The rock community turned out a whole bunch of great new content in 2021. From established acts to the up-and-comers, to the veterans, acts from across the rock community gave audiences plenty of reason to be happy this year. Now with only 21 days left in the year, that flow of new releases has slowed, though there is already lots of rock to look forward to in 2022, beginning early in the year. Until then though, Phil’s Picks has its annual list of this year’s top new rock albums to share.
As was the case with all of the other lists, this one was not easy to craft, either. Pop Evil returned this year with its powerful new album, Versatile. Liquid Tension Experiment (which is essentially the side project of three of Dream Theater’s members) returned for the first time in some years with its third record, too. Up-and-coming neo-classic rock band Greta Van Fleet worked hard this year with its new album to show that it wants to be known as its own act, not just a Led Zeppelin knockoff. Between this record, the others noted here and so many others, this year’s list of top new rock albums is diverse.
As with every other list presented by Phil’s Picks, it consists of the year’s top 10 new albums and five honorable mentions for a total of 15. Without any further ado, here for your consideration is Phil’s Picks’ 2021 Top 10 New Rock Albums.
PHIL’S PICKS 2021 TOP 10 NEW ROCK ALBUMS
Liquid Tension Experiment – 3
John 5 – Sinner
Billy F. Gibbons – Hardware
The Dead Daisies – Holy Ground
Mason Hill – Against The Wall
Candlebox – Wolves
Marc Ribler – The Whole World Awaits You
Myles Kennedy – The Ides of March
Pop Evil – Versatile
Dropkick Murphys – Turn Up That Dial
L.A. Guns – Checkered Past
Foo Fighters – Medicine at Midnight
Grand Royale – Carry On
Styx – Crash of the Crown
Greta Van Fleet – The Battle at Garden’s Gate
That’s it for this list, but wait, there’s more! Yes, there are still two more music lists to go before the attention turns to the best of the year’s new movie and TV categories. Stay tuned!
More than five years after the release of its then latest album, Disappearing in Airports, Candlebox is scheduled to return with its latest album this week. The 11-song album, Wolves, is scheduled for release Friday through Pavement Entertainment. The 49-minute album (the band’s seventh) is arguably the band’s most accessible to date. That is evidenced through its musical and lyrical content. The record’s opener, ‘All Down Hill From Here Now’ is just one of the ways in which this is proven. It will be discussed shortly. ‘Don’t Count Me Out,’ the album’s penultimate entry,’ is another example of how the album’s musical and lyrical content comes together to make the record appealing. It will be examined a little later. ‘Nothing Left To Lose,’ which comes just past the album’s midpoint, is yet another example of the power of the album’s combined musical and lyrical content. When this and the other songs addressed here are considered along with the rest of the album’s songs, the whole makes Wolves arguably Candlebox’s best album yet.
Seven is truly a lucky number for the veteran rock band, Candlebox. That is because the band’s seventh album, Wolves, proves to be its best work to date. That is proven in part right from the album’s outset in the form of ‘All Down Hill From Here.’ It is interesting that the band would open its new album with a song with such a title. That is because from there on, it is anything but down hill. Rather, the album stays solid from that point on. The hard rock-infused song’s arrangement is an immediate fit for any active rock radio programmer’s play list. The first name that comes to mind in making a comparison here is Buckcherry. It is just one of the acts to which one can compare here. Between the guitars, the rich, steady bass line, equally powerful vocals from front man Kevin Martin, the whole makes this song stylistically similar to so many of Candlebox’s popular counterparts. At the same time, the arrangement still boasts its own unique identity separate from those acts’ works. All things considered, the song is a powerful start to the album, which again is anything but downhill from here.
