Spock’s Beard keyboardist Ryo Okumoto will release his new solo album this summer.
The Myth of Mostrophus is scheduled for release July 29 through InsideOut Music. The six-song record will feature guest appearances from past and present members of Spock’s Beard including and not limited to Nick D’Virgilio, Al Morse, and Mike Keneally.
The album’s track listing is noted below. Pre-orders are open.
1.Mirror Mirror (9:27) 2.Turning Point (6:53) 3.The Watchmaker (Time On His Side) (6:25) 4.Maximum Velocity (8:11) 5.Chrysalis (7:35) 6.The Myth Of The Mostrophus (22:14)
Okumoto’s new album will come more than 20 years after the release of his then latest solo album, 2002’s Coming Home.
More information on Okumoto’s new album is available along with all of his latest news at:
Ice Nine Kills is launching a new convention for horror movie fans.
The band announced this week, it will present the inaugural Silver Scream Con Aug. 26-28 at the Double Tree Boston North Shore Hotel in Danvers, MA. The three-day event is scheduled to feature appearances by Kane Hodder (Jason in Friday the 13th 7-10), Nick Castle (the original Michael Meyers), Skeet Ulrich (Scream, The Craft, Riverdale), James Jude Courtney (Michael Meyers in Halloween Kills, Halloween Ends, and the 2018 reboot of Halloween), and Danielle Harris (Halloween 4, Halloween 5, Hatchet, Rob Zombie’s Halloween, Halloween 2).
Musical group Twizted is also scheduled to appear at the convention, as well as Ice Nine Kills front man Spencer Charnas.
“The Silver Scream Con will bring horror fans and INK fans from all over the world together to celebrate their love of on-screen slaughter,” Charnas said. “This is the chance ofr our loyal psychos to not only interact with the band, but to meet the incredible stars of the very films that our music pays tribute to.”
This past Friday, veteran hard rock band Anvil released its latest album, Impact Is Imminent, to the masses. Released through AFM Records, the record is now the band’s 19th (yes, 19th) album, and came more than two years after the release of the band’s then latest album, Legal At Last, which was released Feb. 14, 2020. The album is a presentation that us certain to offer the most appeal to the band’s established audiences. Its combined musical and lyrical content, all of which will be examined here, will also offer at least some appeal to more casual audiences. The record’s production rounds out its most important elements. This item will also be addressed later. Each item noted here is key in its own way to the whole of the album’s presentation. All things considered, they make the album a presentation that most hard rock and Anvil fans will find worth hearing at least once.
Impact Is Imminent, the latest album from veteran hard rock band Anvil, is an engaging and entertaining new offering from the band. Most of the band’s established audiences and more casual fans alike will find something to like about the record, beginning with its overall musical content. The musical content is important to note because of the sounds and stylistic approaches exhibited in each song through said item. From one song to the next, the musical content largely throws back to the hard rock sounds of the late 80s. Throughout the course of the record, audiences can make comparisons to music from Motorhead more than once thanks to the specific guitar styles and vocal delivery styles. On a separate note, a song, such as ‘Lockdown,’ with its trudging sludge style approach takes audiences in yet another direction a la vintage Black Sabbath. The incorporation of the horns into ‘Gomez,’ the album’s opener, makes for yet another unique point of interest in terms of the album’s musical arrangements. That is because of the contrast of the horns to the heavier guitars, bass, and drums. Strangely enough, it sounds like a near carbon copy of ‘Teabag,’ the album’s other instrumental track. It is difficult to decide which whether this is good or bad. A very brief mention of the songs are made in a press release about the album, but there is not explanation as to whether the band intentionally made them sound so much like one another, as if the latter is a continuation of the prior. Regardless, the bluesy, upbeat approach of the songs’ arrangements, set alongside all of the variety in the other arrangements makes for plenty for audiences to appreciate if only in regards to the album’s musical arrangements.
