Blue Eyed Christ Debuts ‘Massive React’ Video

Courtesy: TAG Publicity/Distortion Productions

Blue Eyed Christ debuted the video for its new single this week.

The industrial/electronic rock act, founded by producer/engineer John D. Norten, debuted its new single ‘Massive React‘ Monday.  The song is the third single from the band’s latest album World on Fire.  Its debut follows the premiere of the videos for two other songs from the album, ‘World on Fire‘ and ‘America H.’

The song’s video takes a simplistic yet artistic approach in its presentation.  It crosses time lapse photography of people walking around in various city settings with footage of a single person running along various other backdrops.  Meanwhile, what is meant to look like glitches in a video surveillance camera are used to add to the video’s impact as it works to help translate the song’s lyrical message.

The song’s lyrical content puts forth a social commentary, also as with its predecessors, according to Norten.

“‘Massive React’ mixes a slick synth groove with processed guitars while tackling the effects that corporate greed, technology, and personal responsibility play within the world,” he said. “it was great having Jim Marcus (Go Fight, Die Warzau) on board to direct the video since we have a musical history reaching back to the 90s.”

As with the aforementioned singles, the musical arrangement at the center of ‘Massive React’ is another composition whose steady beat, electronics and vocals will appeal to fans of acts, such as Nine Inch Nails, Gary Numan, and Ministry.

World on Fire is available now through Distortion Productions.

More information on Blue Eyed Christ’s new single, video and album is available along with all of the act’s latest news at:




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Ellefson Debuts New Compilation’s Lead Single; Unveils Initial Track Listing

Courtesy: Combat Records

Audiences got their first preview of Megadeth bassist David Ellefson’s new eponymous rock project this week.

The band — Ellefson (bass), Thom Hazaert (vocals), Andy Martongelli (guitar), Ron “Bumblefoot” Thal (guitar), and Paolo Caridi (drums) — released the song ‘Wasted‘ Friday.  The song, a cover of the Def Leppard song, is the lead single from the group’s debut record, No Cover.

Ellefson’s cover of ‘Wasted’ features guest appearances from Frank Hannon (Tesla), Jacob Bunton (Mick Mars, Lynam), and Dave McClain (Ex-Machine Head, Sacred Reich).

The famed names featured on ‘Wasted’ are just some of well-known musicians and performers who make appearances on this record.  Also lending their talents to the album are equally well-known figures, such as Charlie Benante (Anthrax), Al Jourgensen (Ministry) and Gus G. (Firewind).

Along with debuting its lead single, Ellefson has also unveiled the initial track listing for No Cover.  The initial listing opens with a cover of Judas Priest’s timeless hit song ‘Freewheel Burning’ and also features covers of songs such as AC/DC’s ‘Riff Raff,’ Queen’s ‘Sheer Heart Attack’ and Billy Idol’s ‘Rebel Yell.’

The album’s initial track listing is noted below.  Two tracks are still TBA. Pre-orders are open now.


1. Freewheel Burning (Judas Priest) ft. Jason McMaster, Gus G, Andy James, Dave McClain
2. Tear It Loose (Twisted Sister) ft. Eddie Ojeda, Dave McClain
3. Love Me Like A Reptile (Motorhead) ft. Doro Pesch, Greg Handevidt, Chuck Behler
4. Holiday in Cambodia (Dead Kennedys) ft. Charlie Benante
5. Rebel Yell (Billy Idol)
6. Wasted (Def Leppard) ft. Frank Hannon, Jacob Bunton, Dave McClain, Bumblefoot
7. Riff Raff (AC/DC) ft. Jason McMaster, Dave Lombardo
8. Nailed To The Gun (Fight) ft. Andrew Freeman, Russ Parrish, Jimmy DeGrasso
9. Not Fragile (Bachman-Turner Overdrive) ft. John Aquilino
10. Say What You Will (Fastway) ft. Troy Lucketta, Mark Slaughter
11. LOVE Machine (W.A.S.P.) ft. Dirk Verbeuren, Dave Alvin
12. Love Hurts (Nazareth) ft. Brandon Yeagley, Chuck Behler, Tyson Leslie
13. Sheer Heart Attack (Queen) ft. Bumblefoot, Doro Pesch, Charlie Benante
14. Sweet FA (Sweet) ft. Todd Kerns, Bumblefoot, Shani Kimelman
15. TBA
16. TBA
17. Auf Wiedersehen (Cheap Trick) ft. Al Jourgensen, Brandon Yeagley, Charlie Benante

Bonus Tracks
18. Eat The Rich (Krokus) ft. Dead By Wednesday


No Cover was co-produced by Ellefson, Hazaert, and Martongelli.  The record was engineered by Alessio Garavello, Matt LaPlant (Nonpoint, Lil Jon, Skindred) and John Aquilino.  Alessio and Garavello mixed the album alongside Randy Burns and others.

Ellefson talked about the record’s genesis in a recent interview.

