Rob Zombie Announces Co-Headlining Tour With Alice Cooper

Posted on January 31, 2023 by philspicks

Shock rockers Rob Zombie and Alice Cooper will hit the road together this summer for the “Freaks On Parade Tour.”

The month-long tour is scheduled to launch Aug. 24 in Dallas, TX and to run through Sept. 24 in Phoenix, AZ. The tour also features stops in cities nationwide, such as Hartford, CT; Clarkston, MI and Auburn, WA. Ministry and Filter will join the tour as special guest acts throughout its run.

The tour’s schedule is noted below. Ticket pre-sales are open here for Citi card members and run through 10 p.m. local time Thursday. General admission sales start at 10 a.m. local time Friday here.

2023 FREAKS ON PARADE TOUR DATES:
Thu Aug 24 – Dallas, TX – Dos Equis Pavilion
Sat Aug 26 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Sun Aug 27 – West Palm Beach, FL – iTHINK Financial Amphitheatre
Tue Aug 29 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
Wed Aug 30 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri Sep 01 – Tinley Park, IL – Hollywood Casino Amphitheatre
Sat Sep 02 – Des Moines, IA – Wells Fargo Arena
Tue Sep 05 – Clarkston, MI – Pine Knob Music Theatre
Wed Sep 06 – Toronto, ON – Budweiser Stage
Fri Sep 08 – Scranton, PA – The Pavilion at Montage Mountain
Sat Sep 09 – Wantagh, NY – Northwell Health at Jones Beach Theater
Sun Sep 10 – Hartford, CT – The XFINITY Theatre
Tue Sep 12 – Nashville, TN – Bridgestone Arena
Sat Sep 16 – Englewood, CO – Fiddler’s Green Amphitheatre *
Tue Sep 19 – Ridgefield, WA – RV Inn Style Resorts Amphitheater
Wed Sep 20 – Auburn, WA – White River Amphitheatre
Fri Sep 22 – Concord, CA – Concord Pavilion
Sat Sep 23 – Anaheim, CA – Honda Center
Sun Sep 24 – Phoenix, AZ – Talking Stick Resort Amphitheatre

*Non-Live Nation Date

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.

Louder Than Life Festival Lineup Announced

Posted on March 12, 2022 by philspicks

The Louder Than Life Festival will return to Louisville, KY this year with an expansive lineup of acts.

The festival, scheduled to take place Sept. 22-25 at the Highland Festival Grounds at KY Expo Center in Louisville, KY, will be headlined by Red Hot Chili Peppers, Nine Inch Nails, Slipknot, and KISS. The four-day festival will also feature performances from bands, such as Bloodywood, Anti-Flag, and Superbloom. The KY Expo Center is located at 937 Phillips Ln. in Louisville, KY.

The festival’s full lineup is noted below. Tickets are available here. Weekend general admission passes start at $249.50 plus fees. Weekend VIP passes start at $629.50 plus fees. A limited number of Weekend Top Shelf VIP passes is still available for $1,329.50 plus fees.

General admission single day passes start at $99.50 plus fees. Single day VIP passes start at $295.50 plus fees. Layaway options are available through March 31 for $10, with payments made through July.

A trailer for the forthcoming annual festival is streaming.

The current Louder Than Life lineup is as follows (subject to change):

Thursday, September 22: Nine Inch Nails, Bring Me The Horizon, Evanescence, Halestorm, Tenacious D, Yungblud, Highly Suspect, Ministry, Nothing More, Baroness, Spiritbox, Apocalyptica, Dorothy, Don Broco, New Years Day, Plush, Lilith Czar, Maggie Lindemann, Taipei Houston, The Dead Deads, Mothica, Superbloom, Eva Under Fire, Oxymorrons

Friday, September 23: Slipknot, Shinedown, Lamb Of God, Mastodon, In This Moment, Meshuggah, Clutch, Jinjer, GWAR, In Flames, Helmet, POORSTACY, Crown The Empire, DED, All Good Things, Amigo The Devil, Vended, Mike’s Dead, If I Die First, Orbit Culture, The Luka State, Ego Kill Talent, The Native Howl, Archetypes Collide

Saturday, September 24: KISS, Rob Zombie, Alice Cooper, Chevelle, Ghostemane, Jerry Cantrell, Dance Gavin Dance, Theory of a Deadman, Body Count, Sevendust, Mammoth WVH, We Came As Romans, Airbourne, Cherry Bombs, Ill Niño, Tetrarch, Nita Strauss, Against The Current, Wargasm, Trash Boat, Shaman’s Harvest, Solence, Dropout Kings, Bloodywood

Sunday, September 25: Red Hot Chili Peppers, Alice In Chains, Incubus, Papa Roach, The Pretty Reckless, Architects, Bad Religion, Action Bronson, The Struts, Jelly Roll, Dirty Honey, Anti-Flag, The Joy Formidable, Bayside, The Warning, Royal & The Serpent, caroles daughter, Radkey, The Mysterines, Crown Lands, AEIR, The Alive, As You Were

The Louder Than Life Festival is produced by Danny Wimmer Presents. The festival debuted in 2014 and expanded to four days in 2021.

More information on the 2022 Louder Than Life Festival is available along with all of the festival’s latest news at:

Website: https://www.LouderThanLifeFestival.com

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

Twitter: https://twitter.com/ltlfest

Ministry Addresses Media, Social Media’s Influence In New Single, Video

Posted on October 1, 2021 by philspicks

Ministry is taking on the impact of specific media and social media outlets on Americans in its latest single and video.

The band premiered the video for its single, ‘Disinformation’ Friday. The song is featured in the band’s new album, Moral Hygiene, which was released Friday. The video features founder and front man Al Jourgensen watching various news stories from Fox News in total shock at what they deliver. That is crossed with classic footage of people watching television in the 1950s and other related imagery to help translate the clearly sociopolitical theme featured in the song’s lyrical content.

The song’s musical arrangement is everything that audiences have come to expect from Ministry. From the familiar blend of keyboards and electronics, to Jourgensen’s familiar vocal modifications through the production, everything featured in this song’s arrangement is familiar, but still gives the song its own identity.

In other news, Ministry recently announced that it had rescheduled its “Industrial Strength Tour” for the second time this year. The band announced through a news release, the latest rescheduling was again caused by the impact of the ongoing COVID-19 pandemic.

The tour’s dates are noted below.

*Moved to larger venues due to popular demand

March 2022

6 Baltimore, MD @ Baltimore Soundstage

8 Huntington, NY @ The Paramount

9 Philadelphia, PA @ Franklin Music Hall

12 Montclair, NJ @ Wellmont Theater

15 Boston, MA @ House of Blues

16 Buffalo, NY @ Buffalo Riverworks

22 Atlanta, GA @ Tabernacle

23 Orlando, FL @ Hard Rock Live

26 Dallas, TX @ Amplified Life

28 San Antonio, TX @ Aztec Theater

29 Houston, TX @ House of Blues

31 Chicago, IL @ Riviera

April 2022

1 Cleveland, OH @ The Agora

3 Royal Oak, MI @ Royal Oak Music Hall

5 St Paul, MN @ Palace*

9 Albuquerque, NM @ Sunshine Theater

10 Denver, CO @ Mission Ballroom*

12 Phoenix, AZ @ The Van Buren

13 Anaheim, CA @ House of Blues

14 San Diego, CA @ House of Blues

16 San Francisco, CA @ Warfield

18 Seattle, WA @ Showbox SoDo

More information on Ministry’s new tour dates is available along with all of the band’s latest news at:

Website: https://www.ministryband.com

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

Twitter: https://twitter.com/WeAreMinistry

Ministry Postpones Industrial Strength Tour Again

Posted on September 24, 2021 by philspicks

For the second time in a year, Ministry has postponed its “Industrial Strength Tour.”

The band was initially going to run the tour early this year, but the ongoing COVID-19 pandemic forced the band to announce in March, it had postponed the tour until next month. Now today the band has announced it has postponed its tour again.

The tour is now scheduled to launch March 6 in Baltimore, MD and to run through April 18 in Seattle, WA. The tour is meant to celebrate the 30th anniversary of the band’s seminal album, The Mind Is a Terrible Thing To Taste.

Tickets for the new dates are available now with the exception of St. Paul, MN; Montclair, NJ and Huntington, WV shows. Tickets for those concerts will go on sale at 10 a.m. local time Friday. According to information made available in the press release announcing the tour’s latest postponement, “All tickets will be transferred to the new dates.”

The full rundown of updated tour dates are as follows:

*Moved to larger venues due to popular demand

March 2022

6 Baltimore, MD @ Baltimore Soundstage

8 Huntington, NY @ The Paramount

9 Philadelphia, PA @ Franklin Music Hall

12 Montclair, NJ @ Wellmont Theater

15 Boston, MA @ House of Blues

16 Buffalo, NY @ Buffalo Riverworks

22 Atlanta, GA @ Tabernacle

23 Orlando, FL @ Hard Rock Live

26 Dallas, TX @ Amplified Life

28 San Antonio, TX @ Aztec Theater

29 Houston, TX @ House of Blues

31 Chicago, IL @ Riviera

April 2022

1 Cleveland, OH @ The Agora

3 Royal Oak, MI @ Royal Oak Music Hall

5 St Paul, MN @ Palace*

9 Albuquerque, NM @ Sunshine Theater

10 Denver, CO @ Mission Ballroom*

12 Phoenix, AZ @ The Van Buren

13 Anaheim, CA @ House of Blues

14 San Diego, CA @ House of Blues

16 San Francisco, CA @ Warfield

18 Seattle, WA @ Showbox SoDo

More information on Ministry’s new tour dates is available along with all of the band’s latest news at:

Website: https://www.ministryband.com

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

Twitter: https://twitter.com/WeAreMinistry

‘World On Fire Remixes’ Is A Successful Companion Piece To ‘World On Fire’

Posted on September 21, 2021 by philspicks

Electronic/industrial music act Blue Eyed Christ will revisit its 2020 album, World on Fire this week so to speak. The act, founded by producer/engineer John D. Norten, is scheduled to independently release its new EP, World on Fire Remixes Friday. The 11-song record is technically a Maxi-single, as its body is composed primarily of re-mixes of two of the original album’s songs, ‘World on Fire’ and ‘America H.’ It is an approach that is similar to that taken by Gravity Kills in 1997 in its remix record, Manipulated. Ironically, the vocals here are quite similar in sound to those of Gravity Kills’ then front man Jeff Scheel. Getting back on topic, the 47-minute record is an interesting companion to World on Fire, as its re-mixes show. Among the most notable of the ‘World on Fire’ remixes is the Taylan Psytrance Remix. It will be discussed shortly. The Dogtablet Remix of ‘America H,’ which opens the EP, is another of the record’s most notable tracks. It will be examined a little later. Also of note here is the Steve OLaf remix of ‘World on Fire.’ It will also be discussed later. Each remix noted is important in its own way to the whole of this EP. When they are considered along with the rest of the record’s featured remixes, the whole makes this EP a presentation that audiences will agree is a mostly welcome companion piece to World on Fire.

Blue Eyed Christ’s forthcoming EP, World on Fire Re-Mixes is an interesting new offering from the electronic/industrial music act. It is a presentation that audiences will agree is a mostly welcome companion piece to its predecessor, World on Fire. That is due to the varied remixes of two of the album’s three singles, ‘World on Fire’ and ‘America H.’ The other single not featured here is the song, ‘Massive React.’ Among the most notable of the remixes is the Taylan Psytrance remix of ‘World on Fire.’ While the original composition lends itself to comparison to works from the likes of Juno Reactor, My Life With The Thrill Kill Kult, and Lords of Acid, the Taylan Psytrance Remix takes the song in more of an EDM direction with its steady beat, drums, and keyboards. Audiences can almost see the flashing lights, people dancing, and DJ at the lead as this unique take on the song. The infectious nature of this arrangement will hopefully get audiences to look past that surface and hear the even more importance lyrical content, which focuses on materialism and consumerism in America. It really stands out so starkly from the rest of the EP’s remixes of the song.

On another note, the Dogtablet remix of ‘America H’ is the more notable of the only three remixes of that song featured here. This rendition of the song stands out in part because it maintains the subdued approach taken in the original song while also giving it a new identity. The use of the electronics and drums here give the remix a somewhat richer take, actually improving on the original to a point. Even the backing choral effect is used so tastefully here. The whole gives the song in this case an even more brooding sense that will resonate with listeners even more than the original. Now none of this is meant to be interpreted that the original is bad by any means. This remix simply takes what was already good and makes it that much better. It is just as certain as the original, too, to connect enough with listeners that they will pay attention to the sociopolitical commentary featured in the song’s lyrical theme, too.

Getting back to the even more wide range of ‘World on Fire’ remixes, another that stands out is the Steve OLaf (yes, that is actually how it is listed) remix. It stands out because it is another EDM style composition, but is completely unlike that of the Taylan Psytrance remix. Rather, in this case, there is far more Juno Reactor/My Life With The Thrill Kill Kult influence than in that previously examined remix. It is just as infectious as any of the EP’s other featured remixes, too. The steady, driving beat, guitars, choral element and gritty but subtle primary vocals makes this rendition of ‘World on Fire’ unique in its own way. Much as with those other takes, this version takes the song in a surprising direction that will appeal to audiences just as much as its counterparts. Taking that into consideration along with the other remixes examined here and the rest of the EP’s remixes, the whole makes this record a mostly appealing work that audiences will find is a good companion piece to World on Fire.

Blue Eyed Christ’s forthcoming remix EP, World on Fire Remixes, is a unique presentation that as with its companion record, continues to cement the act’s place even more in the electronic and industrial community. That is proven from the record’s beginning to its end in each featured remix. Each of the remixes examined here are just a portion of that which proves the remixes’ value. When they are considered along with the rest of the EP’s offerings, the whole makes this record a positive companion piece to World on Fire.

More information on World on Fire Remixes is available along with all of the act’s latest news at:

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

Twitter: http://twitter.com/BlueEyedChrist

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.

Ministry Announces Rescheduled Live Dates

Posted on March 21, 2021 by philspicks

Ministry is not allowing COVID-19 to stop its latest tour run from happening

The band announced Friday that it has moved its spring “Industrial Strength Tour” schedule to October and November. That is to allow restrictions put in place to be gradually lifted.

Front man Al Jourgensen talked about the re-scheduling for the tour, which celebrates the 30th anniversary of the release of the band’s album, A Mind is a Terrible Thing to Taste.

“With current COVID-19 restrictions, we are forced to again move our scheduled March/April 2021 U.S. tour to October/November 2021 and hoping normalcy returns by then,” he said. “With vaccinations and better care happening, we all feel the fall is realistic. We can’t wait to get out there and play not only The Mind Is A Terrible Thing To Taste material for you all but some stuff off our new album as well. Stay safe and see you in the fall!”

The band’s new tour schedule is set to launch Oct. 3 Albuquerque, NM and to run through Nov. 3 in Seattle, WA. The band has made some changes to its upcoming live run. It has added Charlotte, NC on Oct. 20.

Meantime, the band will also reschedule its Baltimore, MD date and move the Buffalo, NY date to a new venue in the city. Additionally, the band’s dates in Pittsburgh, PA and Missoula, MT will not take place now.

All tickets purchased for the initial spring run will be honored for the upcoming fall dates, though ticketholders can also receive refunds if they so choose at the point of purchase. The updated tour schedule is noted below. Frontline Assembly remains as support and will now be joined by Helmet as additional support.

