In Memory of Ross “The Boss” Friedman January 3, 1954 – March 26, 2026

March 26, 2026, the world lost a rock and roll legend. And I lost a friend.

 

I've spent the last couple of months watching YouTube videos—live footage, interviews, memorials, and retrospectives—with a mixture of laughter and tears. One thing that was consistent about Ross throughout it all was his personality. He was real. There was no bullshit about him. There was no pretense. There was no holier-than-thou rock star bullshit. He was just a guy from the Bronx doing what he loved.

 

And he was accessible. His Facebook page was public. He always answered messages from fans. He took the time. If somebody asked him a question about his gear, about a specific song, or about a specific solo, he didn't just cut and paste an answer. He thought about what he was going to say. He actually looked at the person's profile (especially if it was a female, haha). He gave them his time. That's something I took for granted in the world of heavy metal, and I've actually been surprised when I found myself faced with a locked door while reaching out to other musicians.

 

So let's go back to the first time I actually met Ross.

 

He was always around. He was playing wherever he could, with whoever he could. It was 2009, and the Ross the Boss Band was co-headlining with my (at the time) fiancé's band at a bar in Red Hook. My best friend and I were just chilling out backstage, and there was Ross casually scrolling on his phone. The two of us idiots were giggling like teenagers. I was going to have my fiancé introduce us because that would've been proper rock and roll etiquette, but he was busy setting up his drums.

 

Fueled by Jack Daniel's and bravado, I grabbed my best friend's hand and we just walked over to Ross and introduced ourselves.

 

That was it.

 

We were all instant friends after that.

 

I've seen Ross play dozens of times—his own material, other people's material—but one of my favorite memories stands out above the rest.

 

It was at Lucky 13, a heavy metal dive bar in Brooklyn.. He was jamming with a local cover band, playing Judas Priest, Mountain, and, of course, Manowar. Then, after a speech because this was right after Lemmy died, the band ripped into "Ace of Spades" by Motörhead.

 

Anyone who knows me knows that Motörhead is my favorite band. Hands down.

 

Ross knew this.

 

I had one of those meta moments. Here was somebody I considered a close friend, playing the music of one of my favorite guitarists.

 

"You liked that, huh? I think I did your boy Eddie justice," he asked me in typical Ross fashion when the song finished.

 

There's enough on the internet about Ross's influence on the world of punk with the Dictators and heavy metal with Manowar. But I just wanted to write a little something because lately I've found myself thinking a lot about my friend.

 

And I miss him.

 

-Rys

Popeless/ Popeless & The Apostates - Tonight/Don't Blame Me

'Tonight' was originally be recorded as an acoustic single but along the way Pope, aka Craig Ellis, wanted a full band, in order from what I assume to enhance the acoustic bluesy folkpunk he was playing at the time, and subsequently brought in Mike Billups from Reckless Threat and Blitzkrieg Cop on drums and Chris Suggs from Mortars, James Leigh & The Rest and Surburban Detour on bass guitar. Both additions were already involved in the project with Chris recording and mixing and Mike putting it out on his label Coffin Curse Records, so that was a no-brainer.

 

'Tonight' starts off with Pope singing his heart out while strumming an acoustic guitar. Bleak, down-trodden and dejected we are taken down the road to hell. Once Mike and Chris joins in these emotions get amplified a thousandfold. A brilliant cover of Nine Pound Hammer's 'Drunk, Tired & Mean' follows and whereas the original version comes at you rocking hard Popeless crushes it with only an acoustic guitar. Great, indeed!

 

By the time the EP 'Don't Blame Me' was about to come to life Popeless had become Popeless & The Apostates featuring Pope, who added harmonica to the repertoire, Mike Billups, Chris Suggs on electric guitar and Bryan Pressley from The Half That Matters on bass guitar. Bryan slipped in on the old banana peel when the band needed a bass player for a show, he was asked and agreed and then made permanent member of the gang. The new band name stems from the members' religious upbringing but how they now all are atheists or non-believers, or both. Take your pick.

 

The new EP contains four songs, two penned by the band: 'Don't Blame Me' and 'White Freightliner Blues' and two covers: 'Bend Over, I'll Drive' by The Cramps and 'Throw Rocks At Nazis' by Boomstick. Not sparing any punches the band rocks and rolls through the brilliant 'Don't Blame Me'. It's short, sharp and in your face. 'White Freightliner Blues' picks up the torch from its predecessor, a smidge slower perhaps but it is a juggernaut nonetheless and the guys aren't messing around. Next up is their cover of The Cramps' 'Bend Over, I'll Drive' and I must say Popeless & The Apostates made it their own. The song has been stripped down by about two minutes and the tempo has been pushed up a little to fit their bluesy folkpunk...and man, I prefer this version by a mile or two! 'Throw Rocks At Nazis' is a touch faster than the original version and just as good, if not even better. Could be that I prefer Popeless' sound, regardless this is good stuff.

 I have to say this band blows me away; each time I listen to either the single or the EP I come away feel rejuvenated and upbeat. Popeless & The Apostates holds nothing back and they sing about some serious and poignant stuff, yet the way they do it is such a tension reliever. Mixing no holds barred folkpunk with a gleam in the eye brings a different light to the subject matter. Fantastic, and then some is what I have to say about this Knoxville, TN based band!

 

-Swedebeast

The Xroadie Files

Tusmorke- Balderdom

Benedikt Momrak, Jon Øvstedal, Kristoffer Momrak, Lars Fredrik Frøislie, Martin Nordrum Kneppen

 

Svensk drøm floating on a cloud of memories with melodic vocals. Balderdom (Tres Jolie) is a catchy tune that will have toy snapping your fingers and tapping your feet. Rerun of Forever (Stravinsky) just let the emotions flow. Vi er et kollektiv close your eyes and dream. Lidskjalv a slow emotional jazzy bluesy number.

 

 

The Leaving- St

 

Dany Tee- Vocals, Kevin Storm- Guitar/Bass, Ferry Hofman- Guitar, Ed Warby – Drums

 

I darkness envelops your very being slowly. II heavy riffs pounding rhythms gruff demonic vocals. III lost in despair ad madness, IV lost in space time and blackness. V dreams and emotions pull you into demented thoughts.

 

 

Voidmonger- Lies Of Aquarius

Otus Hobst- Everything

 

Lies Of Aquarius the Darkness pull you into black imaginations. I Preach You Cold mosh shred rip and tear. Final Bloodbath thundering and pounding in your head drives you insane. Dark Divine grabs you by the throat and pummels you in the ground, Void Ritual the melancholic madness drives you insane. Guiltseeker rave death metal music that pulses in your brain. Slaves Of The Void tribal beats pounding drums thundering sends shock wave thru your senses, Satrimal Depths one strange rave industrial mixture of mayhem. Happiness drifting in melancholic dreams. Heretical Aftermath take one strange dark musical mind trip.

 

 

Red Reign- American Rock N Roll- Live At Ardmore Music Hall Recorded April 30th , 2025

Red Reign screaming guitars pounding drums thumping bass and strong vocals. Don’t Look Back is a very catchy tune that will have the crowd on its feet rocking and playing air guitar. No Peace No Love clap shout foot tap and groove. Bury Me Up To My Eyes heavy riff scorching leads pounding drums thundering bass and soaring vocals. Here I Am is a very catchy tune that sticks in your head for days. Not That Way fist pump play air guitar sing shout and just let loose.

 

 

Goatfather- House Of The Rising Smoke

Olaf Gruentsson- Vocals/Guitars, Raphael Jaudon- Drums, Pierre Baluze - Guitar,Violeine – Bass

 

Stoner Dream gruff vocals crunchy riffs and pounding rhythms. Eye Of the Electric Mountain sway groove and just let loose. Night Of The Blue Smoke heavy doom swamp rock metal music that envelops your senses. Son Of a Witch close your eyes and let your imagination flow. Rainbow Rider thumping bass crunchy riffs pounding drums scorching leads and powerful vocals. Space Weeds And Heavy Trips sway groove and just flow with the emotional music.

 

 

-Xroadie

 

Plaindrifter returns with their sophomore album and Ripple Music debut, Gestalt.

It's a ripper. Get your copy here:

https://ripplemusic.bandcamp.com/album/gestalt

  

​Pushed by a deep sense of self-criticism and a fear of repeating themselves, The trio has expanded their signature blend of sprawling riffs, lush melodies, soaring vocals and masterful tempo and key changes with bold new elements, including keyboards by Philipp Seitzer and guest vocals from Ryan Garney (High Desert Queen) and Lena Schneider.

 

The result is an immersive, forward-looking heavy journey born from patience, passion, that should caught the ear of fans of Elder, King Buffalo, Howling Giant and Weedpecker. The album was produced, engineered and mixed by Robin Stirnberg, mastered by Dennis Köhne, with a stunning cover artwork by André Tinibel.

 

Hailing from Germany's industrial heartland, the Ruhr Area, Plaindrifter formed in 2017 to forge a brand of heavy psych that refuses to stand still. Blending hypnotic riffs, expansive soundscapes, and the restless spirit of stoner, prog, and post-rock, their 2021 debut Echo Therapy carved out a name in the European underground, winning over listeners with raw heaviness and unexpected melodic depth.

 

The band entered the studio in June 2025 with engineer Robin Stirnberg, but an unexpected setback forced them to relocate mid-session. Undeterred, Plaindrifter finished recording Gestalt in their rehearsal space. That resilience paid off quickly: through their friends in High Desert Queen (whose frontman Ryan Garney lends guest vocals to the track "In Anima"), the album's master found its way to Ripple Music's Todd Severin, who took the leap and instantly welcomed the band to the label's roster. Now looking ahead with optimism, the band invites listeners old and new to dive into their anticipated new album Gestalt, to be released in the summer of 2026.

 

 

You can get copies on 4 panel digipak CD, or marbled green vinyl. Just head here:

https://ripplemusic.bandcamp.com/album/gestalt

  

See you soon!

Ripple Music

Khemmis ★ S/T

Five years is a long time in heavy music.

 

Long enough for bands to splinter into side projects, announce farewell tours, or return under the banner of a lucrative reunion.

 

KHEMMIS have done none of those things. Instead, the Colorado quartet took the time to regroup, welcome new bassist David Small into the fold, and refine their vision. The result is "Khemmis", a self-titled fifth album that feels less like a fresh start and more like the definitive statement of everything this band has been building toward for over a decade.

 

From the opening moments of “Invocation Of The Dreamer”, it becomes apparent that KHEMMIS have reconnected with the spirit that made "Hunted" such a landmark release. The riffs are colossal yet elegant, steeped in the grand tradition of epic doom while retaining the melodic immediacy that has always set the band apart. Phil Pendergast’s soaring vocals cut through the gloom like a beacon in a storm, while Ben Hutcherson’s growls are deployed with far greater restraint than before, adding weight and menace without disrupting the album’s emotional flow.

 

“Corpsebloom Garden” and the magnificent “Grief’s Reverie” further underline why KHEMMIS remain one of the most compelling forces in modern doom metal. The influence of Candlemass is impossible to ignore, but these songs never feel derivative. Instead, they channel that classic sense of grandeur through a distinctly modern lens, combining towering melodies with the emotional depth of bands like Pallbearer and YOB. “Grief’s Reverie” in particular is a masterclass in dramatic songwriting, its sweeping vocal lines carrying an almost overwhelming sense of melancholy and triumph.

 

Elsewhere, “Beneath The Scythe” embraces classic metal heroism through soaring leads and thunderous momentum, while “Gilded Chambers” injects a welcome burst of urgency with its driving D-beat opening. Even more surprising is “Carrion King”, whose blastbeats and death metal undercurrent push KHEMMIS into darker and more aggressive territory without sacrificing their unmistakable identity.

 

Yet for all its heaviness, the album never loses sight of melody. “Tomb Of Roses” transforms mortality into something strangely beautiful, balancing sorrow and defiance with remarkable grace. Then comes “Benediction Tones”, an album closer of rare stature. Majestic, turbulent and utterly timeless, it gathers every thread woven throughout the record and elevates them into one final, breathtaking crescendo.

 

If there is a minor blemish, it lies in a production that occasionally feels a touch too modern and clinical, particularly in the drum sound. But that is a negligible concern in the face of such exceptional songwriting. KHEMMIS have not merely delivered another excellent album; they have distilled their entire artistic identity into its purest form. Heavy, dark, triumphant and endlessly rewarding, "Khemmis" stands as both a celebration of the band’s past and a powerful reminder that they remain among the finest practitioners of epic doom metal today.

 

-Helge Neumann