Courtesy: Wit Hustle/The Orchard/Steelhorse Entertainment
The Black Moods gave audiences their first preview of its next album over the weekend.
The band premiered its new single, ‘She Gets Out‘ and its companion video Friday. The song and its video are the first from the band’s forthcoming album, whose title and other information is still under wraps.
The musical arrangement is a catchy pop rock style composition. It fits well into any modern rock and even adult contemporary radio programmer’s play list with its light approach and harmonies.
Front man Josh Kennedy discussed the song’s lyrical theme in a prepared statement.
“‘She Gets Out,’ our newest song, is meant to be a continuation of the character from our last record Sunshine,” said Kennedy. “In its title track, ‘Sunshine,’ she’s someone that’s struggling to deal with finding a way to change her life. With ‘She Gets Out,” she makes the decision to take a stand and make her life her own, no matter how scary or what the consequences might be.”
The video is a familiar style presentation. It features footage of the band performing live along with footage of the Hollywood hills and other visuals as the song plays over the visualization.
More information on The Black Moods’ new single and album is available along with all of the band’s latest news at:
Independent rock band Awaken The Giant debuted its latest single this week.
The band premiered its new single, ‘Hypnotize’ Tuesday. ‘Hypnotize’ is available to stream and download through multiple outlets here.
The debut of ‘Hypnotize’ in its audio-only format comes more than four months after the band premiered its debut single, ‘I Fooled You.’ The song is available to stream and download through Spotify, Apple Music, and Amazon. The band premiered the song’s lyric video Oct. 18.
The musical arrangement featured in ‘Hypnotize’ is a notable contrast to that of ‘I Fooled You.’ Instead of the aggro/hard rock style approach and sound featured in that song, this composition is more comparable to works from the likes of Default, Nickelback, and Three Doors Down.
The lyrical theme featured in ‘Hypnotize’ is meant to deliver a positive message centered on relationships, according to comments made by the group in a prepared statement.
“‘Hypnotize’ is a song about being with someone and not having to fake it, and no longer having to prove anything because your relationship is in perfect harmony,” the statement reads.
In other news, Awaken The Giant is hoping to release its new EP, Black and Blue in 2022. A release date is under consideration.
Goo Goo Dolls’ fans will have even more chances to see the band live next year.
The band announced Tuesday through a news release, it has expanded its Summer 2022 Tour. The announcement comes more than five months after the band first announced its plan to launch the tour July 26 in Salt Lake City, UT.
With the additional dates included in the schedule, the tour is now scheduled to launch even earlier, on July 15 in Nampa, ID and to run through Sept. 24 in Buffalo, NY. The tour was originally scheduled to run through Sept. 2 in Los Angeles, CA.
The new schedule is noted below. More information on the tour is available here.
