swollen Goat which he has fully equipped for us as a tour van to carry the gear and sleep in. He loves the van and won't let any of the rest of us drive it...and we've offered. Foz actually seems cool with doing the driving. That's not to say he doesn't let off steam a little when we play a home town gig or someone else drives like on the recent tour, but he still keeps himself together to play the gig. Plus he smokes weed anyway!!!!

What’s the crowd like at your shows? Does anyone under 40 understand your music?

Over here it's hard work to get anyone into any gig. Weedeater only pulled about 50 people in our de facto home town of Plymouth!!! I have to say though we seem to do ok, crowds may not be huge stadium fillers but they're small and appreciative. We seem to get folks from across the board...and we even get young chicks dancing which is awesome. Most folk may not be so aware of our musical heritage but we seriously kick it live so people either dig the aggression we have live, the grooves or the sense of humour. We're there to have fun and we want everyone else to join in so we get them shouting, clapping and get them involved...with us you get a rock and roll show, not musical therapy!!!

You toured earlier this year with the Sun Gods In Exile from Maine. Did they complain all the time about the lack of good maple syrup in the UK?

Oh those guys were too awesome for words. We loved them and were gutted when the tour ended. We actually wanted to find a way to legally adopt them as brothers!!!. They didn't complain about the lack of maple syrup...not after we introduced them to Döner kebabs (spiced mushed up and reformed lamb served in a pitta bread with salad, chili and garlic sauce...they can only be eaten when drunk!!!). Tony did complain about the lack of iced Bud though.


How did that tour come about? Was it a good time? Would you do it again?

I believe they got in touch with a buddy of ours, Jack from the band Stubb who also runs a multi media project called Mindzap. Jack immediately thought both bands would make a cool pairing and set to work arranging it. He'd never organised a tour before but he pulled it together with a little help from myself and the guys from Alunah who played a few of the dates with us. Would we do it again? In a heartbeat...it was the most fun ever. In fact the plan is to head over when we've saved the air fares and hit the States to do some shows down the East Coast with them.

You and bassist Phil are both parents. How difficult is it to find the time to be in a band on top of work and family life? How thrilled are your spouses to be married to guys with such an expensive and time consuming hobby?

Good question. We have had to make some sacrifices. We have to keep some of our holiday from work free for family stuff and we have to keep certain dates free like kids' birthdays and stuff like that so we have to be a little more selective over the gigs we do play but other than that it's all pretty easy and cool. We love our families to bits but we have a real need to do this. This is our release, our time and without it we start crawling up the walls, getting really angsty and agitated. This is where we let off steam. Fortunately Phil and I both have awesome wives and Foz has an awesome girlfriend that all love an support the band and understand that it's better for everyone for us to do this and be happy than not and be fucking evil to live with. It also helps that we're such close friends and all the ladies get on so well as well, it's kind of like a weird family. At the end of the day some guys go off on fishing trips for a weekend, go snow boarding, banging hookers in Vegas...this is our hobby just the same so they're cool with it. At least we don't bang hookers in Vegas!!! (We haven't been to Vegas yet though!!!)

What was the first music that really excited you? And how long after that did you pick up an instrument?

For me growing up my house was always full of music and my dad had a really diverse and awesome taste in music. He's a massive Rolling Stones fan and loves the old school blues guys so Sunday mornings and in the car he'd always be playing this amazing stuff that seeped into me I suppose. He'd also play old school 60's ska like Prince Buster and 70's soul. His record collection is incredible!!! I guess then my earliest stuff would have been the Stones then maybe The Police and Adam and the Ants when I was around 10. It was all guitar based from the start then one day I saw a Status Quo concert on the TV when I was 12 and was hooked. My dad bought me an album next, then it was a slippery slope into heavier and heavier stuff but I've never lost the love for the Stones or the blues. I probably picked up a guitar around 10 as well as my teacher at school played and started a guitar club. My dad had an old acoustic so I went along...haven't looked back since.

