Stabbing Westward’s Latest LP Is Imperfect, But Still Entertaining

Courtesy: COP International

When Stabbing Westward released its EP, Dead and Gone, in January 2020, it was the first new music from the band in approximately two decades. The five-song record featured three new songs and remixes of two of the compositions. The record was, for diehard Stabbing Westward fans, a welcome new offering from the band. Now two years after the EP’s release, those three originals have joined with seven other originals to form what is Stabbing Westward’s first new full album in 21 years in the form of Chasing Ghosts. The 10-song record is another presentation that those noted devotees will appreciate. It will also appeal to casual industrial metal fans if slightly less so. That appeal comes primarily through the record’s featured musical arrangements, which will be discussed shortly. While the musical arrangements featured throughout the record will appeal to a wide range of audiences, the record’s lyrical content will limit that appeal to a point. This will be discussed a little later. The record’s production works with its musical side to add to the general effect and make it at least somewhat more appealing. This element will also be discussed later. Each item noted is important in its own way to the whole of the record’s presentation. All things considered, they make Chasing Ghosts worth hearing at least once among casual audiences and more among the band’s most devoted audiences.

Chasing Ghosts, Stabbing Westward’s first new album in 21 years, is an interesting new offering from the veteran industrial metal band. It is for the most part, everything that audiences have come to expect from the quartet musically and lyrically. Speaking first on the matter of the record’s musical arrangements, they boast all of the same brooding, synth-driven approach and sound to which audiences have become accustomed over the years. The control that front man Christopher Hall exhibits in his fiery vocals is just as familiar and appealing. In listening to all of the songs (even the much more subdued album closer, the aptly titled song, ‘The End’) the overall arrangements will take audiences back to the band’s heyday what with their inescapable comparisons to Nine Inch Nails’ and Depeche Mode’s best works. It forms a strong foundation for the album. As much as the record’s musical content does to make it engaging and entertaining, its lyrical content detracts from that enjoyment. That cannot be denied.

The lyrical content that accompanies the album’s musical arrangements is important to note because as with so many of Stabbing Westward’s catalog, the record’s lyrical content centers almost entirely on the same subject, that of broken relationships. From one album to the next, Hall has sung about the topic from one side or another, either being angry at the other person or begging and pleading. In the case of this record, he broaches the topic from both angles, The only song that could even seem to be about anything else is the record’s “title track,” ‘Ghost.’ In the case of this song, it sounds like a song that even with its brooding nature, is still about abandonment issues and the impact thereof. To that end, it could still apply in the case of a broken relationship, so again, the record’s lyrical content is undeniably limiting. There is no ignoring this issue. Thankfully even with all of this in mind, the limiting nature of the record’s lyrical content, it is not enough to completely doom the album. The production that went into the arrangements works with those works to make the record at least somewhat more worth hearing.

The production that went into this album, conducted by the band’s longtime producer and friend John Fryer. Fryer produced Stabbing Westward’s 1994 debut album, Ungod, as well as its follow-up, Wither Blister Burn & Peel (1996). Fryer has also worked (fittingly) with the likes of Nitzer Ebb, Depeche Mode, and Gravity Kills, three other bands who are known for their electronic and industrial leanings. In other words, Fryer has a lot of experience working not only with Stabbing Westward, knowing how to bring out the best from each of the band members, but in the electronic/industrial realm, too. His experience brought out the best from the band in this case, too, in terms of the album’s musical arrangements. Keeping that in mind along with the general familiarity of the arrangements to audiences, the two elements are certain to keep casual Stabbing Westward fans just as entertained as the band’s more devoted audiences. Those casual audiences will take all of this in mind and find the album worth hearing at least once while the more devoted audiences will find this and even the brooding lyrics will make the album worth even more.

Chasing Ghosts, the latest album from electronic/industrial rock band Stabbing Westward, is a presentation that the band’s most devoted audiences will agree was worth the wait of more than two decades. More casual audiences will find it worth hearing at least once. Its appeal among both audience groups comes primarily through its musical arrangements. Their familiarity and their heaviness will appeal to any fan of the industrial and electronic realms. As much as the record’s musical arrangements do to make it engaging and entertaining, the all too familiar brooding about broken relationships will limit the album’s appeal. That is because that is pretty much the only theme that runs through the album, much as with the band’s existing catalog. It’s another case of too much of a good thing. The record’s production works with the sound in the arrangements to make for at least some more appeal and to round out the most important of the album’s elements. When the production and arrangements are considered together, the two elements will make the record mostly successful.

Chasing Ghosts is available now through COP International. More information on the album is available along with all of Stabbing Westward’s latest news at:

Website: http://www.stabbingwestward.com

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

Twitter: http://twitter.com/stabbingwestward

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.

Ice Nine Kills’ Latest LP Is A Scary Good New Record

Courtesy: Fearless Records

Halloween is almost over, but horror, like evil, will never die.  Metalcore band Ice Nine Kills is an act that seems to live by that mantra, having released so many albums based on horror novels and movies throughout its life.  The band continued to prove that Oct. 15 when it released its long-awaited new album, The Silver Scream 2: Welcome To Horrorwood.  The wait for this record was well worth it, as this critic and any of the band’s fans will agree.  That is proven in part through the musical arrangements featured in this record.  They will be discussed shortly.  The movies represented in the new album add to the record’s appeal in their own way and will be discussed a little later.  The record’s sequencing rounds out its most important elements and will also be discussed later.  Each item noted does its own part to make INK’s new album successful.  All things considered, they make the album another successful offering from the band that is not just a great musical Halloween treat this year, but a great addition to this year’s field of new hard rock and metal albums.

Ice Nine Kills’ latest album, The Silver Scream 2: Welcome To Horrorwood is another successful new offering from the band that the band’s fans new and established alike will appreciate.  That is due in no small part to its featured musical arrangements.  The arrangements are important to the record’s success because of the mix of familiar and new sounds and styles that they exhibit.  Right from the album’s outset in the album’s title track, audiences get the band’s familiar melodic metalcore approach, complete with front man Spencer Charnas’ solid mix of clean vocals and screams and the band’s familiar choral element that has become such a trademark of the band’s songs.  From there though, the band changes things up in ‘A Rash Decision.’  The ominous piano line that opens the arrangement is familiar, but as the arrangement progresses, it very quickly turns to a decidedly Slipknot-esque composition with its heavy, driving guitars, screams, and pounding, solid time keeping.  This is an approach that the band has dabbled with in the past, but never to this extent.  ‘Assault & Batteries’ meanwhile takes audiences back to the sounds so familiar in The Silver Scream and even all the way back to the band’s even earlier hit song, ‘Communion of the Cursed.’   Listeners get even more of the noted Slipknot influence in ‘Funeral Derangements,’ which is one of the album’s many singles.  Perhaps the most notable of the album’s arrangements comes in the form of ‘Rainy Day’ (yes another of the album’s singles).  The incorporation of the electronics into the song conjure thoughts of songs from the likes of Gravity Kills and Spineshank.  That newer sound pairs with the arrangement’s more familiar metalcore elements to make it one of the album’s most notable musical works.  Audiences who want even more new approaches and sounds get that in the distinctly death metal style ‘Take Your Pick.’  Considering that this song features a guest appearance by Cannibal Corpse front man Corpsgrinder, the comparison there is immediate.  To a slightly lesser degree, audiences can also make a comparison to works from the likes of Whitechapel.  From there on out, audiences get plenty of familiar sounds and styles in every song that follows.  At the same time, the songs still boast their own identities, even with that familiarity noted.  Keeping all of this in mind, the mix of new and familiar from one arrangement to the next and even within certain songs makes for reason enough for audiences to hear this record.  Of course, the musical arrangements featured in INK’s new album are collectively just one part of what makes this album worth hearing.  The movies that are represented throughout the record make for their own interest.

The movies that INK chose to represent in its latest album are important to note because unlike so many cinematic sequels, they are not just re-hashings of the material from the original.  From the singles already released so far, audiences know that classic movies, such as Pet Sematary, American Psycho, Child’s Play and Resident Evil are represented here.  Also represented are seemingly the likes of Cabin in the Woods (‘A Rash Decision’), The Fly (‘F.L.Y.’), and even Psycho (‘The Shower Scene’) among others.  Hellraiser is seemingly represented here in ‘The Box’ as is The Evil Dead in ‘Ex-Mortis.’  Simply put, between the movies listed here and the others featured here, INK has opted to not just re-visit the movies visited in the songs from The Silver Scream and its initial sequel/spinoff, The Silver Scream: The Final Cut.  What’s more, the band also made sure to pick movies from across the horror spectrum and history.  Not only does this serve as respect for those movies, but it could very well serve as a starting point for a lifelong love for (and potentially obsession with) those movies for new horror fans.  To that end, that and everything else noted here shows why the movies chosen for this record are important to the album’s success.  Even with this in mind, there is still one more item to address here.  That item is the record’s sequencing.

The sequencing of The Silver Scream 2: Welcome to Horrorwood is important because it ensures the album’s energy remains just right from start to end.  The album starts off in ominous fashion, but doesn’t wait long before it really picks up.  From there, the energy barely shifts at any point.  When it does, it is subtle at best.  The result is that it does just as much to keep listeners engaged and entertained throughout the album as its content and the very cinematic history presented through the featured movies.  Keeping all of this in mind, there is no doubt that the sequencing of INK’s new album is just as important to note as the album’s content.  It all comes together to make the album its own welcome musical love letter to Hollywood’s horror history just as much as its predecessors.

Ice Nine Kills’ recently released album, The Silver Scream 2: Welcome to Horrrorwood is another successful offering from the band.  It is a work that the band’s established and newer audiences alike will enjoy.  That is due in no small part to its featured musical arrangements.  The arrangements offer listeners a solid blend of familiar sounds and styles, and newer approaches.  The whole there makes for plenty of engagement and entertainment.  The movies that are represented throughout the album are of their own importance.  That is because they are not just repeats of the movies represented in the band’s most recent records.  They continue to show the band’s love for Hollywood’s rich history of horror while also continuing to potentially introduce audiences to that rich history.  The record’s sequencing rounds out its most important elements.  That is because it ensures that the record’s energy remains solid from start to end.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make the album another successful offering from Ice Nine Kills and one more of this year’s top new hard rock and metal albums.

The Silver Scream 2: Welcome to Horrorwood is available now through Fearless Records. More information on Ice Nine Kills’ new album is available along with all of the band’s latest news at:

Website: https://iceninekills.com

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

Twitter: https://twitter.com/iceninekills

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.

Version 5 Debuts New Single, ‘Close My Eyes,’ Companion Video

Courtesy: Heart Riot Agency

Independent hard rock band Version 5 recently debuted its latest single and video.

The band debuted its new single, ‘Close My Eyes‘ Feb. 12 along with the song’s companion video. The song exhibits a musical arrangement that harkens back to the sounds of the 90s. At some points, the use of the guitars and vocals hints at influence from the likes of Living Colour while at others it presents influence from The Union Underground and Gravity Kills. The contrast in such distinctly polar opposite acts’ influences seems like it would not work, but surprisingly does.

The lyrical theme that accompanies the song’s musical arrangement will generate its own engagement. While no information has been provided as to the song’s lyrical theme, it can be inferred that the message might be a familiar rumination on a broken relationship.

The song’s video takes place in a 1920s setting, which band member Andy Olsen discussed.

“For the video, I thought it would be cool to “bring back the roaring 20s” for the 2020s,” said Olson.  “Spencer, AJ and I liked the idea of being a jazz trio- because this song was a heavy rock song, we wanted to avoid the cliches and have an image that isn’t necessarily associated with a rock band. We lucked out, because we were able to rent out an actual speakeasy bar in Minneapolis.”

More information on Version 5’s new single and video is available along with all of the band’s latest news and more at:

Website: https://www.version5music.com

Facebook: https://www.facebook.com/version5music

Twitter: https://twitter.com/version5music

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

Post Death Soundtrack’s New EP Charts A Clear “Path” For Its New LP

Courtesy: Independent Music Promotions

Independent industrial act Post Death Soundtrack unveiled the first preview of its upcoming album It Will Come Out of Nowhere this week.  The duo – Jon Ireson and Steve Moore – offered up the preview Friday in the form of its EP Pathless Land.  More single than EP, the three-song record features one of the noted album’s singles – ‘Pathless Land’ – and two remixes thereof.  The 16-minute record is a presentation that will appeal to fans of the duo’s contemporaries, such as Nine Inch Nails, Ministry, and Gravity Kills.  That is proven in all three of the song’s takes as well as its lyrical content.  The production in each rendition brings everything today, completing the record’s presentation.  All things considered, the EP is a work that is a strong first impression for the duo’s album.

Post Death Soundtrack’s new EP Pathless Land is a positive first impression for the duo’s forthcoming album It Will Come Out of Nowhere, which is expected for release Feb. 15 on limited 2LP release.  It is such a promising preview of the record in part because of its musical arrangements.  All three takes of the EP’s title track gives audiences something different from one take to the next.  The rendition that features in the album is a keyboard driven work that opens, sounding like something out of the 1980s.  However, as the vocals (including the dual-lined chant of “Freedom”) are added to the mix, that sound turns more into something akin to the industrial sounds of the early  90s.  The comparison here to works from Nine Inch Nails is unavoidable.

The “Sovereign Mix” of ‘Pathless Land’ maintains the noted Nine Inch Nails comparison, but also adds in a bit of a Ministry influence, too.  That is evidenced in t he steady, plodding keyboard line that hits with the force of a hammer.  The ambient vibe that the rest of the song exhibits also presents hints of Stabbing Westward and Gary Numan’s influence to a slightly lesser degree.  It is a take that holds its own against the album’s rendition and proves just as engaging as that take.

The “Lit Beacon” take of ‘Pathless Land’ is just as unique as the song’s “Sovereign Mix.”  What makes this version stand out so much is its semi-acoustic approach.  That subtle approach conjures thoughts of Nine Inch Nails’ more subdued works circa 1994, the year that the band released its landmark album The Downward Spiral.  The brooding nature in the arrangement makes this take one of those works that is so heavy without being heavy and will prove just as engaging for PDS’ target audience as the other two takes of ‘Pathless Land.’  All things considered, the three different takes on the song form a strong foundation for the EP.  The lyrical content that accompanies the song’s musical content (in all its forms) adds even more to the EP’s engagement and entertainment value. 

Not all of the lyrical content featured in the song is capable of deciphering without a lyrics sheet to reference.  However, from what one can understand, the song’s lyrical content comes across as being decidedly introspective.  At one point, the song notes, “From the need to fight/From manic desire/From climbing ever higher/From the mantis bride/From the human…From trouble…/From the fatal flaw/From temples of might…From the seekers of truth/From the altar of youth…”  There are mentions of Christ and Allah from there and “lifeless praise” here, too.  Simply put, what this song does lyrically is something completely unlike anything else out there today.  Thankfully, information provided about the song’s lyrical content does explain the cryptic language.  The information cites Moore as saying about the song that, “‘Pathless Land’ is a little song full of unlikely vitriol and resolve following loss and devastation. We’re thrilled to share this new release with you during dark times and hope it provides a moment of stillness where something fresh can take root.”  Taking that loose description into account, it is sure to generate plenty of discussion among audiences.  Together with the song’s musical content, in each of its iterations, the two elements collectively make for even more engagement for audiences. 

While the musical and lyrical content featured in the Pathless Land EP do quite a bit to make the record an interesting presentation, they are just a portion of what creates that appeal.  The record’s production puts the finishing touch to the presentation, bringing everything together.  As has already been noted, the EP (which again is in this critic’s view more single than EP – but that’s beside the point at this rate) features three very distinct takes on the song in question.  Each rendition presents its own unique take, too.  That means that a lot of attention had to be taken to make sure each take had the utmost impact.  Thankfully, those painstaking efforts paid off.  The brooding, subtle sounds of the song’s “Lit Beacon” mix creates such a deep emotion that will resonate with listeners long after the song’s end.  The balance in the subtle crescendos and decrescendos makes this take so rich.  The more driving, electronic “Sovereign Mix” with its sharp contrasts makes for its own powerful impact.  It would have been so easy to let the song get away with itself in the heavier moments in this mix, but thankfully that did not happen.  That heaviness, against the take’s more subtle side makes for even more power here.  The handling of the even more subtle approach to the song’s album take required its own attention to detail in regards to its production.  The layering of the chanting vocals causes that element to echo in listeners’ minds.  Meanwhile, the subtlety in the chants against the main lyrical line makes for even more of an interesting effect.  Much the same can be said in how that was all balanced with the keyboard line here.  All things considered here, the production works just as well in this case as in the song’s other mixes.  The end result is a record here from Post Death Soundtrack that industrial and goth audiences will appreciate just as much as works from the duo’s more well-known counterparts. It is a record that they will agree, also, is a positive first preview of the duo’s forthcoming album.

Post Death Soundtrack’s new Pathless Land EP is a good way for the duo to give audiences their first preview of the pair’s forthcoming album It Will Come Out of Nowhere.  That is proven in part, as noted here, through all three of the arrangements of the EP’s title track.  Regardless of which rendition listeners choose, the result is a song whose arrangement is fully engaging and entertaining.  The unique lyrical content that accompanies the record’s musical arrangements adds its own interest for listeners and is sure to create its own share of discussion and engagement.  The production of each of the song’s renditions brings everything full circle as it ensures every element of each take is balanced with the utmost precision.  That detailed attention to each arrangement’s instrumentation paid off, too.  It joins with the record’s content to make the EP sound appealing just as much as the content makes it appealing in that arena.  Each item noted is clearly important in its own way to the whole of the EP.  All things considered, they make Pathless Land a presentation that charts a clear, solid path for Post Death Soundtrack’s coming album.  Pathless Land is available now.  More information on the EP is available along with all of the duo’s latest news and more at:

Website: https://postdeathsoundtrack.bandcamp.com

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

Twitter: https://twitter.com/postdeathsound2

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

Sami Doll Debuts ‘AN OM IE’ Video

Independent industrial rock act Sammi Doll debuted the video for its latest video this week.

Sammi Doll premiered the video for her debut single ‘AN OM IE’ Wednesday. Directed by Ron Underwood, the decidedly goth-style video features Sammi Doll in a variety of settings, each one presenting her in her goth look, black hair, makeup and attire.

Sammi Doll discussed the song’s video treatment in a recent interview.

“The video began as a concept of vignettes with director Ron Thunderwood,” she said. “I knew that I wanted to create something beautifully artistic and visually unsettling. We filmed the video over the course of four months due to quarantine restrictions, so we had the luxury of time to build on the characters. I really give my blood, insomnia, and tears to everything I do artistically and tend to think about the consequences later… but I knew I was committed when a frozen octopus from Seattle showed up at my front door…”

https://www.youtube.com/watch?v=k1R8qKZkfEo&feature=youtu.beCourtesy: TAG Publicity

The song’s musical arrangement features a stylistic approach that will appeal to fans of bands, such as Stabbing Westward, Gravity Kills, and Ministry. That is evidenced through the use the keyboards, electronic drums, and guitars.

The song’s lyrical theme is meant to be a social commentary, according to Sammi Doll.

“ANOMIE theory is the state of social disintegration,” she said. “We as a society, live within this theory; and we are our own worst enemy.”

‘AN OM IE’ is available to stream and download here.

More information on Sammi Doll’s new single and video is available along with all of her latest news at:

Website: http://sammidoll.com

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

Twitter: http://twitter.com/SammiDoll

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.

Razorwire Halo Debuts ‘Cover My Eyes’ Lyric Video

Courtesy: The Label Group/INgrooves

Razorwire Halo will release its latest single ‘Cover My Eyes’ next month.

In anticipation of the single’s release, the band debut the song’s lyric video July 17 through Ghost Cult Mag.  The video places the song’s lyrics over images of static while the song’s industrial metal arrangement plays alongside that noted content.

The song’s musical content will appeal to fans of bands, such as Gravity Kills, Nine Inch Nails, and Marilyn Manson.  Its lyrical content meanwhile presents an existential theme of sorts, according to the band.  The band pointed out in a prepared statement that the song’s lyrical theme focuses on “the danger and gave consequence of what it is to look (but not see).”

Razorwire Halo is scheduled to release ‘Cover My Eyes’ by itself Aug. 14.  Audiences can pre-save the song now through INgrooves.

‘Cover My Eyes’ was written by Razorwire Halo.  The song was co-produced, recorded and mixed by Tak Kitara and Kyle Potter at Aratik Studios in the band’s home base of Kansas City, MO.  The song was mastered by Maor Applebaum at Maor Applebaum Mastering in California.

The single’s lyric video was directed and edited by Kenn Little of A Ghost In Every Room.

More information on Razorwire Halo’s new single is available along with all of the band’s latest news at:

 

Website: http://razorwirehalo.com

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

Twitter: http://twitter.com/razorwire_halo

 

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.

 

Blue Eyed Christ Continues To Cement Its Place In The Electronic/Industrial Realm With Its Latest LP

Courtesy: TAG Publicity/Distortion Productions

Electronic/Industrial music act Blue Eyed Christ released its latest album this spring.  The album, World on Fire is the fifth album from the act, founded by producer/engineer John D. Norten.   The 11-song record is a presentation that will appeal to any electronic/industrial aficionado.  That is due in part to the record’s overall musical content, which will be addressed shortly.  The album’s lyrical themes play into its appeal just as much as its musical arrangements.  They will be discussed a little later.  The album’s production and mixing round out its most important elements and will also be addressed later.  Each item noted here is important in its own right to the whole of the album.  All things considered, they make the album a presentation that holds its own in this year’s field of new electronic/industrial albums.

Blue Eyed Christ’s fifth full-length studio recording World on Fire is a presentation that fans of electronic and industrial music will find worth hearing at least once.  That is due in part to the record’s collective musical arrangements.  The arrangements in question are compositions whose use of electronics, keyboards, guitars and rums are easily compared to works from so many of BEC’s more well-known counterparts from the same world.  Among those most notable counterparts are acts, such as Nine Inch Nails, Gravity Kills and even Orgy.  One could also make comparisons to works from the likes of Ministry to a lesser degree.  The album’s lead single ‘America H’ is one of those works that likens itself to works from Nine Inch Nails.  This song, with its plodding bass line, drums and vocal delivery, make it most akin to Nine Inch Nails’ song ‘Down in It.’  At the same time, the harmonies in the vocals give it another touch that enriches the song even more.  ‘Take It To The Streets’ meanwhile features that noted comparison to works from Ministry.  The song’s arrangement stands apart from anything else on the record even with its stylistic approach. This arrangement sounds nothing like the album’s other works, what with its keyboards, string arrangements, electronics and news broadcast inserts.  Those broadcast snippets play directly into the record’s overall lyrical themes, which will be addressed a little later.  ‘The Wait Is Over,’ which comes late in the record’s run, is another example of what makes the record’s musical arrangements stand out as such an important collective part of the album.  This song’s arrangement is very rhythm oriented.  It takes Norten’s penchant for electronics and crosses that with actual drums – in this case what sounds like African drums – to make the song’s arrangement one of the album’s most unique presentations.  The whole of the arrangement is so controlled and subtle throughout even with all things considered.  The harmonies in the vocal deliveries adds its own touch to the whole and makes it that much more interesting.  It would be no surprise when and if this song becomes the album’s next single of one of its next singles.  It is that accessible in its musical approach and is just one of the album’s most accessible works.  ‘America H’ and ‘World on Fire’ are each accessible in their own right, too.  When they are considered along with this song and the rest of the album’s musical arrangements, the whole of the album’s musical presentation leaves no doubt why the musical aspect of World on Fire is so important to its overall presentation.  It is just one part of what makes this album an appealing presentation for electronic and industrial music fans.  The albums’ overall lyrical themes play their own part in that appeal, too.

The overlying lyrical theme of World on Fire is a social commentary.  Norten mentioned that in a recent interview.  He said of the album’s lyrical theme, “World on Fire is a loosely based concept album about the state of the world that combines the energy and political anthems of my first album mixed with the personal themes I’m also known for.  It’s the combustion of everything I’ve done on the first 4 albums. When I started writing it, I really didn’t realize how prophetic it would become as things continue to unravel and become more polarized and extreme; I thought I was writing an album about the dystopian world we live in, but then realized I was also writing a deeply personal album about the collective human experience. It’s about trying to make sense of everything being thrown at you and finding out where you fit in.”  Norten’s comments noted here are supported in part in the lyrics in ‘America H.’  He writes in the song’s chorus, “America/I want you/To lie to me/Or tell me what to do/It’s in your point of view/What you see/It’s what you choose/It’s in the lens that you use/That will make up your truth.”  Norten said of this (and the rest of the song’s content), “’America H’ is about sifting through the noise of the media and content we consume every day, how everything we surround ourselves with influences us,” he said. “There’s also an Orwellian tone to it that I expect will seem more relevant as things progress like government surveillance, civil liberties, etc.”  That chorus alone is beyond relevant today, what with the Air Force using planes to track Black Lives Matter protests, illegal wiretapping controversies decades ago and more.  This is a topic that is certain to remain relevant.

‘Take It To The Streets’ is another way in which the album’s overlying socially conscious lyrical themes prove so important to its body.  As noted already, the song’s musical arrangement features snippets of news broadcast interviews that focus on discussions about protests.  The woman who is speaking sounds like perhaps she is from the Westboro Baptist Church as she states early on, “God is cursing America.”  As the song progresses, a man adds his own thoughts, noting that people have the right to protest.  Now whether this is a commentary about the Westboro Baptist Church or about protesting in general and having the right to protest, the fact that Norten would even broach either topic is brave.  It is certain to generate plenty of discussion among listeners.  That it would generate that discussion shows even more why the album’s overarching lyrical themes are so important to its body.

‘World on Fire’ is another key addition to the album, in terms of its lyrical themes.  This song focuses, lyrically, on humans’ focus on materialism and capitalism.  This is proven right from the song’s outset in its lead verse, which states, “They like to say that we are free/But it’s expensive/We’re addicted to the things we need/It’s so offensive/Victims of technology/Modern angel dressed in dollars/Just a passing memory/Here today and gone tomorrow.”  The song’s second verse adds to that statement, noting, “Paint the pictures and you fade away/Life is never like a magazine/You have enough but you still want more/Never satisfied at the core/Always looking for the next episode/Another way just to fix that hole/Try to accept the message/Making your mind elastic/Trippin’ the lights fantastic/Trippin’ the lights fantastic.”  Given, this is not the first time that any artist has ever taken on humans’ selfish behaviors, but it is still fresh and unique in this approach.  To that end, it will engage listeners just as much as any other song that takes on the topic.    When it is considered along with the other noted related lyrical themes and the rest of the album’s overlying lyrical themes, the album in whole shows that its lyrical content is just as important to its presentation as its musical arrangements.  For all that the album’s overall content does to entertain and engage audiences, it is only a part of what makes the record appealing.  The record’s collective production and mixing rounds out its most important elements.

The production and mixing that went into World on Fire is important to note because of the overall subtle nature in which each song is presented.  Norten’s vocals, those of his fellow performers and all of the album’s instrumental portions are well-balanced throughout the course of the album’s 38-minute run.  There is something about the balance in each arrangement that makes that 38-minute run feel wholly fulfilling ad the album longer than it is, in the best way possible.  It is often said that anyone can play fast and loud, but it takes a true musician to play soft and slow.  If that is the case, then Norten has proven once more with this record, thanks to its production, that he is a true musician.  He went to painstaking efforts to make sure the album had the biggest impact even as subtle as each song is.  When this is considered along with the album’s overall content, it brings everything full circle and in turn, makes clear why this album in whole is worth hearing.  It makes the album, along with its content, one more of this year’s top new independent album.

Blue Eyed Christ’s latest album World on Fire is a positive new offering from John D. Norten.  That is proven in part through its musical arrangements, which will appeal to a wide range of electronic and industrial music fans.  The album’s lyrical themes, which center on similar social commentaries, play into its appeal as much as its musical arrangements.  The balance in each song, in terms of the instrumentations and vocals, helps create a large impact for the tiny subtleties in each song.  Each noted item is important in its own way to the whole of the album.  All things considered, they make World on Fire a presentation that is one more of this year’s top new independent albums.  It is available now.

More information on Blue Eyed Christ’s album is available along with all of the act’s latest news at:

 

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

Twitter: http://twitter.com/BlueEyedChrist

 

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.

The Crystal Method To Appear On Last Call With Carson Daly Tonight

Courtesy: Tiny E Records

The Crystal Method will appear live overnight tonight on Last Call with Carson Daly. 

The hugely popular electronic duo—Ken Jordan and Scott Kirkland— recently performed ‘Difference’ featuring Franky Perez and ‘Over It’ featuring Dia Frampton as part of a sold out show at L.A.’s El Ray Theatre.  The duo’s performance of those songs will be used for tonight/tomorrow morning’s broadcast of Last Call with Carson Daly.  Both songs come from The Crystal Method’s new self-titled album, which has reached the top spot on iTunes’ Electronic Albums Chart.  Those that won’t be able to catch tonight/tomorrow morning’s performance can still see the group’s performance of ‘Over It’ now online at https://soundcloud.com/#the-crystal-method/over-it-ft-dia-frampton-live.  The official video for ‘Over It’ featuring Dia Frampton can be viewed online now via YouTube at http://www.youtube.com/watch?v=S9MpeKm-imE. 

Jordan and Kirkland were joined on their new album by some well-known names including: Danny Lohner (Nine Inch Nails) on bass, Brain (Primus, Guns N’ Roses) on drums and Richad Fortus (Guns N’ Roses, Gravity Kills, The Psychadelic Furs).  The Crystal Method is available now in store and online.  It can be ordered direct from The Crystal Method’s official website, http://thecrystalmethod.com.  And while the duo currently has no tour dates announced, fans can get the latest tour updates, news, and more on the group’s official website, Facebook page, http://www.facebook.com/thecrystalmethod.  To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.