Rabbit!’s New EP Will Give Listeners A Simple Happiness

Posted on March 31, 2021 by philspicks

Veteran family music entertainment act Rabbit! will release its latest record Friday in the form of its EP, Happiness is Simple. The eight-song record is the band’s eighth studio recording, following the release of three albums and four other EPs. Whether listeners are familiar with the band’s body of work – which according to information on the band’s official website includes ad work with companies, such as Frito-Lay, Honda, and Crayola — or they are less familiar with that work, the fact of the matter is that the new record is an appealing work for listeners of all ages. That is due in large part to the record’s musical arrangements. They will be discussed shortly. The lyrical themes that accompany the record’s musical arrangements add their own appeal to the whole. They will be discussed a little later. The record’s sequencing rounds out its most important elements. It will be discussed later, too. When it is considered along with the record’s overall content, the whole makes the EP a successful new offering from Rabbit! that will give happiness to every listener.

Rabbit!’s new forthcoming EP Happiness is Simple is an aptly titled presentation from the veteran family music entertainment act. It is aptly titled because it is such a simple way to bring audiences happiness. That is proven in part through its musical arrangements. The arrangements in question exhibit a mix of modern indie-pop and vintage Beatles influence for the most part. Even with that one connecting thread there, the arrangements vary from one to the next. This plays into the record’s sequencing, which will be discussed later. The EP’s title track for instance, which closes out the record, uses its infectious choruses and simple melody and rhythm to make a whole that is unique in its own right. The choruses, as big and bombastic as they are, conjure thoughts of Mumford & Sons while the verses are much simpler. That contrast, that juxtaposition creates a wonderful overall impact that is certain to resonate with listeners.

On another note, a song, such as ‘Let’s Get Started’ bears an arrangement that lends itself to comparison to Electric Light Orchestra’s famous song, ‘Mr. Blue Sky.’ At the same time, it also bears some similarity to works from The Beatles, too. That mix of vintage pop music from two completely different eras that are still so similar makes for another work that is unique in its own right, too. The call and response in the vocals against the keyboards, guitar and drums plays so well into that impact. The whole is a work that stands well against the rest of the EP’s arrangements and shows in its own way, what makes the record’s musical content so enjoyable.

‘Dogs Like These,’ on yet another hand, changes things up even more, with something of a hybrid indie/ska-punk sensibility. That is evidenced through the presentation of the guitar line and vocals. The light, bouncy feel immediately lends itself to comparison to works from the likes of Reel Big Fish and Mighty Mighty Bosstones, just without all the horns. It makes for yet another unique musical addition to the EP. Together with the other arrangements noted here and the rest of the record’s compositions, the musical content in whole here makes the EP’s overall musical arrangements unquestionably important to the record’s presentation.

While the musical arrangements featured in Happiness is Simple are clearly key in their own way to the whole of the record’s presentation, they are just a part of what makes the record so appealing. The EP’s lyrical content is important in its own way to the EP’s presentation, too. The lyrical themes featured here are just as diverse as the record’s musical content. Right from the EP’s outset, listeners are presented with a song in ‘Tough Enough’ that is a simple reminder to listeners that they are…well…tough enough to get through life’s more difficult situations. The song even notes early on, “If you fall down/Then get up again/You’re tough as nails/Brick and stone.” It even tells listeners that those who even do something as simple as sleep with the night light off are “the boss.” That is a big statement in itself. The song even makes not of people “rolling with the punches like a heavyweight/And dishing out as much as we can take/The Creature from the Black Lagoon might hesitate/To get in the way of a hurricane/Tough enough/We never give up/When the going gets rough/It’s when the tough keep going/There’s no time for slowing/’Cause we are on the move.” That mention of the Creature from the Black Lagoon is a great reference that older listeners will appreciate. The overall message that encourages young people to live their lives and just do their best; to be strong physically, mentally, and emotionally, is a wonderful theme for not just children, but grown-ups, too. It is just one example of the importance of the EP’s lyrical themes. ‘(I Let The) Wheels of the Bus’ is another great example of the importance of the EP’s lyrical themes.

The lyrical theme featured in ‘(I Let The) Wheels of the Bus is so important to cite because of its own message of encouragement. The song’s lyrical theme is one of simply living life as it comes, not stressing out about what comes. That the band would deliver that powerful message by making reference to a simple children’s song in the title is brilliant in itself. The delivery of that message makes for even more appeal. It delivered most strongly in the song’s chorus, which finds the song’s subject singing, “I let the wheels of the bus/Take me wherever the wind blows.” The note in the song’s lead verse that the bus’ “destination was not discussed” adds even more to that noted theme. The whole of that and the rest of the song’s lyrical content makes for a message that every parent will welcome just as much as any child.

The album doesn’t reserve its lyrical content just for serious messages. ‘Dogs Like These’ is a fun, light work that is simply about someone dealing with a dog that apparently needs some obedience training. From the mention of the dog chewing the couch, to not sitting and staying, to more, the subject asks time and again, “What am I gonna do/With a dog like you?” The energetic questioning is something to which plenty of new owners will relate. It’s yet another way in which the record’s lyrical diversity shows itself and at the same time shows its accessibility and entertainment as a result. When it and the other lyrical themes are considered together with the record’s musical content, the whole makes this record’s content overall, a solid foundation for its presentation. That foundation is cemented through the sequencing of said content.

The sequencing of Happiness is Simple is important to note because on the surface, it ensures the stylistic approaches to the arrangements varies throughout the EP’s half-hour run time. On another level, it ensures the songs’ energies change just enough and in turn keep the record’s pacing stable. Listeners will note that the record starts on a mid-tempo note in ‘Tough Enough’ but then picks up in ‘Submarine’ with its upbeat club style arrangement. From there, the record’s energy gradually eases off more up until it reaches ‘Dogs Like These.’ That song’s musical arrangement dramatically picks things back up before giving way to the much more relaxed arrangement featured in the record’s closer/title track. Simply put, the album’s sequencing ensures that it does not become redundant at any point, but rather keeps things changing from start to end. This ensures once more, the record’s engagement and entertainment. When this is considered along with the impact brought on by the record’s overall content, that whole makes Happiness is Simple a simple success for Rabbit!

Rabbit!’s new EP Happiness is Simple is a positive new offering from the veteran family music entertainment act. That is due in part to its musical arrangements. The arrangements in question all exhibit a similar stylistic approach, but still present their own unique sounds. That in itself makes for its own interest. The lyrical themes that accompany the musical content range from the serious to the silly, making for even more interest. The EP’s sequencing brings everything together, ensuring the variations in the musical and lyrical content keeps things interesting for listeners. Each item noted here is important in its own way to the whole of the EP. All things considered, they make the EP certain to generate its own simple happiness for audiences. Happiness is Simple is scheduled for release Friday.

More information on Rabbit!’s new EP is available along with all of Rabbit!’s latest news at:

Website: https://rabbiththeband.com

Facebook: https://www.facebook.com/rabbittheband

Twitter: https://twitter.com/rabbittheband

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Grown-Ups Will Enjoy The Story Pirates’ New Album As Much As Children

Posted on March 31, 2021 by philspicks

Whether one is a parent, educator, or just music lover, one cannot deny that family music albums are constantly some great entertainment. That is due to the musical diversity that so many of those albums offer, as well as oftentimes, the records’ lyrical content. This critic has proven this time and again over the years, even as recent as this year. The Story Pirates’ new album The Strawberry Band is no exception to that rule. Scheduled for release Friday through Face Cake Records, the 12-song record will entertain audiences of all ages just as much as the band’s existing albums and just as much as any family music act’s offerings past and present. That is due in no small part to the overall approach to this record. It will be discussed shortly. The record’s featured musical arrangements add their own appeal to the album and will be discussed a little later. The lyrical content that accompanies the album’s musical content puts the finishing touch to the album’s presentation and will be discussed later, too. Each item noted is important in its own way to the whole of the album. All things considered, they make the album one more candidate for a spot on this year’s top new family music albums.

The Story Pirates’ forthcoming album The Strawberry Band is an outstanding addition to this year’s field of new family music albums. It stands out among this year’s field of new releases in part because of the approach that the band took to the record, making it a fun, family friendly concept album. Yes, it is a concept album. Few children’s albums out there can say they are concept works, considering that such works are saved more for grown-up albums. The closest that any family music act’s work comes to being concept are Doctor Noize’s stories of Phineas McBoof, who is a musical monkey. Getting back to The Story Pirates’ new album, the story featured in this record centers on a Beatles-esque band called….well…The Strawberry Band. The set-up story, which opens the album, was developed by one of the band’s 5 year-old fans. The rest of the songs that feature throughout were allegedly developed through story ideas presented to the band by its many young fans. That the band would so openly and warmly develop a record – and a concept record no less – that was essentially made by and for its fans makes this approach especially unique and appealing. The work that the band did to connect the overall concept is just as unique. So all in all, the approach that the band took to this its fourth album is something special in its own right. It in itself makes this record well worth hearing. It is just one part of what makes the album so appealing. The musical arrangements that make up the record’s body add their own appeal to the presentation.

The musical arrangements featured throughout The Strawberry Band are so important to note because of their diversity. Right from the record’s outset, listeners are treat to a work in ‘The Strawberry Band’ that is a catchy, funky, bass-driven work that sounds like it came right out of the 1960s and 70s. That this Beatles-inspired band is basically supposed to be performing the work adds to the special touch. It will put a smile on any listener’s face. Parents and older listeners in general will especially love the little tribute to The Beatles’ ‘Hold Your Hand’ that is incorporated into the song. The hip-hop/vintage R&B sound of its immediate follow-up, ‘The Case of the Musical Cinnamon Buns’ will appeal just as much to audiences of all ages while the silly story of…well…musical cinnamon buns will entertain younger listeners. That musical approach is so infectious. It will introduce younger listeners to such a great genre while also offering something equally entertaining for older audiences. As if that is not enough, those familiar with pop music from recent years will recognize a comparison to Taio Cruz’s hit song ‘Dynamite’ in ‘Hedgie in the Cloud Kingdom,’ which comes a little later in the album’s 42-minute run time. The similarity is not a mirror image, but it is close enough that audiences will easily make the connection. On yet another note, ‘Glowy and the Friend Adventure,’ the album’s mid-point, is just as easily comparable to Jason Mraz’s hit song ‘I’m Yours.’ Again, it is not an exact copy, what with the use of the muted trombone and overall approach. However, the general, overall sound makes no doubt, the influence. To that end, it will entertain older listeners just as much as any of the album’s other musical arrangements. On yet another note, there is even a comparison to Alanis Morisette’s classic rock hit ‘You Oughta Know’ in ‘The Night I Started Sharing a Room With My Sister.’ Once again, the comparison is not precise, but the vocals, drums, bass, and guitar still make that comparison relatively obvious. So yet again, here is a way for the album’s musical content to appeal to older audiences just as much as children. The tributes to classic music do not end there. The brief ‘The Strawberry Band (Reprise)’ pays tribute to George Harrison’s ‘Got My Mind Set On You,’ adding even more to the record’s musical appeal. Those songs (and others featured here) will also serve as a starting point for those older audiences to introduce their own children to their music and bond with them even more in the process. Keeping all of this in mind, it should be clear why the musical arrangements featured throughout this album are so important to its presentation. When they are considered along with the album’s very approach, that whole more than makes the band’s new forthcoming album a pleasure to hear. They are just a portion of what makes the album enjoyable. The lyrical themes that accompany the album’s musical content and story put the finishing touch to the presentation.

The lyrical content that is featured in The Strawberry Band is important to note because it is just as diverse as the record’s musical content. As already noted, one of the album’s early entries – ‘The Case of the Musical Cinnamon Buns – is about a bunch of musical cinnamon buns. It is just a fun, random story. There is also a story about a fairy that lacked wings featured here. The song delivers a message to listeners about taking pride in one’s self even if one might not look like others or have the same abilities as others. This is a message that again, listeners of all ages will appreciate. It adds even more enjoyment and importance to the album’s lyrical content overall. The band also promotes making friends with a diverse range of individuals because of their diversity through ‘Glowy and the Friend Adventure.’ This is (sadly) a message that grown-ups should heed just as much as children. That is especially the case today considering the world’s current social climate. These noted songs and the album’s others were from the band’s young listeners, making them all the more impacting, when one takes the silly and serious all fully into account. It all comes together to show without any doubt, just how important the album’s lyrical content is to its presentation. When all of this is considered along with the importance and impact of the album’s musical content and overall approach, the whole makes The Strawberry Band a “sweet” new offering from The Story Pirates.

The Story Pirates forthcoming album The Strawberry Band is a presentation that will appeal just as much to grown-ups as it will to children. That is proven in part through the record’s approach. The approach in question is that of a concept album. Few other family music albums make and have ever made concept albums for the whole family. The record’s featured story is itself unique, making for even more appeal. The musical arrangements that are presented throughout the story offer plenty for children and grown-ups alike plenty to enjoy. They will in turn, make for a great way for families to bond just over this aspect. The lyrical themes, which are presented from stories sent to the band by its young fans, add even more diversity to the album. Some are silly. Some are serious. They are all accessible for listeners of all ages and presented in equally accessible fashion. They put the finishing touch the album. When they are considered along with the album’s approach, its story, and its musical arrangements, that whole makes The Strawberry Band an easy candidate for a spot on any critic’s list of the year’s top new family music albums. It is scheduled for release Friday through Face Cake Records

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

Website: https://storypirates.com

Facebook: https://www.facebook.com/storypirates

Twitter: https://twitter.com/storypirates

‘Miss Scarlet & The Duke’ Is Mostly Succesful In Its Debut Season

Posted on March 30, 2021 by philspicks

Courtesy: A+E Networks International/PBS/PBS Distribution/WGBH

Fans of the British crime drama Miss Scarlet and the Duke received some positive news this week. The series will return for a second season. The announcement came Monday through an email newsletter from WGBH and PBS. Season Two’s premiere date was not announced, as the global COVID-19 pandemic forced stoppage of Season Two’s filming early this year. That means filming will have to resume first if it has not already restarted. While audiences await the premiere of Season Two, they can watch the series’ debut season on DVD thanks to PBS Distribution and A+E Networks International. Released Feb. 16, the lead season of the Victorian-era crime drama is an interesting presentation. That is due in part to its writing, which will be discussed shortly. While the writing makes for its own share of interest, the acting deserves its own share of attention, too. It will be discussed a little later. For all that the writing and acting do for this series, they are just a portion of what audiences will appreciate about this season of Miss Scarlet & The Duke. The season’s look fits relatively well with the time, too. Taking into account that aesthetic element along with the writing and acting, the whole of the elements makes the first season of Miss Scarlet & The Duke worth watching at least once.

Miss Scarlet & The Duke is a presentation that will appeal to most crime drama fans in its debut season. That is due in part to its writing. Season One’s writing follows Eliza Scarlett, daughter of well-known private detective Henry Scarlett. The story opens with Eliza facing her father’s death, and in turn, taking over his business. The move is a result of not only her own love of solving crimes – instilled by Henry – and a need to financially support herself. That need to support herself comes because she is a progressive woman in a very male-dominated Victorian-era England. She does not want to rely on a man, which will appeal to plenty of hardcore feminists today. Ironically (and no to give away too much) it would seem that odds are she and William – her male counterpart at Scotland Yard – will likely end up together by Season Two. Season One starts off with what seems like a random story, but as the season continues, viewers eventually find that each case that Eliza investigates is connected to the prior, ultimately leading to one last case, which brings everything full circle back to her father’s death. This writing style will keep viewers engaged throughout. Of course for all that the writing does to entertain and engage with the storytelling itself, there are some problems.

The future of the relationship between Eliza and William is predictable to say the least. What’s more, in that Eliza is so progressive yet that she and William are becoming closer, emotionally just seems very contradictory. This is just one of the problems from which the writing suffers. The all-too-familiar plot element involving the private detective outsmarting the official law enforcement which shows up here detracts from the writing, too. It has been done so many times in shows, such as Psych, Murder, She Wrote, and even Scooby-Doo, Where Are You? just to name a few shows that have used this approach. To that end, that the show’s writers would fall victim to that trapping is discouraging. The same applies to Eliza getting herself trapped in “Cell 99.” The detective getting into a dangerous situation has been done, too. Even with these negatives in place, the writing in reference to the stories is enough to make the writing of at least some interest. It is just one of the important items to note in examining this season of Miss Scarlet & The Duke. The work of the show’s cast is also worth noting in examining this series’ debut season.

The work of Scarlett & The Duke’s cast is entertaining in its own right. Kate Phillips and Stuart Martin do very well together onscreen as Eliza and William. The duo’s chemistry is on full display even as their characters come across just as similarly as so many onscreen romantic duos. It is obvious in watching them together, that as much as they argue, the connection is there. To that end, the progression of the couple’s relationship and the result of that progression – which will not be revealed here – should come as no surprise. Keeping that in mind, their acting will appeal to anyone who is already so familiar with so many similar on-screen romantic relationship stories.

