Tag: RidingEasy Records

New Audio: JOVM Mainstays Blackwater Holylight Release a Shimmering, Shoegazer Take on Heavy Psych

Led by founding member Allison “Sunny” Faris (vocals, bass), the acclaimed Portland, OR-based heavy psych act Blackwater Holylight was formed after Faris’ previous band broke up as a way to begin experimenting with what her own version of “heavy” should and could be both sonically and emotionally — while celebrating vulnerability in all of its forms. The primary idea for the project was to have vulnerability be in the driver’s seat when it came to the creative process. And secondly, Faris, who was often the only female in many of her bands, desperately wanted to see how it was to work exclusively with women. 

Blackwater Holylight released their critically applauded self-titled, full-length debut last year, and as a result of extensive touring to support it, the band has managed to hone their sound and identity — with their sound evolving to the point that their live show has become about the slow build.  And as a heavy band, the members of the Portland-based JOVM mainstays sonically and structurally do something unlike their peers: their songs aren’t anchored to riffs, but rather riffs come and go in rippling and undulating waves that surface through material that’s generally meditative and entrancing. Additionally, the band focuses on building tension and intrigue through the song and its structure. 

Now, as you may recall, the band’s highly-anticipated sophomore album Veils of Winter is slated for an October 11, 2019 release through RidingEasy Records. The album finds the band with a different lineup — Faris (bass, vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths) along with the band’s newest members Mikayla Mayhew (guitar) Eliese Dorsay (drums) and perhaps as a result of their new lineup, their sound and writing process has changed quite a bit. “The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

While album single “Motorcycle”  featured fuzzy power chords, gorgeous melodies and a motorik groove and found the band crafting a song that was one part doom metal and one part shoegaze, the album’s latest single “Death Realms” is a decidedly straightforward, shoegazey affair centered around shimmering guitars, twinkling synths, propulsive drumming, ethereal vocals and a soaring hook. But the thing that “Death Realms” shares with its predecessor is that it’s an incredible nuanced song that you can sway and headband along to. 

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New Audio: Permanent Records and RidingEasy Records Release a Groovy Blues-Tinged Pysch Rock Number off the Forthcoming Ninth Edition of Brown Acid Compilation

Permanent Records’ and RidingEasy Records’ collaboration on their continuing series of proto-metal and pre-stoner rock compilations have become a biannual feature throughout this site’s nine-plus year history. Each individual edition of the series is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as possible in the compilation can give the artists and their songs, a real second chance at the attention and success that they missed. Plus, these songs can help fill in the gaps within the larger picture of what was going on in and around regional and national underground music scenes during the 60s and 70s. Continuing upon the critical and commercial success of its first eight editions of the Brown Acid compilation, RidingEasy Records and Permanent will be releasing Brown Acid: The Ninth Trip on Halloween. Naturally, the ninth edition finds Barressi and Hall managing to deep even digger into a very deep well of obscure material written and recorded during the 60s and 70s. The ninth edition of Brown Acid’s first single is Fiberglass Vegetables’ funky blues-tinged, psych rock strut “Pain,” a track that nods at Steppenwolf, The Animals, The 13th Floor Elevators and others, complete with an infectious, arena rock friendly hook. 

New Audio: JOVM Mainstays Blackwater Holylight Release a Trippy Headbanger

The acclaimed Portland, OR-based heavy psych act Blackwater Holylight was formed by founding member Allison “Sunny” Faris (vocals, bass) after her previous band broke up, as a way to begin experimenting with what her own version of “heavy” should and could be both sonically and emotionally — while celebrating vulnerability in all of its form. In fact, the primary idea for the project was to have vulnerability be in the driver’s seat when it came to the creative process. Throughout most of her musical career, Faris was often the only female in many of her bands and she desperately wanted to see how it was to work exclusively with women. 

The band released their critically applauded self-titled full-length debut last year. And after extensive touring to support the album, the members of the JOVM mainstay act honed their sound and identity, with their live set being about the slow build, as their sound has evolved a bit 

The band released their critically applauded self-titled full-length debut last year and after extensive touring to support the album, they’ve honed their sound and identity — with their live set being about the slow build, as their sound has evolved a bit. In fact, as a heavy band they do something unique: their songs aren’t anchored to riffs, but rather riffs come in and go in rippling waves that surface throughout material that’s generally meditative and entrancing. But they also focus on building tension and intrigue throughout the song. 

Slated for an October 11, 2019 release through RidingEasy Records, Blackwater Holylight’s highly-anticipated sophomore album Veils of Winter finds the band with a different lineup — Faris (bass, vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths) along with the band’s newest members Mikayla Mayhew (guitar) Eliese Dorsay (drums). And perhaps a result of the new lineup, the band’s sound and writing process have changed quite a bit. “The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

 “Motorcycle” Veils of Winter’s finds the band balancing fuzzy, power chords, gorgeous melodicism and a motorik groove to create a unique take on heavy music that’s one part doom metal, one part shoegaze that manages to reveal subtle nuances on multiple listeners while being headbang worthy. 

New Audio: JOVM Mainstays Warish Release a Menacing Mosh Pit Friendly Ripper off Their Forthcoming Full-Length Debut

I’ve written quite a bit about the Southern California-based punk trio Warish over the past 18 months or so and the act, which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed last year when its founding duo wanted to try their hand at something a bit more distinct than what they had previous done.“We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch Acid, Incesticide-era Nirvana, Static Age-era Misfits and others, and with the release of their first two EPs, the band quickly established themselves for crafting scuzzy, mosh pit friendly rippers with an aggressively sleazy Troma Films-inspired vibe.

Building upon a rapidly growing profile, the members of Warish will be releasing their highly-anticipated full-length debut, Down In Flames through RidingEasy Records on September 13, 2019. Down In Flames’ first single “Healter Skelter” isn’t a Beatles cover. but rather the title refers to the Manson Family’s misspelled blood scrawl at the site of the group’s second murder in 1969. Centered around thunderous drumming, scuzzy power chords and howled vocals — and while clearly recalling Bleach and Incesticde-era Nirvana, the song may arguably be among the most menacing of their growing catalog of mosh pit friendly rippers. 

New Video: JOVM Mainstays Zig-Zags Release a Lo Fi Troma Films-like Visual for “Killer of Killers”

I’ve written quite a bit about the Los Angeles-based thrash punk/metal trio and JOVM mainstays  Zig Zags over the past couple of years, and as you may recall, the act — currently, founding member Jed Maheu (guitar, vocals), Dane Andrews (drums) and longtime sound engineer, multi-instrumentalist Sean Hoffman (bass) — over the course of their eight-plus year history have gone through a series of lineup changes, while releasing seven singles and three full-length albums. Each of those albums found the band managing to subtly yet continually evolve their sound, songwriting approach and overall aesthetic. 

The Los Angeles-based JOVM mainstays fourth, full-length album They’ll Never Take Us Alive was released earlier this year through RidingEasy Records, and the album finds the ban paying homage to their earliest influences — the bandmembers’ mutual love of Dead Moon and Wipers, while remaining decidedly thrash metal.“Fallout,” the Kill ‘Em All and Ride the Lightning-era Metallica-like album single further cemented the band’s reputation for specializing in headbanging, power chord-based riffs and rousingly anthemic hooks paired with a blistering urgency. The album’s latest single “Killer of Killers” continues in a similar vein as its immediate predecessor, power chord-centered riffs, rousingly anthemic hooks, blistering and dexterous solos — paired with an urgent and frenzied production and performance.

The recently released video for “Killer of Killers” is a cartoonish and goofily lo-fi take on Troma Films-like horror films, complete with a sociopathic, masked mass murderer, who kills as many people at a local park as he could — although one Walkman-wearing kid manages to escape. The video splits between our shitty horror film and footage of the band playing a frenzied set in front of headbanging admirers. Fake blood and gore abounds; but it still kicks ass!

New Audio: JOVM Mainstays Here Lies Man Releases a Cinematic and Lysergic Single

Over the past couple of years, I’ve written quite  bit about the Los Angeles, CA-based JOVM mainstays Here Lies Man, and as you may recall, the act which was founded by Marcos Garcia and Geoff Man has received attention across the blogosphere for a sound that seamlessly bridges Fela Kuti Afrobeat grooves with classic Black Sabbath and Led Zeppelin-era, power chord-fueled rock.  

The Los Angeles-based JOVM mainstay’s sophomore album, last year’s You Will Know Nothing found the band refining and expanding their sound. “We’re very conscious of how the rhythms service the riffs. Tony Iommi’s innovation was to make the riff the organizing principle of a song,” the band’s Marcos Garcia explained in press notes. “We are talking the same approach but employing a different organizing principle: For Iommi, it was the blues, for us to comes directly from Africa.” The album also found the band focusing on writing catchier, much more anthemic songs with thematically conceptualized lyrics focusing on states of being and consciousness. Additionally, they aimed for slicker production values than its predecessor. “We wanted to go deeper with the sonic experience. Even though it sounds more hi-fi than the first record, it was important that it didn’t sound too polished,” Garcia added. 

Sonically, the material was composed with music theory in mind — interludes between songs were written and recorded with them specifically being 2/3rds to 3/4ths of the tempo of the song proceeding it. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa,” Here Lies Man’s Geoff Mann explains in press notes. 

Slated for an August 16, 2019 release through RidingEasy Records, the forthcoming mini-album No Ground to Walk Upon finds the band continuing the aesthetic they’ve developed through their first two albums but conceptually the material is essentially the soundtrack to an imaginary movie with each song being the score for a key scene of that movie. The mini-album’s swaggering and strutting, first single “Clad in Silver”  is centered around buzzing power chords, propulsive Afro-Caribbean rhythms and punchily delivered lyrics within an expansive, hallucinogenic song structure. As the band explains in press notes, the mini-album’s lead single “is the soundtrack snippet of a  journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, bu it is a hallucination that fades in and out of perception.” 

New Audio: Warish Returns with Two Mosh Pit Friendly Rippers

Over the past 14 months or so, I’ve written a bit about the Southern California-based punk trio Warish, and as you may recall, the trio which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed earlier this year, when its founding duo wanted to try their hand at something a bit more distinct than they’d previously done. “We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch Acid, Incesticide-era Nirvana, Static Age-era Misfits and others, and with the release of their self-titled debut EP, earlier this year the band quickly established themselves for crafting scuzzy, mosh pit friendly rippers with an aggressively sleazy Troma Films-inspired vibe. 

Building on a growing profile, the Southern California-based punk trio will be releasing their sophomore EP through RidingEasy Records –and while we’re waiting for the specifics, Warish has released the “Runnin’ Scared”/”Their Disguise” double single, which I think will further cement their growing reputation for crafting scuzzy, power chord-based, eardrum destroying, mosh pit rippers — but these two latest singles may be among the most furious tracks they’ve released to date. 

New Audio: JOVM Mainstays Zig Zags Release a Blistering Headbanger from Fourth Album

Over the years, I’ve written quite a bit about the  Los Angeles-based thrash punk/metal trio and JOVM mainstays  Zig Zags. And as you may recall, the act, which is currently comprised of founding member Jed Maheu (guitar, vocals), Dane Andrews (drums) and longtime sound engineer, multi-instrumentalist Sean Hoffman (bass) over the course of their eight-plus year have gone through a series of lineup changes while releasing seven singles and three full-length albums. During that time, the band has also managed to subtly yet continually evolve their sound, songwriting approach and overall aesthetic.

Slated for a May 10, 2019 release through RidingEasy Records, the band’s fourth, full-length album They’ll Never Take Us Alive reportedly finds the band paying homage to some of their earliest influences — in particular, their mutual love of  Dead Moon and Wipers, while remaining decidedly heavy metal. “Fallout,” the Kill ‘Em All and Ride the Lightning-era Metallica-like album single further cemented the band’s reputation for specializing in headbanging, power chord-based riffs and rousingly anthemic hooks paired with a blistering urgency. The album’s latest single “Killer of Killers” continues in a similar vein as its immediate predecessor, power chord-centered riffs, rousingly anthemic hooks, blistering and dexterous solos — paired with an urgent and frenzied production and performance.

New Audio: Permanent Records and RidingEasy Records Release a Gritty and Funky Track from Eight Edition of Brown Acid Compilation

I’ve written a lot about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid over the past few years. And as you may recall, each individual edition is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as possible in the compilation can give the artists and their songs, a real second chance at the attention and success that they missed. Plus, these songs can help fill in the gaps within the larger picture of what was going on in and around regional and national underground music scenes during the 60s and 70s. Following the critical and commercial success of its first seven editions, RidingEasy Records and Permanent Records’ edition of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Eighth Trip is slated for release on April 20, 2019 (4/20 y’ll!) continuing what has become a bi-annual tradition for both labels — and this site. And much like its preceding editions, the eighth edition finds Barressi and Hall digging deeper and deeper into the well of hard rock, psych rock, proto-metal and pre-stoner rock primarily from the States — with the addition of a Canadian band. The album’s first single was from “School Daze,” a seamless synthesis of MC5, Jimi Hendrix and Grand Funk Railroad from Detroit‘s Attack — or more precisely St. Clair Shores.

Originally recorded in 1969, Memphis-based act Grump took on “Heartbreak Hotel,” popularized by a fellow Memphian that you may have heard of, by the name of Elvis Presley — and Grump’s rendition is a gritty and funky stomp that recalls Steppenwolf’s “Magic Carpet Ride,” and Grand Funk Railroad. 

New Audio: Zig Zags Release an Urgent Headbanger

Currently comprised of founding member Jed Maheu (guitar, vocals), Dane Andrews (drums) and longtime sound engineer, multi-instrumentalist Sean Hoffman (bass), the Los Angeles-based thrash punk/metal trio Zig Zags over the course of their eight year history have released seven singles, three albums and a number of lineup changes — and throughout that time he band has managed to continually evolve their sound, their songwriting approach and their overall aesthetic.  Interestingly, the band’s fourth full-length album They’ll Never Take Us Alive is slated for a May 10, 2019 release through RidingEasy Records, and the album finds the band upping the stakes while revealing their earliest influences — in particular, their love of Dead Moon and Wipers, while remaining decidedly heavy metal. 

They’ll Never Take Us Alive’s latest single, the Kill ‘Em All and Ride the Lightning-era Metallica-like “Fallout” will further cement their long-held reputation for crafting headbanging, power chord-based riffs and rousingly anthemic “raise-your-beer-in-the-air-and-shout-along-lustily” hooks but the song is centered by a blistering urgency that hasn’t been heard on their previously released material.