The best music you're not listening to.™ Reviews of lost classics and obscure titles. Unheralded bands and songwriters. New bands deserving of greater attention. The site for the music omnivore. It's all here, on the Ripple Effect
Central California quartet Slow Season are streaming their entire forthcoming album, Westing ahead of release starting today via Consequence of Sound. The album that many are considering the band's breakout work is available to hear and shareHERE. (Direct Soundcloud HERE.)
recently wrapped up an extensive North American tour in June and are
back on the road this week on the west coast. Additional tour dates for
late summer will be announced soon. Please see current dates below.
Metal Injection recently launched the banging single "Damascus" HERE. The Obelisk revealed album track "Miranda" HERE. Prior to that, Consequence of Sound premiered the first single "Y'Wanna" HERE.
Contrary to the band's name, downtime is a rarity for Slow Season. Sandwiched between summer 2015's extensive tour with their RidingEasy labelmates Mondo Drag and Electric Citizen,
plus several short west coast jaunts, the hard-working quartet also
found time to hammer out its most powerful and ambitious album yet.
Written, engineered, produced and mixed themselves on their own
equipment, entirely on analog tape, Westing is a hard-hitting and powerful reminder of how at one time a rock 'n' roll band could be a transcendent experience.
While Slow Season's sound continues to effortlessly nod to the great bands of the 60s-70s, Westing
is truly the sound of a band coming into their own. The songwriting is
tight, howling and hypnotic. The sound is classic, yet refreshingly
"It's a different album," says drummer and
primary recording engineer Cody Tarbell. "But we never have wanted to
find a particular sound or any one thing and be attached to it
permanently. A big part of our records is experimenting." The Visalia,
CA band -- Daniel Rice (vocals, guitar), David Kent (guitar), Hayden
Doyel (bass), and Cody Tarbell (drums) -- has recorded all of their
albums on reel-to-reel at Tarbell's home studio in a cornfield. This
affords them the time to experiment getting sounds, while maintaining
focus on the most important notion that performance is key. As with
previous albums, recording was pretty immediate, tracked between January
15th and the beginning of February 2016 to 16-track tape and mixed to
Equally as ambitious as the
band's self-sufficient production is the sprawling lyrical theme to the
album. Thematically picking up where the Slow Season's previous full
length Mountains left off, Westing tackles some heady issues.
follows a loose narrative about our nation's loss of innocence as it
explores its frontiers," vocalist Daniel Rice explains.
"Re-contextualized in a story about an unnamed protagonist faced with
choosing between different ideological allegiances and his own social
identity." From song to song, the album follows what Rice explains as,
"the unholy trinity of greed+power+violence, the injustice wrought from
this, persisting in willful ignorance, and reaping what is sown." A deep
conceptual arc, for sure, and one that adds further weight to the Slow
Album opener "Y'Wanna" erupts
from the speakers as if the band couldn't even wait for the tape to
start recording. it's a full-throttle rocker reminiscent of Zep's
"Immigrant Song" with sly reference to "Four Sticks", all groove and
pummel. "Flag" keeps things rolling along with its bouncing, stop-n-go
guitar riff. The 6/8-time blues sway of "The Jackal" echoes early
Sabbath malefic boogie, while "Saurekonig" is a cavernous and volcanic
mass driven by huge drums, ringing slide guitar and ominous drone.
"Damascus" is a rollicking anthem driven by Tarbell's syncopated
hi-hat/snare interplay and Rice's explosive wail proving just how much
of a dynamic powerhouse Slow Season has become. Throughout, Westing is a smart and snarling rocker that sounds like rock 'n' roll records should: massive, infectious and inviting repeat listens.
Westing will be available on LP, CD and download via RidingEasy Records on July 15th, 2016. Pre-orders include a free immediate download of the first two singles and are available HERE.
Artist: Slow Season Album: Westing Label: RidingEasy Records Release Date: July 8th, 2016
mighty TRUCKFIGHTERS' own label, Fuzzorama Records, and Century Media
Records team up to floor the gas and fuzz pedal. The Örebro, Sweden
based band was formed in 2001 by Oskar "Ozo" Cedermalm (vocals &
bass) and Niklas "Dango" Källgren (guitar). Since that time, they have
released four studio albums and several more releases through their own
label Fuzzorama Records - including the 2011 DVD documentary
(Fuzzomentary) featuring guests such as Josh Homme (Queens Of The Stone
Age) and more friends from bands Kyuss, Fu Manchu, Witchcraft,
Graveyard and more.
to Century Media Records is like kicking in the fuzz pedal with all
knobs turned to 11 - maximum energy, maximum output and totally out of
control!", comments the band.
