Rock band Huxley debuted the lyric video for its latest single this month.
The band premiered the lyric video for its single, ‘Second Chances‘ April 18. The video features the song’s lyrics presented over a burned out candle.
The song’s musical arrangement is an upbeat, guitar-driven composition. The chants in the chorus and the drums, bass, and vocals add even more to its impact. The energy in the collective instrumentation and vocals immediately makes the song a surefire hit for any active rock radio station programmer’s play list. It is easily comparable to works from the likes of Eve To Adam, Buckcherry, and others of that ilk.
The song’s lyrical theme is that of perseverance against people who would otherwise prefer to make a person’s life miserable, according to a statement from the band.
“‘Second Chances’ is about not letting people take advantage of you and learning to move on and be strong on your own,” the statement reads.
More information on Huxley’s new video and single is available along with all of the band’s latest news at:
The Louder Than Life Festival will return to Louisville, KY this year with an expansive lineup of acts.
The festival, scheduled to take place Sept. 22-25 at the Highland Festival Grounds at KY Expo Center in Louisville, KY, will be headlined by Red Hot Chili Peppers, Nine Inch Nails, Slipknot, and KISS. The four-day festival will also feature performances from bands, such as Bloodywood, Anti-Flag, and Superbloom. The KY Expo Center is located at 937 Phillips Ln. in Louisville, KY.
The festival’s full lineup is noted below. Tickets are available here. Weekend general admission passes start at $249.50 plus fees. Weekend VIP passes start at $629.50 plus fees. A limited number of Weekend Top Shelf VIP passes is still available for $1,329.50 plus fees.
General admission single day passes start at $99.50 plus fees. Single day VIP passes start at $295.50 plus fees. Layaway options are available through March 31 for $10, with payments made through July.
A trailer for the forthcoming annual festival is streaming.
The current Louder Than Life lineup is as follows (subject to change):
Thursday, September 22: Nine Inch Nails, Bring Me The Horizon, Evanescence, Halestorm, Tenacious D, Yungblud, Highly Suspect, Ministry, Nothing More, Baroness, Spiritbox, Apocalyptica, Dorothy, Don Broco, New Years Day, Plush, Lilith Czar, Maggie Lindemann, Taipei Houston, The Dead Deads, Mothica, Superbloom, Eva Under Fire, Oxymorrons
Friday, September 23: Slipknot, Shinedown, Lamb Of God, Mastodon, In This Moment, Meshuggah, Clutch, Jinjer, GWAR, In Flames, Helmet, POORSTACY, Crown The Empire, DED, All Good Things, Amigo The Devil, Vended, Mike’s Dead, If I Die First, Orbit Culture, The Luka State, Ego Kill Talent, The Native Howl, Archetypes Collide
Saturday, September 24: KISS, Rob Zombie, Alice Cooper, Chevelle, Ghostemane, Jerry Cantrell, Dance Gavin Dance, Theory of a Deadman, Body Count, Sevendust, Mammoth WVH, We Came As Romans, Airbourne, Cherry Bombs, Ill Niño, Tetrarch, Nita Strauss, Against The Current, Wargasm, Trash Boat, Shaman’s Harvest, Solence, Dropout Kings, Bloodywood
Sunday, September 25: Red Hot Chili Peppers, Alice In Chains, Incubus, Papa Roach, The Pretty Reckless, Architects, Bad Religion, Action Bronson, The Struts, Jelly Roll, Dirty Honey, Anti-Flag, The Joy Formidable, Bayside, The Warning, Royal & The Serpent, caroles daughter, Radkey, The Mysterines, Crown Lands, AEIR, The Alive, As You Were
The Louder Than Life Festival is produced by Danny Wimmer Presents. The festival debuted in 2014 and expanded to four days in 2021.
More information on the 2022 Louder Than Life Festival is available along with all of the festival’s latest news at:
Stone Broken is giving audiences another preview of its next album, Revelation, with the lyric video for its latest single.
The band debuted its new single, ‘Black Sunrise‘ and its companion lyric video Friday. The song is the second single from the album, which is scheduled for release April 15 via Spinefarm Records. The band unveiled the album’s lead single/title track and its video last month.
The musical arrangement featured in ‘Black Sunrise’ is a notable difference from that of the album’s title track. Where the title track’s arrangement harkens to works from the likes of Muse and Imagine Dragons as well as Theory of a Deadman, ‘Black Sunrise’ leans more directly in the direction of Theory of a Deadman, as well as some harder edged acts, such as Drowning Pool and Shinedown.
The lyrical theme featured in the band’s new single touches on the matter of people staying true to themselves, according to front man Rich Moss.
“‘Black Sunrise’ explores the darker side of portrayal,” Moss said. “Sometimes people only want to show a certain side of themselves, maybe even an exaggerated version or completely fictitious personality. The truth is, it’s going to be hard to keep up the act. The mental impact will ultimately take its toll. This is where the title stems from: a ‘Black Sunrise’ doesn’t exist; it’s the opposite of reality.”
The lyric video for ‘Black Sunrise’ features the song’s lyrics over the visual of a tarot card with a sun on it. The song’s musical arrangement plays over the visual.
More information on Stone Broken’s new single, video and album is available online now along with all of the band’s latest news and more at:
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.
Pop Evil will head back out on the road this summer.
The band made the announcement Tuesday through a news release. The announcement comes fresh on the heels of the release of the band’s latest album, Versatile, which was released Friday through eOne. The tour features performances in cities nationwide, such as Jacksonville, NC; Billings, MT, and Louisville, KY.
Zero 9:36, BRKN Love, and Like Machines will serve as support throughout the tour. Additionally, Shinedown will join the band for select dates, too.
The band expressed its anticipation for the tour’s launch in a prepared statement.
“This really is just as exciting as releasing our new album,” the statement reads. “Like many other musicians, we haven’t played a live show in over a year. We can’t wait to get back out there and play in front of our fans. We are thrilled to have hot and upcoming artists like ZERO 9:36, BRKN LOVE and Like Machines out with us. See you this summer!!!”
The tour’s schedule is noted below. Pre-sale tickets are available for purchase. Public ticket sales begin at 10 a.m. local time Thursday.
POP EVIL 2021 TOUR DATES
July 14 – Lake County, IL @ Blarney Island – WIIL Summer Series
July 16 – Grand Rapids, MI @ Upheaval Festival
July 17 – Caddott, WI @ Cadott Festival
July 18 – Des Moines, IA @ Wooly’s #
July 20 – Minot, ND @ The Original #
July 21 – Billings, MT @ Pub Station #
July 23 – Salt Lake City, UT @ The Depot #
July 24 – Grand Junction, CO @ Mesa Theater #
July 25 – Phoenix, AZ @ The Marquee #
July 27 – Lubbock, TX @ Jakes Sport Café #
July 29 – Houston, TX @ Warehouse Live #
July 30 – Dallas, TX @ Gas Monkey Live #
July 31 – Kansas City, MO @ Truman Theater #
August 1 – Sauget, IL @ Pops #
August 3 – Lincoln, NE @ Bourbon Theater #
August 4 – Bloomington, IL @ The Castle #
August 5 – Ft. Wayne, IN @ Pierres #
August 6 – Mt. Pleasant, MI @ Soaring Eagle Casino &
August 7 – Louisville, KY @ Waterfront Park &
August 8 – Evansville, IN @ Marina Point ^
August 10 – Kettering, OH @ Fraze Pavilion &
August 11 – Camdenton, MO @ Ozark Amp &
August 13 – Madison, WI @ The Sylvee
August 14 – Sioux City, IA @ Hard Rock Battery Park &
August 15 – Denver, CO @ Oriental Theater #
August 18 – Fargo, ND @ Sanctuary Events Center #
August 20 – Joliet, IL @ The Forge #
August 21 – Nashville, TN @ Brooklyn Bowl #
August 23 – Savannah, GA @ Victory North #
August 24 – Asheville, NC @ Orange Peel #
August 25 – Jasonville, NC @ Hooligans #
August 27 – Virginia Beach, VA @ Elevation 27 #
August 28 – Pittsburgh, PA @ Mr. Smalls #
September 1 – Syracuse, NY @ Westcott Theater *
September 4 – Pryor, OK @ Rocklahoma
September 8 – Detroit, MI @ St. Andrews Hall #
September 9 – Flint, MI @ Machine Shop #
September 10 – Harrisburg, PA @ XL Live #
September 11 – Mansfield, OH @ Inkcarceration Fest
September 12 – Danville, VA @ Blue Ridge Rockfest
September 15 – Baltimore, MD @ Rams Head Live #
September 16 – Sayreville, NJ @ Starland Ballroom #
September 17 – Portland, ME @ Aura *
September 18 – Hampton Beach, NH @ Wally’s *
September 21 – Huntsville, Al @ Mars Music Hall – Von Braun Center*
September 22 – Atlanta, GA @ Buckhead Theater *
September 23 – Destin, FL @ Club LA *
September 24 – Orlando, FL @ Central FL Fairgrounds – Rebel Rock Fest
October 8 – Sacramento, CA @ Aftershock Festival
# with ZERO 9:36 & BRKN LOVE
* with BRKN LOVE & LIKE MACHINES
^ with ZERO 9:36
& with SHINEDOWN
More information on Pop Evil’s new tour schedule and album is available online along with all of the band’s latest news at:
Independent rock band Mason Hill is keeping itself quite busy this year. The band recently announced that it is scheduled to launch a new series of live dates this fall. The band is also scheduled to release its cover of Foo Fighters’ ‘The Best of You’ Friday. This is all following the release of the band’s debut album Against the Wall just last month. Released March 5 through 7Hz Productions, the 12-song record could be a breakout for the band, given the right support. That is due in part to the record’s musical arrangements. They will be discussed shortly. The lyrical themes that accompany the album’s musical arrangements build on the foundation formed by that content. The record’s production rounds out its most important elements and will be discussed later, too. Each item noted here is important in its own way to the whole of the album’s presentation. All things considered, they make Against the Wall unquestionably among the best of 2021’s new rock and independent albums.
Mason Hill’s debut album Against the Wall is a very strong start for the up-and-coming UK-based outfit. That is due in part to the record’s featured musical arrangements. From start to end, the 46-minute record’s musical arrangements hold their own against anything that America’s mainstream/active rock radio stations are playing. The driving guitar lines and their melodies, the solid time keeping, and rich bass and drums create sounds and stylistic approaches from one song to the next that immediately lend themselves to comparisons to works from bands, such as Alter Bridge, Shinedown, and Theory of a Deadman. Every arrangement here holds its own against any of those bands’ songs. Whether it be the album’s powerful yet contemplative title track, the more fiery single, ‘D.N.A.,’ or even the brooding, contemplative ‘Where I Belong,’ the range of styles and sounds lines up easily with those of the works from the noted more well-known bands. To that end, the arrangements featured throughout this record form a solid foundation for its presentation. Building on that foundation is the lyrical content that accompanies the musical content.
The lyrical content that is featured throughout Against the Wall is just as accessible as the record’s musical arrangements. Case in point for instance is the lyrical theme featured in ‘Find My Way.’ The song’s title makes the theme clear, while the lyrics just as easily explain the song’s message. In this case, the message is that of breaking out on one’s own and making one’s life for one’s self. The subject sings about being done with another person and his/her negative influence, and…well…finding his own way. This is made clear as front man Scott Taylor sings in the song’s chorus, “I wait for you/To let me go/So I can find my way/This time I’m sure/You’ve got nowhere else to go/I wait for..” He gets even firmer in the refrain, singing, “You always criticized me/You never see what I see/I won’t always wait for you/Your life’s so hypnotizing/My mind’s so indecisive/I won’t always wait for you.” This brief amount of content speaks volumes here. It is, again, a statement of someone taking control of his/her life, and no longer letting someone else impact what happens. This is a statement that will resonate with any listener, especially when it is considered along with the infectious energy and sound of the song’s musical arrangement.
‘Broken Son’ is another example of what makes the album’s lyrical content stand out just as much as its musical accompaniment. This clearly contemplative rumination seems to deliver its own unique message of empowerment. In this case, the message in question seems to center on someone who is refusing to let the impact of his familial past ruin the rest of his life. This is inferred in the song’s lead verse and chorus, which state, “There’s nothing wrong with me/I just cannot see the way you used to be/And now this scene in my head/Is better off dead/With all my memories/So I say/This time I’m fixing what I’ve done/They say it’s always my own fault/That’s all I hear/When you say my mind’s been drifting all the time/I think that you’re telling me another lie/That’s all I hear/I’m chasing all the things I’ve done/I’m learning how to be the one/This time I know/I’m letting go/I’m not your broken son.” As noted, this lead statement comes across as being spoken from someone who is looking back at his life but empowering himself through personal realizations in his retrospection. The seeming message continues in the song’s second verse, stating, “So worry me this way/Don’t make me be the man who lost it all today/And no w I’m broken and scared/Now watch me pretend/I got it figured out/Well here I am/This time I’m fixing what I’ve done/they always say it’s always my own fault/That’s all I hear/When you say/My mind’s been drifting all the time/I think you’re telling me another lie.” Again, here is that self re-assurance from the song’s subject. Regardless of the commonality of a situation, such as that presented here, there are those audiences to whom this song will resonate. When the song’s infectious musical arrangement pairs with that accessible in its own right lyrical theme, the whole shows even more why the record’s musical and lyrical content together is so powerful for the album’s presentation. It is just one more case in which this is proven. ‘Where I Belong’ is yet another way in which the record’s lyrical content proves to be just as important as its featured musical arrangements.
‘Where I Belong’ is another key example of the importance of Against the Wall’s lyrical content because of the vulnerability that it exhibits in comparison to the confidence exhibited in the other examined songs. It shows the band’s ability to reach listeners’ in a variety of emotional levels. While the song’s title comes across as being somewhat existential, the reality here is anything but. Rather this song is a familiar rock ballad style work that is (and many audiences might not like this) very much in the overly saccharine sweet vein of certain songs from Nickelback and Creed. This is inferred in the song’s lead verse and chorus, which states, “I sail through life/My eyes are closed/The memories are forgotten/The past has gone/The wind cries out your name/It’s calling me home/Yet I follow/Which has no name/Carry me home/Through fire and rain/Lay before your feet/My struggle/Is in vain/Yet I know/There is somewhere I belong/And it’s where I’m meant to be/Carry me home/To somewhere I belong.” The super sweet ballad continues in its second verse, “The smile on your face/The stars in the sky/Let me know I’m closer/Can you see/The hope in my eyes?/Carry my home/Through fire and rain/Laid before your feet/My struggle is in vain/’Cause I know/There is somewhere I belong/And it’s where I’m meant to be/Carry me home/To somewhere I belong.” Yes, this is one of those over-the-top arena rock style ballads in regards to its musical and lyrical content. That aside, the fact that it is such a departure for the band in comparison to the rest of the album’s content, it is one more example of the importance of the album’s lyrical content just as much as its musical content. It is another accessible lyrical theme and it is different from the other themes featured throughout the album. To that end, it is just one more way in which the album’s lyrical content proves so important. When this song’s lyrical content and that featured in the other songs examined here is considered along with that of the rest of the album’s entries, the whole leaves no doubt as to the role of the album’s lyrical themes in its overall presentation. Even with all of this in mind, the lyrical content is just one more part of what makes Against the Wall work. The album’s production rounds out its most important elements.
The production that went into Against the Wall is important to examine because of its role in the album’s general effect. Whether in the album’s high-energy moments or its more contemplative moments, the production plays a key part in making sure each song has the fullest effect. That work succeeds, too. The instruments are balanced expertly with one another. At the same time, the vocals are just as well-balanced with the instrumentation, making sure that no one part overpowers another at any point in the record’s presentation. The dynamics in each song do well to help evoke the intended thoughts and emotions from listeners, which is itself a tribute to the impact of the production. All things considered, the production puts the finishing touch to the album’s overall presentation. When it is considered along with the impact of the album’s musical and lyrical content, that whole makes the album overall a work that holds its own well against any work from Mason Hill’s more well-known mainstream rock counterparts.