On yet another note, Ansu Kabia is just as impressive as Moses. Moses becomes a key character in this season’s run. Odds are, his finale with William makes one wonder if (and even hope that) he will return in Season Two. It will not be a surprise if he does in fact become a regular in Season Two. Not to reveal too much, but his acting leaves audiences fittingly wondering throughout, about his loyalties. It leaves the final reveal that much more fulfilling. His work is just that subtle and impressive.

Speaking of unsuspecting, Danny Midwinter’s role as DS Frank Jenkins adds its own nice touch to the whole. As William’s partner, he and Martin bounce off of each other so well throughout the season. It makes the revelation of Jenkins’ truth that much more hard hitting, again, because at no point does he make it even possible to know what would come. To that end, credit where due with his acting, too.

Looking at all of the notable work put in by the cast of Miss Scarlet & The Duke, it builds on the slightly shaky foundation formed by the writing to help secure that foundation. That work is just one more notable aspect of the season’s presentation. The sets and costumes featured in this season add their own interest to the presentation. The sets that are used, including even the horse-drawn “taxis,” fully immerse audiences into Victorian-era England. The sound of the horses’ hoofs against the cobblestone streets (yes, there are even cobblestone streets) is a minor aesthetic element, but adds so much to the believability in terms of the backdrop. At the same time, the cast’s attire – from the men’s suits and tuxedos to the women’s hairstyles, dresses, and hats – is period appropriate, too. It serves to show the show runners’ dedication to making the show’s look just as appealing as its acting and writing. That ensures the program’s engagement and entertainment even more. When this is considered along with the program’s writing and acting, that whole makes this lead season of Miss Scarlet & The Duke a presentation that the most die hard crime drama will find is worth watching at least once.

The debut season of A&E Networks International’s Miss Scarlet & The Duke will find appeal among most crime drama fans. That is due in part to its writing, imperfect as it is. The writing keeps the season moving, as it connects each of the season’s six episodes without making the connections too obvious. The way in which the season’s stories build on one another and ultimately bring everything together will generate appeal among audiences in hindsight. The problem with the writing rests more in the plot elements that are tied into the stories. They are all too familiar within the crime drama realm, and in turn become little more than tropes here. Luckily, they do not detract from the writing to the point that they completely negate the importance of the writing. The work of the series’ cast on camera adds its own touch to the whole. It proves even stronger than the show’s writing because of the professionalism in that presentation. The show’s look puts the finishing touch to its presentation. That is because the majority of the show’s look is era-appropriate. It shows the dedication that went into making the show believable even in that aspect. When it is considered along with the noted work of the writers and cast, the whole, again, makes this lead season of Miss Scarlet & The Duke a presentation that will appeal for the most part to most crime drama fans. It is available now on DVD. More information on this and other shows from A+E Networks International is available online at:

Website: https://aenetworks.com

Facebook: https://www.facebook.com/AENetworks

Twitter: https://twitter.com/AENetworks

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

LTE’s Latest LP Is The Latest Contender For The Top Spot Among 2021’s Best New Rock Albums

Posted on March 29, 2021 by philspicks

More than two decades after the release of its then most recent album, prog rock super group Liquid Tension Experiment officially returned Friday. The band – Mike Portnoy (drums), Jordan Rudess (keyboards), John Petrucci (guitar) Tony Levin (bass) – released its new aptly titled album Liquid Tension Experiment 3 Friday through InsideOut Music. The eight-song instrumental album spawned three singles ahead of its release. Those songs are but a glimpse into the album, too. The 61-minute presentation offers hints of the band’s existing catalog and something in another direction throughout, too. ‘Beating The Odds is just one of the songs featured in the recording that shows a new creative direction from the band in its latest outing. It will be discussed shortly. The band’s updated take on famed composer George Gershwin’s ‘Rhapsody in Blue’ is another change in direction for the band in this outing. It will be discussed a little later. Showing even more, the change in direction in this record is ‘Chris and Kevin’s Amazing Odyssey,’ which comes just past the record’s midpoint. It will also be discussed later. Each note song proves the album’s growth, and in turn, engagement and entertainment. When they are considered along with songs, such as ‘Shades of Hope,’ ‘Hypersonic,’ ‘The Passage of Time,’ and the album’s two remaining songs, the whole makes the album in whole a work that is a welcome return for Liquid Tension Experiment and that is among the best of this year’s new rock albums.

Liquid Tension Experiment’s latest album, Liquid Tension Experiment 3, is a presentation that will appeal to the band’s established audience base. In the same note it will appeal to fans of the band’s members and their primary projects just as much. That is due in large part to the songs featured in this recording. The songs in question show evidence of songs from the band’s existing catalog as well as works that show some growth from the band. One of the most notable of the songs that exhibits that growth comes in the form of ‘Beating The Odds.’ The six-minute-plus composition is not the wildly energetic style composition that audiences have come to know from the band. Rather, it combines a variety of tones and influences, beginning with a very Rush style guitar intro to open the song. From there, listeners can hear distinct influence from Dream Theater’s early days prior to Portnoy’s departure from the band. At the same time, there is also a hint of Spock’s Beard influence through the combination of Rudess’ work on keyboards and Petrucci’s guitar performance. At times the influences remain separate, and at others join together for one unique whole. Through it all, the balance in the influences is handled expertly, a tribute to the record’s production. The end result of that controlled chaos is a work that brings out the best of the bands that have influenced this band’s members in one complete work that boasts its own standout identity as a prog-rock opus.

‘Beating The Odds’ is just one of the songs that serves to exhibit the growth from Liquid Tension Experiment in its latest album. The band’s updated take on George Gershwin’s timeless jazz classic, ‘Rhapsody in Blue’ is another clear example of the successful change in the band’s new album. It is a complete change of pace for the band, taking on a jazz classic instead of any rock composition. Gershwin’s original composition is present here. There is no denial of that fact. At the same, the song gets a nice change of pace in this rendition. Petrucci’s subtle guitar opening mimics the piano line that opens the original so well. The addition of the synthesized string arrangement at points throughout is a nice tribute to the original in its own right. It actually does well to sound like the real thing, even being synthesized. What’s more, the Joe Satriani-style approach that Petrucci takes along with his own style as the song progresses adds even more to the approach. Much the same can be said of Rudess’ keyboard performance throughout, and that of Portnoy. The whole of the group’s work here is such a rich presentation. It is a dramatic change of pace for the band this time out and such a successful risk. It is just one more example of what makes the album so successful. ‘Chris and Kevin’s Amazing Odyssey’ — which comes in the record’s second half — is yet another example of the album’s strength.

‘Chris and Kevin’s Amazing Odyssey’ is notable because it is so starkly unlike anything that these musicians have ever crafted collectively and with their primary acts. The whole thing starts off with Levin using what sounds like a bow on his bass, as if it was a standup bass. Portnoy’s accents on the toms sound random, but are in fact complimentary to Levin’s work. The subtle addition of the occasional keyboard effect makes for its own unique touch here. The whole experimental work immediately comes across as a distinctly avant-garde type composition, yet is still so engaging because of that experimental, free form type composition. It is another wonderful example of how much the band has branched out this time out and how that willingness to try something new has paid off. When it is considered with the other two songs examined here and the more familiar sound exhibited through other songs featured here, such as ‘Shades of Hope,’ ‘Hypersonic,’ ‘The Passage of Time,’ and the album’s two remaining songs, the whole of all of that content makes the album in whole a welcome return for Liquid Tension Experiment and an equally impressive new addition to this year’s list of top new rock records.

Liquid Tension Experiment’s first new album in more than two decades and first since the release of Spontaneous Combustion – released in 2007 (almost 15 years ago) by three quarters of LTE under the moniker of Liquid Tension Trio – is an impressive new offering from these musical mates. It proves that from start to finish with a solid combination of familiar content and plenty of material that takes chances and takes the band in new directions. Those newer songs are all examined here. When they are considered with the rest of the album’s works, the whole makes LTE 3 a work that every prog-rock fan will welcome. It is proof positive that good things really do come to those who wait. LTE 3 is available now. More information on the album is available along with all of the band’s latest news at https://www.facebook.com/ltexperiment.

PBS Distribution, itv’s ‘Jekyll And Hyde’ Home Release Will Hopefully Bring This Underappreciated Show Some New Life

Posted on March 28, 2021 by philspicks

Ahhhhh ,’tis better to have loved and lost than to have never loved at all. Everyone knows that old adage about relationships. The thing is that the saying can just as easily apply to other areas of life, such as finding a television show that one enjoys, only to lose that show too soon through cancellation. In those cases, audiences have to remind themselves that at least for that moment, they had something they loved, if only momentarily. Such is the case with British television network’s short-lived action/drama, Jekyll and Hyde. The series ran from October to December 2015 on the British television network itv, but thanks to itv and PBS Distribution, the series, which was canceled after only one season, is getting another chance to be loved. That is because the two sides partnered to release the show on DVD March 9. Regardless of whether audiences are new to the show or original viewers, each side will agree that the show’s rebirth of sorts is a welcome return. Odds are it won’t help the series get some surprise second season, more than five years after the show’s original cancellation, but it will still provide audiences with at least 10 great stories. Those stories serve as the foundation for the series’ new DVD release. They will be discussed shortly. The cast’s work on camera adds its own appeal to the series’ enjoyment. It will be discussed a little later. The collective sets, costumes, and special effects round out the most important of the show’s elements. This will all be addressed later, too. When that is all considered along with elements, such as the show’s cinematography and editing, too, that overall whole makes Jekyll and Hyde a series that shows in its new home release, it more than deserves if not a new season, at least a movie. Even if it doesn’t get that much, this home release of Jekyll and Hyde proves itself a presentation that horror and science fiction fans everywhere will enjoy.

British TV network itv and PBS Distribution’s new home release of itv’s short-lived series Jekyll and Hyde is a presentation that so many audiences will appreciate and enjoy. That is due in absolutely no small part to the series’ story. The story in question finds a young Dr. Robert Jekyll dealing with his curse as he fights an evil monster organization called Tenebrae in Victorian-era London. In the process, Robert is also trying to make sense of his past, of which he knows next to nothing. Prior to fighting the evil monsters, he had lived in India with his adoptive family, even then fighting his curse. A letter that he received about his grandfather’s estate is what brought him to London in the first place. The whole story has such a comic book feel, most specifically that of Hellboy. At the same time, domestic audiences will also manage to make comparisons to the likes of other American science fiction shows, such as Fringe and The X-Files to a slightly lesser extent. The Hellboy comparison should come as no surprise. The show’s heads even mention in the “Introduction” in the set’s bonus content that the superhero feel that the show exhibits is fully intentional. The story starts off a little slow and does leave audiences with some questions, but luckily those questions are gradually answered as the story progresses. Even the fashion in which the questions are answered makes for a comic book vibe, even though apparently this series is not adapted from any comic book. Much the same can be said of the dialogue here. It is just as superhero/comic book-esque, and will be discussed more when the cast’s work on camera is addressed. All things considered here, the story featured at the center of Jekyll and Hyde makes for a solid foundation for this wonderful show. It is just a part of what makes the show so enjoyable. The cast’s work on camera adds its own share of enjoyment and engagement to the whole.

The cast’s work is so notable because of everything that it adds to the show. As noted, this show was intentionally presented in a very distinct superhero/comic book fashion. As most audiences know, such style presentation makes it easy for characters/actors to go over the top and really ham it up (sometimes too much). In the case of lead actor Tom Bateman, he balanced both of his roles (Jekyll and Hyde) so well throughout. The confident swagger that he presents as Hyde and the growth that he helps Hyde show throughout is applause worthy in its own right. That is because of the control that Bateman uses in his performance. At the same time, those moments in which Robert is facing his existential crises, Bateman does just as well to control his performance. Those moments have been and are far too often overacted by other actors in other shows. Thankfully, Bateman did not let himself fall victim to the moments. Rather, the way he handled the moments made his performance all the more engaging and entertaining. That balance of personalities and presentations from Bateman makes his performances through the show another bright spot. Of course his performance is just one of the many that shines here. That of Donald Sumpter, as Garson, is another notable performance.

Sumpter’s take on Garson is important to address because of its unique presence. Garson is, for all intents and purposes, the straight man to Bateman’s evocative lead. The subtle way in which Sumpter exhibits Garson’s concern for and friendship with Robert makes for an interesting juxtaposition to Bateman’s performance. One can almost sense a certain fatherly concern from Garson for Robert, not just a friendship. That is not to say that audiences should compare the duo’s relationship to that of a Bruce Wayne and Alfred, but it is there regardless, just with more of a lighthearted feel. Sumpter’s sometime deadpan delivery adds to that lighthearted nature, making for even more entertainment and engagement.

For all of the entertainment and engagement that Bateman and Sumpter bring to Jekyll and Hyde, their performances are but a bit of what makes the cast’s work stand out. Natalie Gumede’s take on Bella will appeal to men and women alike. She does so well to make Bella both a strong, confident figure, and feminine at the same time. That is evident in the swagger that she gives Bella. That balance of confidence and vulnerability does well to make audiences want her and Robert to end up together even more so than Robert and Lily.

Speaking of Lily, Stephanie Hyam’s performance in the role does well in its own right to make her a red herring of sorts. Right from Lily’s first meeting with Robert, audiences know something isn’t right about Lilly, that she is not all she seems to be. That proves to be exactly the case as the show progresses. At the same time, Hyam does so well to keep it from being too obvious. She makes Lily’s reluctance to fully commit herself to Robert clear that something is up, but the controlled fashion in which Hyam handles the duo’s interactions keeps viewers guessing at what is really going on, especially as Harry is introduced. All things considered here, Hyam’s performance is just as important to this show as the performances of her cast mates.

One more performance that is worth noting in examining the cast’s work is that of Christian Mckay as Max. Max is one of the first people that Robert meets when he arrives in London, and quickly becomes more friend than acquaintance. As with Sumpter, McKay’s performance alongside that of Bateman makes for its own share of entertainment and engagement. The somewhat skittish personality that McKay brings out in Max opposite Bateman makes for a lot of funny moments. The duo’s performances together are important to note because in comparison to Bateman’s performances alongside Sumpter, these moments make Bateman more the straight man and McKay more the comic relief. It serves well to help show Bateman’s versatility as an actor while also showing Mckay’s own enjoyable talents. Between McKay’s performance and those of Hyman, Gumede, Sumpter, and Batement (the majority of the show’s lead cast) no doubt is left as to the importance of the cast’s work. One could just as easily cite the work of Richard E. Grant as Bulstrode, Michael Karim’s supporting role of Robert’s adoptive brother Ravi, and even Tom Rhys Harries’ subtle but still engaging take on Sackler as proof of that importance, too. Either way, the fact of the matter is that the cast’s overall work stands out throughout the series. The cast’s ability to interpret the scripts brings the story even more to life and immerses audiences even more into the show. It is another tribute to the cast’s work and the show itself, proving even more why this show deserves so much more respect than it got in its initial run more than five years ago. It is just one more example of what makes the show just as entertaining and engaging all these years later as it was in its initial run. The collective sets, costumes, and special effects put the finishing touch to this show.

The sets, costumes, and special effects are so important to address because of their aesthetic impact. While sadly not discussed at all in the bonus content featured with the show’s new first-time DVD release, it is deserving of its attention. Audiences will be in awe as Garson reveals the original Dr. Jekyll’s lab to Robert early in the series. The cobwebs and dust that covers everything succeeds in making the lab look like something right out of an old Universal horror flick. In the same breath, it looks increasingly like something out of a comic book as Robert works to restore his grandfather’s old lab. That is evident in the vibrant lighting and the cleaned up lab equipment. It almost makes one think of the bat cave for lack of a better comparison.

On another note, Grant’s MIO office, as simple as it is, is strangely appealing with its gothic look. The large sculpture that hangs behind Grant looms over the set. What looks like a sun carved into the sculpture is interesting considering that MIO’s mission is a sort of Men in Black type quest: to keep the general public in the dark as it battles dark forces. Yet here is this sun-type presentation behind him. The sun is light and life. So it’s almost as if it is meant as a sort of intentional, subtle statement about MIO bringing life by combating darkness and keeping people in the dark about those battles against dark forces. It really adds so much to the importance of the show’s sets.

On yet another hand, the Empire music hall shows in its own way, the importance of the sets. The inside and outside looks so time appropriate. The stage lights are built into the stage floor, as lights in that era were known to be done. The curtains, tables and piano, and even the marquee outside the building are so eye catching in their own right. The seemingly period proper set makes for such a contrast to Grant’s MIO office and Jekyll’s lab. It almost comes across as a source of ease and relaxation against the sense of tension created in the other two sets, proving its success in helping set the mood as audiences watch. It also leads into a discussion on the costumes and their importance.

Just as the Empire transports audiences back to the roughly 1800s, so do the cast’s costumes and even costumes. Robert’s fine suits and the ladies’ dresses and gloves help enhance the setting. The same can be said of the cars. It takes audiences back almost to the turn of the century. That contrast of such a spectacular story taking place in such an era makes for so much more engagement and entertainment. Add in the special effects, such as Robert’s transformation into Hyde (which is simple in its own right, but still powerful) and the disturbing presentation of the Reaper as it goes from host to host, and audiences see even more how much work and time went into making Jekyll and Hyde fully immersive, entertaining and engaging. When result of the time and work spent on the show’s sets, costumes and special effects is considered along with the result of the cast’s acting and that of the story itself, the whole makes this show a presentation that every science fiction and horror fan will enjoy and appreciate even in just one season. With any luck maybe the renewed popularity of and interest in the show will lead to a deserved rebirth of the show either on the small or big screen. If not, then oh well. Audiences will at least have this short-lived standout series to enjoy anytime they want.

PBS Distribution and itv’s new domestic home release of Jekyll and Hyde is a surprisingly enjoyable presentation that every horror, science fiction and comic book fan should see at least once if not more. It only lasted one season, thanks to complaints from people who are far too easily offended and by ratings (supposedly), but now it will hopefully receive the respect that it deserves even years after its initial television run ended. Its appeal is due in large part to its story. The story is very much a comic book/superhero type presentation, even though it was not adapted from a comic book. It succeeds quite well, too throughout. The work of the show’s cast builds just as successfully on the foundation formed through the show’s story, making for even more enjoyment and engagement. The time and work that went into presenting the show’s sets, costumes, and special effects puts the finishing touch to the presentation. It makes the show that much more believable and immersive. When it is considered along with the show’s story and the work of the show’s cast, the whole of all of that content makes this presentation in whole a must see, again, for so many audiences. Jekyll and Hyde is available now. More information on this and other shows from itv is available online at:

Website: https://itv.com

Facebook: https://www.facebook.com/itv

Twitter: https://twitter.com/itv

More information on this and other titles from PBS Distribution is available online at:

Website: https://www.pbsdistribution.org

Facebook: https://www.facebook.com/PBSDistribution.org

Twitter: https://twitter.com/PBSDistribution

Lamb Of God Improves — Somewhat — On Its Self-Titled 2020 Album In Its New Re-Issue

Posted on March 27, 2021 by philspicks

Lamb of God’s latest album is getting new life. The band re-issued its self-titled 2020 album Friday with a rather rich amount of extra content, the most notable of which being the bonus recording of its first livestream of 2020, which it recorded last year from its hometown of Richmond, VA. While the bonus livestream recording is itself a positive for this re-issue, the limitation in its availability proves problematic to the overall presentation. Luckily though, it is not enough to make the re-issue in whole a failure, even with the concerns that it raises. Keeping that in mind, the re-issue does have one more positive in the form of the two bonus songs featured in the main disc. They add a little more to the appeal in the recording’s presentation. When they are considered along with the full bonus livestream recording, that whole makes this re-issue a mostly successful presentation.

Lamb of God’s newly released re-issue of its self-titled 2020 album is a presentation that the band’s audiences will find interesting. That is due in large part to the bonus recording of its first livestream concert from 2020. The recording in question features a full performance of that latest of the band’s studio recordings and a handful of encores. The encores in question – ‘Contractor,’ ‘Wrath,’ ‘Death of Us,’ and ‘512’ – reach back into the band’s catalog. Represented through these songs are the band’s 2009 album, Wrath, its 2003 album, As The Palaces Burn (which is itself still considered a key album in the band’s evolution), and its 2015 album VII: Sturm Und Drang. ‘Death of Us’ is featured in the soundtrack to the 2020 movie Bill & Ted Face The Music, so that in itself is a special bonus for Lamb of God fans who otherwise might have opted to avoid that otherwise forgettable flick. When it is joined with the other encores – and even the rest of the performance – the performance in whole gives audiences plenty to appreciate. In short, they get the band’s latest album in its studio and live setting in one package along with some encores that pull from some of the band’s older, more recent, and new releases. That in itself forms a solid foundation for the recording’s bonus content. While the concert itself will appeal to audiences, the big problem with the recording is the limitation in its presentation.

The bonus concert featured with Lamb of God’s Deluxe Edition re-issue is featured in the re-issue’s physical and digital platforms. However, the full audio-visual presentation is available exclusively along with the audio-only presentation in the re-issue’s physical platform. Meanwhile, the album’s digital release offers the livestream recording only in audio format. There is nothing wrong at all with doing everything possible to promote the physical object against the digital. At the same time though, there just are those audiences who refuse to see the light about the importance of the physical object. Those people are very likely going to feel that by limiting the availability of the recording’s presentation across platforms, it might actually discourage them from buying the re-issue on either platform. Concerts are meant to be enjoyed fully, after all, not just heard. So by presenting the full concert experience for one group of audiences but not the other is going to leave some audiences unhappy. It is a disservice that Epic Records and Lamb of God are doing not only to the audiences, but also to themselves. Luckily, it is not enough to make the recording (including the original album with its two bonus tracks) a failure. The two bonus songs that accompany the album’s main disc work with the bonus livestream recording to add to the recording’s appeal.

The two bonus songs featured in Lamb of God’s main album are ‘Ghost Shaped People’ and ‘Hyperthermic/Accelerate.’ The song’s musical arrangement is a blistering, guitar-driven track that will appeal to longtime Lamb of God fans. The heavy, up-tempo rocker is a fiery work whose energy and overall sound will keep listeners engaged and entertained. According to information about the song, its lyrical theme is meant to discuss the topic of someone entering the afterlife. That in itself breaks somewhat from the band’s trend of tackling hot button socio-political concerns through the rest of the album and its existing albums.

‘Hyperthermic/Accelerate’ is another familiar work in terms of its musical arrangement. The guitar arrangement pairs with the vocals and drums to take listeners back to the days of As The Palaces Burn. The fire in the song’s musical arrangement pairs well with the song’s lyrical content, which seems to deliver a commentary about mankind bringing hisown downfall. That is of course just this critic’s own interpretation. As nihilistic as the seeming message is, it hits hard and is certain to resonate with listeners, especially when it is paired, again, with the song’s powerful musical arrangement. When this song and ‘Ghost Shaped People’ are considered along with the bonus performance of ‘Death Of Us’ in the bonus livestream recording and the whole of that recording, those elements collectively make Lamb of God’s new re-issue of its latest album a mostly successful presentation.

Lamb of God’s new re-issue of its self-titled 2020 album is a presentation that audiences will find for the most part, a positive new offering from the veteran metal band. That is due in large part to the bonus recording of the band’s first 2020 livestream featured with the re-issue. The recording offers plenty to appreciate, presenting audiences with the band’s latest album at least semi-live in its entirety. It is accompanied by some of the band’s older material and one new song that until now was only available on the soundtrack to Bill & Ted Face the Music. So that old and new, along with the noted bonus track gives audiences much to enjoy. As much as the content does to make the livestream recording appealing, the limitation in its availability no doubt detracts from that appeal to a point. However, it is not enough to make this re-issue a failure. The two bonus songs included with the main album add their own appeal to the presentation. Regardless of whether they were songs that ended up on the cutting room floor from the Lamb of God sessions, they are still their own positive addition thanks to their musical and lyrical content. When they are considered with the overall content featured in the livestream recording, the two items collectively still give the re-issue a presentation that is at least somewhat of an improvement on the original album. Lamb of God Deluxe Edition is available now.

More information on Lamb of God’s new album, its new album, single, news and more is available online now at:

Website: https://www.lamb-of-god.com

Facebook: https://www.facebook.com/lambofgod

Twitter: https://twitter.com/lambofgod

Walters’ Debut LP Is A Hopeful Start For His Careet

Posted on March 26, 2021 by philspicks

Singer-songwriter-musician David Walters took his first big step into the realm of world music early this when he released his debut album Nocturne. Released Feb. 17 through French record label Heavenly Sweetness, the11-song record – his third studio recording following two EPs released in September and December 2020 — is a mostly positive first full outing for Walters. That is due in large part to the album’s featured musical arrangements, which will be addressed shortly. While the record’s musical content does plenty to make Nocturne enjoyable, the record’s lyrical content proves slightly problematic. This will be addressed a little later. The record’s sequencing works with the songs to make for more appeal. When those two elements are paired, they make the album overall, a presentation that shows at least some hope for his future.

Up-and-coming world music figure David Walters’ debut album (and third overall studio recording) Nocturne is a work that shows at least some hope for this career. That is due in large part to the record’s musical arrangements. The arrangements in question blend elements of various cultures’ influences from one work to the next in order to make whole works. Case in point is the arrangement featured in the album’s early entry, ‘Freedom.’ There is a clear hip-hop influence in this arrangement. It is blended with what wounds like Middle Eastern percussion, Walters’ mostly French lyrical delivery, to make the song stand out. The addition of the cello and almost Flamenco style guitar performance adds even more to the song’s presentation. That whole exemplifies the important result of that noted blending of various cultural influences in its own unique way.

Walter’s performance on ‘Nocturne,’ the album’s mostly instrumental title track/closer, is another example of how this album’s musical arrangements work to make it an interesting presentation. His work on the guitar in this song clearly exhibits its own European musical influence, forming the song’s foundation. One could argue here that there is a touch of classical guitar here, paired with a light flamenco influence. That combination makes for its own share of interest. The percussion and strings that accompany the guitar line and vocals add their own unique touch to the song, giving the song even more of its own unique identity separate from that off ‘Freedom’ and the rest of the album’s entries. It is just one more way in which the record’s musical presentation makes it an interesting new offering from Walters. ‘Baby Go’ is yet another key musical addition to the album.

In the case of ‘Baby Go,’ audiences get a clear American R&B influence performed through Walters’ performance on guitar. At the same time, Walters still manages to slip in a more European influence with his simple performance and his partial French vocal performance. The gentle, subtle addition of the shaker (Latin percussion) against that guitar performance and the string arrangement makes this song’s arrangement yet another unique presentation separate from the rest of the album’s works. When it and the other songs examined here are considered along with the rest of the album’s musical presentations, the whole of that content ensures listeners’ engagement and entertainment, what with its diversity. While the musical content featured throughout Nocturne goes a long way toward making the album interesting, it does suffer from one negative, that being the aforementioned concern over the delivery of the record’s lyrical content.

The delivery of the record’s lyrical content is problematic because for the most part, Walters delivers said content in French and Creole. This leads to the necessity of translating so much of that content into English, which can be time consuming. Thankfully there is some English lyrical delivery here, such as in ‘Baby Go’ and in part of ‘Freedom.’ The mostly English performed ‘Baby Go’ is clearly one of those slow jam type songs. It finds Walters’ subject telling his woman to “go slow.” It does not take a genius to know what is going on here. In the case of the English content presented near the end of ‘Freedom,’ the statements that “Music is the way/Music for freedom” and that “Music is the weapon” comes across as a statement simply about the power of music. He also notes in English here that there’s “Six million ways to die/Choose one/Six million ways to live/Choose one.” It collectively leads to the supposition that this song is meant to be a commentary about life in general and the healing power of music. This is all just this critic’s interpretation. Add in again, that most of the song is sung in Walters’ native tongue without English translation, and the interpretation gets even more difficult. Again, this is an issue that impacts the majority of the album. Keeping this in mind, the fact that Walters spends so much of his album singing in his native tongue when it is clear he can sing in English is going to limit the album’s appeal to a point. French and Creole speaking American (and other) audiences will easily translate his lyrics, but everyone else is going to need translations. To that end, this aspect detracts from the record’s presentation, but does not make it a failure. The record’s sequencing works with the songs to make up for the issue of the lack of English lyrical translations at least to a point.

As a result of Nocturne’s sequencing, the stylistic approach to the songs changes from one to the next throughout its nearly hour-long presentation. That change in stylistic approach also plays into changes in the songs’ energies from one to the next. From beginning to end, the song’s energies rise and fall, but do so in a clearly controlled fashion even though it does not immediately seem like it on the surface. A close listen reveals that there was a lot of thought put into the album’s sequencing even as abrupt as the changes in the songs’ energies seems. When the engagement that this ensures is considered along with the songs and their arrangements, that whole comes together to make Walters’ new record worth hearing at least once.

David Walters’ debut album Nocturne is an interesting first full outing from the up-and-coming singer-songwriter-musician. Its interest is generated largely through its featured musical arrangements, whose variety is certain to engage and entertain listeners its own right. While the record’s musical content serves its presentation well, its lyrical content proves somewhat problematic. That is because being sung mostly in French, they will limit the record’s appeal in English-speaking nations and any nation in which French is not the primary language. Luckily there are audiences out there even in the United States and elsewhere who speak English, so while this is a limitation, it is not enough to make the album a failure. Keeping that in mind, the record’s sequencing does its own part to make the album appealing. That is because the controlled chaos of the sequencing keeps things changing throughout in terms of the songs’ energies and stylistic approaches. Each item noted here is important in its own way to the whole of Nocturne. All things considered, the album proves itself a hopeful start for Walters’ career. The album is available now through Heavenly Sweetness. More information on the album is available along with all of Walters’ latest news at:

Website: https://davidwalters.fr

Facebook: https://www.facebook.com/davidwalters.artist

Twitter: https://twitter.com/davidwaltersfr

The Success Of Reza Khan’s Latest LP Is Anything But ‘Imaginary’

Posted on March 26, 2021 by philspicks

Jazz guitarist Reza Khan’s latest album officially releases today. The 10-song record, Imaginary Road – his sixth album – is a work that new audiences will find surprisingly enjoyable. At the same time, his established audiences will agree that the 52-minute presentation is just as enjoyable as his existing catalog. The liner notes featured in Khan’s new album form its foundation. It is rare for liner notes to prove so pivotal to an album, but this is one of those cases. The songs themselves are of course just as important to the presentation as the liner notes. They will be discussed a little later. The songs’ sequencing puts the finishing touch to the record’s presentation and will be addressed later, too. Each item noted here is important in its own way to the whole of the record. All things considered, they prove Imaginary Road’s success is anything but imaginary. Yes, that awful pun was intended.

Rez Khan’s sixth full-length studio recording Imaginary Road is a positive new addition to his existing body of work. That is due in no small part to the album’s liner notes. The liner notes serve well to form the record’s foundation. That is due to the information that Khan points out in the notes. He explains that the album was spawned from a trip that he and his band mates took to Spain. He explains in his notes that a performance the group presented at a club there led to this record’s creation, noting, “The result as you hear this new record is that you will feel that live energy, syncopation, and “feel-good” vibe well preserved and represented throughout.” That is important to take into consideration as listeners take in each composition. Speaking of the varied compositions, Khan also provides some brief but concise background on each song within the album’s liner notes, which are printed inside the packaging. As listeners begin to listen through Khan’s new album, they can refer back to those explanations, which will certainly help enhance the listening experience for any listener. That in itself is one more example of why the physical object will always have a place in an increasingly digital age. Audiences rarely if ever get that something extra when they download albums and singles. Having the whole of that background for the album and songs collectively – again – forms such a strong foundation for the record. Building on the foundation even more is the songs themselves.

The songs featured in Imaginary Road are important in that they are their own original works that still carry Khan’s familiar stylistic approach. That approach, is easily likened to works from the likes of his contemporaries, such as Pat Metheny, Lee Ritenour, and Wes Montgomery. Case in point is the arrangement featured in the early entry, ‘Neo Funk.’ Yes, the song opens sounding like that music that people get while they are on hold with whatever company, but to the positive, as the four-minute-plus composition continues, it does pick up at least a little. The guitar solo, horns, and keyboard collectively do harken to works from Metheny. One could even argue that some of the guitar work late in the song is comparable to that of the one and only Carlos Santana. If that is not reason enough to go through this song, then nothing is worth it. Luckily though, the whole, again, makes the overall composition that enjoyable.

‘It’s Happening’ is another example of how the album’s featured songs make for their own enjoyment. The slight Latin-tinged approach to the work pairs with Khan’s familiar easy listening/light jazz approach to make the song in whole so much more enjoyable. Pianist Matt King’s flowing performance throughout the song adds even more to the work, too. When it is set alongside drummer Maurizio Zottarelli’s syncopated rhythms (yes, there’s that syncopation of which Khan noted) and the strings and bass line, the whole becomes its own unique addition to the album. Once again, the whole bears Khan’s familiar stylistic approach, but is overall its own unique musical presentation, proving once more, the importance of the record’s featured songs.