GOO GOO DOLLS – SUMMER 2022 TOUR DATES
July 15, 2022 – Nampa, ID – Ford Idaho Center Amphitheater
July 16, 2022 – Bend, OR – Hayden Homes Amphitheater*
July 18, 2022 – Bonner, MT – Kettlehouse Amphitheatre*
July 22, 2022 – Airway Heights, WA – Northern Quest Resort & Casino*
July 24, 2022 – Portland, OR – Edgefield*
July 26, 2022 – Salt Lake City, UT – USANA Amphitheatre
July 27, 2022 – Denver, CO – Red Rocks Amphitheatre
July 29, 2022 – St. Louis, MO – St. Louis Music Park
July 30, 2022 – Lincoln, NE – Pinewood Bowl Amphitheatre
August 1, 2022 – Kansas City, MO – Starlight Theatre
August 3, 2022 – Huber Heights, OH – Rose Music Center at The Heights
August 4, 2022 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
August 5, 2022 – Indianapolis, IN – TCU Amphitheater at White River State Park
August 7, 2022 – Detroit, MI – Michigan Lottery Amphitheatre at Freedom Hill
August 8, 2022 – Toronto, ON – Budweiser Stage
August 10, 2022 – Cleveland, OH – Jacobs Pavilion at Nautica
August 12, 2022 – Bridgeport, CT – Hartford Healthcare Amphitheater*
August 13, 2022 – Holmdel, NJ – PNC Bank Arts Pavilion
August 14, 2022 – Gilford, NH – Bank of New Hampshire Pavilion
August 16, 2022 – Boston, MA – Rockland Trust Bank Pavilion
August 19, 2022 – Saratoga Springs, NY – Saratoga Performing Arts Center
August 20, 2022 – Wantagh, NY – Northwell Health at Jones Beach Theater*
August 21, 2022 – Philadelphia, PA – Mann Center for the Performing Arts
August 23, 2022 – Raleigh, NC – Red Hat Amphitheatre
August 24, 2022 – Jacksonville, FL – Daily’s Place
August 26, 2022 – Charlotte, NC – Charlotte Metro Credit Union Amphitheatre
August 27, 2022 – Nashville, TN – Ascend Amphitheater
August 28, 2022 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park
August 30, 2022 – Houston, TX – Smart Financial Centre
August 31, 2022 – Irving, TX – The Pavilion at Toyota Music Factory
September 2, 2022 – Los Angeles, CA – The Greek Theatre
September 3, 2022 – Santa Barbara, CA – Santa Barbara Bowl*
September 4, 2022 – Palo Alto, CA – Frost Amphitheater*
September 12, 2022 – Waite Park, MN – The Ledge Amphitheater*
September 13, 2022 – Cedar Rapids, IA – McGrath Amphitheatre*
September 17, 2022 – Oklahoma City, OK – The Zoo Amphitheatre*
September 18, 2022 – Rogers, AR – Walmart Arkansas Music Pavilion*^
September 20, 2022 – Doswell, VA – After Hours Concerts at The Meadow Event Park*
September 21, 2022 – Toledo, OH – Toledo Zoo Amphitheater*
September 22, 2022 – Pittsburgh, PA – Stage AE*
September 24, 2022 – Buffalo, NY – Keybank Center
In other news, Goo Goo Dolls released its latest album, Rarities, June 25 through Warner Records. The record produced the single, ‘Nothing Can Change You‘ and covers of Live’s ‘Let Love In‘ and INXS’ ‘Don’t Change.‘
Rarities‘ track listing is noted below.
“RARITIES” DIGITAL/CD TRACK-LISTING
Hit or Miss
Nothing Can Change You
Long Way Down (Chris Lord Alge Remix)
Name (Live Acoustic)
Don’t Change (Live)
Girl Right Next to Me (Live Acoustic)
Another Second Time Around (Live Acoustic)
Iris (Acoustic)
Slide (Acoustic)
Naked (Remix)
Black Balloon (Live)
Naked (Live)
Black Balloon (Live from Sessions@AOL)
Broadway (Live from Sessions@AOL)
We’ll Be Here (When You’re Gone) (Acoustic)
Better Days (Acoustic)
Let Love In (Live)
Listen (Live)
Feel The Silence (Live)
Take Me Out to the Ball Game
“RARITIES” VINYL TRACK-LISTING
SIDE ONE
Hit or Miss
Nothing Can Change You
Long Way Down (Chris Lord Alge Remix)
Name (Live Acoustic)
Don’t Change (Live)
SIDE TWO
Girl Right Next to Me (Live Acoustic)
Another Second Time Around (Live Acoustic)
Iris (Acoustic)
Slide (Acoustic)
Naked (Remix)
SIDE THREE
Black Balloon (Live)
Naked (Live)
Black Balloon (Live from Sessions@AOL)
Broadway (Live from Sessions@AOL)
We’ll Be Here (When You’re Gone) (Acoustic)
SIDE FOUR
Better Days (Acoustic)
Let Love In (Live)
Listen (Live)
Feel The Silence (Live)
Take Me Out To The Ball Game
In related news, Goo Goo Dolls is working on its 13th album. More information on that as-yet-untitled album is available along with all of the band’s latest news at:
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Dayseeker will tentatively head back out on the road next spring.
The band made the announcement Tuesday through a news release. The document states the tour is scheduled to launch April 2 in Los Angeles, CA and to run through May 13 in Anaheim, CA. The tour also features stops in cities nationwide, such as Columbus, OH; Greensboro, NC and Seattle, WA.
The tour’s schedule is noted below. Tickets are available through the band’s official website and through Soundrink.
DAYSEEKER ON TOUR: WITH HOLDING ABSENCE, THORNHILL, + CASKETS: 4/2 — Los Angeles, CA — Teragram 4/3 — San Diego, CA — SOMA 4/5 — Mesa, AZ — Underground 4/6 — Albuquerque, NM — Launchpad 4/8 — San Antonio, TX — Rockbox 4/9 — Dallas, TX — The Loft 4/10 — Houston, TX — Warehouse (Studio) 4/12 — Tampa, FL — Crowbar 4/13 — West Palm Beach, FL — Respectables 4/14 — Orlando, FL — Soundbar 4/15 — Atlanta, GA — Masquerade (Purgatory) 4/16 — Greensboro, NC — Blind Tiger 4/17 — Richmond, VA — Canal Club 4/19 — Worcester, MA — Palladium 4/20 — Montreal, QC — Bar Le Ritz 4/21 — Toronto, ON — Velvet Underground 4/22 — Pittsburgh, PA — Crafthouse 4/23 — Brooklyn, NY — Knitting Factory 4/24 — Asbury Park, NJ — House of Independents 4/26 — Columbus, OH — Skully’s 4/27 — Detroit, MI — The Shelter 4/28 — Lakewood, OH — Foundry 4/29 — Chicago, IL — Subterranean 4/30 — Milwaukee, WI — Miramar Theatre 5/1 — St. Paul, MN — Amsterdam 5/3 — Denver, CO — Larimer Lounge 5/4 — Salt Lake City, UT — Loading Dock 5/6 — Seattle, WA — El Corazon 5/7 — Portland, OR — Hawthorne Theater 5/8 — Vancouver, BC — Biltmore 5/10 — Roseville, CA — Goldfield Trading Post 5/11 — Berkeley, CA — Cornerstone 5/12 — Santa Cruz, CA — Catalyst 5/13 — Anaheim, CA — Chain Reaction
More information on Dayseeker’s upcoming tour is available along with all of the band’s latest news at:
Ovtlier recently released its latest single and companion lyric video.
The band premiered its single, ‘Spineless (ft. Danny Leal Jr.)‘ and its companion lyric video Oct. 22. The premiere came less than a month after the band premiered its then latest single, ‘All I Need‘ and its video. Leal is the front man for the metal band Upon A Burning Body.
Leal talked about joining Ovtlier for the song in a prepared statement.
“[Ovtlier front man] Joey [Arena] first asked me if I would feature on this track,” said Leal. “Like any other I wanted to make sure it was something that I felt I could fit in with. I was super pumped on the sound this band has going and am a legitimate fan of this track.”
The musical arrangement featured in ‘Spineless (ft. Danny Leal, Jr.) is a heavy, intense composition. The use of the guitars against the subtle backing keyboard that opens the song sets such a powerful, ominous mood. As the song progresses from there, the verses present a distinct Slipknot-esque sound while the choruses are more melodic but still hard.
No information was provided about the song’s lyrical theme in the press release announcing the song and video’s debut. Reading through the lyrics presented in the song’s lyric video, it would seem that the song deals with emotions felt in dealing with someone who is simply not a good person.
The song’s lyric video features the song’s lyrics placed against a red backdrop. At the bottom, a person lies curled up in a sort of fetal position. This is all presented as the song plays over that visualization.