“Before any of us started writing our own songs, we all began playing cover songs by our heroes during our formative years as musicians,” said Ellefson.  “So, it’s fun to go back in time and revisit those songs which helped us to become the artists we are today, especially when, ironically, many of those artists have now become peers and friends. During the process of recording some covers for B-Sides and bonus tracks for the upcoming Ellefson solo LP, Thom and I just said, “This is a blast, let’s just do a whole album of covers!” Literally, within 2 weeks, we had the songs recorded, and began calling our friends to join us, many of whom we had just performed with on the MEGA-Cruise back in October. From there, the album just fell into place.”

“A lot of our buddies have been playing covers and quarantine jams on the Internet during the pandemic, so this is really just an extension of that, but we took it the next level and actually recorded a full studio album,” he added.” We’ve been working remotely anyway, as we’re all over the Globe, so it was easy to incorporate some guests jumping in with some outstanding performances of their own. It’s been a really fun nod to making great music with our friends, who are kick-ass players, and many legends in their own right, which is the whole reason we got into this in the first place!”

Hazert expanded on Ellefson’s comments with his own thoughts.

“It’s all songs and artists that really mutually influenced both myself and David, especially a lot of early “Metal” and harder Classic Rock,” he said. “Some stuff I picked, some stuff he picked, but for the most part is was all artists that we both loved. What’s funny, as there’s a bit of an age gap, we were sometimes more influenced by different eras of the same bands. But it was really him saying, “Let’s do this song”, and me saying, “Yes!!! And let’s do this song.” And before we knew it, we had over 15 songs. And it’s a lot of album tracks, deep cuts, early tracks, stuff people might not expect, which was what was so fun.”

“It was also great that we were able to work in a lot of nods to David’s [Ellefson] history, getting Chuck Behler to play with us, bringing in original Megadeth guitarist Greg Handevidt to play on “Love Me Like A Reptile”, a song they used to play in cover bands together before they moved to LA (which we wrote about in More Life With Deth), and Randy Burns is going to mix a track or two,” added Hazert.  “As a singer, these are literally bands I’ve listened to, and covered all my life, and for me, getting to play with Eddie Ojeda, the Tesla guys, Charlie Benante, Jason McMaster, Mark Slaughter, etc, and sing these songs that mean so much to me. I mean, literally, the entire record is my bucket list of people I’d love to play with, and some of my favorite bands. So, it’s truly an honor to put together something so fun, and really as effortless as this was. It truly is a love letter to Rock N’ Roll, an homage to what made us, musically, who we are today.”

Ellefson resurrected Combat Records in 2017 as part of the EMP Label Group family.

Combat Records was a seminal punk and thrash record label in the 1980s.  Its doors closed in the mid-2000s after its catalog was absorbed by Sony Music.  Combat Records’ official relaunch took place in 2018.

Ellefson said in an interview in 2017, Combat Records would handle only new music because Sony has control of the label’s back catalog.

“…And to clarify, we do not own any rights to the Combat Records back catalog,” Ellefson stressed. “That is owned and controlled by Sony, and they have done a great job of curating it through other imprints. Combat Records will solely focus on new releases under the Combat banner. As always, thank you for your support and stay tuned for more details!”

More information on Combat Records, along with its latest news, is available online now






Ellefson is scheduled to release its debut full-length studio recording in spring 2021.  More information on Ellefson is available along with all of the group’s latest news at:






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Ministry Launches Efforts To Get Fans Registered To Vote, Save Nation’s Music Venues

Courtesy: Nuclear Blast Records/

Ministry launched two new campaigns this week that also give fans the chance to get memorabilia from the band.

The first campaign is an effort to get people registered to vote and the second is a campaign to push for support for America’s independent music venues.  In the first campaign, anyone who is unregistered can do so here and sign up to receive alerts.  Once that’s done, those fans who register can email a picture of the confirmation page to along with their mailing address.  The mailing address will allow the band to send the noted autographed memorabilia as long as supplies last.

Fans who are already registered to vote can still get a chance to get some Ministry memorabilia through the nationwide Save Our Stages effort.  Fan who want to help in that effort can sign the petition here to help save the nation’s independent music venues that have been impacted by the COVID-19 pandemic.  Once that is done, fans should take a screenshot of the confirmation page and email it to the noted already noted email address for a chance to get some autographed Ministry memorabilia.

In related Ministry news, band founder Al Jourgensen has curated a playlist of songs titled “The Soundtrack To Your Election” on Spotify that is composed of politically charged songs from a variety of acts.  The playlist includes and is not limited to Fear Factory’s ‘Linchpin,’ John Lennon and The Plastic Ono Band’s ‘Power To The People’ and Johnny Cash’s ‘The One on the Right Is on the Left.’

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





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Static-X Opens 2020’s Second Half With One More Of The Year’s Top New Hard Rock & Metal Albums

Courtesy: Otsego Entertainment Group, LLC/TAG Publicity

More than 11 years have passed since industrial metal band Static-X released its last album, Cult of Static.  Fans’ wait for new material from the band will come to its end Friday with the release of Static-X’s new album Project Regeneration Volume 1.  The 12-song record takes previously unused vocals from the band’s late front man Wayne Static and crosses them with new musical arrangements from the band’s original lineup of Tony Campos (bass), Ken Jay (drums) and Koichi Fukuda (guitar) to make the final product.

