Doomstress Southeastern Tour Starts This Week; Playing Slaughter Que and More

Posted in Whathaveyou on September 17th, 2019 by JJ Koczan

doomstress

As you can see on the list of dates below, it’s a well-tagged tour upon which Doomstress will embark later this week, heading out from their home in Houston, Texas, in order to make a stop in Atlanta for the Slaughter Que festival, where they’ll join the very metal likes of Exhorder, Exodus, Kataklysm, Krisiun and copious others whose names either do or don’t begin with the letters ‘e’ and ‘k.’ I believe that in itself is enough to qualify as “metal AF” in social media parlance, but it’s not at all the only show Domstress have lined up, as they’ll make two stops in Louisiana beforehand and hit North Carolina, Florida and Mississippi before they’re done.

Over the last couple years, Doomstress have mastered this method of getting out for a week or so and carving up the US by region, hitting this or that part of the country on kind of a longform overarching tour. All the better for them to do so now that they have their 2019 debut album, Sleep Among the Dead (review here), out on Ripple Music and DHU Records to support.

You’ve heard it, I know, but you can stream the album at the bottom of this post just in case, and tell your friends to go see Doomstress even if you’re not somewhere they’ll be. You have friends everywhere, even if you don’t know it.

Dates follow:

doomstress coastal slaughter tour

Texas metal rockers Doomstress just back from 2 recent northern tours based around Ohio Doomed & Stoned Fest (Canton, OH) and Ancient Futures Fest (Madison, WI) prepare to embark on a southeastern run to play Slaughter-Que Fest in Atlanta, GA on September 21st w/ Exodus, Kataklysm, Battlecross, Exhorder, Hatchet and many more!

Doomstress returns to Atlanta GA September 21st for SlaughterQue Fest at Masquerade ATL.

Doomstress recently released their debut full length record “Sleep Among the Dead” in May on Ripple Music and DHU Records.

9/19 Lafayette LA @freetown_boomboomroom w/@sexlord_band_official & @high_horse_band
9/20 New Orleans LA @goatneworleans w/@nolapious & #Smoke
9/21 Atlanta GA @masquerade_atl #SlaughterQue Fest w/@exodusbandofficial @exhordernola @kataklysmband @battlecrossmetal @hatchet_official @krisiun & more
9/23 Raleigh NC @slims_tagrams w/@kultikon & @doomsday_profit
9/26 Jacksonville FL @jackrabbitslive w/@luna_cruise_music & #deadscrolls
9/27 Tampa FL @brassmugnights w/@beerwolfsucks &
9/28 Hattiesburg MS @ #MoMos w/#AstroTrain & #WitchDance

Doomstress is:
Doomstress Alexis – Bass/Vocals
Brandon Johnson – Guitar
Matt Taylor – Guitar
Tomasz Scull – Drums

www.doomstress.com
www.doomstress.bandcamp.com
www.doomstress.bigcartel.com
https://www.facebook.com/DoomstressBand/
instagram.com/Doomstress_band
www.darkhedonisticunion.bigcartel.com
https://www.facebook.com/DHURecords/
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https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Doomstress, Sleep Among the Dead (2019)

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Fire Down Below Premiere “Saviour of Man” Live Video

Posted in Bootleg Theater on September 11th, 2019 by JJ Koczan

fire down below

Why, it was only one month ago today that Belgian heavy rock four-piece Fire Down Below took the stage in West Flanders at the Alcatraz Festival, and I know we live in an age of insta-nt bootleggery and all that, but to have a pro-shot and edited live video done in a couple weeks and ready to post is pretty killer. “Saviour of Man” comes from the Ghent-based outfit’s 2018 sophomore album, Hymn of the Cosmic Man (review here), which came out on Ripple Music, and for those of us who don’t get the chance to pop over the Belgium for shows, the clip provides a cool opportunity to see what Fire Down Below are all about when it comes to what they do on stage. In the case of drummer Sam Nuytens particularly, they’re about having a badass Monster Magnet t-shirt (Euro merch, man), but as regards his work and that of the band surrounding, think the uptempo kick of earlier Red Fang with Kyuss-style brashness and you won’t be far off.

