One Gun Shy’s New LP Is Cocked, Locked And Rocks

Courtesy: Lime and Dime Records

Later this summer, One Gun Shy will release its next full-length studio recording to the masses. Eye of the Storm, the band’s third album, is an aptly titled record. That is because over the course of its 11 songs, it kicks up quite the musical storm that will appeal to any 90s and 2000s rock fan. From start to finish, this latest effort from the independent rock act will keep those target audiences engaged and entertained. That is especially due to the arrangements that make up the record’s body. They will be discussed shortly. The songs’ lyrical content plays into the record’s whole, too and will be discussed later. The album’s sequencing puts the finishing touch on its whole. It does just as much to ensure the target audiences’ maintained engagement as the album’s musical and lyrical content. That being the case, it deserves note, too. When it is joined with those other elements, the whole of those items makes Eye of the Storm a work that is certain to be a success among its key fans.

One Gun Shy’s new album Eye of the Storm is a strong new effort from the Washington state-based rock band. It is a work that is certain to appeal to fans of rock from the 90s and early 2000s, as it exhibited through the musical arrangements presented across this record. Right off the top, audiences get an arrangement in ‘Constellation’ that can easily be likened to works from Three Days Grace, Shinedown and other similar acts. Immediately after that, audiences get an arrangement in the album’s title track that is akin to heavier works from perhaps Theory of a Deadman as well as, again, Three Days Grace and even to Soil and Shinedown. As if that isn’t enough, ‘I’m Free’ takes listeners back to the songs that bridged the late 80s and early 90s with its driving riffs, bombastic solos and equally solid time keeping. ‘Hard Reality,’ which comes roughly at the album’s halfway point, conjures thoughts at times of perhaps Stone Temple Pilots and of so many established blues-based bands with its semi-acoustic, blues based arrangement. Things get even more interesting as the band works its way through ‘For Me,’ which opens the second half of this album. That is because its arrangement, set alongside front man Neirah “Stone” Hart, at times conjures thoughts of certain works from Killswitch Engage (from the band’s Howard Jones era). The song’s bridge, however, is classic late 80s/early 90s rock riffage. The juxtaposition of the two sounds definitely makes for an interesting mix here. Things take quite a dramatic change in ‘Lies’ and ‘Dying To Make It’ as the band suddenly lends itself to comparisons with Prong circa 1994 (the year Cleansing was released). To say that this change of sound and pace was unexpected is putting it lightly. At the same time though, it’s a pleasant change of pace. That’s because it serves to show the band’s range, musically speaking. That wide range is just one of the album’s strengths. Its lyrical content is, collectively, one more of those strengths.

The lyrical themes presented throughout EOTS are, collectively speaking, just as important to the record’s whole as its musical material. Yes, there are some songs centered on the standard matter of personal relationships, but those songs are not the album’s only entries. ‘Zombie,’ which musically takes listeners back to Motley Crue’s heyday, seems to take the current popularity of the zombie fad and uses it for its own song. ‘Until The End,’ the album’s penultimate track, comes across as a commentary about finding one’s own self both within one’s self and as part of the world in whole. It also seems to present a message of personal strength, in connection, to that primary message, enhancing the song’s lyrical content even more. ‘Dying To Make It,’ another of the album’s later entries, also strays from the standard fare of personal relationships as Hart sings, “Why can’t we see/What it means/To be alive/Why must we bleed/Just to get through this life/I’m dying to make it.’ The additional notes of “I can’t feel anything at all/I can’t see anything at all” adds to the realization that this is not a work about personal relationships but seemingly rather about navigating life’s trials and tribulations. It is one more way in which the band keeps things interesting for listeners on this record, instead of just front loading it with loads of songs of broken relationships. When it is considered alongside the album’s collective musical arrangements, the whole of those elements serves to show even more clearly why EOTS is indeed another interesting effort from One Gun Shy. It still is not the last of the album’s most important elements. The record’s sequencing rounds out its most important elements.

The sequencing of EOTS is so important because, as with records in any genre, without well thought out sequencing, none of the music or lyrics mean anything. Luckily for the band, plenty of thought was put into this album’s sequencing. Musically speaking, the album starts with a bang in ‘Constellation.’ The use of the electronics as a lead-in to the song’s guitar-driven main body gives the song just enough variety while also keeping the song’s pacing upbeat throughout. In regards to its lyrical content, yes it does seem to center on a personal relationship — as does its follow-up, ‘Eye of the Storm’ — but it is presented in such fashion lyrically that it doesn’t come across as being too caught up in itself. ‘Eye of the Storm’ walks that line a little bit more than ‘Constellation’ but never goes over said line, which will make listeners happy. The late 80s/early 90s rock infused arrangement at the center of ‘I’m Free’ continues to keep the album’s musical energy flowing as well as its lyrical energy. Those combined energies keep flowing up until the album’s midpoint, ‘Hard Reality,’ the previously noted semi-acoustic contemplative piece. Once the band is done giving audiences break here, things gradually pick back up right to the album’s end, eventually leaving listeners feeling fulfilled both musically and lyrically. In looking back at the balance of energies throughout, listeners will note for themselves just how much time and effort was obviously put into sequencing. In doing so, they will agree that such time and effort paid off, as it resulted in an album that is expertly balanced from start to finish both musically and lyrically. The result is an album that will easily appeal, once more, to any fan of rock from the 90s and early 2000s.

One Gun Shy’s new forthcoming album Eye of the Storm is an album that fans of 90s and early 2000s rock will agree is cocked, locked and rocks. Yes, that awful pun was fully intended. Those fans will agree as to its strength in part due to its musical arrangements which not only cross the years but also genres. From the mainstream sounds of Theory of a Deadman, Shinedown and others to the more underground sound of Prong and others, this band brings plenty of variety throughout the album’s 45-minute run. The album’s lyrical themes don’t stick to the standard personal relationship fare, either. There are themes seemingly of personal insight and other items included among those more standard fare. The thought and time spent arranging those elements together into the body that is EOTS means each gets the attention it deserves, and in turn keeps listeners engaged and entertained from start to end. That insured engagement and entertainment, going full circle will lead listeners to have full appreciation for this album, agreeing once more, that it is another strong effort from One Gun Shy. More information on Eye of the Storm is available online now along with all of the band’s latest news and more at:




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‘Eye of The Storm’ Is A Solid Starting Point For One Gun Shy’s Next LP

Courtesy: Lime & Dime Records/Momma Lynn Records LLC

Independent rock outfit One Gun Shy will soon release its latest album Eye of the Storm to the masses.  While the band prepares for the album’s release, it is streaming the album’s lead single ‘Eye of the Storm’ via its website.  The song is a strong first impression from the band in regards to what it gives audiences to expect from Eye of the Storm.  That is due in part to the song’s musical arrangement.  Its lyrical content is just as important to note as its musical arrangement.  The song’s production rounds out its most important elements.  Each element is important in its own way to the song’s overall presentation.  All things considered, the song does plenty in itself to build anticipation for Eye of the Storm.  It will soon be accompanied by a video that the band is currently finishing.

‘Eye of the Storm’ is a solid new effort from One Gun Shy.  It does plenty to build anticipation for Eye of the Storm.  That is due in part to the song’s musical arrangement.  The song’s arrangement is a heavy, guitar-driven composition that will appeal to fans of Theory of a Deadman, Soil, Three Days Grace, Shinedown and other similar acts.  That sounds like quite a spread, but comparing the bands’ sounds shows that it is in reality not such a stretch.  It is an infectious, up-tempo composition that wastes no time getting audiences’ fists pumping.  Just as interesting to note is the harmony created through the pairing of guitarists Michael David and Neirah Hart with bassist David Leighton.  That harmony is (in this critic’s view) what really forms the arrangement’s foundation.  The addition of drummer Chris Womble’s time keeping strengthens that foundation even more. When the whole of those parts is considered as one, the end result proves t be an arrangement that is certain to become one of Eye of the Storm stand out songs if only for its musical element.  Of course its musical arrangement is not its only key elements.  Its lyrical content is just as important to note as its musical arrangement.

The lyrical content of ‘Eye of the Storm’ is centered on a topic to which so many listeners can relate—the matter of the fear of being hurt in relationships. Womble noted in an interview that the song’s subject focuses on the attempt to win another person’s heart while having that fear of being hurt in the process.  That is made clear as Hart sings in the song’s lead verse, “When you’re near me I lose control and it feels like I’m falling again/Down a spiral staircase to your soul/And I’m begging you let me in/Everytime I fall into your eyes I’m home again/Tell me, tell me I need to know/If you feel it/Do you feel it too?”  Here is someone (who could be male or female) confessing those deep emotions to the other person, yet being tentative at the same time.  He goes on to sing in the song’s second verse, “I don’t want to break your heart/But believe me I can’t take it/I don’t want to change your mind/But it always comes to this/Believe me.”  This is an even more interesting set of lines.  It leads one to believe that maybe this is that second person responding to the first, trying not to hurt the first person.  On the other hand, it could also still be that first person confessing to the second.  Either way, the discussion being had in these verses (and the song’s chorus) is impacting in and of itself.  When it is joined with the energy exuded in the song’s musical arrangement, it becomes even more impacting.  The pairing of the two elements together makes the song in whole a work that is certain to touch listeners of any age deeply.  Keeping this in mind, the song proves clearly why it is a solid first impression for Eye of the Storm.  Even with that in mind, there is still one more element to examine in this song—its production values.

The production values presented in the song give the song its finishing touch.  Listeners will note the expert fashion in which each of the song’s elements are balanced throughout its nearly four-minute run time.  From start to finish none of the lines overpower each other at any point.  Even with the effects added to Hart’s vocals, it is not overly difficult to decipher what he is saying.  There is some slight difficulty, but it is minimal compared to the difficulty of understanding other bands’ vocalists when effects are added to their parts.  Considering this and the balance between his part of those of his fellow band members, the overall balance presented in the song’s production adds one last positive to its presentation.  That being the case, the combination of those elements together proves once again why this song is such a solid first impression for Eye of the Storm and why there is plenty more positive for audiences to anticipate when this record *ahem* rises.  Yes, that bad pun was intended.

Eye of the Storm is being mixed and mastered by Tim Sage at Studio Sage. The album’s song’s were originally recorded at Robert Lang Studio with Justin Armstrong handling engineering. Michael Decker, with Momma Lynn Records LLC is the band’s A&R representative.

More information on ‘Eye of the Storm’ is available online along with all of the band’s latest updates on Eye of the Storm and all of its latest news and more at:










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