Violent Idols Takes On Social Media, Its Impacts In New Single, Video

Courtesy: TAG Publicity

Violent Idols debuted the video for its latest single this week.

The band premiered the video for its latest single, ‘Revenge‘ Wednesday. The single will be available to stream and download April 7, almost a year after the release of its then latest single, ‘F*** You.’ That song featured guest vocals from Gemini Syndrome front man Aaron Nordstrom.

The video features Violent Idols’ enigmatic front man “V” in a hallway with a shining light behind him, walls on either side as he sings against the song, which plays over the simple visual. The visual of the light shining on that darkness of the hallway is meant to help translate the message in the song’s lyrical theme.

The band talked about the song’s lyrical theme in a prepared statement.

”This band has always been about looking the monster inside right in the eye and staring it down,” the statement reads. “‘Revenge’ is no exception. With social media we all always seem so caught up in only showing our best selves. But that’s not all we are. You really only know somebody after you’ve seen the worst side of them; yourself included. When you confront the depths of your own darkness, you begin to lift that veil.”

“It’s easy to say you’d turn the other cheek while sitting in an ivory tower,” the statement continues. “But when the blood of someone you love ends up on the hands of your enemy, what do you do? A lot of people don’t like to ask themselves that question. They don’t want to know what the monster inside of them looks like.”

The musical arrangement that accompanies the song’s resonating lyrical theme is an industrial type work that will appeal to fans of bands, such as Orgy, Spineshank, and Apartment 26.

More information on Violent Idols’ new song and video is available along with all of the band’s latest news at:

Websitehttps://violentidols.com

Facebookhttps://www.facebook.com/violentidols

Twitterhttps://twitter.com/violentidols

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Orgy Debuts ‘Spells’ Video

Courtesy: Adrenaline PR

Veteran industrial rock band Orgy is taking audiences back to the future.

The band debuted the video for its single ‘Spells‘ Friday. The single is featured in the band’s 2015 EP Talk Sick, but never produced a video. The video was co-directed by Henry Lipatov and Mykyta Samusiev, and co-produced by Samusiev and Anna Tveritina.

The presentation features a woman basically teleporting from point to point, changing outfits along the way and crosses that with footage of the band performing its single. The woman uses special powers to “zap” the band members as she encounters them through her travels.

The band talked about the video’s creation in a prepared statement.

“We just wanted to reach out during these hard times to let you know we haven’t forgotten about all of you,” the statement reads. “These times are especially difficult for everyone, not just the music industry. While it’s probably for the best, it sure does suck not being able to perform live for all of you. We miss it just as much as you probably do, if not more.”

“Even though so much has changed regarding the sound of Orgy since then, we figured why not at least release the video on all major platforms and give it away to any of you that want it?” the statement continues. “We hope you enjoy it, and that the video will at least be a distraction from all the drama going on out there!”

In other news, the band is using the current state of the world to record its next record at its own homes. The band is hoping to release its next record in 2021.

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

Website: http://www.orgymusic.com

Facebook: http://www.facebook.com/people/OrgyMusic/100044538793426

Twitter: http://twitter.com/OrgyOfficial

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New Language Debuts ‘Stuck With Yourself’ Lyric Video

Courtesy: Earshot Media

Independent rock act New Language debuted the video for its latest single over the weekend.

The group debuted the lyric video for its new single ‘Stuck With Yourself‘ Friday.’ The song is the lead single and title track from the band’s forthcoming sophomore album. The song and album were produced by front man Tyler Demorest.

The lyric video places the song’s lyrics over an ever-constant changing backdrop of a person’s head, which itself is set against a black backdrop. A shining/splatter effect remains pulsing over the skull as the lyrics appear over the whole.

The song’s musical arrangement presents influences of 80s new wave and more modern techno. There are points in the song at which listeners can make comparisons to the Talking Heads, and at others to the likes of Orgy and Nine Inch Nails. The whole makes for an interesting listen for certain.

According to information provided about the song, its lyrical content was crafted after Demorest saw a friend staying in “a toxic situation despite obvious solutions being provided.”

More information on New Language’s new single and lyric video is available along with all of the group’s latest news at:

Website: http://www.newlanguageband.com

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

Twitter: http://twitter.com/newlanguageband

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 Pics blog at https://philspicks.wordpress.com.

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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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

 

 

 

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.

Porn Debuts ‘In An Endless Dream’ Remix

Courtesy: O’Donnell Media Group

Goth-Industrial band Porn debuted another remix from its new album Mr. Strangler’s Last Words.

The band debuted the remix of its song ‘In An Endless Dream‘ Friday.  As with the band’s previous remix of ‘God’s Creatures,’ which the band debuted early this month, this song was not originally featured as one of the singles for the band’s album No Monsters in God’s Eyes.  That song was remixed by Mindless Self Indulgence front man Jimmy Urine.

The band’s latest remix was handled by Chris Vrenna (ex Nine Inch Nails, Marilyn Manson).  Vrenna’s industrial music experience is on full display here through the percussive nature in the song’s electronic elements and the gentility in the keyboards.  The drums cut through just as strongly here, and are well-balanced with the vocals of Porn front man Phillippe Deschemin.

Deschemin had the following to say about Vrenna and his handling of the remix.

“Here is the remix by Chris Vrenna!,” he said.  “Well known as the Nine Inch Nails drummer from 89 to 99 and with Marilyn Manson from 2007 to 2011, Chris Vrenna is also an accomplished producer (with is own project Tweaker, 2 albums for Marilyn Manson…), composer and remixer (NIN, Rammstein, U2…) . Now Chris Vrenna is doing some PORN remixing the song In an endless dream!”

The debut of Vrenna’s remix of ‘An Endless Dream’ comes less than a month after Porn debuted the remix of God’s Creatures.  They are just two of the songs that the band has released so far from The Last Words of Mr. Strangler.  The band has also released remixes of ‘High Summer Sun,’ ‘Some Happy Moments‘ and ‘A Lovely Day.’

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

 

 

 

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.

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

 

 

 

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.

 

‘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

 

 

 

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Porn Debuts ‘High Summer Sun’ Remix

Courtesy: O’Donnell Media Group

Goth-industrial band Porn has debuted another remix from its upcoming album Mr. Strangler’s Last Words.

The band debuted the remix of the song ‘High Summer Sun‘ Friday.  The remix was crafted by fellow industrial-electronic rock  band Orgy.  The remix takes Porn’s original song and gives it its own unique identity complete with a sound that Orgy’s established fan base will enjoy.

Porn front man Phillippe Deschemin spoke about Orgy re-imagining the song in its own unique fashion during a recent interview.

“Here is the remix by Orgy. After remixing big bands like Korn or Linkin Park, Orgy are now doing PORN !,” he said.  “Led by Jay Gordon, the band chose to work on the song “High Summer Sun.” The result is a pure Industrial Rock song, catchy and powerful, sexy and dangerous ! ”

Orgy is just one of the bands who took pat in remixing music for Mr. Strangler’s Last Words.  Early this month, Stabbing Westward — which released its new EP Dead and Gone in January — had its remix of ‘Some Happy Moments‘ premiered.  Combichrist also took part in the remix record, taking on the song ‘A Lovely Day.’

Also featured in Mr. Strangler’s Last Words are acts, such as Lluther, The Anix and Chris Vrenna (ex-NIN and Marilyn Manson).

Deschemin also discussed the acts working on the upcoming remix album during his noted interview.

” It’s an honor for us to have these greats bands involved : Combichrist, Stabbing Westward, Orgy, Jimmy Urine from Mindless Self Indulgence, Chris Vrenna ( ex NIN and Marilyn Manson), The Anix, Ash Code, and Lluther,” he said. “I am a big fan of all these bands. The PORN’s priest aka Aura Shred did a remix too. And with The One, we cooked a special remix with our side-project An erotic end of times. We can’t wait to share this remixes with our fans. We are PORN, you are PORN ! Mr Strangler is dead, long live his memory! ”

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

 

 

 

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.