Psycle’s Debut Album Could Be Its Breakout Record

Courtesy: O’Donnell Media Group

Independent hard rock band Psycle is scheduled to release its new album Kill The Machine Friday.  The band’s third studio recording — and debut album — the eight-song record is the band’s best work to date.  It is a presentation that shows the band’s members – Seth Salois (vocals, guitar), Jay Spyne (drums, vocals), Mike Kaz (bass, vocals), and Joe Nicolazzo (guitar) – at the top of their game.  Between the talent exhibited by each musician and the depth in the songs’ lyrical themes, the record is a strong debut for the band.  Given the right support, it actually could be the band’s breakout record.  That is proven in part through the album’s latest single ‘Last Chance for the Saints.’  It will be discussed shortly.  The album’s second single, ‘Changing Tide’ is another way in which the album proves its strength.  It will be discussed a little later.  ‘Dying To Live’ does just as much as ‘Changing Tide’ and ‘Last Chance For The Saints’ to show this record’s strength.  It is definitely not the last of the album’s most notable songs, either.  ‘Vultures at Play,’ ‘White Flag’ and ‘The Outsider’ are all just as notable as the songs addressed here.  When all of these songs are considered alongside the album’s other two songs not noted here, the album in whole proves itself to be one of this year’s top new independent albums and one of the year’s top new rock records.

Psycle’s debut album Killing The Machine is a positive “first impression” from the band.  The term “first impression” is used because the band has already released two EPs – its self-titled record and the EP Surfaces – ahead of this album.  Spanning a total of eight songs, the album proves itself so positive because of its musical and lyrical content.  That is evidenced in part through the album’s latest single ‘Last Chance for the Saints.’  The album’s penultimate song, it presents a blues-based, straight-forward rock arrangement, complete with chant of ‘Hey, Hey’ in its opening bars.  Throughout the course of the nearly four-minute rocker, the composition in whole lends itself to comparisons to works from Theory of a Deadman, Charm City Devils, and Daughtry to a lesser degree.  Front man Seth Salois’ vocal delivery couples with his work on guitar and that of fellow guitarist Joe Nicolazzo to add a certain depth to the song.  Drummer Jay Spyne’s solid time keeping, fills and cymbal crashes add even more impact to the song while bassist Mike Kaz’s low-end puts the finishing touch to the whole.  What is interesting to note here is that the song’s fiery energy actually plays well into translating the emotion in the song’s extremely serious lyrical theme, that of the nation’s opioid epidemic.

The fact that the band took on the topic of the nation’s opioid epidemic is a statement in itself.  Few, if any music acts in any genre can say they have taken on or are taking on the controversial topic.  The way in which the matter is addressed here makes the song stand out even more.  This isn’t just some sad, emotional piece lamenting those who have died as a result of the epidemic.  Rather, it is a striking indictment of the epidemic that forcefully goes after those who have allowed it to continue.  Salois confirmed this in a recent interview, stating of the song’s theme, “This song deals with the damage that has been caused by the opioid epidemic in our country and how others continue to make money off of this damage.  Addiction is something that has touched so many of us in so many ways.  This song hopefully takes a stance against the destruction of so many of those we love.”  That statement is confirmed as Salois sings in the song’s lead verse, “This is the last chance for the saints/Keep making the pills and we’ll medicate/I’ll never refuse while I lie here/The beautiful taste your supply cheers.”  He continues in the song’s second verse, adding to that statement, “Never forget your consumer’s name/It’s written in guilt under stone they lay/It spreads like fire with our hands cold/’Cause killing us young meets the same goal.”  He adds in the song’s third and final verse, “Now it’s fading faster/Leaving you to shake/A beautiful disaster /Chase it down the drain/And we run, down the line but were still here alive/And we run, down the line but we’re still here alive.”  Again, this is a pretty damning indictment of the nation’s drug industry.  This isn’t going necessarily after drug dealers, but rather legal drug dealers; the companies that make these medications to which people are becoming addicted.  Together with the song’s fiery, powerful musical arrangement, the two elements together make the song in whole one of this album’s strongest entries if not its strongest entry overall.  Again, it is at least one of the album’s most notable songs.  The album’s second single, ‘Changing Tide’ is another of the record’s most notable works.

Right from its outset, the arrangement at the center of ‘Changing Tide’ lends itself to comparisons to works from Alter Bridge and its predecessor, Creed.  That is meant in the most complimentary way.  Even Salois’ vocal delivery stands out here along with the work of his band mates, lending itself to comparisons to that of Alter Bridge front man Myles Kennedy.  All of this is important to note because it’s another way in which the record proves musically to be Psycle’s best work to date.  It is another clean, polished work from the band.  In comparison to the work featured on the band’s two previously released EPs, it shows how much the band has grown and evolved personally and collectively throughout the band’s life.  Interestingly, that plays right into the song’s lyrical theme, too.

The song’s lyrical theme is meant to inspire listeners, according to a recently released collective statement from the band.  The statement says of the song’s lyrical theme, “‘Changing Tide’ is about believing in your individuality, accepting the hand that you are dealt and persevering through whatever stands in your way,”  This message is driven home in the song’s lead verse, in which Salois sings, “Hold The Line, and believe in your creation/Make the climb/Never needing their ovation/Face down the storm/That will eat you alive.”  He continues in the song’s second verse, “Kill the lies/As it fuels the same frustration/Live your life/As we breathe the elevation/Break down those walls that you keep to survive.”  This is straight forward to say, meaning that it is just as accessible to audiences as the lyrical content featured in ‘Last Chance for the Saints.’  It means audiences will be able to easily relate to this matter.  The song’s chorus drives home the noted theme as Saolis sings, “I’ll never give in/I’ll never give up this fight/If you do, it never changes/We can face the winding road/And the changing tide.”  Once more, audiences can relate easily to this accessible content.  This line in the song’s chorus is what the band wants its listeners to sing, that they, too, will never give in or up.  In times, such as these, such a positive message overall is something that is wholly welcome and needed.  To that end, this song is another notable addition to Kill The Machine.  It is hardly the last of the album’s most notable songs.  ‘Dying to Live’ is one more way in which Kill The Machine shows why it is such a positive debut from Psycle.

Much as is the case with ‘Last Chance for Saints,’ Kill The Machine’s title track and much of the other material, the musical arrangement at the heart of ‘Dying to Live’ is a southern rock-tinged composition with a touch of a blues influence at its base.  Of course while the stylistic approach is similar to that of the album’s other works, the actual sound stands on its own merits.  In other words, doesn’t just rehash the sound of its counterparts in this record.  Keeping that in mind, the song is its own notable work just for its musical arrangement.  The sound and energy in the song’s arrangement couples well with the song’s lyrical energy, which according to Salois, is its own social commentary.

Salois said of the song’s lyrical content, “’Dying to Live’ is really about how we try so hard to fit into certain societal groups or ideas and how we are manipulated into thinking we need to be a certain way or have certain things by others.”  Once again, here audiences get a lyrical theme to which they can relate with ease.  Whether through the media, through our peers or other sources, we as a species feel that pressure every day from so many sources.  As a result of that pressure, many of us end up putting that pressure – unnecessarily so – onto ourselves.  It is yet another topic that will connect with listeners especially through its accessible lyrics.  Salois sings in the song’s lead verse, “When it’s over, can you please let it go/It’s a feeling, like the calm before the storm/Thrown the stone, feel the waves catching up/They will sell you the same old shelter/They will sell you your soul.”  He continues in the song’s second verse, “Can you feel it/When you finally take control/And the demons show their face the more you know/Thrown the stone/Feel the waves catching up/They will sell you the same old shelter/They will sell you your soul.”  While there is plenty of metaphorical language used here, the message is made clear, considering Salois’ statement.  That mention of the felling of the “calm before the storm” is something of a statement of that pressure that we feel; that uncertainty that goes through our minds.  The mention of the “same old shelter” being sold over and over again, is like saying those extraneous forces (the media, peers, etc.) will push the same belief set time and again, which leads to the feelings being noted here.  It’s a warning that we need to heed.  We need to take pride in ourselves and who we are – which is the message of ‘Changing Tide’ – and not give in to that pressure to be something that we are not.  Considering the energy in the song’s musical arrangement, that message gains even more traction and impact.  Keeping that in mind, the song in whole becomes, again, just one more example of what makes Kill The Machine such a strong offering from Psycle.  When the song is considered along with the other songs addressed here and the rest of the album’s works, the result is a debut that deserves its own share of attention and a work that is a positive debut from this independent rock band.

Psycle’s debut album Kill The Machine is a positive first impression from the independent hard rock band.  That is proven through accessible musical arrangements that are themselves radio ready and through lyrical themes that are just as accessible as the albums’ musical content.  All three of the songs examined here serve to support the noted statements.  The same can be said of any of the album’s other songs, too.  All things considered, the album in whole could be the work that, with the right support, could be a breakout for Psycle.  Regardless of whether the band gets that support,  it can be said of Killing The Machine that all things considered, this record is one of this year’s top new independent album and new rock albums.  Killing The Machine is scheduled for release Friday.

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






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The Jab Takes Listeners To The ‘Dank Mississippi’ In Its New Single

Courtesy: Medicine/The Prchard/Earshot Media

The Jab debuted the second single from its new album this week.

The band debuted the song ‘Dank Mississippi‘ Friday.  The song is featured in the band’s forthcoming album Consume.  The LP is scheduled for release Tuesday through Medicine/The Orchard.

‘Dank Mississippi’ presents a musical arrangement that will appeal to fans of the southern rock genre that is similar to the arrangement at the center of the album’s lead single ‘Riot.’  The first acts that come to mind in considering comparisons are Zakk Wylde’s very first band, Pride & Glory,’ ‘Black Stone Cherry’ and Charm City Devils, in examining the song’s arrangement.  The song is available to stream and download now through Spotify, Apple Music and The Jab’s official YouTube channel.

The song’s lyrical content comes across as possibly a commentary of sorts.  Front man Jam Alker sings in the song’s lead verse, “Tip my hand in the river/Make me quiver/Let it kiss me/On the banks of the dank Mississippi/Hold my hand till the preacher man gets me/On the banks of the dank Mississippi/Cold, dark, dank Mississippi.”  He continues in the song’s second verse, “Hold my hand in the river/Make me shiver/Then deliver me/On the banks of the dank Mississippi/Give it to me slowly/Let the holy water hit me/On the banks of the dank Mississippi.”  He adds in the song’s third verse, “Strip my bones in the river/Let me wither…/In the dank Mississippi/Carry me home/Who’s gonna carry me to the light in the dank Mississippi?”

The Jab will tour in support of Consume beginning Wednesday when it joins Crobot on the road.  The tour is scheduled to run through Feb. 29 in Baltimore, MD. It features performances in cities, such as Ft. Collins, CO; Corpus Christi, TX and Monroe, LA.  The tour’s schedule is noted below.

Upcoming tour with Crobot:

Feb 5 Scottsdale, AZ- Pub Rock

Feb 6 Las Vegas, NV- Counts V’amp

Feb 7 Los Angeles, CA- Viper Room

Feb 8 Reno, NV- Cargo

Feb 9 Sacramento, CA- Holy Diver

Feb 11 Fresno, CA- Strummers

Feb 13 Spokane, WA- The Pin

Feb 14 Seattle, WA- Funhouse

Feb 16 Boise, ID- The Shredder

Feb 18 Ft Collins, CO- Aggie Theater

Feb 19 Denver, CO- Lost Lake

Feb 20 Amarillo, TX- Hoots Pub

Feb 21 Dallas, TX- Gas Monkey

Feb 22 Corpus Christi, TX- House of Rock

Feb 23 Houston, TX- Acadia

Feb 25 Austin, TX- Come and Take it Live

Feb 26 Monroe, LA- Live Oaks

Feb 27 Nashville, TN- Basement East

Feb 28 Johnson City, TN- Capones

Feb 29 Baltimore, MD- Angels Rock Bar Power Plant

More information on Consume is available online along with The Jab’s latest news at:






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Nooky Jones’ New EP Is The “Sweetest” Of 2019’s New EPs

Courtesy: Press Junkie PR

EPs are some of the most under- and unappreciated records in the music industry.  Composed sometimes of no more than three songs, others as many as six or seven songs, they are often overlooked by audiences simply because they are not full-length recordings.  Given, sometimes they are little more than space-fillers to tide fans over between albums, but in other cases, they are chances for new, up-and-coming acts to get their feet in the door.  Whether one is the case or the other, the fact of the matter is that EPs deserve just as much credit as their full-length counterparts.  That is something that this critic has preached for years.  Keeping that in mind, they deserve a year-ender “Best Of” list as those records, and that is exactly what is presented here.

From Sister Hazel’s latest EPs Fire and Earth to underground rockers Charm City Devils’ latest offering 1904 to indie artist Denim’s new EP Endless Summer and more, this year has provided a lot to appreciate in the way of EPs.  There’s some rock here, some r&b and even some reggae, so this list is not limited to just one genre.  As with every list, this list features the Top 10 titles plus five honorable mentions for a total of 15 titles.  Those honorable mentions are not bad titles.  Everything was based on general content overall and the records’ separate lyrical and musical content.  Without further ado, here is Phil’s Picks 2019 Top 10 New EPs.



  1. Nooky Jones — Like Candy
  2. Sister Hazel — Fire
  3. Sister Hazel — Earth
  4. Santana — In Search of Mona Lisa
  5. Denim — Endless Summer
  6. Joyous Wolf — Place in Time
  7. Lakou Mizik & The 79ers Gang — Iko Kreyol
  8. ZFG — ZFG
  9. Hot 8 Brass Band — Take Cover
  10. Charm City Devils — 1904
  11. The Jacks — The Jacks
  12. Wake Hate — Deep Sleep
  13. 18th & Addison — Old Blues / Modern Love
  14. The Crash Republic — HomewreckersSweet Apathy
  15. August Burns Red — Phantom Sessions


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Charm City Devils’ New EP Will “Charm” Listeners

Courtesy: Broken World Records

Charm City Devils will returns next month with its first new music in five years.  The independent Baltimore, MD-based band will release its new EP 1904 Nov. 22 through Broken World Records.  The five-song, 17-minute record is a welcome return for band, after such a long hiatus, and longtime fans of the band will agree to that statement, too.  The acoustic take of the EP’s lead single ‘Skipping Stone’ serves well to show why the record is such a positive presentation.  Much the same can be said of ‘Broken Hearts Broken Bones,’ the record’s penultimate song, and ‘Dollar Signs,’ the record’s second song.  Each of the noted songs does its own part in making 1904 a powerful new offering from Charm City Devils.  When they are considered along with the EP’s full, electric take of ‘Skipping Stone’ and ‘Tides Are Changin,’ the whole of the EP proves to be a positive testing of the waters for Charm City Devils after having been away for such a long time.

Charm City Devils’ forthcoming EP 1904 is a positive return for the band, especially considering the band’s activity and lack thereof over the course of the past five years.  That is proven in part through the EP’s closer, the acoustic take of its opener, ‘Skipping Stone.  The song’s acoustic take stands out in part because of its arrangement.  It is difficult to fully put into words, but the full-on acoustic presentation and the “airy” nature of front man John Allen’s vocal delivery gives the song even more power than they do collectively in the song’s full-on plugged in take.  That especially becomes the case in the song’s chorus.  Whereas the plugged-in take of the song offers its own power in the choruses, the choruses in the acoustic take are just as strong because of the minimalist approach in the instrumentation.  The arrangement in whole does a lot to make the song and take appealing, and is just one part of the noted appeal.  The song’s lyrical content adds its own engagement and entertainment to the song.

The lyrical content featured in the song comes across as a statement about the need for people to be better than they are.  In other words, it comes across as a certain kind of social commentary.  This is inferred as Allen sings in the song’s lead verse, “Facing the mirror/These lines are getting clearer/Seeing a stranger that I hardly know/I know it’s only a fleeting reflection/That will bend no matter which way we go/Where we go nobody knows/But the river’s gonna take you home.”  He continues in the song’s second verse, “We should be living/Like tomorrow may not be given to us/Every day is not guaranteed/Only accepting it’s a blessing/Your presence, till you discover what it is you need.”  There may be some slight inconsistencies in the lyrics, having interpreted this without a lyrics sheet.  That aside, enough is understood to know that the song’s message of living the best one can.  That is inferred even more in the song’s final verse, in which Allen sings, “If you don’t listen, you’ll be missin’ the vision/You won’t be ready when the river bends/Every day cannot be taken for granted/So when you fall you gotta get back up again/But the river’s gonna take you home.”  Yet again, here listeners get a seeming message about doing the best that they can in life, adding that doing so important so as to be ready for when unexpected situations come along.  It is full-on metaphorical language, but seems relatively easy to translate.  When this seeming message is joined with the song’s musical arrangement, the whole of the two elements makes this song a strong statement from the band, both in terms of its general content and in terms of the band’s overall return on record.  The band is to be commended here, considering all of that.  Of course this song is just one of the EP’s most notable works.  ‘Broken Hearts Broken Bones does just as much as ‘Skipping Stone’ to make this EP stand out in whole.

The arrangement at the heart of ‘Broken Hearts Broken Bones,’ with its fuzzed guitar approach and hand-clapping effect almost immediately lends itself to comparisons to songs from the likes of Royal Blood, Queens of the Stone Age and other similar acts.  That is especially the case as Allen’s vocal delivery is added to the mix.  The airy, echoing effect in his delivery presented through the song’s production is the source of the effect.  When all the noted elements are joined, the make the song’s 2:54 run time actually feel longer in the best way possible.  What that means is that the arrangement by itself does a lot to leave listeners feeling fulfilled from this song.  That is a strong statement in itself.  The song’s lyrical content provides its own strong statement here.

The lyrics here are slightly difficult to decipher without lyrics.  What can be understood just enough, is the lyrical content in the song’s chorus in which Allen sings, “Round and round we go/Take it fast/Take it slow/Where we stop, nobody knows/Broken hearts broken bones/Round and round we go.”  The immediate thought here is that Allen is referencing the old adage about sticks and stones and words.  The broken hearts could perhaps be a reference to the words while the broken bones could be a reference to the sticks and stones portion of the old saying.  He even mentions in the end of the song’s second verse, “The only thing to keep me up now, who will take my place.”  In other words, the song’s subject is wondering who that significant other will choose after the breakup.  From there, he returns to the chorus, reiterating its statement again.  Tackling the topic of broken relationships is nothing new for the music industry by any means.  And the song’s lyrical approach is familiar, too.  What is so notable here is that the song’s musical arrangement is less familiar considering the song’s seeming topic.  Most breakup songs are either sad or angry.  There is little to no middle ground out there within that realm.  To that end, that slightly unfamiliar musical/emotional tone coupled with the noted content makes for quite the interesting listen.  It is not the last of the EP’s most notable tracks, either.  ‘Dollar Signs,’ the EP’s second track is noteworthy in its own right.

‘Dollar Signs’ presents an arrangement that any blues-rock fan will appreciate.  Right from the song’s outset, that familiar sound comes right out and hits listeners’ ears loud and clear.  Allen’s occasional screams conjure thoughts of Sammy Hagar, adding even more interest to the song’s musical side.  The whole of the elements within the song’s musical arrangement makes for an infectious sound that is certain to get stuck in listeners’ heads.  The song’s musical arrangement is only one of the song’s important elements.  The song’s lyrical content is just as certain as its musical content to get stuck in listeners’ heads.

Allen sings in the song’s chorus, “Tell me/where does the time go/Tell me where it goes/We’ve been working all our lives/But I can’t spare a dime…when it’s all about the dollar signs.”  He goes on to mention in the song’s second verse, having trouble making ends meet and not caring if he has anything to eat before returning to the song’s chorus, in which he continues singing about working throughout life and just trying to make ends meet.  This is another topic to which listeners can relate.  Set against the infectious, blues rock groove of the song’s musical arrangement, the whole of the song is yet another example of the EP’s strength.  When it is considered alongside the acoustic take of ‘Skipping Stone,’ ‘Broken Hearts Broken Bones’ and the rest of the EP’s offerings, the whole of the record proves to be a positive return for Charm City Devils.

Charm City Devils’ first new record in five years is a positive offering from the band.  That is because it presents easily accessible musical arrangements from start to finish for listeners.  It is also due to the equally accessible and relatable lyrical content featured within each of the record’s original songs.  That has been evidenced through three of the record’s songs in this review.  When those songs are considered along with the EP’s one other original – ‘Tides Are Changin’ – the whole of the record becomes a work that is one more of this year’s top new EPs.  More information on 1904 is available online now along with all of the band’s latest news and more at:










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Charm City Devils Ending Five-Year Wait For New Record

Courtesy: Broken World Records

Charm City Devils will release its new record this fall.

The Baltimore-based rock outfit is scheduled to release its new EP 1904 on November 22 through Broken World Records.  The five-song record, whose title refers to the year that the band’s hometown burned to the ground, saw its first single debut Friday in the form of the song ‘Skipping Stone.’

‘Skipping Stones’ presents a familiar gritty, blues-based arrangement that is driven largely by its guitars and drums.  It will appeal to fans of acts, such as Theory of a Deadman, Buckcherry and other similar acts.  The vocal delivery of front man John Allen adds its own touch to the arrangement.

Allen talked about the song’s lyrical content in a recent interview, explaining the noted content centers on one’s self-realization.

“White writing and collaborating on the songs for 1904, I started reflecting on my life and music career, and how the town where I grew up impacted my view of the world,” he said.  “The story of Baltimore is a direct parallel to what most people experience in life.  In everyone’s life, there is a change arc.  We begin that change with ‘uninformed optimism’ only to find out that optimism quickly turns to ‘informed pessimism,’ and as the spiraling continues, they ultimately bottom out at ‘crisis of meaning.’  It’s in the crisis part of life where a person has to decide if they are going to be stuck or are they going to pick themselves up and begin the upward struggle toward happiness and fulfillment.  The first single, ‘ Skipping Stone,’ is a journey into self-awareness and ultimately about being resilient.’

1904 is Charm City Devils’ fourth studio recording.  It comes five years after the release of the band’s third album Battles.

More information on Charm City Devils’ forthcoming EP, its new single, tour plans and more is available online now at:






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Charm City Devils on tour with Taproot, Theory of a Deadman

Charm City Devils are coming to a town near you.  And they’re coming with Taproot and Theory of a Deadman in tow.  Taproot is currently touring with the band.  Their stint with Charm City Devils ends Sunday, June 3rd.  Theory of a Deadman, who are currently out on tour in support of their recent release, “The Truth Is…” will come on board beginning Friday, July 20th. 

Fans who want a taste of Charm City Devils can check out the video for the first single off the band’s new album, a cover of ‘Man of Constant Sorrow’ from the “O Brother Where Art Thou?” soundtrack.  Just click the link here to check it out:  A lyric video for the song is also available.  Fans can check it out here:

Fans can keep up with all of the latest tour dates on more from Charm City Devils online at, on Facebook at, on Twitter at, and on myspace at

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Charm City Devils’ “Sins” anything but deadly

It’s about who you know, not what you know.  Who hasn’t heard that old adage?  Well, when a name the likes of Nikki Sixx personally gives his seal of approval, and even asks a band out on tour, odds are that band is not going to say no.  Thus, one of maisntream rock’s next big acts began its career in 2009.  The act in question is Baltimore, MD based Charm City Devils.  The band’s sophomore record, “Sin” will be on store shelves tomorrow.  And it goes without saying that this new record is anything but deadly.  However, it’s a record that’s a perfect fit for mainstream rock radio.

“Sin” opens with a full throttle, no nonsense adrenaline pumper in ‘Spite.’  The band keeps the adrenaline flowing at max speed with the defiant, fist pumper, ‘Unstoppable’ right after that.  ‘Man of Constant Sorrow’ is quite the interesting cover.  It takes the hit song from George Clooney’s hit movie, and gives it a decidedly new vibe.  The band kicks things right back into gear after that cover, with another high adrenaline track in ‘Still Alive.’  ‘Devil is a Woman’ is one of those standard testosterone-fueled rock tracks that no true hard rock record is complete without.  So many audiences can relate to this one.  The vibe from here on out is little different, as the band keeps the energy at its highest until gently depositing listeners on another shore at the album’s end in the ballad, ‘All You’ll Ever Need.’  It’s just enough to leave audiences with a sense of total fulfillment as they catch their breaths.

‘Sins’ is a great record.  Even had Charm City Devils not gotten the nod from Nikki Sixx, “Sins” shows that the band would still have been able to make a name for itself on its own.  But it never hurts to have the backing of such a big name.  Now, with the right support from fans and mainstream rock radio, audiences nationwide may very well be hearing a lot more from this band in the near future.  It’s a great record for fans of bands such as:  Buckcherry, Black Stone Cherry, Brand New Sin, and others of that ilk.  Fans who want to check out the band live will get their chance as the band will be heading out on tour, beginning next Thursday, April 19th in Roanoke, VA.  From there, the band heads to Maryland, before charting a course through the midwest.  The band’s lone west coast date will be May 1st in Spokane, WA.  No dates in North Carolina as of yet.  But fans can keep up to date with all the band’s dates on its facebook page,  Fans can also follow the band on Twitter at  The band is currently working on a new official website.  Fans can keep an eye on the progress of that website at http://www.charmcitydevils.