Independent rock band Crashing Wayward premiered its latest single and video this week.
The band premiered its new single, ‘Disco Kills‘ and its video Tuesday through v13.net. The song features a musical arrangement that will appeal to any guitar rock purist.
The composition presents a sound and stylistic approach that shows influences from the likes of Stone Temple Pilots, Audioslave, and even Filter. Yes, that is a disparate mix of influences, but a close listen reveals the influence of all three bands, along with many others. The song was produced by MIke Gillies (Motley Crue, Metallica, The Cult).
The lyrical content featured in the song is meant as a sociopolitical commentary, according to front man Peter Summit.
“’Disco Kills’ was lyrically written as a metaphor about the politicians/big businesses who abuse their platform, disco being the metaphor,” he said. “It speaks in sequence to the effect that Disco music had on Rock in the late 70s, but its subject is a politician/big business who is enjoying the party. How about: It’s really a modern-day Marie Antoinette “Let them eat cake” story that takes on a duel meaning open for interpretation.”
The video for ‘Disco Kills’ puts the band — Summit, David Harris (guitar), Stacey Blades (guitar), Shon McKee (drums), and Carl Raether (bass) — into an empty building that perhaps was once either a warehouse or apartment building as it performs its new single. The video was directed by Vincent Cordero for Industrialism Films.
More information on Crashing Wayward’s new single and video is available along with all of the band’s latest news at:
The updated, acoustic take of ‘Leaving You Behind’ strips down the original work significantly. Gone are the punching drums, and powerhouse vocals of singer Jessica Jackson Salvucci in the case of the acoustic take. Her vocals are still strong in their own right while the strings featured in the original composition are more subtle in their presentation here. The heavier guitars are replaced by a more gentle sound from that aspect.
The lyrical theme presented in ‘Leaving You Behind,’ which focuses on the familiar topic of a broken relationship, becomes even more impacting in this case because of the toned down approach.
Salvucci addressed that pairing in a prepared statement.
“Anaria has always loved doing acoustic versions of our music,” she said. “Our studio work tends to be dense and jam-packed with all manner of orchestration. We like to occasionally strip away all the bells and whistles to the melody and chords. This allows us to really focus on portraying the heart of the piece and hone in on the lyrical content, too. The result is an intimate experience between us and our audience and we love being able to offer that experience in addition to a thoroughly produced work.”
The band in whole expanded on the new song and its approach in a collective, prepared statement.
“‘Leaving You Behind’ was the second single released off our 2020 album, the statement reads. “Lyrically, the song speaks to the feelings of regret in remembrance of a past lover. We wanted to strip this song down to just two acoustic guitars, some keyboard strings, and Jess’s unprocessed voice. What is left is a very raw and genuine sound that helps us to engage with the listener on a more intimate level. The video was filmed at our old rehearsal space in Manchester, NH.”‘
More information on Anaria’s acoustic take of ‘Leaving You Behind’ and its video is available along with all of the band’s latest news at:
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:
Independent singer-songwriter Mitchel Evan’s new self-titled album is a welcome addition to this year’s field of new albums in the realm of country music, folk and Americana. Released March 24, the 12-song record will appeal widely to fans of the noted genres. That is due in part to the recording’s featured musical arrangements, which will be discussed shortly. The lyrical themes that accompany the record’s musical arrangements work with that content to add more appeal to the album. It will be discussed a little later. The sequencing of the record’s songs puts the finishing touch to its presentation and will also be discussed later. Each item noted here is important in its own way to the whole of Evan’s new album. All things considered, the album proves to be a presentation that is worth hearing occasionally.
Mitchel Evan’s new self-titled album is a work that fans of Americana, neo-folk and country will find an interesting addition to this year’s field of new albums within said genres. That is proven in part through the album’s featured musical arrangements. The arrangements in question span all three genres, which are very closely related to begin with but are still diverse in their own right. Speaking specifically, the arrangements featured in this 46-minute presentation will appeal to fans of Evan’s more well-known counterparts, such as Bruce Springsteen, Bob Dylan, and Neil Young. Additionally, one can also make some comparisons to works from Goo Goo Dolls. Yes, that seems like quite the jarring contrast for the other noted but it is there. Right from the album’s outset, ‘As Far As You Know,’ the album gives listeners something of a bluesy, southern rock vibe that itself is comparable to works from Goo Goo Dolls. ‘Bandaid,’ which comes early in the album, is another of those works that so easily lends itself to comparisons to works from Goo Goo Dolls. That is evidenced through the song’s collective string arrangement, guitar line, and vocals. Much the same can be said of the arrangement featured in ‘Cancel out the Noise.’
Things change dramatically in terms of the arrangements as the album progresses to ‘Gotta Be A Way,’ the album’s midpoint. The twang of the slide guitar, Evan’s own vocal delivery and the backing female vocals give this song a distinct vintage country music vibe. The warmth in the arrangement and its sound lend themselves to visions of the old country honky tonk club of days gone by. It is so completely unlike the other songs already examined here, and in the process manages to show Evan’s ability and talent even in this genre.
