Trapt’s Latest LP Is A Fully Accessible, Radio Ready Presentation

Courtesy: The Label Group.INgrooves

Veteran rock band Trapt is scheduled to release its latest album Friday.  The 12-song album Shadow Work – the band’s eighth album — will come less than four years after the release of its predecessor, DNA upon its release.  The record is a presentation that will grow on audiences each time they listen through its 11 primary songs and one bonus track, each of which is its own fit for any active rock radio programmer’s playlist.  That is due to the songs’ musical arrangements just as much as their lyrical content, as is evidenced in part through ‘Let Me Down Slowly,’ which comes late in the record’s run.  It will be discussed shortly.  ‘Tell Me How You Really Feel,’ which comes early in the album’s run, is another key way in which it shows what makes it worth hearing.  ‘Far Enough Away,’ which comes just ahead of the album’s midpoint, is one more way in which Shadow Work engages audiences.  It will also be discussed later.  When it is considered along with ‘Let Me Down Slowly,’ ‘Tell Me How You Really Feel’ and the rest of the album’s works, the whole of the album becomes a presentation that is unique from Trapt’s previous albums, and just as worth hearing at least once.

Trapt’s eighth full-length studio recording Shadow Works is an interesting new offering from the veteran rock band.  While maybe not as heavy as some of the band’s past works, it still holds its own appeal for audiences.  The album’s musical arrangements and lyrical themes make it good fit for many mainstream active rock radio stations.  That is proven in part through one of the album’s later works, ‘Let Me Down Slowly.’  The song’s arrangement’s opening bars present audiences with a soft, contemplative sound that gradually builds into a more ballad-esque approach.  This back and forth of the song’s softer and slightly more energetic elements continues from that point, serving to help illustrate the emotions exhibited in each portion of the composition.

The noted change in emotions and thoughts is itself well-translated through the song’s lead verse and chorus, in which front man Chris Taylor Brown sings, “You like to catch me off guard/So it’s hard to keep my balance/And you know how to get inside/And you know how to love me right/And I’m not ready to let you go just yet/Do we have more time left to stretch/Cause I’m not ready yet/Let me down/Let me down/Let me down slow/Stick around/Draw it out/Til there’s nowhere else to go/Pushing me/Along a string/And if you’re finally/breaking free/Let me down slowly.”  Right from the outset, what it seems the song’s subject is dealing with is a familiar mindset, that of knowing a relationship is at its end, but basically not wanting it to be over.  That denial (in the song’s chorus) is where the song’s energy picks up, while the verse is the more contemplative moment, in which the subject is going through everything that has led up to that point.  The song’s second and third verses continue to paint that noted picture, with Taylor singing in the second verse, We always take it too far/And we’re up for any challenge/You know when I get excited/You know how to keep me smiling/I’m not ready to let/You go just yet/Do we have more time left to stretch/Cause I’m not ready yet.”  he adds in the song’s third verse, “Take your time with me/Stretch the seconds out/Keep the waves rolling/Keep it calm before the storm comes round and drowns me.”  Once again, this comes across as someone who is in complete denial about a relationship’s end and is essentially pleading with the other person to not end it, without actually pleading per se.  It is certain to engage audiences and generate its own share of discussion among audiences.  Together with the mainstream active rock radio appeal that the song’s musical arrangement presents, the two elements join to make this just one of the album’s most notable works.  ‘Tell Me How You Really Feel’ does its own part to make Shadow Work worth hearing.

‘Tell Me How You Feel’ presents a sound that is starkly different from almost anything else on this record.  Where ‘Let Me Down Slowly’ presented audiences a contemplative, pleading song, this song is more of a poppy early 90s work that even has a hint of 80s pop rock to a point. Guitarist Bendan Hengle’s riffs and drummer Mike Smith get plenty of time in the limelight in this composition as they form the foundation for the song’s arrangement.  Its infectious overall sound make it a fit not just for active rock stations, but possibly even Top 40 stations. It is that accessible of an arrangement.  What is so interesting is that considering the song’s lyrical theme, which seems to focus on one person trying to get his/her partner to communicate. Such a confrontation between partners in a relationship can take many different forms.  It can be emotionally intense or even something less intense, as in the case presented here.  To that end, the song’s musical arrangement works well.

Going back to the song’s lyrical theme, the situation presented here is one of those less intense situations.  That is made clear as Brown sings in the song’s lead verse, “Tell Me How You Really Feel/Lips locked and tongues tied/We both want to shout/But know not what about/I’m stuck in your eyes/Tryin’ to figure out/Where we are now/There’s a voice in this confusion/Waiting to be heard/Lost in the commotion/Searching for the words/Show me some emotion/Tell me where it hurts/These aren’t your secrets to keep.”  This is someone talking to his/her partner at the critical point in a relationship where the big argument has not yet happened.  It is that point where one partner is trying to prevent said incident from happening.  The discussion continues in the song’s second verse, Our hearts on our sleeves/Yet we can’t say the things/That we both really mean/Pushing or pulling/Tell me how I can be/Right in between/There’s a voice/in this confusion/Waiting to be heard/Lost in the commotion/Searching for the words/Show me some emotion/Tell me where it hurts/These aren’t your secrets to keep.”  Coupled with the song’s chorus, in which Brown sings, “Tell me how you really feel/Tell me how you feel/If you really want to make it real/Then tell me how to/Tell me how you feel/We have only ourselves to blame/If we don’t say what we have to say/If you really want your wounds to heal/Then tell me how you feel,” what audiences get in full is, again, that discussion between the couple (more so coming from one side than the other) about that need for communication, which is key to any relationship.  Together with the song’s musical arrangement, the song gains even more traction and possibility for mainstream radio play.  It is just one more of the songs that stands out in this record.  ‘Far Enough Away’ is one more example of why audiences should give the record at least one chance.

‘Far Enough Away’ is another of the most accessible songs on Shadow Work.  This applies to its musical arrangement and its lyrical theme.  The song’s musical arrangement is a gentle, flowing presentation that conjures thoughts at times of works from Third Eye Blind, Sister Hazel, and to a lesser degree, Matchbox 20.  The melody and harmonies generated through the use of the guitars and strings joins with the steady time keeping and vocals to make the song’s arrangement another easy fit for any Top 40 or even adult contemporary station’s playlist.  It is just one part of what makes the song stand out.  That semi-melancholy vibe featured in the song’s arrangement works well with the song’s lyrical theme, which seems to present another relationship-based story.  This time, the story seems to focus on a person who wants to let down that wall around himself/herself, but is apparently afraid to let down that guard.  Men and women alike have been in this position at one point or another.  Brown sings in the song’s lead verse of this person, “I want to be held/But only from a distance/How do you hold on to me/I want to let go/I don’t want to have to hold your hand anymore.”  He continues in the song’s second verse, “I wanted it all/But I didn’t want to give you all of me/So why do I want all of you/I want to come close/But I can’t let myself believe/That you feel it too” and adds in the song’s third and final verse, “No matter how far I go/I can’t get away/No matter how far I go/There’s too much to say.”  Yet again, that noted picture is painted here.  Whether this is the result of a broken relationship or relationship on the rocks is left to interpretation.  However, what can be inferred is in fact that this song’s subject is trying to deal with a lot of complicated thoughts.  We have all been in that position of trying to decide whether to let down our guard when a relationship status becomes difficult.  To that end, this makes this song’s lyrical content accessible in its own right.  When it is joined with the song’s musical arrangement, the overall emotional impact on audiences will stick, proving in the end why this song is another important addition to Shadow Work.  Keeping this in mind along with the impact of the other two songs addressed here and the rest of the album’s works, the whole of the album proves that it is worth hearing at least once and worth consideration for any mainstream active rock radio programmer’s playlist.

Trapt’s forthcoming eighth album Shadow Work is a work that deserves to be heard.  That is because its musical and lyrical content is accessible.  The musical content is comparable to works from so many of the band’s most well-known mainstream counterparts.  The record’s lyrical themes, which are seemingly mostly focused on the matter of relationships, will connect with ease to a wide range of listeners.  This is all proven through all three of the songs featured here.  When they are considered along with the songs not directly addressed, the whole of the record should not stay in the shadows.  Yes, that awful pun was intended.  Shadow Work is scheduled for release Friday through Ingrooves and The Label Group.  More information on the album is available along with all of the band’s latest news at:






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Card Reader Debuts New Single, ‘Sore Eyes’

Courtesy: Earshot Media

Fledgling pop punk band Card Reader debuted its new single this week.

The band debuted its song ‘Sore Eyes’ Wednesday.  The song’s musical arrangement will appeal to fans of so many bands within the pop punk world, and its existential yet positive lyrical theme will appeal to just as many listeners, if not more.

Front man Tom Petito talked about the song’s lyrical theme in a recent interview.

“I wrote this song after I lost a close friend,” he said.  “The message is resounding: life is short, any day could be your last so don’t settle for less. Go after your dreams unapologetically.”

‘Sore Eyes’ is available to stream and download through Spotify, Apple Music and the band’s official Bandcamp page.

Card Reader was founded in 2015 by Petito after a decade of working with other bands.  The band’s motto rests on the mantra of believing in one’s self no matter what; refusal to settle for anything less than what makes one happy.

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






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New Language Debuts ‘Paranoid’ Video

Courtesy: New Language

Independent rock band New Language debuted the video for its latest single this week.

The band debuted the video for its new single ‘Paranoid‘ Wednesday.  The video is a lyric video/music video hybrid that presents the song’s lyrics against the backdrop of a series of television monitors, each of which features various images related to the song’s lyrical theme.

The band addressed the song’s lyrical them in a recent interview, pointing out the evolution which it underwent as it was written.

“’Paranoid’ was initially written in response to the repeated gun violence we see here in the US and around the world,” the band noted.  “Paranoid” was a theme we felt could all be related to in some regard. As a small experiment, we asked peers, family, fans, and friends, “What makes you paranoid?” The answers were all over the place and it quickly became apparent how we all share the same feeling but for such varying reasons. Is it losing control? Is it not meeting expectations? Is it violence? Are we paranoid because the person standing next to you is paranoid? The list could go on and we can be better at understanding everyone’s reasons.”

The visuals and theme noted go well with the song’s musical arrangement, which is a frantic, high energy work.  It presents a stylistic approach that will appeal to fans of the post punk realm.

‘Paranoid’ is the third and final single from New Language’s recently released EP EP1_2020.  The EP also produced the singles ‘No Time‘ and ‘Can’t Explain.’

More information on EP1_2020 is available along with all of New Language’s latest news at:






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Ovtlier Debuts ‘Buried Me Alive’ Re-Issue Video

Courtesy: INgrooves/The Label Group/Universal Music Group

Independent hard rock band Ovtlier debuted the video for the re-issue of its 2019 single ‘Buried Me Alive’ this month.

The band debuted the video for the single’s re-issue June 24.  The song’s musical arrangement presents an aggro-rock style approach through its tuned down guitar, heavy bass and drums, and hybrid screaming/singing vocals.

Front man Joey Arena talked about the song’s regeneration and its lyrical theme in a recent interview, noting that despite the song’s visualization, it is not actually about a relationship gone bad or even literally being buried alive.

“Buried Me Alive” is a personal favorite and great representation of Ovtlier,” he said.  “I chose to re-record Buried in 2019 (release in 2020) because I knew there was a lot of life left and it deserved to be heard. It was written by myself and Evan McKeever and produced by Justin “JD” de Blieck of Ice Nine Kills. It was a great experience to revisit a song from years ago only to see how much you grow as a musician and vocalist. It’s a test to oneself. Lyrically, the song is about my love for music but hate for the industry. It can almost take the love out of the art if you let it, chew you up and spit you out. Like life, we must roll with the punches and continue on.”

‘Buried Me Alive’ is available to stream and download here.

More information on the band’s re-issued single is available along with all of the band’s latest news at:





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Montreux Jazz Festival “54th Summer Of Music” Launches Online Friday

Courtesy: Eagle Rock Entertainment

The annual Montreux Jazz Festival is going on despite the COVID-19 pandemic.

The festival is scheduled to start Friday and to run through July 18.  Since the festival will not take place in person this year, it has been moved online and will feature classic performances from famed artists, such as Nina Simone, Deep Purple, and Etta James.  Additionally, it will feature the premieres of performances from performers and bands, such as John Lee Hooker, Tom Misch, and Kenny Wayne Shepherd.  One performance will stream daily over the course of that 16-day span.

The “festival’s” schedule is noted below.


“Summer Of Music” Line Up

John Lee Hooker (1983) — world premiere — Friday July 3
Charles Bradley (2016) — world premiere — Saturday July 4
Dimeh, Slimka, Makala et Varnish la Piscine (2016) — Sunday July 5
Suzanne Vega (2004) — Monday July 6
Rory Gallagher (1979) — Tuesday July 7
Charles Mingus (1975) — Wednesday July 8
Carlos Santana Plays the Blues (2004) — Thursday July 9
Bang Bang Romeo (2019) — world premiere — Friday July 10
Angelique Kidjo and Friends (2016) — world premiere— Saturday July 11
Nina Simone (1976) — Sunday July 12
Deep Purple Live with Orchestra (2011) — Monday July 13
Etta James (1993) — Tuesday July 14
BB King (1993) — Wednesday July 15
Kenny Wayne Shepherd (2019) — world premiere — Thursday July 16
Tom Misch (2019) — world premiere — Friday July 17
Marvin Gaye (1980) — Saturday July 18


Dubbed the “54th Summer of Music,” this year’s retrospective showcase will stream through the festival’s official YouTube channel.  It was made possible through a partnership between Eagle Rock Entertainment and Montreux Media Ventures.

Montreux Festival CEO Mathieu Jaton talked about the upcoming festival streams in a recent interview.

“Since its beginnings in 1967, the Montreux Jazz Festival has been immensely fortunate to have built up, thanks to the visionary spirit of Claude Nobs, a rich and unique audiovisual archive,” he said.  “This heritage has made the Festival famous and continues to make it shine through initiatives such as the 54th Summer of Music, made possible through our collaboration with the Claude Nobs Foundation, Eagle Rock and the NMAAM. This summer, this heritage is more essential than ever.”

Geoff Kempin added his own thoughts about the online festival.

“Marvin Gaye’s 1980 performance marked the inaugural collaboration between Montreux and Eagle Rock Entertainment, it paved the way for not only an exciting stable of ongoing releases, but also a fantastic line-up of artists at this summer’s Virtual Montreux Festival,” said Kemin. “We are delighted to be partnering with the Montreux Jazz Festival and YouTube in this summer Festival celebrating the diversity of artists that have performed at Montreux.”

Throughout the course of the “54th Summer of Music,” audiences will be able to donate to the National Museum of African-American Music, which is scheduled to open this fall in Nashville, TN.  All advertising revenues raised through the two-week-plus online-only festival will also go to benefit the museum.

Tuwisha Rogers-Simpson talked about the fundraising efforts with her own comments.

“NMAAM is thrilled to partner with Montreux Jazz Festival for this year’s ‘Summer of Music’ virtual event,” said Rogers-Simpson.  “In these uncertain times, music has been a beacon of light in a world of darkness, so we are excited that music lovers from across the globe will be able to share in this experience. Since the early 1600s, the influence of Black music and Black artists has spanned the globe, crossing race, age and even geography. We believe NMAAM to be a global destination where we unite people under a shared banner of music. Montreux is a titan in the popularization of Black music, not just in jazz but across genres, showcasing the wide-ranging impact of Black music and Black sounds. We look forward to what the ‘Summer of Music’ event brings to fans and we hope for a continued friendship and partnership”

More information on the “54th Summer of Music” is available along with all of the latest Montreux Jazz Festival news at:






More information on the festival is available along with all of the latest Eagle Rock Entertainment news at:






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Neal Morse Announces Release Date, Specs For New Album

Cover Art by: Thomas Ewerhard/Courtesy: InsideOut Music

Veteran prog-rock composer/singer/songwriter Neal Morse will release his new album this fall.

Sola Gratia is scheduled for release Sept. 20 through InsideOut Music.  The album is a concept record that focuses on the Apostle Paul.  It came from a discussion that Morse had with his wife years ago, according to comments made by Morse himself in a recent interview.

“I was talking to my wife Cherie about debuting this new piece at Morsefest 2020 (Morse’s annual fan convention in Nashville) and she said she thought it would be good for me to do a solo album,” he said. “ However, I thought she said ‘Sola album’ and – because some of the new ideas involved Paul’s aggressive pursuit of the early Christians, I could see a link to some of the themes of persecution in ‘Sola Scriptura’.”

Sola Scriptura is Morse’s 2007 album about the Rev. Dr. Martin Luther King Jr.

Sola Gratia feaures famed drummer Mike Portnoy (ex-Dream Theater, The Winery Dogs, Transatlantic), Randy George (The Neal Morse Band, The Prog World Orchestra, Ajalon), Eric Gillette (The Neal Morse Band, Tree of Life, The Swon Brothers), Bill Hubauer (The Neal Morse Band) and Gideon Klein (Delta Rae, Jewel, The Neal Morse Band) adding their talents to the whole.

While many of the artists featured on this record work with Morse in The Neal Morse Band, he [Morse] explained that the album was still going to be a Neal Morse album instead of Neal Morse Band album.

“With the Neal Morse Band, the whole band works together on the writing, and while Eric Gillette plays some guitar and Bill Hubauer has added some keyboards on this one, neither of them wrote – or is singing – on this album,” he said.

Sola Gratia will be available as CD/DVD digipack (including making of documentary); 2LP/CD combo pack; CD and digital release.  Thomas Ewerhard created the album’s artwork.  The record’s track listing is noted below.


The full track-listing is as follows:

3.In The Name Of The Lord
4.Ballyhoo (The Chosen Ones)
5.March Of The Pharisees
6.Building A Wall
7.Sola Intermezzo
9.Warmer Than The Sunshine
10.Never Change
11.Seemingly Sincere
12.The Light On The Road To Damascus
13.The Glory Of The Lord
14.Now I Can See/The Great Commission


Sola Gratia will receive its official release Sept. 18 and 19 at Morse’s annual Morsefest.  Due to COVID-19 regulations, a limited number of people will be able to attend.  Tickets are available here.

Pre-orders for Sola Gratia will open July 17.

More information on Neal Morse’s new album is available along with all of his latest news at:






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Devildriver Debuts ‘Iona’ Video

Courtesy: Napalm Records/Album art by Johnny Jones at COMA

Devildriver debuted the video for its latest single this week.

The band debuted its hybrid video/lyric video for its new single ‘Iona‘ Wednesday.  The song is both a music video and an a lyric video in one.  The video features the story of a man who is traveling through a countryside setting and is being “hunted” by the spirit of a soul-stealing woman named Iona.  The story is set up by a brief explanation of the story at the video’s opening.

The video’s black and white effect, coupled with the acting of its two cast members and the setting will keep audiences engaged and entertained, as well the story.  The song itself does just as much to maintain that attention.  That is because its musical arrangement is everything that audiences have come to expect from the band throughout the years.

Front man Dez Fafara talked about the video and song in a recent interview.

“Iona is unlike any other Devildriver song we’ve put out,” he said. “From the frantic verses to the haunting chorus, this song is another move forward to push our sound and the listener’s ears into the fray! The chorus, “she carries a black rose, effigy from a story closed”, tells the story of the long dead ghost of Iona and her obsession with death represented by the black roses in her hands – each one the soul of someone she’s taken from this life on a lonely dark road, assimilating their souls into black roses, which she carries for eternity.  This theme relates to myself and “Dealing With Demons” in that, often times, we as people have a hard time “letting go” of things. This can be applied to relationships, death, and so on. Iona carrying the black roses symbolizes her inability to move on – always seeking revenge. The past is exactly that – the past – it’s important to let go and not be stuck in a perpetual loop of living in it.”

‘Iona’ is the second single from Devildriver’s forthcoming album Dealing With Demons.  The band debuted the video for the album’s lead single ‘Keep Away From Me‘ in May.

Fafara discussed the song’s lyrical theme in a recent interview.

“I’ve been social distancing since I was born,” he said. “I’ve learned to try and embrace my Agoraphobia all my life. This is what the lyrics are about as we are all sheltered in place. They seem very clear. Now is not the time bands should shy away from the obvious by trying to push the narrative through their art as if everything is alright with the world and ‘it’s metal video visual as usual time’, as it is clearly NOT that time.”

“We as artists should speak up, inspire and change lives, or paint a picture – a time capsule if you will – by the narrative we push in uncertain times,” he added. “This video is one such art piece as my band and thousands of others are forced into quarantine – cannot rehearse, take photos, or perform – to make a music video for the very people that have supported us for years. It’s trying times for the world and my outlook through this video is simply this: ‘here’s what we are going through as a family on this planet and as we embrace what is yet to come… please Stand Together’.”

Dealing with Demons is the first half of a two-part release that will see its second half released later this year.  This first half is scheduled for release Oct. 9.

Pre-orders are open now for Dealing With Demons I on a variety of platforms.  All pre-order pre-orders enter fans into a giveaway for a Dealing With Demons 1 banner.  the album’s track listing is noted below.

Dealing With Demons I Tracklist:
1. Keep Away From Me
2. Vengeance Is Clear
3. Nest Of Vipers
4. Iona
5. Wishing
6. You Give Me A Reason To Drink (feat. Simon Blade Fafara)
7. Witches
8. Dealing With Demons
9. The Damned Don’t Cry
10. Scars Me Forever

The 10-song record was co-produced by Spreitzer and Steve Evetts.  It is also the first Devildriver record to feature a song co-written by Fafara and another individual — ‘Nest Of Vipers.’  The song was co-written by Fafara and Tiemann.

More information on Dealing With Demons 1 is available along with all of Devildriver’s latest news at:






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Striker’s Latest LP Wins At 2020 Juno Awards

Courtesy: Striker

Neo-classic rock band Striker received a special honor at this year’s annual Juno Awards.

The band took top honors in the Metal/hard Rock Music Album of the Year category for its latest album Play To Win (2018).  The band’s sixth album, it produced the singles ‘On The Run,’ ‘Head First,’ and ‘Heart of Lies.’

Guitarist Tim Brown shared his thoughts on the win in a recent interview.

“Play to Win: if you want to win you have to play the game. Find the rules and break them,” he said. “This is our 6th album and 3rd independent release. If we followed the rules and listened to the industry people we’d have gone absolutely nowhere. Play To Win is about listening to yourself, following your own path, and playing that 5th ace hidden in your sleeve. This album is designed to light a fire under your ass and get you moving, and we made sure to get the most modern, ear melting sounds possible. It’s all about where metal is going, not where it has been, and this is our soundtrack to success.”

The band talked about the nomination and win in a collective statement.

“We are very grateful for the Juno win this year, especially as an independent band,” the statement reads.  “The Juno is the culmination of all the support from the Canadian music industry we’ve had, from FACTOR, Alberta Foundation for the Arts, Canada Council for the Arts, and many others, and helps us feel validated as artists. There was a strong lineup of talent at the awards this year, and just to be nominated among them was an honour. We hope everyone stays safe out there and we look forward to returning to live music!”

This year marks the second time Striker has been nominated for the Juno Metal/hard Rock Music Album of the Year category.  It is the first time the band has won in the category.

Other nominees in the category this year were: Kobra and the Lotus, for its album Evolution (2019); Lindsay Schoolcraft, for her album Martyr (2020); Single Mothers, for its album Through A Wall (2018) and The Agonist, for its album Orphans (2019).

The 2020 Juno Awards were originally scheduled to take place March 15 in Sasakatoon, Saskatchewan, but the impact of the global COVID-19 outbreak forced its cancellation.  It was rescheduled to take place Monday as a livestream event.

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






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PBS Distribution To Release Fujita Documentary on DVD This Month

Courtesy: PBS Distribution/WGBH

PBS is presenting a biography of the man who created the Fujita measurement scale in a new episode of its hit biography series American Experience.

American ExperienceMrTornado is scheduled for release July 21.  The hour-long documentary features the story of Tetsuya Theodore “Ted” Fujita, the man who developed the system that measures the strength of tornadoes.

The story starts in the Super Outbreak of 1974, which was the most extensive tornado outbreak in American history.  It spread a path of destruction across 13 states, generating 148 tornadoes from Alabama to Ontario, Canada.  More than 300 people died as a result of the storm outbreak, and thousands were left homeless.

Fujita spent months examining the result of the outbreak, using an aerial study, and mapped the path of destruction in the process.  His extensive study led to the discovery of microbursts — winds strong enough to knock planes out of the air — and to advance warning systems that have since saved thousands of lives as well as the Fujita scale, which is used to measure the intensity of tornadoes.

American ExperienceMrTornado will retail for MSRP of $24.99, but can be pre-ordered at a reduced price of $19.99 through PBS’ online store.  More information on this and other episodes of American Experience is available at:






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Gilby Clarke Premieres New Single, ‘The Gospel Truth’

Courtesy: Golden Robot Records

Gilby Clarke premiered his latest single this week.

Clarke (ex-Guns N’ Roses, Kings of Chaos, Candy) debuted his new single ‘The Gospel Truth‘ Monday.  The song is the second single from his forthcoming album The Gospel Truth. It comes on the heels of his most recent single, ‘Rock N Roll Is Getting Louder,’ which was premiered in February.  Its video premiered in April.

The musical arrangement at the center of ‘The Gospel truth’ is centered on its bass line and time keeping.  Clarke’s vocal delivery joins with the song’s guitar line and even a horn line to flesh out the arrangement even more.  The whole is a mid-tempo composition that bridges the rock of the late 80s and early 90s to make its whole.

The song’s lyrical theme focuses on the concept of speaking the truth.  According to information provided about the single, that topic is approached here through Clarke reflecting on his upbringing in the Catholic church.  He uses that experience, the information states, to encourage listeners “to be brave, say what you mean and mean what you say.”

More information on Gilby Clarke’s new single is available along with all of his latest news at:






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