The Black Dahlia Murder - Ritual

(In my best Dwayne “The Rock” Johnson voice) Finally!! The Black Dahlia Murder!! has come back...to your stereo!! Yes Waiveriders, The Black Dahlia Murder is back! Detroit's resident death metal superstars bring you their new album Ritual. I've been waiting to get my hands on this album for months and now it is finally in my possession. Excited, yes I am!! Ritual is the 5th studio album from The Black Dahlia Murder and damn it is epic as fuck!

Before we get to the awesome music, let's touch on the awesome cover art. Back in the day, (when I purchased cd's every week) I would stumble into my local record store and buy metal albums based on how “cool” the album art was. If I was 16 again and saw Ritual on the shelf I would definitely be picking it based on cover alone. The amazingly talented Valnoir Mortsonge is the man behind the epic artwork. Some of you may recognize his work on passed Watain, Morbid Angel and Ulver albums. The cover to Ritual is made to look like a demonic book. Complete with Satan himself and your fair share of pentagrams and other demonic imagery. Awesome!

Now on to the music. “A Shrine to Madness” gets the death metal party started. “A Shrine to Madness” starts off very melodic. At the 53 second mark you are hit with the opening guitar lick and soon follows Trevor Strnad's unmistakable vocal structure, a combination of black, death and guttural vocals. Overall a great opening track.“A Shrine to Madness” flow seamlessly into “Moonlight Equilibrium”. “Moonlight Equilibrium has by far the most “classic” feel to it. It is very reminiscent of their early work but you can hear former Arsis axeman Ryan Knight's contributions clearly.

“Conspiring With the Damned” is by far my favorite track on Ritual. When Trevor screams, “CONSPIRING WITH THE DAMNED!!!”, it instantly sends chills down your spine. This song clocks in at just under 4 minutes. If you get a chance to listen to just a few tracks of this album, “Conspiring With the Damned” has to be one of them. This song has it all. Trevor's amazing vocal presence, Shannon Lucas' unrelenting drums, Ryan (Don't Call Me Bart ) Williams' signature bass style and Ryan Knight and Brian Eschbach's dueling guitars.

There is something about the 7th track on albums. The theory I have is it's always one of the best tracks on album. I don't know, listen to any of your favorite albums, I'm sure number 7 doesn't suck. “Den of the Picquerist” is no different. This song is awesome, it's almost punk like in how short it is. Clocking in under a mere 2 minutes. It has the urgency of a punk song with all the melodic death metal tendencies you would expect from the band.

The Black Dahlia Murder have been around for quite a few years now. It seems as though they are constantly one -upping themselves in terms of musicianship. They progressively get better and better with each album they put out. Always trying new things. Ritual is very much all of those things. Musically it's a great album, and there are lots of new things on the album. One, the much higher screams Trevor hits and Two, the addition of Ryan Knight. You really get the feeling they put there all into the album and it shows on all 12 tracks. If you are an old Dahlia fan or this is your first time hearing about them, you should definitely pick up Ritual.

This is an awesome year for metal! Ritual is one of the many great albums being produced this year. I'm personally looking forward to the new The Faceless album and The HAARP Machine. Get excited!
Oh and go check out this years Summer Slaughter Tour, a bunch of great bands will be on it. Including: The Black Dahlia Murder, Whitechapel, Darkest Hour, Six Feet Under, Dying Fetus, As Blood Runs Black, Oceano, Power Glove, and Fleshgod Apocalypse...shit's gonna be sick!

--Cicatriz

Buy here: Ritual

Buy here vinyl: Ritual

K. Flay - I Stopped Caring In ’96

My legs dangled off the examination table swinging to an off-time rhythm.  I had been staring at the optics chart on the wall in front of me for the better part of ten minutes.  Other people might see boredom set in after awhile, but I was completely indifferent.  To be blunt, that feeling of indifference was in point of fact the main catalyst behind this well being check up.  Since neither I nor anything mechanical in my room was producing any noise, I was able to hear the doctor’s footsteps as she approached from down the hall.  The door opened and the doctor greeted me warmly.

“Good morning Mr. Penfold.  I’m Doctor Clinique.  This is your first visit to my office?”
“Yes ma’am.”
“What seems to be the trouble?”
“Doc, I’m really not sure how to describe it.  I’ve simply stopped caring.”
“Mr. Penfold, I’m going to stop you for a moment.  You do realize that I am not a psychologist, yes?”
“I certainly do ma’am.  My troubles are physical in nature.”
“All right.  Do you remember when these troubles began?”
“Yes ma’am.  I’ve gone over my situation time and time again.  Although I cannot pinpoint one exact moment or event as the harbinger of my current predicament, I am absolutely certain about the timeframe.  I stopped caring about the world around me back in 1996.  This led directly to strange physical conditions that I’ve experienced ever since.”
“Can you elaborate on these physical conditions for me?”
“Of course, Doctor.  From early 1996 to halfway through 2000 I felt nothing.  Literally.  It was as if I were wearing a suit of heavy padding over my entire body.  My hands and feet gave very little tactile feedback.  I would hold an object in my hands, but without actually looking at the object I could not have identified it.  No nuance of the item’s surface would be gleaned from my touch alone.  Also, objects would impact my body with little or no immediate result.  My skin would bruise up after heavy contact like normal, but it was as if my nerve endings had gone to sleep.”
“I see Mr. Penfold.  Has that problem persisted?”
“No, ma’am.  The lack of feeling did stop, but a new problem took its place.  From late 2000 to the end of 2006 I felt everything.  I’m not just referring to the temperature or how hard or soft something is here.  No, I was hypersensitive.  The world was brought into sharp relief, and I was even able to feel other people’s emotions.  When someone spoke to me angrily it was as if their words were punching me in the stomach.  On the opposite end of the spectrum, when someone whispered something to me it felt like a feather running along the inside of my ear.”
“Very interesting Mr. Penfold.  You said these feelings ended back in 2006.  What happened next?”
“Well Doc, for a few months everything went back to normal and I felt fine.  But since the spring of 2007 I’ve been encountering stretches of time where I flip flop between my two previous conditions.  One day I feel nothing, the next I feel everything, and the next I’m normal again.  I know that you’re not a psychologist ma’am, but this constant turnabout has altered my worldview substantially.  I now strongly believe that everything is nothing.  While I’m not sure that I want that to change, I would certainly like my nerves to stabilize and give me a rest from this merry-go-round I’m stuck riding.  Can you help me Doc?”
“Mr. Penfold, I’m going to be honest with you.  I’ve never run across someone with your problem before.  If you’re willing to wait here for a few minutes, I need to make some phone calls to a few of my esteemed colleagues.  With any luck they will know exactly what can help you.  Is that okay?”
“Yeah sure, Doctor.  I’ve got some music to listen to while you’re away.  I’ll be fine.”
“Great.  I’ll be back as soon as I can.”

With the doctor gone I reached into my pocket and removed my mp3 player.  The earbuds went in my ears, the player was turned on, and the play button was depressed.  A bass heavy beat signaled the beginning of K. Flay’s new mixtape, coincidentally titled I Stopped Caring in ’96.  What followed was a nine track musical juggernaut.  If you’re looking for an interesting hip hop artist who offers something different than the norm, your search just ended.

What makes K. Flay different you ask?  Well for starters she’s a female emcee.  I’m not saying that there aren’t any other interesting female emcees producing music in the world, just that they are fairly difficult to locate if you’re using the mainstream media as your guide.  But hey, that’s why The Ripple Effect exists!  Another difference is that K. Flay doesn’t hide or downplay her intelligence.  Her lyrics jump from clever thought to clever idea with the clear understanding that the listener is either smart enough to follow along, or they will be left in the dust.  Speaking of her lyrical prowess, K. Flay utilizes a sick and varied lyrical flow which consistently captivates her audience.  Seriously, it’s borderline terminal.