While a host of big names took stage at Alcatraz this year — suspects like OpethMeshuggahVoivodAmenra, etc. — Fire Down Below shared a space in ‘La Morgue’ with compatriot outfits in The SpiritGlowsunWolvennest and Cowboys & Aliens, keeping killer company as they brought an energetic burst to the proceedings. Like much of the album from which it comes, “Saviour of Man” is a pretty straightforward affair, but its hook and drive demand little by way of flourish, standing their ground instead based on their sheer quality of craft. That is to say, you’re not gonna hear it and think something’s missing, and especially in the live setting as they are here, it’s clear to see that engaging an audience from the stage is where Fire Down Below‘s heart lies. How could it not? What’s better than that?

Speaking of, Fire Down Below have a few killer gigs booked for this Fall, including dates with Valley of the Sun and Gozu and a stop at Desertfest Belgium, where they’ll also join a selection of some of the country’s finest underground acts. Those dates are listed on the banner which you’ll find under the video itself, which of course follows here. I’m sure you’ve already clicked play, and rightly so.

Either way, please enjoy:

Fire Down Below, “Saviour of Man” live at Alcatraz Festival

fire down below fall shows

Fire Down Below on “Saviour of Man”:

We had the opportunity to play this gig at Alcatraz Hard Rock and Metal festival, one of Belgium’s biggest festivals for headbangers and devil worshippers. This year they installed a new stage, called La Morgue, reserved for some of the best underground bands in the country. We were extremely happy to be part of this great initiative and we had a blast on stage, as we hope you can tell from this video.

Fire Down Below live at Alcatraz festival in Kortrijk, 11 August 2019, playing Saviour Of Man from the album Hymn Of The Cosmic Man.
Recorded and edited by Lars Grote Audio.

Fire Down Below is:
Jeroen Van Troyen – guitar and vocals
Kevin Gernaey – guitar
Sam Nuytens – drums
Bert Wynsberghe – bass

Fire Down Below, Hymn of the Cosmic Man (2018)

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Fire Down Below on Instagram

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War Cloud Announce ‘State of Shock’ European Tour Dates

Posted in Whathaveyou on August 29th, 2019 by JJ Koczan

Well, it’s been all of one day since I posted about War Cloud being added to Ripplefest UK in London next month, but the news that they’ll wrap that in as part of a stint of UK/European shows definitely seems worth highlighting. Of particular note, it means that the Oakland, CA, heavy classic metallers — as opposed to classic heavy metallers, and yes, there’s a difference — won’t be in the country when their new album, State of Shock, is released on Sept. 27. In fact they’re in Pavia, Italy, that night, for the penultimate show of the tour. One assumes a hometown release show will happen sooner or later, but in the meantime, I’m sure they’ll make due with kicking ass across Europe for a month ahead of the LP coming out. Doesn’t sound too bad, frankly.

The route looks like this:

war cloud tour

War Cloud – State of Shock: Europe

Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).

Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.

9/7 Milan, IT – Motoraduno Guzzi
9/8 Vercelli, IT – Officine Sonore
9/11 Toulouse, FR – L’Usine a Musique
9/14 Dresden, DE – Eichenkranz
9/17 Erfurt, DE – Cafe Tikolor
9/19 Nottingham, UK – Old Salutation Inn
9/21 London, UK – Black Heart (Ripplefest UK)
9/22 Lille, FR – Le Midland
9/24 Cologne, DE – Sonic Ballroom
9/26 Bellinzona, CH – The Pit
9/27 Pavia, IT – Dagda
9/28 Vigone, IT – Positive Music
More dates to be announced!

WAR CLOUD:
Alex Wein – Vocals/Guitar
Nick Burks – Guitar
Joaquin Ridgell – Drums
Taylor Roach – Bass

http://facebook.com/WarCloudisComing
http://warcloudiscoming.bandcamp.com/
http://warcloud.bigcartel.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

War Cloud, State of Shock (2019)

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Ripple Music Announces Ripplefest UK with Stubb, War Cloud, Trippy Wicked and More

Posted in Whathaveyou on August 28th, 2019 by JJ Koczan

ripple music logo

Ripple Music is throwing a party in London, with Stubb, Trippy Wicked and the Cosmic Children of the Knight, Plainride, War Cloud and Psychlona playing at The Black Heart in Camden Town on Sept. 21. I don’t know about you, but that sounds frickin’ awesome to me, so yeah, kudos to the label and the venue for putting this one together. And hey, Matt Bacon gets to go, I assume as an ambassador as well as a DJ, which is fair. Having been fortunate enough in the past to see Stubb and Trippy Wicked play live, and also knowing Stubb‘s longtime Ripple association, both acts are rightly included — you’ll have to forgive me for thinking whatever Trippy Wicked does next will at least get a hard look from Ripple in terms of consideration — and with War Cloud also making the trip from California to play, the Black Heart crowd are still getting a show they maybe haven’t seen before. Mark it a win all around.

