Andy James’ New Covers Compilation Will Get At Least Some Love

Courtesy: Le Coq Records

Jazz singer Andy James has made a career of covering music from well-known artists who have come before her.   Her debut 2018 record No Regrets and its 2019 follow-up Blue are collections composed primarily of covers of others’ works.  Now in 2021, James has continued that trend with yet another collection of covers in her latest album Tu Amor — roughly translated, that title means Your Love.  The 11-song compilation does not necessarily break any new ground for James, though is still somewhat entertaining.  That is due in part to the songs that make up the body of this compilation.  They will be discussed shortly.  Staying on the topic of the featured songs, they lead to one detractor that listeners cannot ignore, the lack of information as to the songs’ information.  Ironically, that negative actually leads to its own positive.  That will all be discussed a little later.  Everything noted here is important in its own way to the whole of Tu Amor.  All things considered, the compilation proves itself a presentation that at least some listeners will love.

Andy James’ new compilation record Tu Amor is an intriguing record that will appeal to her most devoted audiences.  That is proven in part through the songs that made up the record’s body.  The songs in question are largely well-known standards from some equally well-known figures.  James takes listeners as far back as 1930 with a take on George and Ira Gershwin’s timeless tune ‘But Not For Me’ and as recent as 1970 with a take on Henry Mancini’s ‘Loss of Love.’  Along the way, there are also covers of songs from the likes of Frank Sinatra (‘Night & Day’), Carlos Santa (‘Evil Ways’) and even Tony Hatch (‘Call Me’).  The latter is slightly less well-known than the others noted here, but the song itself is still well-known.  Simply put, James pulls from a relatively wide range of influences here.  She pulls songs from some of the most gamed American composers and performers for this compilation and from some equally popular Latin/Hispanic names (E.g. Alberto Dominguez and his hit song ‘Perfidia.’  That James would pull from that range of composers and performers gives listeners reason itself to hear this record at least once.  That the songs come from a relatively wide range of eras means the songs have different feelings in each work.  Her Latin-tinged take on the famous songs (which is nothing new for her, considering she has taken the same approach on the aforementioned records) gives the songs their own unique take while staying at least somewhat true to their source material.  Keeping all of this in mind the songs that feature in James’ new record are themselves a positive that her most devoted fans will appreciate.  Staying on the topic of the songs, they lead to the compilation’s one and only negative, its lack of information about the songs’ backgrounds.

As noted already, James takes listeners on a musical trip back through time in this compilation.  The artists and composers whose music she covers is relatively diverse, as is the style of songs.  While this in itself does enough to make for at least some appeal, audiences will note that James does not make mention of the original composers and artists associated with each song.  Whether this omission was the result of James herself or someone else, it means on one level that those responsible for the songs are not getting the credit they deserve.  Yet at the same time, the musicians who performed the songs with James in each song get their due credit.  To that end, one is left scratching one’s head why even that simple starting point is ignored here.  This is important to note because those who might not be so familiar with the noted songs and their history might be misled to believe that this is in fact a collection of originals rather than a grouping of covers.  That again is a disservice to the composers and artists who originally crafted the featured songs.  It is a negative that one cannot ignore and detracts considerably from the record.  Luckily it does not detract to the point that it makes the compilation a failure.  That is because it leads to an unexpected positive.  That positive is the fact that it leads the noted uninformed audiences to make their own journey in music history education.

The lack of a record of artists and composers in James’ new compilation is negative, yes, but at the same time it is positive.  That is because, as noted, it leads audiences who might be less familiar with the histories of each song on their own journey of discovery and education.  So actually in a way, there is a latent function to that lack of information here.  In researching the songs and learning the identities of their composers and performers, audiences will perhaps gain a new appreciation for those figures and their works.  On an even deeper level, discovering the identities of the noted figures and even the stylistic approaches to the source material of each song could also serve as a starting point for what could become an even bigger, deeper voyage into the great American genre that is jazz.  Keeping that in mind, the one negative from which this record suffers is in some odd way, its own positive.  When this is considered along with the wide range of songs covered here, the two elements together make the compilation a presentation that will find some of its own love.

Tu Amor is an intriguing new offering from jazz singer Andy James.  Its intrigue is raised in part through its featured songs.  The songs are compositions that pull from the “great American songbook” and from even rock and Latin worlds.  They pay tribute to some well-known and lesser-known works while giving those songs welcome updates.  The songs can and likely will lead to discoveries and appreciation of even more jazz in the process.  That is because audiences are left to research the songs themselves due to the lack of information on the original artists and composers in the compilation’s liner information.  That lack of information is the compilation’s only negative, because it does not give the noted figures their due credit.  Again ironically, it leads to the noted positive, bringing everything full circle.  Keeping everything noted here in mind, the compilation in whole will not ultimately prove to be a timeless compilation (especially considering that James has made a career of covering others’ works), but it will still find its own love.  Tu Amor is available now.  More information on the compilation is available along with all of Andy James’ latest news at:




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Appeal For Accept’s New LP Won’t “Die” Anytime Soon

Courtesy: Nuclear Blast Records

Veteran hard rock/metal band Accept released its brand new album Too Mean to Die Friday.  The 11-song record – the band’s 16th — is the first great entry in this year’s field of new hard rock and metal albums.  It is yet another display of why this band remains today, one of the most respected and beloved acts in the hard rock and metal community as is evidenced through the song’s combined musical arrangements and lyrical themes.  From start to end, this record offers audiences so much to appreciate in terms of both items.  That is evidenced in part late in the album in the track, ‘Symphony of Pain.’  This song will be discussed shortly.  ‘No One’s Master,’ which comes early in the 52-minute record’s run, shows in its own way, how the album’s overall content plays into its success.  It will be addressed a little later.  Much the same can be said of ‘Not My Problem.’  It will also be addressed later.  When it is considered with the other songs noted here and the rest of the album’s entries, the whole makes the album in whole, a presentation that is certain to end up on any critic’s list of the year’s top new hard rock and metal albums.

Accept’s new album Too Mean to Die is a record whose appeal certainly will not die anytime soon.  It is a presentation that from start to end, will appeal to any hard rock and metal fan with its musical and lyrical content.  That is proven in part late in the album’s run in the form of ‘Symphony of Pain.’  The song’s lyrical content actually focuses on none other than composer Ludwig Van Beethoven.   Guitarist Wolf Hoffman noted in an interview with Apple Music that is exactly what the song centers on, lyrically.  Yes, there are bands out there that have classical influences in their metal performances, but few actually go so far as to craft a song about a classical composer.  The only bad that comes to this critic’s mind in regards to that, is Trans Siberian Orchestra, which in fact crafted a whole album about Beethoven.  Mark Tornillo even sings in the song’s chorus, “Trapped in silence/How I loathe this sanctity/Imprisoned by this irony/Darkened elusion/Seeking only to embed/Melodies held hostage in my head.”  This is a direct reference to Beethoven dealing with being deaf and how he must have felt having to cope with the disability.  Tornillo conjures Beethoven even more as he continues in the chorus, calling the situation, “A silent prison/This symphony of pain.”  That is pretty much straight forward.  It is a concept that is sure to entertain so many listeners in itself.  Together with the song’s musical arrangement, the song gains even more traction.

The musical arrangement featured in ‘Symphony Of Pain’ adds to the song’s presentation, as it incorporates Beethoven’s ‘Ninth Symphony’ into its overall power metal approach.  Hoffman and new guitarist Philip Shouse join with current member Uwe Lulis to make the song’s arrangement a solid, driving old school metal work that, as already noted, will appeal to fans of acts, such as Judas Priest, Saxon, and others of that ilk.  As an added note, while Trans Siberian Orchestra is one of the only acts out there to actually take on the topic of a classical composer for one of its songs, the arrangement sounds nothing like anything that TSO has ever crafted.  So audiences can rest easy knowing this.  The manner in which Hoffman weaved the noted classical composition into the whole was seamless and it makes the song even more appealing.  All things considered here, the song in whole makes itself a clear example of what makes Too Mean to Die such a strong new offering from Accept.  It is just one of the songs that makes this record stand out.  ‘No One’s Master’ is another key addition to the album.

