‘Pawns & Kings’ Continues Cementing Alter Bridge’s Place In The Hard Rock, Metal Communities

Courtesy: Napalm Records

Three is apparently a lucky number for hard rock band Alter Bridge. Ever since the release of the band’s debut album, One Day Remains in 2004, the band has allowed no more than three years to pass between each of its albums. This even as its members have kept themselves busy not only with the band but their many side projects. Front man Myles Kennedy has released a handful of albums alongside famed guitarist Slash and the Conspirators while guitarist Mark Tremonti has released five albums under his namesake solo project. Drummer Scott Phillips has even kept himself busy on the side with hard rock super group Projected, crafting three albums with band mates John Connolly and Vince Hornsby (both of Sevendust) and Eric Friedman (Tremonti touring band). Each album that Alter Bridge has released up to this point has proven quite the success even with that three year window passing between each album and each band member’s busy side schedule, too, showing that level of luck. Pawns & Kings, Alter Bridge’s seventh album, is no exception to that rule, either. The nearly hour-long album (it runs 55 minutes to be precise) succeeds equally through its musical and lyrical content thanks to its overwhelming heaviness.

For all of the heaviness, there is some more emotional content featured in the 10-song record’s body worth noting here, too. It comes halfway through the album in the form of ‘Stay.’ This song will be discussed shortly. ‘Season of Promise,’ which comes even later in the album’s run, is just as uplifting while being heavy and melodic in its own right. It will be examined a little later. For those looking for Alter Bridge’s heavier, more fiery side get plenty of that here, too along with equally accessible lyrical content in the form of ‘Silver Tongue,’ which comes early in the album’s run. When it is considered along with the other songs noted here they and the rest of the album’s entries make Pawns & Kings overall one more of the year’s top new hard rock and metal albums.

Pawns & Kings, the latest album from Alter Bridge, is another fine new offering from the hard rock outfit, which formed years ago from the ashes of Creed. The album’s success comes both through its musical and lyrical content. There is plenty of heaviness throughout the album’s musical content and just as much in the lyrical themes, too. There is also at least one softer moment that is heavy through its softness midway through the album in the form of ‘Stay.’ The song’s musical arrangement immediately lends itself to comparison to works that the former Creed band mates — Tremonti, Phillips, and bassist Brian Marshall — composed as members of Creed. In the same breath, listeners can also compare the almost power ballad-esque work to songs the musicians composed in Alter Bridge’s early days. The schmaltzy rock opus makes for a good breakpoint for the album, too, switching things up if only slightly so as to keep the album’s overall musical picture interesting.

Thanks to that radio ready power ballad sound and approach in the musical arrangement, the song’s uplifting lyrical theme about looking past life’s down times and keeping as positive an outlook as possible becomes all the more impacting. The theme is delivered clearly and simply as Kennedy sings in the song’s lead verse and chorus, “Hold your hands up high and throw them in the air/Show that you care too much to feel this way again/Things that cause you pain/Just throw them to the wind/Don’t turn away again/For I am always at your side/As I take another look around me/As I’m trying to be all I can be/Try to make me something more/And/Don’t wait/It won’t last forever/And allow your heart to heal/Just begin to heal.” This is that clear encouragement for people to push on through life’s difficult times because those bad times are only temporary. He continues the message in the song’s second verse, singing, “Make just one last wish/And shout it to the sky/The time/It is right to love/To feel/To light a fire/We’ll never know just when we’ll have the chance again/To see it to the end/So do your part and make it last.” Here again is that message furthered, encouraging people to make the most of each day and to take advantage of every chance to make life better. That overall positive message, paired with the song’s equally accessible musical arrangement makes it one of the album’s most notable entries and just one example of what makes Pawns & Kings stand out.

‘Season of Promise’ is another positive, notable addition to the album that shows the ability of its musical and lyrical themes to connect with audiences. That is due in part to its musical arrangement. The opening bars of its verses, with their steady guitar riffs, are comparable to works from Foo Fighters. As the verses progress though, the comparison to the more melodic works from Alter Bridge’s early days and even from the band members’ Creed catalog become more evident once again. That duality makes the overall arrangement quite the unique presentation in its own right that is another welcome change of pace from all of the heaviness that is spread across Pawns & Kings.

The foundation that the musical arrangement forms in ‘Season of Promise’ is strengthened through the lyrical theme that accompanies said content. In the case of this song, the lyrical theme is somewhat existential. Kennedy said in an interview with Apple Music, that the song’s theme is meant to deliver a message of appreciating the knowledge that each generation’s predecessor offers, because it is invaluable to the human race from one generation to the next. This is made clear as Kennedy sings in the song’s lead verse and chorus, “We gather to foster all the knowledge we have found/Passed down from a generation/Long forgotten now/Like dust from the stars/Scattered from afar/We wait for the harvest/In the season of promise/That was sown through the ages/That brings us to see/Everything that was started/By the dearly departed/May it live on forever/For the future to be/To bring about our destiny.” It leaves the interpretation to be that the “season of promise” would be the now, the current era; the season of what is possible in other words. He is saying that we are waiting for that knowledge to be passed on. It is an interesting poetic fashion to deliver that message which, honestly, is rare for any rock band to tackle in the best way possible. He furthers that message in the song’s second verse as he sings, “The wisdom of all we are/And all we’re meant to see/A truth that can get us by/If only we believe/It’s never that far.” Once again here is that message that the knowledge in question is closer than we think, and it is up to us to recognize it. This is a message that so many people need to hear, if not everyone. To that end, it and the song’s musical arrangement make it such a powerful addition to Pawns & Kings in its own right.

For those who want something heavier, musically, along with equally heavy lyrical content, that is presented here, too, in the form of ‘Silver Tongue,’ which comes early in the album’s run. The album’s third entry, it is a rich, fiery composition that is everything that fans of Alter Bridge’s heavier side have come to expect from the band. The richness of the overall instrumentation alongside Kennedy’s vocals will keep listeners fully engaged and entertained.

The lyrical theme that accompanies that musical heaviness is indeed heavy in its own right. Kennedy said of the song’s theme that it is about those people who have only the worst intentions in mind, getting people to do what they want with no concern about the fallout for themselves because they know they will not get in any trouble for their vile actions and words. If that sounds familiar, it should, considered a certain political and celebrity figure *coughs, Donald Trump* perfectly fits that bill, along with certain other well-known figures. The theme is delivered clearly as Kennedy sings in the song’s lead verse and chorus, “Sitting in my ivory tower/Invincible to fall/Some would say my final hour/As you scale the wall/Step inside/I dare you all/And breathe the lies/And heed the call/When this is all said and done/I will have my way/And you will take the blame/You’re over the line/Under the gun/I am the reason for what you’ve done/Tooth of a crime you can’t outrun/Under the spell of my silver tongue.” This, again, so perfectly fits the vile actions and words of Donald Trump even if Trump was not the direct target here. The message continues just as starkly in the song’s second verse as Kennedy sings, “I swear to God/I’ll find a way/To prove I still belong/I’d rather watch it burn away/Than say that I was wrong.” This is such a fully accessible theme that will resonate so easily in today’s world. The fire in the song’s arrangement does so well to help illustrate the dark sense in that person’s mind. The whole makes ‘Silver Tongue’ yet another important addition to Pawns & Kings. When it and the other songs examined here are considered together and along with the rest of the album’s entries, the whole makes Pans & Kings one more of this year’s top new hard rock and metal albums.

Pawns & Kings, the seventh album from Alter Bridge is another example of what makes this band one of the top names in the current age of hard rock and metal. This is proven through its musical and lyrical content alike, as has been evidenced here. When those songs are considered along with the rest of the album’s entries, the whole makes this album another powerful new offering from Alter Bridge that is also among the best of this year’s top new hard rock and metal metal albums.

Pawns & Kings is available now through Napalm Records. More information on the album is available along with all of Alter Bridge’s latest news at:

Website: http://www.alterbridge.com

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

Twitter: http://twitter.com/alterbridge

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

Blacktop Mojo’s Ongoing Success Continues With Its New Self-Titled Album

Courtesy: TAG Publicity

Things have picked up lately for Blacktop Mojo.  The band recently launched its latest tour and its new self-titled album.  Released Friday, the 12-song self-titled record is another successful offering from the independent hard rock band.  According to information provided, the album is already at #5 on the iTunes Rock Albums chart and at #30 on iTunes’ Top 100 Albums Chart.  No doubt the two singles that the album has already produced – ‘Tail Light’s and ‘Wicked Woman,’ which close and open the album respectively do their own part to help with that success.  Those two songs are only a part of what shows the album’s strength.  ‘Do It For The Money,’ one of the album’s later entries, does well in itself to support the noted statements.  It will be discussed shortly.  ‘Rewind,’ which comes early in the album’s run, is another example of what makes this album worth hearing.  It will be examined a little later.  Much the same can be said of ‘Stratus Melancholia,’ the album’s penultimate entry.  It will also be examined later.  Each song noted here is important in its own way to the whole of the album.  When they are considered along with the rest of the album’s songs, the whole proves to be one more of this year’s top new hard rock and metal albums.

Blacktop Mojo’s new self-titled record (its fourth overall album) is another successful new offering from the independent hard rock band.  That is proven in part through the late entry, ‘Do It For The Money.’  The song features a heavy, crunching guitar line and equally heavy, rich bass and drum line that is instantly comparable to some of the best works from Black Label Society.  The fullness and richness in the arrangement (including the vocals) makes the arrangement so engaging and entertaining.  It is just one part of what makes the song stand out.  The seeming commentary about understanding what is important in life featured in the song’s lyrical content adds to the song’s impact.

The noted inferred theme is presented right from the song’s outset as James sings in the song’s lead verse and chorus, “How much for your soul?/Is it for sale to anyone?/What’s the price of being loved?/Which bank do you owe?/Is it worth its weight in/Is it worth its weight in/Is it worth its weight in gold?/Do you do it for the love/Or do you do it for the money?/The poor die young and the rich get lucky/Cash is king and you’re the jester honey/Do you do it for the love/Or do you do it for the money?”  The song’s second verse continues that inferred theme as James sings, “He left you in the hole/Did you know the deal was wrong?/Did you sell it for a song?/It’s your blood on the note/Oh he cleaned you out/What will you pay with/What will you pay with/What will you pay with now?”  All of this seems to really infer a discussion on the familiar topic of deciding what is really important in life, money or our pride and simply more important matters in life.  The infectious nature of the song’s musical arrangement will ensure even more that audiences get that seeming message.  The two elements collectively make clear why this song is such a strong addition to the album.  It is just one of the many songs that make Blacktop Mojo’s new self-titled album such an impressive new offering from the band.  ‘Rewind,’ one of the album’s early entries, is another example of the record’s strength.

‘Rewind,’ like ‘Do It For The Money,’ stands out in part because of its arrangement.  This song’s arrangement is another work that tends to stray from Blacktop Mojo’s more familiar heavy, southern rock approach.  Rather in this case, what audiences get is a song that exhibits influence from Creed and (interestingly enough) Lifehouse.  The guitar-centered composition really comes across as a hybrid of songs from those two bands.  That is exhibited through the harmonies that it and the bass line create.  The addition of the vocals (which here really conjure thoughts of none other than Scott Stapp) adds even more to that sense.  Of course the song’s musical content is just one part of what makes it stand out.  The song’s lyrical content ensures its own appeal.

The lyrical content featured in this song seems to take on the all too familiar topic of a relationship matter.  This is inferred through the song’s extensive lead verse and chorus, in which James sings, “Rewind/To yesterday morning when/We were fine/Before we knew the world would end/If I told you/We could go back to that moment again/Would you drop everything/Take my hand, and follow?/Would you choose yesterday or tomorrow?/Sunshine/Morning light creeping in/White Lies/I don’t know what to say again/Is illusion/Better than the promise we give/When I love you for some reason seems hollow/Would you choose yesterday or tomorrow?/Don’t speak now live in the moment babe/One wrong word and everything’s changed/The second hand could tick and we lose everything we know/Fight back tears as the tape plays/It comes unwound and goes in and out of phase/The stereo is screaming and the song don’t sound the same anymore/Rewind the track to way back before we knew the words.”  The song’s second verse infers even more that the song’s theme is that of a potentially broken relationship as James sings, “Inside/I think I know the answer you’ll give/In your eyes/I can tell you’re barely holding it in/When I met you/We radiated light from within/But we chewed that up and now it’s time to swallow/Would you choose yesterday or tomorrow?”  The heartfelt feeling in the song’s arrangement, while thankfully not the typical oh woe is me approach, still does well to complete the picture of this seeming theme.  It adds even more to the song’s overall emotional impact.  Together, the two elements show clearly why this song is another positive addition to Blacktop Mojo.  It is just one more of the songs that makes the album in whole prove so enjoyable, too.  ‘Stratus Melancholia,’ the album’s penultimate entry, is yet another way in which Blacktop Mojo proves its success.

Right off the bat, the musical arrangement featured in ‘Stratus Melancholia’ evokes thoughts of the grunge sounds of the 90s.  Speaking more specifically, the song’s heavy, plodding arrangement likens itself to works from Soundgarden and Alice in Chains through the downtuned guitars, bass, almost mournful vocal delivery style and heavy drums.  At the same time, BTM’s own familiar influence is present, too.  It is just blended well with the other noted influences here to make the arrangement in whole such a unique addition to the album.  That arrangement does not work alone here, either.  The lyrical content that accompanies the song’s musical arrangement makes for its own interest.

The almost nihilistic approach to the song’s lyrical content adds even more to that noted grunge approach.  The song opens with James singing, “Black sun burn a hole in the clouds/The world goes cold the grass turns brown/Heart turning inside out/Open up and swallow me down//Blind darkness closing in/Whisper nothings, sweet as sin/Echoes now were they a dream/In the end they don’t mean a thing/Love won’t keep you safe/Love will slip away/Love won’t keep you safe/Love will slip away.”  The song’s second verse is just as brooding as it states, “All alone in my own head/Rotten smell/Is something dead?/Crawling on my hands and knees/Beg the darkness/Let me breathe.”  This comes across as someone in a dark place.  It is a fully relatable situation for every listener.  That ability to connect with listeners lyrically as well as musically (the song’s musical arrangement does very well to enhance the mood set by the song’s lyrical theme, too) shows even more why this song stands out.  The whole makes even clearer why this album is such an impressive new offering from Blacktop Mojo.  When it is considered along with the other songs examined here and the rest of the album’s songs, the whole makes the album in whole a fully successful new offering from Blacktop Mojo that continues to help cement the band’s place among the current generation of young rock acts.

Blacktop Mojo’s fourth album, Blacktop Mojo, is yet another strong offering from the band.  Its musical and lyrical content alike does well throughout to make it fully engaging and entertaining.  Each of the songs examined here serve in their own way to support that statement.  They and the rest of the album’s songs show a continued growth from the band.  When they are considered along with the album’s existing singles and the rest of the album’s songs, the whole makes the album overall one more of this year’s top new hard rock and metal albums.  Furthermore, it continues to cement the band’s place among the current generation of young rock and hard rock bands.  Blacktop Mojo is available now.

The band is in the midst of the tour’s first leg of its tour. The band’s upcoming dates, including those for the second leg of the tour, are noted below.

BLACK TOP MOJO ON TOUR        
8/15 — Joliet, IL — The Forge 
8/17 — Nashville, TN — The End
8/18 — Memphis, TN — Growlers
8/20 — St. Louis, MO — Red Flag
8/21 — Hutchinson, KS — The Red Shed
8/22 — Lubbock, TX — Jakes
9/24 — Fort Worth, TX — Rail Club
9/25 — Enid, OK — Fling At The Springs
9/26 — Fort Smith, AR — Temple Live
9/30 — Biloxi, MS — The Cannery Bar & Grill
10/2 — Destin, FL — Club LA w/ Nonpoint
10/3 — Lake City, FL — Halpatter Brewing Company
10/5 — Orlando, FL — Soundbar
10/7 — Charlotte, NC — Amos
10/8 — Greensboro, NC — Blind Tiger
10/9 — Jacksonville, NC — Hooligans Music Hall
10/10 — Virginia Beach, VA — Elevation 27
10/12 — Brooklyn, NY — Kingsland
10/13 — Syracuse, NY — Lost Horizon
10/15 — Marietta, OH — Adelphia Music Hall
10/16 — Harrisburg, PA — HMAC
10/21 — Providence, RI — Alchemy
10/22 — Hampton Beach, NH — Wallys
10/23 — Hartford, CT — Webster Underground
10/24 — Albany, NY — Empire Underground
10/26 — Buffalo, NY — Mohawk Place
10/28 — Flint, MI — Machine Shop
10/29 — Indianapolis, IN — Emerson Theater
10/30 — Battle Creek, MI — Music Factory
10/31 — Ft Wayne, IN — Pieres
11/3 — West Dundee, IL — Rockhaus
11/4 — Peoria, IL — Crusens
11/5 — Wichita, KS — Temple Live
11/6 — Texarkana, AR — Crossties

More information on Blacktop Mojo’s new album and tour is available along with all of the band’s latest news at:

Website: https://www.blacktopmojo.com

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

Twitter: https://twitter.com/blacktopmojo

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

Mason Hill Is Off To A Strong Start With Its Debut LP

Courtesy:7Hz Productions

Independent rock band Mason Hill is keeping itself quite busy this year.  The band recently announced that it is scheduled to launch a new series of live dates this fall.  The band is also scheduled to release its cover of Foo Fighters’ ‘The Best of You’ Friday.  This is all following the release of the band’s debut album Against the Wall just last month.  Released March 5 through 7Hz Productions, the 12-song record could be a breakout for the band, given the right support.  That is due in part to the record’s musical arrangements.  They will be discussed shortly.  The lyrical themes that accompany the album’s musical arrangements build on the foundation formed by that content.  The record’s production rounds out its most important elements and will be discussed later, too.  Each item noted here is important in its own way to the whole of the album’s presentation.  All things considered, they make Against the Wall unquestionably among the best of 2021’s new rock and independent albums.

Mason Hill’s debut album Against the Wall is a very strong start for the up-and-coming UK-based outfit.  That is due in part to the record’s featured musical arrangements.  From start to end, the 46-minute record’s musical arrangements hold their own against anything that America’s mainstream/active rock radio stations are playing.  The driving guitar lines and their melodies, the solid time keeping, and rich bass and drums create sounds and stylistic approaches from one song to the next that immediately lend themselves to comparisons to works from bands, such as Alter Bridge, Shinedown, and Theory of a Deadman.  Every arrangement here holds its own against any of those bands’ songs.  Whether it be the album’s powerful yet contemplative title track, the more fiery single, ‘D.N.A.,’ or even the brooding, contemplative ‘Where I Belong,’ the range of styles and sounds lines up easily with those of the works from the noted more well-known bands.  To that end, the arrangements featured throughout this record form a solid foundation for its presentation.  Building on that foundation is the lyrical content that accompanies the musical content.

The lyrical content that is featured throughout Against the Wall is just as accessible as the record’s musical arrangements.  Case in point for instance is the lyrical theme featured in ‘Find My Way.’  The song’s title makes the theme clear, while the lyrics just as easily explain the song’s message.  In this case, the message is that of breaking out on one’s own and making one’s life for one’s self.  The subject sings about being done with another person and his/her negative influence, and…well…finding his own way.  This is made clear as front man Scott Taylor sings in the song’s chorus, “I wait for you/To  let me go/So I can find my way/This time I’m sure/You’ve  got nowhere else to go/I wait for..”  He gets even firmer in the refrain, singing, “You always criticized me/You never see what I see/I won’t always wait for you/Your  life’s so hypnotizing/My mind’s so indecisive/I won’t always wait for you.”  This brief amount of content speaks volumes here.  It is, again, a statement of someone taking control of his/her life, and no longer letting someone else impact what happens.  This is a statement that will resonate with any listener, especially when it is considered along with the infectious energy and sound of the song’s musical arrangement.

‘Broken Son’ is another example of what makes the album’s lyrical content stand out just as much as its musical accompaniment.  This clearly contemplative rumination seems to deliver its own unique message of empowerment.  In this case, the message in question seems to center on someone who is refusing to let the impact of his familial past ruin the rest of his life.  This is inferred in the song’s lead verse and chorus, which state, “There’s nothing wrong with me/I just cannot see the way you used to be/And now this scene in my head/Is better off dead/With all my memories/So I say/This time I’m fixing what I’ve   done/They say it’s always my own fault/That’s all I hear/When you say my mind’s been drifting all the time/I think that you’re telling me another lie/That’s all I hear/I’m chasing all the things I’ve done/I’m learning how to be the one/This time I know/I’m letting go/I’m not your broken son.”  As noted, this lead statement comes across as being spoken from someone who is looking back at his life but empowering himself through personal realizations in his retrospection.  The seeming message continues in the song’s second verse, stating, “So worry me this way/Don’t make me be  the man  who lost it  all  today/And no w I’m  broken and scared/Now watch me pretend/I got it figured out/Well  here I am/This time I’m fixing  what I’ve done/they always  say it’s always my own fault/That’s all I hear/When you say/My mind’s  been  drifting all  the time/I think you’re telling me another lie.”  Again, here is that self re-assurance from the song’s subject.  Regardless of the commonality of a situation, such as that presented here, there are those audiences to whom this song will resonate.  When the song’s infectious musical arrangement pairs with that accessible in its own right lyrical theme, the whole shows even more why the record’s musical and lyrical content together is so powerful for   the album’s presentation.  It is just one more case in which this is proven.  ‘Where I Belong’ is yet another way in which the record’s lyrical content proves to be just as important as its featured musical arrangements.

‘Where I Belong’ is another key example of the importance of Against the Wall’s lyrical content because of the vulnerability that it exhibits in comparison to the confidence exhibited in the other examined songs.  It shows the band’s ability to reach listeners’ in a variety of emotional levels.  While the song’s title comes across as being somewhat existential, the reality here is anything but.  Rather this song is a familiar rock ballad style work that is (and many audiences might not like this) very much in the overly saccharine sweet vein of certain songs from Nickelback and Creed.  This is inferred in the song’s lead verse   and chorus, which states, “I sail through life/My eyes are closed/The memories are forgotten/The past has gone/The wind cries out your name/It’s calling me home/Yet I follow/Which has no name/Carry me home/Through fire and rain/Lay before your feet/My struggle/Is in vain/Yet I know/There is somewhere I belong/And it’s where I’m meant to be/Carry me home/To somewhere I belong.”  The super sweet ballad continues in its second verse, “The smile on your face/The stars in the sky/Let me know I’m closer/Can you see/The hope in my eyes?/Carry my home/Through fire and rain/Laid before your feet/My struggle is in vain/’Cause I know/There is somewhere I belong/And it’s where I’m meant to be/Carry me home/To somewhere I belong.”  Yes, this is one of those over-the-top arena rock style ballads in regards to its musical and lyrical content.  That aside, the fact that it is such a departure for the band in comparison to the rest of the album’s content, it is one more example of the importance of the album’s lyrical content just as much as its musical content.  It is another accessible lyrical theme and it is different from the other themes featured throughout the album.  To that end, it is just one more way in which the album’s lyrical content proves so important.  When this song’s   lyrical content and that featured in the other songs examined here is considered along with that of the rest of the album’s entries, the whole leaves no doubt as to the role of the album’s lyrical themes in its overall presentation.  Even with all of this in mind, the lyrical content is just one more part of what makes Against the Wall work.  The album’s production rounds out its most important elements.

The production that went into Against the Wall is important to examine because of its role in the album’s general effect.  Whether in the album’s high-energy moments or its more contemplative moments, the production plays a key part in making sure each song has the fullest effect.  That work succeeds, too.  The instruments are balanced expertly with one another.  At the same time, the vocals are just as well-balanced with the instrumentation, making sure that no one part overpowers another at any point in the record’s presentation.  The dynamics in each song do well to help evoke the intended thoughts and emotions from listeners, which is itself a tribute to the impact of the production.  All things considered, the production puts the finishing touch to the album’s overall presentation.  When it is considered along with the impact of the album’s musical and lyrical content, that whole makes the album overall a work that holds its own well against any work from Mason Hill’s more well-known mainstream rock counterparts.

Mason Hill’s debut album Against the Wall is a strong start for the up-and-coming rock/hard rock band.  That is proven through its musical and lyrical content, which separately and collectively prove quite accessible.  The infectious musical arrangements appeal to fans of works from the likes of Alter Bridge, Shinedown, and even Theory of a Deadman while the record’s lyrical themes are even more widely appealing.  The album’s production brings everything together, putting the final touch to the album’s presentation.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make Against the Wall a surprise hit that is among the best of this year’s new rock and independent albums.  Against the Wall is available now.

European audiences will get to hear lots of music from the band’s new album this fall when the band hits the road. The band’s tentative tour schedule is noted below. Ticket information is available here.

Tour Dates:
09/02 @ Tunnels – Aberdeen, Scotland
09/03 @ Garage – Glasgow, Scotland
09/04 @ Macarts – Galashiels, Scotland
09/09 @ Grand Social – Dublin, Ireland
09/10 @ Voodoo – Belfast, Ireland
09/14 @ Junction 2 – Cambridge, England
09/15 @ Corporation – Sheffield, England
09/16 @ Fleece – Bristol, England
09/17 @ Patterns – Brighton, England
09/18 @ Leos – Gravesend, England (Sold Out)
09/20 @ Globe – Cardiff, Wales
09/21 @ Joiners – Southampton, England
09/22 @ Nightrain – Bradford, England
09/23 @ Waterloo Music Bar – Blackpool
09/24 @ Underworld – London, England
09/25 @ Rebellion – Manchester, England
09/26 @ KK’s Steel Mill – Wolverhampton, England

More information on Mason Hill’s new album, tour, and single is available along with all of the band’s latest news is available online at:

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

Twitter: https://twitter.com/masonhillband

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

Wicked Garden Debuts ‘Home, Too Far’ Video

Courtesy: TAG Publicity

Wicked Garden debuted the video for its latest single this week.

The band debuted the video for its new single ‘Home, Too Far‘ Thursday.’  The video features the band performing its new single and footage of of a countryside passing by in black and white.  The imagery is meant to illustrate the message in the song’s lyrical content, which focuses on the matter of appreciating those we have while they are here.

Front man Dominick Luzio discussed that theme in a recent interview.

“This is a song about loss, and how you can never get back the time you have with someone once they are gone,” he said.  “And while the term “Home” refers to an afterlife or another plane of existence, it’s too far away for the people that have been left behind.”

The song’s musical arrangement features a distinct 90s alt-rock sound similar to works from the likes of Creed, Stone Temple Pilots, and Temple of the Dog.

Guitarist Shawn Trojahn discussed the song’s arrangement in his own comments.

“I was frustrated by not having written by not having written anything in a while,” he said.  “Then when i came up with this riff, I knew it had something.  It was different from our other songs, but still sounded like us.”

More information on Wicked Garden’s new single and video is available along with all of the band’s latest news at:

 

Website: http://wickedgardenlv.com

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

Twitter: http://twitter.com/WickedGardenLV

 

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

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:

 

Website: http://www.psyclemusic.com

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

Twitter: http://twitter.com/psycle22

 

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

Psycle Debuts ‘Changing Tide’ Lyric Video

Courtesy: O’Donnell Media Group

Rock band Psycle debuted the video for its new single this week.

The band debuted the lyric video for its new single ‘Changing Tide‘ Tuesday. the song is the second single from the band’s forthcoming album Kill The Machine, which is scheduled for release June 12.  The band debuted the lyric video for the album’s title track — also the album’s lead single — March 24.

The musical arrangement at the center of ‘Changing Tide’ immediately lends itself to comparisons to works from Creed and Alter Bridge with its guitar work and front man Seth Salois’ vocal delivery.  Salois’ vocal talents are right up there with Alter Bridge front man Myles Kennedy.  His band mates’ — Jay Spyne (drums, vocals), Mike Kaz (bass, vocals) and Joe Nicolazzo (guitar) — talents are equal to those of Kennedy’s band mates here, too.

In discussing the song’s musical arrangement, the band said in a collective statement that the decision to follow up ‘Kill The Machine’ with ‘Changing Tide’ was mad with a specific intent in mind.

“For our second single ‘Changing Tide,’ we wanted to show the diversity within the album and offer a glimpse into the journey we hope the album creates,” the statement reads.  “‘Kill The Machine’ is raw, unforgiving and pointed, where ‘Changing Tide’ is sweeping, emotional and accepting.”

The lyrical them at the heart of the song delivers a theme of optimism, according to the noted statement.

“‘Changing Tide’ is about believing in your individuality, accepting the hand that you are dealt and persevering through whatever stands in your way,” the statement reads.

‘Changing Tide’ is available to stream and download here.

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

 

Website: http://www.psyclemusic.com

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

Twitter: http://twitter.com/psycle22

 

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

 

‘Earthquake’ Is A Good First Impression For Hyvmine

Courtesy: Seek and Strike Records

The first impression is the most important that ca be made in any situation. From getting that coveted job to winning over a love interest to winning over audiences, that first impression is the best chance that one has to success in so many avenues. Taking this into consideration, it can be said that up-and-coming hard rock outfit Hyvmine has made a good first impression with its debut album Earthquake. Released Jan. 19 via independent label Seek & Strike Records (also home to Between The Buried and Me, Body Count, Gus G. and others), this first effort from Hyvmine is certain to reach a wide array of audiences. That is proven in part through the diversity in the album’s musical arrangements, which will be discussed shortly. The album’s sequencing also helps to prove its ability to reach audiences, and will be discussed later. The record’s production is also important to its ability to reach listeners and will also be discussed later. Each element is important in its own way to the whole of Earthquake‘s overall presentation. All things considered, the noted elements make Earthquake a record that while not earth-shaking, is still a good first impression for Hyvmine.

Hard rock outfit Hyvmine’s debut album Earthquake is a work that, as noted is not necessarily an earth-shaking record. It is however, a good first impression for the up-and-coming hard rock outfit. That statement is supported in part through the musical arrangements that are exhibited throughout the course of the album’s nine-song, 42-minute body. right off the top, audiences are treated to an arrangement in ‘Shift’ that boasts elements of Alter Bridge and Dream Theater. Yes, that’s quite the duality, but somehow front man Al Joseph and his band mates make that pairing of influences work. The slow build from the song’s opening piano line into the more contemplative moments that make up the early portion of the song builds a strong foundation for the song. The eventual growth from that vibe to the more power packed portions of the song shows definite thought put into the arrangement, and in turn is sure to keep listeners engaged. the same can be said of the joining those Alter Bridge and Dream Theater influences within those harder-edged moments. Joseph’s own vocal delivery boasts an eerie similarity to that of Alter Bridge front man Myles Kennedy, too, adding even more interest to the arrangement. Add in the song’s lyrical content, which seems to present the message of living life to the fullest, and audiences get an interesting first effort here. It is of course only one song that shows the importance of the album’s arrangements to its whole. The post-grunge vibe of ‘Fire Escape’ conjures thoughts of Korn, Staind and so many aggro-rock bands that rose to fame in the late 90s and early 2000s while ‘Mirror Master’ brings about thoughts of Sevendust and The Veer Union. The arrangement at the center of the album’s title track, which also comes virtually dead center of the album, will reach fans of Creed and other similar acts. Considering the diversity displayed throughout these songs and that of the songs not noted here, it becomes fully clear why that diversity helps to make this record a good first impression for this record. It shows the band’s ability to cover any type of rock, giving in itself reason for audiences to give it at least one listen. It is just one of the album’s most important elements. Staying on the same note as the songs, their sequencing proves just as important to discuss as their arrangements.

Earthquake‘s sequencing is important to note because as much as the songs’ arrangements do for the record’s presentation, if they had been poorly placed, they would have been completely useless. Luckily though, that didn’t happen. Again, noting the gentle, contemplative piano run at the start of the album’s opener and the manner in which it builds into the bigger picture of the song, it is just the first strong salvo from the band. The transition from that song’s raucous finale to the more controlled yet heavy riffs of ‘Mirror Master’ was a smooth and smart move. It keeps the heavy without being too stark of a change. The heavy continues into the album’s third track with the more up-tempo ‘Shogun,’ which also boasts a solo that would make John Petrucci proud. The heavy still doesn’t end there. From there, the album transitions into a rather Creed-esque radio ready rocker in ‘All of Creation’ before the album finally pulls back in ‘Earthquake.’ What’s really interesting here is that while it does finally pull back, that pull back is only partial as it starts off soft before picking back up a little bit in what is overall yet another Creed style work. ‘Fire Escape,’ the start of the album’s final trio of songs, brings the heavy back in full force before moving in a slightly more mainstream direction again ‘ Elysium.’ ‘Great Divide,’ the album’s penultimate track, gives listeners one last dose of heavy before closing out the record in another Creed-esque rocker in ‘Cliffhanger.’ Considering the direction that the album takes from beginning to end with its energies, it can be said after going through the whole of the 43-minute run time that the album’s energy stays relatively stable. That applies from song to song and even within the songs themselves. The stability of the energies within the songs and between songs creates a listening experience that even more certifies listeners’ engagement. When that insurance is considered along with the insurance generated through the songs’ very arrangements, that whole shows even more why Earthquake, while again not earth-shaking, is still a good first impression from Hyvmine. It is still not the last of the elements that makes this record a respectable start for the band. Its overall production is also worth noting.

The album’s production is important to note in examining Earthquake because while it does largely impress, there are at least a couple of problem points. ‘Shogun’ is one of those problem points. There are moments throughout the song when front man Al Joseph’s vocals are slightly washed out by the song’s musical elements. This means that interpretation of what he is singing becomes difficult without a lyrics sheet. There also seems to be a bit of a balance issue between Joseph’s vocals and the song’s musical elements here, too. This is, of course, just this critic’s own take. Others might hear it differently. The problem that this critic has caught here is that again, the music seems to slightly overpower Joseph’s vocals. That takes away at least something from the enjoyment here. The vocals in ‘Elysium”s chorus seem to bleed together a little with its musical side, too. Again, this is just this critic’s interpretation. Other than those directly noted elements, the album’s production proves relatively positive throughout. Keeping this in mind, it proves — despite the few problematic balance issues — to be relatively stable from beginning to end. When that is considered alongside the stability in the album’s sequencing and the variety of the album’s musical arrangements, the whole of these elements shows in full why Earthquake is a good first impression for Hyvmine.

Hyvmine’s debut album Earthquake is a good first impression for the band. While it may not be an earth-shaking start for the band, it is still respectable. That is thanks in part to the variety exhibited in the album’s musical arrangements. From Dream Theater to Korn to Creed and points even in-between, the album’s arrangements are certain to reach a variety of audiences. The album’s sequencing keeps its energy relatively stable from beginning to end. This is proven through the song transitions and even within the songs themselves. The album’s overall production is relatively stable, too, strengthening its presentation even more. Each element is important in its own right to the album’s whole. All things considered, they make Earthquake a good first impression from Hyvmine that, while it might not have everyone thinking the same, will impress plenty of audiences. It is available now in stores and online. More information on Hyvmine is available online now at:

Website: http://seekandstrike.com/artists/hyvmine

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

Twitter: http://twitter.com/hyvmineband

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

Art Of Anarchy Announces New Live Dates

Courtesy: O’Donnell Media Group

Art of Anarchy has announced new live dates in support of its new album The Madness.

The band announced this week it will embark on a short string of live dates next month beginning April 3 in Amityville, N.Y. The nearly month-long schedule takes the band to the Midwest and into the Southwest and also into Canada, eventually winding down April 29 in Henderson, NV.  The band’s current live schedule is noted below.

Art of Anarchy Tour Dates:

4/3/17 – Amityville, N.Y. – Revolution Bar & Music Hall
4/4/17 – Asbury Park, N.J. – The Stone Pony
4/6/17 – Toronto, Ontario – Velvet Underground
4/7/17 – Sarnia, Ontario – Station Music Hall
4/8/17 – Battle Creek, Mich. – The Music Factory
4/10/17 – Libertyville, Ill. – Austin’s Saloon
4/11/17 – Chesterfield, Mich. – Diesel Concert Lounge
4/13/17 – Fort Wayne, Ind. – The Rusty Spur
4/14/17 – Ringle, Wisc. – Q&Z Expo Center
4/29/17 – Henderson, Nev. – M Resort

Composed of Scott Stapp (ex-Creed) on vocals, Ron “Bumblefoot” Thal (ex Guns ‘N Roses) on guitar, John Moyer (ex-Disturbed) on bass and twin brothers Jon and Vince Votta on guitar and drums respectively, the band originally formed through an 18-year friendship between Thal and the Votta brothers.

Jon Votta first approached Thal with the idea to form the band years ago.  That discussion eventually led to the band’s creation, which originally saw the late Scott Weiland (ex-Stone Temple Pilots) handle vocal duties. The band’s debut self-titled album was released in June 2015.

Stapp said in a recent interview that he was optimistic about working with the members of Art of Anarchy.

“I’m excited to be a part of Art of Anarchy,” Stapp said.  “I appreciate collaborating with other talented artists and I can’t wait to share our new music with the fans very soon.”

Band manager John Gomez shared Stapp’s optimism.

“The other members of AOA and I are equally excited to have Stapp on board,” Gomez said.  “This is the first band that Scott has fronted outside of Creed and his heart’s really in it.  Scott’s vision, his gift for gut-wrenching storytelling and his powerful vocals lend a bold new energy to the group.”

Thal thought bringing Stapp on to take Weiland’s place has been a boon for the band, adding he thought Stapp’s addition to the band helped take the band in a new direction.

“Scott’s style and the personal lyrics he’s been writing are taking the sound in a new direction – one that brings out the best in all of us,” Thal said.  “It’s a new chapter for us all, and I’m looking forward to sharing the new music with the fans and seeing what the future holds.”

Vince Votta agreed.

“It’s been awesome having Stapp on board,” Votta said.  “Everyone is bringing their A-game and can’t wait to bring it live to the stage.”

Audiences that haven’t heard that new sound can hear The Madness’ latest single, its title track online now via the band’s official YouTube channel.  More information on The Madness is available online now along with all of Art of Anarchy’s latest news and more at:

 

 

 

Website: http://www.artofanarchyband.com

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

 

 

 

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

‘Dust’ Won’t Gather Much “Dust” In Listeners’ Music Libraries

Courtesy: Fret 12 Records

Mark Tremonti is one of the hardest working people in the rock community today.  Between working on the next Alter Bridge album, scheduling dates for the band’s tour, and promoting his latest solo album Dust Tremonti definitely keeps himself busy.  Speaking of Dust, it was released worldwide this past April.  This latest album, his third solo recording, is a good fit for anyone that is a fan of his solo work and for those that lean more toward his work with Alter Bridge.  That is clear from the beginning to the end of the ten-song, forty-three minute record.  It takes the mix of heavy and softer sounds that are so prevalent in Alter Bridge’s albums and uses them as the foundation for its songs in considering its musical arrangements.  The lyrical themes that are presented throughout the record are insightful in their own right.  The combination of the two elements together makes the album in whole one that definitely won’t gather any “dust” in audiences’ music libraries.

Mark Tremonti’s latest solo recording Dust is a respectable new offering from the Alter Bridge guitarist.  It is a record that definitely won’t gather any “dust” in listeners’ personal music libraries.  That is due in part to a sound that is very familiar for fans of Alter Bridge and lyrics that offer their own share of insight for audiences.  One point at which this is clearly exhibited in Tremonti’s new album is the album’s title track.  Its musical arrangement creates a solid foundation for the song.  That is because while it does offer some clearly heavy moments, it also includes some moments that are equally moving, and in turn heavy in a different way.  What is most noticeable of the song’s musical arrangement is that Tremonti and company obviously put some thought into the arrangement.  That is because the heavier, and emotionally heavy moments aren’t just tossed in randomly over the course of the song’s nearly five-and-a-half minute run time.  Rather it is clearly deliberate in its gradual growth over that time.  The end result is a song that in regards to just its musical arrangement is one of the album’s best moments.  Its lyrical content presents a clear mirror image to the emotional growth presented in its musical arrangement.  That is clear as Temonti sings of a person who apparently did quite a bit for everyone else yet who it seems refused help from others.  This can be inferred as Tremonti sings in the song’s lead verse, “Cut through the fetters/Reach the end/Only to fight yourself again/Who would believe that you’re now done/You carried the weight of everyone/After all the time we spent/Rewriting the rules that we now bend/The whole d*** thing has turned to dust/You left us alone/Defeated us.”  That last line, “You left us alone/Defeated us” seems to hint that whoever this person was, he or she might have had something to hide.  This is inferred even more as he sings in the song’s second verse, “Once fell behind to carry me/You know it was never meant to be/Bled for the right to see it through/And now is the time to carry you/Why were we afraid to go/We asked for the truth and now we know/The whole damn thing has turned to dust/The ashes you left to bury us.”  Audiences will note that the same musical arrangement used in the song’s lead verse is also used in this verse, too.  It is that arrangement that gradually grows over the course of the verse, thus illustrating the emotion of the song’s subject.  It plays into that belief that perhaps the person being addressed here is someone with some personal demons that have got to be handled.  It would be interesting to find out if this was perhaps in reference to a certain individual from the band’s (or Tremonti’s own past).  Regardless of the possible story behind the song, the combination of that insightful lyrical content and its equally balanced musical arrangement makes this song just one of Dust’s standout moments.  It is a clear example of why this record won’t gather much, if any, “dust” in listeners’ music libraries.  Audiences can hear the song for themselves online now via Tremonti’s official YouTube channel.  It is just one supporting piece of evidence in these arguments, too.  ‘Catching Fire’ is another of the album’s inclusions that supports that argument.

‘Dust’ is one of the best moments of Mark Tremonti’s new album.  That is because the song, which is also the album’s title track, combines some rather thought-provoking lyrics with a musical arrangement that expertly mirrors the emotion exhibited in the song’s lyrical content.  Both elements together not only make the song one of the album’s best moments but also show why this record is one that won’t gather much “dust” if any in listeners’ music libraries.  It is just one of the songs featured in this record that supports both arguments.  ‘Catching Fire’ supports both statements just as much.  In regards to its musical arrangement, it is one of the album’s heavier moments.  It is not heavy in terms of its softness, but heavy as in heavy.  And as with the rest of the album’s songs, it is driven largely by Tremonti’s work on guitar.  While the song’s musical arrangement is one of the album’s heavier moments, that heaviness is not random.  As in the case of ‘Dust’ it is in fact quite deliberate.  That is because it mirrors the song’s lyrical content just as much as that of ‘Dust’ does its lyrical arrangement.  This is clear as Tremonti sings here, “Take what’s yours/It’s your turn/Leave the rest to burn/Keep your sights down below/Hold on tight or let it go/With your back to the wall/You refuse to crawl/Bury the weak in your soul/Grasp the light and let it go.”  Needles to say there is some real *ahem* fire in this lead verse.  By direct contrast, there is just as much fire but in a different fashion as he sings almost angrily in the song’s second verse, “It once was clear and now you’re blind/The fear found shelter in your mind/Just on word and I will go/The sands of time are running low/When you’re awake for the war/When the shadows fall/Set your sight down below/And you will know/Yeah, and you will know.”  Simply put the contradiction of the two subjects being addressed here presents a different kind of energy in the song’s musical arrangement.  In both cases, it shows why the arrangement wasn’t just heavy for the sake of heavy.  It was in fact quite deliberate and thought out.  The energy in the song’s lead verse is an energy that encourages the seeming determination of the subject in that verse.  On the other side there is almost a sense of anger as the subject in that verse is being chided for allowing fear and doubt to sneak into his or her mind.  It makes for a truly interesting composition.  It makes the song yet another example of why Tremonti’s new album won’t gather much “dust” in listeners’ music libraries if any.  ‘Unable To See,’ the album’s closer is another of the songs that supports that statement.

‘Dust’ and ‘Catching Fire’ are both key compositions in Mark Tremonti’s new album Dust.  Both songs show in their own way why this record will likely gather very little “dust” in listeners’ music libraries.  That is due to the combination of the songs’ musical arrangements and lyrical themes.  While both songs are important in their own right to the album’s presentation they are not its only key compositions.  The album’s closer ‘Unable To See’ proves to be just as important to the album’s presentation as those songs.  The central reason for its importance is in fact its musical arrangement.  Where ‘Dust’ and ‘Catching Fire’ harken back to Tremonti’s work as a member of Alter Bridge, this song reaches even farther back.  It reaches back to his time with Creed.  That is clear in the song’s ballad-style approach.  Said approach makes the song bear a noticeable stylistic similarity to Creed’s hit ballad ‘My Sacrifice.’ Even with the songs’ stylistic similarity, audiences will be glad to know that this piece isn’t just a re-creation of the previous composition.  It is just similar stylistically.  The song’s lyrical content is just as different from that of ‘My Sacrifice’ as the songs’ musical arrangements are similar.  That should appease audiences just as much.  Whereas ‘My Sacrifice’ was an uplifting rock ballad, ‘Unable To See’ bears a bit more cynicism to say the very least.  That is inferred as Tremonti sings, “Well I don’t think that I’ll ever know/What it’s like to just let it go/And I don’t think that I’ll ever be/Able to trust/’Cause I’m unable to see/I think back to the times that I’ve lost/But who am I to just want it all/Now don’t you feel sorry for me/If I’m unable to trust/’Cause I’m unable to see.”  That seeming cynicism is just as evident later in the song’s second verse as Tremonti goes on to sing, “Well I don’t think that I’ll ever get/To find a trace of what we had left/And I don’t think that I’ll ever learn/ To see the moment’s right/To just wait my turn/I forgot any fool that I was/But who am I to just think he’s gone/Now don’t you feel sorry for me/If I’m unable to care/’Cause I’m unable to see.”  These are some pretty strong statements coming from the song’s subject.  What is really interesting to note here is that for al of the seeming cynicism exhibited in the song’s verses, the song’s chorus hints at some cynicism but also some determination at the same time.  That is hinted as Tremonti and his band mates sing, “And I swear/I’ll never fall from here/I’ll never fall from here/And I’ll be forever in a dream/And I know/I’ll never let it go/Still we sing tonight/And it will last forever and ever/So we sing tonight/And it will last forever and ever/So we will love to see a smile/When we are wronged by the ones that would never.”  Those last two lines are among the song’s most intriguing.  Tremonti sings, “So we will love to see a smile/When we are wronged by the ones that would never.”  On one hand, that could be inferred to mean, “we are glad to see the true colors of the fake people because it proves us right.”  On another it could mean we like to see a caring smile from others when the fake people show their colors.  It is really an interesting statement and one of the song’s most intriguing.  Considering that and the rest of the song’s lyrical content, the whole of the song’s lyrical content couples with its musical arrangement to prove without a doubt why it is one more of the album’s best moments.  It also serves to show once more why Dust is a record that definitely won’t gather much “dust” if any in listeners’ music libraries.  Together with ‘Dust,’ ‘Catching Fire,’ and the rest of the album’s included compositions, the record proves in whole to be a viable candidate for a spot on any critic’s list of the year’s top new rock records.

Mark Tremonti’s new solo record Dust is a record that will hardly gather any “dust” in listeners’ music libraries.  It is a viable candidate for a spot on any critic’s list of the year’s top new rock records.  These statements are supported through both the album’s musical arrangements and its various lyrical themes.  The album’s musical arrangements mostly echo Tremonti’s work with Alter Bridge.  Though, there is at least one composition—the album’s closer—that goes as far back as Tremonti’s time with Creed.  All three of the songs that are noted here are clear supportive examples in these statements.  The songs not noted here could just as easily be cited in supporting them, too.  All things considered, Dust proves in the end to be a record that fans of Mark Tremonti, Creed, and Alter Bridge will appreciate.  It is a record that, again, is a viable candidate for a spot on any critic’s list of the year’s top new rock records.  It is available now in stores.  More information on Dust is available online now at:

 

 

Website: http://fret12.com/marktremonti

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

Twitter: http://twitter.com/fret12

 

 

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Walking With Giants’ Debut LP Is Set To Become Well-Known In The Rock World

Courtesy: PFA Media/Walking With Giants, LLC

“It’s about thinking in ways you haven’t thought prior. “Instead of succumbing to the constant influence of negativity, you look inside yourself, find a solution you’ve never tried before, and end up in a new place you’ve never been. It’s about finding a different perspective.” Those are the words of Walking with Giants founder and front man Gary Noon in discussing the title of the debut album from his new project Walking With Giants and the content contained within the record’s eleven tracks. The album, Worlds Unknown, will be released in stores and online tomorrow, January 15th via Walking With Giants, LLC. The record’s musical content might not necessarily take listeners to a place that they’ve never been. But that isn’t necessarily a bad thing. It boasts a familiar 90s rock influence throughout, courtesy of some very well-known names—Morgan Rose and Clint Lowery of Sevendust, and Brian Marshall of Creed/Alter Bridge. While the album’s musical content might not necessarily leave listeners in a different place, the album’s lyrical content just might. As Noon explains about the album’s lyrical content that “I want people to walk away from the record feeling something different. “Maybe they can relate and want to apply it to their lives and situations and find some inspiration.” Whether or not listeners feeling something different after listening to this record, they will come out of it knowing that they have heard a record that easily holds its own against the current crop of offerings in the rock world today.

Walking With Giants’ debut LP Worlds Unknown is not exactly unknown to audiences in terms of its musical or lyrical content. However in listening through the whole of its eleven song, thirty-seven-minute run time listeners will agree that despite this it still proves to be a record that easily holds its own against the current crop of offerings in the rock world today. Any of the songs featured in this record could be cited to support that argument. One of the most notable of the songs that could be cited is the Clint Lowery-crafted opus ‘Heavy Hand.’ The song’s melodic rock sound fits easily alongside that of Sevendust, Theory of a Deadman, and other current major-name acts of that realm. Noon and Lowery’s dual guitar attack sets against Rose’s work behind the kit and Marshall’s solid bass line to make a solid foundation for the song. The song’s lyrical content builds on that foundation with a concept that Noon explains, “Lyrically, it’s a guy who’s having an argument with himself like, ‘What the hell kind of a person am I? One day, I feel strong. The next day, I feel totally inadequate.’ It’s the struggle of figuring out who you are.” He sings here, “Another day here/Lost without a voice/Invisible, expendable/We drop off one by one/What am I/The useless/What are you/The judge/Someday I’ll prove my worth/But you’re holding on to find a dream/The time has come for the world to see/The world to see/To find that place where I can be/Trust it’s not the end of me.” He goes on to sing in the song’s second verse, “Chasin’ the praises that fill the void/Too logical/Regrettable/You’ve set out to destroy/What if this is useless/Then who am I at all/I am here for what it’s worth/Trying hard to find that dream.” The inner battle that the song’s main figure is fighting is clear in these lines. And when that inner emotional battle is set against the power of the song’s musical content, the whole of the creation is a song that becomes one of the album’s brightest. It is just one of the featured songs that makes this record stand out. ‘Guilty One’ also serves as a good example of what makes this album stand out.

‘Heavy Hand’ is a key example of what makes Worlds Unknown standout from its counterparts so far this year. It is a solid, heavy piece that will also have listeners thinking in hearing its lyrical content. It is just one example of what makes this record stand out, however. ‘Guilty One’ is another song that can easily be cited as one of the album’s high points. Right off the bat, the song conjures thoughts of Staind and Breaking Benjamin with its semi-gloomcore sound. Noon even sounds like eerily like Staind front man Aaron Lewis in this piece. The similarity is so close that in all honesty if a person heard this song and Noon’s vocals without knowing it wasn’t Lewis singing, one would actually think that one was hearing Staind. That is especially the case considering the song’s lyrical content. Noon sings in this song, “The ice runs through my veins/The cold it separates us/The chaos you create takes over/The more I see the less I’m giving up.” There’s no denying the stylistic similarity between these line and those presented in songs from the likes of Staind, Breaking Benjamin, and others of that ilk. That is proven just as much as Noon sings in the song’s second verse, “The choices that we’ve made/Your consequences follow/The safety net you bring helps no one/But the more I see the less I’m giving up.” Noon seems to be setting up a scenario of someone that has created a rather negative situation for himself/herself and others because of the mindset of said individual. The mood of the song’s subject is illustrated quite well through Noon’s vocal talents and those of his fellow musicians. The end result of both elements together here is yet another song that shows clearly why WWG’s debut release stands (and walks) tall among 2016’s early crop of new rock releases.

Both ‘Heavy Hand’ and ‘Guilty One’ are key examples of what makes WWG’s debut album stand out early in 2016’s fied of new rock offerings. As important as they are to the overall presentation of Worlds Unknown they are not the album’s only high points. ‘Solid Ground’ is the album’s final full song (as in complete with music and lyrics). it is both another of the album’s overall high points and an equally good way to close out the album. That is because it exhibits more recent influences (I.E. Alter Bridge) in its musical content. That should come as no surprise considering that Creed/Alter Bridge bassist Brian Marshall worked on the album and fellow Creed/Alter Bridge band mate Scott “Flip” Phillips worked on WWG’s debut EP only a couple of years ago. There is also a hint of Sevendust here in the song’s melodic rock sound. Again it should come as no surprise to audiences. Considering the influences of both bands in this song’s creation the song’s musical content shows in the end to be plenty of reason for listeners to hear this song. The song’s lyrical content is just as important to its presentation as its musical content. Lyrically speaking, this song completely exhibits everything that Noon noted of the album attempting to get people to thinking ways that they never had. That is clear in the song’s lead verse and chorus in which Noon sings, “Don’t you know/You’re about to step off the edge of the life you know/You know/Long way down/You can try not to fall but you’re losing ground/You know/It’s a life you chose/Now I put my feet on solid ground/I found a reason that I’m living for/That I’m living for. he comes across as saying here that what happens to a person is the result of his or her choices and he is confident in his choices. He goes on to sing in the song’s second verse, “Don’t they say/That you’ve gotta get out and start seizing the day/You know/Time to go/Deep inside/Take a look at the person/The one you can’t hide/You know/It’s the way that you grow/It’s the life that you chose.” From there he and his band mates reprise the song’s chorus before hitting the song’s bridge and returning to the chorus one more time. What Noon comes across as saying in the second verse is that people need to stop and really take a good look at themselves and realize, again, that people make their own paths in life as a result of their choices. The urgency in the song’s up-tempo musical content serves quite well to drive home the importance of that message. The two elements come together to make a song that is the perfect closing statement from Noon and company and one more standout example of what makes Worlds Unknown a record that every rock fan–not just fans of Alter Bridge, Creed, and Sevendust–should know.

Walking With Giants’ debut album Worlds Unknown is an album that rock fans across the board should know. That is because its eleven songs (technically nine full songs) present influences from some very familiar names within the rock *ahem* world. The lyrical content presented within each of the record’s featured songs strengthens the record even more. The combination of both elements throughout makes Worlds Unknown a record that is set to become very well-known throughout the rock world. It will be available Friday, January 15th. More information on Worlds Unknown is available online along with all of Walking With Giants’ latest news at:

Website: http://www.wwgiants.com

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

Twitter: http://twitter.com/wwgofficial

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