That mix of new musical arrangements and unused lyrical content combines for a record that is sure to appeal to longtime fans and those less familiar with the band’s catalog alike.  Each item will be discussed here.  Also of note is the sequencing of those arrangements and lyrical themes.  This will also be discussed as part of this examination of Project Regeneration Volume 1.  When it is considered along with the album’s overall content, the whole of the record becomes a presentation that is without argument, a work that kicks off the second half of 2020 on a high note for the hard rock and metal community.

With the countdown to the end of 2020 officially on, it did not take long for the year’s first great heard rock and metal album to see the light of day.  That album comes from veteran industrial metal band Static-X.  The album – Project Regeneration Volume 1 — is a strong new offering from the original Static-X lineup of Tony Campos, Ken Jay, and Koichi Fukuda.  That is proven in part through the album’s musical arrangements.  The arrangements in question do show some links back to Static-X’s early days, but also shows a certain amount of creative growth from the band in whole.  The most prominent point at which the album reaches back to its early days comes early in the album’s 39-minute run time in the form of its lead single ‘Hollow.’  That song’s overall stylistic approach, with its steady bass drum beat, guitars and percussive vocal delivery style from enigmatic front man “Xero” immediately lends itself to comparison to Static-X’s breakout hit single ‘Push It,’ featured in the band’s 1999 debut album Wisconsin Death Trip.  ‘Terminator Oscillator,’ which comes shortly after ‘Hollow,’ but still early in the album’s sequence, is an example of the latter statement.  It shows that noted growth from the band, as it relies more on keyboards and electronics than much of what the band has offered audiences in its past albums.  It and a number of other songs featured in the album, rely more on keyboards and electronics than works from the band’s past albums.  The noted songs lend themselves to comparisons to works from other industrial and electronic acts, such as Frontline Assembly, Ministry, and Juno Reactor.  That is just as evident late in the album’s run in ‘Otsego Placebo’ and in ‘My Destruction’ as anywhere else in the album.  The sampling is there right alongside the keyboards and the band’s more familiar metal guitar riffs.  Now given, the band did go through multiple lineup changes over its initial run, so naturally stylistic changes were to be expected.  This record on the other hand takes much of the stylistic approach used in Wisconsin Death Trip and builds on said approach.  Musically speaking, that approach makes Project Regeneration Volume 1 Static-X’s best album to date.  Of course the album’s musical content is just one part of what makes it so engaging.  The record’s lyrical themes add their own share of interest to its presentation, too.

The lyrical themes presented throughout Project Regeneration Volume I are important to discuss because of the amount of ground that they cover.  From the personal to the peculiar (in a good way), audiences are offered quite a bit that will keep them engaged throughout.  One of the most notable of the album’s more personal lyrical themes comes late in the album’s run in ‘Bring You Down.’  The song comes across as being rather introspective as Wayne Static addresses a relationship that had apparently gone bad.  What situation is being addressed through the song’s lyrics is anyone’s guess.  That is especially considering how long Static’s vocals had been sitting unused.  That aside, it is a deeply personal work that will engage listeners.  Static sings in the song’s lead verse, “You were the one to be true/To be down/I was/Out of the black/You brought me/Into the light now/Now take your little pills/Headlong to overkill/Resent me/’Cause I represent what you hate/Don’t wait.”   He continues in the song’s second verse, “Bring me up until you bring me down/Take me to hell/Bring me back/I can’t tell/In the black and bring it back/I don’t wanna wait/So I’m gonna say this right now/I feel my mind is going/My discontent showing/And now I know, I know/I’ve got to bring you down.”  Obviously that last line, “I know/I’ve got to bring you down” is not Static saying he has to bring someone down, but rather, he is speaking sarcastically in a manner of speaking.  Everyone who knows about Static-X’s history can’t help but wonder if this had any relation to the band’s breakup or to something else.  Again, regardless, this content is certain to engage listeners and generate its own share of discussion among listeners.  It is just one example of what makes the lyrical content featured in Project Regeneration Volume 1 noteworthy.

‘Terminator Oscillator’ is another example of the key examples of the importance of this album’s lyrical content.  This song’s lyrics were penned by current front man Xero instead of Wayne Static.  While the song’s musical arrangement would be a good fit on Fear Factory’s 1997 remix album Remanufacture, the song’s lyrics are unique and quite intense.  The song’s lead verse states, “I am the senseless/The vicious/The wicked/Annihilate/Calculate/Devastate/Terminate/Obliterate/Incinerate/I am the vicious/Exterminate/Violate/Devastate/Decapitate/Assassinate/Exhilarate/I am the wicked.”  Its second verse, reads, “Suffocate/Desecrate/Devastate/Terminate/Obliterate/Disintegrate/I am the vicious/Exterminate/Violate/Devastate/Decapitate/Assassinate/Accelerate/I am the wicked.”  The song adds in its finale, “I want it/I need it/I’m gonna hunt you down/I am the senseless/The vicious/The wicked.”  Knowing that an oscillator is something that swings back and forth in a set pattern, and that a terminator is something that ends the operation of something, maybe this has something to do in the bigger picture, then, with maybe someone who apparently who has two distinct mindsets that are one.  Of course that likely is not precisely on point.  Being that this is such metaphorical (and intense) lyrical content, it is just as certain to generate its own share of interest among audiences, showing even more why the album’s lyrical content is so important to the whole of its presentation.  It is just one more example of what makes the album’s lyrical content so important.  ‘Something of my Own’ is one more example of what make the album’s lyrical content so important.