Mason Hill’s debut album Against the Wall is a strong start for the up-and-coming rock/hard rock band. That is proven through its musical and lyrical content, which separately and collectively prove quite accessible. The infectious musical arrangements appeal to fans of works from the likes of Alter Bridge, Shinedown, and even Theory of a Deadman while the record’s lyrical themes are even more widely appealing. The album’s production brings everything together, putting the final touch to the album’s presentation. Each item noted is important in its own way to the whole of the album’s presentation. All things considered, they make Against the Wall a surprise hit that is among the best of this year’s new rock and independent albums. Against the Wall is available now.
European audiences will get to hear lots of music from the band’s new album this fall when the band hits the road. The band’s tentative tour schedule is noted below. Ticket information is available here.
Tour Dates: 09/02 @ Tunnels – Aberdeen, Scotland 09/03 @ Garage – Glasgow, Scotland 09/04 @ Macarts – Galashiels, Scotland 09/09 @ Grand Social – Dublin, Ireland 09/10 @ Voodoo – Belfast, Ireland 09/14 @ Junction 2 – Cambridge, England 09/15 @ Corporation – Sheffield, England 09/16 @ Fleece – Bristol, England 09/17 @ Patterns – Brighton, England 09/18 @ Leos – Gravesend, England (Sold Out) 09/20 @ Globe – Cardiff, Wales 09/21 @ Joiners – Southampton, England 09/22 @ Nightrain – Bradford, England 09/23 @ Waterloo Music Bar – Blackpool 09/24 @ Underworld – London, England 09/25 @ Rebellion – Manchester, England 09/26 @ KK’s Steel Mill – Wolverhampton, England
More information on Mason Hill’s new album, tour, and single is available along with all of the band’s latest news is available online at:
Independent rock band Mason Hill has a new single coming later this month.
The band is scheduled to release its cover of Foo Fighters’ hit single, ‘The Best of You’ April 23. While audiences wait for the band to premiere that cover, they can enjoy the band’s latest single, ‘D.N.A.’ and its companion video. The band premiered the pair in January.
The musical arrangement featured in ‘D.N.A.’ is a high-energy hard rock composition that will appeal to fans of bands, such as Theory of a Deadman, Hinder, and Three Days Grace. The lyrical content that accompanies the song’s musical arrangement comes across as taking on the familiar topic of dealing with one’s inner struggles.
The ‘D.N.A.’ video features the band in a specially lit studio setting as it performs its new single.
‘D.N.A.’ is the third single from the band’s debut album, Against The Wall. Its premiere follows that of ‘Against The Wall‘ and ‘Hold On.’
Against The Wall was released March 5 through 7Hz Productions and peaked at #19 on the UK National Album Chart. It reached the top spot on the UK Rock Album Chart.
The album’s release and charting shows the band is making waves with its record. It marks the first time since Greta Van Fleet released its 2018 debut album, that a rock band has premiered in the Top 20 in the UK National Album Chart.
Additionally, it is the first time that a British rock act debuted in the UK Top 20. What’s more, it marks the first time since 2014 — when Royal Blood released its debut album — that a British rock band debuted in the top spot in the UK Rock Album Chart.
In other news, Mason Hill is planning a series of live dates this fall in support of its new album. The tour is scheduled to launch Sept. 2 at Aberdeen Tunnels and to run through Sept. 26 at Wolverhampton KK’s Steel Mill. The tour’s schedule is noted below. Ticket information is available here.
Tour Dates: 09/02 @ Tunnels – Aberdeen, Scotland 09/03 @ Garage – Glasgow, Scotland 09/04 @ Macarts – Galashiels, Scotland 09/09 @ Grand Social – Dublin, Ireland 09/10 @ Voodoo – Belfast, Ireland 09/14 @ Junction 2 – Cambridge, England 09/15 @ Corporation – Sheffield, England 09/16 @ Fleece – Bristol, England 09/17 @ Patterns – Brighton, England 09/18 @ Leos – Gravesend, England (Sold Out) 09/20 @ Globe – Cardiff, Wales 09/21 @ Joiners – Southampton, England 09/22 @ Nightrain – Bradford, England 09/23 @ Waterloo Music Bar – Blackpool 09/24 @ Underworld – London, England 09/25 @ Rebellion – Manchester, England 09/26 @ KK’s Steel Mill – Wolverhampton, England
More information on Mason Hill’s new single, video, tour and all of its latest news is available online at:
Hard rock band Awake At Last has made a name for itself throughout the course of its life for presenting songs that promote positivity, spirituality and self-confidence. That trend, which the band has held over the course of two EPs, continues on the band’s full-length debut album The Change. The 12-song record presents those themes in various ways throughout the course of its 39-minute run time, complete with musical arrangements that will appeal to a wide range of listeners. From one song to the next, the record’s musical arrangements and lyrical themes that make up its body ensure listeners’ continued engagement. The album’s lead single ‘Dead Generation’ is just one of the songs that supports that statement. It will be discussed shortly. ‘Bigger Picture,’ which comes later in the album’s run continues to support that statement in a similar fashion. It will be discussed a little later. ‘Fallen Stars,’ the album’s closer is yet another of the album’s entries that exhibits the band’s continued themes of positivity and self-confidence. It serves just as much as ‘Dead Generation’ and ‘Bigger Picture’ to maintain listeners’ engagement. When these songs are considered along with the nine songs that make up the remainder of the record, the whole of The Change becomes a work that may well “change” the course of Awake At Last’s career to the positive.
Awake At Last’s debut full-length studio recording The Change is a strong new effort from the Delaware-based hard rock outfit. It is a nearly 40-minute presentation whose themes of positivity, self-confidence and spirituality are certain to keep listeners engaged while at the same time, offering those same audiences plenty of musical entertainment and lyrical inspiration. One of the songs featured in the record’s 12-song body that serves to support those statements comes early in the record’s run in the form of ‘Dead Generation.’ The album’s lead single, it presents a musical arrangement that will appeal to fans of bands, such as Three Days Grace, Shinedown and to a lesser extent, Set It Off. That combination of influences makes the song’s musical arrangement a strong foundation for the song’s presentation. That foundation is strengthened through the social commentary presented in the song’s lyrical content.
The song’s lyrical content presents a theme of…well…making a change. It approaches the subject in this case, by forcing listeners to contemplate whether the current generation that has inherited the planet is in fact as bad off as it has been made to seem. Front man Vincent Torres delivers that message, singing in the song’s lead verse, “With every moment/We’re drifting into defeat/We keep on living a lie/Like it’s what we need/When conversation is avoided to keep the peace/The silence pulling us under will never cease.” He is saying here, that people need to stand up and speak up, rather than be passive and just let things happen. That is because if we continue to remain silent, nothing will get better in the world, rather it will do the opposite and get worse. This statement is heightened through the song’s chorus in which Torres and his band mates – Eric Blackway (guitar), Imran Xhelili (guitar) and John Finney (drums) – sing, “We beg the world to change/But fail to face it/Are we alive or a dead generation?” He is saying, we keep calling for change, but are we doing anything to back up our calls to action? As if that is not proof enough, Torres goes on in the song’s second verse, to sing, “Trapped in a moment/Perpetual hell/This life’s a coffin and we are the nails/Cut out the answers and disarm the scars/We always take, take, take/And forget who we are.” Again, here is a statement of looking at the bigger picture. We are the cause, not the effect, is essentially what Torres is saying here. We are the “nails,” the cause. We always take, take, take/And forget who we are. It’s all about us. We need to act for the bigger picture. Torres speaks in metaphors here, but it is relatively clear what he is saying. Keeping that in mind, along with the fire in the song’s musical arrangement, this first statement from the band this time out shows without doubt that noted positivity for which the band has come to be known during its life. Given it is hardly the first time that any musical act has ever presented a call to action so to speak, but it still works even in this case. In the process, it helps to establish the band’s identity and that of the album. It is just one of the album’s most standout additions. Speaking of bigger pictures, the song ‘Bigger Picture’ is another of those key additions to the record.
‘Bigger Picture’ comes late in the album’s 39-minute run time. It stands out quite starkly from its counterparts included in the album, through its musical arrangement. This song’s arrangement boasts a sound more akin to Set It Off and Fall Out Boy than the previously noted bands. What is nice is that even with those influences, the song still maintains its own identity separate from those bands’ works. That goes a long way toward making the song stand out. The song’s lyrical content, which focuses on the importance of unity and seeing the forest for the trees, adds to the foundation formed through the song’s arrangement.
The message in question is delivered as Torres sings in the song’s lead verse, “Spent some time inside my mind/And found a way to re-align/My thoughts betray me, but it’s all in my head/Life is just a tapestry and I’m just a thread.” Now this line in and of itself directly sends that message. The song’s subject looked inside, and realized he/she needed to think differently because he/she was just one part of a much bigger whole. The message continues as Torres sings, “People used to tell me ‘cause I doubted myself/Spent so much time tryin’ to be someone else/I know it’s not about me, but it’s plain to see/We’re losing ourselves to these selfish machines/Get into our bodies and out of our screens/If we’re all part of something bigger/Then I know who I am/If we’re all fragments of a picture/Then why can’t we see we’re all the same/Ignite the flame…You’re the same as you and I.” Again, here we have a message that we need to see we are all part of something much bigger and we need to think of one another instead of ourselves. Once again, this is not the first time that any band or act has ever presented such a message, but it is another message that can not be expressed enough. Rather, it is a message that sadly, must continued to be presented to a public that needs constant reminders of this issue. Keeping this in mind, this uplifting message couples with the song’s equally engaging musical arrangement to make the whole another song that shows how The Change in whole can potentially change the course of Awake At Last’s career. It is not the last of the songs that serves to support that statement, either. The song’s powerhouse finale, ‘ Fallen Stars’ is yet another way in which the album exhibits its strength.
‘Fallen Stars’ changes things up from Awake At Last in terms of its musical arrangement once again, this time moving from the emo-core sound of Fall Out Boy and Set It Off to a more aggro-rock style sound that takes listeners back to the late 90s, right down to the screaming climaxes of the verses. That sound alone serves to help the song stand out, but is just one part of what makes the song so notable. The song’s lyrical theme once again is that continued uplifting positive theme that reminds listeners to not give up even in life’s most difficult moments.