More information on Ovtlier’s new single is available along with all of the band’s latest news at:
Of Mice & Men has had a busy go of it this year. The band has released three new EPs since the year opened, and now after all of that, everything the band has done will lead up to all of those records coming together Friday in the band’s new album, Echo. The record is set for release through SharpTone Records. That combination of the EPs all in one setting is the most important of the record’s elements, and will be discussed shortly. The record’s production plays its own important part to the whole and will be discussed shortly. The record’s pricing is relatively affordable, even taking shipping and handling into account. It will also be examined later. Each item noted is important in its own way to the whole of the record. All things considered, they make Echo a work that any fan of OMAM will appreciate.
Of Mice & Men is closing out 2021 with a special early holiday present for its fans in the form of its new album, Echo. The record is a presentation that any of the band’s fans will appreciate. That is due in part to the record’s general presentation. In regards to the general presentation, it features all three of the EPs that the band has released this year – Timeless, Bloom, and Ad Infinitum – in one complete package. On one hand, those who already own the EPs might look at this and ask why they should own the record. The answer is the same for those who maybe own one of the EPs or none. It is what has been noted. It places all of that music into one setting. This way, audiences need not go hunting for the separate EPs when they want to listen to them, whether digitally or physically. Rather, they can just go to one place and have all of that music in the one album. What’s more, all of the songs from the EPs are presented here in the exact same order in which they were presented in the separate EPs. That means whether audiences own the existing EPs in their standalone formats, all audiences will get the same music in the exact same order as in the EPs. It is a general effect item, but overall, this general presentation makes for a strong foundation for Echo. It is just one of the items that makes the record enjoyable. The record’s production puts its own touch to the record that is worth noting.
The production that went into Echo is important because of the fire presented in each of its 10 total songs. Between the intensity in front man Aaron Pauley’s screams and clean vocals, the virtual wall of sound generated through the instrumentations, and the added electronics and other nuanced musical seasoning that is peppered throughout the record, there is a lot going on. There is a lot of energy in everything going on, too. For all that is going on and the power in each arrangement, those responsible for bringing it all together are to be highly commended. Everything is so well balanced throughout. Even in the band’s cover of Crosby, Stills & Nash’s ‘Helplessly Hoping,’ the record’s lone calm moment, the production brings out the full emotion of the band’s performance and of the song itself. All things considered, the record’s production is just one more item that makes it appealing for audiences. The album’s pricing rounds out its most important items.
Using prices listed at Amazon and Barnes & Noble Booksellers – it was not listed through Walmart, Target, Best Buy, or even Books-A-Million at the time of this review’s posting – the album’s average price point is $18.24. Amazon is listing the album at the less expensive price of $11.49, well below that average. Barnes & Noble Booksellers meanwhile lists the album at $24.99, well above the noted number. One cannot help but wonder how much the other noted retailers will list the album at when and if they finally do. That aside, having a price through Amazon that barely breaks the $10 mark is relatively affordable. Add in shipping and handling, and that price will come close to $15, but even then, that number will still prove relatively affordable, right on par with the average price of most albums. It would still be less than the noted average for this record, too. To that end, the pricing at this point proves to be quite the positive in its own right. When this is considered along with the record’s body and the production thereof, the whole makes Echo a strong new offering from Of Mice & Men.
Of Mice & Men’s forthcoming album, Echo, is a positive new offering from the veteran metalcore band. Its appeal comes in large part through its featured songs. The songs are collected here from each of the EPs that the band has released this year. It allows audiences to enjoy those songs in one setting regardless of whether they own the noted records. That means no having to hunt down the EPs when audiences want to hear those records’ music, but simply find this album. The songs’ production adds its own touch to the foundation formed through the record’s songs. That is because it brings out the best in the songs from one to the next, balancing everything expertly. The record’s pricing rounds out the most important of its elements. Even with shipping and handling in mind, its least expensive listing likely will not even reach $20. That affordability is certain to appeal to plenty of audiences. Each item noted is important in its own way to the whole of Echo’s presentation. All things considered, they make Echo a work that is certain to resonate with fans of Of Mice & Men.
Echo is scheduled for release Friday through SharpTone Records. More information on Of Mice & Men’s new album is available along with all of the band’s latest news at:
Saxophonist John Coltrane is among the most influential figures in the history of jazz. That goes without saying. Between his own records and the records that pay homage to Coltrane, his music has remained in the mainstream for ages and is certain to for many more to come. Another of those noted tributes will see the light of day Friday through Smoke Sessions Records in the form of jazz pianist Harold Mabern’s new live CD, Mabern Plays Coltrane. The hour-plus presentation is an impressive new offering from beginning to end. That is proven in part through its featured songs. They will be discussed shortly. The group’s performance thereof is of its own import to the recording’s presentation 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 presentation. All things considered, they make Mabern Plays Coltrane a wonderful listening experience for fans of Coltrane, Mabern, and casual jazz fans alike.
Harold Mabern’s forthcoming collection of live John Coltrane covers is a thoroughly enjoyable new presentation. It is certain to appeal widely among jazz audiences. That is proven in part through the featured songs. Seven in all, the songs put the recording’s run time at approximately one hour, five minutes. While there are only seven songs here, they are still important because they are essentially a vivid snapshot of Coltrane’s own career, pulling from nearly every point in his career. His time with Prestige Records, Impulse! Records, Atlantic Records, and Blue Note Records are all represented here. The only era of Coltrane’s career not represented in this concert is that in which he was signed with Savoy Records. The set list reaches all the way back to Coltrane’s 1957”self-titled” record, Coltrane — which was the first on which he was a band leader – and all the way up to 1970’s Dear Lord. A handful of the songs here are taken from Coltrane’s time with Atlantic Records, while two of his Impulse! Records releases and his lone Blue Note Records release – Blue Train – are also represented. One of the most important of the Atlantic releases featured in the set list is Giant Steps.It is represented through the timeless song, Naima. For those who might not know, Giant Steps is featured in the Library of Congress’ National Recording Registry because of its influence on the jazz and music communities in whole. ‘My Favorite Things’ – the title track from Coltrane’s 1961 Atlantic release – is also included in the set list. It is among Coltrane’s most well-known and beloved songs, being a cover of the song from the timeless musical, The Sound of Music. On yet another note, ‘Dahomey Dance’ – featured in Coltrane’s 1961 album, Ole Coltrane – is important because the album in whole was a key moment in itself in Coltrane’s career. The album in whole was a display of Coltrane getting more interested in music from Spain. That interest showed in each of the album’s songs in its own way, too. Between this song and record and all of the others featured and represented here, it should be clear that the songs play an extremely important part of Mabern Plays Coltrane’s presentation. If in fact Mabern intentionally assembled the set list with the albums in mind as to how they would represent Coltrane’s career, then he is to be highly commended. Regardless, it is still a positive that no listener can ignore.
There is no doubt that the songs featured in Mabern Plays Coltrane are collectively an important part of the recording’s presentation. They are just a portion of what makes the recording so important, too. Mabern and company’s performances of the songs are of their own importance. Case in point is the group’s take on ‘Naima.’ The collective – Mabern on piano, Vincent Herring on alto sax and Eric Alexander on tenor sax, Joe Farnsworth on drums, Steve Davis on trombone, and John Webber on bass – takes the original song and takes its energy up a few notches. Coltrane’s original is such a cool, relaxed composition with Coltrane leading the way alongside an equally subtle piano line. Meanwhile, Mabern and company give the song more of a swing type of approach while staying true to the original. It makes for an interesting update on the song, but enjoyable nonetheless. As is pointed out in the liner notes, it keeps that Bossa Nova sensibility, but really turns the song somewhat on its ear and makes it a song that would be just as much a tribute to a loved one as the original was to Coltrane’s wife.