THE INDUSTRIAL STRENGTH TOUR

RESCHEDULED TOUR DATES FOR OCTOBER/NOVEMBER 2021

*indicates a new date not included on the original run

**indicates a venue change from the original run

***indicates a date where Helmet will not be appearing

October 2021

3 Albuquerque, NM @ Sunshine Theater

4 Denver, CO @ Ogden Theatre

6 Minneapolis, MN @ First Avenue

8 Buffalo, NY @ Buffalo Riverworks**

9 Cleveland, OH @ Agora Theatre

10 Chicago, IL @ Riviera Theatre

11 Detroit, MI @ Royal Oak Music Theatre

14 Boston, MA @ House of Blues

15 Huntington, NY @ The Paramount

16 Montclair, NJ @ Wellmont Theatre

17 Philadelphia, PA @ Franklin Music Hall

19 Atlanta, GA @ Tabernacle

20 Charlotte, NC @ The Fillmore*

21 Orlando, FL @ Hard Rock Live

23 Dallas, TX @ Gas Monkey Live!***

24 Houston, TX @ House of Blues

25 San Antonio, TX @ Aztec Theater

28 Phoenix, AZ @ The Van Buren

29 Anaheim, CA @ House of Blues

30 San Diego, CA @ House of Blues

31 San Francisco, CA @ The Warfield Theatre

November 2021

2 Portland, OR @ Roseland Theater

3 Seattle, WA @ Showbox Sodo

More information on Ministry’s new tour dates is available along with all of the band’s latest news at:

Website: https://www.ministryband.com

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

Twitter: https://twitter.com/WeAreMinistry

GATA’s New Remix EP Will Appeal To Any Goth, Industrial Metal Fan

Posted on March 12, 2021 by philspicks

More than two years after releasing its then latest album Alpha Bionic, independent goth/industrial band Gabriel & The Apocalypse is revisiting that album with a new EP of remixes from the record. Released Feb. 26 through The Label Group, the five-song record is a presentation that will find equal interest among the band’s established audience base and goth/industrial fans alike. That is due in no small part to the featured remixes, which will be addressed shortly. The sequencing of those featured songs adds to the record’s interest. It will be addressed a little later. The songs’ lyrical content rounds out the record’s most important aspects and will also be addressed later. Each item noted here is important in its own way to the whole of this record. All things considered, they make the EP a rare case of the sequel being better than the original. Yes, this is a discussion topic even in the music industry.

Remix records are commonplace presentations for industrial rock and metal acts. From Gravity Kills and Nine Inch Nails, to Fear Factory and Ministry, the practice of remixing songs is nothing new. So when it was announced that independent goth/industrial band Gabriel & The Apocalypse was going to release a collection of remixes from its 2019 album Alpha Bionic, the surprise was limited. While the surprise was limited, the enjoyment is proving anything but. That is due in no small part to the five-song record’s featured remixes. Four of the featured songs are originals featured in the band’s aforementioned record while the fifth is a remix of the band’s cover of Midnight Oil’s hit 1987 single ‘Beds Are Burning. Why these songs in particular were chosen from the original album’s 10 total songs is anyone’s guess. That is beside the point. What is important is that the featured remixes actually build on their source material (two-fold in the case of ‘Beds are Burning’ since that one was a cover to begin with) and improves on each song. The band’s remix of its original song, ‘Systematic Chaos’ gives that song a completely different identity thanks to Mushroomhead founding member and drummer Rick “Stitch” Thomas. Thomas’ “Burn It Down Remix” of the song gives this song more of a full-on industrial feel that is more akin to works from Mushroomhead and Ministry than the heavy, driving, guitar and keyboard-driven approach of the original. What Thomas has done here to improve the song is focus more on the keyboard line in the original and really make it the center of the song. That driving, percussive style approach from the primary keyboard line pairs with an occasional secondary keyboard flourish and steady electronic bass drum beat to make the song just as good as its source material if not better. It is a wholly different work from the original that ensures listeners’ engagement and entertainment, and is just one example of how the album’s featured remixes play such an important part to its presentation. The ‘TIMELINES REMIX’ of ‘pointTHREE’ is another example of how these remixes ensure the EP’s engagement and entertainment.

The ‘TIMELINES REMIX’ of ‘pointTHREE’ stands out because while it does tend to stay more to its source material, listeners will note that it doesn’t maintain the ethereal approach of the original arrangement throughout the song. Rather, as the remix progresses, the secondary keyboard line from the original takes center stage this time out. What’s more, that now central keyboard line is more accented in its balance with the elements of the original. The mix honestly gives this updated take something of a Nine Inch Nails style sound and approach that is certain to appeal to audiences of both acts. It is just one more example of what makes the remixes here stand out. The “(Up and Down Remix)” of ‘Electro-Mechanical’ is yet another way in which these remixes serve to make the EP so engaging and entertaining.

The “(Up and Down Remix)” of ‘Electro-Mechanical’ is a stark change from its source material. Where the original work is grounded in its distinct keyboard line and guitar line, the remix relies more on more familiar electronic elements. Front woman Lindey Gabriel’s vocals pair so with the light, bouncy drums and infectious keyboard line here. What’s interesting here is that the keyboard line here actually replaces the guitar line in the original. The rhythm is the same, but the unique effect once again conjures thoughts of Nine Inch Nails. That aesthetic element and the subtle secondary keyboard line that joins the mix late in the song’s run pair with the steady electronic beat and vocals to make the song in general its own unique take on the song’s source material. Keeping in mind the engagement and entertainment that this remix offers along with the record’s other arrangements, the whole of the collection proves without a doubt, the importance of the featured songs here. They are just a portion of what audiences will like about the EP. The songs’ sequencing adds its own appeal to the record.

The sequencing of Alpha Transendence’s songs is important because it plays directly into the record’s energy. Just as in Alpha Bionic, this remix follow-up opens in high-energy fashion in ‘Systematic Chaos.’ Even with the change in the arrangement’s stylistic approach in the remix, the song still exhibits such a powerful, high-energy presentation. It ensures just as much as the original record, that it immediately engages listeners, and succeeds in doing so. The ‘pointTHREE’ remix maintains the EP’s energy, immediately following the remix of ‘Systematic Chaos.’ That is even considering the more reserved chorus sections. The much heavier verses make for an impressive juxtaposition to those chorus sections. The whole makes the song such an engaging work in itself that even with its slightly slower tempo, still boasts its own high energy. That ensures even more, listeners’ engagement and entertainment. ‘Electro-Mechanical’ keeps the EP’s energy moving with the swagger in its more up-tempo arrangement. The band’s remixed cover of ‘Beds are Burning’ ups the energy even more with its steady keyboard line and beat. Its arrangement here makes it sound like it came right out of the 1980s new wave movement, which is certain to appeal to a wide range of listeners in itself. Staying on the matter of the song’s energy, it keeps the EP’s energy moving fluidly. In turn, it ensures even more, listeners’ maintained engagement. It is not until the EP’s closer, the “Acoustic Remix” of ‘Bleed Me An Ocean’ that the record’s energy truly noticeably pulls back. The gentle, ballad style arrangement here is powerful in its own right. At the same time, the general reserved nature of the arrangement is a clear stylistic departure from the rest of the record’s arrangements. It shows just as much as at any point, how much time went into the EP’s sequencing. Looking back through the EP’s sequencing, the high-energy start, straight through to its reserved finale shows defined crests and troughs throughout. It shows that the sequencing was deliberate. That deliberate effort paid off just as much as the remixes themselves. Collectively, the remixes and their sequencing makes for even more engagement and entertainment. Even as much as the noted items do for the record, they still are not the last of the EP’s most important aspects. The lyrical themes featured in the songs put the finishing touch to the record.

There are plenty of audiences out there who are already familiar with Gabriel and the Apocalypse, and those audiences have likely already taken in Alpha Bionic. At the same time, there are plenty of audiences who are less familiar with the band and its work. To that end, if this EP is those latter audiences’ introduction to the band and its work, then the record’s lyrical content is just as important to note as anything else. ‘Systematic Chaos’ for instance, comes across as a statement of pure disgust with the state of the world. Given, socio-political commentary is anything but new to the world of rock. The thing is that so many such songs take more of a plaintive approach. In the case of the statement is less plaintive and more of a “screw it all” sense. This is inferred right from the song’s outset (which is also the song’s only actual verse) as Gabriel sings, “I used to want to save the world/Let’s burn it down/I can see for miles, I can see for years.” The chorus adds to that sense as she adds, “Systematic chaos, smoke and mirrors/Manipulated, calculated, hell bound, let’s burn it down/Do you feel what you say?/Do you say what you feel?” Again, this is complete frustration with everything, and while it is a clearly angered view, the fact of the matter is that many of us get to (and likely have gotten to) the point from which this song comes. To that end, that ability to relate to those very real thoughts and emotions will help listeners release their own frustrations. This is just one way in which the record’s lyrical content proves its importance. The lyrical content featured in ‘Electro-Mechanical’ does even more to show the importance of this element.

The lyrical theme that is seemingly featured in ‘Electro-Mechanical’ appears to take on the familiar topic of someone who is done with a toxic relationship. That is just this critic’s interpretation of the content. The inference comes right from the song’s outset as Gabriel sings, “I can’t feel/I can’t breathe/I’ll give you what you need/I can take it/I’ll fake it/You only need skin to bleed/Moving fast but standing still/A dark place turned so beautiful/Detached all my feelings/Now, I’m here for the killing.” That mention of being able to “fake it” even despite the negative thoughts that open the verse points to someone who is putting up with a bad situation. As the verse progresses, things change as the subject states, “A dark placed turned to beautiful/Detached all my feelings/Now, I’m here for the killing.” Obviously the “killing” does not mean murder. Rather it would seem to refer to the end of that bad situation, just in a metaphorical sense. The seeming story continues in the song’s second verse, which states, “A part of me has died/Impressions liquefying/Peeling from these walls/Who will catch you when you fall?/Electro-Mechanical/I had to let you go/This wall I’ve built so tall/I’m not afraid no more to lose it all/Electro-Mechanical.” That attestation that “I’m not afraid no more to lose it all” would seem to solidify the noted inferred statement. It really makes it seem even more that this is, lyrically, a song that centers on someone who has ended a toxic relationship. If in fact that is the case, then the manner in which the story is delivered is unique and powerful. In turn, it would make the EP’s lyrical content that much more pivotal to its presentation.

As much as the lyrics in ‘Electro-Mechanical’ and ‘Systematic Chaos’ do to make the record appealing, they are just a pair of songs that meet that end. The lyrical content featured in ‘Bleed Me an Ocean’ shows even more, the importance of the record’s lyrical content. The song’s lead verse states, “I write at your fingertips/Beautiful insanity taking on me/I don’t mind, it’s only a lie/Just a matter of time before we blur the line.” The second verse continues, “I know what moves the center of you/We crash and burn/Will we ever learn?/Is this all there is? Days into years/What’s done is done, still we run.” This collectively seems to point to a relationship-based topic again. It could very well be the wrong interpretation. Regardless, the ability of these lyrics to generate what will assuredly be plenty of discussion shows its own importance here. When that impact is considered along with the themes and impact of the other themes noted here (and those not noted), the whole leaves no doubt as to the importance of the EP’s lyrical themes to its presentation. When that importance is considered along with that of the record’s featured remixes and their sequencing, the whole makes Alpha Transcendence one more positive new offering from Gabriel and the Apocalypse.

Gabriel and the Apocalypse’s recently released EP Alpha Transcendence is a positive new offering from the independent goth/industrial band. That is due in part to its featured remixes. The remixes take music from the band’s most recent album, Alpha Bionic (2019) and gives each song new life through the unique arrangements. The sequencing of those arrangements adds its own appeal to the EP. That is because the sequencing maintains the balance in the record’s energy. The lyrical content that accompanies the lyrical content rounds out its most important elements. It serves as its own added important element mainly for the band’s new audiences. Its accessibility will ensure listeners’ engagement in its own right, too. When it is considered along with the noted songs and their sequencing, the whole makes the record overall one more of this year’s top new EPs. It is available now. More information on Alpha Transcendence is available along with all of the band’s latest news at:

Website: https://gabrielandtheapocalypse.com

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

Twitter: https://twitter.com/GATA_band

To keep up with the latest entertainment reviews and news, go online to https://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.

Post Death Soundtrack’s New EP Charts A Clear “Path” For Its New LP

Posted on January 29, 2021 by philspicks

Independent industrial act Post Death Soundtrack unveiled the first preview of its upcoming album It Will Come Out of Nowhere this week. The duo – Jon Ireson and Steve Moore – offered up the preview Friday in the form of its EP Pathless Land. More single than EP, the three-song record features one of the noted album’s singles – ‘Pathless Land’ – and two remixes thereof. The 16-minute record is a presentation that will appeal to fans of the duo’s contemporaries, such as Nine Inch Nails, Ministry, and Gravity Kills. That is proven in all three of the song’s takes as well as its lyrical content. The production in each rendition brings everything today, completing the record’s presentation. All things considered, the EP is a work that is a strong first impression for the duo’s album.

Post Death Soundtrack’s new EP Pathless Land is a positive first impression for the duo’s forthcoming album It Will Come Out of Nowhere, which is expected for release Feb. 15 on limited 2LP release. It is such a promising preview of the record in part because of its musical arrangements. All three takes of the EP’s title track gives audiences something different from one take to the next. The rendition that features in the album is a keyboard driven work that opens, sounding like something out of the 1980s. However, as the vocals (including the dual-lined chant of “Freedom”) are added to the mix, that sound turns more into something akin to the industrial sounds of the early 90s. The comparison here to works from Nine Inch Nails is unavoidable.

The “Sovereign Mix” of ‘Pathless Land’ maintains the noted Nine Inch Nails comparison, but also adds in a bit of a Ministry influence, too. That is evidenced in t he steady, plodding keyboard line that hits with the force of a hammer. The ambient vibe that the rest of the song exhibits also presents hints of Stabbing Westward and Gary Numan’s influence to a slightly lesser degree. It is a take that holds its own against the album’s rendition and proves just as engaging as that take.

The “Lit Beacon” take of ‘Pathless Land’ is just as unique as the song’s “Sovereign Mix.” What makes this version stand out so much is its semi-acoustic approach. That subtle approach conjures thoughts of Nine Inch Nails’ more subdued works circa 1994, the year that the band released its landmark album The Downward Spiral. The brooding nature in the arrangement makes this take one of those works that is so heavy without being heavy and will prove just as engaging for PDS’ target audience as the other two takes of ‘Pathless Land.’ All things considered, the three different takes on the song form a strong foundation for the EP. The lyrical content that accompanies the song’s musical content (in all its forms) adds even more to the EP’s engagement and entertainment value.

Not all of the lyrical content featured in the song is capable of deciphering without a lyrics sheet to reference. However, from what one can understand, the song’s lyrical content comes across as being decidedly introspective. At one point, the song notes, “From the need to fight/From manic desire/From climbing ever higher/From the mantis bride/From the human…From trouble…/From the fatal flaw/From temples of might…From the seekers of truth/From the altar of youth…” There are mentions of Christ and Allah from there and “lifeless praise” here, too. Simply put, what this song does lyrically is something completely unlike anything else out there today. Thankfully, information provided about the song’s lyrical content does explain the cryptic language. The information cites Moore as saying about the song that, “‘Pathless Land’ is a little song full of unlikely vitriol and resolve following loss and devastation. We’re thrilled to share this new release with you during dark times and hope it provides a moment of stillness where something fresh can take root.” Taking that loose description into account, it is sure to generate plenty of discussion among audiences. Together with the song’s musical content, in each of its iterations, the two elements collectively make for even more engagement for audiences.

While the musical and lyrical content featured in the Pathless Land EP do quite a bit to make the record an interesting presentation, they are just a portion of what creates that appeal. The record’s production puts the finishing touch to the presentation, bringing everything together. As has already been noted, the EP (which again is in this critic’s view more single than EP – but that’s beside the point at this rate) features three very distinct takes on the song in question. Each rendition presents its own unique take, too. That means that a lot of attention had to be taken to make sure each take had the utmost impact. Thankfully, those painstaking efforts paid off. The brooding, subtle sounds of the song’s “Lit Beacon” mix creates such a deep emotion that will resonate with listeners long after the song’s end. The balance in the subtle crescendos and decrescendos makes this take so rich. The more driving, electronic “Sovereign Mix” with its sharp contrasts makes for its own powerful impact. It would have been so easy to let the song get away with itself in the heavier moments in this mix, but thankfully that did not happen. That heaviness, against the take’s more subtle side makes for even more power here. The handling of the even more subtle approach to the song’s album take required its own attention to detail in regards to its production. The layering of the chanting vocals causes that element to echo in listeners’ minds. Meanwhile, the subtlety in the chants against the main lyrical line makes for even more of an interesting effect. Much the same can be said in how that was all balanced with the keyboard line here. All things considered here, the production works just as well in this case as in the song’s other mixes. The end result is a record here from Post Death Soundtrack that industrial and goth audiences will appreciate just as much as works from the duo’s more well-known counterparts. It is a record that they will agree, also, is a positive first preview of the duo’s forthcoming album.

Post Death Soundtrack’s new Pathless Land EP is a good way for the duo to give audiences their first preview of the pair’s forthcoming album It Will Come Out of Nowhere. That is proven in part, as noted here, through all three of the arrangements of the EP’s title track. Regardless of which rendition listeners choose, the result is a song whose arrangement is fully engaging and entertaining. The unique lyrical content that accompanies the record’s musical arrangements adds its own interest for listeners and is sure to create its own share of discussion and engagement. The production of each of the song’s renditions brings everything full circle as it ensures every element of each take is balanced with the utmost precision. That detailed attention to each arrangement’s instrumentation paid off, too. It joins with the record’s content to make the EP sound appealing just as much as the content makes it appealing in that arena. Each item noted is clearly important in its own way to the whole of the EP. All things considered, they make Pathless Land a presentation that charts a clear, solid path for Post Death Soundtrack’s coming album. Pathless Land is available now. More information on the EP is available along with all of the duo’s latest news and more at:

Website: https://postdeathsoundtrack.bandcamp.com

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

Twitter: https://twitter.com/postdeathsound2

To keep up with the latest entertainment reviews and news, go online to https://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.

Stabbing Westward’s New EP Is A Welcome Surprise For The Band’s Fans

Posted on October 30, 2020 by philspicks

Stabbing Westward surprised fans Friday with the release of a new covers EP. The four song record, Hallowed Hymns is an interesting presentation that will tide fans over while they wait for the band’s new album, Wasteland, which was scheduled for release this year, but has since been delayed until 2021. The record proves itself as appealing as it is in part because of its featured covers. This will be addressed shortly. The arrangements connected with the chosen songs. This will be addressed a little later. The record’s production rounds out its most important elements and will also be examined later. All three elements are important in their own way to the whole of the EP. All things considered, they make the record an enjoyable musical treat for Stabbing Westward’s fans and for industrial rock and metal fans alike.

Stabbing Westward’s surprise EP Hallowed Hymns is a pleasantly surprising musical treat for audiences. That is proven in part through the record’s featured songs. The EP is composed of three covers and a remix of one of the covers. The covers are that of The Cure’s ‘Burn,’ which was featured in the soundtrack to the movie The Crow, Ministry’s ‘(Every Day Is) Halloween,’ and Echo and the Bunnymen’s ‘The Killing Moon.’ Stabbing Westward’s “Devil’s Night Mix” of ‘Burn’ rounds out the record. ‘Burn’ marked the second time that The Cure was connected to The Crow. The first was when another of the band’s songs – ‘The Hanging Garden’ – had its lyrics featured in the comic book that spawned the movie. That the movie’s creative heads would think enough of the band’s music and that connection to include a new song for the movie’s soundtrack is a statement in and of itself. While ‘Burrn’ was not one of the main singles from The Crow’s soundtrack, it still has stood the test of time in its own right.

‘(Every Day Is) Halloween’ stands on its own merits. It has been highly respected by Ministry’s fans and goth fans alike. It, along with it’s a-side companion ‘All Day’ has become a fan favorite, too.

Moving on to ‘The Killing Moon,’ the song is considered by the band’s fans as its greatest song of its catalog. It also proved to be one of the band’s highest-charting singles. It reached #7 in Ireland, #9 in the UK and #12 in New Zealand. It has also been featured in the soundtracks for famous movies, such as Donnie Darko, The Girl Next Door, and Grosse Point Blank. In other words, this song has stood the test of time just as much as its counterparts also featured in this EP. Simply put, between this record and the EP’s other featured works, Stabbing Westward has chosen here, a selection of songs that is well-known and beloved by the fans of the bands that crafted the works. They are not unknown works. To that end, they in themselves will ensure listeners’ engagement and entertainment. They by themselves are just part of what makes the EP work as well as it does. The band’s take on the songs adds its own interest to the record.

Stabbing Westward’s take on ‘Burn’ largely stays true to its source material. A side-by-side shows that the only real difference between the renditions is that Stabbing Westward’s version just adds the band’s signature touch to the song. That touch is the keyboard-driven approach that has made Stabbing Westward’s songs so unique within themselves and in comparison to other industrial/electronic rock acts out there. This is certain to appeal to fans of The Cure because Stabbing Westward did not try to alter the song from its original form too much while also giving the song a nice added touch.

In comparison, the “Devil’s Night Mix” of ‘Burn’ gives the song even more of an extra punch. Once again, the song stays largely true to its source material. What is different in this case is that the band increases the prominence of the keyboards and electronics even more than in its initial cover of The Cure’s original work. It’s something that audiences will appreciate even more.

Stabbing Westward’s take on ‘(Every Day Is) Halloween’ is another interesting presentation. While it does stay somewhat true to Ministry’s original composition, the band’s influence is far more noticeable here than in the original work. What’s more, Stabbing Westward’s cover is shorter than Ministry’s song by almost two whole minutes. Just as noticeable is that the record scratching (very much a hip-hop element) that was so prominent in Ministry’s original work is nonexistent in Stabbing Westward’s update. Odd as it may seem, that element actually adds to the song. It is especially audible in the original song’s bridge. Keeping all of this in mind, it is not to say that Stabbing Westward’s take is bad. That is not the case at all. It just is likely to split audiences even as enjoyable as it is. In this critic’s ears, it is enjoyable. It just has a unique identity separate from its source material. That in itself makes the song worth hearing.

Examining the cover of Echo & the Bunnymen’s ‘The Killing Moon,’ that song may be well-known among audiences, but this is a case where Stabbing Westward actually improved on the original. The addition of the keyboards and electronics here gives the original song a much fuller presentation. Audiences will largely agree, too. All things considered, the covers featured in this recording make for plenty of reason for audiences to hear the EP. They collectively are not the last of the EP’s notable elements. The EP’s production rounds out its most important elements.

The production that was used in this surprise record is so important especially because this is a covers compilation. Those behind the glass had to make sure that the elements of the original compositions were well-balanced with the elements that have made Stabbing Westward’s work so familiar throughout the years without losing either along the way. The efforts that went into achieving that goal paid off, too. It brings out the best of both worlds, as audiences will hear for themselves, to the result that the overall product’s presentation is completely rounded out. When the production of Hallowed Hymns is considered along with the featured songs and arrangements, the whole of the EP becomes a welcome musical treat for any Stabbing Westward fan and any fan of the featured bands whose works are covered.

Stabbing Westward’s new EP Hallowed Hymns is a presentation that is certain to tide over audiences waiting for the band’s next full-length studio recording, which is expected for release in 2021. That is due in part to the songs that the band covered in the record. They are relatively well-known each in their own right. The band’s take on each song stays true to the source material while adding its own trademark touch to the works. The production that was used in melding the works brought out the best of both worlds. Each element noted is important in its own way to the whole of the EP. All things considered, they make the EP a pleasant musical Halloween treat for audiences.

More information on Hallowed Hymns is available along with all of Stabbing Westward’s latest news at:

Website: http://www.stabbingwestward.com

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

Twitter: http://twitter.com/stabbingwestward

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.

Stabbing Westward Releases Surprise Halloween-Themed EP

Posted on October 30, 2020 by philspicks

Stabbing Westward is giving audiences its own special Halloween treat.

The band released a new covers collection Friday. The four-song EP, dubbed Hallowed Hymns, takes on covers of songs from The Cure (‘Burn’, from the soundtrack to the movie The Crow) Ministry ((‘Every Day Is) Halloween,’) Echo and the Bunnymen (The Killing Moon), and a remix (The Devil’s Mix) of one of ‘Burn.”

Front man Christopher Hall discussed the EP’s release and other items in a prepared statement.

“2020 has been a shit year,” the statement reads. “We were supposed to release our new album and tour the U.S. to support it. But clearly that’s not happening. We know Halloween is different this year with no parties and no Trick or Treating so we wanted to give fans something special …. something that will help tie you over until we can release some new music.”

“We picked these three tracks because, for us, they represent the feeling of Halloween and they were very important songs during our early musical stages,” the statement adds. “If there were ever two bands that I would say most influenced Walter and I to form Stabbing Westward it would be Ministry and The Cure. From the earliest days of Ministry’s With Sympathy through the evolution of Twitch, they were the band that opened our minds and hearts to industrial music. To be able to reimagine these songs as Stabbing Westward while still trying to pay homage to the brilliance of the original versions was a terrifyingly fun adventure.

“We have been working on the album so hard for so long that it was really a joy to take a break and explore all these tracks had to offer,” the statement continues noting. “As often as you listen to your favorite songs it’s a totally different experience to take one apart and see how it was built. It gave me such an immense appreciation for what these amazing artists created—especially the Ministry track knowing how primitive the gear was that Al Jourgensen had to work with back then with none of the modern tools we take for granted today. He literally created new techniques in the studio that we still use today. He was light years ahead of his time. We hope you enjoy listening to these tracks as much as we have enjoyed recording them.”

Stabbing Westward’s new EP comes nine months after the release of the band’s latest recording, its new EP ‘Dead and Gone.’ The band is hoping to release its new album Wasteland in 2021.

More information on Hallowed Hymns is available along with all of Stabbing Westward’s latest news at:

Website: http://www.stabbingwestward.com

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

Twitter: http://twitter.com/stabbingwestward

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