Ashley Worhol Takes On Mental Health Issue In New Single, Video

Courtesy: O’Donnell Media Group

Independent singer-songwriter Ashley Worhol debuted the video for her new single this week.

Worhol debuted the video for her single ‘Listen to the Wind‘ Thursday. The video places Worhol in a deeply forested area in a flowing gown as the song plays over the video.

At one point, the video portrays Worhol as battling what are supposed to be dark hands that tug at her from every angle. The hands are meant to represent her own inner demons.

The song’s very subtle, piano-driven arrangement is a work that will appeal to fans of Amy lee, Type O Negative and Nine Inch Nails. Its lyrical content comes from a personal place, according to Worhol.

Worhol discussed the song’s lyrical content in a recent interview.

‘Listen to the Wind’ is extremely personal to me because I wrote this song using myself as an experiment,” she said. “I struggle with anxiety almost on a daily basis and wanted to compose something that would physically make me feel relief. Anytime I would start to have an attack, I would go to the piano and play different chords and melodies to see if any of them physically made me feel better. Which, I found some that did. Once I realized what helped calm my emotions, I knew I wanted to write this song in hopes it might also help heal others who struggle with anxiety as well.”

‘Listen to the Wind’ is my escape,” she added. “Nature is my escape and it is a constant reminder to cherish the small details, watch animals and bugs roam freely, smell the flowers as they move in the breeze and most importantly, listen to the wind and feel the warmth of the sun beaming down on your face.  For anyone out there who struggles with anxiety, you are not alone. You will never be alone. You are in my thoughts and prayers and I am right there with you.”

Along with discussing the song’s lyrics, Worhol also noted how the lyrics and music tied into the song’s video treatment.

“Not only did I want to compose a song but I also wanted to show in art form what my anxiety feels like visually,” she said. “This is what led to the filming of the music video for this emotional track. I took this time to be vulnerable and truly showed what heals me, which is nature, and what I feel physically when these attacks occur…On set while filming, I allowed myself to have an attack. There was a take we were shooting where I was supposed to sing along with the track and the moment the song turned on, I couldn’t sing. At that moment I knew this was the time to truly capture in the raw what happens to me during an attack and I let the camera capture every second.

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:

 

Facebookhttp://www.facebook.com/blueeyedchrist

Twitterhttp://twitter.com/BlueEyedChrist

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In Parallel Debuts ‘Deep Dark’ Lyric Video

Courtesy: Wiretap Records

Independent rock super group In Parallel debuted the video for its latest single this week.

The band The band — composed of Lance Black, Jesse Fine, Ryan Parrish, and Mark Nash — debuted the lyric video for its new single ‘Deep Dark‘ Thursday.  It is the second single from the band’s forthcoming EP Fashioner, which is scheduled for release Sept. 14 through Wiretap Records.  The video’s premiere comes more than a month after the band debuted the video for the album’s lead single, ‘Leave It With The Ghost.’

The video for ‘Deep Dark’ places the song’s lyrics over a subtle black and white background that features images such as gentle, flowing water and fog-covered landscapes.  The song’s musical arrangement is distinct from that of ‘Leave It With The Ghost.’  It presents what is in this critic’s ears, a distinct influence from The Cure, unlike the Nine Inch Nails-esque vibe of ‘Leave It With The Ghost.

The lyrical theme at the center of ‘Deep Dark,’ which Black discussed in a recent interview, tackles a psychosocial matter that will relate to many listeners.

The song’s subject matter deals with the overwhelming feeling of depression and the codependency that often comes with it,” he said. “Its chorus concludes that we are complex human beings living in a world with little tolerance for mistakes or flaws: ‘We’re the sum of the ocean and its deepest parts. Where it ends, and where it starts. We’ve asked for nothing, but you understand what a perfect world demands.”

‘Deep Dark’ is available to stream and download through Spotify and Apple Music.’

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

Websitehttp://www.inparallelband.com

Facebookhttp://www.facebook.com/inparallelband

Twitterhttp://twitter.com/inparallelband

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Secret Of Boris Debuts ‘Don’t Mention Love’ Video; Scheduled To Perform Live At Rail Fest

Independent electronic rock act Secret of Boris has a new live date planned.