The new album "V" will be released worldwide through Fuzzorama in cooperation with Century Media Records on September 30th, 2016.
To celebrate the band's 15th anniversary and nearly 700 shows around
the world, we've created a new website which allows fans to mark a
TRUCKFIGHTERS show they have attended in the past. All gig dates and the
names of the fans who sign in and mark their show will be printed in
the special edition of the album. To join in and find more info please
head over to http://truckfighters.centurymedia.com.
after the album release, the TRUCKFIGHTERS will hit the road again to
play an extensive European tour. Exact tour dates and further plans to
play the rest of the world will be announced soon. Expect something
big. Super fuzz big!
release yet another music video, "Descending Sun (Unrootables
White), from their newly released 2nd album "Cold Winds". The video is
worldwide premiered over at Rock Hard (DE) today!
Go to video -->> CLICK HERE
Comments by the band: "We are all depending on the presence of our sun. All our lives are
affected by it. We all need it to be able to live our lives the way we
do today and if the sun was to move further from or closer to the earth
we would all die instantly.
The video itself is a reflection of our own personal interests, a
tribute to all our friends and the heaviest MC club in the world:
Please, use links below to get the album on CD, LP, download, streaming
or visit us and Hypnos on social media, etc. Thank you for your support!
Have a pleasant week.
After their 2013 horror-movie inspired "Arcane" gave the creeps to the masses, French heavy rock five-piece LOS DISIDENTES DEL SUCIO MOTEL are backwith their third album "Human Collapse", a humanist post-apocalyptic manifesto coming out this September on Ripple Music.
Listen to LDDSM's epic new song "Departure" via The Obelisk
LDDSM enlighten us on the story behind this new album: "Human
Collapse" is a concept album based on the anticipation of a social
phenomenon: the end of the world caused by the only human action.
Throughout these ten tracks, we follow an ordinary man, an immigrant
dreaming of a better life like millions of others. As one of the first
victims of this economic downfall, he decides to return to his homeland.
His sister is the only family he has left, living there with her
husband and kids, so he decides to leave everything behind in order to
find them and start a new life. During this journey, he will be
confronted with the complex and sometimes mad aspects of human nature,
but he may also glimpse a ray of hope... "Human Collapse" will make you
travel in your mind and give a new perspective on how experiencing chaos
can make you give up on your beliefs, principles and education. Become
another to survive. "Departure" elates the first step of this man's
journey, his state of mind and what made him take the plunge and decide
to never come back.”
"Human Collapse" is LOS DISIDENTES DEL SUCIO MOTEL's third full-length. It was recorded at
Cube Studio in Besançon, mixed by Kurt Ballou at Godcity Studio and
mastered by Alan Douches. The album artwork is a combination of
portraits of the five band members taken and edited by Bartosch
LOS DISIDENTES DEL SUCIO MOTEL "Human Collapse"
Out September 9th on Ripple Music // Pre-sale available HERE
1. 7PM Choice
10. 5PM Arrival
A unique name for a unique band. Following
up on their two previous albums and confirming their undeniable talent
for writing thrilling cinema-inspired music - action movies with
"Soundtrack From The Motion Picture" (Deadlight Ent. 2011) and Z movies
with "Arcane" (Deadlight Entertainment/Hell Prod 2013) - French heavy
five-piece LOS DISIDENTES DEL SUCIO MOTEL
sign their third full-length "Human Collapse" on Ripple Music,
depicting a dystopian future inspired by the social and environmental
crises our society has been going through these past decades.
at Cube Studio in Besançon, mixed by Kurt Ballou (Converge) at Godcity
Studio and mastered by Alan Douches (West West Side Music), this new
chapter in the LOS DISIDENTES DEL SUCIO MOTEL story is
once again deeply rooted in heavy rock, a 10-track manifesto driven by
the band's powerful vocal duo and mature orchestration.
LDDSM are now set to present "Human Collapse"
on stage, an overall experience that will be enhanced by the visual work
of 128db Collective, depicting the main character's wandering in a
post-apocalyptic world after a full societal collapse.
When I was a kid, growing up in a house with Cat
Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard
Kiss's "Detroit Rock City," it was a moment of musical epiphany. It
was just so vicious, aggressive and mean. It changed the way I listened to
music. I've had a few minor epiphanies since then, when you come across a band
that just brings something new and revolutionary to your ears.
What have been your musical epiphany moments?
I guess there were a few and they still come every once in a while. It was some
kind of an epiphany to watch and listen to Led Zeppelin’s live DVD at Madison
Square Garden, especially when you watch it with friends and you just know
they’re feeling the same staggering experience as you do. Then again, most Pink
Floyd albums are totally immersive. If I listen to them when still dozing, they
stimulate the sleepy part of my brain subconsciously while at the same time
address what’s already awake somehow. I always have a kind of double-feeling
when experiencing good art, though it does not need to be of this sleepy/awake
opposition type. Not the last epiphany I had but the one I remember best was
while listening to CCR. It’s not that I listened to them for the first time,
actually I already listened to them for quite a while, but I just realized in
how much joy I am when listening to them. Just heart-warming to me.
Max: When I was fifteen, I saw the Eagles Of Death Metal play live in Hamburg.
It was the first concert I consciously remember having made the decision to go
to on my own. My dad came along but he purposely stayed behind and let me do
the rocking right in the front row. The place was absolutely on fire. During
the last song, the crowd stormed the stage. I remember playing air guitar back
to back with Jesse Hughes. That night I lost my soul to Rock ‘n’ Roll.
Talk to us about the song-writing process for you.
What comes first, the idea? A riff? The lyrics? How does it all fall into
We don’t have a formula. Sometimes it is a riff, otherwhiles it is an
unexpected part in a jam. Sometimes we just want to do something like this or
that, adapt it and make it even better. Everybody contributes to the
composition and we’re done if it just feels right for everyone.
Sometimes I’ll just wake up with a random line in my head, melody included.
I’ll sing it in the shower and I pretty much have an idea on what the song is
about and what it’s going to be like. That’s the easy scenario. Most of the
time though, someone will just bring along a riff to band practice and if the
jam kicks ass, we draft an instrumental blueprint. Lyrics on top and *poof*
-done. On second thought: both cases
are the easy scenario. We’re smooth like that.
Who has influenced you the most?
Personally? It’s almost become a band joke by now, but I’m gonna have to go
with Neil Fallon from Clutch.
Everything of QotSA which I’d like to label ‘Strange Rock’
Where do you look for continuing inspiration? New
ideas, new motivation?
I once was told by someone from the creative industries that the greatest ideas
come from mixing 90% trash and 10% of but the highest culture. That person was
a dick to be honest, but the formula works like a charm and I hold that
statement dear to this day. I also recently started making a habit of digging
into literature that’s not classically popular in Western culture. I’ve always
been a huge fan of Greek mythology for example – but then again that’s quite
the go-to place for a lot of lyricists. I’m not trying to reinvent the wheel
though. I just think it’s important to consider as many different perspectives
as possible. Some of my latest reads include Journey To The West by Wu Cheng En
(demons, Fuck Yeah!), The Gilgamesh Epic (Sumerians, Fuck Yeah!), and currently
Down There by Huysmans (more demons, Fuck Yeah!). Honestly though: Try to check
out something different every once in a while - and apart from that just do
whatever gets your juices flowing.
I’m always on the hunt for new music and even concerning the 60s and 70s
there’s still so much good stuff yet undiscovered to me. That’s also the cool
thing about the current stoner rock scene. There is just so much good music.
Everywhere. I guess it is a motivation to contribute to this fact while
maintaining your own distinctive style.
We're all a product of our environment. Tell us about
the band's hometown and how that reflects in the music?
I think we as humans are in some way a product of our environment, but I would
deny that this holds for me as a music lover and let alone as a musician. Music
transcends places and your local environment. I’d say there is not much about
our hometown in our music. It might be the other way round, just as a friend of
us once said, we bring the desert to the city, wherever we are, create our own musical
home, so we kind of have the vibes in us.
I pretty much agree. Cologne’s a lovely city, but none of us are hugely
patriotic about our hometown as a band. While I always loved living in a big
city, I think the whole Stoner / Desert thing draws its archaic energy from
vast open plains and skies rather than the urban landscape and that’s what
we’re trying to capture. (Good job, Captain Obvious).
Where'd the band name come from?
Just as some fight trucks, we ride plains. It also makes for good chants.
What he said.
You have one chance; what movie are you going to write
the soundtrack for?
The R-rated version of Firefly.
Probably whatever abomination a Coen brothers / Tarantino / Jack Black foursome
would give birth to.
You now write for a music publication (The Ripple
Effect?). You're going to write a 1,000-word essay on one song. Which
would it be and why?
Clutch – Burning Beard. Still trying to figure that fucker out.
Generation X – Dancing with myself. Cause it’s all you do anyhow.
Come on, share with us a couple of your great, Spinal
Tap, rock and roll moments?
Fabe once fell asleep on a smoke machine. No one noticed.
That one time we had to make our way to the Black Sunset Festival after playing
a show earlier that night. It must’ve been around 11pm or something. First, we
took off in the wrong direction because there were like three different towns
with the same name in that area. When we noticed about 50km in and tried to
turn around, the thickest fog I’ve ever seen just rolled down the hills and
reduced our sight radius to what, 20 feet or something? Meanwhile, our driver
(I’m not gonna name names here, Fabe, no worries) slowly started to notice the
4-5 beers from earlier as I was mountaineering on the gear stacks in the back
of our (borrowed!) van, desperately trying to keep the windows clear. That was
pretty Spinal-Tappy I guess. Also there was this Fabe thing on the ride to
Munich… Not sure whether I can tell that one just yet though. Anyhow. Come to
think of it: All things bullshit necessarily involve at least one Fabe.
Tell us about playing live and the live experience for
you and for your fans?
Well, we’re certainly having a blast hanging out together pretty much all the
time – especially when we get to play live shows. I hope we can convey that to
our fans as well. Sweat and beer are necessities. If we’re not soaked in both
after the show, we didn’t do the job right.
What makes a great song?
Tell us about the first song you ever wrote?
Leo: We are still working on our first song. But it’s classified.
What piece of your music are particularly proud of?
whatever I wrote last. Except if it’s shit. Then it’s probably the one before
that. Repeat until particularly proud.
Who today, writes great songs? Who just kicks your
I’m not saying it’s Clutch... But it’s Clutch.
performance, studio albums, songwriting, grooves, riffs, attitude, LYRICS,
these assholes have it all! Needless to say there’s tons of other awesome
artists out there: The Company Band, The Bakerton Group… Just kidding (see what
I did there?). Reignwolf, Crobot, Planet Of Zeus, 1000mods, Stone Rider,
Nightstalker, Rival Sons, Truckfighters, Deep Aeon, Phiasco... Damn, Monster
Magnet still put out great shit too. Way too many to list them all.
Vinyl, CD, or digital? What's your format of choice?
Digital on the go, CDs for touring, and Vinyl at home. Full disclosure though:
I don’t have a record player in my apartment at the moment. Mea culpa. Workin’
Whiskey or beer? And defend your choice
First night beer, second whiskey so you can still get drunk.
One bourbon, One scotch, One beer.
We, at the Ripple Effect, are constantly looking for
new music. What's your home town, and when we get there, what's the best record
store to lose ourselves in?
The Underdog Record Store has lots of good shit.
What's next for the band?
Writing our second album.
Really? Pretty sure it was world domination. You sure it’s not world
domination? Welp. Guess we’re writing an album then.
Any final comments or thoughts you'd like to share
with our readers, the waveriders?
say it couldn’t, or shouldn’t, be done. How could Gong exist without
Daevid Allen? A few minutes into listening to the title track of their
brand new album aspersions will be cast aside. This is undeniably Gong.
Gong have had many, many line-ups. Formed when Australian beatnik/freak
Daevid Allen quit The Soft Machine and moved to France at the tail end
of the ’60s, before debuting in 1970 with Magick Brother, the
band have remained fluid, even playing without their founder from the
mid-to-late ’70s, fracturing and reassembling and constantly taking on
new shapes and forms: an undeniably amorphous unit. David Bowie told Vanity Fayre in 2003 that Daevid Allen’s Banana Moon
is one of his favourite albums, and today everyone from indie artists
Temples and Ty Segall to hip hop artist Madlib and techno DJ Surgeon are
inspired, and borrow, from Gong’s music and ideology. The funky grooves, avant-garde
flourishes and counter-cultural stance is timeless. So timeless that
Gong fully exists even without their creator and guiding light. For
those who are unaware, Daevid Allen died in March 2015.
“I have been co-presenting The Interesting Alternative Show with Steve
Davis for the last six years or so,” begins the story of how Gong’s new
singer/guitarist Kavus Torabi met Daevid. “In 2011, Steve rang up
excitedly saying ‘You'll never guess who we've got as a guest next
week... Daevid Allen.’ I couldn't believe what I was hearing. I'd met
Daevid briefly a couple of times with Tim Smith [Cardiacs] but never
properly. As a lifelong Gong lover, this filled me with
delight. Straight away the two of us seemed to really click, within
minutes the conversation had taken a turn for the absurd and I was more
than a little flattered when he told me, after about an hour, ‘You're a
poet man, I can tell.’
How Kavus met Daevid.
The Interesting Alternative Radio show interview
Click the above image to play
the forthcoming months we would text each other on a fairly regular
basis, whenever Daevid was in town playing a gig he'd get in touch to
see if I wanted to come along. ‘I've been thinking about this a lot,’ he
told me, ‘Do you want to play guitar in Gong?’ This came somewhat out
of the blue. ‘But you've never actually heard me play, Daevid’ I told
him. ‘I don't need to,’ he replied. ‘I felt the same way about Mike
Howlett when I met him too and I'm never wrong about this stuff.’ Of
course I said ‘Yes’ instantly. ‘You know, I can't play like Steve
Hillage,’ I told him. His response was priceless, ‘I don't care about
what you can't do, I care about what you can do.’
“Since being a teenager, I have often come up with riffs that, while I
loved them, had to be shelved because I always felt they sounded a little TOO much like Gong.
One of which I started playing. Daevid got up and started improvising
lyrics and melodies over the top, his beautiful eyes twinkling. This
would become ‘When God Shakes Hands With The Devil (from I See You).’
‘Wow Kav!’ Daevid said afterwards, ‘Got any more like that?’ Realising
that 20 years or so of shelved riffs had not gone to waste, I blurted
out ‘Yeah! Fucking loads!’
Kavus joined Gong in 2014 in time for the last album the “new” band made with Daevid, I See You, unaware
of the direction his new gig as a guitar player would take. “It was
shortly after our Brazilian tour in March 2014 that, following a broken
arm, Daevid told us that he had been diagnosed with cancer and would be
unable to fulfill the 47 date world tour that had been booked to promote
[the album]. To my, and I guess all of our, minds there was no question
that he would beat this thing. The most enlightened and switched on guy
I ever knew, with light shooting out of every pore, he seemed
indomitable. Nonetheless, he started making noises about how he wished
the band to continue without him. I think everyone in the band felt
ambivalent about this, particularly as we watched the majority of the
gigs get cancelled upon news that he was too unwell to fulfill them. I
certainly had no desire to front it. I have my own band Knifeworld in
which I play this role. We did, however, have a new album to promote, so
we reluctantly agreed to play the remaining shows and bow out
gracefully after that. Each night we sent Daevid recordings or links to
YouTube footage and, from his sick bed in Australia, he wrote gushing
praise about what had happened to the band and how this was exactly what
he had hoped. By the end of the tour and with the full blessing of
Daevid we decided to carry on.
“Rejoice! I'm Dead! came together over several weeks in an East
London rehearsal studio. In terms of the writing, the songs became very
elastic, what may have been brought to the band as a fixed idea,
through experimenting, discarding, expanding and mutating evolved into
the songs as you hear them now. Every member was key in the development
of each song,” closes Kavus. Thus, Kavus (vocals/guitar), Fabio Golfetti
(guitar/vocals), Dave Sturt (bass/vocals), Ian East (sax/flute) and
Cheb Nettles (drums/vocals) took on the mantle of steering the Teapot
further into outer space and the inner ear.
On the album you’ll also notice the voice of Daevid in an early song
idea rehearsal, along with Gong alumni Steve Hillage, Didier Malherbe
and Graham Clark. Fans of the “Virgin trilogy” won’t be let down!
In the words of bassist Dave Sturt: “You bet it's a fucking Gong record!”
It depends on your knowledge of Gong history and what constitutes as a Gong record, but if Rejoice! I'm Dead! is classified as their 28th album the Gong legacy is the strongest it has been since 1974. Consider the differences between Angel’s Egg, Gazeuse!, Floating Anarchy and I See You,
the various splinter projects and collectives… what is it that make
Gong who they are? Their spontaneity and numerous Phoenix-like rebirths –
this is just the latest installment. Nothing more, nothing less. New
members and old coalesce, the sound unmistakably Gong.
Even without Daevid Allen Gong will continue.
And long may it do so.
Rejoice! I’m Dead! will
be released on CD, a double LP and as a limited edition deluxe 3 disc
hardback book edition featuring 44-page book, CD, DVD-AV & Bonus CD
and is available to preorder here
all that humankind has inherited through our ancestry, no single
language has transcended every age as powerfully as music. For thirty
years, NEUROSIS has formed an unbreakable union, channeling that
inheritance of sound with great command and authority. Showing their
discontent with convention from the very beginning, NEUROSIS
revealed what would become an instinct for transformation in sound and
scope. Their sound has become interchangeable with vision of the
conscious and unconscious, coexisting in an infinite audial spectrum. A
vision that challenged not only the constraints of what listeners, and
indeed the band themselves expected, but of themselves as beings. Going
beyond the remarkable, NEUROSIS has become unforgettable.
journey of their music has found the band relishing the unpredictable,
embracing the unknown and exploring the possibility of where the music
was capable of taking them. This year finds NEUROSIS taking a dominant leap with their eleventh full-length, Fires Within Fires. Three decades in the making, and following 2012's Honor Found In Decay, the album is a testament both to the history and future of NEUROSIS. In true Ouroborean style, Fires Within Fires
gives due to its predecessors while progressing forward into the
unfamiliar and formidable. Striking the band's signature balance between
light and dark, beauty and repulsion, dense sonic heaviness and
reflective space. Fires Within Fires is succinct, raw and deeply
soulful, an all-encompassing reminder to all that transfiguration in
sound remains their most commanding and inimitable strength.
Created by Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson, Fires Within Fires
features exquisite album artwork from the renowned Thomas Hooper, and
the stellar recording work of the group's longstanding engineer Steve
Albini. The artwork and track listing for the album have this week been
Fires Within Fires Track Listing:
1. Bending Light
2. A Shadow Memory
3. Fire is the End Lesson
4. Broken Ground
Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of "becoming" for NEUROSIS.
Neurot Recordings will release Fires Within Fires on September 23rd worldwide; audio samples, preorders, and further information on the album will be available very soon.
NEUROSIS will perform across Europe over the Summer months preceding the release of Fires Within Fires, and in addition, Steve Von Till has recently confirmed several European Summer performances as well.
NEUROSIS Tour Dates:
8/10/2016 Brutal Assault Festival - Jaromer, CZ [tickets] 8/11/2016 Festa Radio Onda D'Urto - Brescia, IT [tickets] 8/12/2016 Rock Altitude Festival - Le Locle, CH w/ Tesa [tickets] 8/13/2016 Oya Festival - Oslo, NO [tickets] 8/14/2016 Arena - Vienna, AT w/ Ufomammut, Tesa [tickets] 8/15/2016 UT Connewitz - Leipzig, DE w/ Tesa [tickets] 8/16/2016 Gruenspan - Hamburg, DE w/ Tesa [tickets] 8/17/2016 Patronaat - Haarlem, NL w/ Tesa [tickets] 8/18/2016 Pukkelpop Festival - Hasselt, BE [tickets] 8/19/2016 Substage - Karlsruhe, DE w/ Tesa [tickets] 8/20/2016 Motocultor Festival - St. Nolff, FR [tickets] 8/21/2016 Amplifest - Porto, PT w/ Tesa [tickets]