Independent hard rock act Vermilion Whiskey premiered the video for its single, ‘Confidence‘ this week.
The band debuted the video Tuesday. The video’s premiere came roughly three months after the band debuted the song’s lyric video. The new video features the band performing its single on what is meant to look like a stage setup so as to give audiences an idea of what the band looks like in a live setting.
The musical arrangement featured in the single is, like that of the album’s other singles, ‘Good Lovin’, ‘Atrophy,’ and ‘The Get Down‘, a heavy southern sludge metal composition a la Black Label Society, Corrosion of Conformity, and Crowbar.
No information was provided about the song’s lyrical theme in the news release announcing the song’s debut. The lyrics presented in the song’s lyric video hint at the theme centering on someone who is self-assured. It promotes…well…self confidence. That is just this critic’s interpretation.
All four singles listed are featured in Vermilion Whiskey’s new album, Crimson & Stone, which is slated for release Friday.
More information on the album and the band’s new video is available along with all of Vermilion Whiskey’s latest news at:
Independent hard rock band Vermilion Whiskey will release its new album, Crimson & Stone next Friday. The nine-song record is a presentation that will appeal toa very targeted audience. That is due in large part to its featured musical arrangements, which will be examined shortly. The lyrical themes featured alongside that musical content adds to the record’s appeal and will be discussed a little later. The record’s production rounds out its most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the record. All things considered they make Crimson & Stone worth hearing at least once.
Crimson & Stone, the latest album from independent hard rock band Vermilion Whiskey, is a presentation that will appeal primarily to the band’s established audience base and to those of the heavy sludge rock/metal of the band’s more well-known counterparts. That is due in large part to the reco9rd’s featured musical arrangements. From one song to the next, the arrangements that make up the album’s musical body are easily comparable to works from the likes of Black Label Society, Crowbar and Texas Hippie Coalition. In other words the band sticks to a very specific sound and style throughout the course of the album’s 41-minute run time. The arrangements’ sounds vary ever so subtly and listeners who immerse themselves will hear those subtle changes in each arrangement. In turn, said audiences will get their own share of appreciation for the record’s musical content.
The lyrical content that accompanies the record’s musical content extends the record’s appeal at least to a point. That is because there is a little bit more variety in the lyrical content. The record’s single, ‘Confidence’ for instance comes across as delivering a message of self-empowerment. This is inferred right from the song’s outset as the lead verse and chorus, which state, “Confidence/In the way that I live/Don’t mistake/Mu mood for arrogant bliss/Problems/I don’t want yours/I’ve got my own/Your words fall out your mouth and that’s well-known.” This comes across directly as someone who is fine with how his or her life is going and is not going to let that other person get him or her down. Again, it is a form of self-empowerment. The mention in the song’s second verse that the main subject is not going to hide from the truth. This adds even more to the sense that this song is about taking pride in one’s life. This and the energy in the song’s arrangement will make the positive, uplifting lyrical theme resonate all the more with listeners, showing in part what makes the record’s lyrical themes so important.
‘The Get Down,’ the album’s latest single, is another example of the importance of the album’s lyrical content. Plain and simple, this song is a straight-forward message about playing just as hard as one works. The message is delivered as the song lays out a group of scenarios that find their main subjects working hard before talking about each having a good time when they are not working. The mention of the positive vibes felt when good people gather ‘round makes the message just as clear as anything here. It is its own anthem for the working class. To that end, the theme here is different from those of the album’s other songs but just as certain to resonate with listeners.
‘Good Lovin’,’ yet another of the album’s singles, is yet more proof of the importance of the album’s lyrical content. In this case, the theme is straight-forward in its own right. As the band pointed out during a recent interview, the song centers on a man who is getting…well…some good lovin’ put bluntly. It is just a fun song about people having a good time and is obviously quite different from the album’s other lyrical themes. Its accessibility and variance from the other themes examined here further shows the importance of the album’s lyrical content. When all of the themes examined here are considered along with the rest of the album’s lyrical content, the whole leaves no doubt as to the role of the record’s lyrical content to the album’s presentation. When that overall diverse lyrical content is considered along with the album’s more focused musical arrangements, the whole gives the noted audiences all the more reason to take in the record. The appeal that the album’s musical and lyrical content generate are not all that the album has to offer. The production rounds out the album’s most important elements.
The production that comes into play in this album is important to note because of its impact on the album’s general effect. As noted already, the album’s musical arrangements are heavy throughout. They exhibit influences of some very heavy bands themselves. Keeping that in mind, it would have been very easy for the band to let the songs get away from themselves. Luckily the attention paid to the balance in each performer’s work in each song resulted in nine songs that are fully immersive in their sound and style. The production brings out the best of each man’s work. The result is a positive overall general effect that will appeal to audiences just as much as the album’s content. Keeping that in mind, the album’s production proves to be just as critical to its presentation as its content. When all three elements are considered together, they make the record in whole a presentation that the noted audiences will find worth hearing at least once.
Crimson & Stone, the latest album from Vermilion Whiskey, is a work that will appeal to a very targeted audience. The audience in question includes the band’s established audience and fans of the sludge rock/metal and stoner rock sounds made so popular by the likes of Black Label Society, Pantera, Clutch, Crowbar, Texas Hippie Coalition and so many others of that ilk. That is evidenced through the heavy, thick wall of sound generated in each composition. The lyrical themes featured throughout the album offer a little more variety and are quite accessible in their own right. They are certain to ensure their own share of engagement and entertainment. The record’s production ensures the musical arrangements offer audiences get the best possible sound from each arrangement. Each item examined does its own share to make Crimson & Stone worth hearing. All things considered they make this record a presentation that its noted audiences will agree is worth hearing at least once.
Crimson & Stone is scheduled for release May 26. More information on the album is available along with all of Vermilion Whiskey’s latest news at:
Independent metal band Discretion is set to release its latest album Friday. The album, Iron Times, is scheduled for release through Masscare records and will come more than five years after the release of the band’s then latest album, End of Days. What will be the band’s eighth overall studio recording and at least its sixth album, the 10-song record proves itself an interesting addition to this year’s field of new hard rock and metal albums. That is due at least in part to its featured musical arrangements, which will be discussed shortly. The lyrical content that accompanies the record’s musical content is of its own interest and will be examined a little later. The record’s production rounds out its most important elements, considering the heaviness of the musical arrangements. Keeping that in mind, it will also be examined later. Each item noted here is important in its own way to the whole of Iron Times. All things considered they make Iron Times a presentation that deserves to be heard at least once among metal fans.
Iron Times, the latest studio recording from Discretion, is a presentation that the metal amasses will find an interesting offering from the independent metal outfit. That is due in part to its featured musical arrangements. From beginning to end, the arrangements blend elements of death, thrash and southern sludge metal to make for a variety of intriguing, unique metal compositions. The record’s single, ‘God of War’ for instance, immediately lends itself to comparison to works from the likes of Crowbar, what with the guttural vocals and heavy, plodding drums, bass and guitar. The Crowbar comparison is actually inescapable through much of the record’s arrangements, though there are variations on the overall arrangements even with that comparison present throughout the album. Case in point is the early entry, ‘Steel Legions.’ That same heavy, plodding approach is there, but the variation on the sound and style is just subtle enough to work and give the song its own identity. The thick, heavy wall of sound that the band creates here could actually be compared slightly to Sepultura circa the early to mid-1990s here. Perhaps the most notable of the changes in the record’s musical content comes in the late entry, ‘Maschinekrieg.’ Roughly translated, the title—which is German – means ‘Machine War.’ The Sepultura comparison rises again, but it stands on its own apart from the sludge metal sounds that are more prominent throughout the album. The machine gun fast snare drum blasts and bass drum blasts (no pun intended) pair with the screaming vocals to make the death/thrash metal approach here hit so hard. It is an arrangement in this case that is certain to engage and entertain audiences. When this arrangement and the others examined here are considered along with the rest of the album’s musical content, the whole gives the album’s musical body reason enough to take in this record among true metal fans.
The musical arrangements that make up one half of Iron Times are just part of what makes the album worth hearing. The lyrical content that accompanies that musical content adds to the record’s overall appeal. From beginning to end, the album’s overarching lyrical theme is one of war. That is not to say that the band is trying to emulate the likes of Sabaton by any means. Rather, the band takes on the matter of war and what is has caused among the human race throughout history. That goes all the way back to ancient times, as is evidenced in ‘Blood Ritual’ and ‘Bringer of Demise.’ ‘Blood Ritual’ seems to address the disturbing blood rituals of the Mayan civilization and how troubling that behavior was and still is. In the matter of ‘Bringer of Demise,’ this song seems to address the conflict between the Romans and the worshippers of the god Baal. Again, the military reference is here, just in its own unique fashion; a fashion that is totally separate from that of any of the albums’ other songs. On another note, a song, such as ‘Steel Legions’ addresses the use of tanks in warfare and their destructive power. It leans in a similar fashion to ‘God of War,’ which according to guitarist Sebastian Schilling, is on the possibility that military conflict can happen anytime around the world “even if no one wants it.” Again, this lends itself to the overall theme of the destructive power of war and the concern about its role and impact on humans. Keeping all of this in mind, the overall lyrical content is not unfamiliar to metal fans, but is still interesting in how Discreation used it to establish the other half of this album. When it is paired with the album’s pummeling musical arrangements, that overall content gives audiences even more reason to take in this record at least once.
The overall musical and lyrical content featured in Discreation’s new album is a big part of what makes the album worth hearing at least once, but is also just part of what makes the record interesting. The album’s production is of its own note, too. The production is so important because of how heavy and loud this record proves to be from its opener to its finale. There is so much heaviness in every arrangement, making each composition really a wall of heavy sound that is fully immersive. It would have been so easy for the band to allow all of that heaviness to cause the album to get muddied down in itself. Thankfully that did not happen. Instead each musician’s performance complimented those of his band mates in each work. The result is that the album’s overall general effect proves just as positive as the record’s content. Keeping that in mind, the production teams with the content in general to complete Iron Times’ presentation and make it a new addition to this year’s field of new hard rock and metal albums worth hearing at least once.
Iron Times, the forthcoming new album from Discreation, is a presentation that the band’s established audiences and metal fans alike will find worth hearing at least once. That is proven in part through its featured musical arrangements. The arrangements blend elements of sludge metal, death and thrash to make the album’s overall musical body so intense. The arrangements’ stylistic approaches are similar from one to the next, but the sounds change just enough from one to the next to keep things interesting. The lyrical themes that accompany the album’s musical content are important because while different in each song, follow the central seeming theme of addressing the futility of war and the impact of military conflict on the world. That lyrical heaviness and the album’s musical heaviness join to give listeners reason enough to take in this record. The album’s production puts the finishing touch to its presentation, giving the record a positive general effect overall. That effect works with the album’s content to complete the album’s presentation and show once more just what makes the album engaging and entertaining. Each item examined here is important in its own way to the whole of Iron Times. All things considered they make Iron Times an intriguing addition to this year’s field of new hard rock and metal albums.
Iron Times is scheduled for release Friday through Massacre Records. More information on the album is available along with all of Discreation’s news at:
Independent hard rock band Vermilion Whiskey offered audiences yet another preview of its forthcoming album, Crimson & Stone this week with the premiere of the video for the album’s third single, ‘Atrophy.’
The band debuted the single’s lyric video Wednesday. The premiere came roughly a month after the band debuted the album’s second single, ‘Confidence‘ and lead single, ‘Good Lovin’.’
As with the album’s first two singles, this latest single once again bears a strong comparison to works from the likes of Pantera, Black Label Society and Crowbar. That is fully evidenced through the southern sludge/doom sound and stylistic approach taken throughout the song.
The band talked about the song’s arrangement ins a prepared statement.
“This track completely imbibes the entire spirit and premise of the album’s namesake, and sets the tone for what we have in store for the future,” the statement reads.
No information was provided about the song’s lyrical theme in the news release announcing the lyric video’s premiere. The lyrics presented in the video hint at the theme centering on the familiar topic of a person’s inner emotional and mental struggles That is just this critic’s interpretation.
The lyric video for the new single is certain to engage audiences. It presents the song’s lyrics over various random psychedelic images as the song plays over the unique visualization.
Vermilion Whiskey’s new album, Crimson & Stone is scheduled for release May 26. The record is the band’s third full-length studio offering. The band released its debut album, 10 South in September 2013. The band’s sophomore effort, Spirit of Tradition, followed less than four years later in February 2017.
The track listing for Crimson & Stone is noted below:
Crimson & Stone Track Listing:
Intro
Down on You
The Get Down
Confidence
Good Lovin
Interlude
Dissonance
Atrophy
Hollow
More information on Vermilion Whiskey’s new single and album is available along with all of the band’s latest news at:
Metal collective Discreation premiered the lyric video for its latest single this week.
The band debuted the lyric video for its new single, ‘God of War’ Thursday. The single is featured in the band’s forthcoming album, Iron Times, which is scheduled for release April 7 through Massacre Records. Album pre-orders are open.
The track listing for Iron Times is noted below:
Iron Times track listing: 1. Iron Times 2. Steel Legions 3. Bringer Of Demise 4. Blood Ritual 5. Deus Lo Vult 6. The Battle Rages On 7. God Of War 8. Maschinenkrieg 9. Mercenary 10. I Am The Sword (CD Bonus Track)
The video features the song’s lyrics laid over images, such as tanks, gun sights and other war-related visuals. The song plays over the collective visualization as it is presented.
The musical arrangement featured in ‘God of War’ immediately lends itself to comparison to early works from Crowbar. That is evidenced right from the song’s outset in the gritty vocal delivery that is so much akin to that of Crowbar front man Kirk windstein. The heavy, doom-esque style guitars, and the low-end from the bass and depth of the drums add even more to that comparison to Crowbar’s works.
According to guitarist Sebastian Schilling, the song’s lyrical theme is a commentary about war.
“‘God Of War’ is the personification of the ever-present potential for conflicts to turn into violence and war, even if no one actually wanted it to,” Schilling said.
More information on Discreation’s new single, video, and album is available along with all of the band’s latest news at:
Independent hard rock band Vermilion Whiskey offered audiences another preview of its forthcoming album, Crimson & Stone this week with the premiere of the album’s second single.
The band premiered its new single, ‘Confidence‘ Wednesday. The song is the second from what will be the band’s third album behind the song ‘Good Lovin’.’ The musical arrangement featured in the new single is, like its predecessor, a distinct southern sludge metal style composition a la Black Label Society, Corrosion of Conformity, and Crowbar.
No information was provided about the song’s lyrical theme in the news release announcing the song’s debut. The lyrics presented in the song’s lyric video hint at the theme centering on someone who is self-assured. It promotes…well…self confidence. That is just this critic’s interpretation.
The lyric video features the song’s lyrics over a background that seems to echo the audio soundwaves in the arrangement. While not unique per se in terms of the stylistic approach, it is still well executed here.
The track listing for Crimson & Stone is noted below:
Crimson & Stone Track Listing:
Intro
Down on You
The Get Down
Confidence
Good Lovin
Interlude
Dissonance
Atrophy
Hollow
More information on Vermilion Whiskey’s new single and album is available along with all of the band’s latest news at:
Veteran metal act Crowbar officially returned this week with its latest album, more than five years after the release of its then latest album, The Serpent Only Lies. The band released its new album, Zero And Below Friday through MNRK, formerly eOne. The 10-song record is a powerful new offering from the band musically and lyrically speaking. Both items will be examined here. When they are considered along with the album’s production, which will also be examined here, the collective makes the album in whole another impressive new addition to this year’s field of new hard rock and metal albums.
Zero and Below, the 12th album from stalwart metal band Crowbar, is a strong new offering from the group. The album impresses will impress the band’s established audiences just as much as it will more casual fans of the band’s familiar sludge metal sounds. Speaking of those sounds, they (and the album’s overall arrangements) are just part of what makes the album appealing to the noted audiences. From beginning to end, the album’s arrangements continue to present the band’s familiar heavy, thick, sludge metal sounds, which are topped off by front man Kirk Windstein’s familiar groaning screams. Few if any metal vocalists out there past or present sound like him, which makes the arrangements all the more engaging and entertaining. Right from the album’s outset the heaviness hits listeners like a ton of bricks in ‘The Fear That Binds You.’ What’s so interesting in this song is that to an extent, listeners can argue that there is a touch of comparison to works from Hatebreed tied into the mix. It makes for an interesting new composition from the band. As the album progresses, the band’s trademark heaviness blends with a touch of blues-based metal in ‘Chemical GODZ’ There is almost a certain sort of Superjoint Ritual comparison here to be more exact. The band even tries its hand (successful at that) at some faster stuff in the form of ‘Bleeding From Every Hole.’ Simply put, the band shows through the album’s musical content, a clear evolution in the approach that it took this time out. It is reason enough for audiences to take in this record, and certainly not the only reason, either. The record’s lyrical content adds its own appeal to the presentation.
The lyrical content featured in Zero and Below is important to examine because as intense and heavy as the record’s musical arrangements are, they actually help translate the emotion in the songs’ lyrical themes. The album’s opener, ‘The Fear That Binds You’ reminds audiences that we don’t know what the future holds, but even despite that uncertainty, we cannot give up. Windstein delivers that message as he writes, Everything that you thought was good/Can quickly fade/And you’ll find the blackest, darkest, deepest hole you’ve made/Breaking it down/The fear that binds you/Breaking it down/The answer finds you/Survive/No more borrowed time.” The message seems relatively clear here. It comes across as that noted reminder for people to look past the darker, more emotional moments and life’s uncertainties. It is a familiar theme and just as welcome here as in any other case from any other band.
‘Confess To Nothing,’ one of the album’s early entries, presents what seems like a message about overcoming addiction. More specifically, it seems to address heroin addiction. This as Windstein writes in the song’s lead verse, “You feel the frost/The chill is touching you/That needle speaks/Stand and walk away/Hand of doom/It reaches out for you/Don’t grab ahold/Live another day/Don’t back down/Live to win.” He continues in the song’s second verse, “You’re sweating now/Your pulse begins to rise/It’s got a hold on you/Never compromise/Your soul weak and growing old/Focus your mind/Don’t destroy it now.” From there he again reminds listeners to not back down. Whether it is in fact a story of overcoming addiction or dealing with another sort of negative situation, the fact here is that the band is reminding audiences to not give in and remain positive. So again, this continued message of determination is another example of the importance of the album’s lyrical content.
‘It’s Always Worth The Gain,’ which comes late in the album’s run, is yet another example of the importance of the album’s lyrical content. In the case of this song, Windstein writes again of pushing on through life, stating, “Your hunger better always burn/You’re never guaranteed a turn/The weak are always pushed away/Never underestimate/No one knows their final fate/’Cause I have earned mine every day/Taking one step at a time/March on.” This reminder will resonate with audiences just as much as those in the other songs examined here. When each message examined here is considered along with that of the album’s other songs, the whole leaves no doubt as to the importance of the album’s lyrical content. All things considered here, the album’s lyrical content proves just as important as its musical arrangements.
As much as the overall content presented in Zero and Below does to make the album engaging and entertaining, it is only part of what will keep audiences listening. The album’s production rounds out its most important elements. That is because of how much is going on in each composition. Between the heaviness and power of Windstein’s vocals and the intense power of the songs’ instrumentations, the songs have a lot going on both in terms of volume and activity. Thanks to the work of those behind the glass, each item was expertly balanced with the others in each work. The end result is that the utmost power is brought out of each song, and by connection, audiences’ engagement and entertainment remains throughout the album. This creates a powerful general effect for the album that when considered with the album’s content, makes the record in whole one of the best of the year’s new hard rock and metal albums.
Zero and Below, the latest album from Crowbar, is another strong new offering from the veteran band. It is a presentation that will engage and entertain the band’s established audiences just as much as casual fans. That is proven in part through the album’s musical arrangements. The arrangements are important in that while they continue to exhibit the band’s familiar heavy, sludge metal style and sound, also show some growth from the band. They show the band’s willingness to take some chances. The record’s lyrical content is just as important as its musical arrangements. That is because of the messages that it delivers (and seems to deliver). The messages (and seeming messages) present what come across as very positive themes. Those themes, together with the album’s musical arrangements, give audiences much to appreciate. The production of the overall content rounds out the album’s most important elements. It ensures that each song presents the most powerful impact possible. Each item examined here is important in its own way to the whole of the album’s presentation. All things considered, they make Zero and Below one more of the best new hard rock and metal albums so far this year.
Zero and Below is available now. More information on the album is available along with all of Crowbar’s latest news at:
Up-and-coming metal outfit Alien Weaponry is scheduled to release its sophomore album, Tangaroa Friday. Set for release through Napalm Records, the 12-song record will come Friday more than three years after the release of its debut album, Tu. The band’s forthcoming album is, for the most part, everything that audiences have come to expect from the band following the release of Tu, as is evidenced in the album’s already released singles. At the same time, the album does show some growth from the band in its latest outing. One of those points of growth is exhibited late in the album’s approximately hour-long run time in the form of ‘Crooked Monsters.’ This song will be discussed shortly. The brooding ‘Unforgiving’ is another example of the growth that the band presents in its latest album. It will be discussed a little later. ‘Down The Rabbit Hole,’ which closes out the album, is yet another example of how the band has changed things up in its latest album. It will also be discussed later. All three songs noted here are important in their own right, as they show that audiences are not going to get completely the same thing as in the band’s debut album. When they are considered along with the album’s more familiar content, the whole makes Tangaroa a mostly positive sophomore outing for Alien Weaponry.
Tangaroa is a strong second offering from the up-and-coming hard rock/metal band, Alien Weaponry. The album’s strength comes through its familiar content, and through some content that exhibits a certain growth and development from the band. ‘Crooked Monsters,’ which comes late in the album’s run, is just one of the songs that serves to support the noted statements. ‘Crooked Monsters’ presents a deep, rich musical arrangement that is not just more of the Soulfly-esque content that made the band so popular in Tu. In the case of this song, it comes across as a two-movement opus of sorts. The nearly four-and-a-half-minute composition starts off in very brooding fashion with just the instruments doing the talking. The subtlety in the drums as the song builds through the song’s first two minutes or so works with the equally subdued, contemplative guitars to fully immerse audiences in the song. By the time front man Lewis De Jong comes in and adds in his vocal talents, the impact at that point hits even harder. The pairing of his vocal delivery style here along with the instrumentation lends itself to comparison more to works from Crowbar than from Soulfly or even Sepultura. It makes for an interesting moment. It is just one part of what makes this song notable. The song’s lyrical theme adds its own layer of interest to the presentation.
Much of the song’s lyrical content is difficult to decipher without lyrics to reference. However from what can be deciphered, there are mentions throughout of items, such as anger felt inside, the sky falling, and trying to fill the void, while the “mind keeps playing every single day” would seem to hint that the song is focused on the familiar topic of mental health. If indeed that is what the band is attempting to convey here, it has done so in a way that will definitely connect with listeners. What’s more, it will hopefully help listeners get through their own struggles, again, if that is indeed what is being addressed here. The pairing of that seeming message along with the song’s equally heavy (literally and figuratively) musical arrangement makes the song in whole even more engaging and entertaining and just one example of what makes Tangaroa stand apart from Tu. It is just one of the songs that helps the album succeed. ‘Unforgiving’ is another example of what makes Alien Weaponry’s new album stand out.
‘Unforgiving’ stands out in part because of its musical arrangement just as much as ‘Crooked Monsters.’ Clocking in at seven minutes, 11 seconds, it is the album’s longest song. The subtle guitar line alongside the sound of thunder and falling rain as the arrangement opens lends itself lightly to comparison to works from Tool. As the song progresses, it gradually builds, eventually reaching its peak more than four-and-a-half minutes in. That gradual building is a reflection of the growing emotion felt by the song’s subject who is himself dealing with some heavy thoughts and emotions, once again.
In the case of this song, the thoughts and emotions come across as those related to depression. This is inferred as De Jong sings that “The world keeps crashing down around me/Time and time again…When I look around to find that everything…is temporary…We are mortal beings…” There is, again, much that is difficult to decipher here without lyrics to reference. On a related note that is in fact partially because of the almost Kurt Cobain style of vocal delivery that De Jong uses as he sings. It is that nearly indecipherable, semi-mumbling approach with slurring along the way that made Cobain such a unique vocalist. Getting back on the matter at hand, the song’s lyrical content, at this point, hints relatively clearly at someone who is in a dark place. That is even with what little is decipherable without lyrics to reference. The vulnerability that De Jong and company show here, much as in ‘Crooked Monsters’ will connect with listeners in its own way. That coupled with the unique musical arrangement here adds to the song’s impact. The end result is that the song proves even more, the growth and change presented in Tangaroa. It is just one more of the album’s most notable songs. ‘Down The Rabbit Hole,’ which closes out the album, is yet another way in which Tangaroa proves mostly successful.
‘Down The Rabbit Hole’ presents one of many Soulfly-esque arrangements that flesh out the album. In the case of each song (including this one) the arrangement still boasts its own unique arrangement. The richness and heaviness exhibited throughout the arrangement makes it stand out. Listeners can hear just as much of an influence from Sepultura (from Max Cavalera’s days as its front man) as from his work with Soulfly. The thing is that even with those similarities in sound and style, the song still boasts its own work. In other words the similarity is there, but it is not just a rip-off of any of the noted bands’ works. As a matter of fact, at one point in the five-minute-plus song, it pulls back some and puts forward the slightest touch of what sounds and feels like a classic rock vibe. Yes, that was really noted. It is brief, but really makes things interesting in its own right. The semi-jam session that breaks out in the song’s closing bars is interesting in its own right, too, showing even more, the originality in the song’s presentation. All things considered, the arrangement in whole shows in its own way, the band’s growth. When that is considered along with the song’s lyrical theme, the interest increases.
Once again, much of the song’s lyrical content is difficult to decipher sans lyrics to reference. At the same time, just enough is understandable that listeners can infer that this song is a commentary about a relationship that has changed over time. That mention of “you made me what I am” alongside so much else seems to push the song’s lyrical interpretation in that direction. Additionally, the commentary that “You say you’ve changed/You say you’re sorry/But I can’t help but wonder/Looking back…Apologies/Only go so far/And yet I prosper” adds even more to that inference. It would help make the song’s title make more sense. Going down the rabbit hole here is going down the rabbit hole of what has happened in the relationship so to speak. Again, this is just this critic’s own interpretation and should not be taken as the only interpretation. Considering this inference and the song’s unique musical arrangement, the whole once again shows real change and willingness to try something different while also making sure the band doesn’t alienate its established audiences here. When the song is considered along with the other songs examined here and the rest of the album’s entries, the whole of that content makes clear, the album is worth hearing and a mostly successful new offering from Alien Weapony.
Alien Weaponry’s sophomore album, Tangaroa, is an interesting new offering from the up-and-coming hard rock band. That is proven through its musical and lyrical content alike. The album offers its established audiences plenty of familiar content in both avenues as well as some new content that shows the band’s willingness to take some risks. The two sides together make the album well worth hearing and a sign of the bands potential future. Tangaroa is scheduled for release Friday through Napalm Records.
More information on Tangaroa is available along with all of the band’s latest news at:
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Sepultura’s new “live” recording, SepulQuarta is now available.
The band released the collection of quarantined performances Friday through Nuclear Blast Records. The semi-live recording culls performances that the band recorded during its “SepulQuarta” video podcast throughout the pandemic. The performances were by famous figures, such as Phil Campbell, Devin Townsend, and Alex Skolnick.
Guitarist and founding member Andreas Kisser spoke highly of the collection of performances in discussing its release. “The SepulQuarta album is probably the one I am most proud of!,” said Kisser. “2020 was the most difficult time for a band to survive, without the stage and the direct contact with the fans, but we managed to keep going strong and the album is a consequence of the unity plus the positive attitude from the band. The album sounds great, alive, and very real! All the guests did an amazing job and we feel more than ever that we have a huge Sepultura family out there. Thank you so much for everyone’s support and hope to see you all soon. This album is for you! Enjoy the music!”
In correlation with the recording’s release, the band premiered the video for its quarantine performance of its song, ‘Slave New World’ Friday with Trivium front man Matt Heafy. The video is the third from the recording. The band has also released videos for its quarantine performances of its songs, ‘Mask‘ and ‘Apes of God.’ Devin Townsend guested on ‘Mask’ while Death Angel’s Rob Cavestany appeared on ‘Apes of God.’
The full track listing for SepulQuarta is noted below.
This is the full tracklist featuring all international guest musicians:
01. Territory (feat. David Ellefson) 02. Cut-Throat (feat. Scott Ian) 03. Sepulnation (feat. Danko Jones) 04. Inner Self (feat. Phil Rind) 05. Hatred Aside (feat. Angélica Burns, Mayara Puertas & Fernanda Lira) 06. Mask (feat. Devin Townsend) 07. Fear, Pain, Chaos, Suffering (feat. Emmily Barreto) 08. Vandals Nest (feat. Alex Skolnick) 09. Slave New World (feat. Matthew K. Heafy) 10. Ratamahatta (feat. Joao Barone & Charles Gavin) 11. Apes Of God (feat. Rob Cavestany) 12. Phantom Self (feat. Mark Holcomb) 13. Slaves Of Pain (feat. Fred Leclercq & Marcello Pompeu) 14. Kaiowas (feat. Rafael Bittencourt) 15. Orgasmatron (feat. Phil Campbell)
The limited edition, marbled pressing of the recording is already sold out, but black vinyl pressings are still available along with CD pressings. Additionally, the album is available digitally.
Courtesy: Nuclear Blast Records
In other news, the band announced last month, it hopes to finally launch its “Quadra Tour” next spring. The band has scheduled the tour’s launch for March 4 in Sacramento, CA.
The tour was originally scheduled to take place in spring 2020, and was initially postponed until this year as a result of the impacts of the ongoing COVID-19 pandemic. The 2021 tour was then postponed because of the ongoing impacts of the pandemic.
The month-long tour, which is in support of the band’s most recent album, Quadra, is scheduled to run through March 9 in Berkeley, CA. It features performances in cities nationwide, such as Atlanta, GA; Minneapolis, MN and Greensboro, NC. Sacred Reich will serve as support for the tour, along with Crowbar and Art of Shock.
Front man Derrick Greene was optimistic about the tour finally getting off the ground as he talked about it during a recent interview.
“We are extremely excited to reconnect with everyone in North America for this upcoming tour,” he said. “We look forward to seeing all the people who have been anxious to see shows for the past two years. We will celebrate this re-connection of life and music together. See you soon!!”
Kisser echoed Green’s sentiments with his own comments.
“We can’t wait to go back on stage. We are very happy to announce our North American tour for 2022. We will see you all on the road, jamming old stuff new stuff and having the greatest time of our lives. See you all soon stay safe!”
The upcoming tour’s schedule is noted below. Tickets are available here.
Confirmed dates for SEPULTURA‘s “North American Quadra” 2022 tour with SACRED REICH, CROWBAR, and ART OF SHOCK are: 3/04/2022 Ace Of Spades – Sacramento, CA 3/05/2022 The Depot – Salt Lake City, UT* 3/06/2022 Oriental Theater – Denver, CO* 3/08/2022 Wildwood – Iowa City, IA 3/09/2022 Varsity Theater – Minneapolis, MN 3/10/2022 The Rave – Milwaukee, WI 3/11/2022 Harpo’s – Detroit, MI 3/12/2022 The Forge – Joliet, IL* 3/13/2022 Thunderbird Music Hall – Pittsburgh, PA* 3/15/2022 Irving Plaza – New York, NY 3/16/2022 Opera House – Toronto, ON CANADA 3/17/2022 Corona Theater – Montreal, QC CANADA 3/18/2022 Big Night Live – Boston, MA 3/19/2022 Theatre Of Living Arts – Philadelphia, PA 3/20/2022 Soundstage – Baltimore, MD 3/21/2022 House of Blues – Cleveland, OH 3/23/2022 Blind Tiger – Greensboro, NC* 3/24/2022 Masquerade – Atlanta, GA 3/25/2022 Culture Room – Ft Lauderdale, FL 3/26/2022 The Orpheum – Tampa, FL* 3/28/2022 Southport Music Hall – New Orleans, LA* 3/29/2022 Come and Take It Live – Austin, TX* 3/31/2022 Diamond Ballroom – Oklahoma City, OK 4/01/2022 Warehouse Live – Houston, TX 4/02/2022 GMBG – Dallas, TX* 4/03/2022 Rockhouse – El Paso, TX 4/05/2022 The Nile Theater – Phoenix, AZ* 4/06/2022 House of Blues – San Diego, CA 4/08/2022 Belasco Theater – Los Angeles, CA 4/09/2022 The UC Theatre – Berkeley, CA * New shows and not rescheduled
More information on SepulQuarta and Sepultura’s planned live dates is available along with all of the band’s latest news and more now at:
Sepultura’s long wait to return tor the road will finally tentatively end next spring.
The band announced Thursday, it hopes to launch its “Quadra 2022 Tour” March 4 in Sacramento, CA. The month-long tour, which is in support of the band’s most recent album, Quadra, is scheduled to run through March 9 in Berkeley, CA. It features performances in cities nationwide, such as Atlanta, GA; Minneapolis, MN and Greensboro, NC. Sacred Reich will serve as support for the tour, along with Crowbar and Art of Shock.
The tour was originally scheduled to take place in spring 2020, and was initially postponed until this year as a result of the impacts of the ongoing COVID-19 pandemic. The 2021 tour was then postponed because of the ongoing impacts of the pandemic.
Front man Derrick Greene was optimistic about the tour finally getting off the ground as he talked about it during a recent interview.
“We are extremely excited to reconnect with everyone in North America for this upcoming tour,” he said. “We look forward to seeing all the people who have been anxious to see shows for the past two years. We will celebrate this re-connection of life and music together. See you soon!!”
Guitarist Andreas Kisser echoed Green’s sentiments with his own comments.
“We can’t wait to go back on stage. We are very happy to announce our North American tour for 2022. We will see you all on the road, jamming old stuff new stuff and having the greatest time of our lives. See you all soon stay safe!”
The upcoming tour’s schedule is noted below. Tickets are available here.
Confirmed dates for SEPULTURA‘s “North American Quadra” 2022 tour with SACRED REICH, CROWBAR, and ART OF SHOCK are: 3/04/2022 Ace Of Spades – Sacramento, CA 3/05/2022 The Depot – Salt Lake City, UT* 3/06/2022 Oriental Theater – Denver, CO* 3/08/2022 Wildwood – Iowa City, IA 3/09/2022 Varsity Theater – Minneapolis, MN 3/10/2022 The Rave – Milwaukee, WI 3/11/2022 Harpo’s – Detroit, MI 3/12/2022 The Forge – Joliet, IL* 3/13/2022 Thunderbird Music Hall – Pittsburgh, PA* 3/15/2022 Irving Plaza – New York, NY 3/16/2022 Opera House – Toronto, ON CANADA 3/17/2022 Corona Theater – Montreal, QC CANADA 3/18/2022 Big Night Live – Boston, MA 3/19/2022 Theatre Of Living Arts – Philadelphia, PA 3/20/2022 Soundstage – Baltimore, MD 3/21/2022 House of Blues – Cleveland, OH 3/23/2022 Blind Tiger – Greensboro, NC* 3/24/2022 Masquerade – Atlanta, GA 3/25/2022 Culture Room – Ft Lauderdale, FL 3/26/2022 The Orpheum – Tampa, FL* 3/28/2022 Southport Music Hall – New Orleans, LA* 3/29/2022 Come and Take It Live – Austin, TX* 3/31/2022 Diamond Ballroom – Oklahoma City, OK 4/01/2022 Warehouse Live – Houston, TX 4/02/2022 GMBG – Dallas, TX* 4/03/2022 Rockhouse – El Paso, TX 4/05/2022 The Nile Theater – Phoenix, AZ* 4/06/2022 House of Blues – San Diego, CA 4/08/2022 Belasco Theater – Los Angeles, CA 4/09/2022 The UC Theatre – Berkeley, CA * New shows and not rescheduled/
Courtesy: Nuclear Blast Records
In other news, Sepultura is scheduled to release its pandemic recorded recording, Sepulquarta Aug. 13 through Nuclear Blast Records. The record features performance of 15 of Sepultura’s hits that were recorded during the band’s SepulQuarta video podcast throughout the pandemic. The performances were by famous figures, such as Phil Campbell, Devin Townsend, and Alex Skolnick. The record’s track listing is noted below.
This is the full tracklist featuring all international guest musicians:
01. Territory (feat. David Ellefson) 02. Cut-Throat (feat. Scott Ian) 03. Sepulnation (feat. Danko Jones) 04. Inner Self (feat. Phil Rind) 05. Hatred Aside (feat. Angélica Burns, Mayara Puertas & Fernanda Lira) 06. Mask (feat. Devin Townsend) 07. Fear, Pain, Chaos, Suffering (feat. Emmily Barreto) 08. Vandals Nest (feat. Alex Skolnick) 09. Slave New World (feat. Matthew K. Heafy) 10. Ratamahatta (feat. Joao Barone & Charles Gavin) 11. Apes Of God (feat. Rob Cavestany) 12. Phantom Self (feat. Mark Holcomb) 13. Slaves Of Pain (feat. Fred Leclercq & Marcello Pompeu) 14. Kaiowas (feat. Rafael Bittencourt) 15. Orgasmatron (feat. Phil Campbell)
More information on Quadra is available along with all of Sepultura’s latest news and more now at:
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