The band is scheduled to perform live at this year’s Rail Fest in Fort Worth, Texas.  The four-day festival is scheduled to take place Oct. 1-4 at The Rail Club.  One of the songs sure to feature in the band’s set list — should the festival go on as planned — is its recently released single, ‘Don’t Mention Love.’

The band debuted the song’s companion video Apr. 4.  The video features the band performing in a dimly lit sound stage, complete with black light.  The song’s musical arrangement is an up-tempo work whose guitars, vocals and keyboards collectively lend themselves to comparisons to works from Orgy, Julien-K and Nine Inch Nails.

Front man Cameron Taylor talked about the arrangement’s creation in a recent interview.

“This song had been kicking around for quite some time,” he said. “I wrote the synth intro and verses long ago, and they were always something the band was excited about, and the chorus went through several small changes, but the bridge always gave us trouble. We would work on it, and then move on to other things, but it kept getting brought up. Finally, we landed on what you hear today, which ended up being a pretty emotionally intense part of the song. I’m glad we stuck with it.”

The lyrical theme at the center of ‘Don’t Mention Love’ comes across as addressing a familiar topic, a broken relationship.

Courtesy: TAG Publicity

‘Don’t Mention Love’ is available to stream and download through Apple Music, Spotify and the band’s official Bandcamp page.

The debut of ‘Don’t Mention Love’ and its companion video came almost a month prior to the debut of the band’s now most recent single, ‘This is The End‘ and its companion video.  That song itself boasts its own Nine Inch Nails-esque sound in its arrangement.  At the same time, it can also be compared to works from Mushroomhead and Five Finger Death Punch.

More information on Secret Of Boris’ upcoming live show, its new singles and videos is available along with all of the band’s latest news at:

 

Website: http://secretofboris.net

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

Twitter: http://twitter.com/secretofboris

 

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Razorwire Halo Debuts ‘Cover My Eyes’ Lyric Video

Courtesy: The Label Group/INgrooves

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

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

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

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

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

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

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

 

Website: http://razorwirehalo.com

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

Twitter: http://twitter.com/razorwire_halo

 

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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:

 

Facebookhttp://www.facebook.com/blueeyedchrist

Twitterhttp://twitter.com/BlueEyedChrist

 

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Julien-K Debuts ‘Better Without You’ Lyric Video

Courtesy: The Label Group

Julien-K debuted the video for its latest single this week.

The band debuted the lyric video for its new single ‘Better Without You’ Thursday through Ghost Cult Magazine.  The song is the third single from the band’s latest album Harmonic Disruptor (2020).  The album has also produced the singles ‘Shut Down Your Soul‘ and the album’s title track.

The song’s musical arrangement boasts a sound that is comparable to works created by Julien-K’s founders Ryan Shuck and Amir Derakh during their days in Orgy, and just as much to works from Nine Inch Nails and Stabbing Westward.

Shuck discussed those similarities in a recent interview.

“Stronger Without You takes us back to our roots in Orgy “Candyass” era,” said Shuck. “We consciously wanted to revisit the spirit and tone we created when we started Orgy. The 90’s influence, the heavy detuned guitars w strong electro roots – truly OUR roots.”

The song’s lyrical theme, said Shuck, address someone whose negative thoughts and personality is doing them in.

“The lyrics use apocalyptic language to tell the story of a toxic person choking on their own negativity,” he said. “Truly Julien-K!”

Harmonic Disruptor is available to stream and download here.

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

 

 

 

Websitehttp://www.julienk.com

Facebookhttp://www.facebook.com/julienk

Twitterhttp://twitter.com/JulienK

 

 

 

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Porn Debuts ‘God’s Creatures’ Remix

Courtesy: O’Donnell Media Group

Goth/industrial metal band Porn is bringing audiences some new music.

The band debuted the remix of its song ‘God’s Creatures‘ Friday.  The song, featured in the band’s latest album No Monsters in God’s Eyes, was not previously released as one of the album’s singles.

