Goth, Industrial Fans Will “Celebrate” ‘The Ghost Parade’

Courtesy: Pavement Entertainment

Courtesy: Pavement Entertainment

This past October, underground industrial/goth metal outfit Gabriel and the Apocalypse released its latest full-length studio recording The Ghost Parade.  The Minneapolis, MN-based quintet’s new record is a good fit for anyone that is a fan of Otep and to a lesser extent Prong, Nine Inch Nails and other acts of that ilk.  That is due both to the album’s musical arrangements and its lyrical content.  The songs mix together Nine Inch Nails’ industrial elements with the hard-edged sound of Prong and Otep (even front woman Lindy Gabriel sounds eerily like Otep front woman Otep Shamaya at points) for a record that musically speaking, will easily entertain its key audiences.  Lyrically speaking, the record covers a number of topics, too including politics, world issues and more.  All things considered The Ghost Parade is a record that Gabriel and the Apocalypse’s fans will soundly celebrate.

Gabriel and the Apocalypse’s latest full-length studio recording (and its Pavement Entertainment debut) Ghost Parade is a record that the underground goth/industrial act’s fans are sure to celebrate.  Between its musical arrangements and its lyrical content, it presents plenty for fans to appreciate.  The album’s opener ‘March Of The Dolls’ is a prime example of how the album’s musical arrangements and lyrical content come together to make the album stand out.  In regards to its musical arrangement, the song is a powerhouse composition with a sound that takes the best elements of Otep, Fear Factory and (believe it or not) Type O Negative and binds them together into one work.  The end result is a work that will surprise audiences in the best way possible.  That is because of the manner in which the arrangement balances those elements.  It is just one part of what makes the song stand out.  The song’s lyrical content is just as important to note as its musical arrangement.

The musical arrangement presented in ‘March of The Dolls’ is important in its own right to the song’s overall presentation.  It balances a number of different influences throughout the course of its nearly three-and-a-half-minute run time, and does so expertly, too.  That in itself is certain to keep audiences entertained.  While the song’s musical arrangement plays its own important role in its presentation, it is just one part of what makes the song stand out.  Its lyrical content is just as important to note as its musical arrangement.  Gabriel sings in the song’s lead verse, “You want/You need/To beg and to please/Get on/Your knees/I’ll make you believe/I want/I need/I love/The taste/My sweat/Is smeared across your face/My god/My god/It’s all/The same/Another sinful/Another save/But I can’t/Resist/Cuts down my wrist/I put it back together/What matters is the ending.”  It’s a rather dark statement to say the very least.  What is interesting here, though is that considering such a statement, it would have been easy for the band to go more in the standard, brooding goth direction with the song’s arrangement.  But instead it went the aggressive route.  In hindsight it seems to serve the defiance seemingly exhibited in that lead verse.  The song’s second verse is very similar to its first with only one real minor change, which comes in the end of the verse.  The real power that matches the song’s musical arrangement comes in the song’s final moments as Gabriel sings, “I’ve found myself…in the Ghost Parade…What do you think of me now?”  That last group of lines is especially interesting because it has been noted that The Ghost Parade is a personal record for the band’s front woman.  That final statement perhaps illustrates how personal it is for her.  It is almost as if she is saying through this song, she has grown and become someone new through all of the negativity that she has experienced in life, so “how do you like her now?”  It is a bold, powerful statement that when coupled with the song’s musical arrangement becomes even harder hitting.  Considering this the song in whole proves to be just one example of what makes The Ghost Parade a record that the band’s fans will celebrate.

‘March of the Dolls,’ with its powerhouse musical arrangement and equally interesting lyrical content is solid proof of why Gabriel and the Apocalypse’s fans will celebrate the band’s new album The Ghost Parade.  It is just one of the songs that serves to show what makes the album stand out. ‘Colour of Winter’ is another of the album’s songs that serves to make it stand out.  This song is the polar opposite of ‘March of the Dolls’ both in terms of its musical arrangement and its lyrical content.  Speaking first about its musical arrangement, this piece is that dark, brooding composition that goth fans will appreciate.  It is driven largely by the work of drummer Zach Williams and guitarists Jake LaCore and Joey Connelly.  Keyboardist Figgles McGee (no, that’s not a joke) adds an extra touch to the song, too.  The end result is a work that instantly conjures thoughts of works composed by Marilyn Manson and his band mates.  That is especially the case when Gabriel’s vocal delivery is joined with the work of her band mates.  It is only one part of the song that should be discussed.  The song’s lyrical content adds even more depth to its presentation.

The brooding musical arrangement at the heart of ‘Colour of Winter’ is its own key element to the song’s presentation.  As noted already, the combination of Gabriel’s vocal delivery and the work of her band mates gives the song a feel that instantly conjures thoughts of Marilyn Manson.  The brooding doesn’t end with the song’s musical arrangement, though.  There is just as much of that in the song’s lyrical content, too.  Gabriel sings right off the bat in such morose fashion, “I’m alone in the world today/I can’t take it/But I feel it anyway/It’s not enough that it was/It’s not enough cause it’s gone/I can’t breathe/I can’t stay here/I’ll numb myself all the way.  She goes on to sing about “burning yesterday,” “sinking into the void” and other brooding matters.  Simply put, there’s a lot of deep emotion expressed in this song’s lyrical content; emotion that, again, goth fans will appreciate.  When that deep emotion is set against the song’s equally brooding musical arrangement, the end result is one more of the album’s most standout compositions.  It is one more song that shows why fans of Gabriel and the Apocalypse will celebrate this record just as much as goth and industrial fans.  There are still other songs that serve to support that statement, too, including ‘Mazarine.’

‘March of the Dolls’ and ‘Colour of Winter’ are both key examples of what makes the Ghost Parade a record that Gabriel and the Apocalypse’s fans will celebrate.  That is due to the songs’ musical arrangements and their lyrical content.  Each song presents its own identity through its arrangement.  One arrangement is an aggressive, full-force composition that greatly enhances the defiant statement presented in the song’s lyrical content.  ‘Colour of Winter’ is the polar opposite (no pun intended) of ‘March of the Dolls.’  Both musically and lyrically, this song is the kind of work that any goth fan will appreciate just as much as the band’s more seasoned fans.  While both songs show clearly through their musical and lyrical content what makes The Ghost Parade a piece that audiences will celebrate, they are not the only songs that will do so.  ‘Mazarine’ shows in its own unique way what makes The Ghost Parade stand out, too, beginning with its musical arrangement.  This song’s arrangement is a mid-level hard rock piece that boasts a hard rock/industrial hybrid sound.  It isn’t the full-throttle piece that is presented in ‘March of the Dolls’ or even the more brooding ‘Colour of Winter.’  Rather it could be argued to be the closest to mainstream accessibility that the band reaches in this album.  Keeping that in mind, this arrangement could be the best chance that the band has at mainstream success in this album.  Of course the song’s arrangement is just one half of what makes the song stand out, just as with the other discussed songs.  The song’s lyrical content is just as important to note as its musical arrangement.

The musical arrangement presented in ‘Mazarine’ is a key part of what makes this song stand out.  It is perhaps the closest that the band comes to mainstream accessibility with its new album.  As important as the song’s arrangement is to its presentation, its lyrical content proves to be important in its own right.  Lyrically speaking, it will likely have audiences thinking and talking more than any other of the album’s songs.  At one point she sings what seems like an ode to someone else, but at other times the song seems to touch on a wholly different matter.  When that metaphorical language is coupled with the song’s semi-mainstream musical arrangement, the whole of the song becomes a work that would fit easily alongside the likes of Lacuna Coil, Evanesence and so many other more mainstream goth/industrial acts.  It is just one more example of what makes The Ghost Parade stand out.  When it is joined with ‘March of the Dolls,’ ‘Colour of Winter’ and the rest of the album’s offerings, the album in who proves without a doubt to be, again, a work that goth and industrial fans in general will appreciate just as much as the band’s more seasoned fans.

The Ghost Parade is a work that regardless of audiences’ familiarity with Gabriel and the Apocalypse, will appeal to goth and industrial fans in general just as much as it will the band’s more seasoned fans.  That is evident through all three of the songs discussed here.  It is also evident in the album’s other offering.  All things considered, The Ghost Parade is a work that goth and industrial fans will celebrate” right alongside the band’s fans.  It is available now in stores and online.  More information on The Ghost Parade is available online now along with all of the band’s latest news at:

 

 

 

Website: http://www.gabrielandtheapocalypse.com

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

Twitter: http://twitter.com/GATA_band

 

 

 

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Into The Fire’s Self-Titled EP Is About To Set The Mainstream Rock Realm Ablaze

Courtesy: Pavement Entertainment

Courtesy: Pavement Entertainment

Hard rock act Into The Fire officially released its new self-titled EP to the masses today.  The record is a solid introduction for the super group of sorts.  That is because while the record boasts only three songs, all three songs are instant radio-ready compositions that will fit easily into any rock radio station’s daily rotation with their musical arrangements and lyrical content.  The disc’s opener ‘Spit You Out’ is evidence of that.  The brooding, hard rock sounds and lyrical theme of ‘From The Medicine’ proves this just as much as ‘Spit You Out.’  The alternate take of ‘Spit You Out’ varies very little from the original composition but still presents its own enjoyment.  All things considered this new offering from Into The Fire’s self-titled EP a record that is set to set this hard rock super group on fire.

Hard rock super group Into The Fire’s new self-titled EP boasts only three songs.  Even as few songs as it boasts it still proves in the end to be a record that is set to set Into The Fire on fire.  That is because the songs featured in this record are instant radio-ready compositions.  The record’s lead single ‘Spit You Out’ clearly exhibits this.  The song’s musical arrangement instantly conjures thoughts of both SOiL and The Union Underground.  While elements of SOiL are clearly present in the song’s musical arrangement, The Union Underground’s musical influence exhibits more prevalence here.  Considering the backgrounds of the band’s members, the presence of both bands’ work should come as no surprise, right down to the guitar solos.  Keeping this in mind, that catchy, driving arrangement makes the song an instant hit for the band.  It is just one part of what makes the song a hit.  The song’s lyrical content plays just as much of a part here as the song’s musical arrangement.

The musical arrangement at the base of ‘Spit You Out’ in itself makes this song an instant hit for Into The Fire.  It alone makes this song a composition that any mainstream rock radio programmer should add to his or her station’s daily rotation.  The song’s lyrical content is just as important to note in its presentation as its musical arrangement.  The message presented in the song’s lyrical content leaves very few questions.  Front man Bryan Scott clearly addresses a certain unnamed woman in this song as he sings to her in the song’s chorus, “You take, take/everything you want until I break, break break…you’re a cold-hearted b****/But I can’t spit you out.  In other words, this woman means no good at all, but the song’s subject (whether it’s Scott or not) cant’ bring himself to rid himself of her.  That becomes more evident in the song’s second verse in which Scott sings, “Hey girl, you’re a beautiful liar/Hey girl, you’re the devil’s child/Your affliction/My addiction…”  This man cannot get the woman out of his mind and can’t get himself away from her.  When one considers this, it plays perfectly into the driving energy of the song’s musical arrangement.  When both elements are put together, they make listeners think certain songs from the likes of Buckcherry, Cold, and certain other bands, proving again why this song is a perfect fit for any rock radio station.  It is just one of the songs that makes Into The Fire stand out.  The EP’s other song ‘From The Medicine’ is just as important to note in examining the record as ‘Spit You Out.’

‘Spit You Out’ is a clear example of why Into The Fire is ready to set the mainstream rock realm ablaze.  Its high energy musical arrangement and equally charging lyrical content work in tandem to make this song an instant hit for any rock radio station across America.  It is not the only key song to examine in the band’s new self-titled EP, though.  ‘From The Medicine’ is just as important to note here as ‘Spit You Out.’  That is because it is a distinct change of pace for the band.  Whereas ‘Spit You Out’ boasts a nonstop, hard rock musical arrangement, this song’s musical arrangement is more brooding, for lack of better wording.  It starts off slowly with Scott and fellow guitarist Adam Zadel’s almost Alice in Chains style dual guitar attack.  From those opening bars, the song then switches to a slightly slower, but no less powerful, melodic hard rock arrangement.  Even the vocal approach taken in the song boasts a style similar to that of Alice in Chains in its heyday.  Considering all of this , it is clear why this song’s musical arrangement is an important part of its whole.  Its lyrical content is just as important to note as its musical arrangement.  That must be addressed here, too.

The musical arrangement presented in ‘From The Medicine’ is its own important piece of the song’s presentation.  That is because it stands out so clearly against that of ‘Spit You Out’ and in it similarity to that of Alice in Chains in its heyday.  As important as it is to note, it is only one part of the song’s presentation.  The song’s lyrical content is just as important to note in examining its presentation as its musical arrangement.  In regards to the song’s lyrical content Scott and company are less clear about the song’s subject.  Scott sings in the song’s chorus, “We’re suffocating from the medicine/All this consequence we’re buried in.”  When one takes into consideration the content of the song’s verses, one can’t help but wonder if Scott is not speaking about anything physical, but more in a metaphorical sense.  That can be assumed as he sings in the song’s second verse, “Hey let me pull you under (to the godless, take a little)/Hey let it go it’s over (so contagious, it’s over)/Blame it on the pills we’ve swallowed/Suck it down/Liars and their gods we follow/Wait it out, they’ll disappear.”  One could argue here that maybe the medicine in question is not physical, but the things that are supposed to make people better.  Considering that, one could argue that Scott is saying the things that are supposed to make us better are in fact doing us more harm than good.  The song’s lead verse would seem to hint at that, too as Scott sings, “Hey let me introduce you/Hey let me complicate you/Feeble from your own submission/Complacent till the end/Suffer from your good intention again and again and again.”  This is merely this critic’s own interpretation of the song’s lyrical content and should not be taken as the only interpretation.  It is just what makes sense to this critic.  Considering this interpretation, the emotion in the song’s musical arrangement has even more of an impact on the song’s overall presentation.  In the end, the combination of such introspective lyrical content works with the song’s equally well thought-out musical arrangement to make it another radio ready addition to Into The Fire’s new self-titled EP.  It is not the last example of what makes this EP stand out, either.  The EP also includes an “alternate version” of ‘Spit You out’ as a bonus of sorts.  It should be discussed just as much as the song’s original take and ‘From The Medicine.’

‘Spit You Out’ and ‘From The Medicine’ are both key additions to Into The Fire’s new self-titled EP.  That is due to the songs’ musical arrangements and the arrangements’ companion lyrical content.  The combination of those two elements within both songs makes each song an instantly radio-ready composition.  While each song is important to this record in its own right, they are not the only songs that are included in the record.  The band included a bonus “alternate take” of ‘Spit You Out’ with the original song and ‘From The Medicine’ to round out the record’s presentation.  There is, in reality, not a whole lot of difference between the original and alternate take of ‘Spit You Out’ to be noted when playing the two takes side by side.  The alternate take is about three seconds shorter than the original take. And, unless this critic is incorrect, the only discernable difference between the pair is a little guitar riff in the song’s final minute or so.  It would appear in a close listen that said riff is there near the song’s end in one take, but not in the other.  With or without that riff, it the song is still enjoyable regardless.  The very fact that the difference between the original and alternate take of the song is nearly indecipherable shows that with more clarity than the difference in the two takes.  Keeping this in mind, the “alternate take” of ‘Spit You Out’ is just as important to Into The Fire’s new self-titled EP as the song’s original take and as ‘From The Medicine.’  All things considered, Into The Fire proves in the end to be a record that is ready to set the mainstream rock realm ablaze.

Into The Fire’s new self-titled EP is a short record, boasting only three songs.  But even with its three songs, it shows it is ready to set the mainstream rock realm ablaze.  That is thanks in large part to the musical arrangements and lyrical content presented in the EP’s main songs, ‘Spit You Out’ and ‘From The Medicine.’  The pairing of those elements makes each song an instantly radio-ready composition.  The “bonus alternate take’ of ‘Spit You Out’ adds a little bit more interest to this record even though the difference between the “alternate take” and the original song is so minute that it is nearly indecipherable.  It still will leave listeners paying close attention to both takes, and in turn gaining even more of an appreciation for this new effort from the hard rock super group.  All things considered, the songs that are presented in this record prove it (and the band) ready to set the mainstream rock realm ablaze.  Into The Fire is available today in stores and online.  More information on Into The Fire is available online now along with all of Into The Fire’s latest news and more at:

 

 

 

Website: http://intothefire1.com

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

Twitter: http://twitter.com/intothefire9

 

 

 

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Flaw Shows It Still Has Plenty Left To Offer Audiences On Its New LP

Courtesy: Pavement Entertainment

Courtesy: Pavement Entertainment

There’s an old adage out there that states “you can’t keep a good man down.”  In the same vein, you also can’t keep a good woman down.  Flaw is proof of that.  The Louisville, Kentucky-based hard rock band has faced more breakups, makeups, lineup changes, and label changes than most bands that have been around as long as them.  This is regardless of whether said bands are independent or major label acts.  Now two decades after originally front man Chris Volz originally formed the band, he is trying his hand for what feels like the umpteenth time and will release the band’s fourth full-length studio recording Divided We Fall next month.  The album features the lineup Volz (vocals), Jason Daunt (guitar), Ryan Juhrs (bass), and Corey Sturgill (drums).  The album’s title is fitting considering Flaw’s history.  Listening to this new album one can only hope that this album will finally mark a new beginning for the band.  That is because the album serves as a reminder of what originally made Flaw such a well-kept secret so many years ago and that even with its rough history it still has plenty to offer audiences given the right support.

Flaw has seen over the course of its now two-decade life more ups and downs than most bands that have been around just as long both mainstream and independent alike.  For all of those ups and downs that the band has faced, its latest effort Divided We Fall shows that this band still has plenty to offer audiences and that it is still as strong as it was in its infancy way back in 1996.  One of the songs that best exhibits this is the album’s absolute powerhouse composition ‘Choices.’  It is a simple title.  But both in terms of its musical arrangement and its lyrical content it is quite the heavy, hard-hitting composition. In regards to its musical arrangement it wastes little time launching from its brooding opening bars to a full on, merciless assault on the ears.  When Volz’s screams are set against the work of his band mates, that arrangement even conjures thoughts of Dry Kill Logic.  Volz wastes just as little time making his statement.  He stars off with a quiet yet powerful whisper, stating “Sometimes we make the choices/Other times the choices make us/Say it loudly/Lift up your voices/I’ll take a bullet for the people I trust.”  That final statement in the song’s introductory bars is a telling one to say the very least.  It boasts the most fire of those bars and puts the exclamation mark on exactly what he was trying to say here.  What he was trying to say, in this critic’s view, was that because of the way that life works out, he would likely take a bullet for very few people.  That is because he likely doesn’t trust very many people, again especially considering Flaw’s past history.  From there he goes on to ask, “Why don’t you hold my head up/So that I can breathe better/Just make me open my eyes so that I can see the light/All around us bad decisions will make or break you/We’re busting these chains/Gonna fight the good fight.”  He comes across here as saying we’re going to succeed no matter what, apparently addressing those who wouldn’t help even in the most difficult times.  That, again, is just this critic’s own take and should not be taken as the only interpretation.  The picture painted by Volz’s lyrics gets even more interesting in the song’s second verse as he sings, “So I’m calling all the people who know just how to dig deep/I’m setting all the pins/And making sure it’s all set/There’s never been a time like now so get it together/There’s only one chance…”  He is seemingly saying that he is making a choice for himself rather than letting life make choices for him.  He is making the choice to deal with some issues that have been needing to be dealt with and there has not been a chance like the one at hand in which to do so.  Even with this interpretation, this is a powerful statement.  It is a statement that is made even more boldly and proudly through the use of the song’s musical arrangement.  The two elements together make the song a statement that is certain to be one of listeners’ favorites from this new record.  It is just one of the album’s most impacting statements, too.

‘Choices’ is a clear example of just how much Flaw has left to offer audiences on its latest album.  The song’s musical intensity and its equally impacting lyrical content make it a powerful statement from the band.  It is just one of the songs that shows on this record how much the band still has left to offer audiences.  ‘Live and Breathe’ is another of the album’s examples of how much this band still has in its collective tank.  This song, musically speaking, is even more intense than ‘Choices.’  The band is balanced from one part to the next.  And the contrast of the songs rap/rock style verses to its more melodic chorus adds even more impact to the song.  The intensity in Volz’s voice as he delivers the song’s verses adds one more layer to that impact, too.  Speaking of the song’s lyrical content both in terms of the verses and choruses, it is just as important to the songs presentation as its musical makeup.  Looking at the song’s lyrical content it comes across as a proudly defiant statement against any naysayers and those who would otherwise try to cut down Volz or the band.  That can be assumed as Volz raps, “Bounce back cardiac/Whatever trouble arises I got your back/We’re taking no numbers/Just face to face/If you’ve come for no reason we’re taking your place/I Do differ from time to time/But you know I never left a good man behind/So I get by here day to day/This is something that you’ll never be taking away.”  Going back to the contrast of the song’s verses to its chorus, that contrast is immediately evident in the first refrain of the chorus as Volz and company sing, “All these fears are gone now/So many troubles have washed away/We’ve made it through this somehow/To live and breath another day.”  The confidence yet calm sense in Volz’s voice as he sings these lines serves to drive home his resolution.  It is almost like two distinct statements with the verse serving to address  a certain person/persons while the chorus is meant to come across as Volz thinking or speaking to himself.  That clear contrast continues throughout the remainder of the song with the end result being a song that hits just as hard as any of the album’s other offerings if not harder.  That impact reminds audiences why this song is just one more example of how much the album in whole shows that the band still has in its tank.  It still is not the only remaining example of that, either.  ‘My Letter,’ the album’s closer, is one more song exemplifying just how much Flaw still has in its tank.

‘Choices’ and ‘Live and Breathe’ are both key songs exemplifying just how much Flaw still has to offer audiences even twenty years or so after it first formed.  They are not the only songs presented in this record that serve to show how much the band still has to offer.  Volz’s re-worked take on ‘My Letter’—which was originally presented in the band’s 2001 debut Through The Eyes—is another example of how much the band still has left to offer audience.  It is a good way for the band to close out its new album.  That is because it is the polar opposite of every other one of the albums offerings.  It is a very reserved, piano-driven piece that is deeply introspective.  Volz sings here against the simple backdrop of a piano here, “This is my letter to you/We started following a certain description/We started simple and fair once again/Before there wasn’t any need for an answer/Things were much different then but/Now you question who I am/Who I am inside/Now there’s nothing left to hide/So here it goes/This is my letter/I hope you’re all right/It’s been rough for me/Been thinking all night/About all the places I’d be/If I maybe/Just did a little bit more/You might have let me become a man for sure/And if I might/Express one concern/It seems an issue all day at every turn/What’s the next step…what’s next for me to learn.”  At first the “letter” seems to address a former love interest.  But when Volz looks back and says, “If I maybe/Just did a little bit more/You might have let me become a man for sure,” one can’t help but think that maybe he is addressing an issue with either his father or a father figure.  That supposition grows even more in the song’s second verse as Volz sings “Engulf myself into a permanent mystery/No one day just as the next/Not for me/It’s so confusing when I look at my history/I just can’t handle that yet.”  From here he reprises the song’s chorus echoing again that same sentiment that was previously noted.  Regardless of whom Volz was addressing in this song, the song’s lyrical message hits even harder with its simpler, re-worked arrangement.  The simplicity of Volz singing those familiar lines against just a piano and nothing else gives the song so much depth.  Yet again this shows that Volz and company still have plenty of ideas likely left to share with audiences.  It is hardly the last song that exhibits this, too.  Any of the album’s remaining songs could be cited just as easily in making this statement.  All things considered Flaw has shown in this new forty-one minute record that it still has plenty left to offer provided its members remain united rather than divided.

Flaw has endured so much strike and turmoil over the course of its now twenty year life.  From breakups to makeups, lineup changes and label changes, this band has been there and seemingly done it all.  And now on its fourth full-length studio recording the band has shown that even despite everything that it has faced, it still has plenty left to offer audiences.  That is evident in the proudly defiant ‘Live and Breathe,’ the equally powerful ‘Choices’ and the deeply moving re-worked take of ‘My Letter.’  All three songs show in their own way that this band still has plenty left to offer audiences provided it can remain united rather than divided.  The same can be said of the rest of the songs that make up the body of the eleven-song record.  All in all this record shows that if Flaw can remain united it could finally stand tall and gain the fame that it so rightly deserves.  Divided We Fall will be released in stores and online on Friday, August 19th via Pavement Entertainment.  The band also has a tour scheduled in support alongside Dope in support of Divided We Fall.  More information on the band’s new album and tour is available online now along with all of the band’s latest news at:

 

 

 

Website: http://flawband.com

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

Twitter: http://twitter.com/officialflaw

 

 

 

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Silvertung Shows It’s Ready To Break “Out” In Its New EP

Courtesy: Pavement Entertainment

Courtesy: Pavement Entertainment

Underground rock outfit Silvertung released its new EP Out of the Box earlier this week.  The Baltimore, Maryland-based quartet’s new record is a solid follow-up to its 2013 full-length studio recording Devil’s in the Details.  Listening through the six songs that make up the body of this six-song record, it is safe to say that the record is one of 2016’s top new EPs and that Silvertung is one of the rock community’s best kept secrets.

Silvertung’s new record Out of the Box is one of 2016’s top new EPs.  The band’s third record and first EP, it is also proof that the band is currently one of the rock community’s best kept secrets.  One of the songs included in this record that serves this statement is the record’s new single ‘Never Too Late.’  This radio-ready song instantly conjures thoughts of Shinedown, and other acts of that ilk.  That is evident in the way that the song builds from its gentle, acoustic opening bars to a full on hard rock anthem throughout the remainder of its four-minute run time.  Guitarist Cody Red and front man Speed form the foundation of that arrangement with bassist Skoot and drummer Danno adding to it even more as the song progresses.  The song’s musical arrangement is just one of the elements that makes the song such an important addition to OOTB.  The song’s lyrical content is just as important to its presentation as its musical arrangement.  That is because of the way in which it compliments the song’s musical arrangement.  In regards to its lyrical content, the song comes across as an anthem of self-empowerment; one of those familiar anthems that serves to provide that emotional strength that listeners need when they begin to feel the grip of sadness and depression take hold in their lives.  That is noted Speed sings, “The razor’s edge don’t lie when you slide it/Don’t close your eyes/You might miss the show you started/It’s your time to change those fears you’re hiding down below/Where things get so distorted now/Cause it’s hard to find things you want to say/Tired of being hurt like this/Reach down low/Screamin’ yeah/It’s never too late/Never too late/Never too late to shake it/Never too late/Never too late to make it right/When life gets tough/We can make it better/Turn the page…make it better/Cause it’s never too late.”  The message seems pretty clear here.  As the song’s chorus notes, it’s never too late to change things even when life is in its most difficult moments.  This message is driven home even more in the song’s second verse in which Speed goes on to sing, “I’ve been here once before/No strength lying on the floor/One step from light to black/And there’s no turning back/God let this be the end/Cause I know it’s hard to find/The things you want to say/Gotta reach down low screaming yeah/Cause it’s never too late/Never too late/Never too late/To shake it/Never too late/Never too late to make it right/When life gets tough we can make it better/Turn the page.”  Any doubt about the song’s lyrical message should be shaken by now.  And if any doubt still lingers here then it is remained in the song’s final verse as Speed and his band mates reprise the song’s chorus through the song’s final minute or so.  It is a very familiar lyrical theme and one that is always welcome among listeners of any age.  That is because everybody reaches those difficult points in life regardless of age.  The song’s musical arrangement makes the song’s message even more powerful.  The two elements together make this song a welcome addition to OOTB and a song that would be a perfect on any mainstream rock radio station today.  It is just one of the key compositions featured in this record, too.  The record’s closer ‘You & Me’ is another one of its key compositions.

‘Never Too Late’ is one of the key compositions included in Silvertung’s new EP.  That is due to the combination of both its musical arrangement and equally powerful lyrical content.  The two come together to make the song one of the record’s best compositions and a clear example of what makes the record in whole stand out.  It is just one of the disc’s most important additions, too.  ‘You and Me,’ the record’s closer, is another of the record’s key compositions.  It isn’t just one of those classic all too familiar, over the top tear-jerkers.  Rather it is a well-balanced composition that displays so much heart both in its musical and lyrical content.  Just as with ‘Never Too Late’ this is due both to the song’s musical arrangement and its lyrical content.  The song’s musical arrangement is the polar opposite of that of ‘Never Too Late.’  Whereas the arrangement behind ‘Never Too Late’ was an emotionally powerful work that expertly complimented the song’s uplifting lyrical theme, this song’s musical arrangement is a classic ballad composition.  What’s interesting is that it isn’t one of those classic hair band ballads of the 80s.  Rather it is more akin to the ballad style songs crafted by the members of Alter Bridge.  Listeners will appreciate, in listening to this arrangement the subtlety of its string arrangement both by itself and in contrast to [Codey] Red’s equally gentle, flowing guitar line.  Both lines are expertly balanced throughout the course of the song.  Speed’s gentle, yet gravelly vocal delivery strengthens the song even more as he sings seemingly to his child, “Here we go again/Finding out the hard way/Learning lessons/Never talked back in the day/As the night closes in/The fear sets in/I can’t show at all my face/Cause this little one is counting on me/To be the strength/Left alone in a world so unknown/Finding out there’s no escape/I can deal with it all/Though, the struggle’s getting old/Just as long as there’s you and me.”  The power in his gentility is just as obvious as he sings to his child in the song’s second verse, “Look in your eyes/All I see is the innocence/Knowing one day it’ll all be taken away/Out of my control/There’s nothing I can do/Fear of it all is that I know you’ll be strong/Stand on your own two feet/I can deal with it all/Though, the struggle’s getting old/As long as there’s you and me/And someday you will find yourself/Staring into these arms/So familiar/You’ll see yourself/The fear of it all is that I know you’ll be strong/And stand on your own two feet/I can deal with it all/Though, the struggle’s getting old/As long as there’s you and me/As long as there’s you and me.”  The control in Speed’s delivery as he sings these lines is powerful in its own right.  Together with the song’s other musical elements and the lyrics themselves, the song in whole stands out just as much as ‘Never Too Late.’  It still is not the last composition proving what makes OOTB stand out.  The record’s opener ‘Face The Music’ is one more of the record’s key compositions.

‘Never Too Late’ and ‘You and Me’ are both key examples of what makes OOTB stand out in this year’s field of new rock releases.  One song is an emotionally powerful composition anti-suicide song of sorts that will uplift listeners with its musical arrangement and lyrical content.  The other will move listeners just as much just in another way with its gentle, flowing musical arrangement and its equally touching lyrical theme about a parent’s love for his/her children.  They are two completely different songs.  Yet both have the same impact on listeners due to their overall content.  As much as both songs stand out in the bigger picture of Silvertung’s new record they are not its only key compositions.  The record’s opener ‘Face The Music’ stands out just as much as those songs.  It is a song that will appeal to fans of Eve To Adam.  Yet again this is due to the song’s combined musical and lyrical content.  The song’s musical arrangement is a solid, driving composition that will have listeners’ blood pumping just as furiously as their fists.  It is driven in large part by Red’s guitar line and Danno’s work behind the kit.  Skoot provides just enough low end to the song to solidify its musical foundation.  Speed’s vocal delivery is the finishing element to the song’s musical arrangement.  All things considered the song’s musical arrangement provides a solid overall foundation to its structure.  Of course it is just one part of the song’s overall structure.  The song’s lyrical content proves to be just as important to its presentation as its musical arrangement.  The song’s lyrical content will have listeners’ fists pumping just as much as its arena anthem-style musical arrangement.  Speed sings here, “There comes a time for you to step up and rise/Take a look at my face/Take a look in my eyes/Cause I’m one step closer to no return/My bloodshot eyes’ll tell you that I am done/Was it something I said/Rattling your cage/Now I’m all in your head/there’s mistakes that you never will hide/Like the knife in my back/I’m the thorn in your side/From your cold, cool stale personality/To my one stop shop brutal honesty/Was it something I said/Rattling your cage/Now I’m all in your head.”  The lyrical assault doesn’t’ end here.  Speed goes on to go after his subject as he sings confidently, “You’ll never measure up/To be that man/Well step up if you think you can/Ready or not…It’s time to face the music.”  The lyrical (and musical) energy doesn’t let up one bit from here.  Rather it stays just as solid right up to the end of the song’s roughly two and a half-minute run time (technically 2:34).  The energy exuded by the combination of the song’s musical and lyrical energy makes this song not just a solid opener for the record but also another of the record’s key compositions if not its absolute best making even clearer why OOTBB is in whole one of 2016’s top new EPs.

Silvertung’s new EP Out of the Box is one of 2016’s top new EPs hands down.  That is because over the course of the its ten minute run time the record presents what is a relatively wide range of sounds.  The record’s opener is an adrenaline-fueled, fist-pumping arena anthem that is sure to be a fan favorite.  It is a work that Eve To Adam’s fans will enjoy.  This applies both on record and in a live setting.  ‘Never Too Late’ is another key example of what makes Out of the Box stand out.  That is due to its powerful musical arrangement and equally powerful lyrical content.  The two elements combine to make it a song that Shinedown’s fans will enjoy.  The record’s closer ‘You and Me’ is a perfect finale for its presentation.  It expertly juxtaposes the record’s opener and puts a powerful period to the record’s presentation.  ‘Devil’s Advocate,’ ‘Taunted’ and ‘Ain’t That A B****’ are not to be ignored here either. Each of those songs is just as important in its own right to the record’s presentation as those songs more directly noted here.  All things considered Out of the Box proves in the end to, again, be one of 2016’s top new EPs.  It is even more proof of why Silvertung is one of the rock community’s best kept secrets.  Though, with the right support this band may not be a secret that much longer.  Out of the Box is available now in stores, online and at any of its upcoming live dates.  More information on the record, the band’s live dates, its latest news, and more is available online now at:

 

 

 

Website: http://silvertung.com

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

Twitter: http://twitter.com/silvertung1

 

 

 

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

A.D.D. Announces New Live Dates

O'Donnell Media Group

O’Donnell Media Group

A.D.D. is headed back out on the road.

The independent hard rock act announced Monday that it will embark on a new group of live dates beginning this Friday, March 25th.  The tour launches in Bedford, Indiana and runs through Tuesday, October 4th in Chicago, Illinois.  The tour is in support of the band’s latest full-length studio recording Core.  The band has sold 6,000 copies of the album and pulled in a total of 4,000 paid downloads of the album since its release.  Core was mixed by Tadpole (Disturbed, 3 Doors Down, Stained) and mastered by Grammy Award®–winner Trevor Sadler.  The band will play alongside a handful of well-known acts over the course of its tour including but not limited to: American Head Charge, Dope, Like A Storm, and Tantric.  The band’s current tour schedule is noted in whole below.

 

Upcoming Show Dates:

Fri. Mar. 25th – Downtown Tavern – Bedford, IN
Sat. Mar. 26th – The Music Factory – Battle Creek, MI
Fri. Apr. 1st – Diesel (Brews & Bruise Fest) – Detroit, MI
Fri. Apr. 8th – Bada Brew – Crest Hill, IL
Sat. Apr. 16th – w/ Murder FM – Capital City – Springfield, IL
Sat. May 14th – w/ Tantric – The Tree – Joliet, IL
Thu. May 19th – w/ Like A Storm – Top Fuel Saloon – Braidwood, IL
Fri. June 17th – w/ E&E – BAMfest – McHenry Extreme Sports Park – McHenry, IL
Tue. Oct. 4th – w/DOPE, AHC – Concord Music Hall – Chicago, IL

 

More information on A.D.D.’s upcoming tour is available now along with all of the band’s latest news at:

 

Website: http://www.addloud.com

Facebook: http://www.facebook.com/Analog.Digital.Disorder

Twitter: http://twitter.com/addloud

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Decade Is A Solid Start To TVU’s Second Decade

Courtesy: Pavement Entertainment

Courtesy: Pavement Entertainment

Ten years ago The Veer Union released its debut album Time To Break The Spell.  In the year since that album was released The Veer Union has seen a lot of changes and still survived every one of those changes.  Now a decade later the band has weathered those storms and released its fourth full-length studio recording all without support from major music outlets on television and radio.  The album, aptly titled Decade is a statement about everything that the band has weathered and its dedication to go another ten years and then some.  If this new album is any indication, then the Canadian melodic hard rock band has plenty of years left even if it never gains the mainstream support that it obviously so rightfully deserves.  That is evident right off the top in the album’s opener ‘Defying Gravity.’  This hard rocker is a good fit for anyone that is a fan of Sevendust with its melodic hard rock approach.  Its lyrical content adds just as much to the song.  ‘Watch You Lose,’ the album’s second offering is another example of what makes this latest record from The Veer Union so promising.  The same can be said of the anthemic ‘We All Will.’  All three songs are clear examples of the promise that The Veer Union has for the next decade.  They are hardly the only songs that could be cited from this album for said argument.  The seven compositions not noted here could just as easily be cited.  Keeping that in mind, the whole of this record proves in the end to be a record that offers promise for another decade for the Veer Union.

The Veer Union’s latest full-length studio recording is a fittingly titled new record.  That is because it offers real promise for the band’s next decade.  That is obvious right off the top in the album’s opener ‘Defying Gravity.’  The song’s melodic hard rock sound is a good fit for anyone that is a fan of Sevendust and others of that ilk, much like with the band’s previous works.  The song’s musical arrangement expertly compliments its lyrical theme of self-determination.  That theme is displayed though the contradiction of the song’s verses to its chorus.  Front man Crispin Earl sings in the song’s lead verse, “Heavy is the heart that I am holding/With the weight of all the world with no wings/I’m stuck to the ground/What was once a dream/Is lost inside a scream/I just need the energy/So I can fight the enemy in me.  He goes on to sing in the song’s second verse, “This is not a revelation/This is just a destination/So I will right the wrong/And rise up to the sun/I just need the energy so I can fight the enemy in me.”  These lines are pretty straight forward.  It is Earl singing about having been to the lowest points.  By contrast the chorus presents a figure that despite those lows is determined to ride up figuratively speaking.  That is illustrated as Earl sings, “I won’t let go/I won’t let go/I’ve been six feet underground/Fighting to be found/But I won’t let go/I won’t let go/I’ve been locked inside a cage/Left to rot away/But I won’t let go/I won’t let go/I will be/I will be/Defying gravity.”  This is a strong, self-assured statement.  And just as the subject’s attitude changes so does the tone of the song’s arrangement.  Guitarists Ryan Ramsdell and Dan Sittler go from a heavy, chugging vibe to a much more hopeful sound as Earl sings that line of defying gravity.  It serves to help illustrate that new sense of hope as the song’s subject sits and reflects on everything that has happened.  That attention to detail both musically and lyrically shows why ‘Defying Gravity’ is a firm first impression from the band on its latest album and an equally firm example of why the record gives promise for the band for the next decade.  It is just one of the songs that exemplifies this, too.  ‘Watch You Lose,’ the album’s second track, is another example of how Decade displays real promise for the band in its next decade.

‘Defying Gravity’ is a firm first impression from The Veer Union in its latest full-length studio recording.  It also is a clear example of why this record shows great promise for the band in its next decade.  It is just one piece that serves to show this, too.  ‘Watch You Lose’ is another good example of what makes this record so promising.  Whereas the album’s opener tackles one person’s determination to move forward from the pain of the past, this song takes a different tone.  In terms of its lyrical content, it comes across as a song that centers on the familiar topic of relationship issues.  That can be implied as Earl sings, “The last of you/Is left in me/In my rearview/A memory/I can’t rebuild/The remedy/I’m so consumed/That I can’t breathe/That I can’t see/And so I’m coming back/To watch you lose.”  This comes across as a relatively straight forward message.  This is someone that can’t let go of the past or the emotions raised by the past, thus leading said figure to want that closure so badly.  Earl goes on to sing, “Cause I’m fighting broke and bruised/And I’m dying from the truth/Untie me from the noose/Untie the noose/I will/I will/Watch you lose.”  From here the song’s subject continues on in similar fashion, singing about being so emotionally overwhelmed that he/she wants to see that person “lose.”  This is only the interpretation of this one critic.  But who hasn’t been in the position presented by Earl and his band mates at one point or another.  This is a song that could apply to the band’s female fans just as much as their male fans.  Everybody that has ever been in a relationship has been at that point after a parting of ways that they feel those strong emotions, wanting the one the hurt them to pay somehow.  They want to see that person lose after making the other person lose.  That ability of the song to reach listeners (provided that is the correct interpretation) is just one part of what makes this song another of Decade’s strong points.  The song’s musical arrangement adds another layer to the song.  The brooding vibe that is established in the song’s early bars echoes the early emotions that a person feels in those early stages post parting.  The fire and energy in the music, delivered not just through the guitars and drums, but through Earl’s vocals illustrates that emotion even more.  All things considered here, the music and lyrics together show why this song will be another fan favorite from Decade and more proof of why the album in whole shows promise for the next decade for The Veer Union.

The musical and lyrical power exhibited in ‘Defying Gravity’ and ‘Watch You Lose’ show clearly why these two songs are among the album’s strongest points.  Collectively they show why Decade is a promising start for The Veer Union’s next decade.  They are just a couple of examples of what makes this album an important mark for the band.  Later in the album’s run the band presents another strong composition in the form of ‘We All Will.’  This is another piece loaded with optimism both in its lyrical and musical content.  One could almost argue that thanks to the combination of said content it is somewhat anthemic.  That is because its lyrical content alone presents a message that is seemingly centered on unity and strength.  The song starts off in its lead verse with Earl singing about people facing the worst situation but having that fire inside to push on through and rise up.  What’s important is the use of the word “we.”  That simple, two letter word establishes the message of unity.  The lines that accompany it throughout establish that message of collective strength.  This leads to it becoming a song that is certain to be a fan favorite in the band’s live shows.  One can almost see fans pumping their fists in proud defiance of those negative forces and situations as they sing along proudly.  And as with the previously noted songs this song’s musical arrangement accents the determination among those masses.  The ability of the band’s members to fully capture the emotion of those masses, singing and chanting together, creating so much collective strength and unity is a statement in itself about this song.  When set against the song’s lyrical content it is no wonder why this song is yet another of the strongest of Decade’s moments.  It is just as little surprise as to why along with the previously noted songs, all three show clearly why this album is a promising start for The Veer Union’s next decade.  Of course that is not to ignore any of the album’s other offerings.  All things considered Decade may not be the best rock record of the last decade.  But it is a record that every fan of the rock realm should hear at least once.  That is because it is one of the best new hard rock records of 2016.

Decade is one of the best new hard rock records of 2016.  And considering everything that the band has been through to get to this point it can be said of the album that it is a promising start for the band’s next decade.  That is evident in the thought put into both the album’s lyrical themes and its musical arrangements.  The album’s lead single ‘Defying Gravity’ proves this as does the equally stirring ‘Watch You Lose.’  ‘We All Will,’ with its anthemic vibe is yet another example of what makes this record a strong start for the band’s second decade.  That is thanks to its seeming message of collective strength and unity in the face of so much turmoil both internally and externally.  Of course any of the album’s other songs could be used to exhibit what makes it another welcome offering from The Veer Union.  All things considered Decade proves to be a record that every fan of the rock realm should hear at least once as it is in the bigger picture one of the best new hard rock records of 2016.  It is available now in stores.  The band is currently touring in support of Decade so audiences can pick up a copy of the record at any of the band’s live shows, too.  More information on those shows is available online now along with more information on Decade at:

 

 

Website: http://www.theveerunion.com

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

Twitter: http://twitter.com/theveerunion

 

 

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Crossing Rubicon’s Debut LP Is No Less Than Everything That Rock Purists Want

Courtesy:  Pavement Entertainment

Courtesy: Pavement Entertainment

Earlier this month up-and-coming hard rock act Crossing Rubicon released its debut full-length studio recording No Less Than Everything. The Connecticut-based band’s twelve-song, fifty-five minute record boasts a fitting title. That is because it is everything that makes rock great today. Over the course of its near hour-long run time the album mixes elements of classic 80s hard rock (versus 80s hair metal) with more modern hard rock elements for a record that is set to make Crossing Rubicon potentially one of the next big names in the mainstream rock realm.

Crossing Rubicon is set to potentially become one of the next big names in the mainstream rock realm today. Of course that is given it receives the right support from audiences and rock radio programmers across the country. The album’s lead single ‘Unhinged’ is one example of what makes this album worth the support. It is exemplified through both the song’s musical arrangement and its lyrical content. The song’s musical arrangement clearly displays the band’s mix of 80s hard rock influences thanks to guitarists Zach Lambert and Jesse Near. What’s really interesting about the duo’s approach to the song is that its mix of classic and modern hard rock is nearly seamless in its approach. Rather the duo blurs the line between the two elements for a sound that will entertain fans of both worlds. Even the chorus has that vibe of classic hard rock chorus chants as the band sings, “I become unhinged/I break away from these chains/Like a tiger from his cage now/I’ve become unhinged/Let the demons come over/I’ve lost all control now.” Lambert and Near’s dual guitar approach adds even more to that vibe. The song’s lyrical content adds even more impact as front man Scott Anarchy sings, “I can’t find/The means to find a whisper/To the voices all control over me/You realize/There’s no turning back now/Your oppression’s brought Pandora’s release.” Later in the song Anarchy and company ask, “Am I the monster you created before turning and noting that “I am the monster you created.” The message being delivered is obvious especially thanks to the message that precedes the song in which Anarchy notes the power of music in life. The message is one of a person having been pushed to the edge and become unhinged. That is because said person had no outlet to prevent the drastic actions. The message is in itself a powerful statement. The song’s musical arrangement makes it even harder hitting. That is because of the power in the arrangement. Both elements together make this song a clear example of why Crossing Rubicon’s debut album deserves support from listeners and radio programmers alike. Audiences can hear the song for themselves online now via the band’s official website at http://www.crossingrubiconband.com. It is just one example of what makes the album worth the chance, too. ‘Who’s Gonna Save You’ is another example of what makes Rubicon Cross’ debut album worth the chance.

‘Unhinged’ is a clear example in its own right as to why No Less Than Everything deserves a chance both by radio programmers and audiences in general. The mix of the song’s musical arrangement and its thought-inspiring lyrical content proves this. It’s just one example of what makes this record worth hearing at least once. ‘Who’s Gonna Save You’ is another example of what makes this record worth hearing. Whereas ‘Unhinged’ mixes the band’s older and more modern influences the latter is more of a directly modern composition. That is made clear through Lambert and Near’s slower and heavier crunching guitar lines. Drummer Brandi Hood’s adds to that sound thanks to her pummeling, consistent time keeping. The song’s lyrical content is just as important to note here as the song’s musical arrangement. Anarchy really gets listeners thinking here as he sings from a first-person perspective of someone that has some real disgust for a certain unnamed party. He sings, “You came here to let it go/I am your life’s abomination/You insult me/Who do you think you are/You regret me/This is all your fault.” He and his band mates go on to sing in the song’s chorus, “I am/the face you can’t forget/I am/Your false messiah/Turn off the light/Salvation’s not far away/I am/The beast inside your heart/I am/The last temptation/Who’s gonna save you/Who’s gonna save you now.” It is a rather sharp statement. And considering the line in which he and his band mates state, “I am the beast inside your heart” one can only wonder if the figure that is speaking is not physical but perhaps mental. Perhaps this is a person struggling with himself or herself. That being the case the song’s lyrical content becomes even harder hitting and thought-provoking. That content coupled with the song’s musical content makes the song in whole one more example of the album’s depth, which in turn makes the album in whole worth hearing at least once. It is still not the only remaining example of what makes No Less Than Everything worth hearing. ‘Bittersweet’ is one more example of what makes this record worth hearing.

‘Unhinged’ and ‘Who’s Gonna Save You’ are both clear examples of what makes Crossing Rubicon’s debut album a good start for the band and worth hearing at least once. They are hardly the only songs worth noting in regards to noting the album’s strengths, though. ‘Bittersweet Day’ is yet another example of what makes the album a good start for the band. Whereas ‘Unhinged’ displays the band’s classic and modern hard rock influences and ‘Who’s Gonna Save You’ stays more on the modern rock side, ‘Bittersweet Day’ tends to stay more on the side of classic hard rock. The band wastes no time with this song. It launches right into the composition with Lambert and Near once again leading the way alongside Anarchy. [Brandi] Hood and bassist Jeanne Sagan establish the song’s foundation with a solid driving tempo and harmony respectively. In regards to the song’s lyrical content the song’s chorus seems to speak the loudest. Anarchy and company sing in the song’s chorus, “It’s alright/I’m okay/I’m not tryin’ to make it better/It’s a long road I must take/To end this bittersweet day.” The bittersweet day in question is illustrated by so much negativity surrounding the song’s main subject. Said subject seems to come across as saying that he/she knows the road isn’t easy but it is one that must be taken rather than avoided. How many people out there would rather avoid those difficult proverbial roads than face them and deal with all of the negativity in life? That seems to be what Anarchy and company are discussing here. Their subject knows that the easy way isn’t the way. That is of course just this critic’s own interpretation of these lyrics. They could, as always, be completely off. Hopefully they aren’t. Regardless, that Anarchy and company could craft such a deep lyrical song shows yet again the album’s overall depth in regards to its lyrical content. The song’s musical content partners with that lyrical content to make for one more solid addition to Crossing Rubicon’s debut full-length effort and why this album in whole is worth hearing at least once by any rock purist audience or otherwise. If course it still is not the last remaining example of what makes this album worth hearing. Any of the nine remaining songs not noted here could just as easily be cited in that argument. Keeping that in mind, the album in whole proves to be a solid first full effort from Crossing Rubicon and one that any rock purist should hear at least once.

Crossing Rubicon’s debut album No Less Than Everything is a record that every rock purist should hear at least once. This includes both general audiences and mainstream rock radio programmers. The reason being that the band has presented a dozen tracks in this record that seamlessly mix the band’s classic hard rock influences and its modern hard rock influences. The album’s overall lyrical content makes the album just as interesting as each song’s lyrical theme is sure to leave listeners talking long after the record has ended. The combination of both elements together make No Less Than Everything no less than everything that rock purists should hope for in a rock record. It is available now in stores and online. More information on No Less Than Everything is available along with more information on the band, its tour dates, news and more at:

Website: http://www.crossingrubiconband.com

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

Twitter: http://twitter.com/RubiconCT

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Murder F.M. Announces New Live Dates

Courtesy: Famous Records/Pavement Entertainment

Courtesy: Famous Records/Pavement Entertainment

Goth rock band Murder F.M. announced a new handful of live dates for later this month.

The band will join Audiotopsy, Violent New Breed, Lola Black, and Flood of Souls as a support act for Drowning Pool on its upcoming tour, which is in support of its new album Hellalujah. The band will join the tour Thursday, February 18th at its stop in Golden, Colorado. These latest dates follow a recent string of headlining dates held by Murder F.M. late last month.

The band’s current live dates are in continued support of its latest full-length studio offering, 2015’s Happily Never After. That album was released August 7th, 2015 via Famous Records and Pavement Entertainment. Murder F.M.’s current slate of tour dates with Drowning Pool and company is noted below.

 

Dates with DROWNING POOL, Audiotopsy, Violent New Breed:

2/18 Golden, CO @ Buffalo Rose

2/19 Salt Lake City,UT @ The Royal Bar

2/20 Idaho Falls,ID @ Hitt Event Center

2/22 Chico,CA @ Lost On Main

2/23 Los Angeles,CA @ Los Globos

2/24 Mesa,AZ @ Club Red

2/25 Lubbock,TX @ Jake’s Backroom

2/26 San Antonio,TX @ Fitzgeralds

 

More information on Murder F.M.’s upcoming live dates is available online now along with all of the band’s latest news and more at:

 

Website: http://www.murderfmmusic.com

Facebook: https://www.facebook.com/Murder-FM-Official-339855065055/?fref=ts

Twitter: http://twitter.com/murderfm

 

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The Veer Union Announces Release Date, Track Listing For Its New Album

Courtesy:  Pavement Entertainment

Courtesy: Pavement Entertainment

It’s been almost four years since hard rock quartet The Veer Union released its last new album Divide The Blackened Sky. Now next month the long wait for a new album will finally come to an end. That is because the Vancouver, British Columbia-based band will finally release its next full-length studio recording.

Decade will be released on Friday, January 29th via Pavement Entertainment. It is the band’s sixthh full-length album and was self-produced by front man Crispin Earl. Decade’s title is in reference to the tenth anniversary of the band’s debut album Time To Break The Spell and comes four years after the release of its last album Divide The Blackened Sky. Audiences will find Decade interesting because it literally bridges the band’s past and present through its songs. Five of the album’s songs were originally written before The Veer Union originally formed a decade ago. Five others are brand new compositions.  The album’s full track listing is noted below.

Full track listing:

1. Defying Gravity

2. Watch You Lose

3. You Can’t Have It All

4. I Said

5. Make Believe

6. We All Will

7. I Don’t Care

8. The Unwanted

9. Heart Attack

10. The Underrate

In anticipation of Decade’s release the band recently debuted the video for the album’s lead single ‘Defying Gravity’ online via Revolver Magazine’s website. Audiences can see it online now at http://www.revolvermag.com/news/the-veer-union-premiere-new-song-and-music-video-defying-gravity.html. It can also be viewed online via YouTube at https://www.youtube.com/watch?v=zEDD_s5dk2M. The song’s lyrical content is in reference to [Crispin] Earl’s ongoing battle with depression and perseverance over it.

The Veer Union will hit the road this winter in support of its new album beginning February 18th in San Diego, California. The band’s current schedule features a total of seventeen dates and includes a pair of dates in North Carolina next spring. The first of those dates brings the band to Wilmington, NC on March 11th. The second of the band’s North Carolina dates takes the band to North Carolina’s Queen City on March 12th. Tickets are not currently on sale for either show. Fans can find out when tickets are on sale online along with the band’s latest news on its upcoming tour, album, and more at:

Website: http://www.theveerunion.com

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

Twitter: http://twitter.com/theveerunion

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Audiences Actually Saw Some Real Worthwhile Music Re-Issues In 2015

In the world of the music business there are few releases that are more ardently frowned upon than the annual crop of album re-issues. From one genre to the next every genre sees its own share of re-issues released each year totalling some years close to a hundred if not more. That is counting re-issues from every genre of the mainstream and independent music industry. The reason that re-issues are so oft frowned upon is that nine times out of ten they are little more than contractually obligated space fillers that acts churn out between new albums in order to appease their bosses at their respective record labels. The result is that few re-issues (regardless of genre) ever really offer any real value to audiences. BUt then there are some that actually do bear at least some value. In fact some are surprisingly well worth the listen and even the purchase. This year, Judas Priest’s classic album Defenders of the Faith has proven to be one of those re-issues that actually stands out. Fates Warning’s classic album A Pleasant Shade of Gray is another one of those worthwhile re-issues at least for rock audiences. The same can be said of Anthrax’s re-issue of Spreading the Disease. The rock realm isn’t the only one that saw some worthwhile new re-issues this year. The R&B industry saw a worthwhile re-issue from British R&B star Rainy Milo in her album This Thing of Ours. Even the World Music realm saw at least one worthwhile re-issue in the form of Flavia Coelho’s Mundo Meu. These are just some of the rare worthwhile re-issues to be released this year. There are others, too. And they are all here on the Phil’s Picks list of 2015’s Top New Re-issues. Once again, fifteen total albums have been noted with the top ten being the best and the bottom five still being enjoyable enough to deserve honorable mention. All things considered 2015 saw some rather interesting and enjoyable re-issues. And they are listed here. For your consideration, dear readers, are 2015’s Best New Music Re-Issues.

PHIL’S PICKS 2015 BEST NEW MUSIC RE-ISSUES

1. FATES WARNING — A PLEASANT SHADE OF GRAY

2. JUDAS PRIEST — DEFENDERS OF THE FAITH

3. ANTHRAX — SPREADING THE DISEASE

4. THE ROLLING STONES — STICKY FINGERS

5. KELAKOS — UNCORKED: RARE TRACKS FROM A 70S BAND

6. EUROPE — WAR OF KINGS

7. SAXON — HEAVY METAL THUNDER

8. SAXON — THE SAXON CHRONICLES

9. MEMPHIS MAY FIRE — UNCONDITIONAL

10. RAINY MILO — THIS THING OF OURS

11. FLAVIA COELO — MUNDO MEU

12. RED LINE CHEMISTRY — CHEMICAL HIGH AND A HAND GRENADE

13. FREEDOM CALL — 666 WEEKS BEYOND ETERNITY

14. NIRVANA — NIRVANA

15. CROWBAR — EQUILIBRIUM

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