‘No One’s Master’ is another work whose musical arrangement takes listeners back to the golden age of hard rock and metal.  It is yet another work that right off the bat, lends itself to thoughts of Judas Priest what with its guitars, bass, and drums.  Interestingly enough, Tornillo’s vocal delivery conjures thoughts of Motorhead’s late, great front man Lemmy Kilmister.  The comparison is not a mirror image, but is so close that it cannot be denied.  That combination of influences and sounds makes the song’s musical arrangement more than enough reason for audiences to hear this work.  It is just one part of what makes the song stand out, too.  The bombastic ending to the song makes it come across like a live song, ensuring that whenever live music does return, it likely will become part of the band’s live shows.  The lyrical content that features alongside the song’s high-energy composition makes the work in whole even more impacting.

The lyrical content featured in the song comes across as a statement that celebrates individuality and thinking for one’s own self.  This is implied as Tornillo sings in the song’s lead verse, “The media’s controlling the masses/Stoking our anger and fear/Further dividing the classes/Serving the richest careers/heir mantra is lies and deception/When honesty’s all that I crave/I decline and there’ll be no exceptions/I am no one’s master/No one’s slave/No one’ s slave.”  He continues in the song’s second verse, “Living in fear ain’t worth living/Wasting your life is the crime/The reaper will be unforgiving/Wake up while you’re still in your prime/The guide of my  life is my conscience/My way is the path that I pave/I treat,  how I want to be treated/I am no one’s master/No one’s slave.”  The real harsh statement comes as he sings in the song’s chorus, “I won’t rule/I won’t bow/I won’t sink my eyes to the ground/I won’t steal/I won’t kneel/I won’t bend my  knee to the crowned/I pledge an oath to myself and to life/I’m not afraid of the sword or the knife.”  That bold statement that, while familiar is still presented in its own unique fashion, couples with the song’s musical arrangement to make the song in whole, another powerful example of what makes Accept’s new album such a strong new record.  It is just one more example of what makes the album stand out.  ‘Not My Problem’ is another entry in this album that makes it so successful.

‘Not My Problem’ gives listeners another notable musical work that is one part Motorhead and one part just pure guitar rock.  The blues-based composition is another  driving, high-energy composition that together with – again  — Tornillo’s Lemmy style vocal delivery makes for yet another powerful addition to the album.

The musical arrangement that is featured in ‘Not My Problem is certain to make the song another fan favorite from Too Mean to Die.  It is just one part of what makes the song stand out.  The social commentary contained in the song adds even more appeal.  In the case of this song, the song’s lyrical content comments on those people who would rather point the finger at everyone else for their problems than take responsibility, much like in another of the album’s songs, ‘Sucks to be You.’  In this case, Tornillo sings,  “Dug your hole/Don’t bear your soul and sin all over me/made your bed/Now lay your head/You don’t get no sympathy/Hear that sound/It’s coming down/The hammer’s got to fall/Hit the lights/You’re in the sights/Up against the wall/Don’t blame your misfortunes on me/You’ve done this all on your own/So many others are too blind to see/Well, let me throw the first stone/It’s not my problem/Keep it to yourself.”  He continues just as sharply in the song’s second verse, “Realize how many times I’ve bailed you out/I bought your charms/With open arms/Now I close the door/You’ve done the crime/Now do the time/Go bitch to someone else/Take a stand/And play your hand/You’ve brought this on yourself.”  This overall statement is such that it will echo with any listener.  Everybody has been in this situation at least once in life if not more times.  We have all dealt with that person who just wants to blame everyone else for his or her misery and have just reached the breaking point.  This song will help anyone get through those times, especially when these lyrics are paired with the vim and energy in the song’s musical arrangement.  It is certain to be overall, yet another fan favorite.  When it is considered with the other songs noted here and the rest of the album’s songs, that whole makes Too Mean to Die a record whose appeal will not die anytime soon.