Who are some of your biggest musical inspirations? Favorite albums?

For me, ever since I first heard the opening chords of "Neon Knights" from Sabbath's Live Evil album when I was 13 it's been Sabbath. They're pretty much the pinnacle for me. The rest of my influences? I'd say AC/DC, Motorhead, The Who, The Stones, Led Zeppelin, Lynyrd Skynyrd, ZZ Top, Clutch, Aerosmith, Mountain, Cactus, Humble Pie...you get the picture. Favourite albums? The first 6 Sabbath albums, any AC/DC album with Bon Scott, Overkill and No Sleep Til Hammersmith by Motorhead, Live At Leeds and Who's Next by The Who, Nothing's Shocking by Jane's Addiction, Exile On Main Street by the Stones, Clutch's self titled, Humble Pie Rocking the Filmore...the list could go on forever.

How’s your hearing these days?

Pardon?

What current bands do you find inspiring?

The Sun Gods in Exile album kicks my ass...and even my wife and dad love it. Stone Axe are just an incredible band...so organic and natural...they sound like a band even though Tony Reed does it all himself virtually. That is one awesomely talented dude. We have some very cool bands over here in the UK...Domes of Silence play pretty awesome stoner, like QOTSA on steroids with attitude. Suns of Thunder are amazing from Wales. Medamaki from Evesham are one of the best live bands I've seen on the underground circuit but the laziest bunch of fuckers going!!! Most of what I listen to is pretty old so most of the current bands I dig sound pretty old. Mighty High are pretty good too I guess ;-)

How do you feel about people posting your music for free on blogs?

I would prefer it if they bought the CDs as it's that revenue that keeps us able to get out and gig and record but I'd prefer it even more if people just heard us so I can't complain. I'm just as happy of someone gets in touch to say they like the band from hearing it on a blog as on a CD...let's just say I'd rather 1000 people heard it for free than 100 people paid for it!!!

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

I'm old school, I love vinyl. The buzz I used to get as a kid from searching for an album, sometimes for weeks, then finding it...or finding an old second hand copy of some obscure 70s thing...it was a magical feeling that you don't get nowadays. That said, I'm on the move a lot, drive a 90 minute round trip to work, listen to music at work on my headphones...etc so digital may not be my preferred choice but it's the most convenient. (I hang my head in shame!!!)

Ever had any good Spinal Tap moments on stage?

A combination of beer and rocking out has seen Phil fall off stage a couple of time. He's never gone ass over tit and always stayed upright and playing but it's been a close call. Numerous times I've made myself dizzy from banging the head too much...never lost it though!!! I nearly fell through the stage at one gig as I didn't realise the section of stage at the front was little more than a box...still held it together though. There have been a lot of nearly moments. I have learned I can't drink wine before playing though...one time I did I forgot a bunch of stuff and introduced one song we'd just played as the next song!!! Guinness or Jack Daniels all the way for me now!!!

What’s next for Grifter?

We're constantly on the lookout for gigs...it's a full time job getting gigs, promoting the band, etc. The next plan is to record a bunch of tracks for the album and a few extra tracks for other stuff (an exciting vinyl proposition that I'm sure will be made known in the fullness of time!!!). Then we'll hopefully get a cool label to put the album out for us. As I said we also aim to hit the States with Sun Gods in Exile at some point and we'd like to get over to Europe if we can...maybe France or Italy...or Germany...or anywhere really!!! We're just going to keep plugging away, writing, playing live wherever we can and getting our music out there wherever and however we can.

Thanks for taking the time to do this interview. Anything you’d like to add?

Cheers Woody for taking the time to come up with some really cool questions and a big thanks to Ripple Music for the support, it's very much appreciated. Come check out our stuff, drop us a line, say hi, buy a CD, download some tunes, come to a gig, offer us a gig, offer us a record deal, buy us a drink (Guinness all round...cheers!!!). Check out the bands I mentioned before and...be good to each other!!!