Here’s news via the PR wire:

ripplefest uk

Ripple Music announce RIPPLEFEST UK in London this September!

RIPPLEFEST takeover London on September 21st with War Cloud, Stubb, Plainride, Trippy Wicked and Psychlona

Ripple Music in collaboration with Desertscene London has put together the inaugural edition of RIPPLEFEST UK with Stubb, War Cloud, Trippy Wicked, Plainride, and Psychlona, taking place on September 21st at The Black Heart in Camden.

RIPPLEFEST UK
21st September 2019
The Black Heart
Camden Town – LONDON
Tickets // Facebook event

Featuring five heavy hitters from the Ripple roster emerging out of both the UK and beyond, the night will also feature DJ sets from Atom Heart Mutha (Geoff Leppard) and DJ Lil Rasher (Matt Bacon). The night will see performances from German riff warriors Plainride, Bradford fuzz freaks Psychlona, hard hitting War Cloud all the way from California, locals Trippy Wicked bringing on the London fury and of course Stubb closing things out with their trademark stomp.

Taking place at the legendary Black Heart in the historic London neighborhood of Camden this promises to be a stoner rock night to remember!

Label head Todd Severin says: “RippleFests have always proven to be a rockin’ good time and we expect nothing less as we invade London. We’re thrilled to bring our Ripple Family together in the UK and huge thanks to the Desertscene folks to hosting this blowout. Expect a night of pulverizing riffs and fuzzy groove. Hope to see you there!”

California-based Ripple Music is widely regarded as one of the world’s leading purveyors of Heavy Psych, Stoner, Doom, and Heavy Rock.

https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Stubb, Cry of the Ocean (2014)

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Zed, Volume: The Other Kind

Posted in Reviews on August 23rd, 2019 by JJ Koczan

zed volume

Zed‘s vision of rock and roll is not polite. It is not about accommodation. It’s the kind of rock and roll that drinks both your beer and its own, is loud, goes late, and damns tomorrow because it had already damned today first. It’s the kind of rock and roll that might put a large black rooster on its album cover and let the dick joke make itself. It is, as they might put it on their latest offering, “The Other Kind.” Volume is the fourth full-length from the San Jose, California, four-piece, and sees their edge undiminished in their decade-plus tenure. As their alliance with Ripple Music enters its third release, with the label having stood behind 2016’s Trouble in Eden (review here) and a reissue earlier this year of 2013’s Desperation Blues (discussed here), it results in a collection running 10 tracks and 48 minutes of aggressively executed straightforward heavy rock with a broad foundation in punk, metal and classic rock; the amalgam well familiar to those who’ve followed Zed over their years.

In that regard, what ultimately distinguishes Volume is the clarity with which it is delivered. The band’s lineup — guitarist/vocalist Peter Sattari, bassist Mark Aceves, guitarist Greg Lopez and drummer Sean Boyles — has never sounded so firm in their purpose, and while their songwriting acumen has always been central to their style, the material here feels tighter and even more purposeful than that of Trouble in Eden, and the energy in the band’s performance has never been so effectively captured. Credit at least in part for that needs to go to engineer Tim Narducci (also of The Watchers), with whom the band worked on part of the recording last time around as well as on Desperation Blues — their 2010 debut, The Invitation, was self-recorded — and who obviously gets what they’re going for. It’s right there in the name of the album: Volume. Zed are not trying to convey some grand concept in their sound unless that grand concept might be the largesse of their sound itself, and thus Volume becomes its own celebration of that intangible thing that rock and roll has celebrated since its first hijacked blues riff — a vitality that simply can’t be heard at anything less than a shout.