While the musical arrangement featured in ‘All Down Hill From Here Now’ is important in its own right to the song’s presentation, it is just one part of the song’s appeal. The song’s lyrical theme makes for its own appeal. While the song’s title infers someone being fed up with things, the song’s message is actually somewhat different. In this case, it seems like Martin is writing about just how far he has come and where he perhaps saw things, sarcastically of course, at the point at which point the song was written. This is especially inferred as Martin sings in the song’s lead verse and chorus, “I spent half of my life/In a rock ‘n’ roll band/Half the time alive/Most the time dead/Had one too many whiskey/Two to many times/Buy you people keep on giving/And I keep doing fine/Yes, I’ve seen so many faces/Seen a couple thousand towns/And I made it to the peak, babe/But it’s all down hill from here.” He continues in the song’s second verse,” “More than once lost direction/More than once lost track of time/Like running in these circles/Is gonna change my f***** mind/They say the harder they come/The harder they fall….Yes I’ve seen so many faces/Seen one too many towns/But the circus keeps on running, baby/And it’s all down hill from here now.” Taking all of this into account together, it is hardly the only song ever written by any act about the tediousness of life on the road, but the manner in which such song is presented here is unique. It would have been so easy for the band to go the typical deep, emotional piece, but rather, the band instead took more of a lighter, almost playful approach than those other songs. It is just one way in which the album’s collective musical and lyrical content shows the record’s strength. ‘Don’t Count Me Out’ is another way in which the album shines.
‘Don’t Count Me Out’ presents a familiar country/western/southern rock style musical arrangement that will appeal to a wide range of audiences. It is a sound and stylistic approach that is easily comparable to works from the likes of Black Stone Cherry, Dust For Life, and others of that ilk. The thing to remember is that, as noted, the song’s musical arrangement still presents its own unique identity. That is especially considering the 80s hair metal influence that is so subtly woven into that southern rock sound and stylistic approach. The whole is an infectious arrangement that is sure to keep listeners engaged from beginning to end of the five minute-plus opus. The energy in the song’s musical arrangement works with the song’s lyrical content to make the song even more appealing.
The lyrical theme featured in ‘Don’t Count Me Out’ comes across as a statement of confidence and resilience. That is inferred as Martin sings in the song’s lead chorus, “You can’t keep me down/Complete me/Repeat me/Condition me/ There is much that is difficult to decipher in the song’s lead verse that is difficult to decipher sans lyrics to reference, but the message so far makes the song’s lyrical theme easy enough to understand. The added mention later in the song of witnessing “the coming hate” and reaping what we sow is itself a statement of disgust at the state of society, but not giving up despite it as the song returns to the chorus. Martin additionally sings, “Can we dance and just let things go?” and “Can we see the beauty without being told?” Again this is even more to the statement of not letting the state of society get the better of one’s self, but rather seeing the positive in things. That seeming overarching message pairs with the song’s catchy musical arrangement to make the song even more proof of how much Wolves has to offer audiences. It is just one more of the songs that serves to show what makes the album stand out among this year’s field of new rock albums. ‘Nothing Left To Lose’ is another example of the album’s positives.
‘Nothing Left To Lose’ immediately engages and entertains audiences through its fiery musical arrangement. The three-minute-plus opus in the hardest and loudest of the album’s entries. The use of the fuzzed instrumentation and vocals immediately conjures thoughts of Motorhead, especially as the song progresses. Even Martin’s vocal delivery style evokes thoughts of Lemmy Kilmister. The thick, driving, guitar punk/hard rock approach stands out at least to this critic as one of the album’s most prominent musical arrangements. It is just one part of what makes the song stand out. The lyrical content that accompanies the song’s musical arrangement adds its own share of appeal to the presentation.
As with certain other additions to the album, there is some content that is difficult to decipher without lyrics to reference. Though, there is some content that one can decipher just by ear. From what little can be deciphered in the verses, this song comes across lyrically as someone who is just fed up and done with someone else’s garbage. That is especially inferred with the statement about watching someone drown after taking them down “like a shipwreck.” The frustration that Martin exudes as he sings just delivers that seeming message of simply being fed up with someone else and being done with that person once and for all. It is just pure anger and frustration. If in fact that interpretation is anywhere in the proverbial ballpark, then it is certain to help plenty of listeners deal with just such a kind of person. That is because everyone knows and/or knows of someone like that individual who has evoked such frustration. To that end, that seeming message together with the song’s musical arrangement shows even more why audiences will appreciate Wolves. It is hardly the last of the album’s most notable songs, either. The band offers up some more deeply emotional content throughout the record, such as the Train/Marron 5-esque ‘Riptide,’ and the contemplative ‘We.’ ‘Trip,’ another late entry, offers up a work that is its own easy fit on any Adult Contemporary and Top 40 radio station. In other words, between the songs examined here and everything else, this record offers much for audiences to appreciate musically and lyrically. It collectively makes the album in whole a standout return for Candlebox that is among the best of the year’s new rock albums.
Candlebox’s forthcoming album, Wolves is a strong new return for the band. That is evidenced through the album’s musical and lyrical content throughout. The songs examined here do well to support the noted statements, too. When they are considered with the rest of the album’s offerings, the whole shows it will appeal to a wide range of audiences. To that end, the whole proves itself to be among the best of this year’s new rock albums.
Wolves is scheduled for release Friday through Pavement Entertainment. More information on the album is available along with all of Candblebox’s latest news at:
Danny Wimmer Presents is bringing audiences a new live rock festival and cruise.
The company made the announcement Wednesday through a news release distributed to the media. Voragos: Destination Lunasea Beach is scheduled to take place Feb. 16-21, 2022 aboard the Norwegian Pearl ship. The cruise departs Miami, FL and heads to Harvest Caye, Belize, where audiences will disembark for one day for a one-of-a-kind beach festival.
Rob Zombie is scheduled to headline the beach festival. It will also feature performances by Mudvyane (which is replacing Chevelle due to scheduling conflicts that it had), Black Stone Cherry, New Year’s Day, Tetrarch, and Amigo The Devil.
Amigo The Devil, Kevin Martin (Candlebox), Brett Scallions Aupervant Fuel, and Austin Meade are scheduled to perform on board on the Voragos Storytellers Stage. Comedians Jim Breuer, Big Jay Oakerson, Rachel Feinstein, and Shayne Smith are scheduled to perform on the cruise’s Voragos Comedy Stage.
An after party featuring performances by Brass Against and The Voragos Shut Up & Dance, and others will additionally take place each night.
Adding to interest for the inaugural event is are special appearances SiriusXM’s Shannon Gunz and the cast of “The Space Zebra Show.” SiriusXM’s Jose “Metal Ambassador” Mangin is scheduled to emcee the whole thing on board and on land.
Other acts scheduled for the upcoming event are the likes of Atreyu, Crown The Empire, and Afterlife.
Independent rock band Lullwater is taking Pearl Jam fans back in time with a video for its cover of Peal Jam’s classic song ‘Release.’
The original song was included in Pearl Jam’s debut 1991 record Ten. Lullwater’s take on the song was recorded at London Bridge Studios in Seattle, Washington. The video, which premiered via Loudwire, features the band performing with Dave Krusen (Pearl Jam, Candlebox) and Kevin Martin (Candlebox).
Courtesy: TAG Publicity
Lullwater front man John Strickland discussed the band’s take on the song in a recent interview, saying recording and performing the song is something special for him.
“The entire process of recording Pearl Jam’s ‘Release’ in London Bridge Studios was so surreal,” Strickland said. “Pearl Jam is one of my favorite bands, and to cover that in one song in the same room as they did, was very emotional for me. I had no idea that a couple of years later we would be performing it live with Dave Krusen and Kevin Martin on the Candlebox tour; it’s such an odd and incredible feeling of living and experiencing the moments we’ve made because of ‘Release,’ It’s by far the coolest thing that’s ever happened to me as a musician. Thinking back to when I was in my adolescent years playing that song over and over and then one day to be performing it live with the original drummer, i simply crazy for me. ‘Release’ has a special place in my heart and is one of my favorite songs to play live.”