‘Kansas City’ continues to exhibit the noted country music influence in its arrangement. What is interesting here is that Evan’s vocal delivery style and sound here lend themselves to comparisons to those of Bob Dylan. That in itself makes for even more interest, considering that Dylan has done some works during his career that have shown some country music leanings. To that end, it is one more way in which the record’s musical arrangements show their importance. That diversity and depth is clearly there.
The Bruce Springsteen comparison comes even later in the album’s run in the form of ‘Leeches’ and ‘Let Me Down Easy.’ It is not an immediately obvious comparison. A close listen however, makes the comparison clearer. Between these arrangements, the others notes throughout the record and the remaining works, the whole of the album’s featured arrangements offer much to appreciate in their diversity and accessibility. Keeping that in mind, the arrangements make for reason in themselves for audiences to hear Mitchel Evan’s new self-titled album. They are just part of what makes the album worth consideration, too. The record’s lyrical content makes for even more reason for audiences to hear the album.
The lyrical content featured in Mitchel Evan’s new album is important to note because for the most part, it follows one overarching theme, that of relationships. Starting again right from the album’s opener, that theme is inferred. Evan sings in the song’s chorus, “I was good to you/As far as you know.” It is a short, simple line, but speaks volumes. This is someone who is addressing another, pointing out that he tried to make a relationship work. In the chorus’ refrain, he changes things, stating, “You were good to me,” adding “I was the good guy/But I lost the fight.” He even asks in the song’s lead verse, “What have we done this time…Did I lose your attention or just my mind?” This is but a sampling of the song’s lyrical content, but is enough to infer that as noted, it is a song takes on the familiar topic of a broken relationship. The vulnerability that is displayed through his use of words is impacting to say the least. When it is considered with the vulnerability expressed through the song’s musical arrangement, it proves to be even deeper and accessible. It is just one example of how that largely overarching theme makes for its own appeal. ‘Cancel Out the Noise’ is another example of the effect of the album’s lyrical content.
Evan debuted ‘Cancel Out the Noise’ in February. He openly said during an interview about the song that it is also focused on the noted lyrical theme.
“It came to me when I was falling for someone new,” he said. “I was living in Colorado at the time, but I actually started writing the song in Richmond while I was home for a week visiting my family. This song actually first appeared on my 2018 EP, The Little Horse Tapes. I had only been single for a short while after coming out of a long-term relationship and I was hesitant to enter another. The song is about being pulled into love with your heels dug into the dirt.” There is no need to go through lyrics here to support one’s argument. Evan has made it clear here that once again, he has offered audiences a song whose lyrical content focuses on the noted topic of relationships. It is yet another example of how that recurring, accessible theme plays into the album’s presentation. ‘Lonesome Love,’ which comes late in the album, needs little to no examination. The very title itself of that song pretty much explains its theme.
Evan asks in this song, ‘Oh my lonesome love/Where do you hide/Show me where you hide” in the song’s chorus.” This after already stating in the song’s lead verse, “When I finally show up/You’ll already be on your way home.” There is even a mention of facing the music later in the song. Considering all of this and the rest of the record’s content, the whole makes the song in whole clearly another lyrical presentation that centers on a relationship. When it, the other songs noted here, and the rest of the album’s songs are considered together, the whole makes clear that there is one primary lyrical theme featured in this record that is accessible to any listener. That familiarity and accessibility collectively make the album that much more appealing. It still is not the last of the album’s most important elements. The record’s sequencing rounds out its most important elements.
The sequencing of Mitchel Evan’s new album is so important to address because of the subtleties in the shifts in its energies. For the most part, the album’s energies are relatively reserved throughout. However there are some variances within the songs and from one to the next. Those shifts are so subtle that one cannot help but remain engaged and entertained. Case in point is ‘Lonesome Love.’ It has some very clear reserved energy, but at the same time, just as much energy balanced against that element. The bigger picture here and throughout the album is that its sequencing ensures audiences’ engagement and entertainment just as much as the arrangements and their lyrical accompaniments. That is because of the amount of time and thought put into the subtle changes in the songs’ energies. All things considered, the record proves to be a record that deserves to be heard at least once.
Mitchel Evan’s new self-titled album, released last month, is a work that will appeal widely to listeners. That is proven in part through the record’s featured musical arrangements. By and large, the record’s musical arrangements will appeal to fans of the realms of roots rock, Americana and country. Though there is a little rock influence to keep things interesting. The album’s overarching lyrical theme centering on relationships and romance will appeal to fans of those all too familiar topics. The record’s sequencing balances its more reserved energies and its higher tempo moments, adding even more appeal to the whole. Each item noted is important in its own way to the whole of the record. All things considered, the album proves itself to be a presentation that the noted audiences will agree is worth hearing at least once. Mitchel Evan is available now.
More information on Mitchel Evans’ new album is available along with all of his latest news at:
The musical arrangement featured in the independent rock band’s new single is a driving, guitar-centered composition. The up-tempo work is a modern rock style opus that will appeal to fans of a band, such as Garbage.
Guitarist Dylan Lawson talked about that and more in relation to the song during a recent interview.
“The sound this song encapsulates is like an amalgamation of light Bloc Party (definitely Silent Alarm era), Paramore, Garbage, and a dash of some classic rock influence thrown in mostly on the solos…like maybe some Blue Oyster Cult type beat,” he said. “There’s definitely 70’s hard rock flair on the song overall. But those other sounds kind of rest in my ears.”
Added Lawson, “It has the catchy, dancey, memorable nature you’d hear from hits by Bloc Party and Paramore, hell even Garbage. But, it also has that musician-friendly obscurity and finesse to it that still makes it stick out and simultaneously give reminiscence to the “old school rock n roll” types.”
No information was provided about the song’s lyrical theme in the news release distributed this week about the debut of the new song and video. From what one can infer from the song’s lyrics, they center on someone who is questioning the fidelity of his/her partner. Considering that the song is sung here by Garell, one would have to assume that the song is sung in this case from a female vantage point.
The ‘Bad Intentions’ video is a simple presentation. It features Garell performing the song in front of a mic as the song title runs across the screen time and again. The color changes constantly throughout the video, too.
More information on Emma Garell Band’s new single and video is available along with all of the band’s latest news at:
More than two years after releasing its then latest album Alpha Bionic, independent goth/industrial band Gabriel & The Apocalypse is revisiting that album with a new EP of remixes from the record. Released Feb. 26 through The Label Group, the five-song record is a presentation that will find equal interest among the band’s established audience base and goth/industrial fans alike. That is due in no small part to the featured remixes, which will be addressed shortly. The sequencing of those featured songs adds to the record’s interest. It will be addressed a little later. The songs’ lyrical content rounds out the record’s most important aspects and will also be addressed later. Each item noted here is important in its own way to the whole of this record. All things considered, they make the EP a rare case of the sequel being better than the original. Yes, this is a discussion topic even in the music industry.
Remix records are commonplace presentations for industrial rock and metal acts. From Gravity Kills and Nine Inch Nails, to Fear Factory and Ministry, the practice of remixing songs is nothing new. So when it was announced that independent goth/industrial band Gabriel & The Apocalypse was going to release a collection of remixes from its 2019 album Alpha Bionic, the surprise was limited. While the surprise was limited, the enjoyment is proving anything but. That is due in no small part to the five-song record’s featured remixes. Four of the featured songs are originals featured in the band’s aforementioned record while the fifth is a remix of the band’s cover of Midnight Oil’s hit 1987 single ‘Beds Are Burning. Why these songs in particular were chosen from the original album’s 10 total songs is anyone’s guess. That is beside the point. What is important is that the featured remixes actually build on their source material (two-fold in the case of ‘Beds are Burning’ since that one was a cover to begin with) and improves on each song. The band’s remix of its original song, ‘Systematic Chaos’ gives that song a completely different identity thanks to Mushroomhead founding member and drummer Rick “Stitch” Thomas. Thomas’ “Burn It Down Remix” of the song gives this song more of a full-on industrial feel that is more akin to works from Mushroomhead and Ministry than the heavy, driving, guitar and keyboard-driven approach of the original. What Thomas has done here to improve the song is focus more on the keyboard line in the original and really make it the center of the song. That driving, percussive style approach from the primary keyboard line pairs with an occasional secondary keyboard flourish and steady electronic bass drum beat to make the song just as good as its source material if not better. It is a wholly different work from the original that ensures listeners’ engagement and entertainment, and is just one example of how the album’s featured remixes play such an important part to its presentation. The ‘TIMELINES REMIX’ of ‘pointTHREE’ is another example of how these remixes ensure the EP’s engagement and entertainment.
The ‘TIMELINES REMIX’ of ‘pointTHREE’ stands out because while it does tend to stay more to its source material, listeners will note that it doesn’t maintain the ethereal approach of the original arrangement throughout the song. Rather, as the remix progresses, the secondary keyboard line from the original takes center stage this time out. What’s more, that now central keyboard line is more accented in its balance with the elements of the original. The mix honestly gives this updated take something of a Nine Inch Nails style sound and approach that is certain to appeal to audiences of both acts. It is just one more example of what makes the remixes here stand out. The “(Up and Down Remix)” of ‘Electro-Mechanical’ is yet another way in which these remixes serve to make the EP so engaging and entertaining.