Broken neatly in half with a longer cut closing each side, Volume might also be stating itself as a recommendation to the audience, though I’m not certain that with Zed that really needs to be stated at this point. How else would one take on tracks like “The Other Kind,” “The End” or the shreddy side B highlight “The Great Destroyer” but as loud as possible? The choruses of the slowed-down “Wings of the Angel,” the side B leadoff “Chingus” (video posted here), and “Hollow Men,” on which Boyles seems to give his cymbals an extra-cruel beating, are certainly standouts, and even as “Wings of the Angel” or “Poison Tree” pull back on pace as compared to the thrust of “The Other Kind” or “The Great Destroyer,” there’s no letup in terms of efficiency in their craft.

zed

“Poison Tree” is perhaps the catchiest of the bunch, which is no easy feat considering its surroundings, and as Zed expand the palette with some B3 on the penultimate “Time and Space” courtesy of Brad Barth, their central mission of song-driven, riff-led heavy remains steady through the extra flourish en route to the closer “The Troubadour,” which is the longest inclusion on Volume at 6:31 and finds the band taking more chances in terms of melody, layering vocals for a chorus effect to go with Sattari in a fashion that is every bit worthy of finishing out the record even though it runs counter to the harder-edged approach heard earlier. Airy leads and a legitimately soaring chorus add atmosphere to the finale that one wouldn’t necessarily guess Zed would be interested in harnessing, but is only more welcome for that. Even “The Mountain,” from Trouble in Eden, which tapped into some similar ideas in the guitar, didn’t dare go so far as the vocals, and a greater focus on melody only suits the song itself, which, given how much of Zed‘s approach — again — is about the songs, makes Volume stronger on the whole.

Signal of a new direction for Zed? Probably not, and I say that not because I think Zed are creatively stagnant — far from it, given the efforts they take to refine their songwriting here, though they might bristle at calling anything they do “refined” — but because they don’t sound like a band who are interested in fixing what clearly isn’t broken in their sound. “The End” has a less throaty vocal in its initial verse as well, and it may be that their dynamic is expanding, but if it’s going to happen, Zed seem to be conscious enough to let it happen in an unforced way. Because while their overall affect is loud, clear and full, both recorded and on stage, they don’t do anything that feels unnatural in either side. They’re not going to seek out vintage equipment to record on or spend tens of thousands of dollars on this or that mixing board, and they’re not going to find some overly slick digital cut and paste method for putting riffs together.

They’re a songwriting and performance band, and that’s what you get on Volume. You get songwriting, you get performance. Sure, they’ve grown in the three years since Trouble in Eden — though they’re not so mature as to, say, not make a dick joke on their album cover — but the core of Zed remains unchanged, and it seems more likely than not that that’s how it will be for the duration. Zed were not inexperienced in bands when they formed, and as a group who knew what they wanted going in, they’ve been walking their path steadily ever since. What’s truly impressive about that is not just that they’ve brought this mission to bear in the memorable tracks of Volume, but that there’s that accompanying performance aspect. In payoffs for “Wings of an Angel,” or “Chingus” or “The Great Destroyer” — take your pick, really — they harness not just a live energy, but the energy of a band confident in the righteousness of their voluminous cause. And so they are.

Zed, Volume (2019)

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Zed website

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Stew Premiere “Endless Journey”; Debut Album People out Oct. 11

Posted in audiObelisk, Whathaveyou on August 19th, 2019 by JJ Koczan

stew

Ripple Music welcome Swedish trio Stew for the Oct. 11 release of the band’s debut album, People. The album follows a 2018 EP, Hot, and the announcement comes coupled with the unveiling of “Endless Journey,” which you can hear premiering at the bottom of this post. Its easy-rolling groove is palpable, as well as a post-Zeppelin approach to guitar strumming, vocal push and foundational rhythmic bombast in the drums. Still, “Endless Journey” is nothing if it’s not a heavy ’10s nodder, as the break to organ before the resurgence of its central riff demonstrates, the song not even over before the structure has imprinted itself on the mind of the listener. I haven’t heard the full record yet, but as teasers go, “Endless Journey” gets the job done easily when it comes to piquing interest, as of course I hope you’ll agree.

Stew recorded the album this past February in live fashion, and I think that energy comes through in “Endless Journey,” so I’ll expect no less from the entirety of People when it arrives. These cats seem to have a pretty solid grasp on a classic sound and how to make it work in a modern context. Take a couple minutes and hear for yourself.

Here’s the album announcement:

stew people

70’s blues rockers STEW unveil first single and details for upcoming album “People”, out October 11th on Ripple Music.

Lindesberg’s hard blues trio STEW successfully surf the pioneering era of rock’n’roll with their debut album “People”, out October 11th on Ripple Music.