Lullwater’s next album Voodoo is expected to be released in Winter 2018. More information on that is available online now along with all of Lullwater’s latest news and more at:
The rock community, it seems, was bursting at the seams with new releases this year. While some records were okay at best, there were just as many that proved to be truly outstanding efforts. Needless to say there were so many of said albums that it was anything but easy to come up with a list of the year’s top new rock records. But somehow, Phil’s Picks managed it. That list includes new efforts from bands young and old alike. The more experienced bands featured on this list include: Santana, Red Hot Chili Peppers, and Foghat just to name a few. The younger bands represented here include the likes of Buffalo Summer, Love and a .38, and Zodiac. Whether veteran or next generation, the rock community produced a slew of outstanding records this year.
Phil’s Picks presents 15 of those records with its Top 10 picks and five honorable mention titles. Without any further ado, here is the Phil’s Picks 2016 Top 10 New Rock Albums.
Dave Ellefson’s upstart record label EMP Label Group has been quite busy ever since its birth late in 2015. The label has already assembled a roster rich with heavy acts ready to reach the metal masses. Those acts include the likes of Cage9, Doll Skin, Green Death, Dead By Wednesday, and a handful of others. While the label has its fair share of heavy acts as part of its stable it also has some acts that are just as anxious to make it to the mainstream. They are Another Lost Year and Apollo Under Fire. Both bands have already released their latest respective records this summer. The latter released its new album Alien Architect just last month and the prior released its self-titled debut this past June. That record is perhaps the most standout of any of the records released by EMP Label Group so far this year. That is because it is by far the label’s most radio ready record hands down. Between its solid musical arrangements and its equally uplifting lyrical content this ten-song record proves to be one that will move listeners deeply from beginning to end. Being that it is so powerful, it ultimately proves to be one of 2016’s top new independent albums and one of EMP Label Group’s best offerings yet.
Apollo Under Fire’s self-title debut album is one of 2016’s top new independent albums hands down. It is also one of EMP Label Group’s best offerings yet. That is thanks to the combination of the album’s solid musical arrangements and its equally uplifting lyrical content. From one song to the next, the combination of those elements makes this record one that will put a smile on any listener’s face. That is something that the rock (and music) community needs now more than ever. The album’s opener and lead single ‘Gotta Believe’ is a prime example of how that combination gives this record such strength. The song’s musical arrangement instantly conjures thoughts of Creed with its modern power ballad approach. Love Creed or hate it, audiences on either side of the discussion should understand this comparison is meant only in an observational fashion. Guitarists Peter Klett (Candlebox, Lotus) and Jimmy Kwong have crafted a sound in this song that almost directly mirrors that crafted by Mark Tremonti in his days with Creed. To be more specific, its sound is akin to that of Creed’s ‘hit ballad ‘Higher.’ It isn’t a direct lifting. But the influence (intended or not) is there. And it does its own part in making the song so enjoyable. The song’s lyrical content does its own share to make the song enjoyable, too. That is because of the positive outlook on life offered up in that content. It is exhibited as front man Donald Carpenter (Eye Empire/Submersed) sings here, “Even though I live in daydreams/I don’t feel like holding on/But I gotta believe my days aren’t over/Gotta believe this sun will shine sometime/Gotta believe this rain will cleanse my pain/An stand before a brand new life.” This is just part of the hopeful vibe presented by Carpenter in the song’s lyrical content. He goes on to sing, “We must face this fear of failing/With the will to overcome/Many candles shining brightly/Though they all were lit from one/We’re mirrors in faceless crowds/Bound by the sound/Of our lives as they pass us by.” From here he and his band mates return to the song’s chorus, driving home that sense of determination and positive mindset once again. Some might call it sappy. But there are just as many people out there that need that positive reminder in their lives. Even this critic has needed such a reminder more than once in life. To that end, that positive lyrical message and the song’s equally moving musical arrangement make the song in whole a clear example of what makes Apollo Under Fire such a solid debut for the band. It is just one of the songs presented in this record that serves to exhibit that, too. ‘One Track Mind’ is another key example of what makes this record such a strong debut for AUF.