Accept’s latest album Too Mean to Die is another positive new offering from the veteran metal act.  It is a work whose musical and lyrical content is certain to appeal to the band’s established fan base, and metal and hard fans in general.  That is proven through each of the songs examined here.  When those songs are considered along with the rest of the album’s entries, the whole becomes unquestionably this year’s first great new hard rock and metal album.  It is available now. 

More information on Accept’s new album is available along with all of the band’s latest news at:




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Michael Schenker Group Debuts ‘In Search Of The Peace Of Mind’ Video; New LP Released Friday

Courtesy: Nuclear Blast Records

Michael Schenker Group debuted the video for its latest single this week.

The band kicked off the weekend by debuting the video for its new single ‘In Search of the Peace of Mind‘ Friday. The single and its video are the fourth from the band’s brand new album Immortal, which released Friday through Nuclear Blast Records. The debut follows that of the album’s other singles, ‘Sail The Darkness,’ ‘Drilled To Kill,’ and ‘After The Rain.

The musical arrangement featured in ‘In Search of the Peace of Mind’ is at times brooding and at others quite heavy, yet still controlled in its delivery. The overall sound of the overall instrumentation is likened to works from Judas Priest and even some of the bands with whom the band’s namesake has worked, including the prog-metal influence of U.F.O.

Schenker discussed the song during a recent interview.

“‘In Search Of The Peace Of Mind’ had to be my 50th-anniversary celebration song,” he said. “It means so much to me because it was my very first musical composition I wrote at the age of 15. And it was also the first song I had ever put on a record, also at the age of 15.
In addition, this song from the original ‘Lonesome Crow’ Scorpions album, the very first album the Scorpions had ever recorded, has a solo on it that that was so perfect I would never change a note in 1000 years,” added Schenker. “I have no idea where it came from, alongside the other solos on “Lonesome Crow”, where you can hear that I am an amateur, young and developing as a kid. But this lead break came from somewhere else. I have no idea how it happened.
Schenker continued, stating, “I wanted to re-record this song for “Immortal“, making it an epic, and put an additional long solo at the end of the song, which turned out so amazing. The sound describes my 50-year journey expressed on lead guitar. Again it ended up so amazing, like an inner conversation throughout my life – questions and answers; making choices expressed on lead guitar.”
He concluded, noting, “With Gary Barden, Ronnie Romero, Robin McAuley, and Doogie White making a contribution to my 50th anniversary, it turned out complete. Not to forget the amazing contribution of Simon Phillips on drums, Barry Sparks on bass, as well as Steve Mann on keyboards. Fantastic.”

In related news, Michael Schenker Group has announced a new live schedule in support of the album and to celebrate the 50th anniversary of his career in music. Doro is scheduled to join the band for the first set of dates while the band is scheduled to handle the second half of the run by itself.

The first leg of the tour is scheduled to run from Oct. 28-31 in London and Wolverhampton. The second leg of the tour features dates in Madrid, Spain; Turin, Italy, and the Netherlands. The tour’s schedule is noted below.

Michael Schenker 
“50th Anniversary – IMMORTAL” 
performed by the current MSG/Michael Schenker Group
with special guest DORO
28.10.2021 UK – Leeds, OAcademy                            
29.10.2021 UK – Newcastle, OCity Hall                             
30.10.2021 UK – Wolverhampton, KK Steel Mill                           
31.10.2021 UK – London, OShepherd’s Bush Empire   
Michael Schenker
“50th Anniversary – IMMORTAL”
performed by the current MSG/Michael Schenker Group

02.11.2021 NL – Zoetermeer, De Boerderij
03.11.2021 CH – Pratteln, Z7
04.11.2021 IT  – Turin, Audiodrome
05.11.2021 ES – Barcelona, Razzmatazz 1
06.11.2021 ES – Madrid, La Riviera


Immortal is available now as a standard CD and a limited edition expanded edition complete with the Michael Schenker Fest live recording Bang Your Head.  Schenker said of the recording, which was recorded two years ago in Balingen/Germany, “Unfixed, raw, pure and great! There’s a couple of small mistakes, but because the show and recording went so well, I decided to keep it the way it went on the night. It’s live, magic and pure.“

More information on Immortal is available now along with all of Michael Schenker Fest’s latest news and more at:




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Black Suit Youth Debuts New Single, ‘Survivor’s Guilt’

Courtesy: 59X Records

Independent rock band Black Suit Youth debuted its latest single this week.