I Stopped Caring in ’96 was released in three song increments, on three separate days over the course of the month of April.  The first block of tunes was entitled ‘I Feel Nothing’.  The three songs share feelings of detachment and disillusionment from the world.  ‘I Feel Everything’ came next.  As you might have guessed these three songs are more emotionally charged affairs.  “Doctor Don’t Know” happens to be my favorite song on the mixtape, and “Danger Starts” is harrowing.  The last piece to the puzzle is called ‘Everything is Nothing’.  This portion is fairly cathartic for the listener following the serious subject matter discussed in the earlier songs.  These last three tracks, including the standout “Elle Fanning” and especially “PARTY”, are far lighter in tone and content than the other six. 

I’m guessing at this point that you waveriders would appreciate a sample verse to help get a better feel for what to expect.  Happy to oblige.  This is the second verse from “Doctor Don’t Know”.

All these folks telling me I’m about to be something big, but you see joke’s on them / Sitting in a board room hella bored, can’t hear a thing though my amp’s on ten / Mind in a permanent state of flux, mental double dutch, had a bag of cheetos ate ‘em up / 3 PM and I’m still waking up / Wishin’ I could save myself but I’m not brave enough / Sick of all these handshakes, before knowing every morning bran flakes / How much bullshit can a man take, till she finally breaks? / The difference between getting what you want, and what they want, is nuance / So listen baby girl get your boots on, here’s something to chew on / In the end we might go to hell, or we might go to heaven, so you might as well / Cut it out with the crisis of faith, and then crushed in the dome like a vice to the face / And you might just escape all the time that you wasted, if you stuck to the basics / Get a grip, buckle up / Take a pill, what the fuck?

Mmmm, hmmmm.  By the way, this is a free mixtape.  That’s right!  There is absolutely no barrier to entry.  Simply surf your way over to K. Flay’s website, www.kflay.com, and get downloading.  The sooner you start listening, the sooner you can recommend K. Flay to someone else!  Waveriders, you all have your signed prescription sheets.  Disperse and be healed!

--Penfold

www.kflay.com

Killer Review of Heavy Ripples over at The Kleptos Guide

The Klepto's Guide To Awesome Music: EP Shakedown: Heavy Ripples, Vol. 1

Fantastic review of Heavy Ripples over at The Klepto's Guide.

Pre-orders are available now and the gorgeous double-7" arrives in our hands this month!

www.ripple-music.com

Urizen - Universe: Red

Can you hear it?  The sounds of familiar 8-bit noises and metallic riffs ring through the air. “What is this sound.”, you ask yourself. This is the sound of Urizen. Born from a secret laboratory in Colorado and transported to Texas, Urizen are on the rise. There latest record, Universe:Red sets a new standard for progressive metal.

Universe:Red is the third installment from Texas Avant-Metalers Urizen. From the first track, “A Noiseless Flash” you can already tell this will be a special album. Reminiscent of your favorite 1980’s video game, the tack makes you wonder if you will be saving the Princess or shooting some Asteroids.

“A Noiseless Flash” seemingly integrates into the powerful blast beat laden, “A Budding Consciousness”. The vocal styling of Thomas add a much needed wittiness to an otherwise dull metal scene. Thomas has an almost Phil Collins flavor to him (please do not ask to taste him). His Collins-esque vocals can be heard predominately on the track, “Nothing Is Epic”. A groovy mix of metal and jazz. Also included on this album is the  highly catchy single called “Boxmen”. It makes you want to see the world through that of a box and scream BOXMEN!! BOXMEN!! over and over. By God, you will never get the beat out of your head, and that’s a good thing.

As great as the album is, their live show is something someone must truly witness. I have been fortunate enough to have been able to see them at least once every few months for the last 5 plus years. From their birth during the “Autocratopolis” era to the current “Universe” era, Urizen stage shows continue to progress.

Robots, blob monsters and Urimen. These are but a few things that are a Urizen show. They are something that must be witnessed live to truly get the whole feeling of how great this band is.
I mean there’s a giant f’n robot on stage through half their set. What more do you need?

Go to www.urizenonline.com and pick up your copy of Universe:Red. It's is the perfect gift for weddings, Bat Mitzvahs, shuttle launches, corporate retreats, or even just as an afternoon pick-me-up!


--Cicatriz

buy here: Universe Red
or from the band: www.urizenonline.com

BOB GELDOF NEW ALBUM “HOW TO COMPOSE POPULAR SONGS THAT WILL SELL” TO BE RELEASED MARCH 15, 2011 ON MERCURY/VAGRANT RECORDS

Mercury/Vagrant Records proudly announced the March 15, 2011 release of Bob Geldof's new record "How To Compose Popular Songs That Will Sell," to be launched at SXSW where Geldof will perform and headline as keynote speaker.

The name Bob Geldof is habitual and ubiquitous.  It is woven into three decades of the global narrative and its cultural soap opera.  Ask people have they heard of him and all will answer in the affirmative.  Ask them what he does and all will have a separate answer.  Ask do they have an opinion of him and, for good or ill, most will.  Ask how that opinion was formed and they don’t quite know.  Whistle one of his tunes and most will remember it but they won’t know who wrote it.  Bob Geldof is the most famous secret songwriter in the UK.

Bob's new solo album, “How To Compose Popular Songs That Will Sell”, is his first album since 2001’s “Sex, Age & Death” and his fifth album as a solo artist (his eleventh if you include his work in his band the Boomtown Rats).  The album features 10 new Geldof compositions recorded with his band in his home and in various friends’ studios and produced by his longtime collaborator Pete Briquette.

Lyrically the album is full of love, hope and joy and one senses that Geldof is more comfortable in his own skin than ever before.

On March 17 at SXSW, when Bob and his band take the stage, there will be no question what Bob Geldof does, and that he is very very good at it.


www.Bobgeldof.com

Joe Purdy - This American

There is a campfire in the White Mountains of Arkansas.  The sun is going down and a cool breeze comes up from the west.  The sky turns hues of red and purple as the day ends and twilight begins. Couples huddle around the fire, drinks in hand, as the evening winds down.  Joe Purdy pulls out his six-string, puts on a harmonica holder and sits down with the gathered campers.

He sings and plays fifteen passionate, contemplative, folk songs that reach into the soul.  Purdy is a modern day early 1960’s Bob Dylan with a better voice and as much to say.   He is a singing, songwriting, acoustic guitarist who also plays harmonica, with which he weaves tale after tale in the flickering shadow of firelight on “This American.”

Joe has played electric, rock, and with a band,  He has toured Europe and has sold an incredible number of downloads.  His music has been used in TV shows and movies.  But here, on “This American,” Purdy gently sings stories about the American experience. He treks the Oregon Trail, goes to Louisana, is a Pioneer and visits the Dustbowl.  Purdy captures the soul and mood of a people, teaches lessons about history, love and honesty, and regales us from the heart.

It is a difficult thing to do to play and record only your voice and your music, unprocessed - just, you, your acoustic guitar and your harmonica.  There is no drummer, no bassist, no click track.    To successfully solo is the sign of the true balladeer and that is what Purdy is - a modern day troubadour.  When I listen to the album I feel the heat of the fire, the chill of the evening and see the veiled images evoked by the storyteller.  I am calmed,  transfixed and warmed.

You can hear the entire album on Purdy’s website. Better yet, you can go there and buy “The American” as a digital download, CD or, soon, on vinyl with a digital download.  Then, turn on the fireplace, grab a blanket and transport yourself into the midst of the great American camping trip.  Let Purdy pull out his old Gibson, put on a harmonica holder and sing to you about “This American.”

- Old School





Buy here: This American
Buy here mp3: This American

Fitz and The Tantrums- Pickin' Up The Pieces

Retro music has never seemed so good. From the moment I first heard them I immediately fell in love with their sound and felt transported back in time. Fitz and the Tantrums is a fresh, familiar retro band that is inspired by 1960s music. Composed of six soulful individuals, Fitz and the Tantrums is an infectious band that knows how to rock.

Led by Fitz on lead vocals, accompanied by co-vocalist Noelle Scaggs, drummer John Wicks, James King on saxophone and flute, bassist Ethan Phillips and keyboardist Jeremy Ruzumna, the 1960s music scene comes alive once again with their irresistible songs and their elegant attire. Looking at them and hearing their sound you could easily mistake the year and think it’s 1965. They sound like early 1960s radio and Motown.

Their vintage sound is immensely invigorating and that’s largely due in part to King’s saxophone defining their soulful sound accompanying Fitz and Scaggs’ vocals. Fused with tons of energy, listeners will be mesmerized by the pop songs and start dancing away on the dance floor. Good pop songs should make you want to get up and dance. Fitz and the Tantrums’ music is distinct.

The chemistry between Fitz and Scaggs is like that of Tina and Ike Turner. They got each other’s back musically; they complement one another on vocals and it shows. Their love and affection transcends the music into delivering mesmerizing musical performances and one hell of an album.

Fitz sounds like Neil Diamond and Daryl Hall (from Hall & Oates) creating a timeless sound for this brilliant band. Pickin’ Up The Pieces is an amazing album filled with ten tenacious tracks that will lighten up your day. It starts off with heavy keyboarding and tambourine on “Breakin’ The Chains of Love.” It’s like Ray Manzarek is playing the keys in a sweet sounding R & B song with Neil Diamond singing lead vocals and Tina Turner on backing vocals.

Following up, “Mr. President” is a political, piano heavy song that is a call to action you want to clap along with. The Temptations never seemed so good…I mean Fitz and the Tantrums are awesome on “Pickin’ Up The Pieces.” Literally, if the band was transported back in time they would fit in perfectly. Some individuals have described their sound as cliché, but their heart and soul is poured out in a wide variety of emotions. They are the epitome of what is meant by a band having soul.

Everything might appear formulaic, but everything from the hooks, the lyrics, and energy are genuine. Thanks in large part to Fitz and Scaggs’ chemistry. This is abundantly obvious on songs like “Pickin’ Up The Pieces” and “Money Grabber.” The heartbreak of gold diggers and directness of some songs is sheer brilliance.

An organ intro isn’t supposed to be moving, but somehow it works with “L.O.V.” The groovy sound makes the listener embark and be engaged with this funky, fresh “love” song. This powerful, passionate pop song has a catchy chorus that you can’t resist clapping along with the entire time.

Nothing is more malicious than “Don’t Gotta Work It Out” and is great way to handle a breakup from the male perspective. The album concludes with “Tighter” and to be perfectly honest I thought it was Elton John singing the entire time. It wasn’t until I double checked my iTunes that I realized it was still Fitz and the Tantrums. All the singles feel like classics and are full of compassion. It’s a testament that this group is destined for great things. The Silver-Lake based sextet is even more majestic live than the album and worth checking out if you have the chance.

-- Mr. Brownstone

Buy here: Pickin' Up The Pieces
Buy here mp3: Pickin' Up The Pieces [+digital booklet]
Buy here vinyl: Pickin' Up the Pieces

Cough - Ritual Abuse

Quick and dirty review: Infrasound.

You heard (read) me. Infrasound. That sums up Cough's second full-length, Ritual Abuse.

Please say more, Horn, you teasing bastard, you say? As you wish, master.

Infrasound is any sound below 20 Hz-- and is inaudible to humans. At high enough volumes, however, the body can detect the sounds the ears can't.

How does one know the body is detecting infrasound? Dig these symptoms:

awe, dread, anxiety, extreme sorrow, revulsion, fear...

...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.

A despair Goddamned enjoyable.


--Horn

Buy here: Ritual Abuse
Buy here mp3: Ritual Abuse
buy here vinyl: Ritual Abuse

Dopefight - Buds

Wow, was this CD created especially for me? How can I not love a band called Dopefight and an album called Buds? The cover art is nothing but pictures of giant buds and the back cover displays a small feast of low budget Chinese food. Even if it sounded like Celine Dion singing for Puddle Of Mudd I would have to support them. Luckily that’s not the case.

Dopefight are bunch of creeps from the UK hell bent on making a lot of noise and smoking a lot of pot. From the sounds of it they are successful on both counts. The 12 songs are mainly doomed out instrumental stoner metal. It’s obvious these guys love Black Sabbath and all of the other worshippers of Sabbath like Electric Wizard, Sleep, etc. They do play a little faster than most of those bands so maybe they’re into the Cro-Mags, too. When the vocals do appear their pissed off screams, mainly about wanting more weed

The song titles are great. It’s impossible to resist the joys of “Jock Witch,” “Bogtrotter” and the super angry “Brighton Town Is A Fuckin Whore.” I just wish there was more vocals. The lyrics are very entertaining, even if you have to strain a bit to make them out. Otherwise, the production is top notch. Guitar sound is bulldozing, bass thuds hard in the guts and the drums pulverize.

Support your local Dopefight. Society blows, Buds rocks.

--Woody

Buy here: Dopefight

http://www.myspace.com/fightdopefight

Ripple News - KIllola Partner with Aderra, Inc. to Reinvent the Capability of Physical Albums, Giving Fans an Album that Keeps on Giving

 PLUG IN YOUR ALBUM AND GET UPDATED… IMMEDIATELY!


 In what could signal the breaking down of the wall between artists and their fans, SoCal garage-pop rockers KILLOLA (www.killola.com) have joined forces with Aderra, Inc. (www.aderra.net) to create a multi-media, living and breathing electronic “umbilical cord” that instantly connects the creative process with the audience. Embracing USB/internet technology in a very fashion-forward manner, Killola and Aderra have introduced an immediate connection with their fans who purchase “Killola Dogtags” either from the band’s merch table while on the road or via the band’s website. While the dog tag may look like a mere trendy fan accoutrement with the band’s logo etched into the surface, it transforms into a matrix of ever-expanding music and video content when jacked into a computer.

Aderra, Inc. has been recording live concerts on USB drives for artists of all genres, such as Lady Gaga, Metallica, OK Go, The Pixies, David Guetta, Brian Wilson, and David Gray, but Killola is one of the first bands to embrace Aderra’s new PushOvr™ technology and take it even further. Instead of static MP3s and unevolving digital files that keep fans in anticipation for a band’s new album or recorded music, Killola will create a fluid and growing bridge between themselves and their fans, releasing new music and live performances AS THEY HAPPEN.

Fans who purchase the Killola USB dogtag receive not only the band’s new album, Let’s Get Associated, but also their previous studio albums (Louder! Louder! [2006] and I Am The Messer [2008]). In addition, when fans plug the USB drive into their computer, they also receive exclusive updates from the band including new songs, remixes, live recordings, music videos and photos. For example, once the band feels that a new song is ready to be sent to their fans, they can upload it onto their USB network, which then distributes it instantly to USB owners.

“It’s not just MP3 files on a disk,” explains Killola frontwoman Lisa Rieffel. “The USB drive is interactive. It has sounds, pages, navigation, pictures, HD videos, hidden easter-eggs, and 'living' content. You can click through the Killola USB album for a good hour, just finding stuff and geeking-out on the experience.” Planned for debut on Thursday, July 22nd is the first streaming video of a “truly” live performance, which will be broadcast simultaneously worldwide and accessible only to fans with the USB. 

Let’s Get Associated will also be available via physical CD on August 10th, and digital distribution channels such as iTunes.