‘Something of My Own’ comes across as another personal commentary from Wayne Static, and is sure to keep listeners just as engaged as any of the album’s other songs.  Static, through his archived performance, sings in the song’s lead verse, “All my life a new beginning/All my life not understanding/All my life it’s you and me/And all my life we disagree/See through the dark/See through the light/See through the black and see through the white/And all night long/See through these shadows/All night long/You’re all that matters.”  He continues in the song’s chorus, “Leave me to burn/Out in the cold/Leave me to learn/Things on my own/I’ve been searching/Searching my soul/Looking for something of my own.”  He closes out the song in its second verse, singing, “Three years ago/I didn’t know her/Now she’s gone/I sit and wonder/What went wrong and couldn’t tell/And now I sit here/In my hell.”  It would seem that this has something to do with another relationship matter.  What’s interesting here is the power in the song’s musical arrangement.  The lyrics alone seem rather brooding, but the song’s musical arrangement makes the emotion anything but brooding.  Rather, it comes across as someone who is angry at one’s self for allowing a situation to reach the point at which it did.  It’s another interesting matter that will connect with a wide range of listeners even with its seemingly personal nature.  When it is considered along with the other noted lyrical themes and the rest of the album’s lyrical themes, audiences learn even more why the album’s lyrical content is just as important to its presentation as its musical content.  Music and lyrics taken into consideration together, they make for plenty of reason for audiences to take in this record.  They are just a portion of what makes the album worth hearing.  The album’s sequencing rounds out its most important elements.

Project Regeneration Volume 1’s sequencing is important to note because of the aesthetic impact that it has on the album’s presentation.  From start to end of this record, the sequencing ensures that its energy remains at its highest point, barely letting up at any point.  The arrangements’ styles change slightly from one to the next, but even as they change, the album’s energy does not let up.  This means audiences will remain just as entertained and engaged through the stability in the album’s energies as through its arrangements and lyrical content.  To that end, the album wins for its aesthetics as much as for its overall content.  All things considered, the album in whole proves itself a strong return for Static-X and gives plenty of hope for Project Regeneration Volume 2, which is scheduled for release later this year.  Its release date will be announced soon.

Static-X’s new album Project Regeneration Volume 1, is the first great hard rock/metal album from the second half of 2020.  That is proven in part through the album’s musical arrangements, which echo some of the hints of the band’s past works but also show a certain amount of evolution from the band members, ¾ of which are the band’s original members.  The album’s lyrical content generates its own engagement and entertainment through its personal and otherwise themes.  Those themes will generate plenty of discussion among listeners as a result of that engagement and entertainment.  The album’s sequencing rounds out the most important of its elements.  It ensures that while the arrangements’ stylistic approaches change slightly from one to the next, the album’s energy never lets up too much.  Each item noted is important in its own way to the whole of the album.  All things considered, they make Project Regeneration Volume 1 not only the first great hard rock/metal album of 2020’s second half, but one of the year’s top new hard rock/metal albums overall.

More information on Static-X’s new album, tour dates and more is available online now at:






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Blue Eyed Christ Continues To Cement Its Place In The Electronic/Industrial Realm With Its Latest LP

Courtesy: TAG Publicity/Distortion Productions

Electronic/Industrial music act Blue Eyed Christ released its latest album this spring.  The album, World on Fire is the fifth album from the act, founded by producer/engineer John D. Norten.   The 11-song record is a presentation that will appeal to any electronic/industrial aficionado.  That is due in part to the record’s overall musical content, which will be addressed shortly.  The album’s lyrical themes play into its appeal just as much as its musical arrangements.  They will be discussed a little later.  The album’s production and mixing round out its most important elements and will also be addressed later.  Each item noted here is important in its own right to the whole of the album.  All things considered, they make the album a presentation that holds its own in this year’s field of new electronic/industrial albums.

Blue Eyed Christ’s fifth full-length studio recording World on Fire is a presentation that fans of electronic and industrial music will find worth hearing at least once.  That is due in part to the record’s collective musical arrangements.  The arrangements in question are compositions whose use of electronics, keyboards, guitars and rums are easily compared to works from so many of BEC’s more well-known counterparts from the same world.  Among those most notable counterparts are acts, such as Nine Inch Nails, Gravity Kills and even Orgy.  One could also make comparisons to works from the likes of Ministry to a lesser degree.  The album’s lead single ‘America H’ is one of those works that likens itself to works from Nine Inch Nails.  This song, with its plodding bass line, drums and vocal delivery, make it most akin to Nine Inch Nails’ song ‘Down in It.’  At the same time, the harmonies in the vocals give it another touch that enriches the song even more.  ‘Take It To The Streets’ meanwhile features that noted comparison to works from Ministry.  The song’s arrangement stands apart from anything else on the record even with its stylistic approach. This arrangement sounds nothing like the album’s other works, what with its keyboards, string arrangements, electronics and news broadcast inserts.  Those broadcast snippets play directly into the record’s overall lyrical themes, which will be addressed a little later.  ‘The Wait Is Over,’ which comes late in the record’s run, is another example of what makes the record’s musical arrangements stand out as such an important collective part of the album.  This song’s arrangement is very rhythm oriented.  It takes Norten’s penchant for electronics and crosses that with actual drums – in this case what sounds like African drums – to make the song’s arrangement one of the album’s most unique presentations.  The whole of the arrangement is so controlled and subtle throughout even with all things considered.  The harmonies in the vocal deliveries adds its own touch to the whole and makes it that much more interesting.  It would be no surprise when and if this song becomes the album’s next single of one of its next singles.  It is that accessible in its musical approach and is just one of the album’s most accessible works.  ‘America H’ and ‘World on Fire’ are each accessible in their own right, too.  When they are considered along with this song and the rest of the album’s musical arrangements, the whole of the album’s musical presentation leaves no doubt why the musical aspect of World on Fire is so important to its overall presentation.  It is just one part of what makes this album an appealing presentation for electronic and industrial music fans.  The albums’ overall lyrical themes play their own part in that appeal, too.

