Howdytoons’ Latest LP Is A Blast About Creatures From The Past

Courtesy: Howdytoons Productions, Inc.

Family music act Howdytoons is scheduled to release its latest album, Dinosaurs & Monsters Friday through its own label, Howdytoons Productions, Inc.  The band’s fourth album in its ongoing “dinosaur rock” series of releases, the nine-song album is a fun new offering for the entire family.  That is due in part to its featured musical arrangements.  They will be examined shortly.  The lyrical content that accompanies the album’s musical arrangements makes for its own interest and will be examined a little later.  The record’s sequencing rounds out its most important elements and will also be examined later.  Each item noted is important in its own way to the whole of the record’s presentation.  All things considered they make the album just one more enjoyable addition to this year’s field of family music albums.

Dinosaurs & Monsters, the latest new album from family music act Howdytoons, only runs nine songs deep, but in that spread, it offers plenty for audiences to appreciate, beginning with the album’s musical content.  The musical content comes largely in the form of some hard rocking compositions that are still mostly family friendly.  There is a touch of some ska and reggae to mix things up a bit, too.  The whole thing opens with a Soundgarden-esque composition in ‘Allosuarus.’  That comparison is most evident in the song’s verses.  More specifically, the comparison is to Soundgarden’s hit song, ‘Spoonman.’  At the same time though, the chromatic scale used in the guitar line in the verses is also comparable to Filter’s hit single, ‘Hey Man, Nice Shot.’  ‘Dimetrodon,’ which immediately follows immediately conjures thoughts of works from System of a Down.  ‘Brachiosaurus’ is just as easily comparable to Marilyn Manson’s cover of the Eurhythmics’ single, ‘Sweet Dreams.’  So right here in this first trio of songs, grown-ups get songs that will appeal to them while also introducing young listeners to some fun rocking compositions.  ‘Brontosaurs is Back’ changes things up with its ska approach and gives way to the even easier moving reggae style composition, ‘Diplodocus.’  From there, things pull back even more with the folk style Stegosaurus.’  Things gradually pick back up after that song, carrying listeners through to the album’s end with three more rocking songs in the kindie-rock of ‘I’m a Pterodactyl,’ and the much heavier ‘The Kraken’ and ‘Kronosaurus.’  The short and simple of these arrangements is this:  From one to the next, the styles and sounds of the arrangements offer a certain level of variety.  The songs will appeal just as much to grown-ups as to their younger counterparts.  To that end, they form a strong foundation for the record.

Building on the strength thereof is the lyrical content that accompanies that musical content.  The lyrical content featured here is, as the album’s title suggests, about dinosaurs and at least one monster, the kraken.  From the Stegosaurus to the Dimetrodon to the perhaps lesser-known Kronosaurus (which was a real, sea-going dinosaur) and more, the album teaches listeners of all ages about a variety of dinosaurs.  Believe it or not, there are plenty of adults who remember very little about different dinosaurs (and other topics), so to that end, this content serves as a great review for those grown-ups and an equally welcome introduction for young listeners.  What’s more, kids love dinosaurs in general.  So, adding fun rocking songs to lessons about dinosaurs will just get kids enjoying learning about them even more.  Keeping that in mind, this simple, straight forward lyrical content from one song to the next, as it follows one, central theme makes the lyrical side of this record just as appealing as the album’s musical content.

While the content featured in Dinosaurs & Monsters clearly does plenty to make the album enjoyable, their sequencing puts the finishing touch to the presentation.  As noted already, the sounds and styles featured in the arrangements changes ever so much from one to the next, at least in regards to the heavier content.  The placement of the more pop-oriented songs in the middle of the album shows even more the time and thought that went into the album’s sequencing.  It shows the band did not want audiences to grow tired of the album.  That effort paid off, too.  That is because it ensures the stability of the album’s energy even as the sounds and styles of the songs change from one to the next.  Keeping that in mind, the album’s sequencing puts the finishing touch to the presentation.  When the positive general effect ensured by the sequencing is considered along with the album’s content, the whole makes the album an enjoyable presentation for audiences of all ages.

Dinosaurs & Monsters, the latest album from family music act Howdytoons, is a presentation that the entire family will find enjoyable.  That is due in part to its musical content, which provides some fun rocking tunes that grown-ups will find familiar and that younger audiences will find a great introduction to the rock realm.  The lyrical content that accompanies the album’s musical arrangements is straight forward.  It centers on…well…dinosaurs, as with its three predecessors.  That straight forward, accessible presentation ensures audiences’ engagement throughout the album in its own right.  The sequencing of that content brings everything full circle and completes the album’s presentation.  That is because it ensures the album’s energy remains stable even as the sounds and styles of the arrangements changes ever so much throughout the album.  Each item examined here is important in its own way to the whole of the album.  All things considered they make Dinosaurs & Monsters a blast about the past for future generations of audiences.

Dinosaurs & Monsters is scheduled for release Friday through Howdytoons’ own label, Howdytoons Productions, Inc.  More information on the album is available along with all of the band’s latest news at https://www.facebook.com/howdytoons.

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Dawn Of Ashes Debuts New LP’s Third Single

Courtesy: Artoffact Records

Independent industrial metal act Dawn Of Ashes premiered the latest single from its new album this week.

The band premiered its new single, ‘Scars of the Broken‘ Friday. The song is the title track and third single from the band’s new album, which is scheduled for release March 18 through ArtOfFact Records. Its premiere follows that of the album’s current singles, ‘EMDR‘ and ‘The Despondent Hole.’

As with the other songs featured in Scars of the Broken, the record’s title track features a musical arrangement that immediately lends itself to comparison to works from the likes of Nitzer Ebb, Marilyn Manson, Nine Inch Nails, and Godflesh.

Front man Kristof Bathory talked about the song’s lyrical theme in a prepared statement.

“This self titled song is dedicated to those who feel damaged or have dealt with sensitive issues that make it hard for them to move forward in life,” he said. “Sometimes it feels like you are alone or that others don’t understand. It’s a struggle to let go of the issues. These are the scars of the broken. You wear it as a reminder of what you been through. In all reality the scars are war wounds and it just proves that we are all survivors and can handle anything in life.”

In other news, Bathory is scheduled to hold a live stream of Scars of the Broken and interview with Mister Malice at 5 p.m. today.

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

Websitehttps://dawnofashesband.com

Facebookhttps://www.facebook.com/Dawnofashes

Twitterhttps://twitter.com/dawnofashes666

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.

Dawn Of Ashes Debuts New Single, ‘EMDR’

Courtesy: Artoffact Records

Industrial metal band Dawn of Ashes premiered its latest single this month.

The band debuted its new single, ‘EMDR’ Jan. 14. The song is featured in the band’s forthcoming album, Scars of the Broken, which is scheduled for release March 18 through Artoffact Records. The single is available to stream and download through YouTube, Spotify and Bandcamp.

Front man Kristof Bathjory said the band’s new album is a personal presentation.

Scars Of the Broken has been one of the most emotionally difficult albums that I have ever created,” he said. “All of the musical and lyrical content was straight from a place that I have been dealing with for a long time of my life. I poured out every darkest and deepest emotion into every song. Mental health is something that a lot of people struggle with and sometimes it just needs to be heard through music. I hope this album helps those that are struggling.”

The musical arrangement featured in ‘EMDR’ is everything that fans of the industrial metal genre expect. The use of the keyboards, modulated vocals, heavy, intense drums and guitars, and even electronics are all there. The combination of the elements shows influence from the likes of Marilyn Manson, Nine Inch Nails, Dope, and other similar acts of their ilk.

Said Bathory of the song’s lyrical theme, “This song was inspired from my own personal experience dealing with a type of therapy called EMDR which stands for ‘ Eye Movement Desensitization and Reprocessing’. This specific type of hypnotic therapy is for helping people who have dealt with past traumatic experiences.”

The track listing for Scars of the Broken is noted below.

Track List:
1. (Descending) Torn Inside
2. Love is Asphyxiation
3. The Despondent Hole
4. EMDR
5. Bane of Your Existence
6. (Limbo) Numb
7. It Comes in Waves
8. Heart Beats Cold
9. Turn It Shallow
10. Scars of the Broken
11. The Antidote
12. (Ascending) Catharsis

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

Website: https://dawnofashesband.com

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

Twitter: https://twitter.com/dawnofashes666

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.

Charlie Benante Announces New LP Release Date, Specs

Courtesy: Megaforce Records

Anthrax drummer Charlie Benante will release his new album this spring.

Silver Linings is scheduled for release May 14 through Megaforce Records. While the record sees Benante as the primary figure in its presentation, he stressed during a recent interview, that the album is not a solo record.

“This isn’t a solo album,” Charlie said, “This is a record of my favorite songs done with some of my friends during a very dark time.  We found a shining light and this is the result of that light.  I was really happy that my musician friends came on board and helped make this record what it is.  I appreciate all of them, and they all did such a fantastic job.  Despite all of the darkness we’ve experienced this past year, there are ‘silver linings,’ that’s why I chose that title for the album.”

He added, the album’s creation came about through the advice of someone close to himself.

“Back in February of last year, with COVID and all the other B.S. that was going on, I was glued to the 24-hour news cycle on the TV and my phone, and I started to get really depressed,” he said.  My girlfriend said I needed to turn off the news and suggested I do something creative, whether it was art or drumming or writing new songs, and she was right.”

According to information provided about the 14-song record, it will feature an all-star cast of guest musicians and performers, such as guitarist John 5 (Rob Zombie, Marilyn Manson), Alex Skolnick (Testament), and Corey Taylor (Slipknot).

Also featured on the new record are Run DMC member Darryl “DMC” McDaniels, Rob Caggiano (Volbeat), and Ra Diaz (Suicidal Tendencies). The group recorded the song “Run-DMC Medley,’ which is one the songs featured in the album. The group premiered the song’s quarantine video in June 2020.

The whole of Silver Linings‘ track listing is noted below:

* “City of Blinding Lights”/U2 – Frank Bello, Mark Osegueda, Charlie Benante

* “Chloe Dancer / Crown of Horns”/Mother Love Bone – Mark Menghi, Mark Osegueda, Charlie Benante

* “Teardrop”/Massive Attack – Carla Harvey, Ra Diaz, Charlie Benante

* “Run DMC”/Run DMC – DMC, Rob Caggiano, Ra Diaz, Charlie Benante

* “Rhiannon”/Fleetwood Mac – Mark Menghi, Jennifer Cella, Randy McStine, Charlie Benante

* “Yer So Bad”/Tom Petty – Carla Harvey, Ra Diaz, Charlie Benante

* “Transylvania”/Iron Maiden – Snake Sabo, Frank Bello, Jon Donias, Charlie Benante

* “Presto Vivace”/U.K. – Ra Diaz, Alex Skolnick, Jordan Rudess, Charlie Benante

* “Bad Guy”/Billie Eilish – Ra Diaz, Charlie Benante

* “Jimmy James”/The Beastie Boys – Ra Diaz, Charlie Benante

* “All The Way”/KISS – PJ Farley, Joe McGinness, John 5, Charlie Benante

* “Mr Speed”/KISS – Joe McGinness, PJ Farley, Charlie Benante

* “Public Image”/Public Image – Hank Von Hell, Dave Brownsound, Jason “Cone” McCaslin, Charlie Benante

* “Funny Vibe”/Living Color – Ra Diaz, Corey Glover, Henry Flury, Charlie Benante

More information on Charlie Benante’s new album is available along with all of his latest news at:

Website: https://charliebenante.com

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

Twitter: https://twitter.com/skisum

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.

Ludovico Technique Debuts New Single; New Video, Album Coming

Courtesy: TAG Publicity

Goth rock band Ludovico Technique is taking on a familiar topic in its latest single.

The band debuted its latest single ‘Live as Myself‘ early this month. The song’s lyrical theme addresses the familiar topic of individuality, according to information provided about the song. According to the noted information, the composition, “is about expressing who you are inside, regardless of how society views you or tries to tell you how you should be.”

The musical arrangement that is featured in the new single is a heavy composition that takes influence from the likes of Marilyn Manson, Porn, and Skinny Puppy.

Ludovico Technique is scheduled to release its latest album, Haunted People in 2021. It is not known if the album will feature the band’s new single, which was mastered by Grammy nominee Stuart Hawkes (Lorde, Amy Winehouse, Ed Sheeran).

An official video for Ludovico Technique’s new single is expected to debut in early 2021.

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

Website: http://www.ludotechnique.com

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

Twitter: http://twitter.com/LudoTechnique

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

Razorwire Halo Debuts ‘Cover My Eyes’ Lyric Video

Courtesy: The Label Group/INgrooves

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

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

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

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

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

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

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

 

Website: http://razorwirehalo.com

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

Twitter: http://twitter.com/razorwire_halo

 

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

 

Junkowl’s Debut LP Is One Of This Year’s Most Unique New Hard Rock & Metal Albums

Courtesy: Asher Media Relations

Up-and-coming hard rock band Junkowl has made quite the name for itself since its formation in 2017.  Only two years after it got its start, the band won a competition earning itself a spot on the lineup for the 2019 Heavy Montreal Festival.  The annual two-day festival is Canada’s most renowned heavy music events.  This year, it was set to feature performances from the likes of Sepultura, Rammstein, and Deftones, just to name a few of the big names on the bill.  Thanks to COVID-19 the festival was postponed until next summer.  In past years, the festival has welcomed other major name acts, such as Slipknot, Overkill, and Rob Zombie.  Getting back on the subject, that Junkowl has been invited to perform at the renowned festival speaks volumes about its own reputation and talent.  Late last month, the band set out to keep its name growing when it released its debut album Making Out With My Death.  The 10-song record is a strong debut for the band.  That is due in part to its musical arrangements, which will be addressed shortly.  The album’s lyrical content also plays into its presentation, and will be discussed a little later.  The record’s sequencing rounds out its most important elements and will also be discussed later.  When it is considered along with the album’s overall content, all three elements join to make the record a very powerful debut from Junkowl that hard rock and metal fans will agree is worth hearing at least once.

Junkow’s debut album Making Out With My Death is a powerful new offering from the independent hard rock band.  That is due in part to the record’s musical arrangements.  The album’s overall musical content exhibits a variety of influences throughout the course of its 34-minute run time.  Right from the album’s outset, audiences get a hint of a Tool influence in ‘Snakecharmer.’  Roughly a minute into the song, that influence gives way to something much heavier yet still very melodic in its own right in the vein of Dry Kill Logic, 36 Crazyfists, and All Hail The Yeti.  The fire in the song’s arrangement plays directly into the song’s lyrical arrangement, which is just as powerful in its own right and will be addressed a little later.  Front man Jesse Frechette’s screams work with each of his band mates – Dom Labrie (drums), Marco Larosa (guitar), and Samuel Matte (bass) – to make this arrangement a massively impacting first impression from the band and an equally impacting way to introduce audiences to the band.

The album’s sound changes distinctly in its second offering, ‘Quarantine Us All.’  This song’s arrangement is sort of a hybrid metal/punk approach that while it exhibits the noted influences in its own right, it also presents a stylistic approach that can be compared somewhat to Motorhead and various sludge metal bands.  That sounds like quite the odd combination of styles mixed into one, but the hybrid works surprisingly well here.  It will keep listeners engaged just as much as the album’s opener.  As the album makes its way into its third song, ‘Shake Me,’ it moves more into an aggro-rock style approach, showing once again, the variety of stylistic approaches taken in the album’s musical arrangements.  The sludge metal sound is even more prominent in the album’s fourth song, ‘Dead Hooker,’ while the Tool influence returns in the album’s midpoint, ‘Little Scum.’  Larosa’s guitar line and Labrie’s work behind the kit is reminiscent of the arrangement at the center of Tool’s song ‘Lateralus.’  Now it should be stressed that even with the similarity there, Junkowl’s arrangement is not entirely identical.  It holds its own identity.  So the band is to be commended for that.  What’s more, the Tool influence is only temporary once again in this case.  It eventually gives way to something much heavier roughly a minute into the song.  The duality of that approach, along with Frechette’s distinct vocal delivery style, makes this song just as unique as the rest of the album’s arrangements.  It’s just one more way in which the album’s musical content proves so important.

As the album enters its second half, the band opts for a more Depeche Mode-influenced work in ‘Crawling Up My Feet.’  What’s interesting here is that the manner in which the arrangement builds up conjures thoughts more of Marilyn Manson’s take on the song than Depeche Mode’s original composition.  The heaviness carries listeners on through the rest of the album from this point, letting up little if any, even in the album’s closer.  By the time the record ends, listeners will know they have experienced a unique overall hard rock presentation that will leave them wholly fulfilled even though the record’s run time comes in at just over half an hour.  It leaves listeners feeling like they have gotten the fullest offering from the band, at least musically speaking.  To that end, there is no doubt as to the importance of this album’s musical content.  The whole of the album’s musical content shows without doubt, its importance to the album’s overall presentation.  It is just one reason that hard rock and metal fans will want to hear this album at least once.  Its lyrical content plays its own part into its presentation, too.

The lyrical content that is featured throughout Making Out With My Death is just as heavy as its musical counterpart.  The album’s overall lyrical content is so heavy because it delves into some topics and possible topics that many acts (regardless of genre) are afraid to touch.  Case in point is the content featured in ‘Relapse.’  The song seemingly addresses someone trying to get over drug addiction, and does so in a very unafraid fashion.  This is inferred as Frechette screams in the song’s lead verse, I can’t come down/No, I can’t come down/I can’t come down/No, I can’t come down/*** damn, I’m finally free/Not too much left in me/Scrap of integrity/Too blurry, I can’t see/Breathe still, let go/Broken, I know/Think I might last/Hold tight, relapse/The bottle hits my lip/How easy I forget/Cocaine and cigarettes/Making out with my death.”  He continues in the song’s second verse, “No, I can’t come down/Aching to break away/Oh, I am nothing but a stain/A lump of coal in your veins/I’ll only bring you pain/Breathe still, let go/Broken, I know/Think I might last Hold tight, relapse.”  The song’s chorus finds its subject screaming, almost painfully, “I can’t seem to come down.”  The pain that the subject is dealing with emotionally and physically is translated so well through this simple statement and its pairing with the song’s musical arrangement.  All thing considered here, no doubt is left as to the song’s lyrical topic.  What’s more the way in which the topic was approached adds to its strength.  It is just one way in which the album’s lyrical content proves so important to the record’s overall presentation.  The lyrical content (and its presentation) in the album’s opener, ‘ Snakecharmer’ is another key example of what makes the album’s lyrical content stand out.

‘Snakecharmer’ comes across as a song that addresses a situation involving domestic abuse and possibly that as a result of some mental disease that ends very badly.  The song opens with the subject stating, ‘Yeah/She’s sleeping in my bed/She knows every word that I’ve ever said/I breathe her in/She spits me out/Death echoes silent inside her mouth/Tell me this/Is your love worth bleeding, darling?/Or are you just another succubus?/Either way, I’m not sorry.”  He continues in the song’s second verse, “I swear I tried one thousand times to rip this demon from my mind/No matter how hard I scream/I still see her in my dreams/Tell me this, Is your love worth bleeding, darling?/Or are you just another succubus?/Either way, I’m not sorry/Kill, Fuck Blow your brains out/ Blow my brains out.”  As already noted, this story does not have a happy ending.  That mention of “I tried one thousand times to rip this demon from my mind” could allude to the subject dealing with the issue of fighting his own inner concerns, whether brought on by drugs or just mental instability.  That battle ultimately did not end well, as the song hints.  Again, this is a very difficult issue that while more acts are tackling, few are handling it in the fashion in which Junkowl did.  Keeping that in mind, it is another key point in addressing the album’s lyrical content, and not the last of the album’s most notable lyrical entries, too.  ‘Sickness Lives’ is another notable lyrical presentation to address.

‘Sickness Lives’ stands out lyrically because it, too, seems to take on the issue of addiction and dependency, too.  This is inferred as Frechette notes in the song’s lead verse, ““I’m sick of living dead in this prison/Wake up, fuck the system/Laughing alone in madness/Drinking away the sadness/Living dead in this prison/Wake up, fuck the system/Strung out on medication/What an abomination/I feel it growing inside/Petrified, paralyzed/It’s eating me alive.”  He continues in the song’s second verse, “I don’t want to be sober/Every day I’m growing colder/My heart’s become so heavy/Where is the end? Will someone tell me?/Screaming to block out the sound/This place is a fucking letdown/If I die before I wake, I pray with me this world I’ll take/I feel it growing inside Petrified, paralyzed/It’s eating me alive, down to the bone.”  Once again, here audiences are presented with what come across as a song that has to do with addiction.  The very mention of “Strung out on medication/What an abomination/I feel it growing inside” points to someone dealing with perhaps becoming addicted to certain medications, and the result thereof.  It is a powerful line that along with the rest of the song’s content, makes for its own very heavy statement that is sure to leave a lasting impact on listeners.  Keeping that in mind along with the other noted lyrical content and that lyrical content not noted (and the impact of each song), the whole leaves no doubt that this record’s lyrical content is just as powerful as its musical arrangements.  While the album’s overall content does a lot to make it appealing to audiences, it is just a portion of what makes the album worth hearing.  The record’s sequencing rounds out its most important elements.

The sequencing used in the presentation of Making Out With My Death is just as important as its content to examine in looking at the album in whole.  The record’s sequencing keeps its energy stable and solid from start to end.  It has already been pointed out that the album opens with a very foreboding, Tool-esque sound that quickly gives way to something completely different and fiery.  As the album progresses, that fire never burns out, either.  It smolders at some points, but wastes little time burning bright again, keeping the album’s intensity at its height throughout.  By the time the record ends, listeners will know they have experienced something that is one of the most unique hard rock and metal (and independent) albums of the year.

Junkowl’s debut album Making Out With My Death is a powerful first offering from the independent hard rock band.  Its musical arrangements join influences from a variety of bands that make the songs in themselves and from one to the next, powerful just from this aspect.  The record’s lyrical themes are just as heavy as its musical content, as noted.  Its sequencing puts the finishing touch to its presentation.  Each noted item is important in its own way.  All things considered, they make the album a work that bodes well for Junkowl’s future.  Making Out With My Death is available now.

More information on Junkowl’s new album is available along with all of the band’s latest news at:

 

Websitehttp://www.junkowlmtl.com

Facebookhttp://www.facebook.com/junkowlband

 

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.

Dead Animal Assembly Plant Debuts ‘A Violent Breed’ Video

Courtesy: Armalyte Industries

Theatrical/Horror rock band Dead Animal Assembly Plant debuted the video for its latest single Wednesday.

The band debuted the video for its new single ‘A Violent Breed’ through BraveWords.com.  The song is featured in the band’s forthcoming album Bring Out The Dead.  The video finds the band’s members, in full stage regalia, lead a pair of shackled figures into a church where its front man “preaches” to his masses about the evils of those in power.  From there, the group leads the shackled men out of the church to a field where they are then executed.  No one was actually killed in the making of the video.

The purpose of the visuals is meant to illustrate the song’s obvious message about the abuses of power by those in positions of power, whether it be the media, the religious institutions or political hierarchies.

The song’s musical arrangement brings together influences from old school Nine Inch Nails and Marilyn Manson to make its sound.

‘A Violent Breed’ is streaming now at DAAP’s official Bandcamp page.

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

 

Website: http://www.deadanimalassemblyplant.com

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

 

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.

Porn Debuts ‘Some Happy Moments’ Remix

Courtesy: O’Donnell Media Group

Goth-industrial remix debuted the remix of another song from its 2020 album No Monsters in God’s Eyes this week.

The band debuted the remix of its song ‘Some Happy Moments‘ Friday.  The remix, featured in the upcoming album Mr. Strangler’s Last Words, was crafted by veteran industrial/goth act Stabbing Westward.  Its debut comes three weeks after Porn debuted the remix for another of the album’s songs, ‘A Lovely Day,’ which was handled by fellow industrial/goth act Combichrist.

Stabbing Westward’s remix of ‘Some Happy Moments’ is a distinct change of pace from its predecessor.  That remix was distinct in its own way because of the keyboard line, which served as its foundation.  That song was more upbeat than its source material and more of an electro-industrial work with a distinct new-wave influence.

The remix of ‘Some Happy Moments’ takes its source material in a new direction, too.  Where the original work went from a Type O Negative-esque in its first half to a heavier, full-on, old school Marilyn Manson type direction in its second half, this work goes in a completely different direction.  The remix is more of another keyboard-driven work that largely stays stable in its approach, save for the subtle addition of a guitar line later in its four-minute-plus arrangement.

Stabbing Westward and Combichrist are just two of the bands who have and are working on remixes for Porn’s latest album.  Also handling remixes from the albums are acts, such as Chris Vrenna (Nine Inch Nails, Marilyn Manson), Orgy, and Ash Code.

Porn front man Phillippe Deschemin spoke about the acts working on the upcoming remix album in a recent interview.

” It’s an honor for us to have these greats bands involved : Combichrist, Stabbing Westward, Orgy, Jimmy Urine from Mindless Self Indulgence, Chris Vrenna ( ex NIN and Marilyn Manson), The Anix, Ash Code, and Lluther,” he said. “I am a big fan of all these bands. The PORN’s priest aka Aura Shred did a remix too. And with The One, we cooked a special remix with our side-project An erotic end of times. We can’t wait to share this remixes with our fans. We are PORN, you are PORN ! Mr Strangler is dead, long live his memory! ”

Stabbing Westward’s remix of ‘Some Happy Moments’ is avialable on all digital platforms now.

More information on this new remix, No Monsters in God’s Eyes and all of Porn’s latest news and more is available at:

 

 

 

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Deveraux Debuts ‘I Want To Spend The End Times With You’ Video

Courtesy: Sensory Recordings

Goth-rock band Deveraux is scheduled to release its new EP This Isn’t Going To End Well this summer, and in anticipation, debuted the video for the record’s lead single this week through ghostcultmag.com..

The band, which is the solo project of Paul Whiley (Marilyn Manson, Razor Candy), debuted the video for its new single ‘I Want To Spend The End Times With You’ initially premiered the video April 23 through its official YouTube channel.  The song and video were recorded recently during the ongoing COVID-19 outbreak.  Each portion of the song and video was recorded by each member of the band and by all involved in the video’s creation, according to Wiley.

The musical arrangement at the center of ‘I Want To Spend The End Times With You’ is a guitar-driven work that boasts a subtle blues-based influence in that line.  The guitar line is accompanied by the subtle addition of a piano part that repeats throughout the song, adding a slightly eerie touch to the song’s sound and feel.  Singer Krsy Fox (Knee High Fox) makes a guest appearance in the song, adding her talents to the whole.

While the song’s musical arrangement presents a sound that will appeal to goth-rock fans, the composition’s lyrical theme is far less foreboding, as Wiley discussed in a recent interview.

“When the quarantine started, I wrote this song,” he said.  “The lyrics were inspired by the thought of lovers spending every waking moment with each other and compromising for the other.”

‘I Want To Spend The End Times With You’ is available to download now through Apple Music and Sensory Recordings’ official website.  More information on Deveraux is available through its official Bandcamp page.

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.