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

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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:

 

 

 

Facebookhttp://www.facebook.com/PORNtheband

Twitterhttp://twitter.com/PORNtheband

 

 

 

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

 

 

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.

 

Porn Announces Release Date For New LP, ‘No Monsters In God’s Eyes — Act III’

Courtesy: FM Music Management

Goth-rock band Porn will release its new album next year.

The is scheduled to release its new album No Monsters In god’s Eyes — Act III March 27, 2020.  The album is the third in a trilogy, which started with The Ogre Inside — Act I in 2017.

A trailer for No Monster’s In God’s Eyes — Act III is streaming online now here. The album’s track listing is noted below.

 

20 – Dead in every eyes
21 – High summer sun – Part 1
22 – A lovely day
23 – Low winter hope – Part 1
24 – In an endless dream
25 – Low winter hope – Part 2
26 – Sky outside
27 – High summer sun – Part 2
28 – Some happy moments
29 – God’s creatures
30 – Low winter hope – Part 3
31 – Among dark red roses
32 – Mr Strangler’s last words
Digipack – 13 tracks – 59 minutes

Porn, which has shared the stage with acts, such as Murderdolls, Front Line Assembly and Hanoi Rocks, got its name from The Cure’s 1982 album Pornography.  The band claims as influences, bands, such as Type O Negative, Nine Inch Nails and Tool.

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

 

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

Twitter: http://twitter.com/PORNtheband

 

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

John 5 And The Creatures To Open 2018 With New Live Recording

Courtesy: Adrenaline PR

John 5 and the Creatures will open the new year with a new live recording.

the former Marilyn Manson guitarist and his fellow musicians will releae It’s Alive! in stores and online on Thursday, Jan. 28 according to a news release about the recording. That’s a day earlier than the normal Friday release date on which music releases are typically made available.

Pre-orders are open now. The recording’s track listing is noted below.

It’s Alive! track listing:
1. Guitars, Tits and Monsters
2. Flight of The Vulcan Kelly
3. Six Hundred and Sixty Six Pickers In Hell, CA
4. Here’s to the Crazy Ones
5. This is my Rifle
6. Jiffy Jam
7. Hall Haw
8. Season Of The Witch
9. The Nightmare Unravels
10. Portrait of Sydney Sloan
11. Triple D
12. Black Grass Plague
13. Behind The Nut Love
14. Making Monsters
15. Beat It
16. Now Fear This
17. Medley

John 5 said of the recording’s creation in a recent interview that it came to being on a whim.

“I remember pulling up to a beautiful venue that we played in Sellersville, Pennsylvania, and before we were unloading the equipment, the soundman said, “Hey guys, would you like to record the show?,” the guitarist said. “We said, “sure that would be amazing!” I always wanted to have a really great recording of the show. We were a few weeks into the show, so we were really well-rehearsed, so I said, “Alright guys, let’s not jump around. Let’s just really try to get a great performance because we only have one shot – no other shows if we mess up!” So, we explained to the crowd that we would be recording. You can hear that on the recording of the album, which makes it very magical. It came out amazingly! That’s the magic of live albums to me – capturing the performance.”

He added he was so impressed by the end result that he wanted to release the recording and tour in support of the offering.

“I’m so proud of it that I wanted to put it out and also tour it like bands used to tour live albums back in the 70s,” John 5 said. “I thought that was so cool! I’ve put out a lot of records, so I thought – g********, I’m going to do it!”

The tour in support of It’s Alive is currently scheduled to start Feb. 1 in Orlando, Florida and to run through April 21 in Tacoma, Washington. The tour also includes performances in Los Angeles, California; Greensboro, North Carolina; Chicago, Illinois and other cities. The full schedule is noted below.

JOHN 5 and The Creatures It’s Alive! tour dates:
2/1 – Orlando, FL @ The Social
2/2 – Jacksonville, FL @ 1904 Music Hall
2/3 – Atlanta, GA @ Drunken Unicorn
2/5 – Asheville, NC @ Orange Peel
2/6 – Greensboro, NC @ Blind Tiger
2/7 – Virginia Beach, VA @ Shaka’s
2/8 – Richmond, VA @ Broadberry
2/9 – College Park, MD @ Milkboy
2/10 – Sellersville, PA @ Sellersville Theater
2/11 – Stanhope, NJ @ Stanhope Theater
2/12 – New York, NY @ Highline Ballroom
2/13 – Boston, MA @ Middle East
2/14 – Syracuse, NY @ Lost Horizon
2/15 – Pittsburgh, PA @ Hard Rock
2/16 – Cleveland, OH @ Beachland
2/17 – Westland, MI @ Token Lounge
2/18 – Chicago, IL @ Reggies
2/20 – Des Moines, IA @ Vaudeville Mews
2/21 – Indianapolis, IN @ Vogue
2/22 – Newport, KY @ Southgate House
2/23 – Lexington, KY @ Manchester Music Hall
2/24 – Chattanooga, TN @ Songbirds
3/29 – San Antonio, TX @ Rock Box
3/30 – Dallas, TX @ Trees
3/31 – Houston, TX @ Scout Bar
4/2 – Albuquerque, NM @ Launchpad
4/3 – Tucson, AZ @ 191 Toole
4/4 – Mesa, AZ @ Club Red
4/5 – San Diego, CA @ Brick by Brick
4/6 – Los Angeles, CA @ Whisky A Go Go
4/7 – Las Vegas, NV @ Vamp’d
4/8 – Fullerton, CA @ SlideBar
4/11 – Ventura, CA @ Discovery
4/12 – San Jose, CA @ Ritz
4/13 – San Francisco, CA @ DNA Lounge
4/14 – Fresno, CA @ Full Circle Brewery
4/15 – Sacramento, CA @ Harlows
4/17 – Salt Lake City, UT @ The Complex
4/18 – Boise, ID @ Neurolux
4/19 – Bend, OR @ Volacanic Pub
4/20 – Portland, OR @ Hard Rock PDX
4/21 – Tacoma, WA @ Tacoma Dome – Tacoma Guitar Festival

More information on It’s Alive, John 5 and The Creatures’ tour and more is available online now along with all of the band’s latest news and more at:

Website: http://www.john-5.com

Facebook: http://www.facebook.com/John5official

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Industrial Metal Purists Will Appreciate Pig’s New EP

Courtesy: Metropolis Records

Late last month, Raymond Watts, the mastermind behind pioneering industrial act <Pig> returned with his latest opus in the form of the 6-song EP Prey & Obey.  The record came roughly a month after the release of Pig’s latest re-mix record Swine & Punishment.  Needless to say going such a short time between records is a big gamble since it doesn’t give audiences much time to digest one record before the next.  That aside, Watts’ latest effort under the <Pig> proves over the course of its six songs to be a work that any industrial metal purist will appreciate.  That is due in part to the record’s songs (including their arrangements), which will be discussed shortly.  The songs’ lyrical content plays another pivotal part in the record’s presentation, too.  It will be discussed later.  The record’s sequencing rounds out its most important elements.  When it is joined with the previously noted elements, the whole of those items makes Prey & Obey a record that any industrial metal fan will be glad to own.

Raymond Watts’ latest <Pig> offering Prey & Obey is a record that any industrial metal purist will be glad to own.  Released June 16 via Metropolis Records, the 6-song EP’s foundation is formed through those songs in question.  Technically speaking, only three of those songs – its first three – are original.  The last three songs are re-mixes of the record’s title track and its follow-up, ‘Revelation.’  While the second half of the record is composed of re-worked versions of the originals, those re-mixes could easily be argued to be original in their own right, showing the importance of the songs’ arrangements.

The arrangements presented in each of Prey & Obey’s six tracks are critical to the record’s presentation because not one of the arrangements directly mirrors the others.  That is clearly evident, for instance, when comparing the title track’s original arrangement to those of its re-mixes.  The song’s original arrangement (or rather the final arrangement presented here vs. the demos), bears an easy comparison to works from Rammstein, which is one of so many bands worldwide that has gained its popularity by aping ’s sound.  At the same time, the song’s Leether Strip re-mix comes across more as something one might expect to hear from Juno Reactor (yet another act that rose to fame using ’s sound as an influence) with its EDM-centered arrangement.  Going even deeper, the song’s En Esh re-mix stands out just as much, establishing its own identity separate from the original mix and the Leether Strip re-mix.  That is because the arrangement presented here conjures thoughts (at least in this critic’s mind) of works that made Marilyn Manson a household name in the late 90s and early 2000s.  Simply put, the arrangement presented in this re-mix is completely different from that of the arrangement in the Leether Strip re-mix and that of the song’s original mix.  Keeping that in mind, it should be clear why the arrangements presented in this EP are so important to the record’s presentation.

As an additional explanation, the arrangements presented in ‘The Revelation’s’ original mix and its Z.Marr Electronic Mix are completely separate from one another.  Yet at the same time, one can easily make a comparison to works from Ministry in each arrangement.  This is even as the arrangements sound completely apart from one another.  One could even take the second arrangement and compare it to works from KMFDM, with whom Watts’ also worked early in his career, so it is only natural to hear that comparison.

If this is not enough of a comparison, one could easily compare the arrangement presented in ‘The Cult of Chaos’ to works presented in Nine Inch Nails’ landmark 1994 album The Downward Spiral, again showing the influence that Watts has had on the industrial realm throughout his career.  Keeping all of this in mind, it should be crystal clear why the songs presented in Prey & Obey are so critical to its overall presentation.  While only three of the record’s six songs may be technically originals, the re-mixes deserve their own attention, as they completely re-imagine their counterparts.  Even ‘the Cult of Chaos,’ the one song that did not receive a re-mix here, boasts its own original sound separate from those presented in each of the record’s other songs.  Keeping this in mind, the importance of the songs in this record and their arrangements is undeniable.  The songs and their arrangements are, collectively, not the record’s only important element.  The songs’ lyrical content is just as important to note as the songs and their arrangements.

The lyrical content presented in Prey & Obey is so critical to the record’s presentation because it comes across as being rather blatant.  The album’s very title track is solid proof of that with its clear commentary on organized religion.  Watts starts the song with a chorus yelling “Prey/Obey” as would a church’s congregation, before writing, “Look at the size of that monkey/Up on your back/Like a Jesus jerkin junky/I am the fly s*** will attract…wars/w****s/Apocalypse/Scores to settle/Fights to face.”  He continues on in the song’s second verse in similar fashion, expressing what come across as his own thoughts on the institution.

‘The Revelation’ is just as powerful as the record’s title track in its lyrical content with Watts writing, “We’ve got a social suicide/It’s comin’ tonight/With the germ of genocide…I had a vision of an afterlife/But I’ve seen it before/With the gift from the magic man/before he took it all/Now rise up for the revelation/Rise.”  He goes on to write in the song’s second verse, “A new apocalypse, a revelation/Bet youre doing it right…Jumpin’ Jesus is ***********.”  One need not go on from here.  It is clear that Watts has some very interesting commentary to share needless to say.  Of course, what he writes should be taken with a grain of salt, much like the songs crafted by Marilyn Manson for his 1996 album Antichrist Superstar.  Lyrically speaking, this shock rock record comes across in very similar fashion.  Keeping that in mind, the record’s lyrical content is certain to cause some stir, needless to say.  That attention that it is certain to bring plenty of discussion.  That certain discussion proves why the record’s lyrical content is so critical to the record’s whole.  It should be noted here that this critic does not endorse this record’s lyrical content by any means.  Its musical arrangements yes, but its lyrical content no.  Keeping that in mind, it would be wise to move on to the last of the record’s most important elements, its sequencing.

The sequencing of the songs featured in Prey & Obey is critical to the record’s whole because it keeps the record’s energy flowing from start to finish.  From the guitar-driven opening of the record’s title song and its ensuing solid time keeping to the thrash sound of ‘The Revelation’ to the much more brooding, guitar-driven arrangement of ‘the Cult of Chaos,’ the first half of this record easily ensures listeners’ engagement.  While the last of that trio is brooding in nature, it still is a forward-driving arrangement that keeps the record’s energy flowing in its own right.  The re-mixes that make up the record’s second half keep that energy flowing just as much with their arrangements.  That is the case even as the arrangements stand on their own merits separate from those presented in their counterparts.  Considering this, it is clear that much thought and time was put into the record’s sequencing.  That thought and time paid off, as it ensures just as much audiences’ continued engagement.  When joined with the thought put into the record’s chosen songs and their arrangements, the whole of the record’s presentation ensures it to be a work overall that, once again industrial metal purists will appreciate.

<Pig>’s latest studio effort Prey & Obey is a work that any industrial metal purist will appreciate.  That is due in part to its six-song body and their arrangements, each of which stand separate from one another, ensuring listeners’ enjoyment.  While three of the songs featured are re-mixes, the fact that the re-mixes give the originals their own new identity makes arguing them as their own original that much easier.  The songs’ lyrical content definitely is certain to create quite a bit of discussion among listeners.  Whether one agrees or disagrees with that content, the discussions that are certain to be generated from that content proves its importance just as much as the songs and their arrangements. The songs’ sequencing rounds out the most important of the record’s elements.  The energy exuded in each song shows that much time and thought was put into the record’s sequencing, ensuring even more that previously noted maintained engagement. When all three elements are joined, they make the record in whole, once again, a whole that any industrial metal purist will appreciate.  It is available now online and in stores.  More information on Prey & Obey is available online now along with all of <Pig>’s latest news and more at:

 

 

 

Website: http://www.pigindustries.com

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

Twitter: http://twitter.com/raymondwatts

 

 

 

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