On another note, the group’s performance of ‘Blue Train’ is just as impressive as any other in this record. The performance stands out because of how true it stays to its source material throughout its nearly 11-minute run time. Yes, it does open with a big more swing sense than the original, but even in that case, the swing still works relatively well. It is shorter than the original by only two seconds, coming in at 10 minutes, 42 seconds. That in itself says plenty in terms of examining how closely it sticks to the original. Herring and Alexander are especially tight as they take on the song’s sax lines while Farnsworth’s nuanced time keeping on the drums is so rich even in its supporting role. Interestingly enough, there is a wonderful, high energy trumpet solo also featured in this cover that is so engaging and entertaining in its own right. The issue is that there is no direct credit for the trumpet solo anywhere in the recording’s liner notes or even on the CD’s case. Mabern’s son Michael, who penned the liner notes does make a note of “Big Daddy’s” “own fluidly funky solo.” This leads to the belief that maybe it was Mabern himself who handled the solo, but again, without any real credit given anywhere in the case and liner notes, one cannot be 100 percent certain about that. Regardless, the trumpet solo here is still a nice touch to the performance. When it is considered along with everything else noted here, the whole shows even more why the performances featured in the recording are just as important as the songs themselves.
As f everything noted is not enough proof of the importance of the recording’s performances, the group’s performance of ‘My Favorite Things’ is yet more proof of that importance. While somewhat shorter than the original – Coltrane’s original runs nearly 14 minutes while this one clocks in at just under 12 minutes – it mostly stays true to its source material, too. However, there are some notable differences, beginning right from the performance’s outset. Mabern has developed a whole new introduction to the song through a funky piano solo that takes influence from so much fusion jazz from the 1960s. Even as the song progresses from that introductory solo, it picks up the pace from the original, incorporating more of a swing vibe once again, with Mabern leading the way. Farnsworth’s steady jazz waltz time keeping adds even more depth to the song while also continuing to build on the cover’s unique update. There are even some variances between the sax solo presented here and that from Coltrane in his original take on the song. Overall, the group’s take on the song in this case is just as enjoyable as Coltrane’s take on the song as it gives the song such new energy and life. It is just one more example of how the performances featured in Mabern Plays Coltrane are so important to the recording’s body. When this and the other examined performances are considered along with the rest of the recording’s performances, the whole makes clear just how important the performances are to the overall presentation. They work with the importance of the songs themselves to further enrich the listening experience. They are not the last of the recording’s important items, either. The presentation’s production rounds out its most important elements.
The production of Mabern Plays Coltrane is important because this is, again, a live recording. Not knowing how large the venue was in which this recording was captured, it is tough to have a full picture of things. Regardless, the group’s performance was handled expertly in concert and in post. The balance in the instrumentation is exceptional in the more energetic moments and those that were more subdued. Even the audience noise was minimized, adding more to the general effect. The audience applause was barely there, but just enough to be evident between songs. That and the balance in the songs’ instrumentations makes for so much enjoyment, aesthetically speaking. When the positive impact of the production is considered along with the positive impact of the songs’ performances and the songs themselves, the whole of that insight makes the recording in whole a fully enjoyable presentation that any jazz lover will enjoy.
Harold Mabern’s forthcoming live tribute to John Coltrane, Mabern Plays Coltrane, is a wonderful way for Mabern to honor Coltrane and his legacy. That is proven in part through its featured songs. The songs in question represent a handful of key moments in Coltrane’s career and personal development as a musician. The performances of those songs is of its own interest. That is because of how they blend Coltrane’s origins with the group’s own more modern influences. They make each song unique from one another and from the original songs while paying tribute to those songs at the same time. The record’s production rounds out the most important elements. That is because of its ability to balance all of the recording’s audio. Each item examined is important in its own way to the whole of the recording. All things considered, they make Mabern Plays Coltrane, another of the year’s top new live CDs.
Mabern Plays Coltrane is scheduled for release Friday through Smoke Sessons. More information on this and other titles from Smoke Sessions is available at:
The Aquadolls is getting into the holiday spirit with an update on a lesser-known holiday song.
The band debuted its take of ‘The Waitresses’ 1981 single, ‘Xmas Wrapping‘ Nov. 18. The Aquadolls’ update on the song was produced by NOFX’s Fat Mike and features guest appearances from fellow NOFX band member El Jefe and Fishbone’s Angela Moore.
Aquadolls vocalist Melissa Brooks was humble as she talked about working with the noted figures.
“It’s so exciting for us to collaborate with so many music icons on this and put a new twist on such an underrated and timeless classic,” she said. “We hope you start a mosh pit to this and this makes your holiday season rock harder than before!”
The Aquadolls’ update on ‘Xmas Wrapping’ gives it a fresh new take. That is evidenced in the ska influence incorporated into the song alongside the band’s own punk leanings. It also cuts the song by almost as much as two minutes from the original song’s run time, making for even more appeal in its more direct instrumentation.
In other news, The Aquadolls has a pair of live performances scheduled for the coming days. The band is scheduled to perform live 10 p.m. ET Tuesday at Budtender Session and at Punk Rock and Paint Brushes Dec. 11 in downtown Los Angeles, CA.
Trivium will host two livestream concerts in December.
The announcement was made Monday through a news release. The document states the concerts are scheduled to take place Dec. 11 and 18. The concerts will come less than a year after the band’s 20202 livestream concert event, A Light or a Distant Mirror.
The details for the concerts are noted below.
LINEUP: SATURDAY, 12/11: FIT FOR AN AUTOPSY PRE-SHOW 3:30PM-4:00PM ET THE HANGAR | IN WAVES 4pm ET/1pm PT/9pm BT/10pm EU
SATURDAY, 12/18: FIT FOR AN AUTOPSY PRE-SHOW 3:30PM-4:00PM ET THE HANGAR | DEADMEN & DRAGONS 4pm ET/1pm PT/9pm BT/10pm EU
The upcoming concerts will hold a special meaning for the band. That is because they will mark the debut of the band’s new headquarters, “The Hangar” and its online portal. The band’s livestream concerts will all run through the portal, and it will also be the site from which fans can purchase band apparel and other items.
The first of Trivium’s upcoming concerts will mark the 10th anniversary of the release of the band’s album, In Waves. According to comments from guitarist Paolo Gregoletto, the second concert, dubbed ‘Deadmen and Dragons’ “is the celebration of the last two years — two albums, The Hangar, the Metal Tour of the Year, and of course A Light Or A Distant Mirror. The moment we knew that touring was off the table in 2020, we shifted focus back to the creative process. This stream is the closing of this unexpected chapter of Trivium and the beginning of a new one full of many exciting possibilities with The Hangar.”
Fit For An Autopsy will serve as support for each livestream concert.
Tickets for each livestream concert are available to purchase at a discounted price of $20 through Wednesday. Their price increases to $25 from Thursday through Dec. 14. Virtual general admission tickets are $15 each for the separate shows.
Tickets will allow access to each concert for three days. Admission includes an in-stream chat. Meet and greet sessions are also available. Additionally, audiences can enter a drawing to win a guitar from Trivium when they purchase tickets.
More information on Trivum’s upcoming livestream concerts is available along with all of the band’s latest news at:
It goes without saying that next to avant-garde, free jazz is among the absolute most niche subgenres of the jazz realm. It is so targeted in its appeal because the music therein takes the term “improvisation” to the farthest extreme. Ave B Free Jam, the forthcoming recording from the quintet of Laurence Cook, Jacques Coursil, Warren Gale, Perry Robinson, and Steve Tintweiss, is a prime example of how that full on improvisation appeals to a very strict, targeted audience group. Scheduled for release Tuesday through Tintweiss’ inky dot Media, the 21-track (yes, 21 songs) record is a 78-minute ride of total cacophony that will only appeal to the noted audiences. That is proven in part through the record’s songs (if one even wants to call them songs). They will be discussed shortly. The songs’ sequencing adds even more to the argument that the recording will appeal to those audiences. It will be discussed 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 this presentation. All things considered, they make Ave B Free Jam a work that the most devoted free jazz fans will appreciate, but likely few other audiences.
Inky dot Media’s forthcoming release of Ave B Free Jam is a very targeted presentation that will appeal to a very specific group of listeners. Those listeners are the most devoted free jazz fans. Said audiences will appreciate this one hour, 18 minute record in large part because of its 21 total songs. The songs in question range from full on chaotic cacophonous jumbles of noise to more contemplative improvised works throughout. The organic way in which each song evolved and came to being makes each song unique from the last as there clearly was no set timeline for each composition. Between the wild trumpet lines, the equally experimental call and response approach to the horns, the fully wild drum section and more, each song is so far out there. Through it all, there is no definitive beginning or end to any of the songs. That is at least until the fading notes of the record’s finale. Everything else comes across as one giant, jumbled mass of notes all over the place. Yes, there is at least some seeming structure, but even therein, the compositions come across as totally organic chaos. To that end, these arrangements are only going to appeal to the noted specific fans of the genre and of performance art in general.
The wild, cacophonous works that make up the body of Ave B Free Jam are but a part of what will appeal to the noted audiences. The songs’ sequencing is just as important to that limited appeal as the songs themselves. As already noted, the songs in this record come across as one, giant mass of sound. Because of the way that each song evolves as it progresses, there is no definitive real beginning to end to any of the songs. They just flow from one to the next. This means that audiences who want to even attempt to appreciate the record have to actively listen to the record, not just passively hear it as they go about their daily duties. This is going to limit the record’s appeal just as much as the songs themselves because of that required investment in the songs. Of course for those noted audiences who are devoted to free jazz as an art form, those individuals will certainly appreciate the fluid nature of the songs and in turn find more engagement and entertainment in this element.
The production of Ave B Free Jam works with the sequencing and songs to round out its most important elements. The production is so important to examine because of the age of the recording. The performance featured herein was recorded in 1967, more than 50 yeas ago (54 years to be exact). That the recording’s tapes stood the test of time for such a long time is impressive. Audiences can really hear the close quarters in which the quintet recorded these songs all those years ago through the drums and horns alike. The way in which the instruments’ sounds echo in the confines of the apartment in which they were recorded really helps audiences to visualize that recording space. On a similar note, that the album was recorded in those seeming confines, audiences will be just as surprised to hear how each performer’s part cuts through. It is interesting to note that not one instrument overpowered the others. That is a true tribute to the work that went into the recording’s original production and that used to resurrect the audio in this case. It establishes a positive aesthetic sense to the presentation and completes the appeal for the record’s presentation. When this item is considered along with the impact of the songs and their sequencing, the whole will no doubt appeal to the most devoted free jazz fans.
Inky Dot Media’s new archived recording, Ave B Free Jam, is a presentation that only the most devoted free jazz fans will appreciate. That appreciation comes in part through the record’s arrangements. The arrangements in question are full on free jazz, with each evolving organically as it progresses. The songs are chaotic to say the least, but oddly enough, there is some control to that chaos in each composition. The songs’ sequencing adds to the appeal for the noted audiences. That is because it requires listeners’ full attention to the presentation. That is because the whole of the record is presented as one full on jam session, not so much a group of separate songs. The record’s production rounds out its most important elements. That is because of how well it ensures the audio is balanced from one song to the next. Each item examined here is important in its own way to the whole of the recording. All things considered, they make the record a presentation that only the most devoted free jazz fans will enjoy.
Ave B Free Jam is scheduled for release Tuesday through inky Dot Media. More information on this and other titles from inky Dot Media is available at:
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