‘Midnight Runner’ is another example of the importance of the album’s featured songs. The liner notes point out that the song is meant to echo the thoughts and emotions that people go through in the middle of the night, trying to get back to sleep. It is something to which so many listeners can relate. The mixed emotions are translated so well through the guitar work and the subtle piano runs. The addition of the sounds of the night (crickets chirping, etc.) and the strings adds even more to that impact. The impact of all things considered here is lasting. It serves as one more example of what makes the album’s musical content important to its presentation. When it and the other songs examined here are considered along with the rest of the album’s entries, the overall content in this case proves even more why the album in whole is a positive new offering from Reza Khan. It is not the last of the record’s positives, either. The songs’ sequencing puts the finishing touch to the album’s presentation.

The sequencing in Reza Khan’s new album is important to address because there is a clearly thought out course in examining this aspect. The record starts off in upbeat fashion in ‘Waiting for the Sky,’ but gradually pulls back until it reaches the very relaxed ‘I See Stars,’ the record’s third song. That relaxed energy carries over through ‘La Liason’ before slightly picking back up over the course of the record’s next three songs, eventually peaking as it reaches ‘It’s Happening.’ ‘Somewhere East’ and ‘Imaginary Road,’ the record’s closer, carry that energy on to finish out the album. What this shows, again, is a clearly defined sequencing meant to ensure listeners’ engagement and entertainment. It placed the transitions in the song’s energies at all of the right points, keeping the album’s pacing fluid, in turn. The effort here succeeds, too. When the success of this element is considered with the impact of the record’s songs and it liner notes, the whole of the album proves to be even more of an overall success.

Imaginary Road is a successful new offering from established jazz/easy-listening guitarist Reza Khan. That is proven in part through the album’s liner notes. The liner notes form a solid foundation for the record with its brief but concise background on the album’s creation and the meaning behind the record’s featured compositions. The songs themselves prove appealing because they continue to exhibit Khan’s trademark stylistic approach while still presenting listeners with their own unique identities even with those styles in mind. The songs’ sequencing rounds out the album’s most important elements. The clearly defined changes in the songs’ energies that is evident through the sequencing ensures the record’s pacing remains stable from start to end, while also giving audiences different sounds and feelings in each song. Each item noted here is important in its own way to the whole of Imaginary Road. All things considered, they prove the album’s enjoyment and success is anything but imaginary. Imaginary Road is available. More information on the album is available along with all of Reza Khan’s latest news at:

Website: https://www.rezakhanmusic.com

Facebook: https://www.facebook.com/RezaKhanMusic

Twitter: https://twitter.com/rezakhanmusic

Dead Animal Assembly Plant’s Latest LP Is Among This Year’s Most Notable Industrial Metal Albums

Posted on March 25, 2021 by philspicks

Horror/theatrical/industrial band Dead Animal Assembly Plant is scheduled to release its latest album Friday. Bring out the Dead, the band’s sixth album, is an intriguing presentation that will appeal to a very targeted audience, most notably the band’s established fan base and fans specifically of acts, such as Marilyn Manson, Ministry, and older Nine Inch Nails. That is evidenced through the record’s musical and lyrical content. The record’s musical arrangements are easily compared to works from the noted acts, while the record’s lyrical content is certain to impact listeners in its own unique way. ‘Sacred Disgrace’ is just one example of how that combined content makes this latest offering from DAAP so intriguing. It will be discussed shortly. ‘A Violent Breed,’ which comes early in the album’s run, is another example of what will makes this new album appealing to the band’s noted audiences. It will be discussed a little later. ‘Behold the Righteous Plague,’ yet another late entry to the record,’ is also noteworthy and will also be discussed later. When these three songs are considered along with the rest of the record’s entries, that whole will keep the band’s noted audiences engaged and entertained.

Dead Animal Assembly Plant’s latest album, Bring out the Dead is a presentation that is certain to bring out the band’s established audiences, as well as fans of acts, such as Ministry, Marilyn Manson, and Nine Inch Nails. That is proven throughout the album’s 45-minute run time, taking into account its musical and lyrical content. ‘Sacred Disgrace’ is just one of the songs featured in the record that serves to support the noted statements. The song’s musical arrangement takes a slightly different approach to that of many of its counterparts what with its strings and keyboards, and its generally plodding but still heavy approach. That instrumentation and the vocals collectively make for an immediate comparison to works from Marilyn Manson’s sophomore album, Antichrist Superstar (1996). Ironically, that album was allegedly meant as a tribute to philosopher Friedrich Nietzsche. Nietzsche is actually the subject of one of the songs in DAAP’s new album, too. Getting back on topic, there is no doubt here as to the comparison to Manson’s work and that of DAAP, stylistically speaking, in at least this song. The musical content is just one part of what leads to that comparison and appeal among the acts’ audiences. The lyrical content that accompanies the song’s musical arrangement makes for its own appeal.

The lyrical content featured in ‘Sacred Disgrace’ makes relatively clear that it is a socio-political commentary. That is inferred right from the song’s outset which states in that lead verse, “The deepest parts of me (I can see)/Are your wounds in my back/You claimed the scars weren’t real (So tell me)/What’s that behind your mask/There but for the disgrace of God/Crawls the blackest snakes/The angels write from your disease (Please)/Won’t you forsake/But I can’t save you this time.” This lone verse is not necessarily an anti-religious statement, but rather seemingly against fake people, including those who claim themselves to be such pious types. That argument is strengthened through the chorus, which states, “Fake (We need the)/Fake (Pray to the)/Fake/You are the villain/The victim/The willing/Fake (Believe in the)/Fake (Deceiving the)/Fake/This is the sacred disgrace we are killing.” As the band goes through the chorus’ refrain later in the song, the chorus adds in, “Fake (We are the)/Fake (Embracing the)/Fake/The desolation degrades the mutation/Fake (Erase the)/Fake (Saved are the)/Fake/This is the sacred disgrace of fixation.” Again, here audiences get a statement that is not anti-religious per se, but rather those who so completely fixate and call themselves such “good” people but who clearly are anything but. That is stressed even more late in the song when the song’s lead verse is also echoed. That statement, so full of frustration, pairs with the song’s equally intense musical arrangement to make the song in whole that much more notable. The whole makes the song itself just one of the most notable of the album’s entries. ‘A Violent Breed,’ which comes early in the album’s run, is another song that shows the impact of the record’s content.

The musical arrangement featured in ‘A Violent Breed’ once again exhibits clear influence from Marilyn Manson from early in his and his band’s catalog. At the same time, listeners can also hear influence of Ministry through the driving guitar riff and production effects used with the vocals. To a point, one could even compare the vocal effect used in this song to that of Trent Reznor circa 1994’s The Downward Spiral to a point. That whole comes together to give this song its own unique identity that will appeal to most industrial metal fans. The intensity in this musical arrangement, which stands unique against the rest of the record’s musical arrangements, joins with the song’s familiar socio-political commentary to make the song stand out even more.

As noted, the lyrical theme featured in ‘A Violent Breed’ is another socio-political commentary. In the case of this work, the commentary seems to address not so much the overly pious pseudo-Christians, but possibly the link between religion and war. That is inferred right from the song’s lead verse and chorus, which state, “I am a violent breed/Programmed to be obscene/These hands praise ignorance/The blame becomes routine/My mind is a dirty bomb/Full of pettiness and virgin blood/With scriptures burned inside my head/Peddled and preached by empty men/March 2, 3, 4/Get your death on/It’s time for war/Count 3, 2, 1/Pull the trigger, it’s time for fun/March 5, 6, 7/All good martyrs go to Heaven/Count 3, 2, 1/Shake it off ‘cause we’re not done.” The commentary continues in the song’s second verse, strengthening the inference even more as it states, “I am a violent breed/Empty like puppet dreams/This husky stays ready for…/Blood lust bursts at my seams/Too full of rage to let it die/And with this flag I justify/The frightened lambs can’t comprehend/That violent means meet violent ends.” Again, here is that seeming statement connecting religion and how it is used to justify war and death. That whole mention of the flag justifying the combat is a clear example of how people are brainwashed into believing their cause is just on either side. That is even more exemplified through the mention of the overwhelming anger not allowing a person to remove his or her bloodlust. If in fact this critic’s overall interpretation is correct, then the fashion in which the familiar message is delivered is unique, and makes for even more interest. That is especially the case when the seeming theme is paired with the song’s high-energy musical arrangement. Keeping everything in mind here, it makes this song yet another key example of what will make the album appealing for DAAP’s audiences. It is just one more example of what makes the record interesting. ‘Behold the Righteous Plague’ is yet another notable addition to the album.

The musical arrangement featured in ‘Behold the Righteous Plague’ exhibits more similarity to works from Ministry than Marilyn Manson or Nine Inch Nails what with its sharp guitar attack, drums, and electronics. As a matter of fact, that whole (along with the vocals) could also lead to comparisons to works from the likes of Dope in hindsight. It is more of a pure, guitar-centered metal approach than most of the album’s other works, even with the electronics taken into consideration. Comparison to such acts together continues to show some diversity in the record’s musical content. That alone is sure to make this and each of the album’s musical arrangements stand out. Of course as with any song, this work stands out not only because of the musical content, but also because of that content’s companion lyrical content.

The lyrical content featured in ‘Behold The Righteous Plague’ comes across as yet another social commentary, this time in reference to the current state of the world. It is a familiar topic, and if indeed the case, will certainly engage listeners. The seeming statement comes right from the song’s lead verse, which states, “We’re divided like a “Y” incision/Straight down the middle of us/Tear it open/The devil’s hoping/Our viscera is toxic to touch/So misguided/Our world collided/With a species hell bent to destruct/You’re f*****.” As the song continues into its chorus, the seeming statement is strengthened with the statement, “Be the black plague/Be-hold the end days/We’ve overdosed on hate and greed/The villains are the heroes we need now.” That final chorus line is telling, considering how many times audiences have seen stories in movies and on TV where things get so bad that the villains and heroes have to team up to beat the “ultimate evil.” It is as if the band is referencing those situations and applying them to the world’s current real state. One could argue that it is a statement of cynicism, and if so, is justified. The nihilistic view continues in similar fashion in the song’s second and third verses, with mentions that “We infect the host/Until it’s all dead” in the second verse, and that “We scraped for help/But it’s too late.” This makes even clearer, the seeming overarching theme of discontent about where the world is today. When the overall anger and frustration expressed through all of this content is paired with the energy in the song’s musical arrangement, the whole makes the song hit even harder and resonate even more with listeners. When this song and the others noted here are considered along with the rest of the record’s works, the whole of the album proves to be a presentation that ensures its appeal among Dead Animal Assembly Plant’s fans and among most industrial metal fans.

Dead Animal Assembly Plant’s latest full-length studio recording is a presentation that is certain to find appeal among a very targeted range of listeners. Specifically speaking, it will appeal to the band’s established audience and those of bands, such as Ministry, Nine Inch Nails, and Marilyn Manson. To a slightly lesser degree, one could even add Dope to that mix. That is evidenced clearly through the album’s musical and lyrical content. All three of the songs examined here serve to support those noted statements. When they are considered along with the rest of the album’s songs, the whole makes Bring out the Dead one of this year’s more interesting industrial metal albums. It is scheduled for release Friday through Armalyte Industries.

More information on DAAP’s new single and video is available along with all of the band’s latest news at:

Website: https://www.deadanimalassemblyplant.com

Facebook: https://www.facebook.com/DeadAnimalAssemblyPlant

‘Nature: The Alps’ Rivals Any Museum’s IMAX Documentary

Posted on March 25, 2021 by philspicks

The Alps is one of the world’s greatest natural wonders. Yes, that is a subjective statement. It may not be on the “official” list of the world’s “Seven Natural Wonders,” but that hardly negates it from deserving such honor. Now thanks to PBS and PBS Distribution, audiences will see for themselves why exactly the 750-mile mountain range deserves that title in a new episode of its wildlife-based series, Nature. Simply titled The Alps, the two-part episode, which runs almost two hours, fully explains why the Alps deserves to be noted as one of the world’s great natural wonders through its story. That story serves as a strong foundation for the episode, which was released Tuesday on DVD. It will be discussed shortly. The episode’s cinematography featured in this episode adds so much to its general effect and will be discussed a little later. The program’s pricing rounds out its most important elements and will also be discussed later. Each item noted here is important in its own way to the whole of the program’s presentation. All things considered, they make the episode in whole such that any PBS and Nature fan will appreciate.

PBS and PBS Distribution’s new home release of Nature: The Alps is its own wonder of a presentation that any PBS and Nature fan will appreciate. That is proven in part through the two-part episode’s story. The story, which is in fact separated into two separate segments, presents the diverse ecosystem that exists within the expansive mountain range. The story starts as winter in the Alps gives way to the warmth of spring. Marmots come out of their dens well below the snow to mate, while also having to avoid being eaten by golden eagles. Deer also come out to mate. Certain rodent species even come out of their hibernation. Audiences will be interested to see how even in the higher elevations, animals survive just as much as in the valleys below. Watching Ibex compete and animals, such as brown bears and wolves return to the region after being nonexistent from that space for such a long time is engaging in itself. Just as interesting is to learn about how climate change has impacted the Alps, including the recession of a major glacier in the Alps. That leads into another important aspect of this episode of Nature. Yes, the message of ecological concern is there, but thankfully it is not taken to the preachy level. It just reminds audiences at points throughout the program, the changes that are taking place in the alps – at the higher and lower elevations – is due in large part to humans’ influence on the naturally occurring process that is climate change. That and the simple story of the wide range of animals that call the Alps home is reason enough in itself for audiences to watch this episode of Nature, and just one reason. The cinematography that is featured throughout adds even more to the episode’s appeal.

It goes without saying that the cinematography of most Nature episodes is powerful, IMAX-level content. That has been proven time and again. The cinematography in this case is no exception to that rule. The slowed frame rates of the golden eagles in flight and the time lapse photography of the sunrise over the majestic peaks are awe-inspiring to say the very least. On another level, the drone footage and what is likely footage recorded from a helicopter-mounted camera makes for just as much engagement and entertainment. The footage of the Ibex fighting along the craggy mountaintops will send shivers through viewers as they wonder if one of the beasts will fall from the sheer cliff side. In a similar vein, the aerial shots of the wolfpack make its way across the snowy, frozen landscape during winter presents its own unique impact. Seeing them kick up the snow as they run across the snowy, forested valley makes for a thought and emotion that viewers will only understand in watching this themselves. On yet another level, watching a group of crows essentially guide a family of bears to a deer carcass makes for its own interest. There’s something almost human in the way they almost seem to direct the bears to the carcass and then patiently wait their turn to eat. It is just one more way in which the cinematography proves its impact to this episode’s appeal. When it and the other noted examples are considered along with the rest of the program’s cinematography, that whole makes for a viewing experience in itself that is fully engaging and entertaining. When it is considered alongside the simple story of the mountain range’s ecosystem, that whole ensures listeners’ engagement and entertainment even more. Taking all of this into account, it makes the pricing for the episode’s home release acceptable for the most part.

The average price point of Nature: Alps is $20.79. That figure is reached by averaging prices listed at Amazon, Walmart, Best Buy, Barnes & Noble Booksellers, and PBS. It was not listed through Target and Books-A-Million at the time of this review’s posting. That price point is actually relatively affordable in comparison to some of PBS’ other recently released single-disc presentation. PBS and Barnes & Noble Booksellers once again exceed that price point, each listing the DVD at $24.99. Meanwhile, Amazon, Walmart, and PBS all list the DVD well below that point, at $17.99. In other words, the average price point barely tops $20 while the majority of the major retailers’ single listings put the DVD below that mark. Add in the fact that the program runs just shy of two hours, that puts the DVD at less than $10/hr at the noted less expensive major retailers. Additionally, considering the positive impact of the cinematography and the simple story, that makes the pricing even more positive. All things considered, this presentation offers a lot for audiences to enjoy. It makes the DVD another high mark that shows why after so many years on the air, Nature remains such a beloved series.

PBS and PBS Distribution’s new home release of Nature: The Alps is yet another enjoyable addition to the long-running wildlife series. It is a presentation that audiences will find worth watching time and again. That is due in part to the simple story, which presents the diverse ecosystem of the Alps. The cinematography that accompanies the story adds to the appeal exponentially. It is once again on the level of so many IMAX quality museum documentaries. The episode’s overall pricing in its new DVD release puts the final touch to its presentation. That is because for the most part it is relatively affordable and will not break viewers’ budgets. Each item noted here is important in its own way to the whole of the DVD and its presentation. All things considered, they make this episode of Nature yet another of this year’s top new documentaries. Nature: The Alps is available now.

More information on this and other episodes of Naure is available online at:

Website: https://www.pbs.org/wnet/nature

Facebook: https://www.facebook.com/PBSNature

Twitter: https://twitter.com/PBSNature

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