Thursday, November 26, 2015

Burn Thee Insects – Droid Intelligence

Do we have any Alice in Chains fans riding the Ripple pipeline? Of course we do, and today we have a treat for you with the latest offering by Burn Thee Insects who are signed by our friends over at Twin Earth Records. Imagine AIC with the distortion dial turned up to fuzzalicious maximus level.

'Hydroponics' kicks the ride off with a bass line as fuzzy as a swarm of bumblebees buzzing a Truckfighters set.  Staley swoons swoop in and join the attack inducing paranoia like indoor ganja hung out to dry. What follows is a plume of raucous riffs and grooves billowing like burning insects on a sizzling hot hibachi. Burn Thee Insects right?

Irresistibly dark and spacey harmony clouds the path on an intergalactic desert voyage. Moments of face melting dirge slather the atmosphere as the demented droid-rage vocal howls grace the starship speakers on their way to Twin Earth. Poppy licks smothered with Drop-B tuning and drooling with head bobbing rhythm, circle like hippies in a gluten pit. The album has a good mixture of hot and heavy hitters to low and slow burners. Elements of 90’s grunge permeate with an avant-garde experimental state while maintaining an easily accessible groove with acoustics included at no extra charge. QOTSA-esque quirks abound as the 3-piece takes what their EP proved to the next level of weird. Produced/Recorded (as a 2-piece) by the up and coming talent named Chris Hughes out of Berkley, CA, the value will pique the production snobs ears into disbelief. The space factor is high, the fuzz runs deep, the effects are staggering and the overall impression is lasting throughout each and every song. Droid Intelligence will have you begging for breath as the weight of the tripped out fuzz buries your brain with venomous riffs and eccentric groove. Don't say we didn't warn you. Twin Earth Records has reared its ugly orbit with yet another addition to its doom laden roster.

1.       Hydroponics

2.       Concrete Pillow (Pretty Comfortable)

3.       A Dinner With Fontaine

4.       Distorted Seclusion

5.       Through the Fog

6.       Slow Cookin’

7.       An Insignificant Planet of Yellow

8.       A Perscription To Burn

9.       A Swarm of Bees

-The Huntsman

Wednesday, November 25, 2015

Salem's Pot share "The Vampire Strikes Back" EP on RidingEasy Records

Limited 7" vinyl available for pre-order HERE.

Hear & share "The Vampire Strikes Back" EP HERE.
Swedish hook-heavy band Salem's Pot share a new 3-track EP "The Vampire Strikes Back" today via RidingEasy Records. The EP is released digitally for Halloween, and a 2-track limited edition 7" record is available for pre-order now HERE

Listen to and share "The Vampire Strikes Back" EP via Soundcloud HERE

The 7" is available as a test pressing, or on clear vinyl and black vinyl in limited quantities. The 3-song digital EP includes both the 7" version and 7:28 minute full version of "The Vampire Strikes Back" along with a cover of Dead Moon's classic "Graveyard."
Artist: Salem's Pot
Album: The Vampire Strikes Back
Label: RidingEasy Records
Release Date: October 31, 2015

01. The Vampire Strikes Back (7" version)
02. The Vampire Strikes Back (Full Version)
03. Graveyard

On The Web:

Blackwülf Record Release Party is Coming!

Mark your calendars for the Blackwülf record release party on December 4th at the Bottom of the Hill! Come get your hands on an advance copy of "Oblivion Cycle" on Ripple Music. It is going to be a kick ass night of heavy rock featuring some Blackwülf favorites. See below for details.

Friday, Dec. 4

@ Bottom of the Hill
in San Francisco

Be sure you don't miss the "Oblivion Cycle" record release party. Blackwülf has put together a line-up of our awesome labelmates and friends and will be taking over the Bottom of the Hill for a night of revelry. The boys from Ripple Music will be on hand to M.C. the night and ensure a few surprises for you.
Show starts at 8:30pm - (event page)

Tuesday, November 24, 2015

Flexx Bronco - Volume 3

So, I'm working on the Ripple Label early one rainy weekend morning, and as I'm prone to do, I reach across my desk to the mass of review submissions for the Ripple Effect.  Piles of CD's, scatterings of LP's and heaps of 7" singles each sitting mutely, awaiting my attention.  Never knowing which one to go for, I make a game out of randomly reaching towards the stack and grabbing the first one my hand touches.  Let fate decide what I hear next.  Kinda like acoustic karma. Musical Russian roulette.

This time fate was very kind indeed.

In truth, looking at that cover, I have to admit this slab of vinyl probably wouldn't of been my first choice.  But as the old adage goes, don't judge the ferocious rocking of the music by the 3/4 naked, tattooed man in speedos on the cover.  Or something like that.

Simply put, Flexx Bronco rock.  And when I say rock I mean stone-age, megalithic, igneous stone rock!  Huge fucking boulders of pounding drums and seismic bass.   Jagged precipices of riffs.  Mountains of melodies and heaps of catchy choruses.

OK, enough of the rock analogies, I promise.

But if you have a fetish for vintage-era Sunset Strip Sleaze with a muscular kick to the nuts of Motorhead, a quick hump of drunken country, and a cumshot of quality Scandinavian garage like Turbonegro, The Hellacopters, and Backyard Babies, then Flexx Bronco may just be your new vinyl orgasm.

Each song is it's only snotty shot of punk attitude, old time motorcycle axle grease rock and pure sleaze. They delve into mutated, 180-proof country for Heart on the Floor, rage through Motorhead-speed punk on Blondetourage, and grease up the strip with Mors Non Separabit.  And they do it all with their own flair and aplomb, guitars raging, spit flying, and hearts pounding.  The band's website describes their sound as "good sweaty fun."  But what else would you expect from a band made up of guys named Filthy, Eroc, Guy Thunderbird and Thor Bigsby.

I'm not going to go into each song here.  Just suffice it to say that as I was working Ripple and the Flexx Broncos were blasting out of my stereo at an earthquaking volume, I took the time to post a photo and link in a couple of Facebook forums, most notably Hard Rock Revolution.  Almost instantly the responses came back, all espousing the album as damn good fun.

And in the end, isn't that what we want of our rock?   A damn good fun time.

A good Sweaty Fun time.

Check it out, you won't be disappointed.   And better yet, go see these guys live.  By all accounts they destroy.


couldn't fnd a video or bandcamp page for Volume 3, but here's a video off of Volume 2 for you to check em out.

Monday, November 23, 2015

HAG: London Noise-Rock trio return with debut album Fear Of Man | Stream and share new song ‘Kingdom-O’

“Their churning punk sludge bears comparison to Lords, Harvey Milk and Cows, in that it sounds like it’s been recorded in a shed, albeit a shed decorated with the viscera of dead postmen and Jehovah’s Witnesses.”
John Doran, Metal Hammer

Last heard on record in 2010 with their self-titled EP on Noisestar Music, after five years out in the wilderness, the newly formed DNAWOT Records is pleased to announce the release of the debut album from Anglo-Hungarian-Swedish “Eagle-Metal” outfit HAG.

Teaming up once again with Part Chimp’s Tim Cedar at South London’s Dropout Studios, Fear Of Man crawls out over nine hefty chunks of grinding, booze-fuelled stabs of rock‘n’roll at its most primal. An obvious love affair with the likes of Melvins, Harvey Milk and High On Fire resonates strongly throughout as they wear those influences proudly on their collective sleeves; from the opening menace and to-the-death-fight of title track ‘Fear Of Man’, to the feverish and relentless bouts of ferocity on ‘Kingdom-O’ and ‘White Lion’. HAG make no bones about their love for breaking them. From guitarist/singer Ian Baigent’s burning vocals, to the unwavering, watertight rhythms that bump proverbial uglies between the bass of Robin Freeman and drums of Tamas Kiss, HAG drag alarming amounts of pleasure from the unceremonious destruction of eardrums.

