The lineup for the 2023 Blue Ridge Rock Festival is now official.
Festival organizers announced the full lineup for the festival Thursday. This year’s festival, which is scheduled to take place Sept. 7-10 at Virginia International Raceway in Alton, VA, includes a number of established and up-and-coming acts.
Among the most notable of the acts set to perform at this year’s festival are the likes of Slipknot, Machine Head, Exodus, Testament, Overkill, Dope, Five Finger Death Punch, Lamb of God, Of Mice & Men, and Shinedown. Also on the bill for this year’s festival are the likes of Finger Eleven, Danzig, Megdeth, and I Prevail.
Among the most notable of the up-and-coming acts on the festival’s schedule this year are the likes of Psychostick, Heartsick, and Spiritbox.
Nonpoint, 10 Years, Scott Stapp, Tantric and others will perform as part of the festival’s pre-party.
Single-day passes, 3-day general admission, 4-day General Admission and VIP packages are all available now here. Audiences can also purchase weekend or single-day passes now for 25% down as part of the festival’s 3-month payment plan.
More information on the 2023 Blue Ridge Rock Festival is available at:
Fear Factory is set to re-issue two of its most recent albums this summer.
The band is scheduled to release its 2010 album, Mechanize and its follow-up, 2012’s The Industrialist June 23 through Nuclear Blast Records. The re-issue of The Industrialist is being titled Re-Industrialized and will feature five bonus tracks, ‘Fade Away (Recharger Mix by Rhys Fulber and Dino Cazares),’ ‘Noise in the Machine (Difference Engine Remix by Blush Response),’ ‘Landfill,’ ‘Saturation,’ and ‘Passing Complexion.’ ‘Landfill,’ which is a cover of the same song by Pitchshifter, was originally featured in the deluxe edition of The Industrialist.
The re-issue of Mechanize will feature three bonus tracks, ‘Martyr (Re-recorded version),’ ‘Crash Test (Re-recorded version),’ and ‘Sangre de ninos (Re-recorded version).’ The first of the bonus tracks was originally featured as a bonus track on the album’s Japanese release while the second song was included in the digipack domestic release of the original album. ‘Sangre de ninos’ was originally featured in the band’s 2002 album, Concrete.
Both re-issues will release separately on CD and 2LP platforms. Mechanize‘s vinyl re-issue will be presented on two separate pressings, “smoke” and “beer w/ black splatter.” Re-Industrialized will see its vinyl release on separate silver and clear w/ black splatter pressings.
In other news, Fear Factory premiered the lyric video for its single, ‘New Messiah’ Wednesday. The song is featured in the original release (and re-issue) of The Industrialist. The video presents the song’s lyrics over a backdrop of various technology-related visuals, including the band’s name.
Fear Factory is in the midst of a tour alongside Static-X and Dope on the “Rise of the Machine Tour.” The tour launched Feb. 25 in San Francisco, CA. Its remaining dates are noted below:
Confirmed dates for the tour are included below. Apr 05: St Louis, MO – Del Mar Hall # Apr 06: Indy, IN – The Vogue # Apr 07: Chicago, IL – House of Blues # Apr 08: Minneapolis, MN – The Fillmore Minneapolis # Apr 09: Lincoln, NE – Bourbon Theater # Apr 11: Denver, CO – The Summit # Apr 13: Las Vegas, NV – House of Blues# Apr 14: San Diego, CA – House of Blues # Apr 15: LA, CA – Belasco Theater – *SOLD OUT* #
* Featuring special guest MUSHROOMHEAD # Featuring special guest TWIZTID
Other live dates: May 5: LA, CA – Whisky A Go Go
Fear Factory announced in January, it had renewed its contract with Nuclear Blast Records. The renewal early this year came a decade after the band initially signed with the label. That initial agreement saw the band release three albums — Genexus, Aggression Continuum, and Recoded — through the label.
Specifics of the contract were not released through the news release announcing the contract renewal.
Dino Cazares, Fear Factory guitarist and founding member was upbeat as he talked about the contract renewal.
“This is a new year and a new chapter for Fear Factory,” Cazares said. “We are off to a great start because we have re-signed with Nuclear Blast Records and our A&R legend Monte Conner, who originally signed the band in 1992. It is a great feeling to be with a label that gets us and who has always had our backs, especially when we needed them the most. Prepare for the future of Fear Factory.”
More information on Fear Factory’s new album re-issues and tour is available along with all of the band’s latest news at:
Dope will release its new album, Blood Money Part Zero next month, and in anticipation of its release, the band premiered the record’s latest single, ‘Dive‘ Wednesday.
‘Dive’ is the sixth single, behind the previously released singles, ‘Misery,’ ‘Believe,’ ‘Best Of Me,’ ‘No Respect,’ and ‘F*** It Up.’ The musical arrangement featured in ‘Dive’ continues the unique melodic hard rock stylistic approach and sound that the band has come to be known for overthe years, incorporating its familiar semi-industrial vibe to make it so engaging and entertaining.
No information was provided about the song’s lyrical theme in the news release announcing the single’s premiere. In listening, it comes across as being a story of someone who is at his lowest moment. That is just this critic’s interpretation.
In other news, Dope is scheduled to join Static-X for its upcoming “Rise Of The Machine Tour” starting Feb. 25 in San Francisco, CA. Also scheduled to take part in the tour are Mushroomhead, Fear Factory, Twiztid, Society 1, and Cultus Black.
The tour is scheduled to run through April 15 in Los Angeles, CA and includes scheduled performances in cities nationwide, such as Charlotte, NC; Milwaukee, WI and Columbus, OH. Tickets and VIP packages are available here.
More information on Dope’s new single and album is available along with all of its latest news at:
Industrial metal band Dawn of Ashes premiered its latest single this month.
The band debuted its new single, ‘EMDR’ Jan. 14. The song is featured in the band’s forthcoming album, Scars of the Broken, which is scheduled for release March 18 through Artoffact Records. The single is available to stream and download through YouTube, Spotify and Bandcamp.
Front man Kristof Bathjory said the band’s new album is a personal presentation.
“Scars Of the Broken has been one of the most emotionally difficult albums that I have ever created,” he said. “All of the musical and lyrical content was straight from a place that I have been dealing with for a long time of my life. I poured out every darkest and deepest emotion into every song. Mental health is something that a lot of people struggle with and sometimes it just needs to be heard through music. I hope this album helps those that are struggling.”
The musical arrangement featured in ‘EMDR’ is everything that fans of the industrial metal genre expect. The use of the keyboards, modulated vocals, heavy, intense drums and guitars, and even electronics are all there. The combination of the elements shows influence from the likes of Marilyn Manson, Nine Inch Nails, Dope, and other similar acts of their ilk.
Said Bathory of the song’s lyrical theme, “This song was inspired from my own personal experience dealing with a type of therapy called EMDR which stands for ‘ Eye Movement Desensitization and Reprocessing’. This specific type of hypnotic therapy is for helping people who have dealt with past traumatic experiences.”
The track listing for Scars of the Broken is noted below.
Track List: 1. (Descending) Torn Inside 2. Love is Asphyxiation 3. The Despondent Hole 4. EMDR 5. Bane of Your Existence 6. (Limbo) Numb 7. It Comes in Waves 8. Heart Beats Cold 9. Turn It Shallow 10. Scars of the Broken 11. The Antidote 12. (Ascending) Catharsis
More information on Dawn of Ashes’ new single and album is available along with all of the band’s latest news at:
Industrial rock band Society 1 will join Static-X on the road in the new year.
The band has been tapped as one of many well-known bands that will serve as support on Static-X’s upcoming “Rise of the Machine North American Tour 2022.” The announcement was made in a press release distributed Wednesday.
The band’s time on the tour is scheduled to run from the tour’s launch, Feb. 21 in Portland, OR to Feb. 27 in Sacramento, CA. The group’s scheduled run on the tour is noted below.
Tour Dates:
02/21 – Portland, OR @ Hawthorne Theater 02/22 – Seattle, WA @ Showbox 02/23 – Vancouver, BC @ Rickshaw Theater 02/24 – Spokane, WA @ Knitting Factory 02/25 – Boise, ID @ Revolution Concert Hall 02/26 – Reno, NV @ Virginia Street Brewhouse 02/27 – Sacramento, CA @ Ace Of Spades
Also on the bill for the tour are the likes of Dope, Fear Factory, and Mushroomhead. Twizted is also scheduled to join the tour on specific dates.
The “Rise of the Machine North American Tour 2022” is to mark the 20th anniversary of the release of Static-X’s Gold-certified album, Machine. The band is expected to re-issue that album soon after the tour’s launch as part of that anniversary celebration.
Society 1 front man Matt Zane said in a prepared statement, he is looking forward to joining the tour.
“I’ve known and toured with most of these guys in these amazing bands for 20-plus years,” said Zane. “It’s unreal we’re all getting together in 2022 and still doing it. Really looking forward to getting back out there in support of the new album that [late bassist] DV [Karloff] and I wrote together.”
Speaking of Karloff, he passed in May of this year. He was 48 years old. Karloff joined the band in 2003 and left in 2018, just after the release of Society 1’s then latest album, Rise From The Dead (2017). No cause of death has been announced since that time.
According to comments from Zane, Society 1’s current lineup will pay tribute to Karloff throughout the band’s upcoming tour. It is just part of the way in which the band plans to pay tribute to Karloff, too. The band has released a tribute to Karloff through its official YouTube channel.
The tribute, which runs just over an hour, features interviews with the likes of Dave Navarro (Jane’s Addiction, Red Hot Chili Peppers), Raymond Herrera (ex-Fear Factory), and Skum Love among many others.
More information on Society 1’s upcoming run on the “Rise of the Machine North American Tour 2022” and the band’s upcoming album is available along with all of the band’s latest news at:
Horror/theatrical/industrial band Dead Animal Assembly Plant is scheduled to release its latest album Friday. Bring out the Dead, the band’s sixth album, is an intriguing presentation that will appeal to a very targeted audience, most notably the band’s established fan base and fans specifically of acts, such as Marilyn Manson, Ministry, and older Nine Inch Nails. That is evidenced through the record’s musical and lyrical content. The record’s musical arrangements are easily compared to works from the noted acts, while the record’s lyrical content is certain to impact listeners in its own unique way. ‘Sacred Disgrace’ is just one example of how that combined content makes this latest offering from DAAP so intriguing. It will be discussed shortly. ‘A Violent Breed,’ which comes early in the album’s run, is another example of what will makes this new album appealing to the band’s noted audiences. It will be discussed a little later. ‘Behold the Righteous Plague,’ yet another late entry to the record,’ is also noteworthy and will also be discussed later. When these three songs are considered along with the rest of the record’s entries, that whole will keep the band’s noted audiences engaged and entertained.
Dead Animal Assembly Plant’s latest album, Bring out the Dead is a presentation that is certain to bring out the band’s established audiences, as well as fans of acts, such as Ministry, Marilyn Manson, and Nine Inch Nails. That is proven throughout the album’s 45-minute run time, taking into account its musical and lyrical content. ‘Sacred Disgrace’ is just one of the songs featured in the record that serves to support the noted statements. The song’s musical arrangement takes a slightly different approach to that of many of its counterparts what with its strings and keyboards, and its generally plodding but still heavy approach. That instrumentation and the vocals collectively make for an immediate comparison to works from Marilyn Manson’s sophomore album, Antichrist Superstar (1996). Ironically, that album was allegedly meant as a tribute to philosopher Friedrich Nietzsche. Nietzsche is actually the subject of one of the songs in DAAP’s new album, too. Getting back on topic, there is no doubt here as to the comparison to Manson’s work and that of DAAP, stylistically speaking, in at least this song. The musical content is just one part of what leads to that comparison and appeal among the acts’ audiences. The lyrical content that accompanies the song’s musical arrangement makes for its own appeal.
The lyrical content featured in ‘Sacred Disgrace’ makes relatively clear that it is a socio-political commentary. That is inferred right from the song’s outset which states in that lead verse, “The deepest parts of me (I can see)/Are your wounds in my back/You claimed the scars weren’t real (So tell me)/What’s that behind your mask/There but for the disgrace of God/Crawls the blackest snakes/The angels write from your disease (Please)/Won’t you forsake/But I can’t save you this time.” This lone verse is not necessarily an anti-religious statement, but rather seemingly against fake people, including those who claim themselves to be such pious types. That argument is strengthened through the chorus, which states, “Fake (We need the)/Fake (Pray to the)/Fake/You are the villain/The victim/The willing/Fake (Believe in the)/Fake (Deceiving the)/Fake/This is the sacred disgrace we are killing.” As the band goes through the chorus’ refrain later in the song, the chorus adds in, “Fake (We are the)/Fake (Embracing the)/Fake/The desolation degrades the mutation/Fake (Erase the)/Fake (Saved are the)/Fake/This is the sacred disgrace of fixation.” Again, here audiences get a statement that is not anti-religious per se, but rather those who so completely fixate and call themselves such “good” people but who clearly are anything but. That is stressed even more late in the song when the song’s lead verse is also echoed. That statement, so full of frustration, pairs with the song’s equally intense musical arrangement to make the song in whole that much more notable. The whole makes the song itself just one of the most notable of the album’s entries. ‘A Violent Breed,’ which comes early in the album’s run, is another song that shows the impact of the record’s content.
The musical arrangement featured in ‘A Violent Breed’ once again exhibits clear influence from Marilyn Manson from early in his and his band’s catalog. At the same time, listeners can also hear influence of Ministry through the driving guitar riff and production effects used with the vocals. To a point, one could even compare the vocal effect used in this song to that of Trent Reznor circa 1994’s The Downward Spiral to a point. That whole comes together to give this song its own unique identity that will appeal to most industrial metal fans. The intensity in this musical arrangement, which stands unique against the rest of the record’s musical arrangements, joins with the song’s familiar socio-political commentary to make the song stand out even more.
As noted, the lyrical theme featured in ‘A Violent Breed’ is another socio-political commentary. In the case of this work, the commentary seems to address not so much the overly pious pseudo-Christians, but possibly the link between religion and war. That is inferred right from the song’s lead verse and chorus, which state, “I am a violent breed/Programmed to be obscene/These hands praise ignorance/The blame becomes routine/My mind is a dirty bomb/Full of pettiness and virgin blood/With scriptures burned inside my head/Peddled and preached by empty men/March 2, 3, 4/Get your death on/It’s time for war/Count 3, 2, 1/Pull the trigger, it’s time for fun/March 5, 6, 7/All good martyrs go to Heaven/Count 3, 2, 1/Shake it off ‘cause we’re not done.” The commentary continues in the song’s second verse, strengthening the inference even more as it states, “I am a violent breed/Empty like puppet dreams/This husky stays ready for…/Blood lust bursts at my seams/Too full of rage to let it die/And with this flag I justify/The frightened lambs can’t comprehend/That violent means meet violent ends.” Again, here is that seeming statement connecting religion and how it is used to justify war and death. That whole mention of the flag justifying the combat is a clear example of how people are brainwashed into believing their cause is just on either side. That is even more exemplified through the mention of the overwhelming anger not allowing a person to remove his or her bloodlust. If in fact this critic’s overall interpretation is correct, then the fashion in which the familiar message is delivered is unique, and makes for even more interest. That is especially the case when the seeming theme is paired with the song’s high-energy musical arrangement. Keeping everything in mind here, it makes this song yet another key example of what will make the album appealing for DAAP’s audiences. It is just one more example of what makes the record interesting. ‘Behold the Righteous Plague’ is yet another notable addition to the album.
The musical arrangement featured in ‘Behold the Righteous Plague’ exhibits more similarity to works from Ministry than Marilyn Manson or Nine Inch Nails what with its sharp guitar attack, drums, and electronics. As a matter of fact, that whole (along with the vocals) could also lead to comparisons to works from the likes of Dope in hindsight. It is more of a pure, guitar-centered metal approach than most of the album’s other works, even with the electronics taken into consideration. Comparison to such acts together continues to show some diversity in the record’s musical content. That alone is sure to make this and each of the album’s musical arrangements stand out. Of course as with any song, this work stands out not only because of the musical content, but also because of that content’s companion lyrical content.
The lyrical content featured in ‘Behold The Righteous Plague’ comes across as yet another social commentary, this time in reference to the current state of the world. It is a familiar topic, and if indeed the case, will certainly engage listeners. The seeming statement comes right from the song’s lead verse, which states, “We’re divided like a “Y” incision/Straight down the middle of us/Tear it open/The devil’s hoping/Our viscera is toxic to touch/So misguided/Our world collided/With a species hell bent to destruct/You’re f*****.” As the song continues into its chorus, the seeming statement is strengthened with the statement, “Be the black plague/Be-hold the end days/We’ve overdosed on hate and greed/The villains are the heroes we need now.” That final chorus line is telling, considering how many times audiences have seen stories in movies and on TV where things get so bad that the villains and heroes have to team up to beat the “ultimate evil.” It is as if the band is referencing those situations and applying them to the world’s current real state. One could argue that it is a statement of cynicism, and if so, is justified. The nihilistic view continues in similar fashion in the song’s second and third verses, with mentions that “We infect the host/Until it’s all dead” in the second verse, and that “We scraped for help/But it’s too late.” This makes even clearer, the seeming overarching theme of discontent about where the world is today. When the overall anger and frustration expressed through all of this content is paired with the energy in the song’s musical arrangement, the whole makes the song hit even harder and resonate even more with listeners. When this song and the others noted here are considered along with the rest of the record’s works, the whole of the album proves to be a presentation that ensures its appeal among Dead Animal Assembly Plant’s fans and among most industrial metal fans.
Dead Animal Assembly Plant’s latest full-length studio recording is a presentation that is certain to find appeal among a very targeted range of listeners. Specifically speaking, it will appeal to the band’s established audience and those of bands, such as Ministry, Nine Inch Nails, and Marilyn Manson. To a slightly lesser degree, one could even add Dope to that mix. That is evidenced clearly through the album’s musical and lyrical content. All three of the songs examined here serve to support those noted statements. When they are considered along with the rest of the album’s songs, the whole makes Bring out the Dead one of this year’s more interesting industrial metal albums. It is scheduled for release Friday through Armalyte Industries.
More information on DAAP’s new single and video is available along with all of the band’s latest news at:
Small Town Titans has, over the course of the past two years, become quite a big deal in the rock community. Yes, that awful pun was intended. From its surprise hit cover of the holiday song ‘You’re A Mean One, Mr. Grinch’ to original songs, such as ‘Dragonfly,’ ‘Devil’s Choir,’ and ‘War Cry’ to other equally popular covers and originals, this band has made quite a name for itself, and it has done so with the least amount of label help. Now on Friday, the band will take its next step forward on its journey with the release of its new album The Ride. The album has already spawned six singles ahead of its release – more than half of its album. As much as they do to show what makes this album so appealing, they are only a portion of what makes the album stand out. ‘Behind The Moon’ is another notable addition to the album. It will be addressed shortly. ‘When It All Comes Down’ does its own share, too, to show the album’s strength. It will be discussed a little later. Much the same can be said of ‘Let Me Breath,’ which comes just ahead of the album’s midpoint. It will also be discussed later. When all three of these noted songs are considered along with the noted singles and the one remaining unmentioned song from this record, the whole proves to be a presentation that, given the right support, could finally be that record that breaks this band into the mainstream.
Small Town Titans has, ever since its inception, been one of the rock and hard rock communities’ best kept secrets. Its star has quickly risen since 2018 though, and now with the pending release of its new album The Ride, the secret could finally be out about this outstanding band. The six singles that the album has already produced have more than proven that true. They are only some of its notable works, though. ‘Behind The Moon,’ which comes early in the album’s run, is notable in its own right. That is due in no small part its musical arrangement. The arrangement in question forms the song’s foundation. What makes it so interesting is that between the harmonies and guitar lines, audiences get a song that crosses elements of modern/active rock and a clear classic rock influence for its whole. One could argue that there are touches of Queen and The Allman Brothers Band mixed along with something more modern along the lines of Alter Bridge, for the same of comparison. When that musical presentation is coupled with the song’s clearly uplifting lyrical content, the song in whole gains even more traction.
The lyrical theme featured in ‘Behind The Moon’ is that of being willing to take risks and make the most of life. That is evidenced clearly in the song’s chorus, in which front man Phil Freeman sings, “The sun don’t shine/When you stand behind the moon.” The message is made even clearer as he sings in the song’s lead verse, “I was walking on the other side of the moon/Looking for another sign of life/I was trying/To buy another man’s dreams/In exchange for something nice/Then I saw it /I saw it coming from miles away/Then I saw it/I saw it coming from miles away/The break of day.” What audiences get here is that message, with Phil stating metaphorically, the song’s subject was trying to be someone and something that he wasn’t. That is made clear in the statement about trying “To buy another man’s dreams/In exchange for something nice.” As he continues, the song’s subject notes he saw reality in what he was doing. The optimistic, uplifting message continues as he sings in the song’s second verse, “There was a fork in the road and no time left/But I finally had a place to go and a reason to live/And from that moment on I flew into space/Towards all those burning stars with a reason to give/And you’ll see me/You’ll see me coming from miles away/Yeah you’ll see me/You’ll see me coming from miles away/To find my place.” When all of this positive mindset is considered along with the song’s equally upbeat musical arrangement, the whole leaves zero doubt as to what makes it such an appealing addition to The Ride. It is just one of the additional entries that makes the album so strong. ‘When It All Comes Down’ is yet another powerful addition to The Ride.
‘When It All Comes Down’ wastes no time catching listeners’ attention once it gets started. The song’s musical arrangement lends itself to comparisons to works from the likes of Hellyeah and Dope in its verses. On the other hand, the choruses once again conjure thoughts of Alter Bridge. That sounds on paper, like quite the musical contrast, and it is. At the same time though, Freeman (who plays bass along with handling vocals), drummer Johnny Ross, and guitarist Ben Guiles make the balance work. The end result is a fiery composition that stands completely on its own musical merits separate from the rest of the album’s works. That high-energy composition partners well with the song’s lyrical content, which delivers a message of making sure we realize where we set our priorities in life.
The noted message is familiar to rock fans, but interestingly not overly used, which keeps it fresh in this case. That is even more so in the fashion in which it is delivered. Freeman sings in the song’s lead verse and chorus, “You put stock in temporary things/Yet you cry, cry, cry when they fail to make you sing/You miss the forest for the trees/As if you’ll live forever and never bleed/Forever and never bleed/Ring around the dollar/Pocket full of power/Ashes to ashes/It all falls down/Ring around the dollar/Pocket full of greed /Ashes to ashes /As we all bleed/Tell me what it’s worth/When it all comes down/When it all comes down/Tell me what it’s worth/When it all comes down/When it all comes tumbling down.” The message is just as stark and powerful in the song’s second verse, which finds Freeman singing, “No one’s gonna save you better than yourself/No one’s gonna steal your soul better than/your wealth/Put two and two together/And measure out the way they make you feel/Feel, feel, feel.” This message is a statement of which listeners need to be reminded daily. We put our focus on all the wrong things so often, and we need to step back and make sure we know what is really important in life. When this loudly echoing statement is coupled with the power in the song’s musical arrangement, the whole of the song leaves no doubt why it is yet another notable addition to The Ride. It certainly is not the last of the album’s most notable works. ‘Let Me Breathe’ is one more song worth examining here.
‘Let Me Breathe’ is the most Alter Bridge-esque song featured in The Ride in terms of its musical arrangement. That is made clear through the combination of the song’s instrumentation and Freeman’s vocal delivery style. Even the choruses play out like a mirror image to Alter Bridge’s work. That is not necessarily a bad thing because the work still maintains its own identity despite the clear comparison. It is just one part of what makes the song worth examining. The song’s lyrical theme adds its own touvh to the work.
The lyrical content featured in ‘Let Me Breathe’ comes across as a familiar story of one’s battle with one’s inner self. This is a familiar lyrical theme for so much music, not just rock. It is inferred right from the song’s lead verse and chorus, in which Freeman sings, “There’s a game of hide and seek tonight/Between my shadow and I/And it starves for something greater now/As I sit here satisfied/It whispers in my ear and tries/To sell my soul for things that I don’t need/It seems it won’t stop until I break/Especially when I start to speak/Let me breathe as I try to clear the weight inside/As I find my saving grace this time/Cause the hunger never fades /No the hunger never fades/Let me be as I try to steal away this night/As I try to clear the weight inside/Cause the hunger never fades/No the hunger never fades/Let me breathe as I try to clear a space inside.” That inner battle theme is made just as clear in the song’s second verse, in which Freeman sings, “This game we play is zero sum/There’s no winner and no higher ground/But at least these words they save my pain/From this battle to which I’m bound/I say/Trust me you don’t want any of this/Trust me you don’t want any of this/Trust me you don’t want any of these empty lies/So get behind me and follow the leader/Get behind me and follow the leader/Don’t forget your place and remember why.” The existential message is confirmed without doubt in the song’s third and final verse, which states, “And I hope to God that this saves you too/Cause we all have shadows in our minds/And all they want is everything and all we have is time/And all that we can try to do is lead them to the light.” Overall, the song’s message is one of hope for listeners, reminding audiences that those shadows can be eliminated and that we can breathe again. This is a positive message that will resonate with listeners every day. When it is couple with the song’s radio ready musical arrangement, the whole of the song becomes a work that every listener will appreciate. When the song is considered with the others examined here, the album’s current singles, and its one remaining song, the whole of this record proves to be a “rock solid” (yes, that awful pun was intended, too) album.
Small Town Titans is on the verge of becoming a big name in the rock community. The band’s forthcoming album The Ride leaves zero doubt as to that statement’s truth. Its musical arrangements and its lyrical themes collectively fully support the noted statements. That is proven clearly in all three of the songs examined here as well as through the album’s existing singles. When that collective is considered with the album’s one remaining work, the whole of the album proves itself a memorable musical “ride.” The Ride is scheduled for release Friday through AntiFragile Music.
More information on the album is available along with all of the band’s latest news at:
The members of Dope and Static-X are asking for the public’s help finding some stolen gear.
The bands announced through a joint news release Monday, someone recently broke into a warehouse that the bands share and stole equipment belonging to both bands valued at a total of almost $200,000. The equipment was material that the bands used for touring.
Static-X drummer Ken Jay expressed frustration over the crime when he talked about the incident.
“With most of us in lock down, and those who aren’t in lock down, wearing masks in public, apparently it’s a great time to be a thief,” he said.
Dope front man Edsel Dope said he was upset over the thefts, too.
“This is a tough one to swallow,” he said. “Our bands are small businesses that have developed and refined our touring systems over the years. The amount of time and effort that has gone into building out the tech and the AV, the production alone is hard to quantify. It’s a lot of money. We own all of our own gear, and have built our touring business through years of hard work and continuous investment back into ourselves.”
Static-X is scheduled to release its latest album Project: Regeneration Volume 1 on May 20,2020. The record will feature 12 brand new tracks crafted from previously unused vocals recorded by the band’s late front man Wayne Static. The music for the record was composed by the original Static-X lineup of bassist Tony Campos, drummer Ken Jay and guitarist Koichi Fukuda.
The record’s lead single, its title track, is available to stream and download here. The song’s companion video is streaming here. Pre-orders for the album are available online here.
More information on Static-X’s new album, tour dates and more is available online now at:
Another year has officially dawned, and with it so will lots of new music for audiences. While the year is still very young, some of the year’s most notable new music is sure to come from independent hard rock band Another Day Dawns. The PA-based band is scheduled to release its new EP Stranger Jan. 31. The five song record is anchored by its lead single ‘Taste of Heaven,’ which will easily appeal to fans of Seether. It will be addressed shortly, as it is just one of the songs that stands out in this record. Also of note in the EP is the song ‘Am I,’ which immediately precedes ‘Taste of Heaven.’ This work will be addressed a little later. The deeply emotional ‘Never Okay,’ which is the record’s penultimate track, is another key addition to the EP. When it is considered alongside ‘Am I,’ ‘Taste of Heaven’ and the record’s remaining trio of songs, the end result is a work that will ensure many positive new days will dawn for Another Day Dawns.
Up-and-coming independent hard rock band Another Day Dawns is on the verge of becoming one of mainstream rock’s next big names. That is due to the group’s forthcoming EP Stranger. The five-song record boasts a collective of compositions that immediately lend themselves to comparisons to songs from the likes of Seether and Three Days Grace. The record’s lyrical content will generate just as much engagement and entertainment as its musical content. The EP’s forthcoming lead single ‘Taste of Heaven,’ which is set for release Jan. 8, is just one of the songs that serves to support the noted statements. The song’s mid-tempo, guitar-driven composition is full of catchy hooks and choruses throughout its nearly three-and-a-half-minute run time. It is an arrangement that is a radio ready work, without any doubt. While the song’s arrangement is a strong point to its overall body, it is just part of what makes the song stand out. The song’s lyrical content adds its own touch to that body.
Front man Dakota Sean, whose vocal delivery sounds like a hybrid of Seether front man Shaun Morgan and Dope front man Edsel Dope – yes it sounds like a weird comparison, but it’s there, and even more interestingly, it works — sings in the song’s lead verse, “Should have been the same old story/Lovers fall in love/The end/But with you/Things aren’t boring/Didn’t see the trouble I stepped in/Red flags don’t lie/Like the devil in your eyes/But I let your sex control me/Hooked on all your alibis/Should have known right from the start/Should have known just who you are/You just want a taste of Heaven/Now I’m falling from the stars/As I’m calling out your name/I want you bad/But you won’t stay/You just want a taste of Heaven/Spit me out and walk away” He continues in the song’s second verse, “Should have seen your colors changing/Like a mood ring with a curse/Slip you on and you’re an angel/Slip you off, it’s in reverse/No air/Can’t breathe/Still tied up in your sheets/Pray to God somebody saves me/you locked the door and threw away the key.” The group returns to the chorus from there, eventually making its way to the song’s solid finale. There is no doubt left in listeners’ minds as to the song’s theme in examining these lyrics. The song’s subject is dealing with a love interest who has made his/her life anything but good. In simple terms, it’s a breakup song that finds the song’s subject looking back on that now broken relationship. The accessible lyrics make it easy for listeners to connect with that message, and in total, the song. The composition’s equally accessible composition sits alongside those lyrics to make the song in whole a strong start for the EP. They also serve to show in part why the EP is a work that could break ADD into the mainstream.
‘Taste of Heaven’ was a good choice for a lead single for Another Day Dawns’ new EP. It is just one of the record’s most notable works, too. ‘Am I,’ which immediately precedes ‘Taste of Heaven’ is notable in its own right. The song’s melodic hard rock arrangement lends itself just as easily to comparisons to works from Three Days Grace and Seether as ‘Taste of Heaven.’ Making the musical arrangement stand out even more is that the composition bears its own unique identity separate from the rest of the record’s works. It has the same feel as its counterparts, but still stands as its own unique work. Lyrically speaking, the song comes across as another work that focuses on the matter of a broken relationship. Yet even with that familiarity in mind, the band has managed to find a new way to present that theme.
Sean sings in the song’s lead verse, “Take my brain and wash away/All the blame you dump on me/All your lies are clear as day/They’re a coverup!/As I’m holding you like this/I can taste a stranger’s kiss/Your alibis are full of s***/Wasn’t I good enough?/This is our reckoning/I’m not that stupid/Am I, am I the one who’s bleeding/Am I, am I getting even/Go live your secret life you’re leading/Am I, am I the one who’s leaving?” He continues in the song’s second verse, “Did I pick you ‘cause you’re bad/Like an echo from my past/We’re just like my mom and dad/There’s no happy ending/The truth is I’ve been had.” The song turns back to its chorus from here as it makes its way to its finale. The note here from the song’s subject of comparing his/her parents’ seemingly broken relationship to that of his/her relationship with his/her significant other makes for an interesting conversation point. We all talk about getting into relationships with people who are like one of our parents or the other. That seems to be what this subject is hinting at having possibly done here. At the same time, the song’s subject is making note that what’s happened is the fault of that significant other, not himself/herself. He/she realizes what has happened, but is still just angry about the situation, and justifiably so. It is that beginning phase of realizing the relationship is over. To that end, all of this taken into consideration makes the song that much more noteworthy. That content set against the song’s musical content adds even more engagement and entertainment value to the song. Together, the two elements make the song stand out against the rest of the EP’s songs that much more.
While ‘Am I’ and ‘Taste of Heaven’ go a long way toward showing what makes Stranger a strong offering from Another Day Dawns, they are just a portion of the EP’s positive marks. ‘Never Okay’ is quite notable in its own right. The song’s musical arrangement starts out with just one guitar and Sean’s vocals. That flowing, subtle approach eventually gives way to a more powerful melodic hard rock ballad style approach roughly halfway through the song. That eventual change works to illustrate the emotion in the song’s deeply emotional lyrical content.
The song’s lyrical content focuses on the feelings that many people feel every day, but would otherwise not talk about, whether it be due to the stigma of expressing said emotions or for another reason. Sean sings in the song’s lead verse, “No one knows the other side/I buried it in my backyard/It’s buried six feet deep/No one knows how hard I tried to keep the smile/safe/It’s not so fun when everyone is kicking on your face/I’m never okay.” He continues in the song’s second verse, “Everyone just stares at me/Not knowing where I’ve been/It’s just another day wearing someone else’s skin/I’ve buried them in the yard next to my old friends/And when I’m feeling bored again/I dress up and play pretend/I’m never okay.” Yet again, this is lyrical content that is relatively accessible to audiences. It is something to which so many listeners can certainly relate. Talking about those feelings of depression and worthlessness is something that more people deal with around the world than many would like to admit. To that end, that alone will make this song a favorite to many. Those relatable lyrics set against the song’s equally strong musical content makes the song that much more powerful. When the song is considered along with ‘Am I,’ ‘Taste of Heaven’ and the record’s other three entries, the whole of the EP becomes a work that, given the right support, could make Another Day Dawns one of the next big names in the mainstream rock realm.
Another Day Dawns’ new forthcoming EP Stranger is an important work for the independent hard rock band. That is because from start to finish, it presents musical and lyrical content that is collectively accessible to the masses. Every one of the record’s songs would fit easily into any mainstream rock radio programmer’s daily list. The songs addressed here are proof of that. All things considered, Stranger proves itself to be a record that should not be a stranger to any rock fan. Stranger is scheduled for release Jan. 31. More information on the record is available online along with all of ADD’s latest news at:
Edsel Dope is responding to new claims that he is Static-X’s masked singer Xer0.
Dope released a statement Friday in response to claims from multiple media outlets that audiences identified him as the band’s front man, deriding those who have published the allegation.
His statement is noted below.
Hello world.
I have quietly sat through all of this speculation and have thoroughly enjoyed the ride.
Yesterday’s internet eruption reminded me of an episode of Scooby-Doo.
It’s incredible how far some people will go to get attention or clicks, so let me remind you how easy it is to slap a little tribal neck tattoo onto someone in photoshop.
I’m honored for myself and for my band DOPE to be part of this 20th anniversary celebration, along with this unbelievable, traveling memorial to our old friend Wayne Static.
Wayne is currently on the minds and in the hearts of the metal community in a very unique and special way. His memory / legacy is more celebrated than it has ever been before.
I personally get to see the joy, the tears, and the incredible sense of healing that is occurring on the faces and in the hearts of Static-X fans, each and every night, around the world.
I’m not attempting to be a spokesperson for Static-X, but I will share that I have personally met Wayne’s parents and siblings, as they have attended a number of these shows.
I have personally seen their tears of joy and their expressions of gratitude and approval for the way that Tony, Ken, Koichi, & Xer0 are celebrating the music and memorializing the life and legacy of their son and sibling, Wayne Wells Static.
I’m including a candid photo that I snapped of Static-X drummer Ken Jay embracing Wayne’s father, while Tony Campos, Wayne’s mother, Wayne’s siblings and friends share some personal time together. Words cannot express the love and respect that I’ve experienced out here.
Courtesy: Static-X/Edsel Dope/TAG Publicity
It’s one thing to go on a Scooby-Doo scavenger hunt, or to use photoshop to attempt to prove whatever you are trying to spin, but it’s entirely different when trolls, masquerading as journalists, spew their ignorant, hateful words towards something that is so incredibly personal.
Anyone with the nerve to throw virtual tomatoes at a traveling memorial, that has been orchestrated and supported by the family, loved ones, and long-time friends of the deceased should be absolutely ashamed of themselves.
In the end, I’m not the type of person to allow others to dictate the narrative of my life or my art, so I’ve decided to also include a picture of me chatting it up, while watching another SOLD OUT Static-X show from the side of the stage the other night.
philspicks 