Preorder here: https://ripplemusic.bigcartel.com/products?utf8=%E2%9C%93&search=stew+-+people

Markus Åsland’s hot and groovy vocals will lead your way to this promising debut album, which brilliantly explores the blues rock spectrum. Taking its cue from soul, psych and acid rock, and pretty much all the good vibes coming from that an unforgettable era that brought about what we now call cosmic rock. Rory Gallagher and Stevie Ray Vaughan may come to mind when listening to “People”, yet this is no surprise: STEW have brought back a maestria in modern blues that is utterly soulful and filled with irresistible hooks.

STEW comment: “Just like the first EP the whole album is recorded live except from vocals and solos. The recording of the album was finished in nine days at Studio Oktober, Karlskoga with engineer Jonas Ljungkvist. We wanted the album to be a classic rock sounding album like the ones from the 70’s that we love.”

STEW New album “People”
Out October 11th on Ripple Music

TRACK LISTING :
1. Intro
2. Right On Time
3. People
4. Newborn
5. Endless Journey
6. Play The Fool
7. Godless
8. Afraid Of Getting Nowhere
9. Sweet And True
10. Fruits
11. Morning Again

STEW are:
Markus Åsland – Bass & Vocals
Nicklas Jansson – Guitar
Nicklas Dahlgren – Drums

https://www.facebook.com/stewsweden/
https://www.instagram.com/stew_band
https://stew1.bandcamp.com/releases
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https://ripplemusic.bandcamp.com/
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Lightning Born, Lightning Born: Warnings Issued

Posted in Reviews on August 13th, 2019 by JJ Koczan

lightning born self titled

There’s a word for a band like Lightning Born, with a powerhouse singer, powerhouse riffs and a powerhouse rhythm section. Give me a minute, it’ll come to me.

In the meantime, the North Carolinian four-piece’s self-titled debut for Ripple Music willfully obliterates the line between any number of forms of heavy rock and roll, whether it’s classic doom and boogie or straightforward push and nod. The lineup is enviable, with Brenna Leath (The Hell No, also Crystal Spiders) channeling Stevie Nicks and Laura Dolan on songs like “Salvation” and “Out for Blood” while backed by guitarist Erik Sugg (also Demon Eye), bassist/recording engineer Mike Dean (Corrosion of Conformity) and drummer Doza Hawes (Mega Colossus, ex-Hour of 13), and at 11 songs and 51 minutes, their first outing is a substantial undertaking that signals the cues it’s taken from Sabbath Bloody Sabbath-era Black Sabbath in the lead riff of opener “Shifting Winds” and lives up to that standard throughout in both production and songcraft method.

Of course, they by no means limit themselves to that sphere, and broaden the palette in later cuts like “Out for Blood” and “Power Struggle,” or even the shuffle of second track “Renegade,” which recontextualizes the speedier riff from “Into the Void,” they show their will to create something new from their root influences. They seem most comfortable in the mid-paced groove of “Silence” and the semi-Southern blues-burner “Oblivion,” but do right to change up the tempo as they move forward through the material, or even within the songs themselves, as with “Salvation” and the seven-minute finale “Godless,” which caps the generally-more-patient side B with a rousing argument for viewing Lightning Born‘s Lightning Born as a first step en route to future more complex songwriting. I’m inclined to do that — that is to say: debut album is a debut album — but between the fluidity of the songs from one to the next and the reminder the album delivers of the all-important value of craft and performance in the final tally of the listening experience, one could hardly accuse them of merely getting their feet wet. More of a headfirst dive.

And fair enough. I’ll admit, there are few phrases that in my estimation are going to hurt your band less than “Mike Dean on bass,” but one would be remiss not to single out Leath‘s vocals as a defining factor in Lightning Born‘s approach. She toys some with layering, but by and large sticks to a single, stage-ready take that distinguishes itself from the hook of “Shifting Winds” onward as being malleable to the energy level of the song, as “Renegades” and “Wildfire” or the midsection slowdown of “Power Struggle” and the greater sprawl of “Godless” show. She’s forward in the mix, but that ends up feeding the notion of Lightning Born‘s heavy ’70s roots. The band aren’t shy about those anyway, but neither does that seem to have been the impetus behind their creation. I don’t imagine Lightning Born got together and said, “Okay, let’s form a classic rock band.”

lightning born

Rather, their execution is organic enough to make one believe their material is based around what came out of jams among friends, eventually structured into bluesy verses and choruses, bridges, the start-stop softshoe of “You Have Been Warned,” and so on. Whatever the case, they’re certainly in conversation with the 1969-1974 era, but are by no means a retro band looking to simply recreate it. Once again, their material speaks more to their own forward potential than the past glories of others. It’s plain to hear in “Magnetic” as the guitar shimmers in the buildup to the hook and in how the bass and drums lead the subsequent final slowdown, the subtle layering from Leath adding ambience to what on the whole is a strikingly straightforward release. That is, there are some light moments of flourish here and there, but in the fine tradition of “nuthin’ too fancy,” Lightning Born stand tall in a stripped-down sound that doesn’t want for anything in making its intentions known or accomplishing its stylistic goals. It’s all about the songs.

Future releases might find Leath self-harmonizing, or Sugg topping solos with solos and solos, or even Hawes and Dean employing some manner of studio-based whatnot into their methods, but Lightning Born‘s first LP holds to a strikingly natural ethic. If you told me “Power Struggle” was recorded live, with the four of them in a room — or maybe Leath in a booth for isolation — I’d believe it. And that feel pervades throughout the entire record, ultimately proving central to its purpose, because while the members of Lightning Born aren’t strangers to the act of being in a group creating music, that’s clearly the spirit in which they’re most looking to revel in these 11 cuts. “Salvation” might be the point at which that’s most readily displayed, but “Godless” might stand as the means through which the band most signal their drive to progress as a unit.

It’s not so radically different from some of what precedes it, but maybe more Dio Sabbath than later-Ozzy, and for the already-converted to whom the record is largely targeted, it is a striking enough distinction, marked out by a more gradual linear build over the first four minutes that give way eventually to some “Electric Funeral”-izing stomp and a slowdown apex given its due momentousness by the vocals that accompany. It’s the finish the album deserves, certainly, but something of a departure as well even from the likes of “Magnetic” and “Out for Blood,” which build on the initial shove and swing of “Shifting Winds” and “Renegade,” changing the structural flow of the offering even as it draws it to a close. This too is well within the tenets of heavy rock traditionalism in terms of style, but stands out owing to what Lightning Born make of it. They could go in any number of directions from here, and given the members’ other commitments I won’t try and predict when that might happen, but if this self-titled is what gets them in motion, that motion is more than infectious enough to make one look forward to what may come.

By the way, the word is powerhouse. I can’t think of one that fits them better.

Lightning Born, Lightning Born (2019)

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War Cloud Set Sept. 27 Release for State of Shock; New Song Streaming

Posted in Whathaveyou on August 9th, 2019 by JJ Koczan

war cloud

Whatever level of nostalgia you might ultimately feel for heavy metal’s alleged glory days — I’d argue there’s always been a lot of good metal and a lot of bad metal, same as anything — listening to War Cloud, you get it. You understand what they’re paying homage to and the legacy of brash, infectious, sonic impact to which they’re living up. Helps that they’re not exactly shy about it. Like, song-opens-with-a-siren-level not shy. No complaints. Their self-titled (review here) got them picked up by Ripple and no mystery why, and they’ll follow it up with State of Shock next month. Denim, leather, backpatches, mustaches. Heavy metal in 2019. Do it.

They’re streaming “Striker” now, and if you’re looking for a metaphor to go along with the cover art, consider the business of it and the general sphere of public discourse in the present day. You’re welcome. Album preorders are up now.

The PR wire:

war cloud state of shock

Bay Area quartet WAR CLOUD bring the metal with new album on RIPPLE MUSIC | Stream and share new song ‘STRIKER’

State of Shock by War Cloud is officially released on 27th September on Ripple Music

Pre-order the album HERE

Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).

Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz, as showcased on their new single, ‘Striker’:

“The initial air raid siren warns the listener of the incoming attack they will soon meet by heavy metal force!” explains guitarist Alex Wein. “The lyrics are from the perspective of a fighter pilot, upon hearing the siren he rushes to his warplane to prepare for battle. As the launch pad to the album this song takes off with only lightning in its wake.”

Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.

Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.

State of Shock by War Cloud is officially released on 27th September on Ripple Music.

TRACK LISTING:
1. Striker
2. White Lightning
3. Dangerous Game
4. Tomahawk
5. Seeing Red
6. Do Anything
7. Means of Your Defeat
8. State of Shock

WAR CLOUD:
Alex Wein – Vocals/Guitar
Nick Burks – Guitar
Joaquin Ridgell – Drums
Taylor Roach – Bass

http://facebook.com/WarCloudisComing
http://warcloudiscoming.bandcamp.com/
http://warcloud.bigcartel.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

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