The band debuted its new single ‘Survivor’s Guilt‘ Thursday. The song is the second single from the band’s forthcoming album The World is Almost Over, which is slated for a spring release through 59X records. its release follows that of the album’s lead single/title track in October.

The musical arrangement featured in ‘Survivor’s Guilt’ is an acoustic presentation. Its simple guitar approach, paired with the mournful vocal delivery sound gives the song a sound that will appeal very much to emo fans.

According to front man Bryan Maher, the lyrical content featured alongside the song’s musical arrangement came from a personal place.

“It’s a song about two buddies of mine, Mark and Mike (who was Black Suit Youth’s original bassist).,” he said. “I miss Mark and Mike the most out all of those I’ve lost. The first verse is a reflection about Mark when we were teenagers, and the second verse is about Mike and I growing apart before his untimely death and the total shock of it.”

More information on Black Suit Youth’s new single and album is available along with all of the band’s latest news at:




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Space Cadet Debuts New Single, ‘Bad Luck,’ Companion Video

Courtesy: Wiretap Records

Independent indie/college rock band Space Cadet debuted its latest single this week along with its companion video.

The band debuted its new single ‘Bad Luck‘ Friday along with its companion video. The song and its video are the second from the band’s forthcoming album Lion on a Leash, which is scheduled for release March 26 through Wiretap Records. The pair’s debut follows that of the album’s lead single ‘Forever For a While‘ and its companion video.

The musical arrangement featured in ‘Bad Luck’ is a distinct retro-garage rock style composition that is grounded in its simple guitar line and solid time keeping. The sound of the whole makes the use of vintage footage of a live concert work even better, as it really does throw back to the sounds of the 1970s and 80s. The concert footage in question is assumed here, to be that of the band from an earlier age.

The lyrical content that accompanies the song’s musical arrangement will connect with listeners in its own right.

Lion on a Leash will feature guest appearances by Brian Baker (Bad Religion, Dag Nasty, Minor Threat), Mike Sneeringer (The Loved Ones), Matt Olsson (Dave Hause, Frank Iero, Brian Fallon), and Chris Gonzalez (The Explosion/The Loved Ones).

More information on Space Cadet’s new video, single, album, and record deal is available along with all of the band’s latest news at

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Hilton Valentine, Founding Member Of The Animals, Dies At 77

Photo Credit: Germaine Valentine

January is not yet over, but the entertainment world is mourning the loss of yet another of its own today.

Hilton Valentine, a founding member of the famed rock band The Animals, has died. According to a press release distributed Friday night, Valentine died Friday. His death was revealed by his wife, Germaine Valentine, according to the document.

Valentine was part of the original lineup of The Animals, which also featured among its members, Chas Chandler, Alan Price, Eric Burdon, and John Steel. He was a member of the band when it released hits, such as ‘House of the Rising Sun,’ ‘Baby Let Me Take You Home,’ ‘Don’t Let Me Be Misunderstood,’ ‘We Gotta Get Out of This Place,’ ‘It’s My Life,’ and ‘Don’t Bring Me Down.’

As a member of The Animals, Valentine was inducted into the Rock and Roll Hall of Fame in 1994. The band was honored with a spot on Hollywood’s Rock Walk of Fame in May 2001.

Burdon spoke warmly of Valentine during a recent interview with Guitar International.

“It really was Hilton who made the early Animals a rock band because I don’t think the element of rock was in the band until we found him,” he said. “In those days, Hilton wasn’t just playing rock ‘n’ roll, he looked rock ‘n’ roll. Here was a guy with the greased mop of hair combed back, cheap leather jacket, winkle picker shoes, black jeans and a smile on his face playing through an echoplex, which was a secret weapon back then.”

Valentine would reunite with his band mates in The Animals over the years. He also released a solo album, All in Your Head, in 1969 for Capitol Records. The reunions with his band mates resulted in the release of at least one album, Before We Were So Rudely Interrupted, in 1977.

The news release distributed adds that in recent years, Valentine had formed his own band, Skiffledog, and toured with the band in the U.S. and U.K. The band released two albums, It’s Folk ‘n’ Skiffle, Mate! and Skiffledog on Coburg ST. Additionally lent a helping hand to other bands, such as The Woggles, and The Headless Horsemen.

Valentine released a holiday album titled Merry Skifflemas! in 2011. Big Boy Pete assisted with that recording.

The noted press release quotes ABKCO, which had its own role in Valentine’s life and career, as mourning his passing in a prepared statement.

“We at Abkco have been privileged to serve as stewards of The Animals catalog and his passing is felt in a truly profound way by the entire Abkco family,” the statement reads.

Hilton Valentine was 77 years old.

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Post Death Soundtrack’s New EP Charts A Clear “Path” For Its New LP

Courtesy: Independent Music Promotions

Independent industrial act Post Death Soundtrack unveiled the first preview of its upcoming album It Will Come Out of Nowhere this week.  The duo – Jon Ireson and Steve Moore – offered up the preview Friday in the form of its EP Pathless Land.  More single than EP, the three-song record features one of the noted album’s singles – ‘Pathless Land’ – and two remixes thereof.  The 16-minute record is a presentation that will appeal to fans of the duo’s contemporaries, such as Nine Inch Nails, Ministry, and Gravity Kills.  That is proven in all three of the song’s takes as well as its lyrical content.  The production in each rendition brings everything today, completing the record’s presentation.  All things considered, the EP is a work that is a strong first impression for the duo’s album.

Post Death Soundtrack’s new EP Pathless Land is a positive first impression for the duo’s forthcoming album It Will Come Out of Nowhere, which is expected for release Feb. 15 on limited 2LP release.  It is such a promising preview of the record in part because of its musical arrangements.  All three takes of the EP’s title track gives audiences something different from one take to the next.  The rendition that features in the album is a keyboard driven work that opens, sounding like something out of the 1980s.  However, as the vocals (including the dual-lined chant of “Freedom”) are added to the mix, that sound turns more into something akin to the industrial sounds of the early  90s.  The comparison here to works from Nine Inch Nails is unavoidable.

The “Sovereign Mix” of ‘Pathless Land’ maintains the noted Nine Inch Nails comparison, but also adds in a bit of a Ministry influence, too.  That is evidenced in t he steady, plodding keyboard line that hits with the force of a hammer.  The ambient vibe that the rest of the song exhibits also presents hints of Stabbing Westward and Gary Numan’s influence to a slightly lesser degree.  It is a take that holds its own against the album’s rendition and proves just as engaging as that take.

The “Lit Beacon” take of ‘Pathless Land’ is just as unique as the song’s “Sovereign Mix.”  What makes this version stand out so much is its semi-acoustic approach.  That subtle approach conjures thoughts of Nine Inch Nails’ more subdued works circa 1994, the year that the band released its landmark album The Downward Spiral.  The brooding nature in the arrangement makes this take one of those works that is so heavy without being heavy and will prove just as engaging for PDS’ target audience as the other two takes of ‘Pathless Land.’  All things considered, the three different takes on the song form a strong foundation for the EP.  The lyrical content that accompanies the song’s musical content (in all its forms) adds even more to the EP’s engagement and entertainment value. 

Not all of the lyrical content featured in the song is capable of deciphering without a lyrics sheet to reference.  However, from what one can understand, the song’s lyrical content comes across as being decidedly introspective.  At one point, the song notes, “From the need to fight/From manic desire/From climbing ever higher/From the mantis bride/From the human…From trouble…/From the fatal flaw/From temples of might…From the seekers of truth/From the altar of youth…”  There are mentions of Christ and Allah from there and “lifeless praise” here, too.  Simply put, what this song does lyrically is something completely unlike anything else out there today.  Thankfully, information provided about the song’s lyrical content does explain the cryptic language.  The information cites Moore as saying about the song that, “‘Pathless Land’ is a little song full of unlikely vitriol and resolve following loss and devastation. We’re thrilled to share this new release with you during dark times and hope it provides a moment of stillness where something fresh can take root.”  Taking that loose description into account, it is sure to generate plenty of discussion among audiences.  Together with the song’s musical content, in each of its iterations, the two elements collectively make for even more engagement for audiences. 

While the musical and lyrical content featured in the Pathless Land EP do quite a bit to make the record an interesting presentation, they are just a portion of what creates that appeal.  The record’s production puts the finishing touch to the presentation, bringing everything together.  As has already been noted, the EP (which again is in this critic’s view more single than EP – but that’s beside the point at this rate) features three very distinct takes on the song in question.  Each rendition presents its own unique take, too.  That means that a lot of attention had to be taken to make sure each take had the utmost impact.  Thankfully, those painstaking efforts paid off.  The brooding, subtle sounds of the song’s “Lit Beacon” mix creates such a deep emotion that will resonate with listeners long after the song’s end.  The balance in the subtle crescendos and decrescendos makes this take so rich.  The more driving, electronic “Sovereign Mix” with its sharp contrasts makes for its own powerful impact.  It would have been so easy to let the song get away with itself in the heavier moments in this mix, but thankfully that did not happen.  That heaviness, against the take’s more subtle side makes for even more power here.  The handling of the even more subtle approach to the song’s album take required its own attention to detail in regards to its production.  The layering of the chanting vocals causes that element to echo in listeners’ minds.  Meanwhile, the subtlety in the chants against the main lyrical line makes for even more of an interesting effect.  Much the same can be said in how that was all balanced with the keyboard line here.  All things considered here, the production works just as well in this case as in the song’s other mixes.  The end result is a record here from Post Death Soundtrack that industrial and goth audiences will appreciate just as much as works from the duo’s more well-known counterparts. It is a record that they will agree, also, is a positive first preview of the duo’s forthcoming album.

Post Death Soundtrack’s new Pathless Land EP is a good way for the duo to give audiences their first preview of the pair’s forthcoming album It Will Come Out of Nowhere.  That is proven in part, as noted here, through all three of the arrangements of the EP’s title track.  Regardless of which rendition listeners choose, the result is a song whose arrangement is fully engaging and entertaining.  The unique lyrical content that accompanies the record’s musical arrangements adds its own interest for listeners and is sure to create its own share of discussion and engagement.  The production of each of the song’s renditions brings everything full circle as it ensures every element of each take is balanced with the utmost precision.  That detailed attention to each arrangement’s instrumentation paid off, too.  It joins with the record’s content to make the EP sound appealing just as much as the content makes it appealing in that arena.  Each item noted is clearly important in its own way to the whole of the EP.  All things considered, they make Pathless Land a presentation that charts a clear, solid path for Post Death Soundtrack’s coming album.  Pathless Land is available now.  More information on the EP is available along with all of the duo’s latest news and more at:




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Pilot Front Man Applauds The Mylars’ ‘Magic’ Cover

Courtesy: O’Donnell Media Group

Independent rock band The Mylars has received high praise from an unexpected source for its cover of Pilot’s hit single ‘Magic.’

Pilot front man David Paton recently contacted The Mylars, praising the band for its take of Pilot’s timeless tune, which debuted in 1974. Paton had the following to say of The Mylars’ rendition of the well-known, beloved song:

“Hi Guys, I enjoyed listening to your cover of ‘Magic.’ Love the energy and powerful guitars. It’s great to hear a band doing something different with the song and managing to keep it alive and fresh sounding. The harmonies work really well and I enjoyed the arrangement. Sounds like you’ve put a lot of work into it and it’s paid off.”

The band debuted its take on ‘Magic‘ on Jan. 15. While The Mylars’ take on the timeless song stays mostly true to its source material, listeners will note a distinct difference between The Mylars rendition of the song and Pilot’s original work.

The familiar little guitar lick that rounds out the three-minute plus song in the original is absent from The Mylars’ version as is the brief guitar intro from Pilot’s original that leads into the song. Instead, The Mylars opted to jump right into things in its version of the song. Additionally, the more laid back approach that Pilot used for its presentation of the song is replaced here by a more poppy, upbeat approach.

The Mylars’ update to ‘Magic’ gives the original tune a unique new identity separate from its source material that is still largely an enjoyable work.

The debut of The Mylars’ new cover comes more than three months after the debut of the band’s most recent original single, ‘Satellite Girls.’ Released in October, the song was at the time, the band’s first new music since the release of the band’s self-titled album in 2017.

More information on The Mylars’ new cover of Pilot’s ‘Magic’ is available online now along with all of the band’s latest news and more at:




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L.A. Guns Debuts New Single, ‘You Can’t Walk Away’

Courtesy: Golden Robot Records

L.A. Guns debuted its latest single this week.

The band debuted its new single ‘You Can’t Walk Away‘ Thursday. The song is the fifth single from its album Renegades, which was released Nov. 13 through Golden Robot Records. Its debut follows that of the album’s current singles, ‘Crawl,’ ‘Well Oiled Machine,’ ‘All That You Are‘ and the album’s title track.

‘You Can’t Walk Away’ is an interesting addition to Renegades because it really defies everything that audiences have come to expect from L.A. Guns throughout its life.  Yes, there is a little bit of a ballad type of approach here.  At the same time though, the production, the choruses, and the instrumentation really throws back to the 1960s and some very distinct influence of The Beatles.  It really is the album’s most surprising and engaging work because of that approach.  That musical aspect, with all of is production and emotion works with the song’s familiar lyrical content about a relationship, to make the song even more appealing.

The noted lyrical theme is mad clear right from the song’s outset as front man Kurt Frohlich sings, “Nothing’s right/Gonna be a long way home tonight/A lover’s fight/I’ve been away too long/Another day rolls by/And it feels like an old friend/But nobody wants to do it/No one seems to care/And nobody wants to listen anyway/You can’t walk away/Something inside is telling you/Why is it so hard to do/You can’t walk away/When it all falls apart/Leave with your heart.”  The theme is made even clearer in the second verse, in which Frohlich sings, “Nobody pays your precious way/Thought it was an easy thing to do/But when you turned around something told you/Go back to where they know you/You can walk away/Something inside is telling you/Why is it so hard to do/You can walk away/Still it all falls apart/Leave with your heart.”  Keeping all of this in mind, the song’s lyrical theme remains relatively clear.  This deals with the emotional difficulties that come with a breakup.  The addition of the song’s subdued musical arrangement adds even more to the song’s overall impact.  The two elements jointly make this song one of this album’s most notable and important works.

Drummer Steve Riley talked about the song during a recent interview.

“This is a song I wrote with a friend, Tommy Holland, over 35 years ago in Chicago,” said Riley. “I brought it to pre-production for the Renegades album and the band finished it with a new chorus and some other minor changes. We are very proud of it and hope it follows in the footsteps of Ballad of Jayne.”

More information on L.A. Guns’ new album is available along with all of the band’s latest news at:



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A Killer’s Confession Debuts New Single, ‘Remember,’ Companion Video

Courtesy: Wake Up! Music Rocks/Wake Up! Music

A Killer’s Confession debuted its latest single this week along with its companion video.

The band debuted its new single, ‘Remember‘ and its video Wednesday. The song is featured in the band’s upcoming as-yet-untitled third album, which is expected for release this year.

The musical arrangement featured in ‘Remember’ is a melodic hard rock style arrangement that also presents a slight aggro-rock influence. Its stylistic approach echoes that of the band’s most recently released single, ‘Last Chance.’ The band debuted that song last year.

The song’s lyrical content delivers a message of taking both sides of life into perspective, according to front man Waylon Reavis (ex-Mushroomhead).

“Sometimes in life, people are quick to forget the good and the bad,” said Reavis. “We all need to be reminded from time to time where the line in the sand is truly drawn.”

More information on A Killer’s Confession’s new album, single, video and live dates is available along with all of the band ‘s latest news at:




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