Independent hard rock band Hell & Hollar premiered its latest single and video last week.
The band premiered its new single, ‘Siberian Hunter‘ and its companion video Friday. The song features a heavy stoner rock-tinged stylistic approach and sound that is balanced well with a touch of 90s grunge influence for its foundation.
No information was provided about the lyrical theme featured alongside the song’s musical arrangement.
The video for ‘Siberian Hunter’ is presented in an almost video graphic novel hybrid type approach. It follows its titular character making his way through a forest and eventually meeting a wolf along the way. The result of the meeting will be left for audiences to discover for themselves.
More information on Hell & Hollar’s new single and video is available along with all of the band’s latest news at:
Independent rock band premiered its new single, ‘Neon‘ and its companion video this month.
The band premiered the pairing June 9. The song, which comes approximately five months after the band’s then latest single, ‘Straight Razor,’ is featured in the band’s concept album, Electric Thunder. The album center’s on a young woman’s journey through space and time. During the course of her journey, the woman finds out she plays a pivotal role in the future of mankind.
The musical arrangement featured in ‘Neon’ is an interesting composition that blends the heavily fuzzed sounds of the stoner rock realm with an equally evident industrial metal sound to create a unique whole that is certain to keep listeners engaged and entertained. The lyrical concept that accompanies that musical content meanwhile gets somewhat existential.
It comes across as a sort of allegory about the contradictory nature of the human condition. This happens through the examination of the normalization of sex in society, and how that contradicts with how we as humans are far less accepting of ourselves. That is this critic’s own interpretation and should not be taken as gospel.
The band explained the song’s lyrical concept in a prepared statement.
“‘Neon’ is a vision of a dystopian skid row, a glimpse into the future through blurred white lines on neon-lit streets,” the statement reads. “The truth is we all have sex for money, sex for love, and sex to pass the time. In some way or another, we’re just like the woman in the song screaming in a final moment of frustration “Pay me my money and go!”, all the while fed up with whatever part of ourselves we’ve sold to get by in this life.”
The video that is used alongside the new single is meant to help translate the seeming message. Information provided about the video states: “Meet Kenzeon, a transdimensional sex worker on the Cosmic Highway just outside ‘The Land of No One.’ A vision of a dystopian skid row, she offers a glimpse into the future through blurred white lines on neon-lit streets, ripping through the fabric of space-time to be paid what she is owed. The weary version of this astral being reminds us that we have all had sex for money, sex for love, and sex to pass the time, fed up with whatever part of ourselves we’ve had to sell in order to survive the worlds we were born into.”
More information on Voltagehawk’s new single, video, and album is available along with all of the band’s latest news at:
Independent singer-songwriter Mitchel Evan’s new self-titled album is a welcome addition to this year’s field of new albums in the realm of country music, folk and Americana. Released March 24, the 12-song record will appeal widely to fans of the noted genres. That is due in part to the recording’s featured musical arrangements, which will be discussed shortly. The lyrical themes that accompany the record’s musical arrangements work with that content to add more appeal to the album. It will be discussed a little later. The sequencing of the record’s songs puts the finishing touch to its presentation and will also be discussed later. Each item noted here is important in its own way to the whole of Evan’s new album. All things considered, the album proves to be a presentation that is worth hearing occasionally.
Mitchel Evan’s new self-titled album is a work that fans of Americana, neo-folk and country will find an interesting addition to this year’s field of new albums within said genres. That is proven in part through the album’s featured musical arrangements. The arrangements in question span all three genres, which are very closely related to begin with but are still diverse in their own right. Speaking specifically, the arrangements featured in this 46-minute presentation will appeal to fans of Evan’s more well-known counterparts, such as Bruce Springsteen, Bob Dylan, and Neil Young. Additionally, one can also make some comparisons to works from Goo Goo Dolls. Yes, that seems like quite the jarring contrast for the other noted but it is there. Right from the album’s outset, ‘As Far As You Know,’ the album gives listeners something of a bluesy, southern rock vibe that itself is comparable to works from Goo Goo Dolls. ‘Bandaid,’ which comes early in the album, is another of those works that so easily lends itself to comparisons to works from Goo Goo Dolls. That is evidenced through the song’s collective string arrangement, guitar line, and vocals. Much the same can be said of the arrangement featured in ‘Cancel out the Noise.’
Things change dramatically in terms of the arrangements as the album progresses to ‘Gotta Be A Way,’ the album’s midpoint. The twang of the slide guitar, Evan’s own vocal delivery and the backing female vocals give this song a distinct vintage country music vibe. The warmth in the arrangement and its sound lend themselves to visions of the old country honky tonk club of days gone by. It is so completely unlike the other songs already examined here, and in the process manages to show Evan’s ability and talent even in this genre.
‘Kansas City’ continues to exhibit the noted country music influence in its arrangement. What is interesting here is that Evan’s vocal delivery style and sound here lend themselves to comparisons to those of Bob Dylan. That in itself makes for even more interest, considering that Dylan has done some works during his career that have shown some country music leanings. To that end, it is one more way in which the record’s musical arrangements show their importance. That diversity and depth is clearly there.
The Bruce Springsteen comparison comes even later in the album’s run in the form of ‘Leeches’ and ‘Let Me Down Easy.’ It is not an immediately obvious comparison. A close listen however, makes the comparison clearer. Between these arrangements, the others notes throughout the record and the remaining works, the whole of the album’s featured arrangements offer much to appreciate in their diversity and accessibility. Keeping that in mind, the arrangements make for reason in themselves for audiences to hear Mitchel Evan’s new self-titled album. They are just part of what makes the album worth consideration, too. The record’s lyrical content makes for even more reason for audiences to hear the album.
The lyrical content featured in Mitchel Evan’s new album is important to note because for the most part, it follows one overarching theme, that of relationships. Starting again right from the album’s opener, that theme is inferred. Evan sings in the song’s chorus, “I was good to you/As far as you know.” It is a short, simple line, but speaks volumes. This is someone who is addressing another, pointing out that he tried to make a relationship work. In the chorus’ refrain, he changes things, stating, “You were good to me,” adding “I was the good guy/But I lost the fight.” He even asks in the song’s lead verse, “What have we done this time…Did I lose your attention or just my mind?” This is but a sampling of the song’s lyrical content, but is enough to infer that as noted, it is a song takes on the familiar topic of a broken relationship. The vulnerability that is displayed through his use of words is impacting to say the least. When it is considered with the vulnerability expressed through the song’s musical arrangement, it proves to be even deeper and accessible. It is just one example of how that largely overarching theme makes for its own appeal. ‘Cancel Out the Noise’ is another example of the effect of the album’s lyrical content.
Evan debuted ‘Cancel Out the Noise’ in February. He openly said during an interview about the song that it is also focused on the noted lyrical theme.
“It came to me when I was falling for someone new,” he said. “I was living in Colorado at the time, but I actually started writing the song in Richmond while I was home for a week visiting my family. This song actually first appeared on my 2018 EP, The Little Horse Tapes. I had only been single for a short while after coming out of a long-term relationship and I was hesitant to enter another. The song is about being pulled into love with your heels dug into the dirt.” There is no need to go through lyrics here to support one’s argument. Evan has made it clear here that once again, he has offered audiences a song whose lyrical content focuses on the noted topic of relationships. It is yet another example of how that recurring, accessible theme plays into the album’s presentation. ‘Lonesome Love,’ which comes late in the album, needs little to no examination. The very title itself of that song pretty much explains its theme.
Evan asks in this song, ‘Oh my lonesome love/Where do you hide/Show me where you hide” in the song’s chorus.” This after already stating in the song’s lead verse, “When I finally show up/You’ll already be on your way home.” There is even a mention of facing the music later in the song. Considering all of this and the rest of the record’s content, the whole makes the song in whole clearly another lyrical presentation that centers on a relationship. When it, the other songs noted here, and the rest of the album’s songs are considered together, the whole makes clear that there is one primary lyrical theme featured in this record that is accessible to any listener. That familiarity and accessibility collectively make the album that much more appealing. It still is not the last of the album’s most important elements. The record’s sequencing rounds out its most important elements.
The sequencing of Mitchel Evan’s new album is so important to address because of the subtleties in the shifts in its energies. For the most part, the album’s energies are relatively reserved throughout. However there are some variances within the songs and from one to the next. Those shifts are so subtle that one cannot help but remain engaged and entertained. Case in point is ‘Lonesome Love.’ It has some very clear reserved energy, but at the same time, just as much energy balanced against that element. The bigger picture here and throughout the album is that its sequencing ensures audiences’ engagement and entertainment just as much as the arrangements and their lyrical accompaniments. That is because of the amount of time and thought put into the subtle changes in the songs’ energies. All things considered, the record proves to be a record that deserves to be heard at least once.
Mitchel Evan’s new self-titled album, released last month, is a work that will appeal widely to listeners. That is proven in part through the record’s featured musical arrangements. By and large, the record’s musical arrangements will appeal to fans of the realms of roots rock, Americana and country. Though there is a little rock influence to keep things interesting. The album’s overarching lyrical theme centering on relationships and romance will appeal to fans of those all too familiar topics. The record’s sequencing balances its more reserved energies and its higher tempo moments, adding even more appeal to the whole. Each item noted is important in its own way to the whole of the record. All things considered, the album proves itself to be a presentation that the noted audiences will agree is worth hearing at least once. Mitchel Evan is available now.
More information on Mitchel Evans’ new album is available along with all of his latest news at:
Cavo is taking on a Duran Duran classic for its latest single.
The band debuted its take on Duran Duran’s hit song ‘Come Undone‘ Monday. The song’s premiere comes more than three months after the band debuted its then latest single, ‘Lead On.’ That song itself followed the premiere of another song from Cavo in the form of ‘Muscle Memory‘ in October.
The groove generated through the drums and guitar creates the foundation for ‘Come Undone.’ The mournful, brooding vocals of front man Casey Walker against those of guest vocalist Shannon Nicole and the powerful, melodic hard rock style choruses give Duran Duran’s original song an interesting update.
Cavo’s update clearly stays true to the song’s source material, but also amps it up with its more amped up adaptation. The keyboards at the center of the original are replaced in Cavo’s update, giving it that amped up approach.
In other news, Cavo is scheduled to release its new album, Bridges, Bright Nights, and Thieves this year. An exact release date for the album is under consideration. It is unknown if the album will feature Cavo’s cover of ‘Come Undone’ or its existing original singles until the album’s track listing is revealed.
More information on Cavo’s new single and video is available online now along with the band’s latest news and more at:
Karma Kids will release its next album this summer.
According to information in a news release distributed Friday, the band is scheduled to release its new album, vibes June 11 through Legend Recordings. In anticipation of the album’s release the band premiered the album’s lead single and its video this week.
The band premiered its new single, ‘Nothing Left to Lose‘ Thursday along with its video. The musical arrangement featured in Karma Kids’ new single will appeal to fans of bands, such as Yellowcard, Saves The Day, and New Found Glory.
No comment was provided by the band about the song’s lyrical theme. However, the mentions in the song’s lead verse of someone “playing the victim” and “choking on your own belief” would seem to hint at a message addressing a certain type of person that everyone has encountered in life. That person is toxic, to say the least. The mention in the song’s second verse that, “We’ll burn it down until/’The ashes rain in front of you” points to the subject being just done with that toxic person.
The noted lyrical content would seem to make the song’s video make more sense. The video features the band performing its single in a vacant, run-down factory. A man sits confined to a chair inside the building. As the video ends, he is made to see what could have happened to him. The man apparently represents that false victim with whom everyone is fed up.
‘Nothing Left to Lose’ is just one of the 12 songs featured in vibes. The album’s track listing is noted below.
“vibes.” Track Listing:
2. Nightmare (feat. Kellin Quinn)
3. Vice (feat. Alexandria Edington)
4. Burn Rinse Repeat
7. Nothing Left to Lose
8. Save Myself
9. Running Thin
10. Lost in the Headlight
11. Okay Again
12. The Moon Looks Different in Texas
More information on Karma Kids’ new single, video and album is available along with all of the band’s latest news and more at:
Independent hard rock band Awaken released its latest studio recording late last month. The record – Monsters & Machines – is a presentation that the genre’s fans will find worth hearing at least once. That is proven through the musical and lyrical content that makes up the body of the 12-song record. The musical arrangements hold their own against works from a variety of the band’s more well-known counterparts, such as Spineshank, Breaking Benjamin and Disturbed. Even with those influences, the record’s musical arrangements boast their own unique identities, giving audiences reason enough to hear the album. The record’s lyrical themes are themselves accessible, making for even more engagement and entertainment. ‘Behemoth’ and ‘The Veil’ are just two of the examples of how that musical and lyrical content comes together to make the record work. They will be addressed momentarily. ‘Graveyards,’ which comes later in the album’s run, is another key example of what makes the album successful. When it and the other noted songs are considered along with the rest of the album’s works, the record in whole shows itself as a work that audiences will agree is worth hearing at least once.
Awaken’s latest record Monsters & Machines – the band’s fourth album – is a presentation that audiences will find worth hearing at least once. Its collective musical and lyrical content supports that statement easily. One of the songs that serves to show the impact of the record’s collective content comes early in its sequence in the form of ‘Behemoth.’ The song’s musical arrangement is a heavy work that incorporates electronics and heavy guitars, drums and bass for a sound that will appeal to fans of bands, such as Spineshank, 10 years, and Chevelle. The fire in the song’s arrangement pairs well with the work’s lyrical theme.
The lyrical theme in question hints at someone who sees how the world is dealing with its inner demons. As the song’s subject is seeing this reality, he/she is also seemingly reaching out himself/herself, asking for help, which is what people need to do any time they are dealing with their own inner struggles. That will make the song even more accessible for audiences. The inference can be made right from the song’s outset as the lead verse and chorus state, “It feels like a monster growing inside/Trying to claw its way out/It seems like somewhere we’ve lost our minds/Fighting through the webs of our doubts/By ourselves we’ll crash, burn, and sever/But you are there to put our ashes back together/Reach in me/I can feel it caving in/Breathe in me/I can feel a fade within/Grab hold of me/It keeps pulling underneath /God, help me/Rise within my own defeat.” The song’s second verse continues that inference as it states, “It feels like temptation magnetized/Keeping hearts from finding ways around/It seems like any time we try to take flight/The gravity keeps forcing to the ground.” The song’s third and final verse certifies the statement even more as it states, “Confused on where my thoughts align
/I know you’re there to cauterize the thriving of the beast inside.” The overall message will resonate loudly with listeners. When it is considered along with the power in the song’s musical arrangement, the lyrical content’s impact increases even more, making the whole song that much more accessible. It is just one of the songs that shows the album’s strength. ‘The Veil,’ which comes later in the album’s run, is another example of how much the record has to offer.
‘The Veil’ presents a musical arrangement that crosses the band’s familiar electronic leanings with a more melodic hard rock sound to make its whole a unique work in its own right. The subtle string arrangement that opens the song makes for a notable juxtaposition to again, the very Spineshank/Breaking Benjamin style approach that follows soon after. The steady time keeping and low-end work with the keyboards and guitars to make the song’s musical arrangement solid throughout its four-minute run time. The energy in the song’s arrangement does well to help heighten the impact of the song’s lyrical theme.
According to a statement released by the band, the lyrical theme featured in ‘The Veil’ is a song about the facades put on by our society, our leaders, and sometimes even ourselves. How people can go about on a daily basis keeping people in the dark of their true intentions. It’s like putting your hand over other people’s eyes while creating a cover story to buy time, knowing that it won’t last forever. The light will eventually turn on and the truth will be revealed.”‘ That statement is illustrated well in the song’s lead verse, which states, “There is a shield that keeps us from seeing what’s around us/Like a veil that covers over our eyes/So we start to lose our way/We’ve pursued conflictions and got caught in life’s deceptions/Casting shadows on our face that guides our vision astray/I know there’s more to life than this/Now we can open the door/To find out what our eyes have missed/While we were blinded before.” The statement continues in the song’s second verse as the song’s subject notes, “We keep flowing in this pattern of blocking out the sun/In contradiction to the path we want walk on/How is it we manage to hide what’s truly felt?/There’s so much more to what we are inside these dying shells.” The final accent is put on the statement in the song’s third and final verse, which states, “Why is it so hard for us to share what we feel?/Why is it so hard for us to find something real?/Nothing can ever take your sight from what you know as truth/A vision’s value can be too precious to turn away the view.” Noting the simple way in which the message was delivered, even in its metaphorical language, the theme is still relatively easily understood. To that end the lyrical theme shows even more why the album’s lyrical theme is important to its presentation. When it is paired with the song’s radio ready musical arrangement, the two elements collectively show even more why the album deserves its own share of attention. It is just one more of the album’s most notable entries. ‘Graveyards,’ which comes even later in the album’s run, is another way in which the album’s musical and lyrical content stand out.
‘Graveyards’ is just as radio ready as the other songs addressed here. That is exhibited inn part through its heavy, melodic hard rock stylistic approach and sound. Once again, the comparison is easily made to Breaking Benjamin through the combination of the vocals, bass, guitar, and drums. That is a tribute to the album’s production. That infectious, heavy arrangement works with the song’s lyrical theme to make for even more interest.
The lyrical theme featured in ‘Graveyards’ comes across as a statement about humans’ obsession with the past and our struggle to move past our own pasts. That is inferred especially through the song’s chorus, which states, “Is nothing what it seems?/We keep repeating history/In reverence we dance in vain on the graves of our mistakes/In severance we separate from the pasts we can’t remain.” The chorus adds in its refrain, “In remembrance we keep building walls from all our shattered dreams/In deliverance we build this bridge for all the lives to redeem.” So while the song warns listeners about our tendency to hold on to the past, it reminds us that we can learn from our pasts and move past them. The song’s verses add even more to the theme here, what with its notes of having “broken from the chains/But we can’t seem to open up this cage” and how “We change the picture in this frame/But get lost in the cycles of the same.” It is a strong starting point on a topic that is accessible. When it is considered along with the song’s equally impressive musical arrangement, that whole makes even clearer why audiences will find the album appealing. When it is considered along with the other songs noted here and the rest of the album’s works, the whole of that content makes the album overall a presentation that does deserve to be heard at least once.
Awaken’s latest album, Monsters & Machines is a presentation from the established hard rock act that is deserving of as much attention as works from the band’s more well-known counterparts. That is proven through its musical and lyrical content alike. The songs examined here serve to support the noted statements. When they and the rest of the album’s works are considered together, they make the recording its own successful offering that is worth hearing at least once. The album is available now. More information on the album is available along with all of the band’s latest news at https://www.facebook.com/awakenofficial.
Independent hard rock band Dead Original has been making a lot of noise in recent months, releasing new singles from its new album Bought and Sold. Those singles have made quite the impact at radio stations nationwide, and now after being pushed back more than once, the band finally released its new album late last month. The 14-song record is a presentation that I sure to help the band make even more noise. Audiences will find it interesting in part because of its overall musical approach. This will be discussed shortly. The lyrical themes that are featured throughout the 47-minute record make for their own interest and will be discussed a little later. The record’s production puts the final touch to its presentation and will also be examined later. Each item noted here is important in its own way to the whole of Bought and Sold. All things considered, they make the album a work that will appeal to the band’s clearly targeted audiences.
Dead Original’s new full-length studio recording Bought and Sold is a presentation that is worth taking in at least occasionally. That is proven in part to the musical arrangements that make up the album’s body. The arrangements in question exhibit a clear late 90s-era rock and hard rock style sound and stylistic approach. Case in point is ‘Die Alone,’ which comes late in the album’s run. The combination of front man Paul Wandtke’s vocal delivery and guitar work, the driving force from drummer Sean McCole, and the low-end from bassist Mike Petrasek gives the song’s arrangement something of a Nirvana-eque sound and vibe. Wandtke’s vocals are themselves even somewhat comparable to those of Nirvana’s late, legendary front man Kurt Cobain what with the semi-wailing style delivery that he uses. On another hand, a song, such as the record’s title track presents a comparison to works from the likes of Taproot, Puddle of Mudd, and Stained with its heavy, driving guitars, Wandtke’s vocals, which even include a rather powerful scream at one point. Interesting in its own right here is the song’s production, which will be touched on later. On yet another note, a song, such as ‘Beached’ boasts its own unique heaviness right from its outset. The collective chug of the guitars, bass, and drums joins with the vocals here to lend the arrangement to comparison to works from the likes of Chevelle. It’s one more way in which the album’s musical arrangements show their appeal for fans of the hard rock sounds of the late 90s (and even early 2000s). When it is considered along with the other songs noted here and the rest of the album’s works, that overall presentation makes even clearer, the importance of this record’s musical arrangements, and that of their role in the overall album’s appeal. They are just one portion of what makes the album worth hearing. The record’s lyrical content adds its own share of appeal to the record.
The lyrical content featured in Bought and Sold is important to note because where the record’s musical arrangements limit its appeal, the lyrical themes will help the record find a farther-reaching appeal. The lyrical theme featured in ‘Blasted’ for instance – the album’s latest single – presents a message that, according to Wandtke, is uplifting. “‘Blasted’ is kind of a self-reflection song like when you go outside and stare at the sky and think to yourself, ‘You know, things might be all right,” he said of the song’s lyrical theme. That message is illustrated clearly in the song’s lead verse, which finds Wandtke singing, What’s the point of letting go?/What’s the point of giving up?/I’ve killed myself too many times to let go/Don’t let go.” The song’s chorus adds to the illustration as it states, “I’m staring at the sun/Feeling like I’m one/Wondering where I’m going/I’m staring at the sun/Feeling like we’re one/Wondering where we’re going.” This is that statement of assurance of which Wandtke was talking. The back and forth in that mindset continues in the song’s second verse, in which Wandtke sings, “What’s the point in all of this/What’s the point in all I’ve done/Now I’m back, to where I’m from/Don’t let go, don’t let go.” There again is that initial self doubt, which is then replaced by the statement in the chorus refrain. It serves overall, as a reminder that things can and do get better. It’s a reminder that is just as welcome here as from any other act. Additionally, it is just one example of the importance of the lyrical themes to Bought and Sold. The album’s title track is another example of why the album’s lyrical content is so important.
The lyrical theme featured in ‘Bought and Sold’ takes on familiar topic of “greed and corruption with the general consensus that it’s really up to you to make a change and difference in this world,” according to Wandtke. His statement is illustrated clearly in the song’s lead verse and chorus, which state, “I’m under the bridge and screaming/I’m cold/I can’t feel my lips/They’re bleeding/I’m broke/Waiting for nothing/And I’ll wait for them to change the world/While we wait for them/To disease the world.” It is even more clearly translated in the song’s second verse and chorus refrain, which state, “I’m playing the hand life’s dealing/I’ve lost control/These feelings keep on feeding, my lost soul/And I’ll wait for them to change the world/While we all just watch them rape the world.” Wandtke’s statement is finalized following the bridge as he states, “I’m making plans to leave now/To make amends at home/The world is superseding my only chance of hope/But it’s up to me/To make the best of this/It’s up to me/I’m letting go/Finding hope I know/By letting go/I’m letting go/We’re bought and sold.” Looking at all of this Wandtke’s commentary translates clearly. That accessibility and the song’s familiar theme does much to continue showing the importance of the album’s lyrical content. It shows in its own way, how the record’s lyrical content will appeal to listeners just as much as the album’s musical arrangements. It is just one more example of what makes the record’s lyrical themes important in their own right. ‘Beached’ is one more example of what makes the record’s lyrical content so important.
The lyrical theme featured in ‘Beached’ comes across as centering on the topic of someone being at one’s wits’ end. That is inferred through the song’s lead verse and chorus, which state, “I’m right on the edge of resolution/Nothing makes sense/It’s time for me to, time for me to wonder what’s next?/Cetacean stranding/I’m out of my head/I am barely, barely breathing.” What is interesting is the comparison to a beached whale with the use of the phrase, “Cetacean stranding.” It goes without saying that the use of such a metaphor in talking about one’s mental and emotional state. It is certain to generate its own share of discussion. As the song continues, there is resolution as Wandtke sings in the second verse, “I’m holding out this fight/That’s growing in me/I will make my way.” In other words, it is another message of hope and determination that is certain to resonate with any listener. To that end, it is one more example of what makes Bought and Sold’s lyrical content as important as the album’s musical arrangements. When this is considered along with the other lyrical content noted here and the rest of the album’s lyrical content, that whole ensures the lyrical content’s importance will shine through even more. Even with all of this in mind, the overall content is still just a portion of what makes Bought and Sold worth hearing. The record’s production puts the final touch to its presentation.
The production that went into Bought and Sold is important because of the impact that it has on the record’s general effect. The album’s title track is a prime example of the importance of the record’s production. There is a certain raw sense about this song. It’s not a spit-shined work. Yet at the same time, all of the instrumentation and vocals are balanced out. By comparison, a track, such as ‘Fade To Light’ has more of a crisp production. The bass and drums together are akin to the stylistic approach taken by members of Korn. They really cut through because of the song’s production. Meanwhile Wandtke’s guitar line maintains that aforementioned raw sound. It makes for an interesting juxtaposition, again attributed to the production. Between these songs and so many others here, it become clear why the production is important. That element ensured each arrangement had its own unique identity within the sounds and stylistic approaches. When it pairs with the record’s overall content, that whole makes the album in whole, a record that is deserving of being heard at least once.
Dead Original’s new album Bought and Sold is a presentation that will find some appeal among audiences. This is proven in part through its musical arrangements, which take listeners back to the aggro- and hard rock of the late 90s and even early 2000s. The lyrical themes that accompany the record’s musical arrangements make for even more appeal. Specifically, they will ensure even wider appeal than the musical arrangements. The record’s production puts the final touch to its presentation, ensuring each song exhibits its own identity within the bigger picture of the album. Each item noted here is important in its own way to the whole of the album. All things considered, they make Bought and Sold a presentation that many audiences will find worth being bought. Bought and Sold is available now.
More information on Dead Original’s new album is available along with all of the band’s latest news at:
The Nixons will hold a new livestream performance next month.
The band has announced it has scheduled the performance to take place 8 p.m. ET Feb. 19 through Veeps! The livestream performance, aptly titled “The Nixons Live” is part of the band’s ongoing promotion for its most recently release studio recording, Sonic Boom (2020). The EP was the band’s first new music in more than 20 years when it was released last year.
Independent rock band The Sacred is reminding audiences to remember life’s positives in its latest single.
The band debuted the video for the single, ‘All Right‘ Nov. 19. The video features the band in a live setting as the song plays over the visuals.
The song’s musical arrangement presents a sound and stylistic approach that will appeal to fans of garage punk/emo music. The emotional sound in the arrangement does well to help translate the message in the song’s lyrical content, which the band addressed in a prepared statement.
There are lots of tough situations in life – intense emotions, heart wrenching decisions, forks in the road,” the statement reads. “Whether you wrap your car around a tree, fall out of love, or the world bleeds you dry – there is an answer to it all. Journey through a song that speaks to the heart of us all and reminds us that the world will be “All Right.”
‘All Right’ is available to stream and download here.
More information on The Sacred’s new single and video is available along with all of the band’s latest news at:
The song and its video came more than three months after she debuted her then latest single ‘Rock The Rock’ and itsvideo.
The video for ‘I Thought That I Loved You’ features Abby K and her band mates performing the new song in an apartment, each member dressed as if they were going to a formal event. The attire is meant to coincide with the video’s other aspect, its story, which features Abby finding the guy she thought she loved cheating on her with another woman. As a matter of fact, she finds the unidentified man in bed with said woman.
The musical arrangement featured in Abby K’s new single matches the constantly strained look on her face and equally strained vocal delivery. It is a familiar melancholy work that is grounded in Abby K’s vocals, bass performance and the guitar line.
Abby K discussed her new single in a prepared statement.
“When I sat down to write ‘I Thought That I Loved You’ in my bedroom a year ago, I knew it was going to be different,” the statement reads. “My past three singles I have released have been songs that encourage you to drive fast with the windows down. With ‘I Thought That I Loved You,’ you can still drive fast with the windows down, or you can sing it in the shower. This is my emotional power ballad that I have always dreamed of writing.”
More information on Abby K’s new single and video is available along with all of her latest news and more at: