Evergrey’s Most Devoted Audiences Will Appreciate Band’s Latest Live Recording

Courtesy: AFM Records

Veteran progressive metal act Evergrey is scheduled to release its new live recording, Live: Before The Aftermath Friday through AFM Records.  Only the band’s second ever live recording in its decades-long career, the 16-song set is a mostly successful presentation.  That is due in part to its featured set list, which will be discussed shortly.  The band’s performance thereof is just as important to discuss as important to examine as the set list.  It will be discussed a little later.  The show’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 recording.  All things considered, they make the recording a presentation that all of Evergrey’s fans will appreciate.

Live: Before The Aftermath is a mostly successful new offering from Evergrey.  Its success comes in part through its featured set list.  The 16-song list is not necessarily a career-defining show, but does represent a relatively healthy cross section of the band’s catalog.  Of the band’s 12 total albums, the set list pulls from eight.  Given, some albums – Hymns for the Broken, The Atlantic, and The Storm Within – get more nods than others here, but again it still pulls from a respectful number of the band’s albums.  It reaches all the way back to the band’s 1999 sophomore album, Solitude, Dominance, Tragedy and as recent as The Atlantic (2019).  Information about the new recording did not specify when the featured concert was recorded, but considering the set list’s timeline of sorts, one has to assume it was recorded before the release of the band’s latest album, Escape of the Phoenix (2021).  Even the band’s breakout 2004 album, The Inner Circle is represented here, albeit with just one song.  IF that is not enough, the band’s concept album about the search for aliens, In Search of Truth (2001) is represented here.  Simply put, the set list featured in Live: Before The Aftermath is not perfect, but is still a solid starting point for the recording’s presentation.  The band’s performance thereof is just as important to note. 

The band’s performance of its set list is important to note especially considering what looks like such an intimate setting for the band. Instead of a huge arena setting, the performance featured in this recording looks like it was held at a club.  Even with the setting in mind with a smaller audience, the band still gives its all from one song to the next.  Yes, there is the occasional audience interaction, but even those cases are rare, with the band opting instead to let its energetic performance do the majority of the talking.  There are even those moments in which the band gets the audience involved in the songs, with the familiar live chants and clapping that add in to the mix.  The whole of that balanced interaction and fiery performance is sure to keep Evergey’s most devoted audiences engaged and entertained.  For others who might be less familiar with the band, it serves as a solid starting point in understanding what to expect from Evergrey live. Keeping that in mind, it is just one more of the items that makes the recording successful.  The concert’s production rounds out its most important elements.

Whether it be the camera angles, the audio, the cuts between cameras, or even the post production, every bit of the concert’s production plays into the overall production’s success.  In the case of the camera work, audiences will love the moments when the cameras are bouncing up and down in time with drummer Jonas Ekdahl as he keeps the beat, headbanging in time.  It is a simple aspect of the camera work, but there is something about such a simple move that serves to immerse audiences even more into the concert.  At other times, the speed of the cuts from camera to camera right in time with the songs’ tempos serves to heighten the intense emotion in each composition.  The balance of the vocals and instrumentation and its post production ensures each performer’s part gets its own attention.  In other words, no one performance from the group overpowers its counterparts at any point throughout the concert.  The positive general effect that results from that aesthetic element puts the finishing touch to the presentation.  When this is considered along with the mostly positive aspect of the concert’s set list and even more positive that is the band’s performance thereof, the whole makes this new forthcoming live recording from Evergrey a welcome new offering that any of the band’s most devoted fans will appreciate.

Evergrey’s new, forthcoming live recording, Before The Aftermath, is a positive offering from the veteran progressive metal band.  Its success comes in part through its featured set list, which pulls from a relatively wide swath of the band’s catalog.  Given, some adjustments perhaps could have been made, considering the set list’s overall distribution.  Regardless, it still does at least cover a wide range of the band’s catalog.  The band’s performance of the concert’s set list is even more of a positive than the set list.  That is because of the effort that the band clearly puts into the show, even with the venue and audience clearly being smaller and more intimate.  The concert’s production puts the finishing touch to its presentation.  The work that went into the camera work and the sound and video editing results in a successful general effect.  Each item examined here is important in its own way to the whole of the recording’s presentation.  All things considered, they make Before The Aftermath a mostly positive new live offering that Evergrey’s most devoted audiences will appreciate.

Live: Before The Aftermath is scheduled for release Friday through AFM Records. More information on Live: Before The Aftermath is available along with all of Evergrey’s latest news and more at:

Website: https://evergrey.net

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

Twitter: https://twitter.com/evergreysweden

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.worpress.com.  

Cherif’s ‘Djawla’ Is The First Great World Music Album Of 2022

Courtesy: World Music Network/Riverboat Records

World music artist Anouar Kaddour Cherif released his debut album Djawla Friday through World Music Network and Riverboat Records.  The nine-song record is an interesting start for the artist, who currently calls Switzerland his home following his exile from his former home nation of Algeria some years ago.  The 43-minute, mostly instrumental presentation proves itself worth hearing thanks to its diverse musical arrangements.  They are diverse not only in their sounds and styles, but also in their combination of cultural influences, which end up directly influencing their sounds and styles.  One of the most notable of the record’s songs comes early in its run in the form of ‘Savage Butterly.’  It will be discussed shortly.  ‘Sirocco,’ which comes a little later in the album’s run, is another way in which the arrangements’ diversity shines through.  It will be discussed a little later.  ‘A True Lie,’ one of the record’s later entries, is also of note.  It will also be discussed later.  When it is considered along with the other songs noted here and with the rest of the album’s songs, the whole makes the album overall a successful offering from Cherif.

Djawla, the debut album from international artist Anouar Kaddour Cherif, makes for a positive start to this year’s field of new World Music albums.  Its featured musical arrangements do well to make that clear.  ‘Savage Butterfly,’ one of the album’s early entries, is one of the songs that makes that clear.  Drummer Hannes Junker’s performance on this song is just one of its highlights.  When he enters the arrangement, his performance comes across as quite similar to that of Terry Bozzio.  That is evidenced through the tight, staccato nature of his phrasing.  Cherif’s own performance on mandole alongside his own performance adds even more to that sense of songs from Bozzio’s Black Light Syndrome record, which also featured performances from Terry Bozzio and Steve Stevens.  The progressive nature of the overall performance, and the control that each musician has in his own performance makes this song so unique and just one of the works that makes this record so enjoyable.  Listening through the song after reading through the brief liner notes about the song, listeners can actually envision the tiny, gentle butterfly making its annual migratory voyage through everything, showing its wild nature (no pun intended) and determination to reach its goal.  It is such an enjoyable presentation, and just one of the album’s most notable works.  ‘Cirocco’ is another song that helps show what makes Cherif’s debut album worth hearing.

While ‘Savage Butterfly’ boasts something of a progressive nature in its stylistic approach and sound, ‘Sirocco’ bears its own separate identity.  Cherif’s Algerian roots are once again on full display here through his performance on the mnadole.  At the same time, the introduction of Clement Meunier on clarinet alongside Junker’s performance on drums, gives the arrangement a clear jazz influence, too.  The sense of swing that is displayed through the pair’s performance makes for its own uniquely engaging and entertaining presentation that also continues to show the diversity in the album’s lyrical themes.  According to the liner notes featured with Djawla, the arrangement is meant to conjure thoughts of the warm Saharan winds that blow from Africa all the way up to his current home in Switzerland.  The varying tempos and energies from each musician’s performance does so well to paint that rich picture.  The frenetic energy exhibited in the song’s final minutes paints that picture of the hot, dry winds blowing from the continent while the slower, more relaxed moments lead to thoughts of the winds building.  The whole musical story and the picture that it paints is fully immersive.  Keeping all of this in mind, it makes clear why this song is yet another important part of Djawla’s whole.  It is just one more of the songs that shows how much the album has to offer.  ‘A True Lie’ is one more example of how much the album has to offer.

‘A True Lie’ is described in Djawla’s linr notes as being about Cherif’s need to basically find something positive, something that would help him maintain at least some hope.  The way in which the song’s mood turns from somewhat edgy to more positive as it progresses does just as well to help make that story clear.  That edgy energy is accompanied by much of the music being played in a minor chord.  However, as the song progresses that all changes.  The arrangement turns somewhat funky for lack of better word, though the performance of bassist Antoine Brochot.  His fellow musicians follow suit from that point to the end, presenting the hope that Cherif must have found through his journey.  It will leave audiences feeling positive, just as Cherif must have felt.  The whole styling and sound here is unlike those of the other examined songs and from the rest of the record’s entries.  When each of the songs examined here and those other songs are considered together, the whole makes this record the year’s first great World Music offering and an equally enjoyable debut from Cherif.

Djawla, the debut album from Anouar Kaddour Cherif, is a strong first outing for the international artist.  Its success is shown from the record’s opening to its end.  That is proven through all three of the songs examined here.  When they are considered along with the rest of the album’s entries, the whole makes the record, again, the first great World Music offering of 2022 and an equally strong first outing for Cherif.

Djawla is available now through World Music Network and Riverboat Records. More information on this and other titles from World Music Network is available online at:

Website: http://www.worldmusic.net

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

Twitter: http://twitter.com/WMN_UK

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

Kulick Impresses Again With His New Album, ‘Everyone I Know Will Die’

Courtesy: ENCI Records

Independent singer-songwriter Kulick (a.k.a Jacob Kulick) released his latest studio recording, Everyone I Know Will Die this week.  The seven-song record came Friday, less than two years after the release of his latest album, Yelling in a Quiet Neighborhood and less than a year after the release of its companion EP, Sitting in a Quiet Coffeehouse.  AS with those records, his latest studio recording was released through ENCI Records.  The 20-minute record offers more of what audiences have come to expect from Kulick musically and lyrically.  The album’s latest single/title track is just one of the songs that makes that clear.  It will be discussed shortly.  ‘The People I Know,’ another of the album’s singles, is another example of how the record offers plenty of familiarity from Kulick.  It will be discussed a little later.  ‘For Once in My Life’ is yet another example of what audiences have to look forward to from Kulick in his latest outing and will also be discussed later.  All three noted songs are key in their own way to the whole of the record’s presentation.  When they are considered along with the rest of the album’s entries, the whole makes Everyone I Know Will Die another engaging and interesting offering from Kulick.

Everyone I Know Will Die, is another interesting offering from Kulick.  His third studio recording in as many years, it is certain to appeal to his established audiences and even more casual listeners through its musical and lyrical content even being shorter than most albums in terms of content.  This is proven in part through its latest single, which is also the album’s title track. 

The song’s musical arrangement is a catchy alt-rock composition.  The simple, staccato approach of the guitar riff in the verses and almost percussive nature of Kulick’s vocal delivery therein combines elements of pop punk with the most subtle 80s pop influence for a work in whole that holds its own identity separate from the record’s other compositions.  The choruses, which are more energetic, present a sound that is oddly comparable to the choruses in so many pop punk opuses.  What is interesting about the song’s overall musical arrangement is that the mood that it will create in listeners’ minds is so positive, despite the fact that the song’s lyrical theme is so heavy.

The song’s lyrical theme is heavy in that is tackles the topic of acceptance of our mortality.  Nobody likes to think about their mortality, but it is a reality, and Kulick has done an impressive job of tackling the rarely handled matter.  He reminded audiences, in talking about the item, that the point of the song is to make the most of their lives while they are here. 

“We are here until we aren’t, and that’s okay,” he said. It has to be. Make it worth your time. Spread love. Have gratitude. You are loved and you are strong, even in moments you may not feel it.”

That comment in itself would explain the positive nature of the song’s musical arrangement.  It serves to help translate the positive mindset in the overall song despite its heavy nature.  He even goes so far as to write in the song’s second verse (after noting of all the negatives in the world), “I can’t go on complaining about everything/I’m gonna keep my pace/Forward ‘till my permanent sleep.”  That short statement speaks volumes.  It is a direct contrast to everything else in the song’s lyrical content and clearly translates the positive mindset that Kulick discussed.  Everybody has those moments of existentialism every now and then in life.  To that end, the positive approach that Kulick takes here is certain to help any listener get through those moments.  It makes this song just one example of what makes Everyone I Know Will Die successful.

Another notable addition to the album is ‘The People I Know,’ which comes early in the album’s run.  This is another song that, lyrically, will connect with so many listeners.  This will be discussed shortly.  The song’s musical arrangement serves as its foundation.  Where the musical arrangement in the album’s title track was more alt-rock in its sound and stylistic approach, this song is much more defined in its pop punk approach.  Audiences can hear influence from the likes of Jimmy Eat World here.  That is due to the harmonies in the song’s instrumentation and in the vocals.  The song barely tops the two-and-a-half minute mark, but in that time, it will leave audiences feeling fulfilled.  When that sense of fulfillment is paired with the sense of determination in the song’s lyrical content, the whole makes the song even more powerful.

“This is a song about not fitting in with who you’re around and being very aware of it,” said Kulick about the song’s lyrical theme. That message comes through clearly in the song’s lyrical delivery, too.  He openly attacks those other people right from the song’s outset, singing, “Your mother’s basement/Your father’s paycheck/You feel complacent/I know/You play your sad songs/And your video games/It’s no wonder we’ll never get along/That’s why I had to go.”  This is a clear indictment of those lazy, self-loathing people who would rather wallow in that negative mindset than do something with their lives.  The message continues in the song’s second verse, in which he sings, “You’re so damn negative/And there’s no one to blame for it/If you hate who you are/Then change it/But you won’t/You don’t/You’re in the same bar/On a different day/With the same friends/Out drinking again/It’s no wonder we’ll never get along/I’d rather be alone.”  Looking at all of this and everything in the song’s lead verse, what audiences get here is not a song of self-loathing, bur rather one of taking pride in one’s self for not fitting in with those who prefer to do the self loathing, the partying, and who have the sense of self righteousness.  That realization makes the song’s musical arrangement all the more infectious and enjoyable.  The two items together make clear why this song is another example of how much Kulick’s new album has to offer. 

