Dee Snider Unveils New Album’s Latest Single, Video; Announces New Streaming, Signing Events

Courtesy: Napalm Records

Dee Snider debuted the latest single from his new album and its video this week.

Snider premiered his new single, ‘Down But Never Out’ and its video Friday. The song is the third single from Snider’s brand new album, Leave a Scar. Its premiere follows that of the album’s first two singles, ‘I Gotta Rock (Again)‘ and ‘Time To Choose.’ ‘Time To Choose’ features a guest appearance by Cannibal Corpse front man George “Corpsegrinder” Fisher.

The musical arrangement featred in ‘Down But Never Out’ immediately lends itself to comparison to the best works of Judas Priest and at the same time, some of today’s top new hard rock acts.  That all around heaviness can likely be credited at least in part to Snider working with Hatebreed front man Jamey Jasta on this record.  As a matter of fact, a close listen to the shouts in the chorus and the heavy “chunk” of the guitars at points does in fact point to Hatebreed as one of those noted current hard rock bands for comparison.  The intensity in the song’s arrangement works well to help translate the emotion in the song’s lyrical content.

The lyrical content presented in ‘Down But Not Out’ is a proudly defiant statement about perseverance, which again is a central theme to most of Hatebreed’s songs.

Snider talked about the song’s lyrical theme during a recent interview.

“I pride myself on the fact that throughout the decades, my music has always tried to not only push back against all oppressors (in this case Covid-19), but also lift people up and encourage them to fight back,” he said. “‘Down But Never Out’ is a perfect example of this ethos.”

The video for ‘Down But Not Out’ tells the story of a man who clearly is down on his luck. He has past due bills, his woman has thrown him out, and so he ends up trying his luck at the lottery. The result is left to wonder about, as it ends “To Be Continued.” Added to the mix is footage of Snider and his band mates performing live.

In other news, Snider recently announced a streaming event for audiences. Tickets for the event are available here. Tickets provide access to the event and related content for approximately one month. That extra content includes a streaming concert that Snider recorded June 12 in New York.

Additionally, Snider announced Friday, that he will take part in a special in-store signing event at 7 p.m. ET Aug. 17 at Looney Tunes Record Store in West Babylon. Tickets for the event are available here.

More information on Dee Snider’s new live events, single, video, and album is available along with all of Dee Snider’s latest news and more at:

Websitehttps://deesnider.com

Facebookhttps://www.facebook.com/facedeesnider

Twitterhttps://twitter.com/deesnider

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

Dee Snider’s New Album Will Leave Its Own Mark On This Year’s Field Of New Hard Rock/Metal Albums

Courtesy: Napalm Records

Dee Snider has, for decades, made a place for himself in the rock community with his outspoken nature and his music.  That combination has made him one of the industry’s most talked about figures in the rock community.  With the release of his new album, Leave a Scar Friday through Napalm Records, he is sure to continue cementing that reputation, too.  The album’s lyrical themes and its musical arrangements each support the noted statements in their own way.  ‘Down But Not Out’ is just one of the songs featured in this record that serves to help support the noted statements.  It will be discussed shortly.  The same can be said of the late entry, ‘Open Season.’ It will be examined a little later.  ‘Stand,’ the album’s finale, is yet another way in which the album’s musical and lyrical content proves to make Leave a Scar another sure way for Dee Snider to remain one of the rock community’s most talked about figures.  It will be discussed later, too.  All three songs are obviously important in their own way to the whole of the album.  When they are considered with the rest of the album’s songs, the whole makes Leave a Scar a record that will leave a definite impact on audiences.

Dee Snider’s latest album, Leave a Scar is a strong new offering from the veteran rocker.  That is because its musical and lyrical content combined continue to exhibit his strong opinions and creativity.  Case in point is the early entry, ‘Down But Not Out.’  This song’s musical arrangement immediately lends itself to comparison to the best works of Judas Priest and at the same time, some of today’s top new hard rock acts.  That all around heaviness can likely be credited at least in part to Snider working with Hatebreed front man Jamey Jasta on this record.  As a matter of fact, a close listen to the shouts in the chorus and the heavy “chunk” of the guitars at points does in fact point to Hatebreed as one of those noted current hard rock bands for comparison.  The intensity in the song’s arrangement works well to help translate the emotion in the song’s lyrical content.

The lyrical content presented in ‘Down But Not Out’ is a proudly defiant statement about perseverance, which again is a central theme to most of Hatebreed’s songs.  Right from the song’s outset, Snider sings, “We cannot/We can never stop/We’ve got to fight/This is our life/Your’e never lost when you can see the top.”  So right from that, this is that proudly defiant statement.  It continues in the rest of the song’s lead verse, “You think the world’s against you/You never had a chance/The bastards/They won’t let you through/We’d rather make a stand/Reach beyond/You’re not done…You may be down/But never out.”  Now some of the lyrics here are a little difficult to decipher sans lyrics sheet, but enough is understandable that the noted theme is clear.  The rest of the song continues in similar fashion, with Snider and whomever provides the backing vocals here re-enforce the message in the song’s chorus, singing, “Down, down, down/But never out.”  This positive, uplifting message is so firm and concrete in its presentation, and when it is paired with the song’s musical arrangement, the whole makes the song a clear example of how the album’s lyrical and musical content joins to make it so engaging and entertaining.  It is just one of the songs here that serves that end, too.  ‘Open Season’ is another way in which Snider’s open commentary works with the album’s musical arrangements to ensure the album’s engagement and entertainment.

‘Open Season’ presents a musical arrangement that brings its guitar, vocals, bass, and drums fully together.  They combine to make the song’s musical arrangements one of those hard rock songs that bridges the cheesy over the top hard rock of the 80s and more assured sounds of the early-mid 90s.  The power in Snider’s vocal delivery here presents such a fire and anger.  It is an emotion to which so many listeners will relate. 

The fire in Snider’s delivery is enhanced when one takes in the song’s lyrical content.  Snider at one point comes right out and says to whomever, the he doesn’t “give a s***” about their self-love.  This comes across as being a response to the self-glorification that today’s generation has become obsesses with as a result of social media.  What’s more, he sings right from the song’s outset, “Hey, motherf*****/Are you kidding me?/You’d better/Get ready/This is a lesson that I give for free/Your lesson/Is coming/Your lamest words/They fall on deaf ears/It’s time like these/I live for all your salty tears/I live for times like these/You’ve given me a rason/To tell it like it is/Now it’s open season/I aim and never miss/No hidden meanings/My words are meant to burn/It’s open season…You’re gonna learn.”  This, as Snider says, is no nonsense.  People whining about x, y, or z and those items are likely so minor, he says they give him reason to rip into them.  People don’t like such response, but so be it.  This is how Snider has always been and he is declaring here that this is how he remains.  It is also how so many others are in this nation.  Those audiences will welcome this statement as they take in the song.  He continues in the song’s second verse, “You must have thought that I was someone else/You better get ready/I don’t give a s*** about your love of self/Your lesson/Is coming.”  This re-enforces the message presented in the song’s lead verse.  It is him reiterating that he does not care, he is going to speak his mind.  Again, there are plenty of people out there like him who refuse to just be outright overly diplomatic about everything in life and tiptoe around every topic.  It makes this song another clear example of Snider incorporating his often controversial personality into this record and making it work so well.  It is just one more way in which the album shows its strength, too.  ‘Stand,’ the album’s finale, also plays its own important role in the album’s presentation.

‘Stand’ takes listeners back to Snider’s classic rock roots in its musical arrangement.  The previously noted Judas Priest comparison is just as prevalent here as in other songs in this song, what with its brooding sound and approach.  It makes for an interesting contrast to the song’s firm message encouraging audiences to “Stand up for something/Never fall/No one trusting….Stand for something/Stand up/Don’t leave a mark/Leave a scar.”  He is saying here to do something that will leave a permanent mark on the world.  Usually, such a strong message would be accompanied by a much more fiery musical arrangement.  In this case, the heaviness is there, but the whole is so contemplative rather than assured and firm.  It really makes for an interesting presentation that still does echo Snider’s straight forward views and his ability to make music that people will remember.  When this unique whole is considered along with the other songs examined here and with the rest of the album’s entries, the whole proves itself another way in which Snider is sure to continue cementing his place in the rock and hard rock communities.

Dee Snider’s new, forthcoming album Leave a Scar is a record that is sure to leave its own mark on audiences.  For that matter it will definitely leave its mark on this year’s field of new rock and hard rock albums.  That is proven through its musical and lyrical content.  All three of the songs examined here serve well to prove that.  Their lyrical themes echo well, Snider’s openness with his thoughts while their musical arrangements do well to bridge his classic rock and metal influences with more modern leanings.  When these songs and the rest of the record’s works are considered together, they make Leave a Scar a work that will leave itself a memorable addition to this year’s field of new hard rock albums.  Leave a Scar is scheduled for release Friday through Napalm Records.

More information on Leave a Scar is available along with all of Dee Snider’s latest news and more at:

Websitehttps://deesnider.com

Facebookhttps://www.facebook.com/facedeesnider

Twitterhttps://twitter.com/deesnider

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

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.

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 Debuts ‘Gears’ Video, ‘Reality Bath’ Lyric Video

Courtesy: Epic Records

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

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

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

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

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

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

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

 

Lamb Of God tracklisting:
1. Memento Mori
2. Checkmate
3. Gears
4. Reality Bath
5. New Colossal Hate
6. Resurrection Man
7. Poison Dream (feat. Jamey Jasta)
8. Routes (feat. Chuck Billy)
9. Bloodshot Eyes
10. On The Hook

 

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

 

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.

 

 

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.

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.