‘Gotta Believe’ is a key example of what makes Apollo Under Fire’s self-titled debut album such a strong effort from the band. The song’s sweeping, Creed-esque musical arrangement couples with its equally uplifting lyrical content to make the song in whole a work that will put a smile on so many listeners’ faces. The positive vibes exhibited through that combination of music and lyrics makes this song one of the record’s best moments. It is only one of those great moments, too. ‘One Track Mind’ is another song that shows the strength of this new effort from the band. It stands out in part due to its musical arrangement. Much as with ‘Gotta Believe’ (and most of the songs presented in this record) this song’s musical arrangement also boasts a certain influence from Creed. That is obvious in the fact that its arrangement is also centered on that familiar modern day power ballad style presentation. On the good side it isn’t just a repeat of ‘Gotta Believe’ in that arena. It is, however just as big and epic as the arrangement presented in said song. What’s different is those big, epic moments are saved here for the song’s chorus. They are juxtaposed by a softer, more introspective sound presented in the song’s verses. Speaking of the verses they offer their own value to the song, too. Carpenter comes across here as singing from the vantage point of a figure who has changed quite a bit over time; someone that has gone from having that one-track mind to being more open to different viewpoints in life. This critic in particular interprets the song’s lyrical content as centering on someone who is looking back on who he once was versus who he is now. That is, again, just this critic’s own take on the song. Hopefully it isn’t completely off the mark. Regardless, it is clear through that interpretation and the song’s musical arrangement why this song is another important part of Apollo Under Fire’s self-titled debut. The deep thought presented in the song’s lyrical content couple with its equally powerful musical arrangement to make it really stand out as yet another of the album’s best moments. It is definitely not the last of those key moments either. ‘Weightless’ is one more example of what makes the album such a strong first effort from the band.
‘Gotta Believe’ and ‘One Track Mind’ are both key examples of what makes Apollo Under Fire’s self-titled debut record such a strong effort from the up-an-coming quintet. That is due to the songs’ mix of powerful musical arrangements and their equally deep and moving lyrical content. One is a full-on uplifting piece that reminds people to try and maintain an optimistic outlook even as difficult as it might be to do. The other is more of a figure offering an introspective look at his past and present. It basically reminds people (at least in this critic’s interpretation) that if he can change, anyone can change. Cue the Rocky theme song. Yes, that really bad reference to Rocky IV was fully intended. While both songs offer their own insight and power they are not the only songs that stand out on this debut effort from Apollo Under Fire. ‘Weightless’ stands on its own merits, too. In regards to the song’s musical arrangement, it stands out because yet again that Creed influence is just as evident as ever. Yet in its defense it still maintains its own identity separate from those power ballads crafted by Creed. Keeping this in mind, the song’s lyrical content stands out even more as its main anchor. The song’s lyrical content serves as its main anchor because of just how much it boasts its own identity separate from the rest of the album’s offerings. This time out Carpenter sings about the power of a person’s love. Carpenter’s subject seems to be addressing a love interest here as he sings, “Can I stay/With this restless heart/Is it too damn cold living miles apart/Can I stay/These games I play/With my fragile heart/I always push away/From a caring thought/These games I play/These games I play/These walls I built come crashing down/I am free/Your love has embraced me now/I am free/It’s a love that can overwhelm…floating ten feet off the ground.” This is a feeling to which so many people can relate. Who hasn’t felt that overwhelming sense of happiness at finding that person whose love overpowers everything else? Carpenter’s subject continues on much in the same manner in the song’s second verse singing, “Well I have faith/In my changing heart/I have found the strength missing from the start/I have faith/I now have faith/These walls I built/Come crashing down/I am free/Your love has embraced me now/I am free/It’s a love that can overwhelm.” What is interesting, in hindsight is that Carpenter mentions as he returns to the song’s chorus something to the effect of being on his knees and finding happiness. So it leaves one to wonder if he is referencing not so much romantic love but spiritual love. It would definitely be interesting to learn if that is what was being referenced here. Regardless of spiritual or romantic, the positive message of strength from love is there. It makes the song stand out even more. Considering this, it joins with ‘Gotta Believe’ and ‘One Track Mind’ to show once more just what makes Apollo Under Fire’s self-titled debut record such a strong outing for the band. Any of the other songs not noted here that make up the rest of the album’s body could be cited just as easily when considering the album’s strengths. All things considered, Apollo Under Fire proves in the end to ultimately be one of 2016’s top new independent albums. It also proves to be (along with Alien Arnchitect, Another Lost Year’s new offering) yet another viable chance for EMP Label Group to gain some real mainstream notoriety.
Apollo Under Fire’s self-titled debut album is one of 2016’s top new independent albums. It is also one of EMP Label Group’s best chances at attaining real mainstream notoriety. Another Lost Year’s new album Alien Architect is the label’s other major chance at that notoriety. As is evidenced in all three of the songs noted here, the album’s powerful musical arrangements join with their equally uplifting lyrical content to put a smile on any listener’s face. The same can be said of any of the album’s other offerings, too. All things considered, this record proves to be a strong start for Apollo Under Fire, and with any luck just the start for the band. Apollo Under Fire is available now. It can be ordered online direct via the band’s official website. More information on the album is available now online along with all of the band’s latest news at:
Veteran alt-rock band Candlebox has a big announcement for its fans.
The Seattle, WA-based band signed a record deal with independent record label Pavement Entertainment this week. Along with the new deal, the band announced that it will release its next record, its first since 2012’s Love Stories and Other Musings, early in 2016. The band is currently working with Grant McFarland and producer Carson Slovak on the as yet untitled album. Front man Kevin Martin discussed the band’s deal afterward, noting “Candlebox is excited about being part of the Pavement Entertainment Team.” He also noted the rich stable of acts already signed to Pavement as a reason for signing and the band’s outlook for the coming year saying, “They have great roster of artists and all of us at Candlebox are looking forward to a successful 2016.”
Pavement A&R head Tim King shared his thoughts with the media after the annnouncement expressing his love for Candlebox and its history as a central reason for getting Candlebox signed with the label. “Candlebox was, and still is, one of my favorite bands that emerged from the 90’s”, he said. “They are a band that has continued to stay true to their roots while still meeting with great success over three decades and multiple generations of fans.”
Candlebox has released five full-length studio recordings since originally forming in 1991. It has sold more than six million units domestically since that time including copies of its hit singles ‘You’ and ‘Far Behind.’ The band is currently on tour and will be at Fort Bliss Army Base in Fort Bliss, Texas this Saturday, August 8th. Its current slate of tour dates runs through December 4th in Santiago, Chile. The band’s current tour schedule is listed below.
Aug. 08 – Fort Bliss, TX – Ft. Bliss Army Base
Aug. 15 – Glen Flora, WI – North Woods Rock Rally
Aug. 21 – Sioux City, IA – Hard Rock
Aug. 22 – Island Lake, IL – Sideouts Bands in the Sand
Aug. 28 – Tacoma WA – Uncle Sams
Aug. 29 – Central Point, OR – Lithia Motors Amphitheater
Sep. 11 – Hinckley, MN – Grand Casino Amphitheater
Sep. 19 – Cottonwood, AZ – Thunder Valley Rally
Oct. 22 – Lawrence, MA – Caddagh Music Hall
Oct. 23 – Manchester, NH – Rock 101 Benefit
Oct. 24 – Utica, NY – Utica Memorial Auditorium
Dec. 4 – Santiago Chile
More information on Candlebox’s new record deal is available online now along with all of the latest news on its upcoming album, it’s tour and more at:
There are those who stand by the belief that the best comes to those who wait. Don’t tell that to the members of Open Air Stereo. This pop-rock four piece from Laguna Beach, CA has proven that waiting is only part of the game when it comes to being successful in any avenue of life. The band has waited and worked for over a decade to get to where it is today. The work and the wait was well worth it as it recently signed a deal with Goomba Music and released its full length debut, Primates through the label. This record is another one of those releases that reminds individuals such as this critic as to why we do what we do. The band’s pop-rock hybrid sound makes it quite the fit for any mainstream rock radio station and even any Top 40 radio station. This is evident throughout the course of the eleven tracks on Primates, the band’s debut record.
Primates is an excellent first impression for the band on anyone that is new to its music. It opens with a pair of songs in ‘Right’ and ‘Love is Blind’ that are prime examples of the band’s ability to fit in on any radio format. ‘Right’ sounds like a hybrid mix of Jimmy Eat World and U2 with the vocals of front man Chase Johnson and guitars of Scott Pounds. This song, given the proper support, would be a good fit for any Top 40 radio station’s lineup. ‘Love is Blind’ on the other hand is edgier, making it more fitting for a mainstream rock station as would ‘Where Do We Go.’ It shows the band’s Foo Fighters influence. There are points in this song that sound like a mix of ‘Learn To Fly’ and ‘Best of You.’ It’s one of so many points throughout the record that will have listeners happily singing along. It comes across as slightly introspective song, lyrically. But what’s so interesting is that thanks to the song’s musical side, it doesn’t come across like so many songs of that ilk. Rather it gives a more upbeat vibe to what are some deep thoughts. Johnson sings in the song’s chorus, “Where do we go from here?/When are we gonna stop?/I wanna beat this crazy world/Before it falls apart/I need to know right now/What we’re all about/Cause we’re running out of time to waste.” It’s a deep song. But thankfully Johnson and company took the road less travelled and crafted a song that doesn’t come across as so many self-serving and overly emotional emo songs that have ever been written.
Primates offers audiences so much to rejoice in with its mix of pop and rock sounds, as has already been illustrated. The aforementioned songs are just part of the whole that makes this album a surprise hit. Audiences will also enjoy ‘What You Want.’ Drummer Nick Gross’ beats combine with Pounds’ guitar work to make what is sure to be one of the highest of points throughout this record. Johnson’s breezy vocal style here mixes with his band mates’ work to produce a song that sounds like a mix of 311 and perhaps certain other bands. The thing with this—and other songs on this album–is that despite having a sound similar to other bands, OAS still manages to maintain its own identity without sounding like it’s ripping off any other band. For that alone, the members of Open Air Stereo are to be applauded.
Even after ‘What You Want’, the band keeps audiences engaged with ‘Living Proof’ and Your Way is My Way.’ This song was just as solid a way to close the album as ‘Right’ was to open it. It exhibits something of a Buckcherry influence without sounding too much like that band, either. And it will have audiences singing along and moving right to the song’s final notes. The song ends perfectly, almost as if the band could use it as a show closer at its live performances.
Speaking of live performances, the band is currently on the road in support of Primates. Fans in North Carolina will get their chance to check out the band live when it makes a stop at Ziggy’s in Winston-Salem on Thursday, June 6th. It will be in Kokomo, IN at Centerstage alongside Candlebox. Fans can get a full listing of the band’s tour dates as well as the latest news and updates from the band when they “Like” the band on Facebook at http://www.facebook.com/OpenAirStereo.