Now it has been remixed by Mindless Self Indulgence front man Jimmy Urine for Porn’s new remix album Mr. Strangler’s Last Words.  the record is a follow-up to No Monsters In God’s Eyes and features remixes from other goth and industrial acts, such as Combichrist, Stabbing Westward and Chris Vrenna (ex-Nine Inch Nails).

The original take of ‘God’s Creatures’ boasts an arrangement that lends itself to comparisons to works from fellow electronic rock band Orgy.  Jimmy Urine’s remix took that arrangement and enhanced it even more, giving the arrangement an even more ethereal sound.  the up-tempo keyboard line and steady 2/4 beat   The change even presents a hint of an EDM influence at one point, making this remix the most notable of the album’s remixes.

Most recently, Porn debuted the remix of its song ‘High Summer Sun,’ which was crafted by Orgy.  Prior to that song’s release, Porn debuted the remix of another of the singles from No Monsters in God’s Eyes in the form of Stabbing Westward’s remix of ‘Some Happy Moments.’  Combichrist’s remix of ‘A Lovely Day’ was the first of the remixes featured from No Monsters in God’s Eyes.

Porn front man Phillippe Deschemin talked about the remix in a recent interview.

“Here is the remix by Jimmy Urine from Mindless Self Indulgence,” he said. “Just after releasing an album with Serj Tankian ( singer of System of a Down), Jimmy Urine is doing some PORN remixing the song God’s Creatures. The result is a pure Industrial Rock song with the weird touch of Mindless Self Indulgence.”

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

 

 

 

Facebookhttp://www.facebook.com/PORNtheband

Twitterhttp://twitter.com/PORNtheband

 

 

 

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‘Dead And Gone’ Proves Stabbing Westward Is Anything But Dead And Gone

Courtesy: Drugstore Records

Stabbing Westward has seen lots of ups and downs during the course of its life.  Having initially formed more than 35 years ago, the band released four albums and one EP before eventually breaking up in 2002.  Almost 15 years after that breakup, the band reunited in 2016, and has been keeping itself busy ever since then.  Just this past January, the band released its first new record in 19 years in the form of its new EP Dead and Gone.  The five-song record is a strong return for the band, and shows that even with as much time as has passed, the group can still hold its own alongside its counterparts in the electronic-industrial rock community.  It is a presentation whose musical arrangements pull from each of the band’s past records and whose lyrical content will connect with its own share of listeners.  Each item will be discussed shortly.  The record’s production and mixing rounds out its most important elements, and will be addressed later.  All things considered, the EP proves itself a strong return from one of the most well-known industrial-electronic rock acts of the 90s, and a presentation that gives audiences real reason to be optimistic about the band’s forthcoming album, which is scheduled for release later this year through COP International.

Stabbing Westward’s recently released EP Dead and Gone is a strong new offering from the band, having come along almost two decades after the release of the band’s then most recent album, it’s 2001 record Stabbing Westward.  That is due in part to the songs that make up the record’s body.  The EP features five songs, but technically only three of the five are original.  The other two are remixes of the record’s title track and of ‘Cold,’ the record’s second song.  The thing that gives this EP a pass unlike other EPs is that while the noted remixes are just that, they are still original works in their own right.  The ‘Dead and Gone’ (Stoneburner Remix) is proof of why the remixes deserve their own share of applause and attention.  The remix does stay true to its source material, but adds so much more to it in the process.  Case in point is the use of the extra electronics and the guitars that are added in to the composition.  The echo effect that is used on front man Christopher Hall’s vocals and the steady, driving bass drum beat that is incorporated adds an extra touch to the song.  The same can be said of the aforementioned guitars.  They give the song more of an edge that, together with the other added elements, actually makes the remix better than the original.  “Stabwalt’s 12” Dance Mix” of ‘Cold’ is deserving of its own praise.   This arrangement goes full EDM complete with extra keyboard accents while also staying as true as possible to its source material.  The arrangement builds on the very Orgy-esque sound featured in the original song and enhances it even more to make it just as enjoyable as the original, if not more so.

Speaking of that Orgy-influence exhibited in ‘Cold,’ it is fully evident in the original arrangement, complete with the Middle Eastern sound that opens the song.  What’s just as interesting about this arrangement  — the original arrangement – is that there are elements that make it comparable to works from old school Nine Inch Nails and to certain songs from Gary Numan.  Even with those comparisons, the song still boasts its own original identity in and of itself.  That ensures listeners will remain engaged and entertained throughout the course of the nearly four-and-a-half-minute opus.

‘Crawl,’ another of the songs featured in this EP, presents its own engaging and entertaining arrangement.  The use of the vocal effects, the guitars and keyboards will take listeners back to the band’s early days and  even as recent as the noted 2001 self-titled album.  In other words, it is a work that will appeal just as much to new audiences as it will to longtime listeners.

‘Dead and Gone,’ the EP’s opener wastes no time grabbing listeners’ attention, with its steady beat, its guitars and keyboards.  Right from the song’s outset, the arrangement lends itself to comparisons to Nine Inch Nails’ timeless hit ‘Head Like A Hole’ before easing up slightly in the lead verse.  That heaviness from the song’s opening returns in the song’s chorus, returning that comparison.  The back and forth of that heavy/soft/heavy/soft/heavy approach does its own part to keep listeners engaged and entertained here.  That is especially the case considering that despite the comparison, the song’s arrangement still boasts its own identity, too.  Considering the engagement and entertainment offered through the EP’s arrangements, the record clearly has plenty to offer audiences just in this aspect alone.  The EP’s lyrical content adds even more impact to its presentation.

All three of the original songs featured in Dead and Gone focus on one central topic – relationships.  The record’s title song would have been a good fit to the band’s self-titled record.  That’s because lyrically, by that point, Hall had gone from being more confident and straight forward, demanding love in his lyrics to being more pleading.  This song is very much in that vein.  He sings in the song’s lead verse, “I failed to realize I’d found everything in you/And like a fool/I took it all for granted/I was too self-absorbed to see the pain I put you through/And you don’t believe in second chances.”  He adds in the chorus, “How can I go on/When my last hope is gone/How can I go on/When my last hope is dead and gone.”  From there, Hall continues in the song’s second verse, “You were the hope that pulled me through my darkest nights/But every time you needed me, I failed you/no longer want to live the life you’ve left behind/If it means I must face it without you.”  The song’s third and final verse continues in very similar fashion, finding its subject once again very pleadingly saying essentially oh-woe-is-me.  Given, this is rather self-serving, but it will connect with listeners, as there are those out there who are and have been in a similar situation, so maybe this song will help those people get through those difficult moments.

‘Cold’ is another example of why the song’s relationship-based lyrical themes strengthen the EP’s presentation.  Instead of someone who has lost that someone, this time, the song’s subject is lamenting unrequited love.  Hall sings from the subject’s vantage point here, “Our first kiss set my soul on fire/Consumed me with a burning desire/inside you, I finally felt whole/When I whispered, ‘I love you’/You froze and said nothing at all.”  He continues in the song’s second verse, “It’s a silent scream through my head/I realized that my passion was dead/Inside you, I felt so alone/Like a fool who has fallen in love with an angel of stone.”  He adds in the song’s final verse, “The fire that ravaged my soul/is dead now and the ashes are cold.”  The song’s chorus adds its own impact to the song, as it finds Hall singing, “How did you get so cold/I can see in your eyes/There’s nothing inside/How did you get so cold.”  Again, the song’s subject is relatively clear here.  Lots of people have been in the position of this song’s subject; that moment of making that all-important statement in a relationship, but perhaps not getting back the same emotion from one’s partner.  Hall does a good job of expressing the emotions and thoughts that fill those who have made that move and have the same result.  To that end, it is not a song for everyone, but will connect with its own share of listeners.  Keeping that in mind, the combination of the song’s lyrical and musical content does its own work keeping audiences engaged and entertained, even here.

‘Crawl,’ the third of the record’s original works, will find its own unique appeal to audiences, too.  This song makes no bones as to its subject matter.  The song’s subject openly says to his/her love interest in the song’s chorus, “I would beg/I would plead/I would crawl/On my hands and knees/To try to restore your faith in me.”  The subject even goes so far as to say in the chorus’ refrain, “I would crawl through Hell on my knees/Just to be with you.”  This is something of a romanticized sort of statement that certainly plenty of listeners will appreciate, especially taking into account the over-the-top pleas that are presented in the song’s verses.  It is, again, not something for everyone, but those who do like such schmaltzy poetry will appreciate this presentation.  It shows that the song’s subject has realized he/she has done wrong to his/her partner, and will do whatever it takes to make things right.  Of course, actions speak louder than words, and keeping that in mind, it will not appeal to everyone, again, but will connect with its target listeners.  It’s just one more way in which the record’s lyrical content proves itself just as important to the EP’s whole as the presentation’s musical arrangements.  All things considered here, the overall content featured in these five songs makes Dead and Gone a work that is deserving of at least an occasional listen.

While the content that makes up the body of Dead and Gone does its own share to make the EP engaging and entertaining for the band’s target audience, the record’s production and mixing put the final touch to its whole.  As noted already, each song has a lot going on, between the keyboards, electronics, drums, vocals, guitar and bass.  Luckily, even as much as is going on in each song, each part is balanced well with one another.  Hall’s singing, in its more subtle and even more powerful moments helps to accent the emotion exhibited in each lyrical presentation.  At the same time, he never overpowers his band mates, nor do they wash him out.  The drums, in ‘Cold’ couple well with the guitars and drums to show once again how much time and effort was put into the record to create its impact.  Much the same can be said of the production of the record’s other works.  The end result of all of the production and mixing is a record that deserves just as much credit for its aesthetics as for its content.  Keeping that in mind, the EP, proves itself a strong return for the band and a work that deserves its own spot on any critic’s list of the year’s top new EPs.

Stabbing Westward’s recently released EP Dead and Gone, released early this year, came with little fanfare or coverage from mainstream media outlets.  Despite that, it still managed to succeed and show that Stabbing Westward still sounds as strong as it did back in the 90s.  That is proven in part through its musical arrangements that will appeal widely to industrial and electronic rock fans.  The record’s lyrical content ensures its own appeal among audiences.  The production and mixing puts the final touch to the record’s whole.  Each noted item is important in its own way to the whole of the EP.  All things considered, they make Dead and Gone proof that Stabbing Westward is not yet dead and gone.  More information on Dead and Gone 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.

Blue Eyed Christ Debuts New Single, ‘America H’

Courtesy: TAG Publicity/Distortion Productions

Electronic music act Blue Eyed Christ returned this week with its first new music in years.

The act, founded by producer/engineer John D. Norten, debuted its new single ‘America H‘ Monday.  The song, whose musical arrangement will appeal to fans of acts, such as Nine Inch Nails, Gary Numan and My Life With The Thrill Kill Kult, is featured in the BEC’s forthcoming album World on Fire.  The album is scheduled for release on May 22 through Distortion Productions.

The musical arrangement at the center of ‘American H’ is a subtle keyboard-driven work whose electronics add their own touch to the song’s presentation.  The balance of the keyboards, electronics and vocals makes the song wholly engaging and entertaining from beginning to end of its three-and-a-half-minute opus.

The song’s lyrical content is part of a bigger commentary that encompasses the album, which is overall, a concept album.

Norten talked the concept behind the song in a recent interview.

“‘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.”

Additionally, Norten talked about the overarching concept at the center of the album.

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,” he said.  “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.”

World on Fire is Blue Eyed Christ’s fifth album and his first in six years.  Pre-orders are open now for the 11-song album through Distortion Productions’ official website and through Blue Eyed Christ’s official Bandcamp page.  The record’s track listing is noted below.

 

Track List:
1. Start the Show
2. Stop the Show!
3. America H
4. Manic Adderall (Nation of the Damned)
5. Massive React
6. Take It the the Streets
7. World on Fire (Feat. En Esch and Mea Fisher)
8. The System Pt. 1
9. The System Pt. 2
10. The Wait is Over (Feat. Swindy)
11. The Slow Reverse

 

More information on Blue Eyed Christ’s new single and video, and new album 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.