Torres reminds listeners to note give up in the song’s chorus, singing, “Sometimes we hurt/Sometimes we break/But it’s times like these/We learn to create/Everyone fails/It’s part of the plan/We have to fall/To get up again.” This is a powerful statement that is certain to inspire plenty of listeners. It is just one of the statements that will inspire listeners. He sings in the song’s lead verse, “I’ve seen the vision/As lightning cracks the sky/I’m gonna chase this dream/But something worth having will never come easy/So I’ll take the long road/Even if I pave it on my own/’Cause when the sky falls down/the sky is quiet with the silence/We stand together united by fallen stars/We’re stronger together.” He goes on to sing in the song’s second verse, “Burning image/On the canvas of our lives/We’re gonna change this scene/It’s something worth having, so it won’t be easy/But they’ll remember/How the artists took a stand/As we live and breathe/The world is quiet with our silence.” In the song’s finale, he adds, “We stand together united by fallen stars/So let the darkness divide us/Remember who we are/Brave the weather/We’re stronger together/Everything comes crashing down around us/Like a phoenix we’re reborn from the ashes.” Once again, here is that message of perseverance and positivity coupled with the continued theme of unity, much as is presented in so many of the album’s other songs. It is just another way in which the album’s lyrical content continues the themes presented in the band’s currently available two EPs. Those themes are continued throughout the rest of the album’s entries, too, in even more diverse fashion. That diversity in the delivery of the band’s positive messages and the power in the album’s musical arrangements makes the album in whole a positive debut for Awake At Last; a debut that could create a positive change for the band itself.
Awake At Last’s debut full-length studio recording The Change is a strong offering from the up-and-coming hard rock outfit. As has been noted in this review, the positive lyrical themes presented in the band’s currently available EPs are continued throughout this record in various ways. The musical arrangements that accompany those positive messages do just as much to make the album a success. When they are coupled together and considered from the album’s opening to its end, the album in whole proves to be a record that could change the course of Awake At Last’s life in a good way. It is scheduled for release June 21 through Outerloop Records. More information on the album is available online now along with all of Awake At Last’s latest news and more at:
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.
The Monster Energy Aftershock Festival is coming back to California this year.
The annual festival is scheduled to be held October 13 and 14 at Sacramento’s Discovery Park. Now in its seventh year, the festival will be headlined this year by System of a Down, Alice in Chains and Deftones. This year marks the first time that System of a Down has performed at the festival.
Along with being the band’s first year at the festival, System of a Down’s performance at the Aftershock Festival will also be the band’s first announced U.S. appearance in three years. It is also part of the band’s 20th anniversary celebration of its landmark self-titled album’s release.
While System of a Down, Alice in Chains and Deftones are the two-day festival’s planned headliners, they are not the only bands on the bill. Also scheduled for the performance are Godsmack (which is currently touring in support of its brand new album When Legends Rise), Incubus, Seether, Jonathan Davis (whose latest solo album Black Labyrinth is scheduled for release May 25), At The Drive-In and Slash ft. Myles Kennedy and the Conspirators (who are currently working on their latest album) as well as Bullet For my Valentine (whose new album Gravity is scheduled to be released June 29), Sevendust (whose album All I See Is War is out now) and many more. The full lineup for this year’s festival is noted below.
The current band lineup for Monster Energy Aftershock is as follows: System Of A Down, Deftones, Alice In Chains, Incubus, Godsmack, Shinedown, 311, Slash Featuring Myles Kennedy And The Conspirators, At The Drive-In, Seether, Jonathan Davis, Bullet For My Valentine, Underoath, Black Veil Brides, Hellyeah, Asking Alexandria, Sevendust, Everlast, GWAR, Emmure, Stick To Your Guns, Dance Gavin Dance, Monster Magnet, Red Sun Rising, Bad Wolves, The Fever 333, Dorothy, Wage War, Plague Vendor, Hyro The Hero, Amigo The Devil, All Them Witches, Slothrust, The Dose, Viza, The Jacks and more to be announced.
Providing food for this year’s festival will be a variety of vendors including: Southern Hospitality Concessions LLC, Danny Wimmer Presents’ affiliate concessionaire. Food trucks will also be on hand, providing savory and sweet treats from: Angry Bird Grill, Bacon Mania, Barrett’s Burgers, Barrett’s Sliders, Big Joe’s BBQ, Bubba’s BBQ, Cousins Maine Lobster, Dippin Dots Ice Cream, Dogtown, Drewski’s Hot Rod Sandwiches, Florez Bar & Grill, La Mex Taqueria, Mac Attack, Mount Olympus, Sausage King, Smokin’ Hot Pizza, Spicy Pie and Xochimilco Mexican Restaurant.
Beverages will be available from a variety of vendors, including vendors for festival-goers 21 and older. Those vendors include: Caduceus Vellars & Merkin Vineyards Wine Garden (owned by Tool/A Perfect Circle/ Puscifer front man Maynard James Keenan) and the Belching Beaver Bar (featuring drafts from the Vista, CA brewer including the Phantom Bride IPA, a collaboration with the Defones). Mrkt N Jolt will also be on site, offering hot coffee, cold brew and other items.
As if the music, food and drink isn’t enough for festival-goers, this year’s festival will also offer lots of entertainment options. Those options include the Monster Energy Experience, which gives audiences the chance to meet and greet the bands while also sampling the festival’s various offered drinks, The Music Experience, which is an interactive exhibit and music instrument retailer. Non-profit animal rescue organization Take Me Home will also be on-site along with Dyin 2 Live/FXck Cancer, a wish-granting organization. Fans can buy music from the festival’s bands on site at the f.y.e. Fan Experience.
Festival-goers can win prizes and check out the latest products from Zippo Lighters at Zippo Encore and charge their phones at SWFTCharge.
Tickets and VIP packages for this year’s festival are on-sale now. Prices are listed below. Service fees on all ticket purchases include a $0.50 charity fee for the T.J. Martell Foundation, a foundation aimed at researching and fighting cancer. Active military personnel get discounts on their tickets through GovX.
Initial ticket prices will be as follows:
2-Day Weekend General Admission: starting at $149.50 + fees
2-Day Weekend VIP: starting at $299.50 + fees
Single Day General Admission: starting at $89.50 + fees
Single Day VIP: starting at $179.50 + fees
VIP tickets include: VIP entrance lanes to the venue, shaded VIP hang area with seating for dining, a VIP-only viewing area of main stage, video screens featuring a live feed of main stage inside the VIP hang area, upgraded food and drink selections, dedicated VIP restrooms and commemorative VIP Monster Energy Aftershock laminate.
A park & ride shuttle is being offered again for this year’s festival as parking at Discovery park is very limited. Every ticket includes parking at Sleep Train Arena and non-stop shuttle directly to the festival site.
The Monster Energy Aftershock Festival is produced by Danny Wimmer Presents and fueled by Monster Energy. It is sponsored by f.y.e., Coors Light, Jack Daniels, Zippo Encore, The Music Experience, SWFTCharge, Fxck Cancer, Ace of Spades, Take Me Home and Belching Beaver. More sponsors will be announced later.
More information on this year’s Monster Energy Aftershock Festival is available online now at:
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Daybreak Embrace is on the verge of being embraced by the masses thanks to its new video.
The Florida-based rock outfit released the video for its latest single ‘The Moment’ earlier this month. According to the description on the band’s CD Baby website, the song is meant to be “a tribute to the fans and family gained on a cross-continent journey full of love, life and loud music.
The video sets the song against footage of the band performing at Woodstock Poland 2016. For those unfamiliar with the currently unsigned act, the song conjures thoughts of Shinedown, Pop Evil, Five Finger Death Punch and others of that ilk. The video is streaming online now here.
Courtesy: High Road Publicity
‘The Moment’ is just the latest of Daybreak Embrace’s works. The band already has two EPs under its belt. Its most recent release is 2013’s Mercury. More information on ‘The Moment’ and all of Daybreak Embrace’s music and news is available online now at:
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The end of the old year and the start of the New Year are traditionally the slowest times of the year in terms of new music releases. While some new albums are released over the holiday season and the early part of the New Year, the real first push for new albums generally doesn’t start until early March. Even as slow as the end of the old year and start of the New Year are, new albums are released. However, they are few. That gives audiences time to catch up on some of the previous year’s big albums. It goes without saying that 2016 saw more than its share of big albums. Wovenwar’s sophomore album Honor Is Dead is one of those big albums released this year. The album, released Oct. 21, is a big step up for the band. The band took the melodic hard rock and metalcore elements presented in its 2014 self-titled debut here and stepped them up in a big way on this record. The stepped up arrangements are sure to keep listeners fully engaged from beginning to end. The same can be said of the lyrical themes presented throughout the record, and when those themes are set alongside the songs’ musical arrangements, the end result is a record that as this critic already noted, is one of 2016’s top new hard rock and metal albums.
Wovenwar’s sophomore album Honor Is Dead is only the band’s second full-length studio album, but it can be said that it is the band’s best work so far. It is a big step up from the band’s 2014 self-titled debut. The record’s powerhouse opener ‘Confession’ serves clearly to support that statement. The song’s guitar-driven arrangement instantly conjures thoughts of Killswitch Engage, Memphis May Fire, All That Remains and others of that ilk. That is the case even in the song’s more flowing chorus. The power in that arrangement is a good fit for the song’s equally powerful lyrical content, which seems to center on someone fighting alcoholism. It can be inferred that the song’s lyrical theme focuses on said subject as front man Shane Blay sings in the song’s lead verse, “I call it a phase, I call it a phase/But bottoms of bottles are killing the pain/I call it a phase, I call it a phase/When no one’s looking I take in all I can/I kiss the bottle until I can’t stand/And wake up grieving/And by noon I won’t care/I’ll count the minutes til’ I start again.” The song’s subject asks himself in pained fashion in the song’s chorus, “What have I become/Have I come undone?” This illustrates even more that the song seems to be addressing someone battle addiction.
If the song’s simple but powerful chorus and lead verse aren’t enough to convince one of the song’s subject, one line in particular in the song’s second verse will most certainly convince listeners. Blay sings in said verse, “You cannot hurt when you cannot feel a thing/The past has taught me I won’t remember a thing/I’ll trade a night cap for some apathy/And wake up grieving, and by noon I won’t care/I count the minutes til’ I start again.” This is a powerful statement; one that is just as powerful as that in the song’s lead verse. When the two are coupled with the song’s equally impacting musical arrangement, the end result is a work that is a solid opener for the record and a song that shows clearly what makes this album so impressive. It is just one of the songs included in this record that is so powerful, too. ‘Lines in the Sand’ is another of the album’s most standout songs.
‘Confession,’ Honor Is Dead’s opening composition is a solid opener for Wovenwar’s new album. It is also a solid example of what makes this record so impressive. That is due both to its musical and lyrical content. It is just one of the songs that stands out in this record’s overall body. ‘Lines in the Sand’ stands out just as much as ‘Confession.’ That is due to its musical arrangement and lyrical theme, too. The song’s musical arrangement is powerful in its own right thanks to the work of guitarist Nick Hipa, bassist Josh Gilbert and drummer Jordan Mancino. Instead of the full on shredding assault presented in ‘Confession,’ the musicians have crafted here an arrangement that is more akin to arrangements crafted by the members of Sevendust, Shinedown, and others of that ilk. Such a contrast shows the musicians’ reach even more and is just one part of what makes this song – and record – stand out. The song’s lyrical content stands out just as much as its musical arrangement.
In the case of the song’s lyrical content, front man Shane Blay comes across as presenting commentary on the nation’s division and the damage that said division is doing to the country. The song’s first two verses are proof of that. Blay sings in the song’s lead verse, “Some men are born to reap the harvest/Some men are born to sow the seed/the lines between them are all drawn in/The lie between them is belief.” He goes on to sing in the song’s second verse, “Does anyone know why we’re fighting/Does anyone know the other side/the lines between us are all drawn by/the lies that we choose to believe.” These verses make a powerful statement; a statement of how easily people allow themselves to be divided because they don’t question. In the song’s chorus, Blay strengthens that statement even more as he sings, “If only we had eyes to see the lines blurring/Fall in line if you’re willing/Defend these shores to the bitter end/Everyone’s got a reason/to name the victims and the villains/But who drew the lines in the sand?” He is saying people need to think for themselves rather than just let themselves be divided. Again, it is a powerful message, and one that is as relevant today as in any era. When that powerful message is joined with the song’s musical arrangement, the pair’s partnering exhibits fully why this song stands out in the bigger picture of HID. They also serve to show even more why the album in whole is so impressive, too. While the song serves to show in its own right what makes HID so impressive, it is just one more example of what makes this record work so well. The record’s closer, ‘130’ stands out just as much as ‘Confession’ and ‘Lines in the Sand.’
‘Confession’ and ‘Lines in the Sand’ are both powerhouse pieces included in HID that show what makes this record so impressive. That is due to the songs’ musical arrangements and lyrical themes. The songs’ arrangements and lyrical themes stand out clearly from one another and from the album’s other compositions, too. As important as those two songs are to the album’s overall presentation, they are only two of the songs that show what makes HID so impressive. ‘130,’ the record’s closer, is one more example of what makes the album so impressive. The song’s arrangement is a full-throttle work that conjures thoughts of Bullet For My Valentine, Trivium and other similar acts thanks to the combination of Blay’s vocals, Hipa’s guitar work, Mancino’s work on the drums and Gilbert’s low end. The arrangement’s furious energy expertly catches the terror and fear that must have been felt at the November 2015 Paris attacks. What’s more the guitar-driven composition captures just as well the anger that was felt by people around the world following those horrific acts. The song’s lyrical content captures those emotions just as well as Blay sings, “Explosions shake the city/I thought it was part of the show/A craven is screaming prayers/In a tongue that I don’t know/Paris lights are winking out/I can hear the city scream/While the faithful are rejoicing in the sound of tragedy.” The fire in Blay’s vocal delivery captures just as well the mix of emotions that must have been felt by those who were there. That emotion is just as powerfully evident as Blay sings in the song’s chorus, “Find me one reason worth this hate/One reason worth this endless violence/Find me one more reason worth this hate/Because I have 130 reasons to change.” The 130 reasons in question are the 130 people who were killed in the November 2015 terrorist attacks on Paris. Blay goes on to directly address the attack at the Bataclan Theatre as he mentions the stage should be a safe place that brings everyone together “yet we one divided/Waging war over beliefs.” He is not making any indictment of the people there, but the people who committed the attacks at the club because of their beliefs. It is a hard-hitting statement that when joined with the song’s musical arrangement, shows once more why ‘130’ stands out just as much as ‘Confession,’ ‘Lines in the Sand’ and the rest of the songs featured in this album. Each song, with its arrangement and lyrical theme is important in its own right to the album’s presentation. All things considered, they make Wovenwar’s sophomore effort a solid second effort. They give great hope for another album from the band in the not too distant future.
Honor Is Dead is a solid new offering from Wovenwar. The band’s sophomore record presents arrangements throughout its eleven songs that present sounds similar to so many of its current counterparts including Shinedown, Bullet For My Valentine, Killswitch Engage, and so many others. In other words, the record’s musical arrangements don’t stick to just one style of hard rock and metal or another. They clearly cross those lines from beginning to end, giving listeners plenty of diversity. That in turn ensures listeners’ engagement in itself. The lyrical themes presented in each of the album’s songs are just as diverse as the musical arrangements presented in each song. From a subject battling addiction to an equally powerful statement of people’s blind divisions to an emotional composition about the 2015 attacks on Paris and so much more, the lyrical themes presented in this record give listeners just as much reason to take in this record as its musical arrangements. Each element is clearly important in its own way to the album’s presentation. All things considered, the album’s combined musical and lyrical content makes this record, once more, a solid new effort from Wovenwar. They also give hope that it won’t be the band’s last album, either. Honor Is Dead is available now in stores and online. More information on the album is available online now along with all of Wovenwar’s latest news and more at:
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