The Allman Brothers Band Gets 2024 Off To A Unique Start With Its New Live Offering

Courtesy: The Allman Brothers Band Recording Company

Only two days are left in the now very old year, so it will not be long before the new, young year is finally here.  As the calendar turns from 2023 to 2024, audiences waiting for new music will not have to wait very long for said content, as another new archived concert from The Allman Brothers Band is scheduled for release Jan 12 in the form of Manley Field House: Syracuse University – April 7, 1972.  Spanning a total of 12 tracks (11 of which are actual song performances – the opener is just the band introduction) the forthcoming recording is a presentation that audiences will find intriguing.  That is due in large part to its audio, which will be examined shortly.  The concert’s set list and the band’s performance thereof makes for its own appeal and will be discussed a little later.  The recording’s brief liner notes round out is most important elements.  Each item noted is key in its own way to the whole of the recording’s presentation.  All things considered they make Manley Field House: Syracuse University – April 7, 1972 a presentation that the most devoted fans of The Allman Brothers Band will enjoy.

Manley Field House: Syracuse University – April 7, 1972, the forthcoming new archived concert from The Allman Brothers Band, is a unique offering from the band that its most devoted audiences are sure to enjoy.  That is due in large part to its audio mix.  Throughout the course of the 92-minute concert, the audio mix is clearly spread across separate channels.  Front man Gregg Allman’s vocals run on the “right” channel along with the lead guitar of Dickey Betts.  Meanwhile, the rest of the group’s work is presented in stereo.  In other words, it seems like the vocals and lead guitar were either recorded or remastered for this concert in mono while everything else was recorded or redone in stereo.  The imbalance in the audio can at times, lead some listeners to scratch their heads.  There is no discussion anywhere in the two-disc presentation’s packaging as to whether this was from the original recording or whether it happened in post for remastering.  If in fact it was part of the original recording, then it makes for an interesting look back at recording tech at the time and leaves for plenty of room for discussion among audiences.  Adding in that there are so many vintage concerts out there on the market whose audio is far better balanced, one can only assume this must have been part of the original recording.  To that end, the noted true devotees of The Allman Brothers Band will appreciate this intriguing part of the recording.  For all other audiences, as long as said listeners take in the concert more passively than actively, they will not find themselves too overly bothered by the imbalance. Keeping this in mind, the audio imbalance makes for an interesting historical aspect in its own right to the whole of this recording.

Knowing that the unique audio presentation of Manley Field House: Syracuse University – April 7, 1972, is not enough to doom the recording, there are other matters to examine here; not the least of which being the concert’s set list.  Totaling 11 songs, the set list reaches back to the band’s 1969 self-titled debut album and all the way up to its 1972 hybrid studio/live recording, Eat A Peach.  Fan favorites, such as the band’s covers of Blind Willie McTell’s ‘Statesboro Blues’ and Elmore James’ ‘Done Somebody Wrong’ are both here alongside original favorites, such as ‘Whipping Post,’ ‘In Memory of Elizabeth Reed’ and ‘Ain’t Wastin’ Time No More.’  The band – in its five-member configuration here (this will be addressed a little later in the note of the recording’s liner notes) – lets its performance do the talking throughout the course of the recording.  The jam session that develops in ‘Whipping Post,’ for instance, just happens organically and audiences cannot help but enjoy the performance.  The pairing of drummer Butch Trucks and percussionist Jaimoe makes for so much richness as the two men clearly compliment each other in their own right while Allman, Betts, and bassist Berry Oakley create their own depth.  At times, the Middle Eastern influence that Betts puts out there alongside Allman’s work on keyboard creates such a unique air for lack of better wording.  The ghost notes and accents from Jaime and Trucks, and the duo’s polyrhythmic patterns are so powerful because of the focus that they exhibit from each musician.

On a separate note, the band’s performance of ‘Syracuse Jam,’ which was special to the concert (being performed at Syracuse University after all), shows its own enjoyable performance from the band.  The bluesy instrumental jam between Betts and Oakley is so fun and light while Trucks adds so much of his own fun flare to the mix.  Oakley’s steady bass line is the perfect complement to Betts’ performance on guitar.  Allman’s eventual addition to the mix on the B3 Hammond organ adds just enough of a touch, too.  The whole displays the five-piece in such a positive light even on the heels of the tragedy it had faced not too much prior to the concert.  It is an encouraging thing that further shows the importance of the set list here and the band’s performance thereof.

Speaking of the tragedy the band faced prior to the recording, that tragedy in question was the untimely death of then front man Duane Allman in October 1971.  Jeff Chard, former Syracuse University concert coordinator who had coordinated this concert, makes note of Allman’s passing in the liner notes he composed for the recording.  For those who maybe are less familiar with the band’s history, Duane Allman passed in October 1971 as a result of injuries he sustained in a motorcycle crash.  He was only 24 years old.  His death came only five months ahead of this concert, so even then it could not have been easy for the band to have pressed on but press on it did and this concert recording shows how it did just that.  Getting back to Chard’s notes, he points out in his writings, the indoor concert was additionally unique because the floor inside was in fact dirt, not other material.  He writes of this aspect, “Dirt floors are great for track and field events, but not so much for rock concert crowd dashes.  When the crowd poured in from all sides, they raised a cloud of dust that stayed in the air well past the end of the show.”  That description, while brief, is so illustrative.  It really helps to immerse audiences even more into the concert since it is presented here as an audio-only offering.  It makes it so easy to see the situation in one’s own mind, making for all the more enjoyment.  According to Chard, the floor was dirt because the field house was an indoor track and field facility.  That in itself is sure to generate its own share of discussion among audiences on how commonplace this was at athletic facilities at that time.

Chard also makes note of each member of the band’s performance as part of his remembrance, which helps to set the stage (no pun intended) even more.  He also notes that the recording was made possible in part because the band even agreed to make the recording at the time, which is what made this archived offering possible.  Between this brief revelation, the discussion on the concert itself and how it came to be, and the other brief comments made by Chard, the whole makes Chard’s overall notes their own point of engagement and entertainment.  When the positive of his notes is considered along with the impact of the band’s performance, the show’s set list and the intriguing audio, the whole makes Manley Field House: Syracuse University – April 7, 1972 a presentation an interesting start to 2024’s field of new live recordings.

Manley Field House: Syracuse University – April 7, 1972, the forthcoming new live recording from The Allman Brothers, is an interesting new offering from the band.  Its interest comes in part through its audio, which is presented on separate channels.  For some, that imbalance will prove uncomfortable.  For others though, it will prove positive for its historical aspect.  The concert’s set list and the band’s performance thereof add to the interest.  The set list is a representation of the band’s catalog to that point while the band’s performance thereof generates full engagement and entertainment.  The liner notes that accompany the recording are brief but give plenty of background.  The whole of these elements makes Manley Field House: Syracuse University – April 7, 1972 overall, a presentation that while not perfect is still worth hearing at least once. 

Manley Field House: Syracuse University – April 7, 1972 is scheduled for release Jan. 12 through The Allman Brothers Band Recording Company.  More information on the recording is available along with all of the latest Allman Brothers Band news at:

Website: https://allmanbrothersband.com

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

Twitter: https://twitter.com/allmanbrothers

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.

Arrow Video Announces Details For ‘Murphy’s War’ Re-Issue

Courtesy: Paramount Pictures/Arrow Video

Arrow Video will bring renewed attention to Paramount Pictures’ 1971 WWII flick, Murphy’s War early in 2024.

The Moby Dick re-imagining of sorts is scheduled for release Jan. 30 on Blu-ray. The story centers on its titular character, the single-named Murphy (Peter O’Toole — Lawrence of Arabia, The Lion in Winter, The Stunt Man) as he looks to avenge the death of his fellow sailors aboard a merchant ship after the vessel is attacked by a German sub. In his attempts to exact vengeance, Murphy does succeed but success comes at a very high price. The result will be left for audiences to discover for themselves.

The re-issue will feature a variety of bonuses, including and not limited to: a new visual essay titled, “Running Out Of War” by film critic David Cairns, “A Great Adventure,” an archived interview with the movie’s assistant director John Glen, and “One Man Army,” an archived interview with film critic Sheldon Hall.

A companion booklet with new liner notes composed by film critic Philip Kemp is also included with the re-issue.

Murphy’s War will retail for MSRP of $39.95. Pre-orders are open.

More information on this and other titles from Arrow Video is available at:

Website: http://www.arrowfilms.com

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

Twitter: http://twitter.com/ArrowFilmsVideo

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.

Metal Purists, Strike Master’s Audiences Will Find Some Appeal From Band’s New Album

Courtesy: Infecting Cells PR

Five years ago, one of the most influential and important bands in the modern history of metal called it quits when the members of Slayer collectively announced the band was calling it a career.  The band officially reached the end of its road a year after making the announcement, though founding member and guitarist Kerry King said in interviews in 2021, he felt the band ended its run too soon.  Whether audiences ever see a reunion of the band in the near or even distant future is anyone’s guess.  That is especially considering how many bands out there have said over the years that they’re done, only to end up reuniting.  Even years before Salyer’s end, fellow metal outfit Chimaira was dubbed the band’s heir apparent in 2993 upon the release of its sophomore album, The Impossibility of Reason.  However, the band’s future at this rate remains up in the air despite a reunion this year and shows planned for 2024.

While audiences wait to see what may or may not ever come with either of those bands, they do have another band to look to in the form of Strike Master.  This past September, the band released its latest album, Tangram Apocalypse independently.  The band’s sixth album, it is an intense 33-minute slab of metal that despite being the band’s sixth record, will easily appeal to fans of both noted bands.  That is most apparent through its featured musical arrangements, which will be discussed shortly.  The record is sadly lacking in lyrics provided, but what content is provided and understandable makes for its own interest.  It will be addressed a little later.  The record’s production rounds out its most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of Tangram Apocalypse.  All things considered they make Tangram Apocalypse a record that metal purists and especially Slayer fans will agree is worth hearing at least once.

Tangram Apocalypse, the latest full-length studio recording from independent metal outfit Strike Master, is an offering that metal purists will agree is worth hearing at least once.  That is due in large part to the record’s featured musical arrangements.  From beginning to end of its 8-song body, the intense guitar riffs, screaming vocals and equally powerhouse rhythm section make the arrangements immediately comparable to the best works of Slayer.  This will come as no surprise to Strike Master’s established fans, as the band has clearly emulated Slayer throughout its history, fine tuning its take on the band’s familiar approach increasingly with each album.  Now in this latest offering, that work has created works that are the most intense and Slayer-esque that the band has ever crafted.  What is really important to note here is that even with that overarching influence as audible as ever, each song featured in this record boasts its own subtle unique identity separate from its fellow compositions, and listeners who fully immerse themselves in each song will catch those subtleties.  Whether it be in the subtle tempo changes, chord changes and other minor details, there are subtle changes in each song that keep things interesting for listeners from one song to the next, giving reason enough for audiences to remain engaged.

While the musical arrangements exhibited throughout the album form a solid foundation for this record, the lyrics available with the album’s trio of singles released so far helps give at least a glimpse into the possible topics tackled herein.  In regard to ‘Crystallized,’ the album’s lead single, the song’s video opens with a statement about how television “crystallized” the band’s generation but the lyrics seem to hint at anything but that matter.  This critic’s own interpretation is that it tackles the matter of someone being a survivor of sexual violence at a young age.  Such inference comes as the song opens with the lines, “Crystalized/A stain/My vision of life so distorted/Lov sex/So darkly wanted to be molested/There is nothing more impious than to storm a little creature/In its cradle of conception/With a trauma heritage/It becomes a legacy of pain/A glass through the nerve/Sensation of death/Genetic condemn/When the oldest of our ghosts has the last name to destroy/The psychology of abuse becomes the cancer of the soul.”  This statement comes across as such a seemingly painful recollection of something that happened to a person years ago.  From there, the mood turns from that pained recollection to one of pure anger, which states, “Now suffer you all/The force of my behalf/My luck is so bad with my factory of hats/That the next generation would be born with no heads/And that blood will be shed over your children’s heads/Welcome to degeneration/I dare you to step over a bag of broken bones/Consequences of perversion/Crystalized.’  Again, this seems like anger aimed at certain types.  If so then that and the other lyrical content herein makes for one heck of a powerful statement.  Should this critic’s interpretation be off, then needless to say the lyrical content herein definitely will leave for plenty of discussion in interpretation.

‘Black To The Future,’ the album’s second single, delivers what comes across as its own heavy statement.  In the case of this song it comes across as perhaps a commentary on the rise of criminal behavior happening especially across America.  This as the song directly opens, “This is the dawn of time for the criminally insane/A mandatory march for us/Who have been condemned/Mass of doom/Grew in the dark/Defying the spector of light/Unstoppable/We can’t deny/To embrace death while we are still alive.”  Noting all the death that has been caused by people who have been mentally unstable in recent news (it has been all over the headlines) one cannot help but wonder if in fact the band is making reference to this very matter.  That is because we have been made to figuratively embrace death as we see it on the news daily.  The song continues, “There’s a sorrow motion floating in the air/Darkened/Blackened/Ghostly dooming fluorescence/Torn to ashes and to nothing in the end of days/The end complete/the final conflict.”  It is almost as if the attention is turning to how we are moving in a very dark and bad direction.  Again this is all this critic’s interpretation and should not be taken as gospel (so to speak).  Either way, the nihilistic overall presentation is just as certain to generate its own share of discussion among listeners, further showing the importance of the album’s lyrical themes.

‘Prototype God,’ the record’s third single is certain to create its own share of interest, too.  That is because it presents its own seeming commentary.  In the case of this song, the seeming commentary comes in the mention of society turning “into a stupid mass” and being “a lifeless nation.”  “Devoted dogs” is another term thrown out here, referencing people’s blind loyalty along with the “murderous negligence” of corruption.  This and so much more in this song makes for quite the interest in this case.  No doubt it certainly looks like the theme is the apparent social commentary.  If it is that in fact, then it is a unique way to deliver such a message.  To that end it even further notes the importance of the album’s lyrical themes.  When this seeming theme and the others examined here are considered along with the remainder of the album’s lyrical content, the whole gives audiences all the more reason to take in this record.  That is especially true when it is collectively considered alongside the album’s musical content.

For all of the interest that this record’s musical and lyrical content develops throughout its nearly 35-minute run time, it is just part of what makes the record intriguing.  The album’s overall production rounds out its most important elements.  The production is of so much importance because of the intensity of each of the record’s arrangements.  To say that each is fiery is an understatement.  That means that the utmost attention had to be given to the instrumentation and vocals in each work.  Thankfully, somehow everything came out balanced because of the obviously painstaking effort taken to make each performance compliment its counterparts.  The result is a record whose musical content generates an aesthetic that will appeal to the noted audiences just as much as the arrangements themselves.  All things considered, the record’s arrangement’s, the lyrical themes that are sure to be the source of plenty of discussion, and the album’s production join to make Tangram Apocalypse an interesting addition to 2023’s new metal and hard rock offerings that audiences will agree is worth hearing at least once.

Tangram Apocalypse, the latest album from Strike Master, is an interesting presentation that metal purists and the band’s established audiences alike will agree is worth hearing at least once.  That is due in no small part to its intense musical arrangements.  The arrangements easily liken themselves to works from the likes of Slayer, Testament, and Exodus.  At the same time even with the noted comparisons in mind the songs still boast their own unique identities.  The lyrical themes that accompany that content generate their own share of interest because of how they are delivered.  The fashion in which they are delivered leaves each one up to their own interpretation, which can be a good or bad thing.  The record’s production ensures the intense instrumentation in each song’s arrangement is expertly balanced with the equally powerful vocal delivery.  The result is eight songs whose musical bodies generate just as much positive aesthetic appeal as the sounds and styles within each.  Each item examined here plays its own important part to the record’s presentation.  All things considered they make the album a unique addition to this year’s field of new hard rock and metal albums that deserves to be heard at least once.

Tangram Apocalypse is available now.  More information on the album is available along with all of the band’s latest news at:

Website: https://strikemaster.net

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

Twitter: https://twitter.com/strikemaster666

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.

‘Aliens’ 4K Re-Issue Builds Hope For A “Quadrilogy,” 6-Movie 4K Re-Issue

Courtesy: 20th Century Studios

More than 40 years ago, 20^th Century Studios (nee 20^th Century Fox) and director Ridley Scott changed the face of both horror and science fiction when they released the groundbreaking movie, Aliens.  The movie brought the genres together and took them in a direction that even the science fiction flicks of the 1950s could ever imagine going, in turn creating a whole new genre within itself.  Roughly seven years later, the success of that movie would lead to the first of a number of sequels in the form of Aliens.  The largely well-received sequel earned itself two Oscars® awards, one for Best Sound Effects Editing and the other for Best Visual Effects.  The awards were credit in large part to famed director James Cameron who also wrote the movie’s script alongside David Giler and Walter Hill.  Star Sigourney Weaver (Ghostbusters, Ghostbusters II, Alien) was nominated for Best Actress, proving even further the movie’s success.  The movie has seen a number of re-issues on each new home media platform since making its debut in July 1986, and now this coming March, will see its latest re-issue, this time on March 12 on 4K UHD.  The forthcoming re-issue will appeal to longtime fans of the Alien franchise and to those who might be less familiar with the franchise.  That is due in part to its story, which will be addressed shortly.  As with another Cameron-helmed movie set for re-issue March 12 – The Abyss – its special effects are just as much a part of its presentation and worth examining, too.  They will be discussed a little later.  The bonus content that accompanies the movie in its forthcoming 4K UHD re-issue rounds out its most important elements.  It does its own share to make for engagement and entertainment and will also be examined later.  Each item noted is important in its own way to the whole of Aliens.  All things considered they make the movie’s forthcoming 4K UHD re-issue a largely successful presentation that still leaves audiences wondering if the rest of the movies will ever get the 4K treatment.

20^th Century Studios’ forthcoming 4K UHD re-issue of Aliens is a presentation that established fans of the Alien franchise will find mostly appealing just as much as those who are less familiar with the movies.  That is due in part to its story.  The story at the center of Aliens is of interest because it continues Ellen Ripley’s (Weaver) battle against the vile Xenomorphs, this time on an exomoon’s surface instead of in space.  The planet in question is the site of a human colony that has been overrun by the Xenomorphs after the creatures’ ship crashed on the planet.  As with the original movie, there are lots of casualties, lots of gunfire and whatever that stuff is that drips from the Xenomorphs’ mouths (primary and secondary).  There is also a shocking revelation about the creatures that ties back to her employer, the Eather-based Weyland-Yutani company, leading to even more conflict as Ripley and the colonial marines battle the Xenomorphs.  If course Ripley and a handful of others escape in the end and the Xenomorphs are believed to have been defeated.  Of course, being there was another movie (and another, etc. after this one ended), audiences know now this was just the latest chapter in the ongoing franchise that has otherwise sadly gotten worse with every movie since Aliens.  That overall story is sure to keep audiences fully engaged even as Ripley and the Marines keep battling the Xenomorphs in increasingly tense and difficult situations leading up to the finale.  It will all leave viewers breathless and spent by the story’s end.

As much as the story does to make Aliens so engaging even with all of its tension and action, it is just part of what makes the movie interesting.  The special effects are of their own importance to the appeal here.  As with The Abyss, Cameron was unable to rely on computers for the special effects.  He actually uses largely real elements, such as guns and models, and even a remote control exosuit that was part costume for an actor.  Even the Xenomorphs themselves were real costumes worn by stunt actors.  This is all discussed at length by Cameron in one of the bonus features carried over from the movie’s most recent re-issue, “The Inspiration and Design of Aliens.”  All of that commentary will be discussed later along with a focus on the movie’s also carried over feature-length commentary.  Almost all of the special effects exhibited throughout the movie were actual physical items.  The result is that the movie’s otherworldly setting, beings, weapons and other items look all the more believable, thus pulling audiences even more into the movie.  It is such a welcome, refreshing change of pace – again – from all of the over the top CG-infused blockbusters out there today.  To that end, Aliens’ special effects and story do more than enough to keep audiences engaged and entertained.

Building even more on the appeal ensured through the movie’s primary and secondary content is the bonus content that accompanies Aliens in its re-issue.  None of the bonus content featured here is new.  It is all carried over from previous releases but again maybe not everyone has seen any of said content, making for its own share of interest.  The previously noted featurette that addresses the movie’s special effects offers lots of insight into how much work went into making the whole futuristic film.  For instance, Cameron reveals that the drop ship that takes Ripley and the Marines onto the moon’s surface was a model whose design was itself based on an AH-64 Apache attack helicopter.  He also notes the Xenomorphs were in fact actors in suits.  There was no CG to cause the cast to have to imagine being chased.  Those intense scenes involving the evil creatures were, for the most part, real.  Additionally, he reveals the wheeled vehicle used after the drop ship reaches the moon’s surface was itself real.  He points out the machine was in reality an aircraft “tug” that was used to move airplanes at London’s famed Heathrow Airport.  He notes that for specific reasons, the crew had to physically remove some 20 tons or so of weight from the vehicle for use in the movie and somehow managed the task.  As if all of this is not enough, Cameron also points out that while the movie is a sequel to Alien, he also points out what is perhaps the most intriguing pieces of information in the revelation that America’s involvement in Vietnam was the inspiration for the story herein.  He goes into some depth here and the discussion will be left for viewers to take in for themselves.

The discussion on the movie’s look and special effects is just one of the bonuses that audiences will appreciate.  The feature length audio commentary carried over from the movie’s 2003 release adds even more to the appreciation for the whole.  Cameron points out here that taking the lead for Aliens happened largely by chance after he had talked to studio executives with 20^th Century about Alien.  His anecdote here is quite insightful in how casually it happened.  He also points out as the movie continues, the movie also focuses on the central theme of motherhood.  More specifically, that theme comes from the central focus on Ripley through a scene included here that was deleted from the original movie.  That discussion and how it ties directly into the movie’s tense climactic finale makes for its own share of interest, too.

As if all of this is not enough, members of the movie’s cast and crew (including producer Gale Hurd and the late great Bill Paxton – Twister, Apollo 13, Frailty) are on hand to add to the discussions.  Hurd reveals through her comments that the noted scene that was cut and others removed were taken out so as to optimize the number of showings the movie could have in theaters at the time.  That revelation is eye-opening as it can lead to talks on how apparently movie run times are tied to their own access to theaters.  She points out the cuts made to the movie for its final release put the run time at just over two hours whereas Cameron points out the full movie’s run time (which is displayed in this 4K UHD re-issue) is just over two and a half hours.  Between this discussion, the others also addressed here and the rest of the bonus commentary throughout the extras makes the movie all the more encompassing.  The overall engagement and entertainment ensured through the overall bonus content works with the movie’s story and its equally unique special effects to make the presentation in whole a mostly welcome new re-issue of what is one of the scariest and most intense science fiction and horror films to come from the 20^th Century.

20^th Century Studios’ forthcoming 4K UHD re-issue of its 1986 sci-fi/horror flick Aliens, is a largely positive early addition to 2024’s list of new movie and TV re-issues.  That is due in part to its story.  The multi-tiered (and apparently rather in depth) story continues Ripley’s battle against the evil Xenomorphs but in a unique fashion.  How this happens is what really makes the story unique.  Yes there is lots of gunfire, lots of violence, etc. but it isn’t just another shoot-‘em-up flick.  As the bonus commentaries reveal there is a lot more going on.  That collective bonus content does plenty of its own share to make this movie worth watching.  When it is considered along with the story and the largely organic special effects, the whole therein makes the overall presentation that is Aliens all the more engaging and entertaining for science fiction and horror fans alike.  Maybe now with this movie’s re-issue on 4K UHD and that of Alien in 2019, maybe just maybe audiences will see a full 4K re-issue of the Alien Quadrilogy or even the 6-movie set sooner rather than later.

Aliens is set for re-issue March 12 on 4K UHD.  More information on this and other titles from 20^th Century Studios is available at:

Website: https://20thcenturystudios.com

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Twitter: https://twitter.com/20thcentury

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Kelakos Holds Its Own On Its First New Music In More Than 40 Years

Courtesy: Deko Music

Forty-four years is a heck of a long time for a musical act of any genre to go between releasing new music.  Sure, five years to a decade is becoming increasingly the norm, but more than four decades is pushing it to say the very least.  Yet, veteran rock band Kelakos has done just that this month, releasing its first new music in 44 years Dec. 1 in the form of its new 12-song album, Hurtling Towards Extinction.  Even being that so much time has passed between the release of this record and its predecessor, Gone Are The Days, it still sits just as well with today’s rock records as any other new album within its genre.  That is due in part to its featured musical arrangements, which will be addressed shortly.  The lyrical themes that accompany the record’s musical arrangements add to the album’s interest and will be examined a little later.  The record’s production brings everything together and puts the finishing touch to the presentation.  It will be discussed later, too.  Each item noted is important in its own way to the whole of Hurtling Towards Extinction.  All things considered they make the record a presentation that any vintage rock and guitar rock fan will find enjoyable and a welcome return for Kelakos.

Hurtling Towards Extinction, the first new record from Kelakos in more than forty years, is a presentation that audiences will agree is an interesting return for the veteran rock band.  The record’s appeal comes in part through its featured musical arrangements.  From beginning to end, the arrangements exhibited herein throw back to another era, a greater era.  It is like opening up a musical time capsule buried way back in the 1960s.  That is evidenced with the obvious comparison from one composition to the other, to works from the likes of Carlos Santana, Tom Petty, and even The Doors and Jimi Hendrix.  Right from the record’s outset audiences get a dose of Santana’s influence (and even a touch of The Doobie Brothers) in ‘Livin’ on the Planet Love.’  That is evidenced through the gentle, flowing keyboard line placed alongside the vocals and guitar line.  The soft, melodic approach taken here lifts from both acts while delivering a wholly unique composition that is sure to keep audiences engaged and entertained.  Audiences get even more of that Santana influence as the album progresses into its third entry, ‘The Lone Road.’

The band really changes things up as the album continues its progression into the even more subdued ‘Downhill Slide.’  The use of the pedal steel as the song’s foundation gives the arrangement a country vibe.  The vocals meanwhile go contrary to the pedal steel, giving audiences more of a Micheal McDonald sort of vibe.  The bluesy guitar solo that the song builds into makes for even more interest even alongside that slide guitar.  That is because the two sides should not work together but somehow the contrasting sounds and styles oddly compliment each other, to the end that the instrumentation actually proves surprisingly engaging in its own right.  It gives even more unique touch to the album’s musical side, showing further why the album’s musical arrangements are so important to its whole.

On yet another intriguing note, the fiery opening drum solo, guitars, and vocals exhibited in ‘Play It Like You Mean It’ conjure thoughts of Emerson Lake & Palmer (ELP) and even Jethro Tull to a slightly lesser degree.  Yet again, even with the comparison in mind, the arrangement still boasts its own identity with its bluesy sound and style that is sure to keep listeners engaged and entertained all in its own right.  That is especially true in considering the subtle use of the electronics and keyboards alongside everything else.  The whole actually gives the song something of an 80s new wave sound and a rock vibe at the same time that is wholly unique.

The influence of The Doors (and even ZZ Top) comes into play immediately after that song in ‘Austin Chill’ what with the even more direct bluesy approach.  Even the vocal approach is something akin to that of ZZ Top front man Billy Gibbons.  It is all the more proof of the importance of the album’s musical content.

As if everything noted is not enough, the arrangements continue changing throughout the rest of the record, offering listeners all the more reason to keep listening from beginning to end.  Audiences will hear that for themselves when they take in the record.

The musical arrangements featured in this record are only a portion of what makes the record worth hearing.  The lyrical themes that accompany said content is just as diverse and is just as certain to keep viewers engaged and entertained.  From the all-too-familiar theme of love lost and gained to the equally familiar commentaries of so much music out there to the simple, laid back stuff, the themes are just as certain to resonate with listeners are the musical content.  ‘Austin Chill’ for instance, was inspired by a trip taken by bassist Linc Bloomfield to Austin, TX.  According to information provided about the song, the music he heard during his time in the city led him to compose this bluesy work that is simply about that trip and how much he enjoyed the experience.  There is no hyperbole or anything else.  It is just a celebratory story.  As is sung by vocalist George Kelakos Haberstroh, “I’m feeling good/’Cause there’s a party in the neighborhood/We got the band all here/…the beer/It’s time to shake it like you know you should/The bartender is hustling to fill/A dozen glasses with the local swill/It’s a million degrees/And I’m feeling the breeze of that/Ice cold Austin chill.”  He adds, “Now there’s a food truck along the street/A bunch of people lined up to eat/Check it out/The funky dude/Servin’ up the spicy food/And the barbecue’s hard to beat/It’s time to let the good times roll/Let the music kidnap your soul/I came here to play/And that’s the only way/’Cause a night in Austin/Never grows old.” 

While the band offers up something fun in ‘Austin Chill,’ the noted commentary presented here comes twice over in the form of ‘Florida Flash Flood’ and ‘Where Magic Grows.’  Both songs are warnings about the impact that humans are having on the already naturally occurring climate change.  In the case of ‘Florida Flash Flood,’ the vocals are somewhat muddied by the production and washed out by the driving guitars and drums, but just enough can be understood to make the connection.  The mention of hurricanes causing so much trouble, flooding and the dire circumstances happening makes the message clear.  This is especially the case with the chorus noting the flash flood on the way.

In the case of ‘Where Magic Grows,’ the message goes even deeper as Bloomfield sings right from the song’s outset, “Robots digging rocks on mars/Rich guys taking rides in space/Down below/Tensions grow within the human race/Everything is speeding up/Where we’re headed, no one knows/Rich or poor/ Peace or war/We live where magic grows/Hurricanes are getting worse/Water’s coming through the door/Summer heat/Melts the street/Wonder how much more/Time is running out, they say/Act before the window’s closed/There they’ll see/We can be/The land where magic grows.”  The message here is clear.  There is so much bad, but also the potential for good and the future, good or bad, is really up to us.  Bloomfield furthers that message in the song’s second verse as he addresses mother nature’s power and what it can do.  It is another commentary that is increasingly so commonplace among rock acts that is certain to resonate with listeners through its simple approach.

Listeners who want something a little bit opposite of that get exactly that earlier in the record’s run in the form of ‘Downhill Slide.’  This is one of those songs that lyrically centers on a man whose romantic interest has left and he is mourning the loss.  He tells her that he is on a downhill slide ever since she left as the song’s melancholy musical arrangement plays.  Once more here is an example of the diversity in the album’s lyrical themes.  When this and the themes of the other songs examined here are considered along with the rest of the album’s lyrical themes, the whole therein makes the album’s overall lyrical content just as much reason for audiences to hear this record as its musical content.

While the collective musical and lyrical content featured throughout this record does plenty to make the album worth hearing, it is still only part of the presentation’s appeal.  The production brings everything together here and completes the presentation.  As noted already there is at least one point through the record’s run in which the vocals do become muddied and somewhat washed out due to the production.  However, that moment is about the only point at which the production proves concerning.  Throughout the rest of the record the instrumentation and vocals are relatively well-balanced, through the more energetic moments and the more subdued songs.  It shows that plenty of time and effort went into this important in its own right element.  The result is a mostly positive aesthetic that is sure to engage audiences just as much as the record’s primary and secondary content.  To that end, this aspect of Kelakos’ new album overall is a presentation that largely succeeds and will appeal to most rock and vintage rock fans.

Hurtling Towards Extinction, the new, very long awaited album from veteran rock outfit Kelakos, is a presentation that rock and vintage rock fans will find largely appealing.  Its appeal comes in part through its featured musical arrangements.  The arrangements are of interest because they throw back so directly to works from so many other bands from the band’s early days while still boasting their own identities.  Among the bands that the band reaches to for inspiration are the likes of Bad Company, The Doobie Brothers, Carlos Santana, etc.  The lyrical themes that accompany the album’s musical arrangements build on the appeal that said content establishes.  That is because of their accessibility and familiarity.  The record’s production puts the finishing touch to its presentation, ensuring its aesthetic appeal is just as present as that from its content.  Each element examined is important in its own way to the whole of the album.  All things considered they make Hurtling Towards Extinction an interesting addition to this year’s field of new rock albums that is worth hearing at least once.

Hurtling Towards Extinction is available now through Deko Music.  More information on the album is available along with all of Kelakos’ latest news at:

Website: http://www.kelakos.com

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

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

WMN, Riverboat Records’ ‘Lost In Tajikistan’ Is Another Largely Successful Musical Trip Around The World

Courtesy: World Music Network/Riverboat Records

World Music Network has taken audiences around the globe so many times over the years, to nations that many know at times, and at others to nations of which people may be less familiar.  From China to the American south, to Japan, to the various nations of Africa, to Scotland and so many other countries, the label has taken audiences on those trips through various musical compilations, each impressive in its own right.  This past August, the company took audiences on yet another interesting trip, this time to the storied former Soviet republic of Tajikistan in the form of Lost in Tajikistan.  Spanning 15 songs that run a total of 79 minutes, this latest offering from World Music Network and Riverboat Records proves an interesting new musical trip grounded primarily in its varied musical arrangements.  Those arrangements will be examined shortly.  The compilation’s liner notes prove to be both positive and somewhat negative, building on the record’s foundation and slightly detracting from its presentation, too.  This will be discussed a little later.  The collection’s production rounds out its most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of Lost in Tajikistan.  All things considered they make the collection a mostly welcome addition to this year’s field of new World Music offerings, even despite its one shortcoming.

Lost in Tajikistan, the recently released World Music offering from Riverboat Records and World Music Network, is a presentation that audiences will find an interesting collection from the two companies.  That is due in large part to its featured musical arrangements.  From beginning to end, the 15 songs that make up the record’s body were performed by a handful of acts – Samo, Davlat Sanzar, Shanbe, and Mizrob.  According to the information provided in the collection’s liner notes, all of the acts featured herein are from various regions of Tajikistan.  The overall style of each song is notably similar in its approach but at the same time, the subtleties in the arrangements are such that those who fully immerse themselves in the record.  Case in point is the late entry, ‘Dili Dilidor.’  The collection’s eighth entry, this song pairs what sounds like tablas with specific string arrangements, guitar and electronics for what sounds like a very western hip-hop influenced style composition.  That is evidenced just as much through the almost percussive approach of the vocals alongside the instrumentation.

By comparison, an earlier entry, such as ‘Laylijon’ comes across as being more rooted in the nation’s own musical culture while having an ever so subtle almost pop style approach in the vocals.  In other words, what audiences get in this song is a work that blends elements of vintage Tajik musical influence with more modern leanings for another unique overall composition that holds its own alongside ‘Dili Dilidor’ and other songs featured here.

On yet another note, a song, such as the even later entry, ‘Bakhor’ takes listeners in yet another direction.  In the case of this completely instrumental composition, feels entirely rooted in the region’s musical history.  There is something in the simple approach that immediately leads to the adage of less being more.  The overall arrangement is almost folk in its style but more folk in connection with the country than any western influence.  Again, it is one more example of the subtle differences in the collection’s works that make the songs so worth hearing even with the overarching stylistic similarities in the arrangements.  When it and the other songs examined here are considered along with the rest of the compilation’s entries, the whole makes the overall musical side of Lost in Tajikistan reason enough for audiences to hear this record.

The musical content featured in Lost in Tajikistan is just part of the reason for audiences to take in the record.  The liner notes that accompany the record add to its interest, at least to a point.  Throughout the record’s companion booklet, the liner notes – composed by Lu Edmonds – point out the challenges that Edmonds faced in order to make the compilation a reality.  From having to figure out how to even record the performances featured herein (he points out having to get the recording equipment to the sites was a challenge in itself) to facing less than great weather to making the trips to various locations and more, Edmonds’ recollections show a lot of time and effort really did go into bringing the compilation to life.  The revelations therein make for plenty of appreciation for the record’s primary content.  At the same time though, there is no discussion on the background of any of the songs, in regard to whether they are original works or traditional.  In addition, there are no translations for the songs that include vocals.  It would have been nice to have known whether the songs featured here are originals or traditional, and by connection, if they are traditional, what are their stories.  On that same note, lacking any translation or background for the words in the other specific songs detracts from the overall engagement and entertainment, too.  To that end, the liner notes presented here are both positive and negative.

Moving on from the mixed bag that is the liner notes, the production of the songs is positive in its own right, too.  Again noting the challenges that Edmonds pointed out in his narrative, the songs sound surprisingly clean and clear.  As a matter of fact they sound just as impressive as anything recorded in a professional studio.  To that end, Edmonds and all involved in the production are to be commended for their efforts, as the result is quite impressive.  Keeping that in mind, when the songs’ production is considered alongside the songs themselves and even some of the liner notes’ information, the whole makes for all the more engagement and entertainment and another mostly welcome addition to this year’s field of new World Music records.

Lost in Tajikistan, the recently released World Music compilation from Riverboat Records and World Music Network, is an interesting new offering from the companies.  Its appeal comes in large part through its songs, which blend influences of East and West alongside modern and vintage Tajikistan musical influences.  The arrangements are subtle in their differences even with a specific overarching stylistic approach.  The liner notes that accompany that primary content add at least some appeal through the background on how the compilation came to be.  The lack of any background on the songs themselves and translations for the vocals does detract from the overall enjoyment, though.  It is not enough to doom the record, luckily.  To that end, the production of the songs proves just as pivotal to its success as the songs themselves, considering the challenges that were faced in order to bring them to audiences.  Keeping that in mind, the production works with the songs themselves to make the collection another offering from Riverboat Records and World Music Network that while imperfect, still largely impresses.

Lost in Tajikistan is available now through Riverboat Records and World Music Network.  More information on this and other titles from Riverboat Records is available 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.

Children Of Bodom’s Final Concert Proves A Mostly Successful Recording

Courtesy: Spinefarm Records

Between 2019 and 2020, the metal community suffered two big losses when Children of Bodom officially called it a career and then its famed founding member Alexi Laiho died.  According to a news release issued by the band at the time of his passing, he had been suffering from long-term health complications leading up to his death.  Now more than three years after the band officially played its last show that concert has been made available to the masses through Spinefarm Records, which released seven of the band’s 10 total studio albums in the form of A Chapter Called Children of Bodom: The Final Show In Helsinki Ice Hall 2019.  Those albums spanned its 1997 debut album, Something Wild all the way to 2011’s Relentless Reckless Forever.  Released Friday, the concert is a mostly successful final posthumous offering from the band.  That is due in large part to the concert’s set list, which will be discussed shortly.  The recording is not perfect, however.  That the concert has been made available strictly on audio-only platforms detracts from the presentation to a point, though not enough to doom the recording.  This will be discussed a little later.  Staying on the matter of the limited availability (so to speak), the recording’s audio is of some positive, too.  So, it has that to its positive, too, and will also be addressed later.  Each item noted here is important in its own way to the whole of the recording.  All things considered they make A Chapter Called Children of Bodom: The Final Show in Helsinki Ice Hall 2019 an imperfect but still enjoyable addition to this year’s final list of top new live CDs.

A Chapter Called Children of Bodom: The Final Show in Helsinki Ice Hall 2019, the seemingly last live recording from metal titans Children of Bodom, is a presentation that audiences will find an interesting offering from the band.  The main positive that it boasts is its set list.  Spanning a total of 18 songs, the set list pulls from all 10 of the band’s albums.  Opening with a pair of songs from the band’s now final album, Hexed (2019), the set list pulls most heavily from the band’s 2003 album, Hate Crew Deathroll.  That album gets a total of four nods while Follow The Reaper (2000), gets the second most attention with three songs. Are You Dead Yet? (2005), and Hexed (2019) are each represented through a pair of tracks.  The rest of the band’s albums are represented by one song each.  In looking even deeper through the set list, audiences will note that the band doesn’t stick too long to any one of the albums, instead going back and forth through its catalog from beginning to end.  The result is that this aspect of the set list in itself more than ensures listeners’ engagement and entertainment.  When this is considered with the fact that the band reached into every one of its albums to make up the set list will appeal just as much to audiences if not more so.  To that end, the set list featured in this concert builds a strong foundation for the recording.

While the set list featured in this recording establishes a strong starting point for its presentation, the recording is not perfect.  That is because it is only being presented (at least in this its first ever release) on audio-only platforms.  There are no DVD, Blu-ray or even 4K options.  It has only been made available on CD, vinyl, and digital platforms. In other words, audiences get to hear the concert but not actually get the full concert experience.  In listening through the recording, it is obvious that the band gives its all throughout the course of the 78-minute performance.  That in itself is sure to keep audiences engaged.  However, there is no denying the impact that actually being fully immersed in a concert can and often does have for the experience.  Getting to see the band and not just hear it.  Getting to see the audience’s excitement.  Seeing the work of the director, audio specialists and camera operators, and even editors puts the real final touch to the whole.  It just would have been nice for audiences to have had that full experience.  Keeping that in mind, the lack of a full audio-visual experience is problematic for the recording.  There is no denying that truth.  At the same time, at least audiences can experience this important piece of Children of Bodom’s history to the extent that it has been offered.  To that end, (and that the set list pulls from the entirety of the band’s catalog), the concert is still worth experiencing.

Audiences can really grasp the energy of the band in each song’s performance because of the production that went into the recording.  More specifically, the work that went into the audio mixing and production is to thank for audiences’ ability to grasp that energy.  Considering the energy and fire contained in each song, that speaks volumes.  Between the intensity of the guitars and the drumming, and Laiho’s equally powerful vocals, every element in each song has been expertly balanced.  A lot of time and attention had to be paid to every part, and that painstaking time and effort paid off from beginning to end, making for even more aesthetic appeal for audiences.  The engagement and entertainment ensured by the expert production pairs with the concert’s set list and the band’s fully immersive performance of each song to make the whole an offering that proves mostly successful and welcome among this year’s list of new live CDs.

A Chapter Called Children of Bodom: The Final Show in Helsinki Ice Hall 2019, the newly released final concert from Children of Bodom, is a mostly positive offering from the now defunct band and from Spinefarm Records.  Its success comes in large part through its expansive, catalog-spanning list.  Running 18 songs deep, it pulls from all 10 of the band’s albums, some more heavily than others, but still does from all 10 records regardless.  While the set list makes for plenty of engagement and entertainment, the recording does suffer from one major negative in the reality that it is only offered on audio-only platforms.  There are no options for DVD, Blu-ray or even 4K UHD.  The result is that audiences can only hear the concert, which takes away considerably from the concert experience.  It is not enough, though, to totally doom the recording.  To that end, the production that went into the recording provides a positive aesthetic element.  It helps to really immerse audiences in the show through its expert balance of the instrumentation and vocals throughout.  Each item examined here is important in its own way to the whole of the recording.  All things considered they make A Chapter Called Children of Bodom: The Final Show in Helsinki Ice Hall 2019 a mostly welcome final statement from Children of Bodom.

A Chapter Called Children of Bodom: The Final Show in Helsinki Ice Hall 2019 is available now through Spinefarm Records.  More information on the recording is available along with all of Children of Bodom’s latest news at:

Website: http://www.cobhc.com

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

Twitter: http://twitter.com/cobhc

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.

‘The Abyss’ 4K UHD Is 2024’s First Great Movie Re-Issue

Courtesy: 20th Century Studios

Beings from other worlds have been fodder for so much cinematic fare ever since the advent of the motion picture.  From the earliest days of cinema, humans’ attention has constantly been on the stars as “the final frontier.”  Yet for the past half century or so, that attention has turned just as much to Earth’s oceans as possible homes for beings from other worlds.  So much so that in 1989, 20^th Century Studios (nee 20^th Century Fox) released what is still to this day one of only a handful of movies strictly centered on so-called unidentified submerged objects (USOs) in the form of The Abyss (The Sphere is about the only other movie that can really be argued to have any connection with the long theorized objects and their otherworldly occupants).  The Abyss has seen a handful of re-issues since its theatrical debut on DVD and even Blu-ray, and on March 12, the movie will finally see its first ever 4K release.  For those who have yet to have seen this classic helmed by famed director James Cameron, the forthcoming 4K re-issue proves to be a fully enjoyable offering.  To the positive is the movie’s noted story, which will be discussed shortly.  The special effects presented throughout the movie are of their own applause and will be discussed later.  They definitely add so much to the viewing experience, especially in comparison to those of so many of the major blockbusters out there today.  The bonus content that accompanies the movie in its forthcoming re-issue rounds out the most important of the movie’s items.  That is because of the background that the content in question adds to the movie’s presentation.  When the bonus content is considered along with the movie’s story and its special effects (and even the cast’s own work), the whole makes the forthcoming 4K re-issue of The Abyss the first great addition to 2024’s top movie and television re-issues.

20^th Century Studios’ forthcoming 4K re-issue of The Abyss is a presentation that has been a long time coming and honestly worth the wait.  That is especially the case for those who are familiar with the movie.  For those who perhaps are less familiar with the movie (and even those who have not seen the film in some time) its success comes in part through its featured story.  The story is (as Cameron notes in one of the new bonus features) really a take of sorts on 20^th Century’s equally timeless science fiction flick, The Day The Earth Stood Still (1951).  He notes in his comments, the influence of said classic movie comes as the so-called “NTI’s” (the underwater aliens) point out to Bud (star Ed Harris – Appaloosa, The Rock, The Truman Show), humans’ destructive nature.  The bigger story opens as a nuclear submarine is inadvertently sunk when it gets caught in the wake of one of the “NTIs” and then runs into an underwater mountain.  From there, a group of military figures is brought in to recover a nuclear warhead from the sub, leading to a conflict between the more peace-loving crew of the “Deep Core” and the military men.  That conflict of “war and peace” is a trend that Cameron has continued to use most recently in the far less original Avatar movies.  Cameron talks at just as much length in the comments about that destructive nature of mankind in his comments in the new bonus content and this will be discussed more later.  Again, at the time of this movie’s debut there were few if any other movies or even television shows out there that focused on beings from other worlds existing below the waves.  The focus was entirely on outer space, so while the bigger presentation is familiar, that concept of the final frontier being underwater instead of outer space makes for such a unique presentation, as does the story and how it unfolds. 

The story at the center of The Abyss builds a solid foundation for its presentation and is just one part of what makes this movie so enjoyable.  The special effects that are exhibited throughout the movie build on the story’s success, making for even more enjoyment.  That is because considering the era, the use of computers was so limited.  This is something else that is pointed out in the new bonus content that accompanies the movie.  Cameron himself and others point out that the use of computers was limited primarily to the creation of the pseudopod creature that eventually makes its way into the Deep Core late in the story.  Even the “NTIs” were real to a point.  According to the information in the bonus content, they were puppets, and some added non-computer effects were used to make it look like they were floating in the water.  Meanwhile, the balanced use of model submarines, the lighting and even the use of the giant 60-fooot tank for the shooting ties with the actual use of unique sound from the helmets (and that of the helmets themselves) gives the special effects such a welcome organic look and sense.  It is such a welcome change of pace from all of the overly obvious fake looking CG special effects that fill out so many major blockbusters nowadays.  Even Cameron himself said that movies today would not succeed in looking and feeling the way that The Abyss does with the new special effects technology that is available to filmmakers.  He is right, too.  It just goes to show how important the special effects were and still are to The Abyss.

Speaking of the importance of the special effects, one of the two new bonus features that comes with the re-issue and which examines the movie’s legacy points out that organic approach is a big part of what makes the movie such a timeless story.  That note is right.  It was a groundbreaker for its era since few if any studios and movie makers were doing what Cameron and his crew and cast did with this movie.  The nearly half-hour discussion on the role of the movie’s special effects (including the use of the models) is so in-depth that it makes the movie that much more engaging and in turn appreciated.  It is just one of the ways in which the bonus content proves so important to this presentation.  The “Deep Dive” bonus does even more to express that importance.  Over the course of more than half an hour (32 minutes to be exact) Cameron talks about his perfectionist nature and his own dislike of technology and how that played into the story that he crafted for The Abyss.  He adds that dislike of technology, that distrust of it, is what he believes leads so many science fiction writers to craft their stories.  He is not wrong, considering how many of the timeless science fiction movies of the 1950s were in fact message movies that while entertaining also preached against the potential impact of the use of nuclear power.  How ironic, in hindsight, is that, considering that almost every bit of The Abyss was recorded in a nuclear storage unit whose construction was never completed?  He also talks about how despite being a perfectionist, he was impressed by Harris’ own determination to get his parts just right.  It is a show of dedication by Harris to his craft and in turn makes for more respect for Harris as an actor.  Cameron opens this whole feature by pointing out that he actually wrote the original script for what would go on to become The Abyss at the age of only 16.  It would be interesting to see the original story that he wrote and only revisited 10 years later (his own words). 

Perhaps what is most interesting of all about all of this is that much of the new bonus content that accompanies this re-issue is actually included in the traveling James Cameron museum exhibit, “Challenging The Deep.”  The exhibit features props used during the filming of The Abyss, including a pair of helmets used in the filming, one of the model NTI “vehicles” used as well, and other items.  To see that footage that was part of the exhibit included here is just a positive aesthetic in the bigger picture because in hindsight, those who have gotten to see said exhibit (such as this critic) can smile knowing they got a supposed first look at the footage.  Between that, the impact of the bonus content, the story and the special effects, 20^th Century Studios’ forthcoming 4K UHD re-issue of The Abyss proves to be a welcome re-visiting of this modern classic movie that any science fiction fan will find enjoyable.

20^th Century Studios’ forthcoming 4K UHD re-issue of The Abyss is a welcome return for the movie that many audiences will find was worth the wait.  That is proven in part through its story which like so many classic science fiction flicks, is equal parts message movie and entertaining action flick.  That is the case even despite its at times cruelly slow pacing.  The pacing makes its nearly three hour run time feel right at that length if not longer.  The movie’s groundbreaking special effects make for their own entertainment and engagement because they are so original even to this day.  The two new bonus features that accompany the movie in its new 4K UHD re-issue put the finishing touch to the presentation, truly taking audiences into a deep dive of their own into the movie and its history.  That is because of the in-depth discussions on so much of its presentation.  Each item examined here is important in its own way to the whole of this movie.  All things considered they make the 4K UHD re-issue of The Abyss the first great entry in 2024’s new movie and television re-issues category.

20h Century Studios’ 4K UHD re-issue of The Abyss is scheduled for home physical release March 12.  It is available digitally now.  More information on this and other titles from 20^th Century Studios is available at:

Website: https://20thcenturystudios.com

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

Twitter: https://twitter.com/20thcentury

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

Like A Storm Unveils Remixed Take Of Its Single, ‘Sinners & Saints’

Courtesy: Edgeout Records

Hard rock outfit Like A Storm premiered a reworked version of its single, ‘Sinners & Saints’ this week.

The band debuted the slightly re-worked take of the song Friday. The group released the original take of the song in September, only a month after announcing it had signed a new record deal with independent label, Edgeout Records.

Bassist Kent Brooks explained, the remixed take of the single was minutely changed, pointing out the primary change came in the song’s opening bars.

“The ‘Sinners & Saints’ heavy alt remix was done in Las Vegas, featuring a brand new intro,” Brooks said. ”It intertwines a lot of cool electronic elements while keeping the same heavy sound.”

According to Brooks, the song’s lyrical theme is a somewhat existential rumination.

“We’re really stoked to be releasing this Heavy Alternate Remix of ‘Sinners & Saints,  which is about the inner struggle of the human condition.” Brooks said. ”There’s a war inside all of us between our best intentions of trying to be ‘perfect,’ and the imperfect reality of what it means to be human.”

Like A Storm recently served as support for Skillet for a six-week run across Europe and the United Kingdom. A North American tour is being planned in support of LAS’ next album (its fifth) which is set for release in 2024. An exact release date is under consideration.

More information on Like A Storm’s new album, single, tour, and record deal is available along with all of the band’s latest news at:

Website: https://likeastorm.com

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

Twitter: https://twitter.com/likeastorm

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.

KK’s Priest Announces First Dates For 2024 North American Tour

Courtesy: Napalm Records

KK’s Priest will make its way to North America early next year and the band will bring some well-known friends along for the ride.

The band announced Friday, it will launch the first leg of its 2024 North American headlining tour March 7 in Ft. Lauderdale, FL. The tour is scheduled to run through March 24 in Glenside, PA. The band will bring Burning Witches and L.A. Guns along for the run, which will take all three bands largely to the East coast and the Midwest. Among the dates on the first leg are stops in cities, such as Columbus, OH; Atlanta, GA and Newport, KY.

Band namesake and founder K.K. Downing spoke at length about the upcoming tour.

“It has been far too long! I am very excited to announce that KK’S PRIEST will soon have the honour of playing our first ever shows in the USA starting March 7th 2024,” Downing said. Finally, KK’S PRIEST metal is coming to my dear home away from home. 

Downing continued, “We will be very proud to bring you the finest British steel from England — where the embryo of this beloved music was conceived so many years ago.  The sands of time have moved so quickly for us all, but I am sure we all feel incredibly fortunate to have been a part of this nostalgic journey.  I look forward to seeing everyone again — rest assured that it will be “Blood and Thunder,” with “Hellfire Thunderbolts” and much more.  We promise to make history again together with you on this very special occasion. See you very soon!””

Tickets are available now and the tour’s schedule is noted below:

KK’S PRIEST Return Of The Sinner USA Tour 2024
Featuring Special Guests: L.A. Guns & BURNING WITCHES

March 7 – Fort Lauderdale, FL – Culture Room
March 9 – Destin, FL – Club LA
March 10 – Atlanta, GA – Buckhead Theater 
March 12 – Baltimore, MD – Rams Head Live 
March 13 – Buffalo, NY – Riverworks
March 15 – St. Charles, IL – Arcada Theatre
March 16 – Columbus, OH – King Of Clubs
March 17 – Pittsburgh, PA – Stage Ae 
March 19 – Newport, KY – Megacorp Pavilion 
March 20 – Cleveland, OH – Agora Theater
March 22 – Sayreville, NJ – Starland Ballroom 
March 23 – Patchogue, NY – Patchogue Theatre
March 24 – Glenside, PA – Keswick Theatre

KK’S PRIEST 2024 FESTIVAL DATES:
May 18 – Gelsenkirchen, Germany – Rock Hard Festival
June 15 – Zamora, Spain – Z! Live Festival 
July 14 – Vizovice, Czech Republic – Masters Of Rock Festival 
August 4 – Rasnov, Romania – Rockstadt Extreme Fest 
August 24 – Nottinghamshire, United Kingdom  – Stonedead Festival

KK’s Priest’s upcoming tour is in support of its recently released album, The Sinner Rides Again, which was released this past September. The album most recently produced the single, ‘Sons of the Sentinel‘ and its video. The record has also produced four other singles, ‘Hymn 66,’ ‘Strike of the Viper,‘ ‘Reap The Whirlwind,‘ and ‘One More Shot at Glory.‘

The band previously toured alongside Burning Witches in October in support of its new album. Prior to the upcoming North American run, KK’s Priest is scheduled to take part in the annual Monsters of Rock cruise from March 2-7. The cruise is sold out.

More information on the tour is available along with all of the latest news from KK’s Priest at:

Website: https://kkdowningofficial.com

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

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