Offering up a colossal dose of power and psychedelic hideousness, their debut album Fear Of Man will be released digitally on 8th January through DNAWOT Records with a vinyl release to follow soon after. In the meantime, you can stream and share new song ‘Kingdom-O’ here – 

 HAG on Web | Facebook | Twitter | Bandcamp | Soundcloud

THE HEAVY EYES premiere new song 'Saint' with The Obelisk | New album He Dreams Of Lions out in November

"They have refined their sound even further and delivered another album filled with their unique, fuzzy, distortion drenched brand of blues rock. It’s a mashup of White Stripes, meets Zeppelin and Sabbath, with a little bit of Cake and Mountain thrown in for good measure."
Blues Rock Review

Kozmik Artifactz - Europe's leading purveyor of heavy psychedelia, blues and stoner rock - is pleased to announce the release of He Dreams Of Lions, the brand new album from heavy blues rockers The Heavy Eyes.

Following on from their 2011 self-titled debut, and 2012’s successful Maera album, the Memphis trio return to the fold this November with their most accomplished record to date. Over eleven tracks, amidst the unbridled rawness of ‘Saint’, the sheer weight of ‘Z-Bo’ and R’n’B shake appeal of ‘Smoke Signal, hypnotic hard rock riffs are delivered thick and fast through distorted fuzz boxes, gnarled bass lines and levee breaking drum beats. This is an album that draws heavily from the heaviest (Led Zeppelin, Humble Pie, Mountain) and in doing so turns out new ideas with a punishing authenticity and honesty in line with their Memphis blues heritage.

He Dreams Of Lions will be released through Kozmik Artifactz on 13th November 2015. The Heavy Eyes:

Tripp Shumake – Vocals, Guitars
Wally Anderson – Bass
Eric Garcia – Drums  

Track Listing:

1. Shadow Shaker
2. Saint
3. Z-Bo
4. Old Saltillo Road
5. He Dreams Of Lions
6. Hail To The King, Baby
7. Smoke Signals
8. The Fool
9. Somniloquy
10. Littlefinger
11. Modern Shells

The Heavy Eyes on Facebook | Bandcamp | Instagram

Sunday, November 22, 2015

Opeth – Deliverance & Damnation

Back in 2002 and 2003 Swedish death metal reached a peak in creativity and progression when Opeth released two of the most important albums in the genre. And considering that “Damnation” hardly can be categorized as a death metal album, that is quite an achievement.  Opeth showed that death metal could transform into something much bigger.

I was, and still am, obsessed with these two masterpieces. “Deliverance” starts off mostly like a traditional death thing when “Wreath” thrashes everything with growls and hammering guitars, and one is deceived into thinking that nothing has changed since Morbid Angels released “Altars Of Madness”. The title track keeps that illusion for a couple of minutes when it suddenly stops and turns into something far greater. One minute and sixteen seconds into the song the aggression halts and a new universe cracks wide open with beautiful clean singing by Mikael Åkerfeldt and a soft guitar that sweeps you away. And despite the fact that the song turns back to more aggressiveness later on this beauty never leaves from this point. Opeth would never be the same after this and has since then completely transformed itself into a progressive rock act rather than death metal on the album that followed after this. 

“Damnation” that came after “Deliverance” is a completely different animal all together as it is a low key acoustic adventure that has nothing to do with metal to be honest. Here you can hear Åkerfeldts full potential as songwriter and visionary musician. That vision is even more obvious now when Music For Nation has released both albums as one (as it was meant to be from the beginning) with an updated mix and new artwork. The vinyl edition is pure porn for any record collector and if you like Opeth this is nirvana. 

It’s not often that you encounter albums that create a rift in the known musical universe. “Deliverance & Damnation” not only makes that rift. It rips the sky wide open to a totally new universe that has its own rules and possibilities. It depends on no one and sets its own rules and standards that only apply to itself. It is truly wonderful when that happens in music. After these two releases Opeth had no competitors in my opinion. Every album that they have released depends on no one but Opeth. That is the definition of genius I think. 

Personnel on “Deliverance & Damnation”:
Mikael Åkerfeldt – vocals, electric and acoustic guitars
Peter Lindgren – electric guitars
Martin Mendez – bass guitar
Martin Lopez – drums, percussion

- The Void

Opeth - Deliverance - Live at Wacken Open Air 2015

Opeth – Windowpane live 20013

Deliverance & Damnation on Spotify

Official website
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