The “(Up and Down Remix)” of ‘Electro-Mechanical’ is a stark change from its source material. Where the original work is grounded in its distinct keyboard line and guitar line, the remix relies more on more familiar electronic elements. Front woman Lindey Gabriel’s vocals pair so with the light, bouncy drums and infectious keyboard line here. What’s interesting here is that the keyboard line here actually replaces the guitar line in the original. The rhythm is the same, but the unique effect once again conjures thoughts of Nine Inch Nails. That aesthetic element and the subtle secondary keyboard line that joins the mix late in the song’s run pair with the steady electronic beat and vocals to make the song in general its own unique take on the song’s source material. Keeping in mind the engagement and entertainment that this remix offers along with the record’s other arrangements, the whole of the collection proves without a doubt, the importance of the featured songs here. They are just a portion of what audiences will like about the EP. The songs’ sequencing adds its own appeal to the record.
The sequencing of Alpha Transendence’s songs is important because it plays directly into the record’s energy. Just as in Alpha Bionic, this remix follow-up opens in high-energy fashion in ‘Systematic Chaos.’ Even with the change in the arrangement’s stylistic approach in the remix, the song still exhibits such a powerful, high-energy presentation. It ensures just as much as the original record, that it immediately engages listeners, and succeeds in doing so. The ‘pointTHREE’ remix maintains the EP’s energy, immediately following the remix of ‘Systematic Chaos.’ That is even considering the more reserved chorus sections. The much heavier verses make for an impressive juxtaposition to those chorus sections. The whole makes the song such an engaging work in itself that even with its slightly slower tempo, still boasts its own high energy. That ensures even more, listeners’ engagement and entertainment. ‘Electro-Mechanical’ keeps the EP’s energy moving with the swagger in its more up-tempo arrangement. The band’s remixed cover of ‘Beds are Burning’ ups the energy even more with its steady keyboard line and beat. Its arrangement here makes it sound like it came right out of the 1980s new wave movement, which is certain to appeal to a wide range of listeners in itself. Staying on the matter of the song’s energy, it keeps the EP’s energy moving fluidly. In turn, it ensures even more, listeners’ maintained engagement. It is not until the EP’s closer, the “Acoustic Remix” of ‘Bleed Me An Ocean’ that the record’s energy truly noticeably pulls back. The gentle, ballad style arrangement here is powerful in its own right. At the same time, the general reserved nature of the arrangement is a clear stylistic departure from the rest of the record’s arrangements. It shows just as much as at any point, how much time went into the EP’s sequencing. Looking back through the EP’s sequencing, the high-energy start, straight through to its reserved finale shows defined crests and troughs throughout. It shows that the sequencing was deliberate. That deliberate effort paid off just as much as the remixes themselves. Collectively, the remixes and their sequencing makes for even more engagement and entertainment. Even as much as the noted items do for the record, they still are not the last of the EP’s most important aspects. The lyrical themes featured in the songs put the finishing touch to the record.
There are plenty of audiences out there who are already familiar with Gabriel and the Apocalypse, and those audiences have likely already taken in Alpha Bionic. At the same time, there are plenty of audiences who are less familiar with the band and its work. To that end, if this EP is those latter audiences’ introduction to the band and its work, then the record’s lyrical content is just as important to note as anything else. ‘Systematic Chaos’ for instance, comes across as a statement of pure disgust with the state of the world. Given, socio-political commentary is anything but new to the world of rock. The thing is that so many such songs take more of a plaintive approach. In the case of the statement is less plaintive and more of a “screw it all” sense. This is inferred right from the song’s outset (which is also the song’s only actual verse) as Gabriel sings, “I used to want to save the world/Let’s burn it down/I can see for miles, I can see for years.” The chorus adds to that sense as she adds, “Systematic chaos, smoke and mirrors/Manipulated, calculated, hell bound, let’s burn it down/Do you feel what you say?/Do you say what you feel?” Again, this is complete frustration with everything, and while it is a clearly angered view, the fact of the matter is that many of us get to (and likely have gotten to) the point from which this song comes. To that end, that ability to relate to those very real thoughts and emotions will help listeners release their own frustrations. This is just one way in which the record’s lyrical content proves its importance. The lyrical content featured in ‘Electro-Mechanical’ does even more to show the importance of this element.
The lyrical theme that is seemingly featured in ‘Electro-Mechanical’ appears to take on the familiar topic of someone who is done with a toxic relationship. That is just this critic’s interpretation of the content. The inference comes right from the song’s outset as Gabriel sings, “I can’t feel/I can’t breathe/I’ll give you what you need/I can take it/I’ll fake it/You only need skin to bleed/Moving fast but standing still/A dark place turned so beautiful/Detached all my feelings/Now, I’m here for the killing.” That mention of being able to “fake it” even despite the negative thoughts that open the verse points to someone who is putting up with a bad situation. As the verse progresses, things change as the subject states, “A dark placed turned to beautiful/Detached all my feelings/Now, I’m here for the killing.” Obviously the “killing” does not mean murder. Rather it would seem to refer to the end of that bad situation, just in a metaphorical sense. The seeming story continues in the song’s second verse, which states, “A part of me has died/Impressions liquefying/Peeling from these walls/Who will catch you when you fall?/Electro-Mechanical/I had to let you go/This wall I’ve built so tall/I’m not afraid no more to lose it all/Electro-Mechanical.” That attestation that “I’m not afraid no more to lose it all” would seem to solidify the noted inferred statement. It really makes it seem even more that this is, lyrically, a song that centers on someone who has ended a toxic relationship. If in fact that is the case, then the manner in which the story is delivered is unique and powerful. In turn, it would make the EP’s lyrical content that much more pivotal to its presentation.
