Independent hard rock band Lydia Can’t Breathe will join Sevendust as support for its joint headline tour with Mark Tremonti this fall.
The tour is scheduled to launch Sept. 3 in Pryor, OK and to run through Sept. 26 in Orlando, FL. It features performances in cities, such as Joliet, IL; Cleveland, OH, and Flint, MI.
Along with the support shows, Lydia Can’t Breathe also has a brief series of shows by itself between Sept. 10 and Sept. 24. The announcement of the band’s appointment comes less than two months after the band premiered the video for its latest single, ‘Sheep.’
Front man Kyle Boduc said in a prepared statement, he and his band mates in Lydia Can’t Breathe are looking forward to hitting the road with Sevendust and Tremonti.
“We are super excited!,” he said. “It’s surreal to play with legends in the game like Sevendust and Tremonti that we look up to. Can’t wait to show the people what we have to offer on this tour! Make sure everyone knows the party starts early!
The bands’ tour schedules are noted below.
Sevendust/ Tremonti/ Lydia Can’t Breathe Dates:
9/3 – Pryor, Oklahoma – Rocklahoma ^^ 9/4 – Kansas City, MO – Arvest Bank Theater 9/5 – Columbia, MO – The Blue Note 9/7 – Cleveland, OH – The Agora 9/8 – Rochester, NY – Anthology 9/9 – Sayreville, NJ – Starland Ballroom 9/10 – Danville, VA – Blue Ridge Rock Fest ^/^^ 9/11 – Worcester, MA – The Palladium 9/13 – Albany, NY – Empire Live 9/15 – Flint, MI – The Machine Shop 9/18 – Grand Rapids, MI – Intersection 9/20 – Belvidere, IL – The Apollo Theater AC 9/21 – Joliet, IL – The Forge 9/22 – Angola, IN – The Eclectic Room 9/23 – Louisville, KY – Louder Than Life ^/^^ 9/25 – Dothan, AL – The Plant 9/26 – Orlando, FL – Rebel Rock ^/^^
^ no Tremonti ^^ no Lydia Can’t Breathe
Lydia Can’t Breathe Solo Shows:
9/10 – Martinsburg, WV – Bad Habits Bar & Grill 9/23 – Clarksville, TN – The Warehouse 9/24 – Huntsville, AL – Shagnasty’s
More information on Lydia Can’t Breathe’s upcoming live dates and music is available along with all of the band’s latest news at:
Independent hard rock band Gears premiered its latest single and video this month.
The band premiered its new single, ‘See Me‘ and its lyric video June 10. The band premiered the song’s lyric video through Ghost Cult Magazine. The premiere of the new single and video comes less than two months after the band premiered its then latest single, ‘Game‘ and itslyric video.
The musical arrangement featured in Gears’ new song will appeal to the band’s established audience base. That is evidenced through the infectious melodic hard rock approach and sound presented throughout the song. As with the band’s existing works, it easily lends itself to comparison to works from Sevendust.
The lyrical theme featured alongside the song’s musical arrangement is meant to serve as a reminder to audiences to never judge a book (or person) by its cover.
“‘See Me’ is about being wise enough to know that one’s expectations influence their perceptions,” he said. “What we believe to be true about someone or a situation may be our perspective and not the actual reality.”‘
‘See Me’ is expected for inclusion in Gears’ forthcoming EP, which is scheduled for release this year. The EP’s release date, title and more is all under consideration. It is known that along with ‘See Me,’ the EP will also feature ‘Game,’ ‘So What?‘ and other songs from the band.
More information on Gears’ forthcoming EP, its new single and video, and all of its latest news is available online at:
Independent hard rock band Fire Follows debuted its latest single and video over the weekend.
The band premiered its new single, ‘Home’ and its companion lyric video Friday. The song’s musical arrangement is a heavy, melodic hard rock composition. At points, it lends itself to comparison to works from Sevendust. At others, the rapping gives the song a more nu-metal style sound and approach. The combination of those two elements makes the composition an interesting presentation in whole.
The lyrical content featured alongside the song’s musical arrangement comes across as addressing the familiar topic of a person’s inner struggles. At the same time, it also seems to hint at another’s mental abuse being the cause of the subject’s struggles. This is a familiar theme across the musical universe.
The lyric video for the band’s new single presents the band performing its new single in a warehouse setting. Additionally, there is footage of a burning building, what looks like a barn, and a river. Meanwhile the song’s lyrics are presented in a unique font, allowing audiences to follow along as they take in the video and song.
Independent hard rock band Gears premiered its latest single and video last month.
The band premiered its single ‘Game‘ and its companion lyric video April 30. The premiere of the single and its video came more than a month after the premiere of its predecessor, ‘So What‘ and its lyric video.
As with much of Gears’ existing work, the musical arrangement featured in ‘Game’ is easily comparable to works from Sevendust. That accessible hard rock approach and sound plays over the song’s lyrics in the song’s lyric video. Those lyrics are paired with pictures of the band members performing and images of skulls.
The lyrical theme featured along with the band’s new single and video is accessible in its own right.
Front man Trip Six noted in a prepared statement, the song’s lyrical content focuses on the topic of making one’s name in the music industry.
“The most difficult thing that I have ever set out to accomplish has been to “make it” in the music industry,” he said. “Gears has come a long way in a rather short amount of time and while I’m not sure if we will ever become “successful” in this industry so that we are able to make a comfortable living doing what we love, what I do know is that I feel most alive when I’m on that stage.:
Added Trip Six, “Watching the crowd not only enjoying the music but singing along right there with us, meeting our fans after the show at the merch table, listening to how much they enjoy our music. I love everything about it. The hugs, hearing how much our music has done for them, in some cases even saving their life. For me, that is success, point-blank. So for now, we will continue to play this game. The music will go on and not only because it’s my passion, but because of you, our FAMZ. Your happiness will always be important.”
More information on Gears’ new single is available along with all of the band’s latest news is available online at:
Ill Nino debuted the video for its latest single this week.
The band premiered the video for its new single, ‘All or Nothing’ Wednesday through Loudwire. The song, which tackles the topic of immigration, features a guest appearance by P.O.D. front man Sonny Sandoval and comes approximately five months after the band premiered the video for its then latest single, ‘Mascara,’ which also premiered through Loudwire.
Both songs are expected for inclusion in Ill Nino’s forthcoming album IllMortals, which is scheduled for release later this year through Break Silence Music. The album’s release date is under consideration.
Front man Marcos Leal address the lyrical theme of ‘All or Nothing’ and working with Sandoval in a prepared statement.
“‘All or Nothing’ was written as a challenge to myself. I knew the moment I joined Ill Nino, I would face negativity, scrutiny and possibly ridicule,” said Leal. “It caused me to question myself, and even question if I was good enough to embrace this opportunity. I challenged myself as I’m challenging all of you, what would you do if the opportunity of a lifetime was within your grasp? I chose to go ‘All or Nothing.’”
Added Leal, “I wanna thank one of my heroes, Sonny Sandoval of P.O.D. for lending his freshness to this track and being a constant inspiration.”
Sandoval, shared Leal’s positive thoughts as he talked about working with Ill Nino on the song and video.
“Like P.O.D., ILL NIÑO have always incorporated their culture, roots and heritage into their music and sound, which have set them apart in this metal scene for over two decades,” said Sandoval. “It was my honor and privilege to have contributed to this record. After knowing them for 20 years now, I don’t know why we didn’t do this sooner.”
The video for ‘All or Nothing’ features Ill Nino and Sandoval performing the band’s new single in what is meant to resemble an alleyway in an urban setting, what with the graffiti on the wall behind the band. That imagery pairs with visuals of an Hispanic woman praying, a factory, and information about the role of immigrants in America perhaps equating Leal’s comments about taking a major chance in life to what Immigrants do every day.
The musical arrangement featured in ‘All or Nothing’ takes listeners back to Ill Nino’s infancy, with its sharp guitars, driving vocals and heavy bass. It sounds like it would fit well in the band’s 2001 debut album, Revolution, Revolucion.
In other news, Ill Nino is scheduled to launch the “Ill Texas Familia Tour” in July. The tour is scheduled to run from July 8-11 and September 11-12. The tour’s information is noted below. King 810, Upon a Burning Body, Incite, Evolution Empire, and Born in Blood are scheduled to join the band for the brief run.
Independent rock band Hindsight unveiled its latest single last week, along with its companion video.
The band debuted its new single, ‘Rhythm of Fate’ March 26, along with its companion lyric video. The single is available to stream and download through Spotify, Bandcamp, Apple Music, and Amazon. The debut of the song and its video follows that of the band’s then latest single, ‘Where We Found Hope’ and its video last year. Both songs are featured in the band’s forthcoming EP, Catalyst.
The musical arrangement featured in ‘Rhythm of Fate’ is a melodic hard rock style composition that fits well into any active rock radio programmer’s play list. Immediate comparisons can be made here, to works from the likes of Three Days Grace, The Veer Union, and Sevendust.
The lyrical theme that accompanies the song’s musical arrangement deals with a concept which will resonate with many listeners, according to information provided about the single.
According to that information, “The song involves dealing with the bitterness of those who are unable to deal with the success of others around them who they claim to care about while at the same time not coming to terms with their own fears that have prevented them from succeeding themselves. In general, the band feels that this is a common occurrence in many areas of society but in particular, it is one that plagues music and the arts in general.”
The lyric video for Hindsight’s new single features the song’s lyrics presented next to the artwork for Catalyst while the song plays over the whole.
More information on Hindsight’s new single and forthcoming EP is available online along with all of the band’s latest news at:
Don’t Believe in Ghosts has signed a new record deal.
The band has signed with Imagen Records/ADA Warner. The signing makes the band label mate to bands, such as 3 Years Hollow, Framing Hanley, and Journey front man Arnel Pineda.
Additionally, the new deal will see the band release its next single, ‘Put Your Head Back’ April 16 and next album, Solutions May 14 through the label.
Imagen Records President Bob Winegard spoke warmly of the band in a prepared statement.
“As a big fan of DBIG for a few years, I am thrilled to sign them to Imagen Records and excited for everyone to hear their new record ‘Solutions,” he said.
Sevendust dummer/Imagen Records A&R Head Morgan Rose shared Winegard’s positive sentiments.
“I’ve been a fan of this band for years,’ he said. “Clever, fun, and songs filled with hooks. It puts me in a good mood every-time I listen to them. I’m so excited to have them on Imagen”
Guitarist Dan DelVecchio spoke on behalf of the band, and stressed the band’s excitement at finalizing the deal.
“We are so incredibly stoked to be signing with Imagen Records, not only are they truly passionate about what they do but they are genuinely great people to have in our corner,” said DelVecchio. “There’s no doubt that the future for Don’t Believe In Ghosts is bright”
Independent hard rock band Gears is taking on humans’ hypocrisy as it relates to religion with its latest single.
The band debuted its new single, ‘So What‘ Feb. 25 along with the song’s companion lyric video through Skope Magazine. The video places the song’s lyrics over imagery of the band performing live as the song plays over.
The musical arrangement featured in Gears’ new single is a heavy nu-metal style work that lends itself stylistically to works from the likes of Skindred and Sevendust. The song was produced by Corey Lowery (Saint Asonia, Steromud, Stuck Mojo) and mastered by Paul Logus.
The lyrical theme that accompanies the fiery arrangement addresses the irony of people who claim to be so pious yet are the first to judge others.
Front man Trip Six addressed the song’s lyrical theme in a prepared statement.
“When we wrote ‘So What?’ two years ago, it was coming from my personal view on how religion has in many ways become its own sort of animal; overriding the concept of love, compassion, family,” he said. “How we’ve gone from loving one another to judging each other and even fighting them based on the religion one practices or doesn’t. Family should be the religion, not the other way around. Of course, anyone who listens to the track can interpret as they wish however, that’s my take.”
The debut of Gears’ new single comes less than four months after the band premiered its cover of Deftones’ hit song ‘Bored.’
More information on Gears’ new single is available along with all of the band’s latest news is available online at:
Madame Mayhem returned this week with her latest single and its companion video.
The singer-songwriter (a.k.a. Natalie Ann Cohen) debuted her new single ‘Cruel Heart‘ Friday along with its companion video. Produced by Johnny K (Disturbed, Finger Eleven, Sevendust), the song features a musical arrangement that easily lends itself to comparison to works from Sevendust. The song was co-written by Cohen and Keith Wallen (Breaking Benjamin).
Cohen talked about working with Wallen during a recent interview.
“This was one of the first songs Keith Wallen and I wrote together,” she said. “I always have such a great experience co-writing with Keith. I remember listening to this demo on my way home after we finished writing and just getting so excited to share it. I have been patiently waiting for the right moment to release this single and I think now is as good a time as any! This song is near and dear to my heart and I am excited for the world to hear it!”
She added, “I performed this song live on tour a few times prior to recording it, which only makes this release even more special because of the excitement the crowds had for “Cruel Heart” hearing it for the first time as an unknown song. I remember having conversations with fans after the shows about how much they connected with it, which means so much to me! I hope the song continues to connect with people through this release.”
Wallen performed the guitar line and backing vocals for ‘Cruel Heart’ while Jason “JBomb” Harrison handled drumming duties for the composition.
The debut of Cohen’s new song comes less than six months after she debuted her cover of Aerosmith’s hit song ‘Livin’ on the Edge.’ The cover is available to download here.
Cohen’s take of ‘Livin’ on the Edge’ came, at the time, came more than three months after the debut of her then latest original single, ‘Breaking Down.’ Wallen and Harrison also took part in that song’s creation along with Billy Sheehan (The Winery Dogs, Sons of Apollo, Mr. Big).
More information on Madame Mayhem’s new single and video is available along with all of her latest news at:
Veteran metalcore band Of Mice & Men has quite the schedule planned for 2021. The band, which released its most recent album in 2019 in the form of EARTHANDSKY, will release three EPs and a new album all in this year. The band will kick off its busy schedule of new records Feb. 26 with the first of those new EPs, Timeless. The three-song record is a strong start to the band’s schedule. That is proven in part through the record’s musical content, which will be discussed shortly. The lyrical themes that accompany the record’s musical arrangements add their own touch to the EP’s presentation and will be discussed a little later. The EP’s sequencing rounds out its most important elements. It will also be discussed later. When it is considered along with the record’s musical and lyrical content, the whole makes the EP a strong start to a very busy year for Of Mice & Men.
OF Mice & Men’s forthcoming EP Timeless is a strong start for the band’s apparently very busy 2021 schedule. The first of what will apparently be four new releases this year, the three-song record proves its success in part through its musical arrangements. According to guitarist Alan Ashby, much of the music that the band has planned for release this year “began on the keyboard as opposed to the guitar.” If in fact that is the case, then it does not show. That is because the songs featured in this EP are very much guitar-centric works. They are just as heavy as anything that the band has ever crafted. At the same time, the arrangements also produce some variety for listeners to appreciate. Case in point is the variance in the arrangements for the EP’s singles ‘Timeless’ and ‘Obsolete’ even through their similarities. Each song’s arrangement is distinctly metalcore at its base. There is no denying that. Even with that in mind, the two arrangements do present some subtle differences. ‘Obsolete,’ the EP’s lead single, exhibits more of a melodic metalcore approach while the EP’s title track – its second single – is a much sharper, more edgy composition. That more melodic approach to ‘Obsolete’ lends that song’s arrangement to comparison to works from the likes of Killswitch Engage while ‘Timeless’ noted more defined sound likens it more to works from the likes of As I Lay Dying. ‘Anchor,’ which closes out the EP, is the most unique of the record’s arrangements. That is because it is so much unlike the arrangements featured in ‘Obsolete’ and ‘Timeless.’ Rather, it is the EP’s most marketable and radio ready arrangement, blending elements of Sevendust and Tool for its whole. Its guitars, bass, and drums work with the keyboard line here to give the song a distinct melodic hard rock approach and sound that makes it a perfect fir for any active rock radio station’s current play list. Front man Aaron Pauley’s vocals add to the impact, even showing influence from Tool front man Maynard James Keenan in the song’s more contemplative moments. That against the more fiery moments in the song and Pauley’s delivery therein makes the song overall that much more enjoyable. All things considered here, the musical arrangements that are featured in Timeless collectively for a solid foundation for the record. That is because of the variance that they exhibit from one to the next. For all that Timeless’ musical content does for its presentation, that content is just a portion of what makes the record stand out. Its lyrical content builds on the foundation formed by its music.
The lyrical content that is featured in Timeless follows a central theme of existentialism. Pauley himself has already pointed that out without doing so as he talked about the lyrical themes in ‘Obsolete’ and ‘Timeless.’ He noted of ‘Obsolete’ that the song’s lyrical content ruminates on our own obsolescence and our place in the world as time passes. In talking about the song’s theme he said, “It’s a song about questioning how future-proof one is in the grand scheme of things, and acknowledging that maybe we aren’t at all. I think we all wonder, to a certain extent, whether or not we’ll fit into the future, or how we would, or what that would look like,” he said. “Obsolescence is very prevalent in our lives. We see how quickly old phones become virtually useless, how quickly fads and trends come and go. It’s all too easy to ponder about when you’ll become a covered wagon, or a flip phone, or Myspace.”
Pauley’s comments about the lyrical theme of ‘Obsolete’ are solidified in noting the song’s lyrical content directly. Pauley sings in the song’s lead verse, “For a thousand days I watched the vultures circle overhead/And I counted the ways the world would be blessed when I finally reached my end/And I felt the weight of the world pushing me into the soil below/And I felt the desert sun above, while I tried to drink water from a stone.” While this verse is rather brooding, things do turn better, as is evidenced in the song’s chorus, in which the song’s subject states, “But I’m not ready to die alone/So can you wake me from my sleep/And show me now that this is just a dream?/’Cause I’m a whisper, once a scream/And I’m afraid of what’s in store for me/Becoming obsolete.” He contemplation continues in the song’s second verse, which states, “Another frozen frame/Another glitch inside my consciousness/So I pick my poison and just choke it down until I start to spin/And while the world just slowly turns, I fade like fog into the sea/While the mighty galleon burns around me, I slowly start to sink.” The subject finishes the rumination here as states, “Maybe I’m not ready to be set free/Maybe these shackles are what I need/If you find the answers, come rescue me/But I can’t hold my breath” before telling others once more to “Wake me from my sleep/And show me now that this is just a dream/’Cause I’m a whisper, once a scream/And I’m afraid of what’s in store for me/Becoming obsolete.” Considering the overly brooding nature of all of this lyrical content, it would have been easy for the band to have gone a more goth route here, but it instead opted to go in another direction. That direction is more along the lines of showing someone who is torn in his thoughts, finding them racing in every direction. Keeping all of that in mind, the song’s lyrical content does its own share to show what makes Timeless’ lyrical content as important as its musical arrangements. It is just one of the ways in which the record’s lyrical content shows its importance. That of the EP’s title track does its own share to show that importance.
The lyrical content featured in ‘Timeless’ is just as existential in its nature as that of ‘Obsolete,’ as explained by Pauley.
“‘Timeless’ is a song about becoming increasingly aware of impermanence, written through somewhat of a somber, yet romantic, lens,” said Pauley. “At the beginning of the pandemic, I was watching a lot of black and white movies. One of my favorite movies is Casablanca. I wonder if any original copies exist. You know, although that movie is universally regarded as being timeless, the actual celluloid is so fragile. But I think we find a special kind of vibrance in life when we’re aware of our own impermanence.”
His comments here are made even clearer in the song’s lyrical content, which starts off stating, “Is this what it’s like to shed your skin/To be reborn?/Adrift in a sea of noise/Unable to remember what came before/The fragments replay/But they’re out of place/My voice/Distant/Like a stand-in/Just out of frame.” The song’s second verse adds to the picture as it states, “Is this what it’s like to feel serene and unaware?/Like silhouettes on celluloid/We’re timeless but oh so impermanent/Becoming blurs in the negatives/But I swear to God we’re timeless.” Simply put, what is being communicated here is a message that we realize the fragility and importance of life as we get older and look back. So yes, it is more existentialist rumination, but it is a positive statement nonetheless. It is a statement that is certain to resonate with listeners in its own right. It is just one more way in which the EP’s lyrical content proves so important to the record. The lyrical content featured in the EP’s closer, ‘Anchor’ does its own share to show that importance, too.
‘Anchor’ is the only single not yet released from Timeless, so no discussion is available from Pauley on this song, nor are readily accessible lyrics. However, from what one can interpret without those lyrics, the song’s theme seems to center on its own existential topic. At one point, the song’s subject notes something “pulling me down.” At another point, there is mention of “Shifting the blame/Without another place to hide” before the song’s subject asks, “What lies ahead?/Is it another misguided, sad attempt/I’m searching for anything/But I haven’t seen the sun in days.” Again, not having lyrics to reference, much of the song’s lyrical content is difficult to translate. However, from what one can translate, the lyrical content here would seem to be its own existential piece, which allegedly focuses on the subject’s attempt to find his place in the world and where he is headed. That is just this critic’s interpretation and should not be taken as the only interpretation. That aside, it still seems that the lyrical theme here is its own existentialist discussion, so it still follows that overarching lyrical theme, just in its own unique fashion, too. Keeping this in mind along with the other ways in which the EP’s lyrical content follows that theme, no doubt is left as to the lyrical content featured in Timeless. It does plenty in itself to make the EP engaging and entertaining, but still is not the last of the EP’s most important elements. The record’s sequencing puts the final touch to its presentation.
Timeless’ sequencing is just as important to examine as that of any larger record, even being an EP. The EP’s sequencing is important in part because it ensures that even at only three songs deep, its musical arrangements change up just enough from one to the next, giving listeners quite the accent in that final number. Additionally, the sequencing ensures that while all three songs follow the same central lyrical theme, the ways in which they follow that theme change from one to the next, making for even more appeal. Last but most certainly not least of note is the way in which the sequencing balances the EP’s energy. ‘Obsolete’ and ‘Timeless’ are each very high energy compositions, in regards to their musical arrangements. Considering all of the energy that is exuded by those songs, the more deliberate, controlled approach to ‘Anchor’ gives listeners a welcome change of pace and stylistic approach. Even with the change in style, the song still boasts its own strong energy, closing out the EP just as strongly as it opened. When this is considered with the role of the EP’s sequencing in regards to its lyrical and musical content’s order, the importance of the EP’s sequencing becomes clearer. When its importance is considered with that of the record’s overall content, all three elements join to make Timeless a presentation that is a good start to Of Mice & Men’s apparently very busy 2021 schedule. They additionally make the record just one more of this year’s top new EPs. Timeless is scheduled for release Feb. 26 through SharpTone Records.
More information on Of Mice and Men’s new EP is available now along with all of the band’s latest news and more at: