2017 Rock On The Range Festival Lineup Announced

Courtesy: Danny Wimmer Presents/AEG Live

Courtesy: Danny Wimmer Presents/AEG Live

The lineup for the 2017 Rock on the Range Festival has been announced, and once again it has proven to be quite the collection of acts.

The three-day festival will be headlined by Metallica, Soundgarden and Korn.  It will feature more than 50 bands over the course of that time along with some of the country’s top comics at the festival’s Rock on the Range Rolling Rock Comedy Tent.

The lineup for the 2017 Rock on the Range Festival includes: Metallica, Soundgarden, Korn, The Offspring, Volbeat, Primus, Bush, Chevelle, Papa Roach, Seether, Coheed & Cambria, Alter Bridge, The Pretty Reckless, Taking Back Sunday, Thrice, Amon Amarth, Pierce The Veil, Sum 41, Skillet, Dillinger Escape Plan, In Flames, Gojira, Biffy Clyro, Motionless In White, Nothing More, Beartooth, Starset, Every Time I Die, The Story So Far, Deafheaven, Zakk Sabbath, Rival Sons, The Amity Affliction, Attila, Norma Jean, Suicide Silence, Whitechapel, I Prevail, Turnstile, Dinosaur Pile-Up, Red Fang, Dorothy, Kyng, Radkey, As Lions, Frank Carter & The Rattlesnakes, Sylar, Fire From The Gods, Badflower, Wage War, Goodbye June, Cover Your Tracks, DED, Bleeker, Royal Republic, Mother Feather, Aeges and One Less Reason.

Rock on the Range—fueled by Monster Energy—is billed as America’s largest and most acclaimed rock festival.  The festival will also feature in 2017 “The Music Experience,” art installations, and unique on-site activities over the course of the festival’s three days.

Tickets for the 2016 festival sold out more than two months in advance of the festival.  It marked the fourth consecutive year the festival has sold out in advance.

Weekend Field, new Weekend Field VIP, Weekend Stadium and a limited number of Weekend Stadium 4-packs are available now for purchase.  A layaway option is also available for concert-goers.  That option allows audiences to split the cost of their ticket/ticket packages into four separate monthly payments.

Fans can get a pre-sale password for Weekend Field VIP, Weekend Field GA, Weekend Stadium GA and Weekend Stadium GA 4-packs on the official Rock on the Range website, Facebook page and Twitter page.  The ticket prices are listed below.

 

  • Weekend Field VIP: starting at $349.50* + fees
  • Weekend Field GA: starting at $199.50* + fees
  • Weekend Stadium GA: starting at $99.50* + fees
  • Weekend Stadium GA Ticket 4-Pack: $380.00 + fees
  • * Phase One prices listed
  • *** Ticket prices automatically move to the next price level once the allotment sells out ***

General on-sale for tickets is Friday, Dec. 2 at 10 a.m. EST.  Tickets will be available online at the festival’s website, at Ticketmaster locations and the MAPFRE Stadium box office.

Audiences who want an even more special concert experience can purchase the new Uber Ranger Camping Package.  The package includes amenities for four people such as luxury RV on a double campsite at the Ohio Expo North Campground (May 18 – 21), a dedicated concierge with golf cart shuttle, 4 Weekend VIP Field Admission Tickets, a backstage tour, access to the stadium club (with catered lunch and dinner), access to the Side Stage Viewing Platform, access to the VIP Lounge and more.  More information on the new Uber Ranger Camping Package is available here.

Rock on The Range celebrated its 10th anniversary in 2016.  More than 120,000 people attended the festival from around the world.  As part of its 10th anniversary celebration, Columbus, OH mayor Andrew J. Ginther and the Columbus, OH city council presented festival organizers with awards of recognition.  A resolution was also announced from the Franklin County Board of Commissioners acknowledging the festival’s economic impact on the city.

The commissioners pointed out in their resolution pointed out the festival brought in more than $140 million for the city over the course of its ten years in the city.

Rock on the Range is produced by Danny Wimmer Presents, AEG Live and MAPFRE Stadium.  It is supported by Monster Energy, Bud Light and Zippo.  They and other partners will feature interactive experiences, meet & greets, and other special fan engagement opportunities throughout the festival.

More information on the 2017 Rock on the Range Festival is available online now at:

 

 

 

Website: http://www.RockontheRange.com

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

Twitter: http://twitter.com/rockontherange

 

 

 

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

Metallica’s New Album Is Well Worth The Wait

Courtesy: Blackened Records

Courtesy: Blackened Records

Eight years have passed since Metallica released its most recent album Death Magnetic.  That is a long time for any act to spend between albums.  It’s also a huge risk because the longer an act waits, the greater the odds it might not be relevant anymore.  What’s more, it also raises expectations greatly for said act’s new release.  In many cases, said albums don’t live up to expectations.  Guns ‘N Roses’ 2010 album Chinese Democracy is a prime example of that letdown.  So waiting for such a long time between albums is a gamble to say the very least.  For veteran hard rock outfit Metallica, the gamble to wait so long between albums paid off when it released its new album HardwiredTo Self-Destruct on Friday, November 18.  This record is the band’s best work to date.  It is a culmination of everything that the band has done over the course of its more than thirty year life.  That is evident first and foremost through it musical arrangements.  That will be discussed shortly.  The record’s lyrical content is just as important to note in examining what makes this record stand out.  It will be discussed later.  The bonus live disc that was included in the record’s extended edition is just as important to note in the album’s presentation.  Each element serves the record in its own positive way.  All things considered, they make this record, again, Metallica’s best album to date and one of the year’s top new hard rock and metal albums.

Metallica’s new full-length album HardwiredTo Self-Destruct is the best work that this veteran hard rock outfit has released to date.  It is also one of the year’s top new hard rock and metal albums without question.  That is saying a lot considering how many albums the band has released over its life (10 counting this record) and the number of outstanding hard rock and metal albums that have been released so far this year.  One of the elements that makes the album stand so proud is its collective musical arrangements.  From one song to the next, the arrangements present elements of the band’s past, present and even its future.  One of the songs that best exemplifies the arrangements’ reach is ‘Now That We’re Dead.’  Right from the song’s outset, its driving guitar line and drumming harkens back to ‘Enter Sandman’ from the band’s groundbreaking 1991 self-titled album (or more affectionately known by fans as The Black Album.  That similarity stands throughout the remainder of its nearly 7-minute run time.  Front man James Hetfield’s vocal delivery is just as powerful throughout the song as it was way back in 1991, too.  When his vocal delivery is coupled with that solid musical arrangement, it makes the connection to The Black Album even stronger.  It’s just one of the songs that serves to exemplify the reach of the album’s musical arrangements.  ‘Spit Out The Bone,’ the record’s closer exhibits the arrangements’ reach just as much as ‘Now That We’re Dead.’

‘Now That We’re Dead’ exhibits a clear connection to material featured in Metallica’s 1991 self-titled record.  It is just one of the songs included in this record that exhibits the reach of the album’s arrangements.  ‘Spit Out The Bone’ exhibits that reach just as much as ‘Now That We’re Dead.’  It is a direct throwback to the band’s very first album Kill ‘Em All (1983) with its speed/thrash metal riffs and drumming.  One could even argue to a point that there are hints of the band’s 1986 album Master of Puppets considering this arrangement and Robert Trujillo’s bass line.  His bass line instantly conjures thoughts of Cliff Burton’s work with its style and sound.  Obviously Burton died during the tour for that album, but would likely be as proud as the band’s fans to hear that similarity.  Even Hetfield’s own vocal delivery throws so far back, too. Sure he’s much older now.  But when he hits certain notes, audiences will instantly hear those hints of his days gone by.  That is a big compliment to him.  When each of the arrangements are brought together, they make this arrangement yet another standout composition.  Even more important to note is that just as with ‘Now That We’re Dead,’ the song’s arrangements harkens back to the noted albums but does so with a certain sense of evolution, too.  In other words, it doesn’t just repeat any of the songs from said albums.  Rather, it merely exhibits the stylistic approach used in the noted albums.  The same applies in the case of ‘Dream No More.’

‘Now That We’re Dead’ and ‘Spit Out The Bone’ are both clear examples of the reach of this record’s arrangements.  One throws back to the band’s Black Album while the other throws back even farther.  Both songs exhibit the influence of those albums through their arrangements, and do so without just repeating any of the songs included in those records.  That is extremely impressive.  They are just a couple of the songs that serve to exhibit the reach of this album’s arrangements.  ‘Dream No More’ is another example of the arrangements’ reach.  This song exhibits hints of the band’s much maligned albums Load and Re-Load.  More precisely, with its combination of guitar and drum lines, it conjures thoughts of ‘King Nothing,’ which was one of the few truly good songs included in Load.  But again, it doesn’t try to just rehash that song through its arrangement.  Love the album or hate it (and Re-Load) the fact of the matter is that through this song, Metallica has taken the best of the album and evolved it into this song.  It again shows the reach of the album’s arrangements.  As if that isn’t enough, there are a couple of songs included in this record that even hint at what is probably the band’s worst albums (if not its worst), St. Anger.  Even in those cases, the band somehow managed to take the best of the worst and make it something enjoyable here.  There are also hints of each of the band’s other albums in the likes of ‘Hardwired,’ ‘Atlas, Rise’ and ‘Confusion’ just to name a few other standout arrangements.  All things considered here, it is clear in listening to the album from start to finish that this albums’ arrangement present quite a reach.  They present the band’s past, present and possibly even future.  That reach will impress any long time fan just as much as any new fan.  The reach presented in this record’s arrangements is clearly an important part of the record’s presentation.  It is just one of the record’s key elements, too.  The album’s lyrical content is just as important to note in examining the record’s presentation as its musical reach.

The musical reach that is exhibited throughout Metallica’s latest full-length LP is a hugely important part of the record’s presentation.  That is because the record’s arrangements present influences from each of its previous albums and even hint at the band’s future.  To an extent, one could say that makes this record career-spanning.  While the record’s musical arrangements are so clearly important to its overall presentation, they are not its only important element.  The album’s lyrical content is just as important to note as its musical arrangements.  ‘Atlas, Rise’ is just one example of the importance of the record’s lyrical content.  Hetfield sings in this song, “Bitterness and burden/Curses rest on thee/Solitaire and sorrow/All eternity/Save the earth and claim perfection/Deem the mass and blame rejection/Hold the pose, feign perception/Grudges break your back/All you bear/All you carry/All you bear/Place it right on, Right on me.”  He’s not signing about the literary Atlas.  This comes across as using Atlas as a metaphor for someone who loves to put the problems of the world on himself or herself, but not for noble reasons.  That is evident as he sings, “Grudges break your back/All you bear/All you carry/All you bear/Place it right on, right on me.”  This becomes even clearer as Hetfield sings, “How does it feel on your own/Bound by the world all alone/Crushed under heavy skies/Atlas, rise!”  The song goes on very much in similar fashion in terms of its lyrical content.  It leaves just as little doubt as the song’s early lines.  It definitely is a powerful song considering all of that.  When the song’s equally powerful musical arrangement is set against those lines, the song becomes even harder hitting.  It is just one of the songs that exemplifies the importance of the album’s lyrical content.  ‘Moth Into Flame’ is another of the album’s songs that exhibits the importance of the album’s lyrical content.

‘Atlas, Rise’ is a prime example of the importance of the lyrical content presented in HardwiredTo Self-Destruct.  It comes across as a damning indictment of those people who prefer (for whatever reason) to put the world’s problems on themselves and make themselves virtual martyrs, all the while holding grudges against the world.  Everyone knows or has known someone just like that.  It is just one of the examples of the importance of the album’s lyrical content.  ‘Moth Into Flame’ is another example of the importance of the album’s lyrical content.  Hetfield sings in this song, “Blacked out/Pop queen, amphetamine/The screams crashed into silence/Tapped out/Doused in the gasoline/The high times going timeless/Infamy all for publicity/Destruction going viral/Light it up/Ah, light it up/Another hit erases all the pain.”  He goes on to sing, “Bulletproof/Ah, kill the truth/You’re falling, but you think you’re flying high/High again/Sold your soul/Built a higher wall/Yesterday/Now you’re thrown away/Same rise and fall/Who cares at all/Seduced by fame/A moth into flame.”  As with ‘Atlas, Rise,’ the lines presented here are their own damning indictment.  This time, it comes across as an indictment of celebrities and their lifestyles.  The lines presented here are just a portion of the support for that argument.  The song continues in similar fashion lyrically speaking, which strengthens this critic’s argument even more.  Keeping that in mind, this song’s lyrical content becomes yet another important example of the importance of the album’s lyrical content.  It’s hardly the first time that anyone has ever crafted a song that goes after celebrities and their lifestyles (if that is in fact the focus on the song’s lyrics).  But it is still a biting approach that audiences will appreciate greatly.  It isn’t the last song that exhibits the importance of the album’s lyrical content.  ‘Spit Out The Bone’ is one more example of the importance of this record’s lyrical content.

‘Atlas, Rise’ and ‘Moth Into Flame’ are both key examples of the importance of this record’s lyrical content.  Both songs come across as very biting commentary about their given topics.  While both pieces are key in exhibiting the importance of the lyrical content in Metallica’s new album, they are not the only songs that show that importance.  ‘Spit Out The Bone’ also serves to show the importance of the album’s lyrical content.  This song presents some very heavy content.  Hetfield sings in the song’s lead verse, “Come unto me and you will feel perfection/Come unto me and dedicate/Come unto me and you’ll never feel rejection/Come unto me and terminate/Remove your heart, it’s only good for bleeding/Bleeding through your fragile skin/Remove your thought cause it’s only for deceiving/Deceiving thoughts destroy within/Disappear like man was never here/Long live machine/The future supreme/Man overthrown/Spit out the bone.”  The technology theme continues throughout the song, but shouldn’t be misinterpreted.  This isn’t one of those songs that audiences have come to expect from Fear Factory or other similar acts.  It comes across more as a piece about people’s reliance on technology, not about robots overthrowing mankind.  That’s even despite the fact that Hetfield sings “Long live machine/the future supreme.”  It comes across more as a commentary about how mankind has allowed technology to become its new God.  That is evidenced in the song’s second verse in which he sings, “Plug into me, I guarantee devotion/Plug into me and dedicate/Plug into me and I’ll save you from emotion/Plug into me and terminate/Accelerate, utopian solution/Finally cure the Earth of man/Exterminate, speeding up the evolution/Set on a course, a master plan/Reinvent the earth inhabitant/Long live machine/the future supreme/Man overthrown/Spit out the bone.”  It comes across as saying man’s reliance on technology and devotion to technology will eventually turn man into machine.  It comes across as a sarcastic, yet still very biting commentary in its own right.  Again, when this content is coupled with the song’s musical content, the whole of the song stands out even more.  It is hardly the last song that could be cited in exhibiting the importance of the album’s lyrical content.  ‘Dream No More,’ ‘Confusion’ and ‘Am I Savage?’ could each be cited in exhibiting the importance of the album’s lyrical content along with the rest of the album’s songs.  All things considered, the album’s lyrical content proves in whole to be just as important to its presentation as its musical arrangements.  Even as important as its musical and lyrical content proves to be, these two elements are not the album’s only important elements.  The bonus third disc included in the album’s extended edition is just as important to note as its musical arrangements and lyrical content.

Both the musical arrangements and lyrical content presented throughout HardwiredTo Self-Destruct are key to its overall presentation.  The musical arrangements take listeners to the band’s earliest days as well as its present and even future.  The album’s lyrical content addresses a variety of topics including celebrity, people who make themselves martyrs, and much more.  While both elements are clearly important to the album’s overall presentation, they are not its only important elements.  The bonus third disc included in the album’s extended edition is just as important to note in examining its presentation as the previously noted elements.  The disc features four more songs including a medley of Ronnie James Dio covers in the form of ‘Ronnie Rising Medley’ and ten live songs.  The studio songs bring the album’s total song count to 16.  That is counting the medley as one big song.  The live songs, recorded during the band’s 2016 – ’16 tour are important in their own right both because of the songs that are featured and the band’s performance thereof. The live songs featured in the record’s bonus disc are some of the band’s most beloved classics.  They include’ ‘Hit The Lights,’ ‘Ride The Lightning,’ ‘For Whom The Bell Tolls’ and plenty of others.  They are so important to note because they are a perfect fit with the album’s new studio tracks, which themselves lift from every era of the band’s life.  The band’s performance of the songs is just as impressive because of its energy throughout each song.  The band hasn’t lost even all these years later.  It is still just as enjoyable to experience here as it was when the featured songs were still new.  If that isn’t enough for audiences, the fact that the performances sound so good adds even more enjoyment to their overall presentation.  The proverbial cherry on top for the live recordings is that save for just one performance—‘Hardwired’ recorded live at U.S. Bank Stadium in Minneapolis, MN—each of the songs featured here were all recorded at the same place, Rasputin Music in Berkeley, CA on April 16, 2016.  So rather than just having a group of random recordings, audiences get nearly a full live recording on this disc along with four bonus studio recordings.  It is a great finishing touch to an album that already stood out on its own musical and lyrical laurels.  When it is set against those elements, the whole of the elements leaves no question that HardwiredTo Self-Destruct is Metallica’s best effort to date and that it is one of 2016’s top new hard rock and metal albums.

HardwiredTo Self-Destruct is Metallica’s best new album to date.  It is also one of this year’s top new hard rock and metal albums.  That is evidenced through musical arrangements that will take listeners throughout the band’s body of work.  Its lyrical content is just as certain to leave listeners thinking and talking.  The bonus disc included in the album’s extended edition adds even more enjoyment to the record’s overall presentation with its four extra studio recordings and ten expertly produced and engineered live recordings.  The live recordings will entertain audiences not just because of how well they were handled but also because they run the gamut just as much as the songs presented in the album’s main body.  The band’s performance of the songs is just as important to note in their enjoyment, too.  Each element noted in this review is important in its own right to HardwiredTo Self-Destruct.  All things considered, they make this record the band’s best work to date and one of the year’s top new hard rock and metal offerings.  It is available now in stores and online.  More information on the album is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.metallica.com

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

Twitter: http://twitter.com/metallica

 

 

 

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

Metallica To Mark New Album Release With “Blackened Friday” Events

Courtesy: Blackened Records

Courtesy: Blackened Records

The countdown to “Blackened Friday” is on.

Next Friday, 100 independent record stores across America will open their doors at midnight, giving audiences the chance to pick up Metallica’s new album HardwiredTo Self Destruct early.

The album is the band’s first new studio effort in eight years.  The select stores will carry not only the band’s new album but also prizes and lots of limited edition, exclusive items that will be given away free with purchase of the band’s new album.

On Friday, other independent record stores around the nation will join the festivities with their own special events.  Those events will include music and giveaways of limited edition items.

Items are all available only while supplies last.  So, audiences are encouraged to contact their local independent record store for more details on “Blackened Fridays” events.

HardwiredTo Self Destruct will be available on a variety of platforms including CD, vinyl, digital deluxe, and deluxe box.  It can be pre-ordered online now.  Greg Fidelman produced the album.  He also engineered Death Magnetic (2008), the band’s last album.

More information on “Blackened Friday” events is available online here.

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

 

 

 

Website: http://www.metallica.com

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

Twitter: http://twitter.com/metallica

 

 

 

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

Metallica To Debut New LP’s Third Single Next Week

Courtesy: Blackened Records

Courtesy: Blackened Records

Metallica is offering a very special treat for its fans this Halloween.

The band announced this week that it will release its new single ‘Atlas, Rise’ at 3p.m. EST on Oct. 31.  The song is the third single to be released from the band’s forthcoming album Hardwired…To Self Destruct.

Audiences can get the chance to hear the song early this Friday at their local independent record store.  Stores will have special limited edition Hardwired…To Self Destruct masks with an access code that will allow fans to hear the song half an hour ahead of everyone else on its release day.

Fans can find a full list of participating stores online now here.

Hardwired…To Self Destruct is the band’s first album in eight years.  Its last full-length studio recording was Death Magnetic (2008).  This latest effort was produced and mixed by Greg Fidelman, who also engineered and mixed Death Magnetic.

Hardwired…To Self Destruct is available for pre-order now here in a variety of platforms.  It will be available in stores nationwide on Nov. 18.

More information on Hardwired…To Self Destruct is available online now along with all of the band’s latest tour dates and more at:

 

 

 

Website: http://www.metallica.com

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

Twitter: http://twitter.com/metallica

 

 

 

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

Metallica Announces Release Date For Its Next Album; Unveils New Video

Courtesy: Blackened Records

Courtesy: Blackened Records

Raise your horns, metal nation!  Metallica has made it official.  It will release its new album this fall.

Hardwired…To Self Destruct will be released Friday, November 18th via the band’s own label, Blackened Records.  The album will be available in separate 2CD and 2 vinyl platform.  Pre-orders for the album are available now here.  It can be pre-ordered on CD, vinyl, digital platforms and two separate deluxe packages.  The album, the band’s eleventh full-length studio offering, was produced by Greg Fidelman, who also helmed the band’s most recent album 2013’s Death Magnetic.  The complete track listing for Hardwired…To Self Destruct is noted below.

 

TRACKLISTING

Regular Album (on CD, Vinyl and Digital formats):

 

Disc One

  1. Hardwired
  2. Atlas, Rise!
  3. Now That We’re Dead
  4. Moth Into Flame
  5. Am I Savage?
  6. Halo On Fire

 

Disc Two

  1. Confusion
  2. Dream No More
  3. ManUNkind
  4. Here Comes Revenge
  5. Murder One
  6. Spit Out The Bone

Deluxe Version (On CD & Vinyl only):

Disc One

  1. Hardwired
  2. Atlas, Rise!
  3. Now That We’re Dead
  4. Moth Into Flame
  5. Am I Savage?
  6. Halo On Fire

Disc Two

  1. Confusion
  2. Dream No More
  3. ManUNkind
  4. Here Comes Revenge
  5. Murder One
  6. Spit Out The Bone

Disc Three

  1. Lords Of Summer
  2. Riff Charge (Riff Origins)
  3. N.W.O.B.H.M. A.T.M.  (Riff Origins)
  4. Tin Shot (Riff Origins)
  5. Plow (Riff Origins)
  6. Sawblade (Riff Origins)
  7. RIP (Riff Origins)
  8. Lima(Riff Origins)
  9. 91 (Riff Origins)
  10. MTO (Riff Origins)
  11. RL72 (Riff Origins)
  12. Frankenstein (Riff Origins)
  13. CHI (Riff Origins)
  14. X Dust (Riff Origins)

In anticipation of the album’s upcoming release the band unveiled the video for the album’s lead single and title track. Audiences can see the video online now here.  Listener discretion is advised as there is some explicit language used in the song.  The band also has a performance planned for this Sunday at U.S. Bank Stadium, the new home of the NFL’s Minnesota Vikings.  The performance will be the stadium’s first rock concert.  Tickets for the concert sold out in only ten minutes.  Those not lucky enough to get tickets for the show will still get to see it live online via Pandora beginning at 10pm EST here.  Fans outside the United States can livestream the concert online here.

More information on Hardwired…To Self Destruct is available online with all of Metallica’s latest news and more online now at:

 

 

 

Website: http://www.metallica.com

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

Twitter: http://twitter.com/metallica

 

 

 

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

 

 

Conquest’s ‘Under The Influence’ Is Not Just Another Covers Album

Courtesy:  Dark Star Records

Courtesy: Dark Star Records

Early this past April St. Louis, Missouri-based metal outfit Conquest released its latest album Under The Influence.  The forty-three-minute covers album presents eleven songs from some of the band members’ favorite bands.  The songs themselves are, collectively, their own important part of the record’s presentation.  That will be discussed shortly.  They are not the album’s only key element.  The band’s take on the featured songs is just as important to note in this record’s presentation as the songs themselves.  That will be discussed later.  The album’s overall sequencing rounds out the record’s most important elements.  Each element is important in its own right to the album’s whole.  Altogether all three elements Under The Influence a covers album that any rock fan should hear at least once.  This applies regardless of audiences’ familiarity with Conquest’s body of work.

Covers albums are a dime a dozen nowadays in the music industry.  Nine times out of ten, they are space fillers used between new albums to tide over fans and fulfill contractual obligations for record labels.  Even worse, said albums are commonly thrown together rather haphazardly, much like all of the “hits” albums that are out there.  The end result in both cases are albums (if one even wants to call them albums—note the sarcasm) that are anything but memorable or even worth having in one’s personal music collection.  Enter Under The Influence, the new covers collection from St. Louis, Missouri’s hard rock outfit Conquest.  Unlike all of the covers (and “hits”—technically singles) collections out there on the market today this eleven-song compilation record is one that every rock fan should head at least once.  This applies regardless of audiences’ familiarity with Conquest and its body of work.  The record’s featured covers are in themselves just one of the elements that make this record worth hearing.  That is the case because the songs don’t just come from one of rock’s many sub-genres or another.  Rather it crosses those genres from beginning to end.  It also spans rock’s rich modern history with its presented songs.  It all kicks off with a pair of Judas Priest covers in the form of ‘Metal Gods’ and ‘The Ripper.’  That pair of songs is followed by a cover of Iron Maiden’s beloved ‘Wraith Child.’ The band gets even heavier from there with its own take on Metallica’s ‘For Whom The Bell Tolls.’  Things change even more dramatically in the band’s next offering, a cover of Motorhead’s ‘Ace of Spades.’  This one comes at just the right moment, too, as it is essentially the album’s midway point.  It isn’t even the album’s most interesting of the record’s inclusions either.  The album’s second half features covers of songs from Bon Jovi, Anthrax, Pantera, Black Sabbath, Motley Crue, and even UFO.  To say that that is a broad swath of bands (and songs) would be an understatement.  Simply put, the eleven songs (and bands) that are featured in this covers collection is extremely wide.  The songs are just as diverse in their stylistic approaches as the bands are within their own rock sub-genres.  Keeping that in mind, it becomes clear as to why the songs featured in this record are so important to its presentation.  They don’t subject listeners to just one style of rock.  Rather, they cover so many different styles from so many ages of rock’s rich history.  They make up just one of the record’s most important elements.  The band’s take on each of the featured songs is just as important to note here as the songs themselves.

The songs (and bands) that are featured in Conquest’s new covers collection are collectively their own important part of the record’s presentation.  That is because they lift liberally from rock’s rich modern history.  The songs present a wide range of bands and rock styles from beginning to end.  That is just one part of what makes this record a rare covers collection that is actually worth hearing.  The band’s actual performance of the record’s featured songs is just as important as the songs themselves.  The band’s take on Metallica’s ‘For Whom The Bell Tolls’ is one of the band’s best performances in this record.  If one were to hear this take on the classic heavy metal tune without knowing it was Conquest, one would actually think that it was Metallica.  The band performed the song verbatim both lyrically and stylistically.  And front man Derrick Brumley may not sound just like James Hetfield circa 1984.  But listeners will be surprised at the similarity in the sound of the singers’ vocals.  The band’s take on ‘Ace of Spades’ is just as impressive.  One could argue in fact, that Conquest’s take on the classic rock anthem is just as good as Motorhead’s original recording.  It doesn’t bear the grittier, garage rock sound presented in Motorhead’s original composition.  But even with that taken into consideration it still pays honor stylistically to the original right down to the song’s familiar up-tempo bass line (handled here by bassist Rob Boyer).  One of the song’s biggest surprises is Brumley’s vocal delivery.  It’s not certain as to whether or not Brumley set out to emulate Lemmy Kilmister in this cover.  But interestingly enough listeners will note that there is a certain element of that gritty sound made so familiar by the late rock legend in Brumley’s own vocal delivery here.  It is a nice touch to the, and especially so if Brumley did not set out to try to sound like Kilmister.  The band’s take on UFO’s ‘Lights Out In London’ is another example of the importance of the band’s performances in this record.  It could actually be argued here that Conquest’s cover is even better than the original.  That is thanks to the bombastic guitar solos, Bruley’s powerhouse vocal delivery, and Tim Fleetwood’s equally solid work behind the kit.  Of course Boyer’s work on the bass here shouldn’t be ignored either.  The whole of the band’s work here makes the band’s take on the song a song that will have make every rocker out there proud.  It is just one more example of what makes the band’s performance of each of the record’s featured songs is just as important as the songs themselves.  They are hardly the record’s only key examples of that importance.  Audiences will take just as much notice of the band’s take on ‘Dead Or Alive’ ‘Wraithchild’ and ‘Cowboys From Hell.’  The prior pair of covers is much more bombastic here in the case of the original songs.  ‘Cowboys From Hell’ on the other hand is a relatively close take on the original.  All three will hold listeners’ ears and have them talking afterward just as much as the other noted covers and those covers not noted here.  All in all, the band’s take on each of the songs featured proves just as pivotal to the record’s presentation as the songs themselves.  They are not the record’s only important elements, though.  The album’s sequencing is just as important to its presentation as the songs and their performances.

The songs that are featured in Conquest’s new covers collection and the band’s take on each song are equally important to the album’s presentation.  The songs are so important to note because of the broad range of influences presented throughout the record’s forty-three minute run time.  The band’s performance of the songs is just as important to note as the songs themselves because of the similarities and differences between the originals and the band’s updated take on each song.  Those similarities and differences are certain to create their own share of interest and discussion among audiences.  As important as each element proves to the record’s whole they are not its only key elements.  The record’s sequencing is just as important to its presentation as those noted elements.  Audiences that pay close attention to the record’s sequencing will note that for the most part the record maintains a relatively solid energy level from beginning to end.  Though, the energy does pick up just enough at given points, so as to maintain listeners’ engagement.  It picks up first just past the record’s halfway point in the form of Motorhead’s ‘Ace of Spades’ before puling back just a little bit as the record transitions into its second half.  As the album nears its end the band picks things up once more in the covers of ‘Red Hot’ and ‘Cowboys From Hell’ before finishing off with the slightly slower (slightly at best) but no less heavy ‘Children of the Grave.’  Simply put, the band has balanced the record’s energy and even its varied musical styles from beginning to end thanks to its expert sequencing.  This ensures listeners’ maintained engagement, and in turn, entertainment.  Keeping this in mind, the record’s sequencing shows in the end why it is just as important to its presentation as its songs and performances thereof.  Each element is important in its own way to the whole of the record.  All things considered, Under The Influence shows in the end to be a rarity of a covers album.  It doesn’t come across as just some contractually obligated space filler.  Rather it proves to be a collection of classic rock songs that Conquest’s fans will enjoy just as much as those of the bands featured throughout the record.  It is a record that succeeds at presenting a solid introduction to rock’s rich modern history all while entertaining rock fans of all ages.  It is a covers collection that is actually worth hearing at least once regardless of audiences’ familiarity with Conquest or its body of work.

Conquest’s latest studio recording Under The Influence is a record that every rock fan should hear at least once.  This applies regardless of listeners’ familiarity with the band or its body of work.  That is because it isn’t just a random, contractually obligated space filler record.  Its eleven songs present a solid introduction to rocks rich modern history.  That is thanks to the broad array of bands and songs that is presented here.  The band’s performance of each song is just as important to the record’s presentation as the songs themselves.  That is because they present new and familiar takes on the classic songs; takes that will keep listeners engaged and generate their own share of discussion among audiences.  The album’s sequencing rounds out its presentation.  Over the course of its forty-three minutes, the records sequencing expertly balances the record’s energy from beginning to end.  This ensures just as much listeners’ engagement.  Each element plays its own important part in the record’s presentation.  Altogether they make Under The Influence a record that very rock fan should hear at least once regardless of one’s familiarity with Conquest or its body of work.  It is available now in stores and online.  It can be ordered online direct via Dark Star Records’ online store.  More information on this and other titles from Conquest is available online now at:

 

 

 

Website: http://conquestmetal.com

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

 

 

 

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Conquest Offering Free Song Download

Courtesy: Dark Star Records

Courtesy: Dark Star Records

Independent metal act Conquest is making some of its music available to the masses.

The St. Louis, Missouri-based band, which is signed to Dark Star Records, has made available for free download its cover of Black Sabbath’s ‘Children of the Grave.’  It is available here.  But it is only available for a limited time.  It will be available only until next Monday, June 20th.  The band’s cover of the classic tune is included in the band’s album Under The Influence.  Front man Derrick Brumley explained recently where his love for both the song and for Black Sabbbath comes from noting, “These guys started it all. When I was 7 or 8 my brother’s girlfriend brought over their first album and I was completely blown away! She ended up leaving it at our house and it became mine. “Children ..” is the one song that has stuck with me over the years.”

Under The Influence is the tenth full-length studio recording from Conquest and its third for Dark Star Records.  It was released April 8th.  The album is a collection of covers of music from bands that influenced the band’s own members including: Judas Priest, Metallica, Motorhead, Pantera, and (believe it or not) Bon Jovi among many others.  It can be ordered online now direct via Dark Star Records’ online store.  More information on Conquest, it’s new album, free download, live dates, and more is available online now at:

 

 

Website: http://conquestmetal.com

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

 

 

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