The musical content featured in Impact Is Imminent is only a part of what makes it interesting. The lyrical themes featured throughout the album make for their own interest. That is because of the range of topics on which the songs touch, lyrically speaking. They range from the silly to the more serious throughout the record. The album’s lead single, ‘Ghost Shadow,’ for instance, seems to come across literally as a story about a paranormal experience while the album’s opener, ‘Take A Lesson’ is a welcome reminder to audiences to not care what others think of them. It is a classic, timeless rock theme. Front man Steve Kudlow leaves nothing to doubt here as he comes right out and sings in the song’s lead verse and chorus, “Try to keep yourself from being led astray/Ignore the stupid things that people say/Back stabbing liars/How they deceive/They’re not the cure/They are the disease/When you know you’re right/Follow your heart/Never let anyone rip it apart/Take what you got till you have not/On the spot/It’s your they forgot.” From there, Kudlow adds later in the song, a story about how he grew as a person over time, learning to use his experiences to grow, endure and improve. It is a theme that is certain to resonate with audiences.
‘Someone To Hate’ is another example of the importance of the album’s lyrical content. Kudlow gets socially conscious in this song as he sings about how divided the world has become. That is made clear as he sings, “Divisive influence dominates one’s soul/To look for the difference/The focus and the goal/Finding the faults and looking to see bad/To incite confrontation/Arguments to be had/Social distortion/On congruence to blame/Murdering your neighbor/The pity and the shame/Revenge or vengeance/Doesn’t matter the choice/Polarized vision/You only have one voice/Someone to hate/Don’t matter who.” This is clearly a commentary on what has happened to the world today, what with the hyper-partisan nature of America and the equally harsh divisions that are separating the world today. It is another example of how the record’s lyrical themes are sure to keep listeners just as engaged and entertained as the album’s musical content. The two items do plenty to make the album worth hearing and are still not all that make it appealing to the noted audiences. The record’s production puts the finishing touch to its presentation.
The production that went into Impact Is Imminent is important to note because of its role in the record’s general effect. The production that went into the album ensured that each musician’s performance was expertly balanced with that of his counterpart. The guitars cut through so clearly while the bass and drums collectively add their own richness and heaviness to the mix. When Kudlow’s vocals are added to the mix, they are balanced just as well with the work of his band mates. The end result of the expert production is that each song has the most powerful impact possible. It leaves the album’s general effect just as engaging and entertaining as the record’s content. When that content is coupled with the production, the whole makes the album overall a mostly successful presentation.
Impact Is Imminent, the brand new album from the veteran hard rock band Anvil, is a record that is sure to find plenty of appeal among the band’s established audiences and even more casual fans. That is proven in part through its musical arrangements. The arrangements largely throw back to the era of big riffs and even bigger hair, but still have their own identity separate from one another, for the most part. There is the one issue with the record’s two instrumentals, but overall, the songs do each have their own identity and appeal. The lyrical themes featured throughout the album are just as diverse as the record’s musical arrangements. They touch on serious and not-so-serious topics from one to the next, keeping things interesting along the way in their own way. The production that went into the album keeps things interesting, too. That is because it ensures the record’s general effect is that appealing. Each item examined is important in its own way to the whole of the album’s presentation. All things considered, they make Impact Is Imminent still one of the best rock albums of the year so far.
More information on Anvil’s new album is available along with all of the band’s latest news at:
For the first time in more than a dozen years, veteran rock band The Police officially released a new live recording this week in the form of Around the World: Restored & Expanded. Released Friday through Mercury Studios, the recording is the band’s first new live recording since the release of its then latest live recording, Certifiable: Live in Buenos Aires in 2008. That recording was released through A&M Records. This latest presentation is such that it will appeal to a wide range of audiences, from the band’s most devoted audiences to even more causal audiences. That is due in large part to its featured set list, which will be discussed shortly. The audio’s companion tour documentary that is featured in the set’s DVD and Blu-ray platforms adds its own share of interest. It will be discussed a little later. The liner notes penned by The Police guitarist Andy Summers are a welcome companion to the tour documentary and round out the presentation’s most notable elements. They will also be examined later. Each item noted here is important in its own way to the whole of the recording. All things considered they make Around the World: Restored & Expanded a presentation that most fans of The Police will find enjoyable.
Around the World: Restored & Expanded, the new live recording from The Police, is a presentation that most of the band’s audiences will find appealing. That is due in large part to its featured set list. Totaling 11 songs, the set list is pulled from performances that the band held on its then debut global tour in 1980. The songs presented here were pulled from the band’s first two albums, Outlandos d’Amour (1978) and Reggatta de Blanc (1979). That 1978 record is the most heavily represented here, with six total songs. The latter received four nods. As an added bonus, the rare b-side, ‘Visions of the Night’ is also featured here. The song was a b-side to the band’s hit single, ‘Walking on the Moon’. Simply put, what audiences get in this collection of songs is a presentation of The Police from what was at the time still its infancy. To that end, it is a welcome representation of the band’s catalog at the time. Keeping that in mind, this aspect is certain to appeal to plenty of audiences. The only downside to the set list is that it is only made available on the recording’s CD platform. Given, there are live performances of four of the songs featured in the audio side, but it still would have been great having the entire collection, considering that the tour documentary presented on the DVD and Blu-ray runs only an hour and 23 minutes. Beggars can’t be choosers, though. To that end, it is still good to even have this presentation of The Police’s early days both in studio and on the road.
The songs that make up the main body of Around the World: Restored & Expanded are just part of the presentation’s appeal for the band’s noted audiences. The tour documentary that is featured in the collection’s DVD and Blu-ray presentation will appeal just as much to the noted audiences. Audiences see the band make its way around the world, from Asia to Australia, to Africa (more specifically Egypt) to South America and to America, audiences are taken along for the band’s ride in its debut world tour. Along the way, audiences get to see the noted live performances that are also separated as bonus content on the DVD and BD platforms. While the band is in Asia, audiences get to see Summers take on a sumo wrestler, though some might not really want to see him in the glorified diaper that sumo wrestlers wear. Yes, that was meant to be a lighthearted statement. Audiences also get to see the band on board a boat in the waters of what looks like possibly Thailand. When the band reaches Egypt things get a bit tense. At first audiences think that a certain discussion had between a group of individuals was acted out, but as Summers points out in his notes, it apparently was not set up. This will be discussed a little later. Over in Australia, audiences see the band in the countryside as well as on stage. Overall, the documentary builds on the foundation formed by the recording’s audio side and enhances the concert experience that much more for the noted audiences.
Building on the presentation that is the documentary are the liner notes penned by Summers. As already pointed out, Summers explains that the band’s stay in Egypt was anything but good. Summers explains that a comment made by Sting to an Egyptian official and his initial refusal to take back what he said almost caused an international incident. Another incident was narrowly avoided in one South American country when Summers apparently had a physical altercation of sorts with a law enforcement official at a concert. These two items will be left for audiences to discover for themselves, but they definitely build on the experience even more. That is just the tip of the proverbial iceberg that is the liner notes. Summers also writes in his notes that the band had yet another close call in New Zealand, yet again involving law enforcement. This is yet another intriguing anecdote that will be left for audiences to read about for themselves. Between this story, the others pointed out here and everything else that Summers recalls in his notes, the overall content in the recording’s companion booklet puts the finishing touch to the presentation and ensures that much more that the band’s established audiences and casual fans alike will appreciate the presentation. When this content, the audio, and video are all considered, they leave no doubt that the noted audiences will find plenty to appreciate about the recording.
Around the World: Restored and Expanded is a presentation that most fans of The Police will find enjoyable. That is due in large part to the recording’s featured songs. They are in themselves a strong representation of the band in its infancy. That is because the songs that make up the main body of the recording are all pulled from the band’s first two albums. There is even a rare b-side included in the mix for good measure. The tour documentary that accompanies the performances makes for its own interest. That is because it takes audiences along for the ride with the band on its first-ever world tour. Audiences get to see firsthand, much of what the band experienced, including the high and occasional not so high points. The liner notes penned by The Police guitarist Andy Summers work directly with the documentary to enhance the viewing experience therein. That is because they are those firsthand notes. They take audiences even deeper into the band’s tour and finish off the overall presentation. Each item noted here is important in its own way to the whole of the recording. All things considered, they make Around the World: Restored & Expanded a presentation that most fans of The Police will find a welcome new offering from the band and from Mercury Studios.
Around the World: Restored & Expanded is available now. More information on the recording is available along with all of the latest news from The Police at:
Early this month, saxophonist Chris Torkewitz released his debut album, NY Ensembles through Goschart Music. The 10-song record is a unique addition to this year’s field of new jazz albums in large part because of its featured arrangements, which will be discussed shortly. The liner notes that are featured with the record add even more engagement and entertainment for listeners. They will be discussed a little later. The record’s production puts the finishing touch to its presentation and will also be examined later. Each item noted is important in its own way to the whole of the album. All things considered, they make NY Ensembles not only one of the year’s most unique jazz albums, but one of the year’s best jazz albums, too.
NY Ensembles, the debut album from saxophonist Chris Torkewitz, is an exceptional addition to this year’s field of new jazz albums. That is due in no small part to the album’s featured arrangements. The arrangements are divided up into two distinct sections. The first section is composed of a group of chamber jazz compositions. The second group of songs, which totals four songs, just like the first section, is unique from the songs in the first section. That is made clear in the songs’ sounds and stylistic approach. Case in point is ‘FIlou,’ the first of the songs in the record’s second “set.” The use of the muted trumpet alongside the subtle guitar line, the drums, and the other horns and woodwinds, presents the song as something akin to so many swing style jazz compositions from the 1960s. The wonderful sense of nostalgia that it will being audiences is so appealing, to say the least. By comparison, ‘Noticias,’ which is one of the chamber orchestra compositions, is more along the lines of a modern classical composition. The use of the strings alongside what sounds like a bass clarinet makes the song in whole sound like something that could be used as the soundtrack for maybe some arthouse cartoon. The unique, semi-frenetic piano line adds even more to that sense. The six-minute plus composition is a stark contrast to the more direct jazz leaning of ‘Filou’ and even to the album’s other chamber orchestra compositions and jazz works. Taking into account the contrast of these two songs and the contrast that they and the rest of the album’s entries have from them and from one another, the whole therein makes the overall musical content featured here a strong starting point for the album.
Building on the solid foundation formed by the musical content is the content featured in the album’s liner notes. The information presented in the liner notes is extensive to say the very least. Right from the outset, Torkewitz points out that the whole purpose of dividing the album into two distinct sections was to reflect his moving from one “world” to another when he moved from Germany in 2007 to New York City. In other words, the album in whole is really an artistic expression of that change in cultures, sort old world to the new. Torkewitz puts his education – which includes a Doctorate in Musical Arts from the Manhattan School of Music and a professorship at a university in Germany – on full display as he writes about each song’s background. Case in point is his brief but concise discussion about ‘Epilogo,’ another of the chamber jazz compositions. He notes here, the composition’s “fugue-inspired concentrated form.” In addressing ‘One For You,’ the last of the jazz orchestral pieces, Torkewitz waxes philosophical, noting that the song was inspired by thoughts about “where is home?” He posits that home becomes home over time, and that it is not just home right away, leading to a composition that reflects the moods and thoughts people feel over that time. It is a brief discussion, but so deep. It is certain to help audiences appreciate that song even more. As if all of that is not enough, there is even an in-depth biography of Torkewitz included in the booklet that was crafted by jazz journalist and historian Scott Yanow. There are even pictures of Torkewitz with his fellow musicians as a proverbial cherry on top to finish everything off.
The impact of the content featured in the liner notes is that it makes NY Ensembles even more engaging and entertaining, building on the successes of the album’s musical content. It is not the last of the record’s important elements, either. The production that went into the album’s creation puts the finishing touch to the presentation. The production that went into this album is important to note because of its ability to bring out the best in each musician’s performance. Whether it be in the chamber compositions or in the jazz orchestra works, each performer’s part is accented just enough and balanced expertly with that of his and her counterparts. When the expert sound balance in the production is considered along with the record’s primary and secondary content, the whole therein makes NY Ensembles a complete success.
NY Ensembles, the debut album from saxophonist Christ Torkewitz, is an impressive addition to this year’s field of new jazz records. It is an equally impressive start for Torkewitz. That is proven in part through its arrangements, which are smartly composed works that provide so much musical diversity from the record’s start to its end. The background provided on the record in the extensive liner notes adds even more to the record’s enjoyment. The production that went into the record’s presentation rounds out its most important elements in that it brings out the best in each musician’s performance and balances everything expertly. Each item noted is important in its own way to the whole of the album. All things considered, they make NY Ensembles among the best of this year’s new jazz albums.
NY Ensembles is available now through Goschart Music. More information on the album is available along with all of Torkewitz’s latest news at:
Famed jazz musician Hendrik Meurkens, known as a virtuoso on the harmonica, recently partnered with the equally well-known jazz organization, the WDR Big Band to record the new album, Samba Jazz Odyssey. The nine-song record was released Friday through Zoho Music. The collection is a presentation that audiences will find intriguing. That is due in part to its featured songs, which will be discussed shortly. The liner notes that accompany the recording make for their own share of interest and will be discussed 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 this record, which is essentially a compilation, worth hearing at least once.
Samba Jazz Journey, the new project from the partnership between Hendrik Meurkens and the WDR Big Band, is an interesting addition to this year’s field of new jazz albums. Its interest comes in part through the songs that make up its body. As the liner notes point out (they will be discussed a little later), the songs are largely re-worked versions of songs that Meurkens has crafted throughout his career. Only one of the songs featured in the collection – ‘Choro’ – is a cover. In the case of that song, it is a cover of a song originally composed by Antonio Carlos Jobim. Additionally, there is at least once song featured here that was composed by WDR Big Band conductor Philip Mossman in the form of ‘You Again.’ The arrangements are stylistically similar to one another from one to the next. At the same time though, there are subtle nuances in the sounds of each arrangement that make the songs stand out from one another. In order to really catch those subtleties, audiences will have to fully immerse themselves in each arrangement. Even more interesting to note is that while the Afro-Latin jazz influences are audible in each song, they are just as subtle. The group’s more Western jazz influences are so well-balanced with those leanings to make each composition all the more interesting. In capturing those subtle variances and the balances in influences, listeners will appreciate each composition that much more, ensuring listeners’ engagement and entertainment just in that element.
The primary content – the songs – that makes up the body of Samba Jazz Journey is just one part of what makes the record worth experiencing. The liner notes featured in the record’s companion booklet add their own share of interest to the presentation. The liner notes are important to the record’s presentation because of the background that they offer for each song. As noted already, the liner notes are what make clear that Samba Jazz Journey is essentially a compilation record. The notes, crafted by Kabir Sehgal, offer so much insight into each song before audiences even start to take in the record. For instance, his description of ‘Manhattan Samba,’ the record’s second entry, is pointed out to have been on one of Meurkens’ existing albums. He also notes how Meurkens’ harmonica line works with the song’s Brazilian influence to make it a unique composition.
On another note, Sehgal makes clear in his notes that ‘You Again’ is one of the new originals here. What’s more, he also points out clearly that this jam session (again his words) is the work of Mossman. He points out the range of all involved in the arrangement and the work put in by all. He is right in his note that the group is up to the task in this upbeat composition, too.
Sehgal’s note of the apparent popularity of Meurken’s composition, ‘Prague In March’ is just as interesting, especially for audiences who perhaps might be less familiar with Meurkens’ work. Sehgal points out that the arrangement featured here was re-worked by Meurkens and Carlos Franzetti and is from a previous collaboration that the pair had. The very note of the song’s popularity within the jazz community is itself sure to generate some interest, and goes even further to show the importance of the record’s liner notes.
Rounding out the most important of the elements in this record is its production. As Sehgal notes more than once in his liner notes, there are so many points throughout this record in which all of the musicians work together so well. He is right. Not only that, but the production ensures just as much that each musician’s performance is so well-balanced with that of his/her counterparts. The clear attention paid to detail throughout each composition paid off, leading to each composition being that much more engaging and entertaining. When this aspect of the collection is considered along with the songs themselves and the background provided, the whole makes the record well worth hearing at least once.
Samba Jazz Journey, the new album from Hendrik Meurkens and The WDR Big Band, is an interesting addition to this year’s field of new jazz records. Its interest comes in part through its featured arrangements. The arrangements are a mix of re-worked songs that were previously recorded by Muerkens, an original, and one cover. They are in themselves enjoyable because of the subtleties in the arrangements. The background provided about the songs in the liner notes add to the overall listening experience and make the collection even more interesting. The production puts the finishing touch to the recording and makes it even more engaging and entertaining. Each item examined here is important in its own way to the whole of the set. All things considered, they make Samba Jazz Journey a musical journey that plenty of jazz fans will enjoy.
Samba Jazz Journey is available now through Zoho Music. More information on this and other titles from Zoho Music is available at https://zohomusic.com.
Ronnie James Dio’s classic 1983 album, Holy Diver will get the re-issue treatment this summer through Rhino Records.
The company is scheduled to re-issue the album July 8, two days before what would have the late, great singer’s 80th birthday. The re-issue will present the album on two separate platforms, one a four-disc set that includes the original album and three discs loaded with rarities, outtakes, and and live content. The other platform 2-LP set.
Among the live recordings featured in the expanded re-issue are live performances of ‘Rainbow in the Dark,’ ‘Stand Up And Shout,’ Rainbow classics ‘Man on the Silver Mountain’ and ‘Starstruck,’ and Black Sabbath hits ‘Children of the Sea’ and ‘Heaven and Hell’.
Among the outtakes featured in the recording are alternate takes of ‘Rainbow in the Dark,’ ‘Invisible’ and ‘Straight Through The Heart’. Additionally, audiences will get an alternate take of ‘Evil Eyes’.
The rarities featured in the expanded re-issue include and are not limited to mono and stereo 7″ single edits of ‘Rainbow in the Dark,’ and ‘Evil Eyes,’ which was a b-side to ‘Holy Diver.’
The full track listing for the forthcoming re-issue is noted below.
HOLY DIVER: SUPER DELUXE EDITION CD Track Listing
CD1: Holy Diver (2022 Joe Barresi Mix) * CD2: Holy Diver (2022 Remaster) 1. “Stand Up And Shout” 2. “Holy Diver” 3. “Gypsy” 4. “Caught In The Middle” 5. “Don’t Talk To Strangers” 6. “Straight Through The Heart” 7. “Invisible” 8. “Rainbow In The Dark” 9. “Shame On The Night”
CD3: Live at Selland Arena, Fresno, CA, 1983 1. Intro * 2. “Stand Up And Shout” * 3. “Straight Through The Heart” * 4. “Shame On The Night” * 5. “Children Of The Sea” * 6. “Holy Diver” * 7. “Heaven And Hell” – including guitar solo * 8. “Rainbow In The Dark” * 9. “Man On The Silver Mountain” * 10. “Starstuck” * 11. “Man On The Silver Mountain” – reprise * 12. “Don’t Talk To Strangers” *
CD4: Outtakes, Singles & B-Sides Tracks 1-7 unreleased 1. “Evil Eyes” – Wyn Davis remix * 2. “Don’t Talk To Strangers” – Take 1 (Joe Barresi mix) * 3. “Invisible” – Take 1 (Joe Barresi mix) * 4. “Invisible” – Take 3 (Joe Barresi mix) * 5. “Rainbow In The Dark” – Alternative Guitar Solo Version (Joe Barresi mix) * 6. “Straight Through The Heart” – Take 2 (Joe Barresi mix) * 7. “Straight Through The Heart” – Take 3 (Joe Barresi mix)* 8. “Rainbow In The Dark” – 7” Mono Edit 9. “Evil Eyes” – 1983 Version. B-Side of “Holy Diver” 10. “Rainbow In The Dark” – 7” Stereo Edit
Grave Digger gave audiences their first taste of its new album this weekend.
The band debuted its new single, ‘Hell Is My Purgatory,’ and its companion video. The pair is the first from the band’s forthcoming album, Symbol of Eternity, which is scheduled for release Aug. 26 through Rock of Angels Records.
The musical arrangement featured in Grave Digger’s new single is everything that audiences have come to expect from the band throughout its career. Front man Chris Boltendahl’s vocals are just as powerful as ever throughout. The rich bass line that serves as the foundation for the song’s intro pairs just as well with the guitar line before it takes the lead. The time keeping is just as solid in its own right, adding just enough flourish with the occasional cymbal flourishes and drum fills. The whole of the quartet’s work fully succeeds, sounding so bombastic, like something that one might expect to hear from a much larger group.
The lyrical theme featured in the song is apparently a story about Knight’s Templar Grand Master Hugo De Payens, who died in 1136 A.D. The details of his death are unknown. He is most well-known for establishing what is known as the Latin Rule, which is the order’s code of conduct.
The video for the song imagines the circumstances of De Payens’ death. As is noted in its opening moments, it was rumored that De Payens worshipped the devil despite being part of a group that was said to be of such strong Christian beliefs. The devil, in this case, is a woman, and De Payens’ fate, according to the video, was not good.
Pre-orders and pre-saves for Grave Digger’s new album are open. The album will release separately on a variety of platforms, all of which are noted below.
Digipack CD Limited 2CD Mediabook (CD 2: Live at Metal Hammer Paradise)
Red transparent / Gold Splatter Vinyl (LTD. 300)
Purple / Golden / White Splatter Vinyl (LTD. 300)
Sun Yellow / Golden / White / Red Splatter Vinyl (LTD. 300)
Picture Disc (LTD. 300)
Gold Vinyl (LTD. 300)
Black Vinyl (LTD. 300)
Super limited to 500 copies collector’s hardcover boxset that includes: the limited 2CD mediabook, Flag 115 x 75 cm, armband with metallic 3D emblem, A3 poster, signed autograph card and certificate of authenticity!
In addition, the new album will release through three exclusive, limited vinyl pressings, which are also noted below.
Ocean Blue Vinyl (LTD. 100) — musicmegastore.com exclusive
Orange Vinyl (LTD. 300) — EMP exclusive
Violet Vinyl (LTD. 100) – Napalm Records exclusive
Symbol of Eternity‘s track listing is noted below.
TRACK LIST (CD 1 –Digipack Version-): 1. The Siege of Akkon 2. Battle Cry 3. Hell is my Purgatory 4. King of the Kings 5. Symbol of Eternity 6. Saladin 7. Nights of Jerusalem 8. Heart of a Warrior 9. Grace of God 10. Sky of Swords 11. Holy Warfare 12. The Last Crusade 13. Hellas Hellas
TRACKLIST (CD 2 -Live at Metal Hammer Paradise / Mediabook version-): 1. The Clansman`s Journey 2. Healed by Metal 3. The clans will rise again 4. Lawbreaker 5. The Roundtable 6. The Curse of Jacques 7. Season of the Witch 8. Excalibur 9. Rebellion 10. Witch Hunter 11. Heavy Metal Breakdown
Symbol of Eternity was produced by Chris Boltendahl and Axel Ritt. Boltendahl also mixed and mastered the record. More information on the album is available along with all of Grave Digger’s latest news at:
The musical arrangement featured in the new single is a rich, deeply emotional composition. The use of the keyboards alongside the vocals, and the contrast thereof to the subtlety of the guitars makes for plenty of engagement and entertainment.
No information was provided about the song’s lyrical theme. No lyrics are available with the song’s visualizer.
The track listing for Evergrey’s new album is noted below along with the formats on which it will release.
A Heartless Portrait (The Orphean Testament) tracklisting: 1. Save Us 2. Midwinter Calls 3. Ominous 4. Call Out the Dark 5. The Orphean Testament 6. Reawakening 7. The Great Unwashed 8. Heartless 9. Blindfolded 10.Wildfires
In other news, Evergrey has planned a European tour in support of its new album. The tour is scheduled to launch Sept. 16 in Eindhoven, NL and to run through Oct. 23 in Paris France. It also features performances in cities across Europe, such as Budapest, HU; Hannover, DE, and Dublin, IE.
The tour’s schedule is noted below. Tickets are available here.
EVERGREY – European Tour 2022 + special guest: Fractal Universe + Virtual Symmetry
16.09.22 NL – Eindhoven / Dynamo 17.09.22 GB – London / 229 venue 18.09.22 GB – Nottingham / Rescue Rooms 19.09.22 GB – Bristol / Thekla 20.09.22 GB – Manchester / Academy 3 21.09.22 IE – Dublin / Voodoo Lounge 22.09.22 GB – Glasgow / Cathouse 23.09.22 GB – Newcastle / St Dom’s Social Club 24.09.22 GB – Birmingham / The Asylum 2 25.09.22 NL – Leiden / Gebr. De Nobel 27.09.22 DE – Bremen / Tivoli 28.09.22 DE – Stuttgart / Im Wizemann Club 29.09.22 DE – Berlin / Columbia Theater 30.09.22 DE – Hamburg / Bahnhof Pauli 01.10.22 DE – Oberhausen / Resonanzwerk 02.10.22 DE – Lindau / Club Vaudeville 03.10.22 FR – Colmar / Le Grillen 04.10.22 DE – München / Backstage Halle 05.10.22 DE – Hannover / Faust 06.10.22 DE – Aschaffenburg / Colos-Saal 07.10.22 BE – Vosselaar / Biebob 08.10.22 DE – Mannheim / 7er Club 09.10.22 SI – Ljubljana / Orto Bar 11.10.22 HU – Budapest / Barba Negra 12.10.22 AT – Graz / Dom im Berg 13.10.22 PL – Wroclaw / Akademia 14.10.22 AT – Wien / Viper Room 15.10.22 DE – Nürnberg / Hirsch 16.10.22 DE – Trier / Mergener Hof 17.10.22 CH – Luzern / Schüür 18.10.22 FR – Lyon / CCO Villeurbanne 19.10.22 ES – Barcelona / Boveda 20.10.22 ES – Madrid / Shoko 21.10.22 ES – Pamplona / Totem 22.10.22 FR – Toulouse / L’Usine 23.10.22 FR – Paris / Petit Bain
More information on Evergrey’s new single, video, album, and tour is available along with all of the band’s latest news and more at:
Independent rock duo Standards premiered its latest single and video this week.
The duo — Marcos Mena and Cam Mitchell — unveiled its new instrumental single, ‘Smile‘ and its video Friday. It is not yet known if the song will feature in the band’s forthcoming album, Fruit Town, which is scheduled for release July 22 through Wax Bodega.
The musical arrangement featured in ‘Smile’ is certain to put a smile on listeners’ faces. That is due to its light, bouncy pop rock style approach and sound. The audio effects used within the song add even more to its impact in a positive fashion. Audiences could go so far as to argue that there is a subtle comparison to works from Owl City.
The song’s video features Mena and Mitchell performing their new single in an apartment setting. Various camera angles and effects are used to help heighten the energy in the song’s arrangement and make for even more engagement and entertainment.
Mena said of the video that the treatment was meant to reflect “the energy of a live show with the minimalistic aesthetic that Standards has come to be known for.”
In other news, Standards has announced a tour in support of its new album. The tour is scheduled to launch July 21 in San Diego, CA and to run through Aug. 24 in Los Angeles, CA. The tour also features stops in cities, such as Houston, TX; New Orleans, LA and New Haven, CT.
The tour’s schedule is noted below. Tickets are available here.
Direct support from Glacier Veins
07/21/2022 – San Diego, CA @ Soda Bar
07/22/2022 – San Francisco, CA @ The Knockout
07/24/2022 – Phoenix, AZ @ Rebel Lounge
07/26/2022 – Austin, TX @ The Ballroom
07/27/2022 – Houston, TX @ Eighteen Ten Ojeman
07/28/2022 – New Orleans, LA @ Gasa Gasa
07/31/2022 – Atlanta, GA @ Masquerade
08/01/2022 – Nashville, TN @ The End
08/03/2022 – Washington, DC @ DC9
08/04/2022 – Philadelphia, PA @ Milkboy
08/05/2022 – Brooklyn, NY @ Kingsland
08/06/2022 – New Haven, CT @ The State House
08/08/2022 – Toronto, ON @ Sneaky Dee’s
08/09/2022 – Columbus, OH @ Big Room Bar
08/10/2022 – Detroit, MI @ Sanctuary
08/11/2022 – Chicago, IL @ Beat Kitchen
08/12/2022 – Milwaukee, WI @ X-Ray Arcade
08/13/2022 – St. Paul, MN @ The Treasury
08/15/2022 – Fort Collins, CO @ The Coast
08/16/2022 – Salt Lake City, UT @ Loading Dock
08/18/2022 – Seattle, WA @ Vera Project
08/19/2022 – Portland, OR @ Holocene
08/21/2022 – Sacramento, CA @ Goldfield
08/24/2022 – Los Angeles, CA @ El Cid
More information on Standards’ new single, video, album, and tour is available along with all of the duo’s latest news at: