Ice Nine Kills’ Latest LP Is A Scary Good New Record

Courtesy: Fearless Records

Halloween is almost over, but horror, like evil, will never die.  Metalcore band Ice Nine Kills is an act that seems to live by that mantra, having released so many albums based on horror novels and movies throughout its life.  The band continued to prove that Oct. 15 when it released its long-awaited new album, The Silver Scream 2: Welcome To Horrorwood.  The wait for this record was well worth it, as this critic and any of the band’s fans will agree.  That is proven in part through the musical arrangements featured in this record.  They will be discussed shortly.  The movies represented in the new album add to the record’s appeal in their own way and will be discussed a little later.  The record’s sequencing rounds out its most important elements and will also be discussed later.  Each item noted does its own part to make INK’s new album successful.  All things considered, they make the album another successful offering from the band that is not just a great musical Halloween treat this year, but a great addition to this year’s field of new hard rock and metal albums.

Ice Nine Kills’ latest album, The Silver Scream 2: Welcome To Horrorwood is another successful new offering from the band that the band’s fans new and established alike will appreciate.  That is due in no small part to its featured musical arrangements.  The arrangements are important to the record’s success because of the mix of familiar and new sounds and styles that they exhibit.  Right from the album’s outset in the album’s title track, audiences get the band’s familiar melodic metalcore approach, complete with front man Spencer Charnas’ solid mix of clean vocals and screams and the band’s familiar choral element that has become such a trademark of the band’s songs.  From there though, the band changes things up in ‘A Rash Decision.’  The ominous piano line that opens the arrangement is familiar, but as the arrangement progresses, it very quickly turns to a decidedly Slipknot-esque composition with its heavy, driving guitars, screams, and pounding, solid time keeping.  This is an approach that the band has dabbled with in the past, but never to this extent.  ‘Assault & Batteries’ meanwhile takes audiences back to the sounds so familiar in The Silver Scream and even all the way back to the band’s even earlier hit song, ‘Communion of the Cursed.’   Listeners get even more of the noted Slipknot influence in ‘Funeral Derangements,’ which is one of the album’s many singles.  Perhaps the most notable of the album’s arrangements comes in the form of ‘Rainy Day’ (yes another of the album’s singles).  The incorporation of the electronics into the song conjure thoughts of songs from the likes of Gravity Kills and Spineshank.  That newer sound pairs with the arrangement’s more familiar metalcore elements to make it one of the album’s most notable musical works.  Audiences who want even more new approaches and sounds get that in the distinctly death metal style ‘Take Your Pick.’  Considering that this song features a guest appearance by Cannibal Corpse front man Corpsgrinder, the comparison there is immediate.  To a slightly lesser degree, audiences can also make a comparison to works from the likes of Whitechapel.  From there on out, audiences get plenty of familiar sounds and styles in every song that follows.  At the same time, the songs still boast their own identities, even with that familiarity noted.  Keeping all of this in mind, the mix of new and familiar from one arrangement to the next and even within certain songs makes for reason enough for audiences to hear this record.  Of course, the musical arrangements featured in INK’s new album are collectively just one part of what makes this album worth hearing.  The movies that are represented throughout the record make for their own interest.

The movies that INK chose to represent in its latest album are important to note because unlike so many cinematic sequels, they are not just re-hashings of the material from the original.  From the singles already released so far, audiences know that classic movies, such as Pet Sematary, American Psycho, Child’s Play and Resident Evil are represented here.  Also represented are seemingly the likes of Cabin in the Woods (‘A Rash Decision’), The Fly (‘F.L.Y.’), and even Psycho (‘The Shower Scene’) among others.  Hellraiser is seemingly represented here in ‘The Box’ as is The Evil Dead in ‘Ex-Mortis.’  Simply put, between the movies listed here and the others featured here, INK has opted to not just re-visit the movies visited in the songs from The Silver Scream and its initial sequel/spinoff, The Silver Scream: The Final Cut.  What’s more, the band also made sure to pick movies from across the horror spectrum and history.  Not only does this serve as respect for those movies, but it could very well serve as a starting point for a lifelong love for (and potentially obsession with) those movies for new horror fans.  To that end, that and everything else noted here shows why the movies chosen for this record are important to the album’s success.  Even with this in mind, there is still one more item to address here.  That item is the record’s sequencing.

The sequencing of The Silver Scream 2: Welcome to Horrorwood is important because it ensures the album’s energy remains just right from start to end.  The album starts off in ominous fashion, but doesn’t wait long before it really picks up.  From there, the energy barely shifts at any point.  When it does, it is subtle at best.  The result is that it does just as much to keep listeners engaged and entertained throughout the album as its content and the very cinematic history presented through the featured movies.  Keeping all of this in mind, there is no doubt that the sequencing of INK’s new album is just as important to note as the album’s content.  It all comes together to make the album its own welcome musical love letter to Hollywood’s horror history just as much as its predecessors.

Ice Nine Kills’ recently released album, The Silver Scream 2: Welcome to Horrrorwood is another successful offering from the band.  It is a work that the band’s established and newer audiences alike will enjoy.  That is due in no small part to its featured musical arrangements.  The arrangements offer listeners a solid blend of familiar sounds and styles, and newer approaches.  The whole there makes for plenty of engagement and entertainment.  The movies that are represented throughout the album are of their own importance.  That is because they are not just repeats of the movies represented in the band’s most recent records.  They continue to show the band’s love for Hollywood’s rich history of horror while also continuing to potentially introduce audiences to that rich history.  The record’s sequencing rounds out its most important elements.  That is because it ensures that the record’s energy remains solid from start to end.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make the album another successful offering from Ice Nine Kills and one more of this year’s top new hard rock and metal albums.

The Silver Scream 2: Welcome to Horrorwood is available now through Fearless Records. More information on Ice Nine Kills’ new album is available along with all of the band’s latest news at:

Website: https://iceninekills.com

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

Twitter: https://twitter.com/iceninekills

To keep up with the latest entertainment news and reviews, go online to http://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.

John 5’s New Album, ‘Sinner’ Is A Blessing For His Fans, Music Lovers Alike

Courtesy: Big Machine Records

John 5 officially returned this weekend with his latest album, Sinner, and the album got some added attention Saturday night in Martinsville in the NASCAR Xfinity Series’ Dead On Tools 250 race.  It was featured on the #8 JR Motorsports car, driven by Sam Mayer.  Mayer had a very respectable finish in fourth place after starting 11^th.  Mayer’s strong finish — despite being caught in an early-race incident — with the album on the car is a positive sign for the album’s success.  The album is, in fact, a winning new offering from the veteran virtuoso guitarist.  That is proven from the album’s outset to its end.  Its arrangements are diverse throughout, putting his talents on full display.  One of the most notable ways in which that diversity is exhibited is his take on the timeless Hoagy Carmichael/Stuart Gorrell song, ‘Georgia on My Mind.’  The song will be examined shortly.  ‘How High The Moon,’ the album’s midpoint, is in direct contrast to the aforementioned closer.  It will be discussed a little later, as its comparison to that composition clearly shows the record’s musical diversity.  ‘Land of the Misfit Toys,’ a later entry in the record, is just as unlike the other noted songs are as they are from one another and from the rest of the album’s entries.  It also serves to show the album’s diversity, and so will also be discussed later.  Each song noted here is important to the whole of the album.  When they are considered along with the rest of the album’s entries, the whole makes this record one of the best of this year’s new rock albums.

John 5’s latest album, Sinner, shows that sometimes, just sometimes, sinning is not a bad thing.  That is because the 10-song record offers so much musical diversity, just as in each of his existing records.  One of the most notable of the album’s entries is its closer, which is a cover of Hoagy Carmichael and Stuart Gorrell’s timeless song, ‘Georgia on My Mind.’  Originally composed way back in 1930, it has since been made most famous by the late, great Ray Charles.  John 5’s rendition here stays true to its source material in the sound while clearly giving the song its own unique identity.  Where the Carmichael/Stuart rendition is known as a full orchestra/band arrangement, John 5’s take on the song is still unique in its own right.  In the case of John 5’s rendition, his simple guitar approach is more akin to works from famed jazz guitarist Wes Montgomery than the fuller arrangement from Carmichael and Gorrell.  Even with that approach, John 5’s approach is still so fully engaging and entertaining.  The arrangement here is just John 5 and a subtle beat on the hi-hat and brushes mixing things on the snare.  It is such a beautiful, enjoyable rendition that makes for a unique but great finale to this record.  It is just one of the songs worth hearing in this record, too.  John 5’s take of ‘How High The Moon’ is another work that is well worth hearing.

For those who might not know, ‘How High The Moon’ was originally composed in 1940 by Nancy Hamilton and Morgan Lewis.  It was featured in the Broadway revue, “Two for the Show.”  John 5’s rendition gives the classic a completely different identity.  In this case, John 5 (a.k.a. John Lowery) opts for a more rockabilly approach to the song than the much slower, romantic approach taken in the original composition.  What is so interesting to note is that even being more energetic here, this take on the classic still works.  It works because in this case, it could portray someone who is just head over heels for another person.  The energy here would seem to exude such strong, positive emotion.  The original meanwhile is just more of a sensual (for lack of better wording) approach.  To that end, Lowery’s rendition, with its swing style drumming and infectious guitar line really just makes the rendition here so enjoyable.  It is completely unlike so much of the album’s other works. Thus showing the diversity noted earlier.  Showing even more of that diversity is the album’s late entry, ‘Land of the Misfit Toys.’ 

One of the many originals featured in John 5’s new album, ‘Land of the Misfit Toys’ is just as unlike the other songs examined here as they are from one another and from the rest of the album’s songs.  In the case of this song, Lowery opts for a more prog-rock/metal approach.  Lowery’s guitar work here is immediately comparable to works from John Petrucci (Dream Theater, Liquid Tension Experiment).  That is evidenced through the richness and heaviness.  The harmonics that Lowery uses here add even more to that sense.  The solid time keeping here and the bassline works with Lowery’s own performance and the song’s overall production to make this song so immersive, engaging and entertaining in its own right.  It shows even more, the diversity noted here.  Taking that into consideration, this song and the others examined here work with the rest of the record’s compositions to make the record in whole a solid presentation that is unquestionably one of the best at least of this year’s new rock albums.

John 5’s new album, Sinner, is another successful presentation from the veteran virtuoso guitarist.  The 10 songs featured in this record – a mix of originals and covers – continue to remind audiences why he is such a respected member of the rock and general music communities.  That is because they present so much diversity and talent from Lowery and his fellow musicians from start to end.  When the examined songs are considered along with the rest of the album’s works, the whole makes Sinner a blessing from John 5 and company. 

Sinner is available now through Big Machine Records. More information on John 5’s new album is available along with all of his latest news at:

Website: https://www.john-5.com

Facebook: https://www.facebook.com/John5official

Twitter: https://twitter.com/john5guitarist

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.

Shubh Saran’s Blending Of East And West In His Sophomore LP Makes The Record One Of The Best Of 2021’s New World Music Albums

Courtesy: DL Media

International music artist Shubh Saran released his latest album, inglish Friday.  The sophomore effort from the Indian musician/composer, it is a successful 38-minute instrumental presentation.  That is proven through each of its featured arrangements, not the least notable of which is its opener, ‘Enculture.’  This song will be examined shortly.  ‘There Across The Ocean,’ a later entry in the 10-song presentation, is another standout addition to the record and will be examined a little later.  ‘Mos,’ the album’s penultimate entry, is another key addition to the album.  It will also be discussed later.  Each of the songs noted here are key in their own ways to the whole of the album’s presentation.  All things considered, they make the album stand out as one of the best of this year’s new World Music albums and potentially one of the year’s best overall albums.

Shubh Saran’s brand new sophomore album, inglish, is among the best of this year’s new World Music albums and potentially new overall albums.  That is proven throughout the album’s nearly 40 minute record.  Background information provided about the album states that the title is a reference to the term, “inglish,” which according to Merriam-Webster, is a blending of languages.  In the case of Saran, the mixture is that of Indian and British that goes back to the British colonization of India in the early 1900s.  That reference is a starting point for the blending of Indian and Western musical influences presented throughout the record.  That blending creates a surprisingly engaging and entertaining sound in each composition, right from the album’s outset in ‘Enculture.’  ‘Enculture’ runs five minutes, five seconds in length.  The song is unique in that right from its outset, it presents clear electronic leanings that soon add in some subtle industrial influence alongside Saran’s own Indian musical culture.  That subtle combination of East and West here makes the arrangement so unique.  Because Indian musical influences are already so pervasive in Western music, having them combined here is not such a surprise, but it still gives the song such an enjoyable industrial/EDM feel and sound.  The experimental nature of the whole adds even more to the appeal in this case while still, again, presenting that noted blend of East and West.  It is just one of the songs that serves to show so well what makes inglish successful.  ‘There Across The Ocean,’ which comes later in the album’s run, is another important addition to the album.

‘There Across The Ocean’ stands out because it is so starkly different from ‘Enculture’ and really the rest of the album’s entries.  In the case of this arrangement, the subtle ambiance that it creates through its steady beat and controlled guitar (and maybe sitar?) lines gives the song a decidedly mainstream sound and approach.  It really sounds overall like a work that would fit so well into any of today’s big screen dramas.  The way that it builds in such controlled fashion feels through its approach and sound, like maybe a work that would fit into perhaps one of the many underdog stories out there in a montage sequence.  It completely immerses listeners into the presentation and makes the arrangement so powerful in its simplicity.  It is just one more of the ways in which this record proves so surprisingly enjoyable.  ‘Mos,’ the album’s penultimate entry, is one more way in which the album shows in whole, its success.

‘Mos’ is another work that blends Saran’s Indian roots with a decidedly Western influence and still boasts its own unique identity apart from the album’s other works.  In this case, the electronic elements are there along with some nice production for effect.  The production adds some interesting effects to the song’s Indian side, adding in some echo effect and a certain interesting “airy” secondary effect for even more uniqueness.  Even with the electronics added to the mix, the song still boasts its own identity separate from, say, the album’s opener.  In place of the more industrial feel of that song, this song is more contemplative, for lack of better wording, but not in the brooding fashion.  It really encourages listeners to remain engaged through that approach and sound.  The whole is simply that enjoyable and unique.  When it is considered along with the other songs examined here and with the rest of the album’s entries, the whole makes inglish a fully successful offering that fits well in this year’s field of new World Music albums and overall albums.

Shubh Saran’s brand new album, inglish is a presentation that is well worth hearing at least once if not more.  The album’s appeal comes through the blending of East and West exhibited throughout each of its featured works.  The songs examined here are all expert examples of how that crossing of musical sounds and cultures makes the album work.  When they are considered along with the rest of the album’s entries, the whole makes inglish one of the best of this year’s new World Music offerings and potentially one of the year’s best new overall albums.

inglish is available now.  More information on the album is available along with all of Saran’s latest news at:

Website: https://shubhsaran.com

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

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.  

Enrico Rava’s ‘Edizione Speciale’ Is An Enjoyable Addition To This Year’s Field Of New Live CD Recordings

Courtesy: ECM Records

Veteran jazz musician Enrico Rava is giving audiences a special early Halloween treat of sorts.  It came Friday in the form of his new live recording, Edizione Speciale.  The six song recording was captured in 2019 at the annual Jazz Middleheim Festival in Antwerp, Germany.  The concert runs just over an hour (64 minutes to be exact).  It stands out in large part because of its featured set list.  This will be discussed shortly.  The performance thereof is also worth noting and will be examined a little later.  The recording’s production rounds out its most important elements and will also be discussed later.  Each item noted is important in its own way to the whole of the recording.  All things considered, they make Edizione Speciale one of the most unique but still enjoyable live CD presentations so far this year.

Enrico Rava’s new live recording, Edizione Speciale, is a welcome addition to this year’s field of new live offerings.  That is proven in part through its featured musical arrangements.  The arrangements – technically eight in all counting the medley pieces – are mostly originals that Rava composed for his solo albums and those released under the moniker of the Enrico Rava Quartet.  There are two covers in the set, however.  They come in the form of Osvaldo Fares’ ‘Quizas, Quizas, Quizas’ and the Micheal Legrand/Eddie Barclay/Eddie Marnay song, ‘Once Upon a Summertime.’  The originals reach as far back as 1978 in the form of ‘The Fearless Five’ (taken from the Enrico Rava Quartet’s self-titled album) and from as recent as 2015’s Wild Dance.  It would be incorrect to call the set list career spanning.  At the same time, though, it does give at least something of a cross section of Rava’s catalog.  It is enough to create a sense of interest in the minds of more casual audiences just as much as those who might be more established but still somewhat unfamiliar with Rava’s expansive body of work.  To that end, the set list presented here is a positive in its own right.

On a related note, the performance of the featured set list is also a positive worth noting.  The performance of the show’s set list is important to examine because of the relaxed sense exuded by Rava and his fellow musicians.  Right from the concert’s outset, ‘Infant,’ Rava and company establish an upbeat energy that is still somewhat relaxed at the same time.  The energy in Rava’s performance on trumpet and the sudden incorporation of what sounds like a cover of Jimi Hendrix’s ‘Foxy Lady’ (to a point) and back to the original composition is so fluid.  At the same time, the energy in it and makes it a surprise and still so enjoyable.  The whole is just so light and relaxed but so energetic.  It truly is a great example of how the group’s performance makes the experience so engaging and entertaining.  On a separate note, the juxtaposition of the more chaotic elements and more relaxed elements of ‘The Fearless Five’ together makes for its own interest.  Even through it all, the group maintains control, giving the perception of controlled chaos throughout.  It shows so much focus but still so much enjoyment by all involved.  It is yet another example of what makes the group’s performance so surprisingly enjoyable.  Much the same can be said of the performance of ‘Quizas, Quizas, Quizas’ that has already been noted of both songs examined here.  Enrico Morello’s subtle time keeping with what sounds like rods or brushes works alongside Rava’s work on trumpet and Gabriele Evangelista’s work on double bass to make this performance so enjoyable both by itself and in comparison to its source material.  The joy from the band can be so easily felt in listening to the song, even in an audio-only platform.  Yet again, audiences have a prime example of how the group’s performance plays its own key role in the album’s presentation.  When this is considered along with the concert’s set list, the two elements give audiences more reason to take in this concert at least once.  They are only a part of what makes the recording worth hearing.  The production thereof rounds out the concert’s most important items.

The production of Edizione Speciale is important to address because of its role in the recording’s general effect.  The production ensures that the size of the venue (which is unknown to this critic) was clearly taken into account in terms of its acoustics.  Audiences can hear the openness of the venue without the loss of any audio from Rava and company.  That balance even includes hearing the most subtle audience noise during the performances and even the applause after the performances.  Even in regardless to the performances themselves, each musician’s performance is balanced with one another.  The result there is that each instrument’s part is just as highlighted as that of his/her counterparts.  The whole makes the performance’s production solid and worthy of applause throughout the concert.  It essentially gives listeners the best seat in the house in this case.  When this is considered along with the importance of the concert’s set list and the performances thereof, the whole of this concert makes it one of the year’s top new live CD presentations.  That is versus live Blu-ray and DVD presentations since it was not released on those audiovisual platforms.

Enrico Rava’s new live recording, Edizione Speciale, is a work that his established audiences will find enjoyable just as much as casual jazz fans.  That is proven in part through its featured set list.  The set list is important to note because while not necessarily career-defining, it still gives audiences a respectable cross section of the Rava’s overall body of work.  The performance of the set list adds to the recording’s appeal because of the energies and balance thereof in each song’s performance.  It is clear in each song’s performance that Rava and company had so much fun.  That will lead audiences to feed off of that positive energy and enjoy the concert that much more.  The recording’s production rounds out the most important of the concert’s elements.  It ensures all of the audio elements are expertly balanced, thus putting the final touch on the whole.  Each item examined is important in its own way to the whole of the recording.  All things considered, they make Edizione Speciale one more of this year’s top new live CD recordings.

Edizione Speciale is available now through ECM Records.  More information on the album is available along with all of Rava’s latest news at https://www.facebook.com/enricoravamusic.  

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.  

Ayumi Tanaka Trio’s Sophomore LP Is A Very Unique Addition To ECM Records’ Catalog

Courtesy: ECM Records

If there is one thing that ECM Records is known for, it is releasing records from acts whose content is unique to say the very least.  Ayumi Tanaka Trio’s sophomore album, Subaqueous Silence (say that five times fast) is no exception to that rule.  Released Friday, the seven-song, 34 minute record is the very definition of unique.  Its musical arrangements are to thank for that.  They will be discussed shortly.  The lack of any information in the album’s booklet is a clear and definite detractor to the record’s presentation, especially as experimental as the arrangements seem.  This will be discussed a little later.  The record’s production rounds out its most important items and will also be discussed later.  Each item noted is important in its own way to the whole of Subaqueous Silence.  All things considered, they make the album a presentation that will appeal primarily to a very targeted audience base.

Ayumi Tanaka Trio’s brand new sophomore album, Subaqueous Silence is an aptly titled presentation from the trio, fronted in this instance by its namesake, Ayumi Tanaka.  The record is a decidedly unique presentation that will appeal to a very specific audience.  That is proven in large part through its featured musical arrangements.  The arrangements make the album live up to its title at least to a point.  Speaking specifically, the arrangements lead the album to live up to the “silence” portion of the title.  That is because the arrangements are dominated more by silence than notes.  There is an old adage that the notes not played are more important than those played.  Tanaka takes that old adage literally and to the extreme here, using more of a minimalist/expressionist approach than real musical approach.  What’s more, the silence in question is part of a quieter, experimental approach taken in each composition overall.  Maybe that is the result of her interest in Norwegian music, which she discussed in a press release distributed about the album.  According to her comments, her interest in and respect for the nation and its brand of jazz did indeed play into the approach to the album, though there is certainly no jazz influence here.  Rather, it does come across more as a chamber music presentation than jazz, which again, she stated was her intent.  To that end, the approach taken to the arrangements and their sound from one to the next will definitely find appeal to a very specific audience base.  It is very much an acquired taste that only certain audiences will like.

While the musical content featured in Subaqueous Silence will find appeal among at least some audiences, the lack of any background on the featured arrangements in the album’s booklet detracts notably from the album’s presentation.  That is important to note because each composition is so deep in its minimalist approach.  Right from the album’s outset in ‘Ruins’ audiences get a work that is just so stark in its approach and sound.  Audiences may even find themselves wanting to fast forward the song to make sure something did not go wrong in the disc’s playback.  Had some background on the composition been provided, audiences might not have been taken so aback by the song.  In similar fashion, the subtle, subdued ‘Zephyr’ is so unique in its approach and sound that some discussion on the inspiration behind the song’s creation would have been nice.  Otherwise, really all audiences get in this case (and really the album’s other songs) is a composition that is, as noted, quite impressionist in its approach.  Audiences can hear Tanaka’s connection to her Japanese culture (that is noted only in the press release announcing the album’s release) ever so subtly.  However, audiences have to really, fully immerse themselves in the song in order to catch the momentary musical mention of that connection.  Either way, it is another example of how some background would have benefited the album.  The lack of overall background on the songs is not enough to doom the album, but it certainly does detract from the album’s overall presentation.

The lack of any background on the album’s songs in the album’s booklet is a clear detriment to its presentation.  It is not enough to completely doom the album, though.  The record’s production plays into the record’s interest, too.  The production is so important to note because of the extremely painstaking attention to detail that had to be paid to each arrangement, what with the subtleties and overall quiet nature of each.  Those behind the glass had to ensure that the volume on each note, the accent of each note, the very sound, was perfect.  To that end, the record succeeds.  It forces audiences to, again, fully immerse themselves in each composition.  Those audiences who do and who are already interested in music such as that featured here will fund that the production brings out the best in each work, thus making the record that much more worth hearing at least once.

Ayumi Tanaka Trio’s new album, Subaqueous Silence is a unique new offering from the trio to say the very least.  The record is one that will appeal to a very targeted audience.  That is proven through its very subtle musical arrangements that require listeners’ very immersion into each song.  The arrangements are that in-depth.  The lack of any background on the songs detracts from the album’s presentation, especially taking into account the time and thought that Tanaka and her fellow musicians put into each unique arrangement.  That background would have gone a long way toward making each composition more understood, and in turn, appreciated.  The record’s production rounds out its most important elements.  That is because it displays the time and work spent making sure each arrangement was so immersive.  Each item noted is important in its own way to the whole of the record.  All things considered, the album in whole proves to be a presentation that will definitely appeal to a very specific audience base.

Subaqueous Silence is available now through ECM Records. More information on this and other titles from ECM Records is available at:

Website: https://ecmrecords.com

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

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.  

Shout! Factory, Nickelodeon’s ‘Jimmy Neutron’ Complete Series Set Is A Near Complete Success

Courtesy: Shout! Factory/Nickelodeon

Another of Nickelodeon’s classic Nicktoons has finally received a proper home release. 

The Adventures of Jimmy Neutron, Boy Genius was released Tuesday on DVD in a full-series set.  It marks the first time that the series has ever received a full series release, and came through a partnership between Nickelodeon and Shout! Factory.  It is just the latest to get a proper release, too.  The companies’ partnership has also garnered full releases of Aaahhh!!! Real Monsters, The Angry Beavers, CatDog, Danny Phantom, Hey Arnold!, Rocko’s Modern Life, and The Wild Thornberrys.  Nickelodeon meanwhile released Rugrats on its own last year in a full series DVD set.  So now all that is left for release are: Rocket Power, Doug, and The Fairly Oddparents. One can only hope those classic Nicktoons will finally get a proper release sooner rather than later.  Getting back on topic though, Shout! Factory and Nickelodeon’s brand new DVD presentation of The Adventures of Jimmy Neutron, Boy Genius: The Complete Series is an impressive presentation.  That is due in large part to its bonus content, which will be discussed shortly.  The set’s packaging is also important to examine, and so will be a little later.  The set’s pricing rounds out its most important elements and will also be discussed later.  Each item noted is important in its own way to the whole of the presentation.  All things considered, they make the collection a must have for fans of this and any classic Nicktoon.

Shout! Factory and Nickelodeon’s brand new, first-ever release of The Adventures of Jimmy Neutron, Boy Genius: The Complete Series is a strong new presentation from the companies.  It is a presentation that continues the companies’ trend of success with Nickelodeon’s classic animated series releases.  That is due in large part here to the bonus content featured in the set.  The bonus content features not only the series’ original pilot episode, but also all three hour-long “Jimmy/Timmy Power Hour” crossover episodes as part of its whole.  Audiences will be quite interested to see the difference in the show’s look in its pilot episode and its actually three-season run.  The CG animation in the pilot episode is far more raw and rough.  It is more comparable in this case to that used in ABC’s short-lived Saturday morning series, Reboot (which Shout! Factory has interestingly enough also released in full on DVD and also has as a free streaming option) than to the animation used in the series that followed.  The voice talents are all the same.  The look of the show is just so starkly different.  It makes one happy that with the show having been picked up, the animation was cleaned up and more fine tuned.

On a related note, knowing that the TV series launched in 2002 and its big screen companion piece premiered a year earlier, one has to imagine that the story in the pilot episode was the influence behind the Jimmy Neutron, Boy Genius movie.  In that case and in the pilot episode, Jimmy is forced to face off against a group of gooey, green aliens who are bent on taking over Earth.  Of course in the pilot episode, the parents are not kidnapped by the aliens, unlike in the movie, but regardless, the pilot episode marks the first time that Jimmy encountered the aliens, so one has to assume that, again, the pilot episode was at least in part responsible for the creation of the movie that then led into the series.  Keeping all of this in mind, it should be clear that why the pilot episode is such an important part of this collection’s bonus content.  It not only serves to help make the series’ presentation complete but helps paint a full picture of the series’ roots and its end.

Moving on to the featured “Jimmy/Timmy Power Hour episodes,” all three episodes are there, beginning with the duo’s first introduction to one another in which they meet due to Timmy’s selfishness.  Seeing the different animation styles and universes cross here and in the other episodes is so fun.  The same can be said of the stories featured in each episode.  The expanded universe builds in each hour-long episode until Jimmy and Timmy are forced to work together in the final special in order to defeat two bad guys from their respective universes.  Each special is shown in whole, so audiences get that whole story arc here, too.  Keeping that in mind, the inclusion of these specials and the pilot episode do indeed complete the series’ presentation.  The addition of some storyboard featurettes as extra bonuses just put the proverbial cherry on the top of the bonus content presentation.

Having noted the positive of the set’s bonus content, the next point of interest to note is the set’s packaging.  The packaging is its own positive, beginning with the placement of the set’s discs.  In all, the series’ three-season run spans nine discs, with a tenth containing solely the already discussed bonus content.  The discs are each placed in their own spot on separate “plates” inside the case.  The first disc of the first season even sits on a spindle on the inside front of the case, giving it its own place in the case, too.  This is important to note in that it ensures the discs will not touch and/or scratch one another as they are moved in and out of the case.  Such an approach is nothing new for Shout! Factory.  It has taken this smart approach with every Nicktoons set that it has released to this point, so this is no surprise, but a welcome continued approach.

Adding to the interest of the set’s packaging is the presentation of a printed episode guide on the inside of the case’s wrap.  Audiences get a full episode guide aligned with each disc.  This is an aesthetic element, yes, but still important.  It is important because having that guide will allow viewers to more quickly and easily decide which episodes they want to watch and simply go right to the associated discs.  Again, this is nothing overly new to Shout! Factory’s Nicktoons presentations.  It is just as welcome here as in every other case and makes the set’s presentation that much more appealing.  It is just one more of the set’s most important elements.  Rounding out the set’s most important elements is its pricing.

The average price point for The Adventures of Jimmy Neutron, Boy Genius: The Complete Series is $56.63.  That number was reached by averaging prices listed through Amazon, Walmart, Target, Barnes & Noble Booksellers, Books-A-Million, and Shout! Factory. While the set was not listed through Walmart, this critic was lucky enough to find the set in store at Walmart at a price of $39.99, the least expensive of all of the listings.  Target and Barnes & Noble each list the set at a price far exceeding the noted average at $64.99 while Books-A-Million’s price of $64.98 is right there with Target and Barnes & Noble Booksellers.  From there, the price decreases to $52.87 through Walmart and $51.98 through Shout! Factory.  Looking at all of this, Walmart’s pricing is clearly the best.  If audiences can find it in store at their local Walmart store, they will benefit greatly.  Otherwise, the noted prices for a three-season set is honestly outrageous.  Add in that only a day prior to this review’s posting, Target listed the set at $47.99, it makes one wonder what caused such a dramatic change in price at that retailer.  That aside, at least a price that barely tops $40 at Walmart is relatively affordable as long as audiences can find it in store like this critic did.  It is a price that is well worth paying for what truly is a complete series presentation for another great classic Nicktoon series.

Nickelodeon and Shout! Factory’s brand new DVD presentation of The Adventures of Jimmy Neutron, Boy Genius: The Complete Series is a mostly successful presentation.  The presentation succeeds in part through its bonus content.  The bonus content is composed of the series’ pilot episode, all three of its hour-long “Jimmy/Timmy Power Hour crossover specials” and a handful of featurettes.  The pilot episode and specials complete the full episode presentation in the set’s discs.  The packaging builds on the appeal established through the set’s bonus content to make the whole all the more positive.  The set’s pricing is a little problematic to say the least, save for its pricing at Walmart (pending availability even though it was not listed online through Walmart).  Each item noted here is important in its own way to the whole of the set’s presentation.  All things considered, they make the collection a mostly successful new offering that Nicktoons fans will – again – mostly appreciate.

The Adventures of Jimmy Neutron, Boy Genius: The Complete Series is available now. More information on this and other titles from Shout! Factory is available along with the company’s latest news at:

Website: https://www.shoutfactory.com

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

Twitter: https://twitter.com/ShoutFactory

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.

‘Kin’ Is An Exceptional New Album From Whitechapel

Courtesy: Metal Blade Records

When the COVID-19 pandemic reached America in late 2019, it clearly did a lot of bad things to this nation on so many levels.  At the same time, it apparently did some good, too.  The mixed blessing of the pandemic is that it led to so many musical acts spending their forced downtime making new music.  This has been pointed out multiple times this year by this critic.  Now Friday, another name can be added to the list of acts that crafted new material during the pandemic in the form of Whitechapel.  The band is scheduled to release its new album, Kin, which was crafted in 2020 – during the pandemic’s height – Friday through Metal Blade Records.  Coming more than a year after the release of its then latest album, The Valley, the 11-song record is a solid follow-up to that presentation.  That is due in part to its lyrical content, which will be examined shortly.  The musical content that accompanies the album’s lyrical presentation builds on the noted content to make the album even more engaging and entertaining.  It will be discussed a little later.  The production that went into Kin rounds out the album’s most important elements and will also be examined later.  Each item noted is key in its own right to the whole of the album.  All things considered, they make Kin a powerful new offering from Whitechapel that deserves its own spot among the best of this year’s new hard rock and metal albums.

Whitechapel’s forthcoming album, Kin, is a powerful new offering from the band that its established audiences will enjoy just as much as any metal purist.  That is due in large part to its lyrical content.  The lyrical side of this record is important to note because of the approach taken to the songs in whole.  Front man Phil Bozeman noted in an interview promoting Kin, the record is essentially a semi-concept record of sorts.  This is proven as he stated, “Early in the writing, there was some discussion of the album being like The Valley Part II, not literally called that, but in how the songs sound and flow through it.  It’s very much a storytelling type record like The Valley was…lyrically, the idea of continuing from the story of The Valley was always the goal.”  He added that the song’s tell a specific story, noting, “It’s a fictional representation of a non-fictional story…This is all about what I could have been had I decided to take the dark road.”  From there Bozeman expanded on the discussion by explaining how the album’s first three songs play into the overall “story.”  Being a semi-conceptual record in its approach is in itself reason enough for audiences to hear Kin.  In listening closely, audiences can understand the concept of Bozeman’s “other self” and how it plays into the bigger story.  The whole will completely immerse audiences and in turn, keep them completely engaged and entertained.  It is reason enough in itself for audiences to hear the record and certainly not the only reason.  The musical arrangements that accompany the album’s rich lyrical content plays its own important part to the whole of the album’s presentation.

The musical arrangements that are featured in Kin are of note because they continue to show the ongoing growth and development of the band’s members.  Where Valley showed change in the band with more clean vocals and more subtle arrangements, this record furthers that display, right from the album’s outset.  ‘I Will Find You’ opens with a controlled country/western style guitar line.  That intro so smoothly transitions into the band’s more familiar death metal approach and sound that is just as heavy and intense as ever, complete with Bozeman’s equally intense screams.  From there, the arrangement even moves into some subtle territory a la in The Valley before gradually transitioning back into the song’s heavier side in its final section for a complete ABC format here.  The final moments in this song throw back to the great guitar solos of the late 80s and early-mid 90s.  The whole is such a unique presentation that again shows that noted growth and development.

In another case, such as in ‘To The Wolves,’ there is a breakdown early in the arrangement that is a full-on thrash style performance a la vintage Anthrax.  That alongside the band’s – again – more familiar death metal approach makes the song in whole unique in its own right from its counterparts in the album.  It is another way in which the album’s musical side proves just as engaging and entertaining as its lyrical side. 

In yet another case – that of the album’s title track/closer – the song opens in such a deep, contemplative fashion.  What is really interesting here is that the quality of Bozeman’s vocals and their delivery lends itself to comparison to that of Slipknot/Stone Sour front man Corey Taylor in his more subdued performances.  The subtleties in the arrangement’s instrumentation build even more on that comparison, too. As the arrangement builds into its second half, even that is controlled, even in its heaviness.  It is so much unlike the other songs examined here and the rest of the album’s works, and more proof that despite Bozeman’s attestations, is proof that there are radio ready songs in this record.

In reference to that statement, Bozeman is saying in an interview about the album’s marketability, “It’s still very much a metal album.  I don’t think you would hear any of the songs on mainstream radio, but there are elements of the record that have more of a rock and open vibe.”  He was right in making light of the rock and open vibe of many songs, such as the record’s title track.  At the same time, he is selling the album and band short in saying that he did not think any of the album’s songs would make their way to mainstream rock radio.  There are plenty of songs in this record that are radio ready, including the noted title track and others.  That wide availability of the radio ready songs is tied directly into the noted growth and development from the band members individually and collectively that is exhibited throughout the album.  Keeping all of this in mind, the album’s musical content proves that it plays a part just as important to the album as its lyrical counterpart.

At this point, it should be clear that the musical and lyrical content featured in Kin does plenty to make the album engaging and entertaining.  That collective content is just one part of what makes Kin successful.  The record’s production brings everything together and rounds out the record’s presentation. The production fully ensures the noted growth is expertly exhibited throughout the album’s 47-minute run time.  The more subtle moments are well-balanced with the more intense moments.  The powerful, familiar death metal influences compliment the more subdued, Tool-esque moments.  Even other new approaches that the band took this time are well-balanced with more familiar influences, too.  The whole is impressive from start to end with not one part overpowering the others or countering the others too much.  It all works that well together.  The end result is an aesthetic from the album that is just as powerful as the album’s content.  When that content is considered along with the production, the whole makes Kin unquestionably one of the most powerful of this year’s new hard rock and metal albums.

Whitechapel’s new, forthcoming album, Kin, is a strong offering from the band.  Due out Friday through Metal Blade Records, the album offers audiences much to appreciate, not the least of which is its lyrical content.  The album’s lyrical content is important because for all intents and purposes, it makes Kin a semi-conceptual album as well as a sequel of sorts to The Valley.  The story of sorts that it presents is moving.  The musical arrangements that accompany the album’s lyrical content is also of note because it shows a continued growth and development from the band’s members individually and collectively.  The album’s production rounds out the most important of its elements.  That is because it brings the arrangements together and ensures that the noted growth and development is exhibited clearly.  Each item noted is important in its own way to the whole of the album.  All things considered, they make the album a work that Whitechapel’s established audiences will welcome just as much as any hard rock and metal purist. 

Kin is scheduled for release Friday through Metal Blade Records.  More information on the album is available along with all of Whitechapel’s latest news at:

Website: http://www.whitechapelband.com

Facebook: http://www.facebook.com/whitechapelmetal

Twitter: http://twitter.com/whitechapelband

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

Monoswezi’s ‘Shanu’ Gets “Five” Stars

Courtesy: Riverboat Records/World Music Network

International music collection Monoswezi is scheduled to release its latest album, Shanu this week.  The band’s fifth album, it is scheduled for release Friday through Riverboat Records and World Music Network.  The nine-song presentation is a surprisingly enjoyable addition to this year’s field of new World Music offerings and will appeal to audiences new and established alike.  That is due in no small part to its featured musical arrangements.  They will be discussed shortly.  The record’s liner notes build on the appeal established through the album’s musical arrangements and make the record even more engaging and entertaining.  They will be addressed a little later.  The record’s production rounds out its most important elements and will also be examined later.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make Shanu a strong new offering from Monoswezi that is among the best of this year’s new World Music offerings.

Monoswezi’s fifth full-length studio recording, Sanu, (which just so happens to translate to the word “five” from the Shona language of Zimbabwe) is an impressive new offering from the group.  The record’s appeal begins with its featured musical arrangements.  The arrangements in question blend elements of Zimbabe, the home nation of the group’s vocalist, Hope Masike, with just enough subtle Western influences to make them appealing for pop musi and World Music fans alike.  One of the most notable ways in which this is evidenced is in the early entry, ‘Woshanda.’  The arrangement here incorporates Masike’s African percussion influences with a distinct Western disco influence for a whole that is unique, to say the very least.  The African percussion comes primarily here through the subtle use of the mbira (basically a little finger piano) while the western influence is a more prominent use of keyboards and electronics.  The blending of those influences here makes the whole a surprisingly infectious composition that is certain to get listeners dancing.  Ironically, as danceable as the musical arrangement proves here, it is an interesting contrast to the song’s lyrical theme, which will be discussed in the examination of the album’s liner notes.

Immediately after ‘Woshanda,’ the group continues to exhibit the way in which it blends its African and American influences so fluidly in the form of ‘Where is My Mbira?’  As the title notes, the song once again incorporates the mbira.  The instrument, by the way, is traditional to the Shona people of Zimbabwe, fittingly.  At the same time, the song also incorporates a distinct western R&B sensibility into the mix alongside a subtle, country western style guitar line to make the whole all the more interesting.  The mix of musical influences immediately conjures thoughts from the group’s fellow international music performer Dobe Gnahore, who released her latest album, Couleur early this year.  The overall subtlety of the mix is unlike the more energetic approach taken in ‘Woshanda,’ showing in its own way, the diversity and originality of the album’s featured musical arrangements.

‘Um Pouco,’ which serves as the second half of the album’s midpoint, is another example of the diversity in the album’s musical arrangements and how the diversity within the songs themselves makes them so appealing.  In the case of this song, Masike’s Zimbabwean roots remain on display.  However in this composition, that influence is complimented with a horn and saxophone arrangement that at times conjures thoughts of the lounge style jazz sounds of the 60s and at others of the soul and funk of the age.  That soul and funk leaning is made even more evident as the group incorporates some equally subtle guitar and percussion lines into the work.  The balance of those elements here makes the song’s arrangement just as unique as the others examined here and just as engaging and entertaining.  When this work and those noted are considered along with the rest of the album’s works, the whole of that content gives audiences more than enough reason to take in this record.  As much as the noted content does to make the album so appealing, it is just one part of the album’s success.  The record’s liner notes add their own appeal to the overall presentation.

The liner notes featured in Shanu are important to address because of the information that they provide.  For instance, with each song is an explanation of the song’s lyrical theme.  This explanation is so important because save for one song – ‘We Crown You Nehanda’ – the album’s songs are sung in Masike’s native tongue.  Masike actually presents the whole of the one noted song in English.  The themes in each song are accessible to audiences American, Zimbabwean and otherwise.  Case in point is the theme of ‘Zvorema,’ In the case of this song, the liner notes point out that the song centers on the topic of encouraging the downtrodden.  It states here, “A lament to the heavens to help us carry and fight the burden of greedy and selfish leaders who feast off the tears and sweat of the rest.”  This is a topic that will, again, resonate with any listener.  Understanding that theme, the song’s musical arrangement, which is decidedly somber and almost melancholy, makes sense and becomes more moving in its impact.

The information provided about ‘Tsika Szako’ states that this song is about the importance of appreciating one’s culture and not giving up on it and just adopting the culture of another.  The information states here, “It’s a form of poverty when one shuns their own traditions and heritage in favour of other cultures.  Look for the good in each culture, including your own.”  Again, this is a fully accessible theme.  Even though Masike, again, sings fully in her native tongue here, audiences can understand and appreciate  the message as it is translated so well here and in the mood set by herself and her fellow musicians.

As if everything noted here is not enough, the group also takes on the topics of love lost and gained here in the album’s opener, ‘Kuwonerewa’ and ‘Paya.’  The opener is about love lost and the closer brings things full circle as it focuses on love gained.  In regards to the album’s opener, the description points out that the song centers on the feeling that one has as a relationship progresses but changes in a not-so good way.  Meanwhile, the closer states simply, “Oh, how beautiful it is to be in your arms!”  That speaks volumes.  So again, audiences are given at least some translation in the liner notes.  Those notes go a long way toward making the arrangements (and songs in general) more appealing.  That is because those brief but concise explanations work well to make for more appreciation for the album’s arrangements.  Together, the explanations and musical arrangements make the songs fully translated and in turn all the more engaging and entertaining.  To that end, the overall content strengthens the album’s presentation that much more.  Even with this in mind, there is still at least one more item to examine in the form of the album’s production.

Shanu’s production is important to examine because of its impact on the arrangements.  As already noted, the arrangements featured here blend elements of Masike’s home nation of Zimbabwe with more accessible western musical influences.  This is also addressed in the liner notes.  Audiences will learn that this approach was intentional this time out for the group.  Getting back on the matter at hand, the album’s production played clearly through each arrangement.  The time and effort put into each composition, to balance those African and American musical influences expertly balances the noted elements.  The subtleties in that balance completely immerse audiences in each song.  The end result is that the album’s production makes its aesthetic impact just as strong as that of the arrangements and the album’s liner notes.  Each item noted, they make the album overall, a successful work that Monoswezi’s established audiences will enjoy just as much as those who are less familiar with the group and its catalog.

Monoswezi’s latest album, Sanu, is an impressive new offering from the international musical collective.  Its success comes in part through its featured musical arrangements.  The arrangements offer audiences the best of both worlds so to speak as they blend elements of Africa and America into one in each work.  It is a first for the group, too, making for even more interest.  The blending of that work will immerse audiences into the record by itself.  The liner notes that accompany the record are also of importance here.  That is because they lessen the impact of the songs being sung mostly in the native tongue of front woman Hope Masike.  The themes prove quite accessible, and when they are considered alongside their musical counterparts, the result is even more enjoyment for listeners.  The record’s production adds to the immersion that audiences will experience in listening to each arrangement.  That is because it exhibits the time and effort put into balancing each song’s instrumentation.  It brings everything together and completes the record’s presentation.  Each item noted is important in its own way to the whole of the album.  All things considered, they make Sanu a successful new offering from Monoswezi that is also among the best of this year’s new World Music albums.

Shanu is scheduled for release Friday through Riverboat Records and World Music Network.  More information on Shanu is available along with all of Monoswezi’s latest news at:

Website: https://monoswezi.com

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

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.  

Sepultura, BMG’s New ‘Sepulnation’ Retrospective Collection Is Imperfect But Entertaining

Courtesy: BMG

Sepultura is among the most influential and important acts in the hard rock and metal communities today.  The band has built that reputation over the course of more than 30 years and 15 albums.  This even as the band has seen multiple changes in lineups and labels over that span.  BMG revisited a handful of the band’s albums last week with its new retrospective box set, Sepulnation: The Studio Albums 1998-2009. This five-disc set is an intriguing profile of Sepultura and its catalog.  That is due in large part through its featured albums, which will be discussed shortly.  Also of note in this set is its packaging, which will be discussed a little later.  The set’s pricing rounds out the most important of its elements and will also be discussed later.  Each item noted is important in its own way to the whole of Sepulnation: The Studio Albums 1998-2009.  All things considered, they make the set an imperfect but still entertaining.

Sepultura’s new retrospective box set, Sepulnation: The Studio Albums 1998-2009, is an intriguing offering from the band and BMG.  It is an imperfect presentation but still entertaining presentation.  That is due in part to its featured albums.  The albums featured in this set are: Against (1998), Nation (2001), Roorback (2003), Dante XXI (2006), and A-Lex (2009).  They are all records on which current front man Derrick Green serves.  There are other band members new and old on these records, too.  However, going back to the realization that Green is still the band’s front man (former front man Max Cavalera continues to focus mainly on his Soulfly project to this day) makes one wonder why BMG chose these records. That is especially considering none of the records in this set have been or are considered watershed moments for the band.  They have not received the response that some of Sepultura’s early albums received.  So again, the albums featured in this set are entertaining in their own right, but they are not the most standout additions to the band’s catalog.  No information was provided about why the featured albums were chose in the initial press release announcing the set’s release, so again, only officials at BMG know the answer to that question. .

While the general presentation of Sepulnation: The Studio Albums 1998-2009 is a mixed bag of sorts, it is not the only element worth examining here.  The set’s actual packaging is also of note.  The packaging here is actually largely positive.  This applies to its CD and vinyl presentation alike.  The CD package is space saving to say the least.  It is almost the same shape and size as the case for a standard single-disc CD.  So, it will not take up much space either on a CD rack or even on a shelf.  It should be noted here that the CDs are each placed inside their own cardstock quality insert complete with the albums’ original case art for front and back.  There are no booklets with the CDs, which is disappointing, too, but not a complete loss considering the relative accessibility of lyrics for each album online.  The vinyl collection places each album on a two-disc set inside a larger box that is designed in its own ergonomically-designed case.  Having noted the positive of the set’s packaging in each of its presentations, it becomes clear that this element is a definite plus to the set’s overall presentation.  It is just one more of the notable items in this set, too.  The collection’s pricing rounds out its most important items.

