Black Eyed Peas’ Latest LP Is The Group’s Worst Record To Date

Courtesy: Epic Records/will.i.am music group

Black Eyed Peas released its latest album Translation Friday, and sadly, the news is not good.  The trio’s eighth full-length studio recording, it is the group’s lowest point to date.  That is due in large part to the record’s musical content.  This will be discussed shortly, as it is both good and bad.  The lyrical content (or relative lack thereof) plays into that, too.  The album’s sequencing rounds out the most important of its elements.  It is perhaps the only real positive of the whole presentation.  Of course even that is a bit of a stretch.  Each noted item is important in its own weird way to the whole of this album.  All things considered, they make this album the absolute lowest point for Black Eyed Peas.

Black Eyed Peas latest album Translation is the least memorable of any of its studio recordings to date.  Coming less than two years after the trio — will.i.am, apl.de.ap, and Taboo – released its seventh album Masters of the Sun Vol. 1, the 17-song record (this version came from Target with two remixes of the album’s song ‘Ritmo’), it is the group’s lowest point so far in its life.  That is due in large part to its musical arrangements.  Whereas the arrangements featured in Masters of the Sun Vol. 1 took the group back to its high points in its 1998 debut album Behind The Front and its 2000 follow-up Bridging The Gap, this record is more akin to the sounds produced in its more mainstream records Elephunk, Monkey Business and The E.N.D. and its follow-up The Beginning.  Even taking the sound featured in those records into consideration here, this record’s arrangements does bear some semblance to said works, but in the case of this record, the arrangements are even more poppy than ever.  Rather than actually having any real substance per se, this record’s arrangements are mostly just that, instrumentals that are more a fit for clubs than for radio.  The music from the group’s other mainstream pop records meanwhile at least gave those works something onto which Top 40 pop programmers could latch.  Music, such as that which is used in clubs does not necessarily require a lot of thought, but rather a steady beat and some keyboards and electronics.  It does not even require any real lyrical content.  This is another problem with this record.

Considering that Translation is composed largely of instrumentals that are more useful in the clubs than on the radio or even in people’s stereos (or computers, smartphones, what have you), it leaves little use for lyrical content.  Given, there is some lyrical content here, but it is limited.  Most of the record’s lyrical content is anything but impacting or even memorable.  Case in point is the presentation of ‘Mabuti.’  This song presents another infectious club groove, and its lyrical content goes right along with that arrangement.  It finds the group going on about seeing a woman dancing, going so far as to tell the woman, “I like the way you shake it/baby, if you hot/Why don’t you go ahead, get naked/Wiggle it/I like the way you jiggle.”  That is not exactly the most enlightening or engaging lyrical content.

While the record’s lyrical content is largely less than hard-hitting or even memorable, there is at least a small amount of content that does help the record.  The only truly notable lyrical moment in this LP comes in the standard album’s closer, ‘News Today.’  The light, guitar-driven song addresses everything going on in the world today, from the impact of the COVID-19 outbreak to the political issues caused by Donald Trump.  The song notes in its lead verse, “Did you watch the news today/Did you hear what they say/1,000 more people passed away/Ah, naw/Somebody tell me what’s going on/New York, New York/Big city of dreams/There’s a nightmare going down from the brox to Queens and everywhere in-between/We’re fighting something we can’t even see/There’s n invisible enemy/Just knocked out Italy/Keep the mask on/’Cause if you caught/They gonna look at you like you did a felony/And in theory can’t hug nobody/Not until we find a remedy/So we pray for Spain, France and the U.K./China and U.S.A./I pray we gonna be okay/Pray for the grandmas and grandpas/So they can live to see another day.”  From there, the song mentions people believing “the news is fake” and being told to “inject yourself with bleach.”  In other words, there is even mention of the damage that Donald Trump has done to the nation and world.  It is really the album’s only really thoughtful lyrical content.  To a point, one can compare this song to Buffalo Springfield’s timeless song, ‘For What It’s Worth’ both in terms of its musical arrangement and its lyrical content.  It’s only one of the rare moments that stands out in this record because of its lyrical content.  The only other rare moment that stands out because of its lyrics comes late in the record’s run in the form of ‘Todo Bueno.’

Will.i.am stresses in ‘Todo Bueno’ that “even when I’m going through some really hard changes/You gonna hear me explainin’/That the life’s amazing, oh yeah/So don’t stop me if I’m dreaming/’cause I’m just over here, living my dream/I’m gonna keep believin’/even if nobody believes me/Keep collaborating ‘till my life is supreme.”  This is really the only lyrical content in this record that can be considered impacting at all.  That is because it is positive and uplifting.  The other rare lyrical content is not exactly in-depth or thought provoking.  This is important to note because as with the group’s first two records and this record’s predecessor, the lyrics in said albums actually had substance.  They had a lot of social commentary and thoughtful insights in each case.  That just is not the case here.  Simply put, the lyrical content, or lack thereof here makes the record that much more of a step down for this once great act.  It’s like lyrically, the group has just completely phoned it in here, which is so disappointing.

For all of the negatives that weigh down Translation, it does have at least one positive – its sequencing.  From the beginning to the end of its 64-minute run time (again, this Target-bought copy is longer than the standard edition because it has two remixes), the record does manage to at least keep the energy flowing from one song to the next.  Every arrangement featured in this album is a mid-tempo, 2/4 time composition with its own keyboard-driven arrangement that rests on its own merits even despite the steady beat.  In other words, while the arrangements are stylistically similar from one to the next, the overall sound does change albeit slightly at best while the energy in each arrangement remains stable throughout.  The result is an overall album that will appeal to fans of club-style songs, but few others.  To that end, audiences in general will find this album worth at least maybe one listen, but sadly not much more than that.

Black Eyed Peas’ eighth full-length studio recording Translation is a troublesome release for a trio that so many years ago was such a notable group.  It is a work that shows how far the group has fallen from its early days when it was actually a noteworthy hip-hop group.  In place of the once memorable social commentaries of its first two albums are songs that lyrically are mostly simple, dumbed down works about dancing.  Yes, there is a tiny amount of more thoughtful material here, but that content is rare.  The record’s musical content is just as simple in comparison to the group’s earliest works and even the work that it produced in its other, more mainstream records.  These arrangements are, from one to the next, largely similar, steady 2/4 time works that bear little variance from one to the next.  The only positive here is the record’s sequencing, which keeps the energy in those simple dance-style arrangements stable from one to the next.  There just is not a lot here to make this record memorable or even notable.  To that end, it is the band’s lowest point so far and is worth hearing one time at the most.  The album is available now.  More information on Black Eyed Peas’ new album is available along with all of the group’s latest news at:

 

 

 

Website: http://blackeyedpeas.com

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

Twitter: http://twitter.com/bep

 

 

 

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Lamb of God Debuts ‘Gears’ Video, ‘Reality Bath’ Lyric Video

Courtesy: Epic Records

Lamb of God has unveiled the video for its latest single.

The band debuted the video for its song ‘Gears‘ Friday.  The song is the sixth single from the band’s brand new 10-song self-titled album, which hit stores today. It comes alongside the premiere of the lyric video for another of the album’s songs, ‘Reality Bath,’ which addresses the mass school shootings that have happened nationwide.

The video for ‘Gears’ places the band members in a fenced in area that looks like an octagonal, almost UFC type ring and crosses that with footage of two professional men buying everything they can in order to feel complete.  The imagery is meant to translate the song’s message about consumerism and how companies control people.  The song’s musical arrangement is a sound that will appeal to fans of Lamb of God’s classic album As The Palaces Burn.

On a side note, front man Randy Blythe is wearing a shirt with the name En Esch printed along with a skull on a black backdrop.  En Esch just recently worked on Blue Eyed Christ’s new single ‘World on Fire,’ which is the title track from that act’s latest album.  Interestingly, ‘World on Fire’ is also a song whose lyrical content focuses on materialism and the impact thereof, so there is a direct correlation there.

Getting back to the topic at hand, ‘Gears,’ as noted, is just the latest single from Lamb of God to get a video treatment.  The band also premiered the lyric video for the song ‘Reality Bath’ today, also as noted.

Those two songs were preceded by the debuts of videos for ‘Routes,’ ‘New Colossal Hate,’ ‘Memento Mori’ and ‘Checkmate.’  All of the band’s videos are streaming through its official YouTube channel.

Lamb of God was produced by Josh Wilbur (Soulfly, Hatebreed, Megadeth, Gojira), and features guest appearances from the likes of Hatebreed front man Jamey Jasta and Testament front man Chuck Billy.  The album’s track listing is noted below.

 

Lamb Of God tracklisting:

1. Memento Mori

2. Checkmate

3. Gears

4. Reality Bath

5. New Colossal Hate

6. Resurrection Man

7. Poison Dream (feat. Jamey Jasta)

8. Routes (feat. Chuck Billy)

9. Bloodshot Eyes

10. On The Hook

 

More information on Lamb of God’s new singles, album, upcoming live dates, news and more is available online now at:

 

Website: http://www.lamb-of-god.com

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

Twitter: http://twitter.com/lambofgod

 

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Lamb Of God’s Self-Titled LP Lives Up To Expectations And Then Some

Courtesy: Epic Records

Lamb of God is one of the leading names in the metal and hard rock communities today.  The band did not earn that title overnight, either.  It took more than 25 years, nine albums and lots of touring around the world.  With the forthcoming release of its 10^th overall album – and eighth under the Lamb of God moniker (the band was previously known as Burn the Priest, and has released two records under that name) – the band cements its reputation even more so.  The 10-song record is some of the band’s best work to date.  That is proven in part through the record’s musical content, which will be discussed shortly.  The album’s lyrical content does its own part to show what makes this record so strong.  It will be discussed a little later.  The record’s production and mixing put the final touch to its presentation.  Together with the noted content, all three elements make the album’s overall presentation such that it easily makes a place for itself among this year’s top new hard rock and metal albums.

Lamb of God’s forthcoming self-titled album is one of the most anticipated hard rock and metal albums of this year.  The album lives up to expectations, too, as is evidenced in part through the record’s musical arrangements.  From beginning to end, this album’s musical content throws back to the sounds of the band’s 2003 breakout album As The Palaces Burn.  There is even some growth exhibited in the album in ‘Bloodshot Eyes.’  That song actually presents more of a melodic metal sound than the full-throttle, chainsaw-sharp sounds for which the band has come to be known throughout its albums.  Front man Randy Blythe even goes so far as to provide some actual clean vocals in the song alongside his trademark screams.  Meanwhile, the team of guitarists Willie Adler, Mark Morton and bassist John Campbell create the noted melodic hard rock sound that is a welcome change of pace here.  New drummer Art Cruz (Prong, Winds of Plague) adds his own distinct touch to the song, showing that he can play slow and controlled just as easily as he can while keeping time in the album’s more up-tempo works.  The whole makes this song one of the album’s most engaging songs, but definitely not its only notable addition to Lamb of God.  Campbell’s subtle bass intro in ‘Reality Bath’ does well to help set the searing tone that is revealed in the rest of the song.  It does that because of how contradictory it is to the sound in the rest of the song’s arrangement.  It serves as a sort of precursor or calm before the storm that is unleashed throughout the rest of the song.  That storm is intense, too.  Blythe’s vocal delivery gives audiences something rare as it feels and sounds so more focused than ever.  Speaking of focus, the band’s ability to switch so seamlessly between its trademark thrash/groove sound to the more hardcore sound of Hatebreed when that band’s front man Jamey Jasta joins in on ‘Poison Dream’ serves as another example of how focused the band is on this album. What has led the band to gel so well throughout this record is anyone’s guess.  Maybe it is the fact that Morton has recently been allowed to spread his own creative wings through his own solo recordings – Anasthetic and Ether.  Maybe that allowed him to come into the recording sessions with a clearer and more open mind.  Maybe it is that front man randy Blythe recently got sober, as is discussed in an interview that he recently conducted with Revolver magazine.  Audiences can read that whole interview here.  Maybe it is something else or even a combination of those elements and something else.  Whatever the case may be, the fact remains that the musical content featured throughout Lamb of God’s 45-minute run time builds a solid foundation for the record’s presentation.  It is just one of the elements that makes this record so appealing.  The record’s lyrical themes play into the album’s appeal, too.

The lyrical themes featured throughout Lamb of God largely address issues going on with society the world over.  Blythe addressed this, too in his noted interview with Revolver magazine.  He was cited late in the interview as saying that getting sober played directly into his approach to songwriting this time out.  Audiences will be left to read his comments for themselves, but the short and simple of his statement is that in getting sober, he had a clearer mind and realized the importance in the impact of the band’s music, so he took a more active approach to writing each song.  The result of his focus is clear from beginning to end.  ‘Gears’ is just one example of the positive payoff of Blythe’s sobriety.  He writes in this song’s lead verse and chorus, “You suffer from a manufactured sickness and envy by design/Pre-calculated status and patterns of desire/ Accumulation and adoration/Built to feed your ostentation/Perpetually unsatisfied, but you never question why/So hang it on the wall of your golden cage/Tell yourself that it means something/Empty actions to fill the time/Commercial gods keep you in line/Industry and empire thrive/While you’re dying for always more.”  He continues in the song’s second verse, “Your endless hunger automated/Industry defined/A systematic impulse, parametric lines/Subjugation and degradation the blueprint to your annihilation/You’re assets personified, a product of the times,” before eventually adding in the song’s third and final verse, “So you can’t take it with you but you don’t use it now/A shallow life to crush you, drive you into the ground/So scared to lose the nothings you acquire/Everything must fall, bones on a pyre.”  This takes on the issues of consumerism and social media, and how people allow themselves to be turned into essentially puppets for corporations while also fulfilling their own greedy natures.  Sure, it’s hardly the first time that any act has taken on such matters, but Lamb of God has given the topic a new twist in this case that is certain to resonate and stick with audiences.

‘New Colossal Hate’ is another example of the importance of this record’s lyrical themes.  The song addresses the mistreatment of people from ethnic minorities.  This matter has become a hot-button topic ever since Donald Trump rose to power.  His divisive comments about ethnic minority populations have fueled so much division and even criminal activity by white nationalist groups.  Now Blythe has taken on the matter, writing in the song’s lead verse, “The mother of exiles stands there weeping/As her children tear themselves apart/Knives are out, her thoughts are bleeding Blood runs down her welcoming arms/Her feral brood has turned neglectful/The chains she broke are rusting closed/Imprisoned lightning burns forgetful/Spoiled blind to the light that she holds/Lash the tired and kill the poor/The huddled masses ram the door.”  He continues in the song’s second verse, “Like brazen giants with conquering limbs/The herd manifesting all that she despised/Childish amnesia born of privilege/Selfish mob commits matricide/Her mild gaze gone stern, fire in her eyes/Watching her dreams turn into dust The beacon dropped, her hand raised up to strike/Cast them homeless into the tempest/Lash the tired and kill the poor/The coddled masses slam the golden door.”  The song’s third verse is the most telling in the noted statement as Blythe writes, closing out the song, “The melting pot is melting down/A pool of slag on poisoned ground/Choking from the venom’s sting/Pull the fangs, let freedom ring.”  That ironic statement at the end, “Let freedom ring” is a powerful final comment.  It heightens the sense of anger expressed throughout the rest of the song as it addresses the vile, hateful behavior of so many who want to keep ethnic minorities from coming to America.  It is yet another way in which the record’s lyrical themes prove the importance of the record’s lyrical content.  ‘On The Hook,’ the record’s finale, is yet another way in which the album’s lyrical themes prove so important to the album’s presentation.

‘On the Hook’ is a direct statement about America’s opioid epidemic.  It is a damning indictment of the legal drug industry, pointing out its role in people becoming addicted to drugs.  Blythe also addresses this in his interview with Revolver magazine, noting the song’s inspiration was something personal.  The revelation that he makes here is an eye-opener to say the very least.  He opens the song by writing, “A dead silver spoon with needles in his skin/Rode a pale horse down from Afghanistan/Tears in the suburbs/Mothers praying for their damned/Death has crept into their zone of the promised land/But just before each plague, the clearest prophecies/Pandora’s box in backwoods pharmacies/A contract to die.”  He continues in the song’s second verse, “Narcotic economics for the miner’s sons/The seams went bust so long ago/With nowhere else to turn/Strip mine the veins, drill the abscess dry/Incentives for the architects of their genocide/We’ve seen this all before in a different shade/The Dark Alliance shifts to the modern age/A contract to die.”  The song’s most damning statement comes again here in its third verse, in which Blythe writes, Hippocratic hypocrites/Breaking oaths and cashing checks/Wrote an oceans worth of ink/Scripting a nation’s disease/A systematic business plan/To broker death increase demand/So flood the ghetto and starve the hills/Kill them all with crack and pills/Kill them all/Vietnam/Iran Contra/Park Avenue/Oxycontin.”  This is a powerful overall statement that audiences will not soon forget.  Along with Psycle’s song ‘Last Chance for the Saints,’ Lamb of God’s work becomes hopefully just the latest in what is hopefully a growing trend of acts addressing the negative impact of the legalized drug industry.  Regardless, it can be said that it is one more hard-hitting example of what makes this record’s lyrical themes so important.  Taking it into consideration along with the other lyrical themes noted here and those in the rest of the album’s songs, the whole of the album’s lyrical content proves itself just as important as the LP’s musical content.  While the record’s musical and lyrical content collectively and completely ensure listeners’ engagement and entertainment, they are only a portion of what makes the record a strong new offering from Lamb of God.  The album’s mixing and production put the final touch to its presentation.

The production and mixing that went into Lamb of God’s presentation is noteworthy in that so much is going on in each song.  Between Blythe’s screams, Cruz’s powerhouse drumming, Morton and Adler’s double attack and Campbell’s low-end, each band member has something to bring in each song.  Whether in the more radio-ready aggro-rock styling of ‘Bloodshot Eyes,’ the intense ‘Reality Bath,’ which does an admirable job of expressing America’s frustration over all of the recent mass shootings at schools nationwide, the equally intense ‘Poison Dream’ or the arrangements in any of the album’s other songs, the fact remains that each song is expertly produced and mixed.  The fire burns bright in each arrangement, while also allowing each part to show why each said work has such powerful impact.  Producer Josh Wilbur and others involved in this process are to be commended in their own right for this result.  Keeping in mind the positive result of the record’s production and mixing, that element is what makes the record’s arrangements hit as hard as they do.  It is what leads the lyrics and music to come together and translate as well as they do.  To that end, it puts the finishing touch to this record and makes it a must hear for Lamb of God’s fans and metal/hard rock fans alike.  It all comes together to make Lamb of God one of this year’s top new hard rock and metal albums.

Lamb of God’s forthcoming self-titled album is an impressive new offering from the band.  It is a work whose musical arrangements take audiences back in time and whose lyrical themes do their own part to keep audiences engaged and entertained.  The record’s production and mixing put the final touch to its presentation by balancing everything out and in turn making the album that much more appealing.  Each noted item is important in its own way.  All things considered, they make Lamb of God, without argument, one of this year’s top new hard rock and metal albums.  It is scheduled for release Friday through Epic Records.  Pre-orders are open now for Lamb of God.

More information on Lamb of God’s new album, its new album, single, news and more is available online now at:

 

Website: http://www.lamb-of-god.com

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

Twitter: http://twitter.com/lambofgod

 

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.

Mark Morton Shines Again On His Second Solo Record

Courtesy: Rise Records

When Lamb of God guitarist Mark Morton released his debut solo album Anasthetic last March through Spinefarm Records, he more than showed the expanse of his musical abilities and interests.  The record, which joined Morton with a number of well-known names, such as the late Linkin Park front man Chester Bennington, Alter Bridge front man Myles Kennedy and ex Screaming Trees front man Mark Lanegan, showed Morton as a truly original and creative musician, not just one of the members of Lamb of God.  He followed up that successful offering this past January with his debut solo EP Ether.  The five-song EP, released through Rise Records, will get a second life of sorts June 19 when it is released on vinyl through Rise Records.  Regardless of whether one prefers vinyl, CD or even digital, the fact of the matter remains that Ether is a positive follow-up to Anasthetic.  That is due to the record’s musical and lyrical content.  Its penultimate song ‘Love My Enemy’ is one of the songs that serves to support the noted statement.  It will be addressed shortly.  The EP’s opener ‘All I Had to Lose’ is another way in which Ether shows its strength.  It will be addressed a little later.  Its follow-up ‘The Fight’ is one more way in which Ether shows its strength.  Together with the covers of The Black Crowes’ ‘She Talks To Angels’ and of Pearl Jam’s ‘Black,’ ‘The Fight’ and the other noted songs make Ether a wholly enjoyable follow-up to Anasthetic and one more of this year’s top new EPs.

Mark Morton’s debut EP Ether is a strong follow-up to his debut 2019 album Anasthetic.  Much with that album, this EP shows once again why he is more than just a member of Lamb of God, but rather a talented, creative musician in his own right.  That is evidenced in part through the EP’s penultimate song, ‘Love My Enemy.’  The song, which features vocals by Howard Jones (Killswitch Engage, Blood Has Been Shed, Light The Torch), presents an interesting musical arrangement.  The verses conjure thoughts of Alice in Chains, what with the layered vocal effect and the subdued guitar and drum lines.  The chorus however, boasts more of an Alter Bridge type of sound as the guitars and vocals step up.  The song’s bass line adds its own touch to the whole to make the work’s composition quite engaging and entertaining in its own right.  What is important to note here is the pairing of that duality in the song’s arrangement and its connection to the emotion and message in the song’s lyrical theme.  The song’s lyrical theme serves to make that reason for that juxtaposition clear.

Jones sings in the song’s lead verse, “Open wounds before the start/This is where we fall apart/It’s alright/Eternity can die today/It’s alright/It’s okay.”  He continues in the song’s second verse, “We can greet the end alone/Sorrow needs an empty home/It’s alright/Years and pain can fade away/It’s alright/It’s okay.”  In the song’s third and final verse, “Jones sings, “There’s no replacing/The time we’re wasting.”  These verses are deeply introspective, needless to say.  That final verse is relatively clear, as it makes a statement about making the most of the time that we have.  The first and second verses meanwhile will generate their own hare of interest.  Maybe the lead statement of “open wounds before the start/This is where we fall apart” is a statement connected to the note of the wasted time.  It’s as if it is making a note about open wounds being a failure from the beginning.  The statement in the second verse years and pain being able to fade away seems to perhaps be a statement of hope, that the past can be just that.  This is of course all this critic’s own interpretation.  The song’s chorus adds even more impact to the song, as it comes across as perhaps someone battling with him/herself.  The chorus states, “I can’t live on memories/I can’ love my enemy/We cannot repair the past/A broken heart is made of glass/No, I can’t live on memories.”  This seems like someone who is torn with trying to overcome the thoughts of the past and look to the future.  It would explain why the song’s musical arrangement is so much more powerful in the chorus than the verses.  It would serve to illustrate the subject’s heightened emotion in this moment.  This leads the song’s more contemplative counter to those heightened emotions to make more sense along with its musical accompaniment.  Again this is all this critic’s own interpretation and should not be taken as gospel.  Hopefully it is somewhere close to being correct, though.  Keeping all of this in mind, the song’s lyrical content proves just as important as its musical content.  All things considered, the song in whole, with its engaging musical and lyrical content shows well on its own, why Ether is another strong offering from Mark Morton.  It is just one of the songs that serves to exhibit that strength.  ‘All I Had to Lose’ does its own part to keep listeners’ ears and minds.

‘All I Had to Lose’ is important to note because it presents its own unique identity separate from that of ‘Love My Enemy’ and the EP’s other songs.  The song’s fully acoustic arrangement is a radio ready composition that will connect easily to audiences.  The addition of Sons of Texas front man Mark Morales’ vocal delivery adds to that commercial viability for the opus.  The combination of those elements makes the song in whole a work that is comparable to works from so many mainstream rock bands.  The appeal created through the song’s musical arrangement will keep listeners engaged, and in turn, paying attention to the song’s equally engaging lyrical content.

The lyrical content featured in ‘All I Had to Lose’ generates its own engagement because of its own contemplative nature.  Morales sings in the song’s lead verse, “We were reckless for a season, now/Restless with a reason/I can’t tell/If we were victims of the vices/Or addicted to the crisis/Lived through hell.”  He continues in the song’s second verse, “We laid with it/Dead and dying/Told ‘em all we were just trying/To be alive/Closed our eyes/I know that we could leave/The lies we didn’t want to leave behind.”  He adds in the song’s third and final verse, “Watched the colors fade away/Reached out by the sun/left her for another day/Prayed it would never come.”  The precise concept here is not clear at least to this critic.  It comes across as something of a statement about perhaps someone taking things for granted in life.  Whether that is in relation to a personal relationship or something else is up for discussion.  It would be interesting to learn the exact relation of that seeming message.  That Morales sings in the song’s chorus, “And when you came up for breath/I knew there wasn’t nothing left to do but choose/And everything I lost/Wasn’t much compared to all I had to lose” adds to the argument that the song’s lyrical theme is a personal message about taking for granted what one has in life.  Again, what exactly was being taken for granted – whether it be a personal relationship or something else – is something that is left for interpretation.  Either way, the fact that this seems to be the message makes the song’s musical content couple well with this half of the song’s content.  Taking everything noted here into account, the whole of the song shows even more why Ether will keep listeners engaged from start to end.  It is just one more way in which Ether proves its appeal.  ‘The Fight’ is one more way in which the EP shows its strength.

‘The Fight’ is an interesting addition to Ether.  That is due in part to its overall musical arrangement.  This composition is so starkly opposite of any of the other songs featured in this record.  The verses are distinctly subtle, but not necessarily reserved per say.  There is a certain Sevendust-esque sense to the song from the band’s more recent works, in listening closely to the arrangement.  The chorus meanwhile pack a little bit more of a punch, but it’s not a knockout punch.  Even in this case, there is a certain amount of control.  It makes for a very interesting listen.  It is not necessarily a radio ready work, but still is worth hearing.  That unique arrangement couples well with the song’s equally engaging lyrical theme, which comes across as one of those songs about someone driving along and having enough time to contemplate a lot of life matters.

Moontooth front man John Carbone provides the vocals for this song.  His vocal delivery is comparable to that of Sevendust front man Lajon Witherspoon as he sings in the song’s lead verse, “Thundering down the cold, dark desert road/It ain’t the miles you’re looking at/Ain’t the pavement you see/But its ghost/And all the trials that lay ahead/Yeah, it becomes your only friend.”  He continues in the song’s second verse, “Rumbling ground/It shakes from the load/the burden that you live to bear/Deafening sound, it rings in your soul/Make you forget what brought you here/Now the ending ain’t so clear.”  While the song’s musical arrangement doesn’t quite do so, this portion of the song leaves one making comparisons to Bob Seger’s hit song ‘Turn The Page.’  It seems to have that same kind of lyrical approach; someone on the road, lots of thoughts on the mind, etc. etc. etc.  It is an interesting sort of update, although it likely was not intended.  The comparison is strengthened even more as Carbone sings in the song’s chorus, “When you live for the fight for too long/You burn for the bloody way out/But the only hope for a victory/Is to learn to lay it down.”  It’s as if he is saying, even with all the thinking and things on a person’s mind, a person may want a certain outcome, but the outcome we want may not always be the best outcome.  Again, this is all this critic’s interpretation.   Hopefully it is in the proverbial ballpark.  That aside, all of this is sure to generate its own share of discussion among listeners.  Together with its accompanying musical content, the engagement and entertainment ensured through the song’s musical and lyrical content shows once more why Ether succeeds overall.  Together with the two covers that join this work and the EP’s two other originals, the record overall proves itself to be a complete work and a complete success for Morton and company.

Mark Morton’s recently released EP Ether is a strong follow-up to his debut solo album Anasthetic (2019).  That is because it continues to exhibit Morton’s talents as more than just another metal guitarist, but a widely-versed musician and songwriter.  That is evidenced through all three of the record’s original works and its two covers.  The musical and lyrical content in each original as well as the adaptation of the covers do well to support those statements.  All things considered, Ether can be considered in whole, to be one of this year’s top new EPs.

More information on Ether is available online now along with all of Mark Morton’s latest news and more at:

 

 

 

Website: http://markmortonmusic.com

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

Twitter: http://twitter.com/MarkDuaneMorton

 

 

 

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 in the Phil’s Picks blog at https://philspicks.wordpress.com.

Lamb Of God Debuts ‘Routes’ Video

Courtesy: Epic Records

Lamb of God debuted the video for its latest single this week.

The band debuted the video for its new single ‘Routes‘ Friday.  The song is the fourth single from the band’s forthcoming self-titled record, which is scheduled for release June 19 through Epic Records.

The video features a variety of images related to the oil industry, such as oil derricks, factories and images of smoke around the Earth.  The imagery is tied into the sociopolitical commentary in the song’s lyrics.

Front man Randy Blythe said in a recent interview, the song was crafted following a personal experience that he had in North Dakota.

“I went to Standing Rock because I had heard reports of violence committed on the peaceful protestors there by both state law enforcement and private security contractors, and this violence was not reported in mainstream media for the most part,” he said.  “I went to bring supplies and support these people, who were trying to protect their water, and thereby protect everyone, as everything in the natural world is protected. I was there a week, made some great friends, and learned a lot. It was a very profound experience in my life, and I knew one day I would write a song about it.”

Testament front man Chuck Billy, who is of Pomo Native American descent, added his vocal talent to the song.

Billy talked about taking taking part in the song’s creation with his own comments.

“It was a great honor as a proud Pomo Native American to be asked by LAMB OF GOD to do some guest vocals on this song,” he said.  “The No DAPL movement by the indigenous people of this country was a historic event. Being able to lend my voice to represent the Native American people, complementing Randy’s storytelling and lyrics, is something really special to me. I’m glad this movement was put in a musical message, and I am extremely happy to have been a part of it.”

Blythe said the decision to add Billy to the song was intentional.

“My experience, although my own, was tempered and shaped by the hundreds of years of brutal oppression of Native peoples in our country,” says Blythe. “So, it was imperative for me to have a Native voice represented on the song, and Chuck Billy was happy to be that voice. At the end, there is a call and response section – Chuck calls and I respond. This is intentional. Musically, it is symbolic of my experience there. A native voice leads, bringing forth positive energy and calling to the people to unite, and I reply, providing support. That was my physical experience, and it is reflected in the song.”

Lamb of God debuted the album’s third single ‘New Colossal Hate‘ last month.  That song and this latest offering are just two of the lyrically heavy songs featured in Lamb of God.  The record also takes on the issue of school shootings in the song ‘Reality Bath’ and the opioid crisis in the song ‘On the Hook.’

‘Memento Mori‘ and the album’s lead single, ‘Checkmate‘ were released in March and February respectively.

Lamb of God was produced by Josh Wilbur (Soulfly, Hatebreed, Megadeth, Gojira), and features guest appearances from the likes of Hatebreed front man Jamey Jasta and Testament front man Chuck Billy.  The album’s track listing is noted below.

 

 

Lamb Of God tracklisting:

1. Memento Mori

2. Checkmate

3. Gears

4. Reality Bath

5. New Colossal Hate

6. Resurrection Man

7. Poison Dream (feat. Jamey Jasta)

8. Routes (feat. Chuck Billy)

9. Bloodshot Eyes

10. On The Hook

Pre-orders are open now for Lamb of God. The announcement was made recently that the album’s release date has been pushed back to June 19 as a result of the impact of the COVID-19 impact.

More information on Lamb of God’s upcoming live dates, its new album, single, news and more is available online now at:

 

Website: http://www.lamb-of-god.com

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

Twitter: http://twitter.com/lambofgod

 

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.

 

 

Lamb of God Debuts New LP’s Third Single, Single’s Lyric Video

Courtesy: Epic Records

Lamb of God has debuted the latest single from its forthcoming self-titled album.

The band debuted the new single ‘New Colossal Hate‘ Wednesday alongside its lyric video.  The song’s musical arrangement is everything that fans have come to expect from the band, with its powerhouse shredding and equally precise timekeeping.  Its lyrical content is just as powerful as its musical content, according to information provided about the new song.  The information states that the song’s lyrical content is meant to address the mistreatment of people from ethnic minorities.

Guitarist Willie Adler spoke in a recent interview about the creation of the song’s arrangement.

“‘New Colossal Hate’ came out of our very first writing session in Maine,” he said.  “[Guitarist] Mark [Morton], our producer Josh Wilbur and I were at a super cool studio in South Windham called Halo.  An absolutely beautiful spot run by some of the best people I’ve ever met.  I’m pretty sure ‘New Colossal Hate’ grew from a few different demos I had.  You know, like pats of a car. However, as it started to take shape, it quickly became my favorite song on the record.  Please enjoy this banger of a tune.  It holds a very special place in my heart.”

Audiences who are prone to epileptic seizures are cautioned against taking in the song’s lyric video due to the excessive flashing images.

‘New Colossal Hate’ is just one of Lamb of God‘s lyrically heavy songs.  According to the noted information, the album also takes on issues, such as the nation’s opioid crisis (‘On The Hook’), school shootings (‘Reality Bath’) and social injustice (‘Routes’) throughout the course of its body.

‘New Colossal Hate’ is the third single so far from Lamb of God.  It follows the release of the album’s second single, ‘Memento Mori‘ and the album’s lead single, ‘Checkmate.’

According to front man Randy Blythe, ‘Memento Mori’ presents its own social commentary.

“Months before the COVID-19 outbreak occurred, I wrote ‘Memento Mori’ as a reminder to myself to be not be consumed by the ominpresent electronic harbingers of doom that surround us – cell phones, computers and television screens,” he said.  “While these devices can be useful tools, and it is important to stay informed, it is equally important to remain engaged with the real, physical world we live in, not just digitally filtered representations of reality.”

Blythe went on to talk about the song’s video in his statement.

“I wrote the narrative video treatment a few months ago to illustrate how warped and myopic our mental states can become when we fail to remain engaged with that reality – if all you pay attention to is catastrophe, then soon you will begin to see monsters everywhere,” he said.  “The actual monsters we used in the video are Sinisteria, a local Richmond, Virginia haunted house/dark performance troupe I met on the street at our annual Krampus Nacht parade.  Richmond has a strong tradition of loud music and weird costumed monsters working hand-in-hand to make salient points (we are the birthplace of Gwar, after all), and I couldn’t be more pleased with the results.”

“Music has always been there for me, raising my spirits during hard times, and it is my hope that this song’s positive message will do the same for fans of our music right now and beyond,” he added.  “The release date for the tune was set a good while ago, but the timing seems eerily prescient to me now.  So enjoy the song and video, and remember to step away from the screens for a bit — real life is waiting for you.  We only get one shot, so don’t waste this day.  Everyone be well, keep a cool head, take care of yourselves and take care of EACH OTHER.”

Guitarist Mark Morton expanded on Blythe’s comments about the song’s creation.

“I had been sitting with the music for the intro and the post chorus for quite a while,” he said.  “I was trying to develop those two parts as separate songs altogether and was a little stumped particularly with the intro piece.  Me, Willie, and Josh Wilbur (producer) were doing demos in the studio, and the idea came up to try to mash those parts into the same tune, and everything just took off.  It was one of those times where once I knew what we were trying to do, the riffs just kind of fell out of me like they were writing themselves like they were writing themselves.  It’s always a crazy feeling when that happens.  Vocally, Randy heard the intro and said he instantly got a throwback Sisters of Mercy type vibe from it and he took off from there.”

In talking about ‘Checkmate,’ Morton had the following to say:

“‘Checkmate’ brings together all the components of the Lamb of God sound that we’ve been developing over the last two decades, but with the ambition and ferocity that comes with the start of a new chapter for our band,” he said.  “Re-energized and reignited, this is Lamb of God 2020.  We’ve never been more excited.”

Blythe expanded on his comments.

“Putting only our names on it is a statement,” Blythe said.  “This is Lamb of God. Here and now.”

Lamb of God was produced by Josh Wilbur (Soulfly, Hatebreed, Megadeth, Gojira), and features guest appearances from the likes of Hatebreed front man Jamey Jasta and Testament front man Chuck Billy.  The album’s track listing is noted below.

 

Lamb Of God tracklisting:

1. Memento Mori

2. Checkmate

3. Gears

4. Reality Bath

5. New Colossal Hate

6. Resurrection Man

7. Poison Dream (feat. Jamey Jasta)

8. Routes (feat. Chuck Billy)

9. Bloodshot Eyes

10. On The Hook

Pre-orders are open now for Lamb of God. The announcement was made recently that the album’s release date has been pushed back to June 19 as a result of the impact of the COVID-19 impact.

More information on Lamb of God’s upcoming live dates, its new album, single, news and more is available online now at:

 

Website: http://www.lamb-of-god.com

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

Twitter: http://twitter.com/lambofgod

 

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.

 

Joe Satriani’s Latest LP Shows Again Why He is One Of Rock’s Greatest Guitarists

Courtesy: Sony Music/Legacy Recordings

Joe Satriani’s music has taken him to great heights and to a great number of places around the world during the course of his decades-long career.  That is because his music has taken so many forms from one album to the next.  So it should come as no surprise that Satriani’s latest album – his 17^th album – bears the title Shapeshifting.  This 13-song, 46-minute recording, which is scheduled for release April 10 through Sony/Epic, boasts arrangements that fully put on display Satriani’s great talents, changing the style from one song to the next.  That diversity in the songs’ styles is the foundation of the record’s presentation.  It will be discussed shortly.  The sequencing of the songs adds even more interest to the record.  The record’s production rounds out its most important element and will also be addressed later.  Each noted item is important in its own way to the whole of the album.  All things considered, they make the record another positive offering from Satriani and one more early candidate for a spot on any critic’s list of the year’s top new rock albums.

Joe Satriani’s latest full-length studio recording Shapeshifting is a strong new offering from the veteran guitar virtuoso.  It is a presentation that Satriani’s longtime fans will appreciate just as much as music lovers in general.  That is due in part to the very  shapeshifting that takes place throughout the course of the record.  From one song to the next, the styles change.  The album opens with a straight-forward, mid-tempo rockwork that will appeal to any prog-metal fan in the LP’s title track.  ‘Big Distortion,’ which immediately follows, changes things up, opting instead for a decidedly mainstream sound that crosses elements of 90s pop rock and classic 80s arena rock.  The 80s arena rock elements come in the song’s “chorus” section while the 90s pop rock elements are more prevalent in the arrangement’s “A” section.  The coupling sounds odd on the surface, but in reality, it works quite well, with the result of that song being one of the album’s best works.  Its whole sounds like something that would fit quite well on Satriani’s 2004 album Is There Love in Space?  Satriani changes things up yet again with a much more reserved arrangement in the album’s next song, ‘All For Love,’ which also sounds like it would fit well on the noted album.  The song boasts what sounds like Pink Floyd influences throughout its reserved nature.  As the album continues through its first quarter, Satch changes things again in the fully experimental ‘Ali Farka, Dick Dale, An Alien and Me.’  The use of the electronics alongside Satriani’s guitars, the solid time keeping of Jeff Campitelli and bass work of Chris Chaney makes the arrangement a work that he has never composed before.  Finding anything comparable is difficult too, which is a good thing.  The album’s progressing changes continue from here in ‘Teardrops,’ the full-on bluesy composition that will instantly grab listeners.  The changes don’t end here.  The tone turns distinctly country in ‘Perfect Dust,’ which follows ‘Teardrops.’  Interestingly enough, Satch mixes that country element with an equally strong rock element for a whole that stands easily on its own merits.  Satriani’s tribute to Eddie Van Halen that is ‘Nineteen Eighty’ continues the musical shapeshifting, and the variations don’t end there, either.  From that point, on, audiences continue to get even more variety with each song right up to the record’s end.  The whole thing ends on such a high note in ‘Yesterday’s Yesterday.’  The simple, folksy (yes, folksy) arrangement will instantly have listeners tapping their toes and smiling as they do.  The time keeping, the subtle addition of the piano here and the bass line are perfectly in sync with one another to make the whole such a great way to go out.  Between that song and all of the others noted (and not addressed), the whole of the record’s body keeps the musical styles shifting nonstop, ensuring listeners’ engagement and entertainment.  That constant change in styles does so much to make the album’s presentation so strong.  It is just one of the elements that makes the record so strong.  The record’s sequencing couples with the songs themselves to add even more “oomph” to the LP’s presentation.

Shapeshifting’s sequencing is so important to examine because of the very fact that there are so many different styles of music throughout this album.  It would have been easy for those behind the album’s creation to just toss the songs together, but that didn’t happen.  The song opens with a familiar rock sound from Satriani, before going a bit more mainstream.  That sound eventually moves into a more introspective, experimental sound in the album’s third composition.  The energies in each song are just as different from one another as are the styles.  The mood, energy and style changes yet again from there in ‘Ali Farka, Dick Dale, An Alien and Me,’ keeping things interesting for listeners.  Following the infusion of energy and experimentation in that song, the energy pulls back dramatically in ‘Teardrops,’ ensuring again the album doesn’t get stale.  That is definitely ensured as the album makes its way into ‘Perfect Dust’ and ‘Nineteen Eighty.’  ‘All My Friends Are Here’ presents its own celebratory vibe, yet not too much over the top, again keeping things interesting with its mid-tempo presentation and controlled instrumentation.  Of course, as the album enters into ‘Spirits, Ghosts and Outlaws,’ that fire definitely starts to burn brighter again with its up-tempo, guitar-driven arrangement.  From here, the album’s energy gradually eases off right until its finale, gently landing listeners on that other shore.  Simply put, the energies and moods in the album’s songs varies just as much as the styles themselves.  The order in which those energies and moods were arranged adds so much to the record’s overall impact.  When this is considered along with the variety in the songs, it proves even more why the album is such an impressive new offering from one of the great guitarists of our time.

The songs featured on Shapeshifting and their sequencing do a lot to make this record appealing for listeners.  As much as they do to make the album so appealing, they are only a part of what makes the record so enjoyable.  The LP’s production and mixing put the finishing touch to its presentation.  From start to end, each song was expertly crafted and mixed.  Case in point is the layering of the guitars in the album’s opener/title track.  There were multiple guitar lines, likely all played by Satriani.  The way in which they were set alongside one another made for a very good balance, ensuring each got its own attention.  Meantime, the bass and drums are just as audible as those guitar lines.  The whole makes for a work that is a powerful introduction for the album and an equally powerful statement Satriani and his fellow musicians.  ‘Ali Farka, Dick Dale, An Alien and Me’ is another example of the importance of the album’s production and mixing.  As already noted, there is a certain amount of electronics added into the whole of the song’s arrangement.  The decision to add this element into the mix was a wise choice, as it adds a certain nuance that without it, would have left the song feeling empty.  When it is joined with the guitars, bass and drums, the overall arrangement presents itself as one of the album’s most original works.  What’s more, the balance of the elements in the end product adds even more appeal to the work.  There is a lot going on in this song, what with all of the elements, but thankfully, at no point do any of the arrangement’s elements overpower the others.  It would have been easy for that to happen in this scenario, too.  So to know that this did not happen is, again, a statement to the talents of the musicians and to those who produced and mixed the album.  ‘Spirits, Ghosts and Outlaws’ is yet another example of the importance of the album’s production and mixing.  This straight-forward, driving country-rock style arrangement is another in which there is a lot going on.  Between the solid time keeping (especially through the cymbals), the guitar and the bass, each line has a lot to do with making the song whole.  Each musician “has a lot to say” so to speak.  Each line holds its own importance, and the song would not have been what it is without each part.  Each line is just as well balanced, even with so much musical firepower combined in one container.  The end result is another energetic, enjoyable arrangement that strengthens the album in whole.  When these arrangements are considered alongside those in the rest of the album, it becomes clearer why the production and mixing that went into each song is so important to the whole of this record.  When this aspect of Shapeshifting is considered along with the album’s songs and their sequencing, the whole of all three elements makes the LP another impressive offering from Satriani and company, and one of the year’s best rock records.  It is potentially one of the year’s best records overall.

Joe Satriani’s latest full-length studio recording Shapeshifting continues his trend of success – and that of his fellow musicians.  That is because the record’s arrangements constantly do in fact shapeshift from one song to the next.  The musical styles never stay the same throughout the album.  The sequencing of that constantly varying musical styles adds even more to the ensured engagement and enjoyment.  The production and mixing that went into each arrangement puts the finishing touch to the whole of the album.  Each item noted is key in its own way to the whole of the album.  All things considered, they make Shapeshifting another welcome offering from Satriani and company, and a work that is one of the year’s top new rock records and potentially one of the year’s top new albums.  More information on the album is available online now along with all of Satriani’s tour dates in support of Shapeshifting is available online now at:

 

 

 

Website: http://www.satriani.com

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

Twitter: http://twitter.com/chickenfootjoe

 

 

 

To keep up with the latest entertainment reviews and news, go online to http://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.

Lamb of God Debuts ‘Memento Mori’ Video; Announces New Live Summer, Fall Dates

Courtesy: Epic Records

Lamb of God gave audiences another taste of the band’s forthcoming album this week.

The band debuted the video for its new single ‘Memento Mori‘ March 17. The song is the second single from the band’s forthcoming self-titled album, which is scheduled for release May 8 through Epic Records.

The song presents an arrangement that audiences have come to expect from LoG throughout the years, with its heavy, shredding guitar work and its solid time keeping alongside front man Randy Blythe’s gutteral vocals.

Blythe talked about the song’s lyrical content in a recent interview, noting the inspiration for the song’s lyrical content was far-reaching.

“Months before the COVID-19 outbreak occurred, I wrote ‘Memento Mori’ as a reminder to myself to be not be consumed by the ominpresent electronic harbingers of doom that surround us – cell phones, computers and television screens,” he said.  “While these devices can be useful tools, and it is important to stay informed, it is equally important to remain engaged with the real, physical world we live in, not just digitally filtered representations of reality.”

Blythe went on to talk about the song’s video in his statement.

“I wrote the narrative video treatment a few months ago to illustrate how warped and myopic our mental states can become when we fail to remain engaged with that reality – if all you pay attention to is catastrophe, then soon you will begin to see monsters everywhere,” he said.  “The actual monsters we used in the video are Sinisteria, a local Richmond, Virginia haunted house/dark performance troupe I met on the street at our annual Krampus Nacht parade.  Richmond has a strong tradition of loud music and weird costumed monsters working hand-in-hand to make salient points (we are the birthplace of Gwar, after all), and I couldn’t be more pleased with the results.”

“Music has always been there for me, raising my spirits during hard times, and it is my hope that this song’s positive message will do the same for fans of our music right now and beyond,” he added.  “The release date for the tune was set a good while ago, but the timing seems eerily prescient to me now.  So enjoy the song and video, and remember to step away from the screens for a bit — real life is waiting for you.  We only get one shot, so don’t waste this day.  Everyone be well, keep a cool head, take care of yourselves and take care of EACH OTHER.”

Guitarist Mark Morton expanded on Blythe’s comments about the song’s creation.

“I had been sitting with the music for the intro and the post chorus for quite a while,” he said.  “I was trying to develop those two parts as separate songs altogether and was a little stumped particularly with the intro piece.  Me, Willie, and Josh Wilbur (producer) were doing demos in the studio, and the idea came up to try to mash those parts into the same tune, and everything just took off.  It was one of those times where once I knew what we were trying to do, the riffs just kind of fell out of me like they were writing themselves like they were writing themselves.  It’s always a crazy feeling when that happens.  Vocally, Randy heard the intro and said he instantly got a throwback Sisters of Mercy type vibe from it and he took off from there.”

The debut of ‘Memento Mori’ comes more than a month after Lamb of God debuted the lead single from its self-titled album, ‘Checkmate.’

Lamb of God was produced by Josh Wilbur (Soulfly, Hatebreed, Megadeth, Gojira), and features guest appearances from the likes of Hatebreed front man Jamey Jasta and Testament front man Chuck Billy.  The album’s track listing is noted below.

Lamb Of God tracklisting:

1. Memento Mori

2. Checkmate

3. Gears

4. Reality Bath

5. New Colossal Hate

6. Resurrection Man

7. Poison Dream (feat. Jamey Jasta)

8. Routes (feat. Chuck Billy)

9. Bloodshot Eyes

10. On The Hook

Pre-orders are open now for Lamb of God.

Lamb of God is scheduled to launch a tour in support of its new album starting June 12 in Bristow, VA.  The tour is scheduled to run through Nov. 13 in Reno, NV.  The tour’s schedule is noted below.

LAMB OF GOD tour dates:

5/9 – Daytona Beach, FL @ Welcome to Rockville (US Festival)

Co-headlining  w/Megadeth and special guests Trivium and In Flames:

Summer 2020

6/12 – Bristow, VA @ Jiffy Lube Live

6/13 – Charlotte, NC @ PNC Music Pavilion

6/14 – Raleigh, NC @ Red Hat Amphitheater

6/16 – Virginia Beach, VA @ Veterans United Home Loans Amphitheater

6/17 – Wantagh, NY @ Northwell Health at Jones Beach Theater

6/18 – Camden, NJ @ BB&T Pavilion

6/20 – Holmdel, NJ @ PNC Bank Arts Center

6/21 – Boston, MA @ Rockland Trust Bank Pavilion

6/23 – Syracuse, NY @ St. Joseph’s Health Amphitheater at Lakeview

6/24 – Providence, RI @ Bold Point Lake Amphitheater

6/26 – Darien Center, NY @ Darien Lake Amphitheater

6/28 – Burgettstown, PA @ S&T Bank Music Park

6/29 – Toronto, ON @ Budweiser Stage

7/1 – Detroit, MI @ DTE Energy Music Theater

7/2 – Mount Pleasant, MI @ Soaring Eagle Casino Amphitheatre

7/3 – Indianapolis, IN @ Ruoff Music Center

7/5 – Atlanta, GA @ Ameris Music Center

7/7 – Cincinnati, OH @ PNC Pavilion

7/8 – Cleveland, OH @ Jacobs Pavilion at Nautica

7/10 – Chicago, IL @ Hollywood Casino Amphitheatre – Chicago, IL

7/11 – St. Louis, MO @ Hollywood Casino Amphitheatre – St. Louis, MO

7/12 – Nashville, TN @ Nashville Municipal Auditorium

7/14 – Rogers, AR @ Walmart AMP

7/16 – Austin, TX @ Germania Insurance Amphitheater

7/17 – Houston, TX @ The Cynthia Woods Mitchell Pavilion

7/18 – Irving, TX @ The Pavilion at Toyota Music Factory

7/20 – Albuquerque, NM @ Isleta Amphitheater

7/21 – Phoenix, AZ @ Arizona Federal Theatre

7/23 – Irvine, CA @ FivePoint Amphitheatre

7/25 – Auburn, WA @ White River Amphitheatre

7/26 – Portland, OR @ Moda Center

7/29 – Salt Lake City, UT @ USANA Amphitheatre

7/30 – Pocatello, ID @ Portneuf Health Trust Amphitheatre

8/1 – Concord, CA @ Concord Pavilion

Fall 2020

10/2 – West Palm Beach, FL @ iTHINK Financial Amphitheatre

10/6 – Birmingham, AL @ Oak Mountain Amphitheatre

10/7 – New Orleans, LA @ UNO Lakefront Arena

10/9 – Corpus Christi, TX @ American Bank Center Arena

10/11 – El Paso, TX @ Don Haskins Center

10/14 – Springfield, MO @ JQH Arena

10/16 – Kansas City, MO @ Sprint Center

10/21 – Columbus, OH @ Schottenstein Center

10/23 – Huntington, WV @ Mountain Heath Arena

10/24 – Bethlehem, PA @ The Wind Creek Event Center

10/27 – Quebec City, QC @ Centre Videotron

10/28 – Laval, QC @ Place Bell

10/30 – St. Paul, MN @ Armory

10/31 – Green Bay, WI @ Resch Center

11/2 – Omaha, NE @ Baxter Arena

11/3 – Sioux Falls, SD @ Denny Sanford PREMIER Center

11/5 – Denver, CO @ Pepsi Center

11/7 – Las Vegas, NV @ Mandalay Bay Events Center

11/10 – Spokane, WA @ Spokane Arena

11/11 – Nampa, ID @ Ford Idaho Center Arena

11/13 – Reno, NV @ Reno Events Center

 

 

More information on Lamb of God’s upcoming live dates, its new album, single, news and more is available online now at:

 

Website: http://www.lamb-of-god.com

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

Twitter: http://twitter.com/lambofgod

 

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.

Lamb of God Announces New Album Release, Tour Dates; Debuts LP’s Lead Single

Courtesy: Epic Records

Lamb of God returned this week with its first new music in five years.

The band debuted its new single ‘Checkmate‘ Thursday.  The song is featured on the band’s new self-titled album, scheduled for release May 8 through Epic Records.

The song’s musical arrangement is everything that Lamb of God’s fans have come to expect from the band over the years.  The same can be said of the song’s no nonsense political commentary presented in its lyrical content.

LOG guitarist Mark Morton talked about the album’s overall musical direction in a recent interview.

“‘Checkmate’ brings together all the components of the Lamb of God sound that we’ve been developing over the last two decades, but with the ambition and ferocity that comes with the start of a new chapter for our band,” he said.  “Re-energized and reignited, this is Lamb of God 2020.  We’ve never been more excited.”

Front man Randy Blythe shared Morton’s sentiments as he talked about the band’s new self-titled album.

“Putting only our names on it is a statement,” Blythe said.  “This is Lamb of God. Here and now.”

Lamb of God was produced by Josh Wilbur (Soulfly, Hatebreed, Megadeth, Gojira), and features guest appearances from the likes of Hatebreed front man Jamey Jasta and Testament front man Chuck Billy.  The album’s track listing is noted below.

 

Lamb Of God tracklisting:

1. Memento Mori

2. Checkmate

3. Gears

4. Reality Bath

5. New Colossal Hate

6. Resurrection Man

7. Poison Dream (feat. Jamey Jasta)

8. Routes (feat. Chuck Billy)

9. Bloodshot Eyes

10. On The Hook

Pre-orders are open now for Lamb of God.

In celebration of its new forthcoming album, Lamb of God will perform a special free show Feb. 14 at the House of Vans in Chicago, IL.  Fans interested in attending need to RSVP here.

Following its upcoming House of Vans show, the band will kick off its worldwide tour in support of Lamb of God with a European run scheduled to launch March 27 in Stockholm, Sweden.  That tour is scheduled to run through April 25 in London, UK.

The band will return to North America on May 9 at the Welcome to Rockville Festival in Daytona, Florida.  The band’s current tour schedule is noted below.

 

LAMB OF GOD tour dates:

2/14- Chicago, IL @ House of Vans *Headline show

European tour with Kreator and Power Trip:

3/27 – Stockholm, SE @ Fryshuset Arenan

3/28 – Copenhagen, DK @ Forum Black Box

3/30 – Oulu, FI @ Club Teatria

3/31 – Helsinki, FI @ Ice Hall Black Box

4/2 – Kraków, PO @ Tauron Arena

4/3 – Berlin, DE @ Columbiahalle

4/4 – Oberhausen, DE @ Turbinenhalle

4/5 – Wiesbaden, DE @ Kulturzentrum Schlachthof

4/7 – Zurich, CH @ Samsung Hall

4/8 – Munich, DE @ Zenith

4/9 – Ludwigsburg, DE @ MHP Arena

4/11 – Hamburg, DE @ Sporthalle

4/14 – Barcelona, ES @ Razzmatazz

4/15 – Madrid, ES @ Sala Riviera

4/17 – Paris, FR @ L’Olympia Bruno Coquatrix

4/18 – Saarbrücken, DE @ Saarlandhalle

4/19 – Brussels, BE @ Ancienne Belgique

4/21 – Bristol, UK @ O2 Academy Bristol

4/22 – Manchester, UK @ Manchester Academy

4/23 – Glasgow, UK @ O2 Academy Glasgow

4/24 – Birmingham, UK @ O2 Academy Birmingham

4/25 – London, UK @ O2 Academy Brixton

5/9 – Daytona Beach, FL @ Welcome to Rockville *US Festival

More information on Lamb of God’s upcoming live dates, its new album, single, news and more is available online now at:

 

Website: http://www.lamb-of-god.com

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

Twitter: http://twitter.com/lambofgod

 

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.

Judas Priest’s ‘Firepower’ Tour Returning To America In 2019

Courtesy: Columbia Records

Judas Priest is coming back to America.

The band recently announced that the next leg of its tour in support of Firepower, its latest full-length studio recording, will be another North American run.  The tour will launch May 3 in Hollywood, Florida and run through June 29 in Las Vegas, NV.  It will also feature performances in cities, such as Colorado Springs, CO; Uncasville, CT and Austin, TX.

The tour’s current schedule is noted below.

JUDAS PRIEST TOUR DATES:

DATE                  CITY                                   VENUE
05/03/19              Hollywood, FL                    Seminole Hard Rock Hotel & Casino
05/06/19              Nashville, TN                      Nashville Municipal Auditorium
05/08/19              Atlanta, GA                         Fox Theatre
05/09/19              Biloxi, MS                           Beau Rivage Resort & Casino
05/12/19              Washington, DC                 The Anthem
05/14/19              Huntington, NY                   The Paramount
05/15/19              Huntington, NY                   The Paramount
05/16/19              Uncasville, CT                     Mohegan Sun Arena
05/18/19              Albany, NY                          Palace Theatre
05/19/19              Albany, NY                          Palace Theatre
05/22/19              Milwaukee, WI                     Riverside Theater
05/23/19              Milwaukee, WI                     Riverside Theater
05/25/19              Rosemont, IL                       Rosemont Theatre
05/28/19              Austin, TX                            ACL Live at The Moody Theater
05/29/19              Austin, TX                            ACL Live at The Moody Theater
05/31/19              Dallas, TX                            The Bomb Factory
06/01/19              Little Rock, AR                     First Security Amphitheater
06/03/19              St. Louis, MO                       Stifel Theatre
06/05/19              Colorado Springs, CO          Broadmoor World Arena
06/08/19              Saskatoon, SK                     SaskTel Centre
06/10/19              Lethbridge, AB                      ENMAX Centre
06/11/19              Edmonton, AB                       Rogers Place
06/13/19              Dawson Creek, BC               Encana Events Centre
06/14/19              Prince George, BC                CN Centre
06/16/19              Kelowna, BC                         Prospera Place
06/17/19              Abbotsford, BC                     Abbotsford Centre
06/19/19              Airway Heights, WA              Northern Quest Resort and Casino
06/21/19              Kent, WA                               Accesso Showare Center
06/22/19              Portland, OR                         Moda Theatre of the Clouds
06/24/19              San Francisco, CA                Warfield Theatre
06/25/19              San Francisco, CA                Warfield Theatre
06/27/19              Los Angeles, CA                   Microsoft Theater
06/29/19              Las Vegas, NV                      The Joint at Hard Rock Hotel

The band expressed its anticipation for the tour in a collective statement.

“Metal maniacs — Judas Priest is roaring back to the USA for one more blast of Firepower,” the band said.  “Firepower 2019 charges forth with new first-time performances born out of Firepower, as well as fresh, classic cuts across the decades from the Priest world metalsphere.  Our visual stage set and light show will be scorching a unique, hot, fresh vibe – mixing in headline festivals as well as the in-your-face venue close ups.  We can’t wait to reunite and reignite our maniacs…THE PRIEST IS BACK!”

Firepower has been confirmed as one of the band’s most successful offerings to date.  It has landed in the Top 5 on charts in 17 nations, including but not limited to the United States.

More information on Judas Priest’s new tour schedule is available online now along with all of the band’s latest news and more at:

 

Website: http://www.JudasPriest.com

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

Twitter: http://twitter.com/judaspriest

 

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 in the Phil’s Picks blog at https://philspicks.wordpress.com.