The overlying lyrical theme of World on Fire is a social commentary.  Norten mentioned that in a recent interview.  He said of the album’s lyrical theme, “World on Fire is a loosely based concept album about the state of the world that combines the energy and political anthems of my first album mixed with the personal themes I’m also known for.  It’s the combustion of everything I’ve done on the first 4 albums. When I started writing it, I really didn’t realize how prophetic it would become as things continue to unravel and become more polarized and extreme; I thought I was writing an album about the dystopian world we live in, but then realized I was also writing a deeply personal album about the collective human experience. It’s about trying to make sense of everything being thrown at you and finding out where you fit in.”  Norten’s comments noted here are supported in part in the lyrics in ‘America H.’  He writes in the song’s chorus, “America/I want you/To lie to me/Or tell me what to do/It’s in your point of view/What you see/It’s what you choose/It’s in the lens that you use/That will make up your truth.”  Norten said of this (and the rest of the song’s content), “’America H’ is about sifting through the noise of the media and content we consume every day, how everything we surround ourselves with influences us,” he said. “There’s also an Orwellian tone to it that I expect will seem more relevant as things progress like government surveillance, civil liberties, etc.”  That chorus alone is beyond relevant today, what with the Air Force using planes to track Black Lives Matter protests, illegal wiretapping controversies decades ago and more.  This is a topic that is certain to remain relevant.

‘Take It To The Streets’ is another way in which the album’s overlying socially conscious lyrical themes prove so important to its body.  As noted already, the song’s musical arrangement features snippets of news broadcast interviews that focus on discussions about protests.  The woman who is speaking sounds like perhaps she is from the Westboro Baptist Church as she states early on, “God is cursing America.”  As the song progresses, a man adds his own thoughts, noting that people have the right to protest.  Now whether this is a commentary about the Westboro Baptist Church or about protesting in general and having the right to protest, the fact that Norten would even broach either topic is brave.  It is certain to generate plenty of discussion among listeners.  That it would generate that discussion shows even more why the album’s overarching lyrical themes are so important to its body.

‘World on Fire’ is another key addition to the album, in terms of its lyrical themes.  This song focuses, lyrically, on humans’ focus on materialism and capitalism.  This is proven right from the song’s outset in its lead verse, which states, “They like to say that we are free/But it’s expensive/We’re addicted to the things we need/It’s so offensive/Victims of technology/Modern angel dressed in dollars/Just a passing memory/Here today and gone tomorrow.”  The song’s second verse adds to that statement, noting, “Paint the pictures and you fade away/Life is never like a magazine/You have enough but you still want more/Never satisfied at the core/Always looking for the next episode/Another way just to fix that hole/Try to accept the message/Making your mind elastic/Trippin’ the lights fantastic/Trippin’ the lights fantastic.”  Given, this is not the first time that any artist has ever taken on humans’ selfish behaviors, but it is still fresh and unique in this approach.  To that end, it will engage listeners just as much as any other song that takes on the topic.    When it is considered along with the other noted related lyrical themes and the rest of the album’s overlying lyrical themes, the album in whole shows that its lyrical content is just as important to its presentation as its musical arrangements.  For all that the album’s overall content does to entertain and engage audiences, it is only a part of what makes the record appealing.  The record’s collective production and mixing rounds out its most important elements.

The production and mixing that went into World on Fire is important to note because of the overall subtle nature in which each song is presented.  Norten’s vocals, those of his fellow performers and all of the album’s instrumental portions are well-balanced throughout the course of the album’s 38-minute run.  There is something about the balance in each arrangement that makes that 38-minute run feel wholly fulfilling ad the album longer than it is, in the best way possible.  It is often said that anyone can play fast and loud, but it takes a true musician to play soft and slow.  If that is the case, then Norten has proven once more with this record, thanks to its production, that he is a true musician.  He went to painstaking efforts to make sure the album had the biggest impact even as subtle as each song is.  When this is considered along with the album’s overall content, it brings everything full circle and in turn, makes clear why this album in whole is worth hearing.  It makes the album, along with its content, one more of this year’s top new independent album.

Blue Eyed Christ’s latest album World on Fire is a positive new offering from John D. Norten.  That is proven in part through its musical arrangements, which will appeal to a wide range of electronic and industrial music fans.  The album’s lyrical themes, which center on similar social commentaries, play into its appeal as much as its musical arrangements.  The balance in each song, in terms of the instrumentations and vocals, helps create a large impact for the tiny subtleties in each song.  Each noted item is important in its own way to the whole of the album.  All things considered, they make World on Fire a presentation that is one more of this year’s top new independent albums.  It is available now.

More information on Blue Eyed Christ’s album is available along with all of the act’s latest news at:





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Ministry Announces Rescheduled Dates For “The Industrial Strength Tour”

Courtesy: Nuclear Blast Records

Ministry has rescheduled its latest live schedule as a result of the COVID-19 outbreak.

The band announced Wednesday that “The Industrial Strength Tour” has been rescheduled for 2021.  The tour is in celebration of the 30th anniversary of the release of Ministry’s 1989 album The Mind Is A Terrible Thing To Taste and was scheduled to take place between July and August.  The tour is now scheduled to launch March 31, 2021 in Seattle, WA and to run through May 1, 2021 in San Francisco, CA.

According to a news release distributed about the rescheduling, tickets purchased for the original dates will be honored for the rescheduled dates.  Ticket holders can also receive refunds at point of purchase, the release adds.that ticket holders for the Dallas, TX show have already received refunds and will have to repurchase tickets for that show here.

KMFDM and Front Line Assembly will remain on the bill as support.  The tour’s rescheduled dates are noted below:


*indicates a new date not included on the original run
March 2021
31  Seattle, WA @ Showbox Sodo
April 2021
 1   Portland, OR @ Roseland Theater
 2   Missoula, MT @ Wilma Theatre
 3   Salt Lake City, UT @ The Union* (on sale date TBA)
 4   Denver, CO @ Ogden Theatre
 6   Minneapolis, MN @ First Avenue
 8   Pittsburgh, PA @ Stage AE
 9   Detroit, MI @ Royal Oak Music Theatre
10  Chicago, IL @ Riviera Theatre
11  Niagara Falls, NY @ Rapids Theatre
12  Cleveland, OH @ Agora Theatre
14  Boston, MA @ House of Blues
15  Huntington, NY @ The Paramount
16  Montclair, NJ @ The Wellmont
17  Philadelphia, PA @ Franklin Music Hall
18  Baltimore, MD @ Baltimore Soundstage
20  Atlanta, GA @ Tabernacle
21  Orlando, FL @ Hard Rock Live
23  Houston, TX @ House of Blues
24  Dallas, TX @ Gas Monkey Live!
25  San Antonio, TX @ Aztec Theater
27  Albuquerque, NM @ Sunshine Theater
28  Phoenix, AZ @ The Van Buren
29  San Diego, CA @ House of Blues
30  Anaheim, CA @ House of Blues
May 2021
 1  San Francisco, CA @ The Warfield Theatre
For tickets and more information, visit


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






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Ministry Debuts Third Single From ‘AmeriKKKANT’

Courtesy: Nuclear Blast Records

Ministry unveiled its latest single this week.

The band premiered ‘AmeriKKKA’ Sept. 18. The song, taken from the band’s recently released album AmeriKKKANT, was accompanied by a “visualizer” that is streaming online now here.

Musically, the song is a heavy, down-tempo piece that drives with the force of a sledgehammer while its lyrical content and visualizer present images of American patriotism to drive home the message of America’s current path under the current administration.

‘AmeriKKKA’ is the third single to be released from AmeriKKKANT.  The record has also spawned the singles ‘Antifa‘ and ‘Wargasm.’  A handful of videos featuring Ministry front man AL Jourgensen tackling subjects related to AmeriKKKANT have also been released.  They are noted below along with the links to the videos.

#1 – Al deconstructs the song ‘Antifa’:
#2 – Al about signing to Nuclear Blast:
#3 – Al’s political predictions for 2018:
#4 – Al talks about sexual harassment:
#5 – Al talks about the songwriting process:
#6 – Why it is the right time for a Ministry album:
#7 – Should Trump be empeached or jailed?

Ministry will launch the next leg of its tour in support of AmeriKKKANT on Nov. 21 in San Francisco, CA.  That leg of its tour is scheduled to run through Dec. 21 in Los Angeles, CA.  The tour’s current schedule, which also features a performance in Asheville, NC on Dec. 10 is noted below.

Tickets on sale now via Confirmed dates are as follows:

11/21/2018 – San Francisco, CA – The Warfield
11/23/2018  – Salt Lake City, UT – The Depot
11/24/2018  – Denver, CO – Fillmore
11/27/2018  – Minneapolis, MN – Skyway Theatre
11/29/2018 – Joliet, IL – The Forge
11/30/2018 – Cleveland, OH – Agora Theatre
12/01/2018 – Detroit, MI – Majestic Theater
12/02/2018 – Toronto, ON – Rebel
12/04/2018 – Rochester, NY – Anthology
12/05/2018 – Washington, DC – Fillmore
12/06/2018 – New York, NY – Irving Plaza
12/07/2018 – New York, NY – Irving Plaza
12/08/2018 – Philadelphia, PA – Electric Factory
12/10/2018 – Asheville, NC – Orange Peel
12/11/2018 – Memphis, TN – New Daisy Theater
12/12/2018 – Dallas, TX – Gas Monkey
12/13/2018 – Houston, TX – House of Blues Houston
12/14/2018 – San Antonio, TX – Aztec Theater
12/16/2018 – Phoenix, AZ – Marquee
12/18/2018 – San Diego, CA – House of Blues San Diego
12/20/2018 – Los Angeles, CA – The Fonda
12/21/2018 – Los Angeles, CA – The Fonda

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





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Ministry Announces New Album Release, Tour Dates; Unveils Lead Single & Video

Courtesy: Nuclear Blast Records

Ministry returns next spring with its latest full-length studio recording.

The band announced Monday that it will release Amerikkkant March 9, 2018 via Nuclear Blast Records. The band’s 14th full-length studio recording, it will also be the band’s first for Nuclear Blast Records. Frontman and founder Al Jourgensen called the album a way for people to deal with the impact of Donald Trump’s rise to power.

“This album, Amerikkkant, will provide FEMA-like relief for the devastation Hurricane Cheeto has brought upon us,” Jourgensen said.

In anticipation of the album’s release, the band has unveiled the video for the album’s lead single, ‘Antifa,’ which satirically comments on the alt-right as well as the antifa movement, making light of both sides’ wrong thought patterns. The video uses footage of atrocities carried out by both sides in order to illustrate that message. Audiences can view the video now here.

Amerikkkant was recorded at Caribou Studios in Burbank, CA between January and May of this year. Pre-orders are available now. The record’s track listing is noted below.

Ministry will tour in support of Amerikkkant beginning March 22 in Anaheim, CA. The band’s tour is currently set to run through April 28 in Austin, TX and also includes performances in Sacramento, CA; Chicago, IL; Huntington, NY and other cities including cities north of the border.

The band’s current tour schedule is noted below.  Tickets are available online here.

MARCH 2018
22  House of Blues, Anaheim, CA
23  Ventura Theatre, Ventura, CA
24  Brooklyn Bowl, Las Vegas, NV
26  Ace of Spades, Sacramento, CA
28  Roseland Theatre, Portland, OR
29  Vogue Theatre, Vancouver, BC  CANADA
31  Union Hall, Edmonton, AB  CANADA
 1  Palace Theatre, Calgary, AB  CANADA
 3  Wilma Theatre, Missoula, MT
 5  Boubon Theatre, Lincoln, NE
 7  Riviera Theatre, Chicago, IL
 8  Turner Hall Ballroom, Milwaukee, WI
10  Bogart’s, Cincinnati, OH
11  20 Monroe Live, Grand Rapids, MI
12  Egyptian Room, Indianapolis, IN
14  Opera House, Toronto, ON  CANADA
15  MTelus, Montreal, QC  CANADA
17  Royale, Boston, MA
18  Aura, Portland, ME
19  Paramount Theatre, Huntington, NY
21  Wellmont Theatre, Montclair, NJ
22  Town Ballroom, Buffalo, NY
23  Rams Head Live, Baltimore, MD
25  Center Stage, Atlanta, GA
26  Hard Rock Live, Orlando, FL
28  Levitation Festival, Austin, TX

More information on Ministry’s forthcoming album is available online now along with all of its latest news and more at:




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Ellefson Partners With Pro Tone Pedals To Release New Pedal

Courtesy: Pro Tone Pedals

Courtesy: Pro Tone Pedals

Megadeth bassist Dave Ellefson does not rest easily on his laurels.

The musician turned entrepreneur announced this week a new partnership with Pro Tone Pedals to create a new guitar pedal.  The pedal, dubbed the “Dawn Patrol Chorus,” came to being after Pro Tone Pedals representatives approached Ellefson and proposed the idea.

Ellefson stressed the new, signature pedal will be a welcome addition to any bassist’s resources, adding he already used the company’s “Chorus” pedals when the organization’s representatives came to him with the idea.

“When Pro Tone approached me with the idea of making some signature pedals,as a bass player, Chorus is one of my go-to effects live, an ace weapon in my arsenal, and in many regards, helped me transition to my signature tone from studio to live on classics like ‘Dawn Patrol,’ Ellefson said.  “So the idea of developing a great chorus pedal was really a no brainer.  Dennis and the Pro Tone team are technical wizards and developed the Dawn Patrol to my exact specifications, and together we’ve developed a high quality, hand-built stompbox pedal that I’m positive will find a special place in any bassist’s rig.”

Ellefson’s new partnership with Pro Tone Pedals makes him just the latest name to make the company live up to its name.  Animals as Leaders bassist Tosin Abasi and Reeves Gabrels use the company’s signature pedals.  Jeff Loomis, Fear Factory, Alice in Chains, Prong, Deftones, Living Colour, Overkill, 30 Seconds to Mars and many others also use the company’s products.

Pro Tone Pedals was founded in 2004.  The company, now based in Charleston, South Carolina, has developed its reputation from making custom designed pedals.  Its employees’ dedication to customer service has garnered it affiliations with the likes of Ozzy Osbourne, Arch Enemy, Whitechapel, the Cure, Fear Factory, Ministry, Prong, Overkill and others.

The Dawn Patrol Chorus will be available at an introductory price of $189.99.  More information on the new pedal is available online now at:









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Houston Open Air Festival Lineup Announced

Courtesy:  Ashton-Magnuson Media/Danny Wimmer Presents

Courtesy: Ashton-Magnuson Media/Danny Wimmer Presents

The lineup for the 2016 Houston Open Air Festival has officially been announced.

Organizers with the Houston Open Air Festival have revealed the lineup for the 2016 Houston Open Air Festival.  The lineup will feature 35 bands over two days.  That list includes: Deftones, Slayer,Chevelle, The Cult, Ministry, Alter Bridge, Ghost, Anthrax, Pierce The Veil, Of Mice & Men, Sevendust, Baroness, Hellyeah, Chevy Metal, Buckcherry, Nothing More, The Amity Affliction, Max & Iggor Cavalera: Return To Roots, Avatar, letlive., Jim Breuer and the Loud & Rowdy, Texas Hippie Coalition, Young Guns, Starset, Sick Puppies, Skindred, Neck Deep, Sons Of Texas, KYNG, Twelve Foot Ninja, Gemini Syndrome, The Word Alive, Dinosaur Pile Up, September Mourning, and more.  Avenged Sevenfold and Alice in Chains have been named as the festival’s headliners.

A rolling discounted Early Bird pre-sale for Weekend General Admission tickets begins this Tuesday, May 17th at 12pm CDT/1pm EDT.  A very limited quantity of tickets will be available during this pre-sale.  They can be purchased online at and will only be available while supplies last.  Their prices are noted below.


Early Bird #1: $89.50

Early Bird #2: $99.50


VIP weekend tickets will also be available at a cost of $234.50.

Public on-sale tickets will go on sale Friday, May 20th at 12pm CDT/1pm EDT.  They will also be available for purchase online at  Their prices are listed below.



Weekend GA: $109.50

Single-day GA: $69.50

Single-day VIP: $129.50

VIP Weekend: $234.50



VIP tickets include: VIP entrance lanes into venue, access to VIP-only area featuring dedicated bar, beverage and food options (for additional purchase), VIP-only viewing area of Main Stage, dedicated restroom facilities, and a VIP-only commemorative laminate.

A portion of all proceeds from ticket sales for the festival will go toward aiding the Greater Houston Storm Relief Fund.  The Greater Houston Storm Relief Fund was established by Houston’s mayor Sylvester Turner in order to accept donations for flood relief in the Houston community.  This includes aiding victims of the flooding that stemmed from recent storms that hit the region.  More information on The Greater Houston Storm Relief Fund is available online at  Danny Hayes, CEO of Danny Wimmer Presents, spoke with the media recently.  He discussed the timing of the festival’s announcement in relation to the city’s recovery from said storms as well as the motivation for teaming with Mayor Turner in his recovery efforts.  “Houston Open Air has been in the works for almost a year now,” he said.  It’s awkward to announce a major music festival in a city that has experienced such recent hardship and, in fact, we delayed our announcements out of respect for what Houston has endured. But at the same time, our festivals are about highlighting the strengths (or sometimes the needs) of our host city. There’s no more important way to do that right now than to support Mayor Turner’s efforts to help Houston recover from this spring’s flooding and we will be incorporating this message throughout our launch campaign.”

Danny Wimmer is the founder of Danny Wimmer Presents.  He shared his thoughts on the logistics of the concert’s location, its lineup, and more in his discussion with the press.  “Houston is one of the country’s biggest rock markets and, when combined with the impressive food scene happening here, it’s a natural location for a DWP festival,” he said.  “We’re thrilled to have such a diverse first-year lineup that includes Avenged Sevenfold, Alice In Chains and Chevelle. With the inclusion of an incredible food experience and the Jack Daniel’s Whiskey Row, we are kicking off a powerhouse experience that will live in the market for many years to come!”

The Houston Open Air Festival’s band lineup is just part of what audiences have to look forward to this year.  There will also be a special food and drink experience for fans who attend.  This includes the Jack Daniel’s Old No. 7 Whiskey Row and a massive Gourmet Man Food Experience  The brands featured in the Jack Daniel’s Old No. 7 Whiskey Row include: Jack Daniel’s Black Label, Gentleman Jack, Jack Daniel’s Tennessee Honey, Jack Daniel’s Tennessee Fire, Old Forester, and Woodford Reserve.  The complete lineup and menus for the Gourmet Man Food experience will be announced soon.

Houston Open Air is produced by Danny Wimmer Presents, producer of: Louder Than Life, Chicago Open Air, Monster Energy Welcome To Rockville, Monster Energy Fort Rock, Monster Energy Aftershock, Monster Energy Carolina Rebellion, Northern Invasion, Monster Energy Rock Allegiance, Rock on the Range, and more.  It is sponsored by: Monster Energy, Jack Daniel’s, El Jimador, Fxck Cancer’s Dyin2Live, NRG Park, and SoHo Concessions, and more to be announced soon.

NRG Park is the home of the NFL’s Houston Texans and the annual Houston Livestock Show and Rodeo.  It is located at One NRG Park in Houston, TX.

More information on the Houston Open Air Festival is available online now at:








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