The pricing for the anthology in each of its platforms is of note because of the marked difference in each.  The average price point for the set’s CD platform is $38.24 while the vinyl box set averages $164.48.  Keeping in mind that both sets are presented the same way (sans liner notes) but in ergonomically-designed boxes, the vinyl pricing seems exceptionally high.  The CD platform on the other hand is relatively affordable.  One can only assume that the vinyl set is so much more expensive than the CD collection because each is presented in a two-disc presentation versus the single-disc presentation of each album in the CD set.  It is that much more proof that as much as some people want to believe that vinyl is so much cooler/hipper than CDs, the affordability of the CD set and the fact that the audio quality is of equal level on each platform makes the CD set’s pricing that much more appealing.  Sure, the noted Revolusongs EP is apparently not featured as part of the anthology’s CD platform, but that is still beside the point.  The pricing here (alongside the equally relatively affordable separate listings) works with the positive audio quality and general packaging to make the set positive overall.  That is even considering the headscratcher of a reason for the inclusion of the featured albums.

Sepultura and BMG’s newly released box set, Sepulnation: The Studio Albums 1998-2009, is an interesting new presentation from the two sides.  The anthology features five of the band’s albums that span a time frame of approximately 11 years.  Audiences will find that the albums are not considered landmarks for the band, either.  To that end, it makes one wonder why the albums were chosen for the collection.  That aside, they are still at least a good way for audiences to complete and/or build their library of the band’s expansive catalog.  That is a positive in its own right and gives the collection at least some appeal.  The ergonomic packaging in both the CD and vinyl platform is also a positive.  That is because it is space saving for audiences across the board.  The set’s pricing for its CD platform is also a positive.  The average price point for the CD set, achieved by averaging prices listed through Amazon, Walmart, Target, and Barnes & Noble Booksellers (it was not listed through Best Buy and Books-A-Million at the time of this review’s pricing) is less than $40.  The only retailer to exceed that price point is Barnes & Noble Booksellers, at $43.99.  The vinyl set’s pricing is nearly $200.  That is a negative considering that it offers the exact same presentation of that in the set’s CD presentation.  To that point, the set does have its own positives, but also negatives.  Keeping all of this in mind, Sepulnation: The Studio Albums 1998-2009 proves to be clearly an imperfect presentation, but still entertaining at least to a point. 

Sepulnation: The Studio Albums 1998-2009 is available now.

More information on Sepultura’s new box set is available along with all of the band’s latest news and more now at:

Website: https://www.sepultura.com/br

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

Twitter: https://twitter.com/sepulturacombr

To keep up with the latest entertainment news and reviews, go online to http://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.

Black Veil Brides Will Impress Its Most Devoted Audiences Again With Its Latest LP

Courtesy: Sumerian Records

Veteran rock band Black Veil Brides is scheduledto finally release its latest album this week in the form of The Phantom Tomorrow.  The band’s sixth album, it was originally scheduled for release June 4.  Its release was delayed in order to allow the comic book that will accompany the record to get up to speed with the album.  The album stands out in part because of its general presentation, which will be discussed shortly.  The record’s musical presentation works with its general presentation to make for more appeal.  It will be discussed a little later.  The album’s production rounds out its most important elements and will also be discussed later.  Each item noted is important in its own way to the whole of the album.  All things considered, they make the album another work that the band’s most devoted audiences will appreciate.

Black Veil Brides’ forthcoming album, The Phantom Tomorrow, is a presentation that audiences will find well worth hearing at least once.  That is proven in part through the album’s general presentation.  In regards to the general presentation, the album is presented not as just a collection of songs, but rather a concept album.  Now while concept albums are typically reserved for the prog realm, this approach is nothing new for this band.  The band has already released two other concept records in the forms of Wretched and Divine: The Story of the Wild Ones (2013) and its “prequel,” Vale (2018).  In the case of The Phantom Tomorrow, front man Andy Biersack noted in a March 2021 interview with Blabbermouth.net, that the album’s concept centers on essentially the human nature of idolatry.  It just takes a bit of a darker turn in this case.  Biersack is quoted as saying of the concept, “The story is essentially the idea…In our society, especially now, we have this love of building up heroes and obsessing over other people who often don’t give a s*** about you or anybody else and we kind of have these false idols and heroes.  And so the story is about taking this mythological character and the people putting all of this power on to them, and ultimately turning their back on the character because nobody can fulfill the dreams and ideas that you put on somebody else.”  He goes on from here to shorten the summary, pointing out that the story centers on humans’ obsession with those in positions of power and celebrity, and the resultant impact of that obsession.  It is a timeless theme considering that, again, people have that tendency to idolize, and then react a certain way when they react that those they idolize are not who and what they thought.  It makes the story here quite interesting and well worth hearing in itself.  To that end, the general presentation is clearly in itself reason enough for audiences to give The Phantom Tomorrow a chance.  It is just a part of what makes the album worth hearing, too.  The record’s musical presentation builds on the interest and appeal generated through the general presentation to give the album even more reason for being heard.

The musical presentation featured in The Phantom Tomorrow is of note because of its approach.  For the most part, the band takes a distinct metalcore style approach.  The only real deviation comes in the album’s finale, ‘Fall Eternal,’ which comes across more as an emo type composition.  All of this is important to note because the approach taken with the music here clearly shows the band’s continued growth and evolution away from the more glam rock/Motley Crue-esque sounds that made the band famous in its infancy.  It shows that continued willingness to take risks and grow, as noted and is something that will appeal, again, to the band’s most devoted audiences and to more casual audiences.  Keeping that in mind, it is one more way in which the album proves itself worth hearing at least once.  The production of that musical content rounds out the most important of the album’s items and completes its presentation.

The production of The Phantom Tomorrow is important to examine because of how much it plays into the record’s musical content.  As noted, the arrangements featured in this record continue to exhibit the growth and evolution of Black Veil Brides as a band and individually.  While the album, for the most part, presents a distinct metalcore approach, the songs featured here still boast their own unique identity separate from so many other metalcore acts out there.  The record’s production plays into that identity.  It serves to accent the arrangements’ melodies, and the nuances therein, even within the vocals, to really bring out the fullest body of each composition.  At the same time, the production ensures that no one part of each instrumentation overpowers its counterparts from one work to the next.  The overall result of that attention to detail in the production is that the arrangements keep listeners fully engaged and entertained throughout the album.  It puts the final touch to the whole and completes the presentation, showing once more why this record is worth hearing at least once.

Black Veil Brides’ new, forthcoming album, The Phantom Tomorrow, is a presentation that the band’s most devoted audiences will agree is another positive addition to the band’s catalog.  Its success comes in part through its general presentation.  In this case, the general presentation is that of a concept record, something to which the band is no stranger.  The concept here will resonate with listeners, too, because of its accessibility.  The album’s musical presentation adds to its appeal because it continues to show the band’s development and growth.  The record’s production puts the finishing touch to its presentation, bringing everything full circle and bringing out the best in each song.  Each item examined here is important in its own way to the album.  All things considered, they make The Phantom Tomorrow a record that will have plenty of tomorrows in audiences’ libraries.

The Phantom Tomorrow is scheduled for release Friday through Sumerian Records.  More information on the album is available along with all of Black Veil Brides’ news at:

Website: https://blackveilbrides.net

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

Twitter: https://twitter.com/blackveilbrides

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