‘For Once In My Life’ is yet another example of what makes Everyone I Know Will Die a success.  The song stands out in part because of its musical arrangement.  The arrangement boasts its own identity from its counterparts in this record because it while Kulick’s familiar alt-rock leanings are present once again, there are other influences at work alongside that element.  The verses’ guitar line pair with Kulick’s vocal delivery style to give the arrangement a subtle late 80s/early 90s pop rock sort of sound and stylistic approach.  The choruses meanwhile are more modern.  They are more comparable to works from the likes of Maroon 5.  That contrast is sharp to say the least at first consideration, but it works, thanks to the production that went into the song.  The two sides are so well-balanced that they ensure audiences’ maintained engagement and entertainment.

As much as the song’s arrangement does to make it stand out, the lyrical content that accompanies that musical content makes for its own interest.  The lyrical theme featured in this song comes across as a sort of contemplation within one’s self.  At the same time that contemplation comes apparently from a relationship issue of sorts.  This is inferred as Kulick sings in the song’s chorus, “Stuck between who I am and who you want to see/Maybe you grew out of you and I grew out of me/I’m all fight or all flight/It’s all black or all white/But I bleed blue.”  From there Kulick eventually goes on to ask himself, “Can I get it right for once in my life?”  This points even more, to the seeming theme of dealing with that inner battle of self-doubt.  What’s more, maybe the relationship in question is not that, but even more of the subject talking to himself, questioning whether he grew out of himself.  If in fact this is the case, then it further makes the song’s lyrical theme accessible to audiences across the board.  When it is considered along with the mood set by the song’s musical arrangement, the two elements join to make the song in whole yet another clear example of what makes Everyone I Know Will Die another successful offering from Kulick.  When it and the other songs examined here are considered along with the rest of the album’s entries, the whole will convince audiences that this album, while brief, still a successful new offering from Kulick.

Everyone I Know Will Die is another engaging and entertaining offering from independent singer-songwriter Jacob Kulick.  The record’s success is proven through its musical and lyrical content alike.  The songs examined here do well to make that clear.  When they are considered along with the rest of the album’s works, the whole makes this presentation another largely successful new offering from Kulick that his established audiences and casual listeners alike will enjoy. 

Everyone I Know Will Die is available now through ENCI Records. More information on Kulick’s new album is available along with of all his latest news at:

Website: https://kulickofficial.com

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

Twitter: https://twitter.com/kulickofficial

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.

Blues Fans Across The Board Will Appreciate WMN, Riverboat Records’ New Compilation

Courtesy: World Music Network/Riverboat Records

January is officially in its final few days, but even with the month closing out, the year is still very young.  With the new year fully underway now, the staff of World Music Network and Riverboat Records wanted to make sure not to waste any time getting started on this year’s new additions to its ongoing series of Rough Guide To… releases.  The first of this year’s additions to said series came Friday in the form of The Rough Guide to Texas Blues.  The 26-song compilation is another impressive addition to the companies Rough Guide To…series, too.  That is due in no small part to its featured songs and artists.  This will be discussed shortly.  The liner notes that accompany the collection are another high point to its presentation and will be discussed a little later.  The set’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 record’s presentation.  All things considered, they make the collection yet another successful addition to World Music Network and Riverboat Records’ Rough Guide To…series.

World Music Network and Riverboat Records’ latest addition to its ongoing Rough Guide To…series, The Rough Guide To Texas Blues is a presentation that blues fans across the board will enjoy.  That is due in no small part to its featured songs and artists.  The songs and artists in question cover a specific span of 11 years from 1926-1937.  That era was really the formative period for Texas blues.  Legends, such as Blind Lemon Jefferson, Leadbelly (a.k.a. Huddie William Ledbetter), and Blind Lemon Jefferson all rose to fame during those years and set the stage for future generations of blues performers.  They are featured here performing some of their most well-known songs along with some lesser-known artists of the day.  One of those lesser-known acts is Texas Alexander.  Born Alger Alexander, Texas Alexander was from Jewett, Texas.  While Alexander released a number of hits, such as ‘Texas Special,’ ‘Mama’s Bad Luck Child,’ and ‘Broken Yo Yo,’ his overall career did not make him a star at the level of the noted artists.  Stories passed down hint that his life and career was fraught with strife and that his musical output was limited.  Regardless of accuracy, his work helped establish the bigger sound that was early Texas blues, that jazz and swing-infused sound and style. 

Andrew “Smoky” Hogg is another of the bluesmen who made Texas blues so beloved even though his star never shined like those of some of his counterparts.  HE is also featured here, performing the song, ‘Kind-Hearted Blues.’  His performance here is a take of a song that helped establish Robert Johnson’s fame in the blues community a year prior in 1936, ‘Kind Hearted Woman Blues.’  The two renditions are noticeably different.  Johnson’s take is much more subdued and slower than Hogg’s update.  Hogg’s take on the song not only bears a slightly altered title – it drops the “woman” from the title – but it is also much shorter, clocking in at two minutes 39 seconds versus the five minute-plus rendition recorded by Johnson.  Even with the differences in mind, Hogg’s take on the song would still help Hogg make his own place in the Texas blues community.

Frenchy’s String Band is yet another of the lesser act featured in this collection that shows the importance of the set’s featured acts and songs.  This Texas-based string collective released just two titles for Columbia in 1928, ‘Sunshine Special’ and ‘Texas and Pacific Blues,’ which is the song included in this collection.  The song is a prime example of how early Texas blues were heavily influenced by the jazz and swing music of the age.  The use of the strings alongside the horns conjures thoughts of the swing bands of the era that would perform songs, such as the Charleston.  The connection between the two worlds is no clearer than in this performance from this little-known act.  When the pairing is considered with the other acts and songs noted and the others featured here, the collective leaves no doubt that the songs and acts featured throughout the collection are of their own importance to the compilation’s presentation.  They are just a part of what makes the compilation successful.  The liner notes that accompany the collection are of their own importance.

The liner notes that accompany the compilation’s featured acts and songs are important because of the history lesson that they provide.  Whether audiences are casual or more well-versed, the history lesson featured in the liner notes will engage and entertain listeners.  One of the most interesting items pointed out in the liner notes comes in the discussion on the influence of Henry Thomas.  The liner notes state that Thomas’ first recording session did not take place until 1927, when he was 53 years-old. That is an old age for any artist in any genre to get started.  Add in that at such point, the music that he recorded was, as the liner notes state, a representation of a bygone era.  His performance of ‘Don’t Ease Me In’ is a prime example of that older sound.  It really served to exemplify the sound that set the stage for the creation of the Texas blues, and is so pivotal as part of the bigger picture of the region’s blues scene. 

The revelation of Thomas’ role in the region’s blues development and history is just one of the most interesting of the items featured in the liner notes.   The focus on the role of blues vocalists, such as Bessie Tucker and Texas Alexander is of its own interest.  The notes point out that their vocal styles are so reminiscent of the work songs and field hollers that African-Americans would use in the fields in the late 18^th and early 19^th centuries.  Audiences who are even slightly familiar with those vocal styles will hear it cut through clearly from each, too.  At the same time, their singing styles also show the connection to the jazz influences on the blues at the time.

As if everything noted is not enough, the liner notes’ lead paragraph points out the stylistic difference between Texas blues and Mississippi Delta blues, the other most famous blues style of the age.  That in itself will hopefully encourage audiences to embark on their own musical voyage to learn even more deeply, just how different and alike the two genres were and still are.  The journeys that audiences will hopefully end up taking will lead to an even deeper appreciation for both forms of the blues, and possibly even the subgenre that is Chicago blues in the long run.  Between this starting point, the other revelations and other items included in the liner notes, those notes play heavily into the compilation’s presentation just as much as the collection’s musical content.  Together, they give audiences more than enough reason to take in this record.  Even collectively, they are just a portion of what makes the record stand out.  The songs’ production rounds out the record’s most important items.

The songs’ production is so important plays such an important part in the collection’s presentation because of its role in the record’s general effect.  Hearing the static from one song to the next, hearing the richness of each song even in its simplicity, hearing the depth of the vocals, all of it is so clear in each song.  That is a tribute to the work that went in to making sure the songs’ aesthetic effect remained just as powerful in their transfer from their original recordings to this point.  To that end, those responsible for touching up the songs and making sure they are fully immersive are to be commended for their work.  The result is a record that is just as successful for its general effect as for its overall content.  All things considered, that content and general effect makes The Rough Guide to Texas Blues such an enjoyable new addition to World Music Network and Riverboat Records’ ongoing Rough Guide To…series that any blues fan will enjoy.

World Music Network and Riverboat Records’ The Rough Guide to Texas Blues is a welcome new addition to the companies’ ongoing Rough Guide To…series.  It is a presentation that will appeal widely among blues fans.  That is due in part to the songs and acts featured in the collection.  They come together to help tell the story of Texas blues’ formative years in such rich fashion.  From well- to lesser-known acts and songs, they form a solid foundation for the collection.  The liner notes that accompany the record’s musical content adds even more to that history lesson and can certainly encourage audiences to embark on their own blues history lesson when considered with said content.  The production that went into the record’s production ensured that the original recordings were expertly transferred to this presentation.  Each item noted is important in its own way to the whole of the collection’s presentation.  All things considered, they make The Rough Guide to Texas Blues a solid starting point and otherwise for any blues fan’s musical library.

The Rough Guide to Texas Blues is available now through World Music Network and Riverboat Records.  More information on this and other titles from World Music Network is available online at:

Website: http://www.worldmusic.net

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

Twitter: http://twitter.com/WMN_UK

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

Kulick Debuts New Album’s Title Track, Companion Video

Courtesy: ENCI Records

Independent singer-songwriter Kulick kicked off the weekend with the debut of the video for his latest single.

Kulick, (a.k.a. Jacob Kulick), debuted his new single, ‘Everyone I Know Will Die‘ and its video Friday. The song and its video are the second from Kulick’s new record by the same name. Kulick premiered the presentation’s lead single, ‘Time To Go,‘ and its video in September.

The musical arrangement featured in ‘Everyone I Know’ is a catchy alt-rock composition. Alongside the song’s alt-rock leanings are touches of some pop punk and emo, too. The combination gives the arrangement a unique identity separate from Kulick’s existing works and from those of other acts similar to himself.

The song’s lyrical message is heavy, but ultimately meant to deliver a positive message, said Kulick.

“We are here until we aren’t, and that’s okay,” he said. It has to be. Make it worth your time. Spread love. Have gratitude. You are loved and you are strong, even in moments you may not feel it.”

The video for ‘Everyone I Know Will Die’ is meant to be a spoof of so many classic sitcoms. That includes an opening sequence that spoofs Family Ties. From there the video touches on shows, such as The Patty Duke Show and Leave It To Beaver.

Kulick’s new record is available now through ENCI Records. More information on Kulick’s new single and EP is available along with of all his latest news at:

Website: https://kulickofficial.com

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

Twitter: https://twitter.com/kulickofficial

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.

Deaf Lingo Announces New LP Release Date; Debuts Record’s New Single

Courtesy: Lovely Records

Independent rock band Deaf Lingo is scheduled to release its new album this spring.

The band is scheduled to release its new album, Lingonberry, April 29 through Lovely Records. In anticipation of the album’s release the band premiered its second single, ‘Friends‘ Friday.

As with the album’s lead single, ‘Sleeping,‘ the song’s arrangement is a solid DIY style garage punk composition. Even barely topping the two minute mark, the song leaves listeners feeling like it is longer in the best way possible. This ensures audiences’ maintained engagement and entertainment.

While the song’s arrangement is an upbeat presentation, its lyrical theme is in full contrast to the positive vibes established through that musical content as front man Sandro Specchia pointed out.

“‘Friends’ is a pessimistic song and it’s about friends leaving the country and the feeling of being alone in the suburbs with nothing to do,” he said.

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

Website: https://deaflingo.bandcamp.com

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

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.

Braincell Debuts New Single, ‘Defensive Wounds,’ Companion Video

Courtesy: Cowgirlzen Entertainment

Independent metal band Braincell premiered its new single and video this week.

The band debuted its intense new single, ‘Defensive Wounds‘ and its even more powerful video Friday. The song is among the most unique new hard rock and metal singles released so far this year. That is due in part to its featured musical arrangement.

The song’s musical arrangement stands out because it blends elements of so many hard rock and metal genres within its body, and still manages to balance it all. Right from the song’s outset, audiences can hear influences of Slipknot and Devildriver. As the song progresses, Whitechapel’s influence becomes evident alongside touches of Ice Nine Kills, what with the use of the keyboards. These are so many varied influences, but they work so well together here.

The press release announcing the premiere of the song and its video did not mention the song’s lyrical theme. The lyrics provided with the song’s video seem to hint at perhaps a theme of dealing with the most extreme mental health concerns. That is, of course, just this critic’s interpretation and should not be taken as the only interpretation.

The song’s video is just as comparable to works from Ice Nine Kills as some of the song’s musical content. That is because it is presented like a horror story. The band is being chased by a psychotic killer in the forest, being taken down one by one. Meanwhile the band is shown performing its new single in a separate setting.

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

Facebook: https://www.facebook.com/Braincell434

Twitter: https://twitter.com/Braincell_band

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.

Pharmacose Takes On Conspiracy Theories In New Single

Courtesy: TAG Publicity

Independent hard rock band Pharmacose debuted the lead single from its new album last week.

The band premiered its new single, ‘Smash‘ Jan. 20. The song, which is available to stream and download through Spotify and Apple Music, is featured in the band’s forthcoming album, Prescription Fiction. The record is scheduled for release this spring with its exact release date under consideration.

The musical arrangement featured in ‘Smash’ is a melodic hard rock style composition. Its melodies and harmonies make it an easy fit for any active rock radio station programmer’s playlist. That is because it sounds like so much of that is already on most mainstream stations.

Front man Wes Jones said the song’s lyrical theme takes the band in a less traveled direction than in its existing songs.

“When I was trying to decide what to write the lyrics about, I felt that we had done a lot on mental health, so I wanted to branch out a bit. I have always been interested in what I call the ‘fun conspiracy theories,’ notably things such as UFOs, ancient aliens, the Mothman, etc,” said Jones. “Growing up, I had a great uncle who was a brilliant aerospace engineer, and he was into all this stuff. It was really cool to see someone with such a strong science and engineering background and was into all this. So, I wanted to explore that interest some more. I came to realize that reading about those subjects made me feel very isolated, since it’s not a mainstream way of thinking. It made me a bit sad to think that. It made me wonder how many people were knowledgeable in this area but took this information to the grave because no one was interested in hearing about it.

Added Jones, “These realizations were the literal ‘smash.’ The irony is that now I feel a bit more justified due to all the information about UFOs that came out over the summer. I suppose that the sentiment this song conveys is a bit dated now with all this crazy footage being released, but I think the feelings of isolation are legitimate.”

Jones concluded, “I’m by no means saying that I think aliens are here and the Mothman exists, but I think we should be open to the notion that the normal person has no idea about what’s really going on.”

More information on Pharmacose’s new single and album is available online now along with all of Pharmacose’s latest news at:

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

Twitter: http://twitter.com/Pharmacose_Band

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.

Gunshine Debuts ‘Wall Said To Call’ Video

Courtesy: O’Donnell Media Group

Independent rock band Gunshine unveiled the video for its latest single this week.

The band premiered the video Friday, a week after debuting the single by itself. The brand new video features the band in an intimate club setting as it performs its new single, surrounded by plenty of beautiful women to help illustrate the song’s obvious lyrical theme.

Listening closely through the lyrics, it is clear that the song is about a man who is about a man who is quite interested in a woman. The very title is a reference to the old practice of putting a woman’s phone number on the wall of a stall in a men’s bathroom, as the song’s lyrics point out.

The song boasts a musical arrangement whose driving guitars, powerhouse vocals and overall instrumentation immediately makes the song comparable to works from the band’s fellow “New Wave of Classic Rock” bands, such as Greta Van Fleet and South of Eden. There are also moments in the blues-based rocker that make the arrangement similar in sound and style to classic works from the likes of AC/DC.

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

Website: https://gunshineband.com

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

Twitter: https://twitter.com/gunshineband

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.

Arch Enemy Reveals New LP’s Cover Art, Track Listing; New Single Coming Next Week

Courtesy: Breaking The Law PR

The picture is getting clearer for Arch Enemy’s new album.

The band unveiled the cover art and track listing for Deceivers Thursday. The cover art looks like a reflection of the masks that are so commonly associated with the world of theater, just with a dark twist. The album’s track listing is noted below.

Deceivers track-listing

1. Handshake With Hell

2. Deceiver, Deceiver

3. In The Eye Of The Storm

4. The Watcher

5. Poisoned Arrow

6. Sunset Over The Empire

7. House Of Mirrors

8. Spreading Black Wings

9. Mourning Star

10. One Last Time

11. Exiled From Earth

Deceivers has already produced the singles, ‘Deceiver, Deceiver‘ and ‘House of Mirrors.’ The album’s third single, ‘Handshake With Hell,’ is scheduled for release next week.

Guitarist Michael Amott said fans will find much to like about Arch Enemy’s new album.

“Having just celebrated our 25th anniversary as a group and now releasing our 11th studio album, one could easily assume that we would be cruising along and going through the motions at this point,” he said. “In reality, nothing could be further from the truth when it comes to Arch Enemy and our new album, Deceivers. It is without a doubt always a challenge to raise the bar each time in both the songwriting and production side of things, and it can feel a bit daunting before we get into it, but once we do get started and fully immerse ourselves in the creative process, it’s really like there is nothing else in the world and we are very focused.”

“Added Amott. “Believe it or not, for the most part, we have a ton of fun making this music! Creating Deceivers was no different, once again we shut out the outside world and went deep into the artistic zone. I believe we pulled out some really interesting musical and lyrical themes this time, a few things might even raise an eyebrow or two – while retaining all the signature elements of the band. In the end, it’s Arch Enemy at full speed and power!”

In other news, Arch Enemy is scheduled to tour alongside Behemoth this year in support of Deceivers. The first leg of the world tour is scheduled to launch April 16 in Tempe, AZ and to run through May 15 in Los Angeles, CA. The second leg is scheduled to launch Sept. 27 in Dublin, IE and to run through Nov. 6 in Oslo, NO. Between the two legs, the band has a handful of festival shows planned between Aug. 6 and 20.

The schedule for Arch Enemy’s upcoming tour is noted below.

“The North American Siege 2022” tour dates

w/ Arch Enemy & Behemoth

+ special guests Napalm Death, Unto Others

Apr. 16, 2022 – Tempe, AZ @ Marquee Theatre 

Apr. 18, 2022 – San Antonio, TX @ The Aztec Theatre 

Apr. 19, 2022 – Dallas, TX @ Amplified Live 

Apr. 21, 2022 – St Petersburg, FL @ Jannus Live 

Apr. 22, 2022 – Atlanta, GA @ The Eastern 

Apr. 23, 2022 – Charlotte. NC @ The Fillmore Charlotte 

Apr. 25, 2022 – Toronto, ON @ Rebel 

Apr. 26, 2022 – Montreal, QC @ Mtelus 

Apr. 28, 2022 – New York, NY @ Terminal 5 

Apr. 29, 2022 – Philadelphia, PA @ The Fillmore Philadelphia 

Apr. 30, 2022 – Worcester, MA @ Palladium 

May 2, 2022 – Chicago, IL @ The Riviera Theatre 

May 4, 2022 – Denver, CO @ Ogden Theatre 

May 7, 2022 – Salt Lake City, UT @ The Depot 

May 9, 2022 – Seattle, WA @ Showbox SoDo 

May 10, 2022 – Vancouver, BC @ Vogue Theatre 

May 11, 2022 – Portland, OR @ Roseland Theater 

May 13, 2022 – Berkeley, CA @ The UC Theatre 

May 15, 2022 – Los Angeles, CA @ The Hollywood Palladium

Arch Enemy 2022 festival dates

Aug. 6, 2022 – Wacken, DE @ Wacken Open Air

Aug. 17-20, 2022 – Dinkelsbuehl, DE @ Summer Breeze Festival

Aug. 18-20, 2022 – Sulingen, DE @ Reload Festival

“The European Siege 2022” tour dates

w/ Arch Enemy & Behemoth

+ special guests Carcass, Unto Others

Sept. 27, 2022 – Dublin, IE @ Olympia Theatre

Sept. 29, 2022 – Glasgow, UK @ O2 Academy Glasgow

Sept. 30, 2022 – Manchester, UK @ O2 Apollo

Oct. 1, 2022 – Birmingham, UK @ O2 Academy Birmingham

Oct. 2, 2022 – London, UK @ O2 Academy Brixton

Oct. 4, 2022 – Paris, FR @ Le Zénith

Oct. 5, 2022 – Toulouse, FR @ Le Bikini

Oct. 7, 2022 – Lisbon, PT @ Coliseu de Lisboa

Oct. 8, 2022 – Madrid, ES @ Palacio Vistalegre

Oct. 9, 2022 – Barcelona, ES @ Palau Sant Jordi

Oct. 11, 2022 – Lyon, FR @ Le Radiant

Oct. 12, 2022 – Milano, IT @ Alcatraz

Oct. 14, 2022 – Berlin, DE @ Columbiahalle

Oct. 15, 2022 – Prague, CZ @ Tipsport Arena

Oct. 16, 2022 – Budapest, HU @ Barba Negra

Oct. 18, 2022 – Vienna, AT @ Gasometer

Oct. 19, 2022 – Katowice, PL @ Spodek

Oct. 21, 2022 – Ludwigsburg, DE @ MHP Arena

Oct. 22, 2022 – Den Bosch, NL @ Mainstage Brabanthallen

Oct. 23, 2022 – Brussels, BE @ Forest National

Oct. 25, 2022 – Zurich, CH @ Samsung Hall

Oct. 26, 2022 – Frankfurt, DE @ Jahrhunderthalle

Oct. 28, 2022 – Munich, DE @ Zenith

Oct. 29, 2022 – Düsseldorf, DE @ Mitsubishi Electric Halle

Oct. 30, 2022 – Hamburg, DE @ edel-optics.de Arena

Oct. 31, 2022 – Gothenburg, SE @ Partille Arena

Nov. 2, 2022 – Helsinki, FI @ Ice Hall

Nov. 4, 2022 – Stockholm, SE @ Annexet

Nov. 5, 2022 – Copenhagen, DK @ Forum

Nov. 6, 2022 – Oslo, NO @ Sentrum Scene

More information on Arch Enemy’s new album and tour is available along with all of the band’s latest news at:

Website: https://www.archenemy.net

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

Twitter: https://twitter.com/archenemymetal

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.