Dry Kill Logic Debuts New Single, ‘Don’t See Ghosts’

Courtesy: Psychodrama Records

Dry Kill Logic debuted its new single this week.

The band debuted its new single ‘Don’t See Ghosts‘ Thursday through Revolver Magazine.  The song is the band’s first new music since the release of its single ‘Vices‘ last year.

The video is a very simple presentation.  A man sits in a chair, wearing a suit and tie, but his head is covered by a bear head.  The camera zooms in slowly over the course of the song’s nearly five-minute run time.  As the camera zooms in, images of protests and civil unrest flash very quickly over the serenity of the main scene.  The contrast of the imagery is meant to illustrate the song’s lyrical content, which front man Cliff Rigano discussed with the Revolver magazine staff.

“We’ve always tried to write songs that come from a personal place, but frame them in a way that can be interpreted to mean something different and unique to each listener,” said Rigano. “Don’t See Ghosts” was recorded last year, right after we put out “Vices”, but we were unsure of when to release it. After looking at the lyrics recently, the song actually started to mean something different to us as well, and we realized that this was the right time to put it out.”

The song’s featured musical arrangement is everything that fans have come to expect from the band, what with its heavy melodic metal approach.  At the same time, there are moments in this song that lend themselves to comparisons to works from Hatebreed, too.  That combination of sounds and styles makes the song’s arrangement in whole its own powerful reason for audiences to hear this song.

‘Don’t See Ghosts’ was produced by Dry Kill Logic guitarist Jason Bozzi and mixed by Greg Thomas (Misery Signals, Shai Hulud).  The song was recorded at Intension Studios in Astoria, NY and at Silver Bullet Studios in Burlington, CT.

More singles are expected from Dry Kill Logic through its own label, Psychodrama Records in partnership with eOne Music.  ‘Don’t See Ghosts’ is available to stream and download here.

More information on Dry Kill Logic’s new single is available along with all of the band’s latest news at:

 

Website: http://drykilllogic.com

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

Twitter: http://twitter.com/drykilllogic

 

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.

Hatebreed Announces Release Date, Specs For New LP; Debuts Lead Single’s Lyric Video

Courtesy: Nuclear Blast Records

Hatebreed has a new album on the way.

The veteran hardcore band is scheduled to release its next album, Weight of the False Self Nov. 27 through Nuclear Blast Records. Pre-orders for the album are open.  In anticipation of the album’s release ,the band debuted the lyric video for its lead single/title track Friday.

The video places the song’s lyrics over imagery, such as a burning cityscape and crumbling statues (whose remains are being lifted to the sky instead of falling to the ground).  The crumbling statues going skyward is meant to help illustrate the song’s lyrical message of rising above everything happening in the world and being a better person.  That is a familiar message that has run through all of the band’s songs.

Front man Jamey Jasta talked about the song’s lyrical theme in a recent interview.

“When writing lyrics and riffs, I try to be in the moment, getting a mental picture of my current reality in order to convey what I want to say,” said Jasta about the new material. “Sometimes, I think my reality consists of two irreducible elements, expressed by the age-old interior battle of the dualistic self. The angel on one shoulder stands firm, providing reason, wisdom, and compassion while the devil dances angrily on the other, ranting with passion, spite, and dark desire. I often wonder if a truly centered mind is attainable, an effortless and non-dualistic state of equilibrium. Until then, I’ll just listen to both sides of my personality and hope I make the right choice. At the end of the day, the listener will choose to hear what they want, but when I am writing, I imagine the voice of the angel to be a lil’ louder.”

The musical arrangement featured in ‘Weight of the False Self’ is just as familiar to audiences as its lyrical theme.  That is evident through the heaviness in front man Jamey Jasta’s vocal delivery, the crunching guitars, pounding drums and equally heavy bass.  The approach taken here is everything that audiences have come to expect from Hatebreed.

Weight of the False Self was produced by the band’s longtime friend ZEUSS, who produced many of the band’s previous albums.  The album’s cover art was designed by Eliran Kantor.

The record’s track listing is noted below.

WEIGHT OF THE FALSE SELF TRACK LISTING:
“Instinctive (Slaughterlust)”
“Let Them All Rot”
“Set It Right (Start With Yourself)”
“Weight of The False Self”
“Cling to Life”
“A Stroke of Red”
“Dig Your Way Out”
“This I Earned”
“Wings of The Vulture”
“The Herd Will Scatter”
“From Gold to Gray”
“Invoking Dominance”

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

 

Websitehttp://www.hatebreed.com

Facebookhttp://www.facebook.com/hatebreed

Twitterhttp://twitter.com/hatebreed

 

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.

Upon A Burning Body’s New EP Is Will Continue To “Build” The Band’s Name And Reputation

Courtesy: Seek & Strike

Hard rock band Upon a Burning Body is, it would seem, one of the hardest working bands in the hard rock community today.  Having formed approximately 15 years ago (which is not that long ago in music industry years), the band has released five albums and one EP.  The longest stretch that the band has gone between new albums is three years, which came between the band’s fourth album Straight From the Barrio (2016) and its fifth album Southern Hostility (2019).  Each of those albums has enjoyed its own level of success in terms of charting.  The band shortened its time between new records again this week with the release of its second ever EP Built From War.  The five-song record was released Friday through Seek & Strike Records – its second studio recording for the independent label.  The 17-minute record is a work that the band’s established fan base will appreciate jut as much as metalcore and metal fans in general.  That is thanks to its musical and lyrical content, as is evidenced in part by the EP’s first two songs, ‘5X3’ and ‘Built From War.’  Each song will be addressed here, along with the EP’s penultimate song ‘Living for the Weekend.’  All three songs do their own part to make this record work as well as it does.  When they are considered with the EP’s two remaining songs — ‘Chains of Agony’ and ‘Extermination’ – the whole makes Built From War an EP that is built for success.

Upon A Burning Body’s latest studio recording Built From War is a strong new offering from the band, which has already made quite the impact on the metal community in such a short time.  That is due to its musical and lyrical content, each of which is accessible in its own way.  The EP’s opener, ‘5X3’ is just one of the songs that serves to support the noted statements.  This song’s arrangement is a full-on assault on the ears, but in the best way possible.  It is a blues-infused heavy metal opus that wastes no time grabbing listeners by the ear with its heavy, driving guitars, time-keeping, vocals and bass.  The immediate thought that comes to mind in listening to the song’s musical arrangement is a work that takes the best elements of Hatebreed and Lamb of God and combines them into one whole for a work that will keep listeners’ adrenaline peaked.  That adrenaline is heightened through the social commentary that is clearly presented through the song’s lyrical content.

The social commentary in question is a statement about people’s obsessions with celebrity and fame in general.  This is pointed out in the song’s lead verse and chorus, through which front man Danny Leal screams, “Nothing’s free in this world motherf*****/This life is not what you see on your screen/Your 5×3 reality/Before you double tap on what you wish you could be/Understand it might not be what you think/You want it so bad/But you don’t know what it means/There’s no turning back/Once you’re in too deep/Can you handle it/Here’s the cold hearted truth/Only craving the money the power the fame will never satisfy you.”  He continues in the song’s second verse, “This life is not just the views from the top/Because the higher your head gets the faster you’ll drop.”  This applies just as much to people’s obsession with celebrities and wanting to be famous as to wanting to be famous through YouTube and internet in general.  Given, this is hardly the first time that any band has ever take on the topic of people’s obsession with fame and celebrity, but it is no less gripping here as from any other act from across the musical universe.  When it is considered along with the fire in the song’s musical arrangement, the whole of the song becomes just one of the EP’s most notable entries.  The record’s title track stands on its own merits.

The musical arrangement at the center of ‘Built From War’ is a full on thrash/groove composition that will keep listeners just as engaged and entertained as ‘5X3.’  The powerhouse guitars and time keeping works with the bass line and vocals to once again present that Hatebreed-meets-Lamb of God type of sound.  Even more to its credit is that the arrangement is not just a rehashing of 5X3.  It is its own, unique musical presentation that audiences will appreciate just as much as that song.  That pummeling musical arrangement is just one part of what makes the song stand out.  Its lyrical content partners well with that merciless musical arrangement.

The song’s lyrical is a fist-pump-inducing statement that encourages listeners to defy all obstacles.  That message is made clear in the song’s lead verse and chorus in which Leal screams, “Are you the strongest of them all/Cross the lines of fate/Wipe the blood from your face/Forged in the heart of the fire/Fueled from failure/Made for more/Built from war.”  It is strengthened even more in the song’s second verse as he notes, “The power remains/The blood fueling rage/Don’t turn away/To rise you must fall/Tell me do you have the strength within you to be the strongest of them all.”  It is cemented in the song’s third and fourth verses, “Start the battle and end the war/Strength is the only way out/To be the strongest of them all/What are you built from/Are you the strongest of them all/Strength is the only way out/To be the strongest of them all.”  Again, little to no doubt is left here as to the song’s uplifting message.  It is a message of self-determination and strength.  When that welcome message is coupled with the song’s equally powerful musical arrangement, the result is a work that holds its own just as much as ‘5X3.’  It is just one more way in which the EP shines.  ‘Living for the Weekend’ is yet another song that makes the EP stand out.

‘Living for the Weekend’ stands out in part because of its own musical arrangement.  This song is not a cover of Fitz & The Tantrums’ song by the same name.  It just so happens that both songs have the same title, and while each is enjoyable in its own right, each is its own work.  It also is not a cover the song from The O’Jays, which is its own song, too.  Ironically, the song’s lyrical content is very similar in its approach, with the song’s lead verse stating, “Roll up your sleeves/And strap on them boots/Clocking in and out/It’s the work week blues/Got mouths to feed and bills to pay/All work, no play/Long days/They’re all the same/The f*****’ boss don’t even know my name/This 9-5/Gotta leave it behind/or break your f****** back/And keep your a** in line.”  The song’s chorus adds, “Thin lines, I’m walking all the time/F*** these deadlines/leave ‘em all behind/Hell yeah/All my worries are gone/With the music loud/And the grill’s on/Hell yeah, living for the weekend.”  The song continues on in similar fashion from there in its second and third verses, with the song’s subject lamenting about dealing with each day of the work week and needing a break.”  It’s a bit of a touchy subject right now considering how many thousands of people are out of work as a result of COVID-19, wishing they had a job, but it is still a song that will connect with its own share of listeners.  To that point, this and the song’s heavy, blues-based Hellyeah type arrangement make it stand out even more.  Keeping this in mind along with the impact of the other songs noted here and the EP’s other two songs not directly addressed, the whole of the EP proves itself a powerhouse presentation from Upon a Burning Body.  It makes Built From War a presentation that is built for success.

Upon a Burning Body’s new EP Built From War is a strong new presentation from the band.  It is one more example of why this band has remained so successful even despite being clearly one of the hard rock and metal community’s hardest working bands.  It shows this band is still running full steam ahead and is aimed to be one of the next leaders in the current generation of hard rock and metal bands.  That is evidenced through the EP’s musical and lyrical content, as the songs examined here show.  When those songs are considered along with the EP’s two songs not discussed, the whole of the record – the band’s seventh studio recording overall – proves itself a work that will continue to build the band’s name and reputation.  It is available now.  More information on the EP is available along with all of the band’s latest news at:

 

 

 

Website: http://www.uponaburningbody.com

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

Twitter: http://twitter.com/uabb

 

 

 

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.

Editing, Interviews Save Snider’s New Live Recording

Courtesy: Napalm Records

Dee Snider is scheduled to release his new live recording For The Love of Metal Live Friday through Napalm Records.  This new recording is an intriguing presentation from the veteran rocker, who largely is known as the front man of the 80s metal band Twisted Sister.  While not a perfect presentation, it is a presentation that is worth experiencing at least once.  That is due in part to its editing.  This item will be discussed shortly.  While the editing does much to make the recording worth the watch, its general presentation detracts somewhat from its presentation.  This will be addressed a little later.  It can be said that while the general presentation of Snider’s new live recording detracts from its presentation to a point, one element of the general presentation – the interview segments – works with the editing to make the recording’s appeal.  When this is considered along with the issue of the general presentation, all three elements join to make For The Love of Metal a presentation that while imperfect, is still a work that will appeal to Snider’s most devoted fan base.

Dee Snider’s forthcoming live recording For The Love of Metal Live is a presentation that will appeal largely to his most devoted fan base.  That is due in large part to its editing.  Editing is not necessarily the first thing that comes to mind when one analyzes a live recording, but in this case it is the recording’s foundation.  That is because of the way in which the recording is presented in its DVD/BD combo pack platform.  Rather than being one sole performance, the recording presents Snider and his fellow musicians performing the recording’s set list across a variety of venues.  The primary venue is clearly a recently Bloodstock performance.  Those responsible for the editing manage to seamlessly edit together footage from so many performances while using the Bloodstock audio as the central point for each potion of the recording.  The ability to combine so much footage so expertly is to be highly commended.  On another level, the editing is also to be commended in looking at the fluidity of the live and interview segments.  Each flows from one to the next just as seamlessly as the live segments from one to the next.  That in itself ensures just as much, viewers’ engagement from start to end of the early two-hour presentation.

The editing that went into For The Love of Metal Live does its own share to make this presentation worth watching.  For all that it does to help the recording, the actual presentation itself detracts from the recording’s general effect.  As has already been noted, the recording is not just from one of Dee Snider’s recent shows.  It features Snider and company at a variety of venues.  The problem is that those shows and venues are not separated out.  Rather, they are just thrown together.  The result is a presentation that just comes across as one long “live” music video.  It would have made more sense to separate the songs and performances within the bigger picture and make them their own separate performances.  Had that been done here, it would have really made the overall presentation so much more engaging and entertaining.  Sadly, that was not the path taken.  The result, again, is a presentation that feels like something that was just tossed together for the sake of calling it a live recording. It leaves the general effect as being very lacking in real substance.  What can be said at least here is that despite all of this is that Snider proves he can still hold his own against any of today’s much younger front men throughout the whole of all of this.  Getting back on topic, the issues raised by the recording’s general effect are not such that they make the program unwatchable.  Making up for the impact that the main presentation has on this recording is the matter of its companion interview segments.

The interview segments are much calmer moments.  They show Snider in a much more personal fashion.  Audiences learn much through the interview segments.  Snider reveals his thoughts on the emotional impact of his work/life balance in the lead interview segment, and how that played into the creation of one of the songs featured in his new studio recording For The Love of Metal.  Later in another segment, he reveals that the album itself came as a friendly challenge from Hatebreed front man Jamey Jasta.  That very revelation, that Jasta has such respect for Snider (as do so many other of today’s major rock and metal figures) is sure to continue cementing Snider’ reputation and his place in the rock and metal community, as if it wasn’t already cemented.  In yet another interview, Snider shares an entertaining anecdote about how he was cast for the stage presentation of “Rock of Ages.”  The story will leave any viewer laughing as Snider talks about his own reaction and that of his wife, especially considering the circumstances surrounding the call that informed Snider that he had received a role in the musical.  It’s just one more way in which the interview segments, which again are well edited with the concert footage, prove their own value to the overall presentation of For The Love of Metal Live.  When this is considered along with the recording’s noted editing, the two elements together make up for the problems caused by the live footage and in turn make the recording in whole worth watching at least once.

Dee Snider’s forthcoming live recording For The Love of Metal is an intriguing new offering from the veteran rocker.  That is because while it has its positives, it comes up just short of expectations.  Its editing works to its advantage, as do the interview segments that are interwoven into the overall presentation.  The problem is that the concert footage feels more like one long live music video than an actual live recording because of how everything was assembled.  Had the footage of the band’s various performances been presented separately from one song to the next, that would have been one thing.  That wasn’t what was done here, though.  Instead, those behind the recording’s presentation just tossed them all together, which detracts from the general effect. The end result is that this presentation is something that Snider’s most devoted fans will like but definitely not love.  For The Love of Metal Live is scheduled for release Friday on a variety of platforms.

More information on For The Love of Metal is available along with all of Dee Snider’s latest news at:

 

Websitehttp://deesnider.com

Facebookhttp://www.facebook.com/facedeesnider

Twitterhttp://twitter.com/deesnider

 

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’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 10th 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:

 

Websitehttp://www.lamb-of-god.com

Facebookhttp://www.facebook.com/lambofgod

Twitterhttp://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.

These Streets Debuts New LP’s Lead Single, ‘Stay Awake’

Courtesy: Upstate Records/Blood Blast Distribution

Hardcore punk band These Streets is giving audiences their first preview of its new album Expect The Worst.

The band debuted the album’s lead single ‘Stay Awake‘ Wednesday.  The song’s heavy, pounding arrangement is a work that will appeal to fans of bands, such as Terror, Hatebreed and Sick of it All.  That is evident in the heavy, crunching, down-tuned guitar line at the center of the arrangement, as well as the full-on collective screaming effect that is so common in the hardcore punk scene and the tight yet equally intense drumming.

Front man Cam Ross said in a recent interview, the song’s lyrical topic stemmed from the band’s time on the road with two other hardcore punk bands on their most recent live run.

“Let’s just say that ‘Stay Awake’ is about a really long night we had on tour with Skarhead and Brick By Brick…a very long and interesting night,” he said.

The experience seemingly was impacting, as Ross stresses in the song’s lead verse that, “you can’t find peace at the bottom of the bottle” and that he can find “the power to break away.”  Additionally, he notes in the song’s second verse that “a sense of clarity is all I want.”  He goes so far as to open the second verse, saying, “I ask myself where I went wrong.”  The song’s third verse follows in similar fashion, lyrically.  Looking back, the song’s lyrical content seems to hint at the noted experience causing him to have a moment of personal insight.  That seeming insight, coupled with the song’s hard-hitting musical arrangement, makes the single a powerful first impression for the album.

‘Stay Awake’ is available to stream and download here.

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

 

Website: http://thesestreets.bandcamp.com

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

 

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:

 

Websitehttp://www.lamb-of-god.com

Facebookhttp://www.facebook.com/lambofgod

Twitterhttp://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.

 

Hatebreed Debuts ‘When The Blade Drops’; Announces New Live Dates

Courtesy: Nuclear Blast Records

Hatebreed returned this week with its first new music in four years.

The band debuted the lyric video for its new single ‘When the Blade Drops‘ Friday.  The song’s musical arrangement is everything that fans of the veteran metalcore band has come to expect from the band.  The song’s lyrical content is certain to engage audiences just as much as its lyrical content.

Front man Jamey Jasta was upbeat when he talked about the song in a recent interview.

“This is just a taste of what’s to come and we’re definitely going hard on this one,” he said.  “The speed, intensity and brutality that people have come to expect from us is on full display.  Can’t wait to play this one live and see the pit erupt.”

‘When The Blade Drops’ is a standalone single.  It will not be included the band’s forthcoming, as yet untitled album.  The album is expected for release later this year.  A release date, title and more information on the album will be released when it becomes available.

While audiences await the release of Hatebreed’s new album, the band’s European fans will get to enjoy the band’s live show this spring and summer beginning April 2 in Leipzig, Germany.  The tour, which will find Hatebreed supporting Parkway Drive, is scheduled to run through April 18 in London, UK and to feature performances in cities, such as Wien, Austria; Paris, France and Budapest, Hungary.

Following the band’s initial European run, its members will rest and recharge before performing May 2 at the annual Launch Music Conference & Festival in Lancaster, PA.  The performance is a headlining show for the band.

Jeremy L. Weiss, the event’s founder and director, talked about the band’s inclusion at the festival/conference during a recent interview.

“The LAUNCH Music Conference & Festival parent company, The CI Companies, has had the pleasure of producing Hatebreed shows several times over the last couple of decades,” he said.  “They are a colossal force in metal and hardcore music, and a personal big-time favorite!  Easily some of the best dudes in the business to boot.  Love what they add to LAUNCH, and how this year’s event has such incredible musical diversity, and choice for attendees top down!”

Tickets for this year’s Launch Music Conference and Festival are available here.  This year is the 12th year the festival has taken place.

Following the performance at the Launch Music Conference & Festival, Hatebreed’s members will take more time to rest and recharge before heading back out on the road again for another string of live dates, this time across Australia from June 13-24.

The band’s current tour schedule is noted below.

 

 

HATEBREED ON TOUR:
WITH PARKWAY DRIVE, STICK TO YOUR GUNS, + VENOM PRISON:
4/1 — Hamburg, Germany — Sporthalle Hamburg
4/2 — Leipzig, Germany — Arena Leipzig
4/3 — Munich, Germany — Olympiahalle
4/4 — Zürich, Switzerland — Samsung Hall Zürich
4/6 — Budapest, Hungary — Budapest Arena
4/7 — Wien, Austria — arte Hotel Wien Stadthalle
4/8 — Prague, Czechia — Futurum Music Bar
4/9 — Frankfurt Am Main, Germany — Festhalle Messe Frankfurt GmbH
4/10 — Schijndel, Netherlands — Schijndel
4/11 — Dortmund, Germany — Westfalenhallen
4/13 — Esch-sur-alzette, Luxembourg — Rockhal
4/15 — Paris, France — Zénith de Paris
4/16 — Bruxelles, Belgium — Forest National
4/18 — London, United Kingdom — The SSE Arena, Wembley
5/2 — Lancaster, PA — Chameleon Club

WITH PARKWAY DRIVE + EVERY TIME I DIE:
6/13 — Brisbane —Riverstage
6/19 — Sydney – Qudos Bank Arena
6/20 — Melbourne — Melbourne Arena, Melbourne
6/21 — Adelaide – AEC Theatre
6/24 — Perth – HBF Stadium

 

 

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

 

Website: http://www.hatebreed.com

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

Twitter: http://twitter.com/hatebreed

 

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 Forge Announces Expansive New Live Calendar

Courtesy: O’Donnell Media Group

Chicago has, for ages, been a hotbed for great musical talent and a place where some of the biggest acts have come on their tours, including the acts lined up to perform at The Forge, the city’s foremost concert venue.

The Forge released this week an extensive new list of acts scheduled to perform at the venue.  The schedule runs from Feb. 9 and runs through June June 29.  Dead Horse Trauma opens the new schedule alongside Oblivion Zero, Consume The Divide, A Silent Truth and torn By Tentacles.

Also scheduled to perform at The Forge on its latest schedule are: Sons of Apollo on Feb. 18 alongside Drifting; Act of Defiance on March 15, Hatebreed on March 20 alongside Crowbar, The Acacia Strain and twitching Tongues; Satyricon and Inquisition on May 20; Uli Jon Roth on June 29; Flaw, Bedlam, Static Signal and Undeclass on March 29 and many others.

The current schedule or The Forge is noted below.

The Forge – Event List

February 9- Dead Horse Trauma, Oblivion Zero, Consume the Divide, A Silent Truth, Torn by Tentacles
February 10 – Smells Like Nirvana, Facelift, Fake News
February 16- Dreezy/ Lil Bibby
February 18 – Sons Of Apollo, Drifting
February 23- Poison’d Crue & Done Dirt Cheap
February 24- Kashmir
February 27 – Anthrax, Killswitch Engage, Havok (Sold Out)
March 2- We Came As Romans, The Plot in You, Oceans Ate Alaska, Currents, Tempting Fate
March 4- Local Showcase- Stone the Crow, Orinoco, Torn by Tentacles, Bury the Shadows, What Lies Ahead, Secrets of Skeletons, Bury Your Past, 3 Days From Dying, Bareknuckle Bullseye, Folls Brew, Vivorum, Chalk
March 6- Catastrophic Event Specialist Tour- Ces Cru, G-Mo Skee
March 7 – Udo Dirkschnider, Elm Street, Strikeforce, Endgame
March 10- Blackened, My Metal Heart
March 15- Act of Defiance
March 16- Janet Gardner, Reanimate the Fallen, Bullet to the Heart, Blacken the Day
March 17- Riff Raff
March 20- Hatebreed, Crowbar, The Acacia Strain, Twitching Tongues
March 21- Dying Fetus, Thy Art is Murder, Enterprise Earth, Rivers of Nihil, Sanction
March 23- Twiztid
March 24- Magic Mike Tour
March 28- Froggy Fresh
March 29- Flaw, Bedlem, Static Signal, Underclass
March 31- ICP, Attila
April 12- The Lacs
April 13 – Cradle Of Filth, Jinjer, Uncured
April 26- Carnifex, Oceano, Winds of Plague, Archspire, Spite, Buried Above Ground, Widowmaker
April 28- Damaged Justice, Super Unknown, Big Bang Baby
April 29- Bobaflex, Andrew W. Boss, Trip 6
May 6 – Nile, Soulfly, Hate Storm Annihilation, Orinoco, Beneath the Hollow
May 20- Satyricon, Inquisition
May 25- Insomnium
May 31- Devastation on the Nation- Aborted, Psycroptic, Ingested, Disentomb, Arkaik, Venom Prison, Vale of Pnath
June 4 – HammerFall, Flotsam and Jetsam, Wrath, Acracy
June 29 – Uli Jon Roth

More information on The Forge’s schedule is available online now along with all of its latest news at:

 

Website: http://theforgelive.com

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

Twitter: http://twitter.com/TheForgeLive

 

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.

Tommy Victor Is In His Prime On His Latest Prong Recording

Courtesy: Steamhammer/SPV Records

Later this month, Prong will release its latest album to the masses, and the record, Zero Days, is one of this year’s top new hard rock and metal offerings.  The record, the 12th full-length studio recording from Tommy Victor and his ever-rotating roster of fellow musicians, is everything that audiences have come to expect from Prong – heavy yet infectious riffs and grooves, and equally hard-hitting lyrical content. That is evidenced early in the album’s run in the form of ‘Divide and Conquer,’ which will be discussed shortly.  The full-on thrash riffs and social commentary of ‘Forced Into Tolerance’ shows just as much as ‘Divide and Conquer’ what makes this record another enjoyable offering from Prong.  It will be discussed later.  ‘Self Righteous Indignation’ also serves, with its musical arrangement and lyrical content, why this record represents everything that Prong’s fans have come to expect from the band.  It is hardly the last of the songs included in this record that serves that purpose, too.  The record boasts 10 other songs that could just as easily be used to show why Prong has crafted another solid offering in Zero Days and why it is.  The whole of the album’s 13 songs shows the album to be, again, one of this year’s top new hard rock and metal albums.

Veteran hard rock outfit Prong’s latest album Zero Days is everything that Prong’s fans have come to expect from the band and then some.  The album, Tommy Victor’s 12th album under the Prong moniker, utilizes a solid mix of musical arrangements and hard-hitting lyrical content to make it one of this year’s top new hard rock and metal albums.

That is evidenced early on in the driving composition ‘Divide And Conquer.’  The melodic hard rock arrangement at the song’s center harkens back to some of the best songs included in the band’s 1996 album Rude Awakening and its forebear, Cleansing (1994).  That is evidenced through the song’s straight forward guitar arrangement and Victor’s own vocal delivery style.  Drummer Art Cruz’s own work behind the kit adds to that feel even more as does that of bassist Mike Longworth.  The whole of those parts makes this arrangement one of the album’s best musical compositions.  The songs’ lyrical content builds on the foundation created by the arrangement and strengthens the song even more.

The lyrical content presented in ‘Divide and Conquer’ strengthens the foundation created through the song’s musical arrangement because it hits just as hard as the arrangement with its commentary. Victor sings in the song’s lead verse, “There’s no relief/There’s just regret/Want to forget/Just can’t believe/Really don’t want any part of that/Just another bad experience/For what’s positive or negative/Maybe it’s all just relative.”  He and his band mates go on to sing in the song’s chorus, “You can’t go through life without these conditions/Divide and conquer/You can always rely on opposition/Face the sorrow/You can’t go through life without some division/Divide and conquer…”  This comes across as a message about accepting the good and bad in life rather than just the good.  This is of course only this critic’s own interpretation and should not be taken as gospel.  That interpretation is made just as much as Victor sings in the song’s second verse, “You only see what you gotta get/You cannot get what you cannot see/Always forced into compromise/Always have to make the sacrifice/Things are not what they seem to be/Living in a false reality.”  From here the song returns to its chorus before making its way to its end, reminding listeners that negative will always come with positive, and that people should expect both sides in life; that only seeing one side is close-minded.  Again, this is only this critic’s own interpretation.  Hopefully it is somewhere in the ballpark of being right.  Regardless, it can be agreed by everyone that whatever the message, it definitely is hard-hitting.  When that message is coupled with the song’s driving musical arrangement, the urgency of understanding the message is driven home even more, making this song both musically and lyrically a work that so many people (especially in today’s world) should hear, proving why it is such an important addition to Zero Days.  It is not the album’s only stand out song.  ‘Forced Into Tolerance’ is another of the songs that serves to show why Zero Days is another solid offering from Prong, despite what some critics might have people believe.

‘Divide and Conquer’ is one of the best examples of how much Tommy Victor and company have to offer audiences on its latest album Zero Days.  Its driving musical arrangement and equally hard-hitting lyrical content couple to make the song a work that will entertain audiences while also leaving them thinking quite a bit.  The impact from the song’s musical and lyrical content makes it only one of the album’s best additions.  ‘Forced Into Tolerance’ hits just as hard as ‘Divide and Conquer.’  Just as with the aforementioned work, that is due in part to the song’s musical arrangement, which instantly conjures thoughts of Slayer, Hatebreed and others of that ilk.  That speaks for itself.  Considering that, the next step here is to examine the song’s lyrical content, which at least to this critic seems to be a commentary about the bigotry and racism that has become far too prevalent across the nation ever since the rise to power of the nation’s current “leader.”  That is inferred right off the top as Victor sings, “Forced into tolerance of what we disdain/Being irrational is how we exist/Someone goes around and it makes no sense/They are labeled and then disgraced/Caught in the ignorance and try to explain.”  He goes on to bring out the foolishness of the hateful views that are being expressed by singing, “I don’t care if you exist…Don’t f****** tell me it is what it is.”  He goes on in similar fashion from here with the same musical and lyrical fire, indicting those close-minded masses of the nation (and the world possibly) pointing out the dangers of their views, and the foolishness of those views.  It is a powerful statement both musically and lyrically that will be timely as long as such people and views exist in the world.  Considering this, it is clearly evident why this song is so important to the overall presentation of Prong’s new album. It is not the last of the record’s key compositions either.  ‘Self Righteous Indignation’ is yet another of the album’s most important songs.

‘Divide and Conquer’ and ‘Forced Into Tolerance’ are both key additions to Prong’s 12th full-length studio recording.  That is thanks to the songs’ powerhouse musical arrangements and the equally hard-hitting commentaries contained within each song.  The whole of those elements within each song makes each song a clear example of what makes Zero Days such a strong new effort from Prong.  They are not the album’s only key works, though.  ‘Self Righteous Indignation’ is yet another of the album’s most important works.  As with the previously discussed songs, that is due in part to the song’s musical arrangement, which can easily be compared to works from the likes of Fear Factory, White Chapel and other similar acts with its heavy, crunching, down-tuned guitars, pounding drums and equally heavy bass line.  Keeping this in mind, it is only one part of what makes the song stand out so distinctly from the record’s other tracks.  The song’s lyrical content is just as important to note here as its musical arrangement.

The lyrical content presented in ‘Self Righteous Indignation’ seems to this critic at least as a commentary about those people who think themselves so much better than everyone else.  That is inferred as Victor sings in the song’s lead verse, “A victim/Of the system/Who gives a damn about your needs/Won’t listen/To criticism/Disgust for everyone who cheats/My heart is cold/I cannot pray/I can’t look way/What may unfold/Your dismay/Just total disdain/Self/Righteous/Indignation.”  That seeming commentary continues in the song’s second verse as Victor sings, “No wisdom/So distant/A great sense of psychic grief/existence/Of symptoms/distaste for everything that’s cheap/It’s always known/All the demands/The helping hands/have no control/What you don’t have/Gets way out of hand.”  Once again, this is all just this critic’s own interpretation and should not be taken as the only interpretation.  It only seems to this critic that this song, lyrically, addresses those people who have that unnecessary God complex of sorts.  Sadly, there are far too many people of this sort around the world, and if that is indeed what Victor is addressing here, he does quite the job of addressing the matter.  Keeping that in mind, the song’s musical arrangement expertly couples with the power in the song’s lyrics and Victor’s own powerhouse vocal delivery.  It delivers a message of pure anger aimed at those people in question; a message that, again if that is the intended message, definitely hits home in a big way, showing once more why this song is such a key addition to Zero Days.  It is hardly the last of the songs that could be examined to show what makes Zero Days such a strong new effort from Prong.  Any of the other 10 songs that fill out the rest of the album could be examined just as easily as this work and the previously discussed works.  Considering this, the whole of this record shows Prong at its prime; a work that will definitely impress any of the band’s fans new or old.  They make the record a work that deserves a spot on any critic’s list of the year’s top new hard rock and metal albums.

Prong’s latest full-length studio recording Zero Days shows Tommy Victor at his prime along with the band that he founded so many years ago.  It is a record that shows despite all of the band’s lineup and label changes, is still as relevant and powerful today as it was in its infancy.  That is exhibited from start to finish through the album’s powerhouse musical arrangements and its equally hard-hitting lyrical content.  The two elements together make the album in whole one of this year’s top new hard rock and metal albums.  It will be available Friday, July 28 via Steamhammer/SPV Records.  More information on Zero Days is available online now along with all of Prong’s latest news and more at:

 

 

 

Website: http://www.prongmusic.com

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

Twitter: http://twitter.com/prongmusic

 

 

 

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