As much as the lyrics in ‘Electro-Mechanical’ and ‘Systematic Chaos’ do to make the record appealing, they are just a pair of songs that meet that end. The lyrical content featured in ‘Bleed Me an Ocean’ shows even more, the importance of the record’s lyrical content. The song’s lead verse states, “I write at your fingertips/Beautiful insanity taking on me/I don’t mind, it’s only a lie/Just a matter of time before we blur the line.” The second verse continues, “I know what moves the center of you/We crash and burn/Will we ever learn?/Is this all there is? Days into years/What’s done is done, still we run.” This collectively seems to point to a relationship-based topic again. It could very well be the wrong interpretation. Regardless, the ability of these lyrics to generate what will assuredly be plenty of discussion shows its own importance here. When that impact is considered along with the themes and impact of the other themes noted here (and those not noted), the whole leaves no doubt as to the importance of the EP’s lyrical themes to its presentation. When that importance is considered along with that of the record’s featured remixes and their sequencing, the whole makes Alpha Transcendence one more positive new offering from Gabriel and the Apocalypse.
Gabriel and the Apocalypse’s recently released EP Alpha Transcendence is a positive new offering from the independent goth/industrial band. That is due in part to its featured remixes. The remixes take music from the band’s most recent album, Alpha Bionic (2019) and gives each song new life through the unique arrangements. The sequencing of those arrangements adds its own appeal to the EP. That is because the sequencing maintains the balance in the record’s energy. The lyrical content that accompanies the lyrical content rounds out its most important elements. It serves as its own added important element mainly for the band’s new audiences. Its accessibility will ensure listeners’ engagement in its own right, too. When it is considered along with the noted songs and their sequencing, the whole makes the record overall one more of this year’s top new EPs. It is available now. More information on Alpha Transcendence is available along with all of the band’s latest news at:
Independent hard rock band Awaken released its latest studio recording late last month. The record – Monsters & Machines – is a presentation that the genre’s fans will find worth hearing at least once. That is proven through the musical and lyrical content that makes up the body of the 12-song record. The musical arrangements hold their own against works from a variety of the band’s more well-known counterparts, such as Spineshank, Breaking Benjamin and Disturbed. Even with those influences, the record’s musical arrangements boast their own unique identities, giving audiences reason enough to hear the album. The record’s lyrical themes are themselves accessible, making for even more engagement and entertainment. ‘Behemoth’ and ‘The Veil’ are just two of the examples of how that musical and lyrical content comes together to make the record work. They will be addressed momentarily. ‘Graveyards,’ which comes later in the album’s run, is another key example of what makes the album successful. When it and the other noted songs are considered along with the rest of the album’s works, the record in whole shows itself as a work that audiences will agree is worth hearing at least once.
Awaken’s latest record Monsters & Machines – the band’s fourth album – is a presentation that audiences will find worth hearing at least once. Its collective musical and lyrical content supports that statement easily. One of the songs that serves to show the impact of the record’s collective content comes early in its sequence in the form of ‘Behemoth.’ The song’s musical arrangement is a heavy work that incorporates electronics and heavy guitars, drums and bass for a sound that will appeal to fans of bands, such as Spineshank, 10 years, and Chevelle. The fire in the song’s arrangement pairs well with the work’s lyrical theme.
The lyrical theme in question hints at someone who sees how the world is dealing with its inner demons. As the song’s subject is seeing this reality, he/she is also seemingly reaching out himself/herself, asking for help, which is what people need to do any time they are dealing with their own inner struggles. That will make the song even more accessible for audiences. The inference can be made right from the song’s outset as the lead verse and chorus state, “It feels like a monster growing inside/Trying to claw its way out/It seems like somewhere we’ve lost our minds/Fighting through the webs of our doubts/By ourselves we’ll crash, burn, and sever/But you are there to put our ashes back together/Reach in me/I can feel it caving in/Breathe in me/I can feel a fade within/Grab hold of me/It keeps pulling underneath /God, help me/Rise within my own defeat.” The song’s second verse continues that inference as it states, “It feels like temptation magnetized/Keeping hearts from finding ways around/It seems like any time we try to take flight/The gravity keeps forcing to the ground.” The song’s third and final verse certifies the statement even more as it states, “Confused on where my thoughts align
/I know you’re there to cauterize the thriving of the beast inside.” The overall message will resonate loudly with listeners. When it is considered along with the power in the song’s musical arrangement, the lyrical content’s impact increases even more, making the whole song that much more accessible. It is just one of the songs that shows the album’s strength. ‘The Veil,’ which comes later in the album’s run, is another example of how much the record has to offer.
‘The Veil’ presents a musical arrangement that crosses the band’s familiar electronic leanings with a more melodic hard rock sound to make its whole a unique work in its own right. The subtle string arrangement that opens the song makes for a notable juxtaposition to again, the very Spineshank/Breaking Benjamin style approach that follows soon after. The steady time keeping and low-end work with the keyboards and guitars to make the song’s musical arrangement solid throughout its four-minute run time. The energy in the song’s arrangement does well to help heighten the impact of the song’s lyrical theme.
According to a statement released by the band, the lyrical theme featured in ‘The Veil’ is a song about the facades put on by our society, our leaders, and sometimes even ourselves. How people can go about on a daily basis keeping people in the dark of their true intentions. It’s like putting your hand over other people’s eyes while creating a cover story to buy time, knowing that it won’t last forever. The light will eventually turn on and the truth will be revealed.”‘ That statement is illustrated well in the song’s lead verse, which states, “There is a shield that keeps us from seeing what’s around us/Like a veil that covers over our eyes/So we start to lose our way/We’ve pursued conflictions and got caught in life’s deceptions/Casting shadows on our face that guides our vision astray/I know there’s more to life than this/Now we can open the door/To find out what our eyes have missed/While we were blinded before.” The statement continues in the song’s second verse as the song’s subject notes, “We keep flowing in this pattern of blocking out the sun/In contradiction to the path we want walk on/How is it we manage to hide what’s truly felt?/There’s so much more to what we are inside these dying shells.” The final accent is put on the statement in the song’s third and final verse, which states, “Why is it so hard for us to share what we feel?/Why is it so hard for us to find something real?/Nothing can ever take your sight from what you know as truth/A vision’s value can be too precious to turn away the view.” Noting the simple way in which the message was delivered, even in its metaphorical language, the theme is still relatively easily understood. To that end the lyrical theme shows even more why the album’s lyrical theme is important to its presentation. When it is paired with the song’s radio ready musical arrangement, the two elements collectively show even more why the album deserves its own share of attention. It is just one more of the album’s most notable entries. ‘Graveyards,’ which comes even later in the album’s run, is another way in which the album’s musical and lyrical content stand out.
‘Graveyards’ is just as radio ready as the other songs addressed here. That is exhibited inn part through its heavy, melodic hard rock stylistic approach and sound. Once again, the comparison is easily made to Breaking Benjamin through the combination of the vocals, bass, guitar, and drums. That is a tribute to the album’s production. That infectious, heavy arrangement works with the song’s lyrical theme to make for even more interest.
The lyrical theme featured in ‘Graveyards’ comes across as a statement about humans’ obsession with the past and our struggle to move past our own pasts. That is inferred especially through the song’s chorus, which states, “Is nothing what it seems?/We keep repeating history/In reverence we dance in vain on the graves of our mistakes/In severance we separate from the pasts we can’t remain.” The chorus adds in its refrain, “In remembrance we keep building walls from all our shattered dreams/In deliverance we build this bridge for all the lives to redeem.” So while the song warns listeners about our tendency to hold on to the past, it reminds us that we can learn from our pasts and move past them. The song’s verses add even more to the theme here, what with its notes of having “broken from the chains/But we can’t seem to open up this cage” and how “We change the picture in this frame/But get lost in the cycles of the same.” It is a strong starting point on a topic that is accessible. When it is considered along with the song’s equally impressive musical arrangement, that whole makes even clearer why audiences will find the album appealing. When it is considered along with the other songs noted here and the rest of the album’s works, the whole of that content makes the album overall a presentation that does deserve to be heard at least once.
Awaken’s latest album, Monsters & Machines is a presentation from the established hard rock act that is deserving of as much attention as works from the band’s more well-known counterparts. That is proven through its musical and lyrical content alike. The songs examined here serve to support the noted statements. When they and the rest of the album’s works are considered together, they make the recording its own successful offering that is worth hearing at least once. The album is available now. More information on the album is available along with all of the band’s latest news at https://www.facebook.com/awakenofficial.
Independent hard rock band Dead Original has been making a lot of noise in recent months, releasing new singles from its new album Bought and Sold. Those singles have made quite the impact at radio stations nationwide, and now after being pushed back more than once, the band finally released its new album late last month. The 14-song record is a presentation that I sure to help the band make even more noise. Audiences will find it interesting in part because of its overall musical approach. This will be discussed shortly. The lyrical themes that are featured throughout the 47-minute record make for their own interest and will be discussed a little later. The record’s production puts the final touch to its presentation and will also be examined later. Each item noted here is important in its own way to the whole of Bought and Sold. All things considered, they make the album a work that will appeal to the band’s clearly targeted audiences.
Dead Original’s new full-length studio recording Bought and Sold is a presentation that is worth taking in at least occasionally. That is proven in part to the musical arrangements that make up the album’s body. The arrangements in question exhibit a clear late 90s-era rock and hard rock style sound and stylistic approach. Case in point is ‘Die Alone,’ which comes late in the album’s run. The combination of front man Paul Wandtke’s vocal delivery and guitar work, the driving force from drummer Sean McCole, and the low-end from bassist Mike Petrasek gives the song’s arrangement something of a Nirvana-eque sound and vibe. Wandtke’s vocals are themselves even somewhat comparable to those of Nirvana’s late, legendary front man Kurt Cobain what with the semi-wailing style delivery that he uses. On another hand, a song, such as the record’s title track presents a comparison to works from the likes of Taproot, Puddle of Mudd, and Stained with its heavy, driving guitars, Wandtke’s vocals, which even include a rather powerful scream at one point. Interesting in its own right here is the song’s production, which will be touched on later. On yet another note, a song, such as ‘Beached’ boasts its own unique heaviness right from its outset. The collective chug of the guitars, bass, and drums joins with the vocals here to lend the arrangement to comparison to works from the likes of Chevelle. It’s one more way in which the album’s musical arrangements show their appeal for fans of the hard rock sounds of the late 90s (and even early 2000s). When it is considered along with the other songs noted here and the rest of the album’s works, that overall presentation makes even clearer, the importance of this record’s musical arrangements, and that of their role in the overall album’s appeal. They are just one portion of what makes the album worth hearing. The record’s lyrical content adds its own share of appeal to the record.
The lyrical content featured in Bought and Sold is important to note because where the record’s musical arrangements limit its appeal, the lyrical themes will help the record find a farther-reaching appeal. The lyrical theme featured in ‘Blasted’ for instance – the album’s latest single – presents a message that, according to Wandtke, is uplifting. “‘Blasted’ is kind of a self-reflection song like when you go outside and stare at the sky and think to yourself, ‘You know, things might be all right,” he said of the song’s lyrical theme. That message is illustrated clearly in the song’s lead verse, which finds Wandtke singing, What’s the point of letting go?/What’s the point of giving up?/I’ve killed myself too many times to let go/Don’t let go.” The song’s chorus adds to the illustration as it states, “I’m staring at the sun/Feeling like I’m one/Wondering where I’m going/I’m staring at the sun/Feeling like we’re one/Wondering where we’re going.” This is that statement of assurance of which Wandtke was talking. The back and forth in that mindset continues in the song’s second verse, in which Wandtke sings, “What’s the point in all of this/What’s the point in all I’ve done/Now I’m back, to where I’m from/Don’t let go, don’t let go.” There again is that initial self doubt, which is then replaced by the statement in the chorus refrain. It serves overall, as a reminder that things can and do get better. It’s a reminder that is just as welcome here as from any other act. Additionally, it is just one example of the importance of the lyrical themes to Bought and Sold. The album’s title track is another example of why the album’s lyrical content is so important.
The lyrical theme featured in ‘Bought and Sold’ takes on familiar topic of “greed and corruption with the general consensus that it’s really up to you to make a change and difference in this world,” according to Wandtke. His statement is illustrated clearly in the song’s lead verse and chorus, which state, “I’m under the bridge and screaming/I’m cold/I can’t feel my lips/They’re bleeding/I’m broke/Waiting for nothing/And I’ll wait for them to change the world/While we wait for them/To disease the world.” It is even more clearly translated in the song’s second verse and chorus refrain, which state, “I’m playing the hand life’s dealing/I’ve lost control/These feelings keep on feeding, my lost soul/And I’ll wait for them to change the world/While we all just watch them rape the world.” Wandtke’s statement is finalized following the bridge as he states, “I’m making plans to leave now/To make amends at home/The world is superseding my only chance of hope/But it’s up to me/To make the best of this/It’s up to me/I’m letting go/Finding hope I know/By letting go/I’m letting go/We’re bought and sold.” Looking at all of this Wandtke’s commentary translates clearly. That accessibility and the song’s familiar theme does much to continue showing the importance of the album’s lyrical content. It shows in its own way, how the record’s lyrical content will appeal to listeners just as much as the album’s musical arrangements. It is just one more example of what makes the record’s lyrical themes important in their own right. ‘Beached’ is one more example of what makes the record’s lyrical content so important.
The lyrical theme featured in ‘Beached’ comes across as centering on the topic of someone being at one’s wits’ end. That is inferred through the song’s lead verse and chorus, which state, “I’m right on the edge of resolution/Nothing makes sense/It’s time for me to, time for me to wonder what’s next?/Cetacean stranding/I’m out of my head/I am barely, barely breathing.” What is interesting is the comparison to a beached whale with the use of the phrase, “Cetacean stranding.” It goes without saying that the use of such a metaphor in talking about one’s mental and emotional state. It is certain to generate its own share of discussion. As the song continues, there is resolution as Wandtke sings in the second verse, “I’m holding out this fight/That’s growing in me/I will make my way.” In other words, it is another message of hope and determination that is certain to resonate with any listener. To that end, it is one more example of what makes Bought and Sold’s lyrical content as important as the album’s musical arrangements. When this is considered along with the other lyrical content noted here and the rest of the album’s lyrical content, that whole ensures the lyrical content’s importance will shine through even more. Even with all of this in mind, the overall content is still just a portion of what makes Bought and Sold worth hearing. The record’s production puts the final touch to its presentation.
The production that went into Bought and Sold is important because of the impact that it has on the record’s general effect. The album’s title track is a prime example of the importance of the record’s production. There is a certain raw sense about this song. It’s not a spit-shined work. Yet at the same time, all of the instrumentation and vocals are balanced out. By comparison, a track, such as ‘Fade To Light’ has more of a crisp production. The bass and drums together are akin to the stylistic approach taken by members of Korn. They really cut through because of the song’s production. Meanwhile Wandtke’s guitar line maintains that aforementioned raw sound. It makes for an interesting juxtaposition, again attributed to the production. Between these songs and so many others here, it become clear why the production is important. That element ensured each arrangement had its own unique identity within the sounds and stylistic approaches. When it pairs with the record’s overall content, that whole makes the album in whole, a record that is deserving of being heard at least once.
Dead Original’s new album Bought and Sold is a presentation that will find some appeal among audiences. This is proven in part through its musical arrangements, which take listeners back to the aggro- and hard rock of the late 90s and even early 2000s. The lyrical themes that accompany the record’s musical arrangements make for even more appeal. Specifically, they will ensure even wider appeal than the musical arrangements. The record’s production puts the final touch to its presentation, ensuring each song exhibits its own identity within the bigger picture of the album. Each item noted here is important in its own way to the whole of the album. All things considered, they make Bought and Sold a presentation that many audiences will find worth being bought. Bought and Sold is available now.
More information on Dead Original’s new album is available along with all of the band’s latest news at:
Independent rock band Pardon The Scars debuted its latest single last week.
The band debuted the lyric video for its single ‘Caged Inside‘ Feb. 26. The video’s premiere came only a day after the band debuted the single through Sofa King Cool. The video places the song’s lyrics over footage of silhouettes of what is thought to be the band members. Meanwhile, what looks like embers from a fire float in front of those silhouettes as the song plays over the whole.
The musical arrangement featured in ‘Caged Inside’ presents a stylistic approach that will appeal to fans of nu-metal/rap-rock acts, such as Linkin Park and Skindred, just to name a couple similar acts.
According to front man James Tangman, the song’s lyrical theme addresses the familiar battle with self that everyone faces every day.
“‘Caged Inside’ is a look at the struggle we sometimes face within ourselves,” he said. “Those times when we’re trying to appear happy or “put together”, but there’s this voice of doubt, anger, and hostility that is constantly trying to push its way to the front. It wants to come out and play but… Surely, we know better.”
More information on Pardon The Scars’ new single and video is available along with all of the band’s latest news at:
Independent singer-songwriter Mitchel Evan is giving audiences a new preview of his forthcoming album.
Evan debuted the album’s “new” single, ‘Cancel Out The Noise” and its companion lyric video Feb. 19. According to a statement from Evan, his established audience base will recognize the song.
“‘Cancel Out The Noise’ is the 3rd single from my self-titled record, Mitchel Evan,” said Evan. “It came to me when I was falling for someone new. I was living in Colorado at the time, but I actually started writing the song in Richmond while I was home for a week visiting my family. This song actually first appeared on my 2018 EP, The Little Horse Tapes. I had only been single for a short while after coming out of a long-term relationship and I was hesitant to enter another. The song is about being pulled into love with your heels dug into the dirt. This studio version of ‘Cancel Out The Noise’ was recorded mostly live with minimal overdubs at Go West Studio in Richmond, Virginia. It features Tyler Meacham on backing vocals, who is a friend and fellow RVA based artist as well.”‘
The musical arrangement featured in Evan’s single presents a clear 90s pop rock sensibility in its guitar-driven approach. It will appeal to fans of bands, such as Gin Blossoms, Toad The Wet Sprocket, and to a lesser degree, Matchbox 20. As Evan noted in his statement, the song’s lyrical theme focuses on the all too familiar topic of romantic relationships.
The lyric video for ‘Cancel Out The Noise’ is a simple presentation. It presents the song’s lyrics over various pictures and footage of Evan at work on various projects.
More information on Mitchel Evans’ “new” single and album is available along with all of his latest news at: