Independent music act BlackLip debuted the lyric video for its latest single this week.
The brainchild of Alex Shimp, the act debuted the lyric video for its new single, ‘What Have I Become‘ Tuesday through INgrooves. The song is the lead single from BlackLip’s new EP, Hear My Pain. The record’s release date is under consideration.
The musical arrangement featured in BlackLip’s new single is a brooding composition. The song starts out with an almost hip-hop style approach and sound. As it progresses however, the song takes a decidedly melodic hard rock approach a la Linkin Park and The Veer Union.
The lyrical theme featured in the new single take on the familiar topic of abusive individuals, Shimp said.
“This song is about people who intentionally abuse you repeatedly whether mentally or physically, resulting in a personality change that is completely against your will,” he said. “The emotion behind the song comes from a dark place.”
The lyric video for the new single is a simple presentation. It places the song’s lyrics over a blue background as the song plays over the visualization.
More information on BlackLip’s new single, lyric video, and EP is available along with all of its latest news at:
The musical arrangement featured in Huxley’s new single is another melodic hard rock composition. The vocals and instrumentation immediately lend themselves to comparison to works from the likes of Three Days Grace and The Veer Union.
The lyrical theme featured in the band’s new single delivers a message of self-acceptance, according to a prepared statement from the band.
“This is a very personal song for us,” the statement reads. We are dealing with the struggles of life and coming to terms with only being human. That’s OK! You don’t need to be anything else but just simply you, and you should always continue to fight for it no matter what’s against you!”
The message of facing great odds to fight for being one’s self is illustrated in the song’s video, which finds front man Doug Goldspiel in a post apocalyptic style setting, facing off against three masked men who are out to stop him in his mission.
More information on Huxley’s new video and single is available along with all of the band’s latest news at:
There is an old adage that big things can, and often do, come in small packages. It is an adage that proves especially true for The Veer Union’s newly released album, Manifestations. Released April 8, the record is composed of only seven songs that run just over 21 minutes. Even being such a brief presentation, the record offers plenty for audiences to appreciate, both in its musical arrangements and its lyrical themes. Each topic will be addressed in its own right here. They are just a part of what makes the album successful. The album’s production rounds out its most important elements and will also be discussed later. All things considered, they make Manifestations one more of the year’s top new hard rock and metal albums in a field that is quickly becoming very crowded.
Manifestations, the eighth new album from hard rock band The Veer Union, is another successful new offering from the group. Its success comes in part through its featured musical arrangements. The arrangements that make up part of the record’s body are of note because of their familiarity and exhibited growth. The familiarity comes in the melodic hard rock sounds and approaches taken to each composition. It once again makes the songs easily comparable to works from the likes of Sevendust. At the same time, the breakdowns/bridges exhibit a certain growth from the band. Case in point is the bridge in the record’s opener, ‘From The Fire In You.’ The band goes full death metal in the very brief breakdown, as is evidenced in the heavy, crunching guitars and the equally heavy screams from front man Crispin Earl. This is an approach that the band has rarely taken in its existing catalog and works quite well here. In another example, the bridge featured in ‘Fade Into The Future’ takes audiences into more of a metalcore direction a la Killswitch Engage while also still incorporating a little death metal influence at the same time. That blend of influences makes this moment another notable addition to the record that continues to show the importance of the album’s musical content. On a completely different note, the album’s penultimate entry, ‘ABCDEFU’ stands out not just because of its breakdown, but its overall approach. The whole of the song takes the band in an almost emocore direction while continuing to blend in the noted metalcore leanings for a unique overall approach that is certain to resonate with audiences, especially considering the song’s lyrical theme.
Speaking of lyrical content, the overall lyrical content featured alongside Manifestations‘ musical arrangements adds its own layer of appeal to the album’s presentation. That is because it will resonate just as much with audiences. In the case of ‘ABCDEFU’ is that familiar theme of a broken relationship. In this case, it finds the song’s subject flipping that proverbial middle finger to someone who simply made that relationship absolutely miserable. The song’s subject is going all out against that person, singing, “You said you just needed space/And so I gave it/When I had nothing to say/You couldn’t take it/You told everyone I’m a d***/So I became it/Always had to put yourself above me.” Again, here is that situation of a toxic relationship. It is that familiar to audiences, and still hits so hard.
On an opposite, more uplifting note, Earl and company offer messages of hope and determination in ‘From The Fire In You’ and ‘Standing My Ground.’ Each song reminds listeners to not give up even in the most difficult situations. Right from its outset, ‘From The Fire In You’ makes that clear in the no-nonsense line, “You’re stronger than a hurricane/When you face the world with your eyes wide open/Buried underneath of your skin/Is a fire now awoken.” From there, Earl tells listeners, “Don’t let yourself drown deep in the dark/Don’t let your scars now rip you apart/Time to dig yourself out of the divide/Give it one last try now/It’s do or die.” Again, this is a positive message that any listener should and will welcome. That is especially the case when it is considered alongside the song’s massively heavy musical arrangement.
‘Standing My Ground’ delivers a similar message that the band talked about when the band released the single back in January. The band said of the song’s theme in a prepared statement, “When you’re knocked down to the lowest point in your life you really have two choices; you can roll over and die or you can face your demons head on. Sometimes you have to dig the deepest you ever have to find the strength to get up, to keep fighting and to push the hardest you ever have to get your life, dreams and/or your sanity back on the trajectory required to find the happiness and sense of accomplishment we all seek. ‘Standing my Ground’ is the heaviest track we’ve ever released. It’s an anthem for those who are about to, or have almost lost everything. It serves a reminder that no matter what, no matter how huge the adversity may be, keep going.” Once again, it is a message that will certainly resonate with any listener.
On yet another note, ‘Karma’s Coming For You’ also shows the importance of the album’s lyrical content. In the case of this song, it is difficult to know if it is referencing a broken romantic or platonic relationship. Either way, it is clear that it is referencing a situation that has gone south especially for someone who is not showing his/her true self to others, especially the song’s protagonist. The protagonist here is telling the antagonist that (as the title references) karma is coming for that person. Earl sings of the topic in the song’s chorus, “All you bring is your dishonor/Now, I can see your truth come crashing down/In the words of my father: Your karma is coming for your crown/Hiding all your lies gets harder/Now, your demons reaching out for you to drown/In the words of my father: Your karma is coming for your crown.” Everybody knows at least one person like this song’s antagonist. It is that person who tries so hard to be fake and to hide being fake. The lies will and always do, catch up to that person, and karma with them. To that end, this song’s lyrical theme will help any listener deal with that person and those people. It is just one more way in which the lyrical themes featured in this record prove so important to the album’s presentation. When it is considered with the other themes examined here and with the rest of the record’s themes, the whole makes the lyrical content in whole clearly important in its own right to the record.
While the overall content featured in Manifestations is undeniably important to the record’s presentation, it is just part of what makes the album successful. The record’s production rounds out its most important items. The production is important to the record’s presentation because it ensures that the instrumentation in each song is so well-balanced. Each instrument gets its own attention, ensuring that the wall of sound in each composition evokes the fullest emotional impact among audiences. At the same time, the instrumentation in each song is just as well balanced with the vocals, ensuring even more, the fullest impact in each song. It means that audiences can relatively easily understand the message delivered in each song, thus completing each song’s presentation. When the positive result of the album’s production is considered along with the impact of the record’s content, the whole makes Manifestations an overall success that The Veer Union’s established audiences will enjoy just as much as any casual hard rock and metal fan.
Manifestations, the latest album from The Veer Album, is another successful offering from the band that has spent the better part of its life flying just under the mainstream radar. Its success comes in part through its featured musical arrangements. The arrangements stand out because they exhibit a blend of familiar melodic hard rock main bodies and newer, metalcore and death metal approaches at various points. The whole there makes the arrangements fully engaging and entertaining. The lyrical themes that accompany the record’s musical arrangements are of note because of their accessibility. The record’s production rounds out its most important elements, ensuring a positive general effect. Each item examined is important in its own way to the whole of the album’s presentation. All things considered, they make the album one more of the album’s top new hard rock and metal albums.
Manifestations is available now through the band’s own label, Rock Shop Records. More information on The Veer Union’s new single, video, and album is available along with all of the band’s latest news at:
Hard rock band The CEO is scheduled to release its debut album this week. The band, which features Sevendust bassist Vince Hornsby as one of its members – is scheduled to release its new album, Redemption Friday through Rat Pack Records. The label is also home to King’s X member DuG Pinnick’s side project KXM. The 12-song record is a positive first impression from the band. Its success comes in part through its featured musical arrangements, which will be discussed shortly. The lyrical content that accompanies the record’s musical arrangements adds its own appeal to the album and will be discussed a little later. The sequencing of that collective content brings that content together and completes the album’s presentation. It will also be addressed later. Each item noted here is important in its own way to the whole of the album’s presentation. All things considered, they make Redemption a promising start for The CEO.
The CEO’s debut album, Redemption, is a positive first outing for the up-and-coming hard rock band. That is proven in part through the musical arrangements that make up the album’s 45-minute body. The arrangements boast an overall sound and stylistic approach that easily lend themselves to comparison to works from Sevendust, as well as The Veer Union and Alter Bridge. That applies even in the album’s one softer moment, ‘Black Hearts.’ It should be noted that while the album’s arrangements bear the noted similarity to works from the aforementioned bands, the works here still boast their own unique identity. That is due not only to the work of Hornsby, but also that of his band mates – Chase Brown and Beau Anderson (guitars), Mack Mullins (vocals), and Joseph Herman (drums). Case in point is the album’s closer, ‘Alone and Dead.’ The heaviness of the noted bands is on full display throughout this song thanks to the band’s work and that of those behind the boards. At the same time, there is also a certain late 80s/early 90s hair metal sound infused into the arrangement in the verses. The subtlety of that element alongside the heavier, modern hard rock sound here makes the song its own strong presentation.
‘Dirty Tragic,’ which comes just before the album’s midpoint, is another example of the importance of the album’s musical arrangements. As with ‘Alone and Dead,’ the noted hard rock influences are on full display here. At the same time though, the band also presents an evident blues-rock type sound and stylistic approach to pair with that hard rock influence. It is comparable to works from the likes of Shinedown and Three Days Grace. The whole of the arrangement is a rich, engaging and enjoyable work that does its own part to show the ability of the band to make its own unique songs, even with the evident influence of other more well-known bands.
‘Alive’ is yet another example of the expert fashion in which the members of The CEO balanced its heavier influences with its own approach. The depth of the bass, guitars, and drums is on full display once more here. At the same time, there is something in the staccato nature in which the group plays and the melodic choruses that give the arrangement even more of its own identity. It is an interesting dichotomy of sound and style that because of its subtlety, makes the song just as notable as the others examined here. When these songs and the others featured throughout the album are considered together, they make the album’s overall musical content reason enough for audiences to hear the album. Of course the album’s musical content is only part of the reason that audiences will enjoy the album. Its lyrical content is familiar and accessible, making for even more reason to hear the record.
The familiarity and accessibility in the album’s lyrical content is made clear in the album’s lead single/title track. The song features what comes across as a discussion about the importance of taking accountability for the choices we make in life. This is inferred right from the song’s outset as Mullins sings in the song’s lead verse and chorus, “Divide and conquer us in two/Feed the hate to the starved that you rule/Thy will be done/And now we’re done/Rise of the dead/The love, the hate, the sex, the truth/The jealousies that make us fools Redemption/Redemption.” Here Mullins comes across as addressing how we separate ourselves and allow ourselves to be controlled by extraneous forces, which in itself plays into the choices we make. The statement grows and evolves in the second verse, which finds Mullins singing, “Blind faith judgement is for fools (fools)/Control and trust are the enemies’ tools (fools)/Fake is the trend/This time it ends/Rise of the dead/The love, the hate, the sex, the truth/The jealousies that make us fools/Wake up this time/The choice, the chance, the last to lose Our legacy is our choice.” That final statement, telling audiences to “wake up this time/The choice, the chance, the last to lose/Our legacy is our choice” is a strong reminder that we make our own decisions in what we do, and we need to hold ourselves accountable for those choices. This is of course just this critic’s interpretation. If in fact it is somewhere in the proverbial ball park, then that familiar theme will certainly resonate with audiences, in a unique fashion at that. It is just one example of the importance of the album’s lyrical themes.
The lyrical theme featured in ‘Black Hearts’ is another example of the importance of the album’s lyrical themes. In the case of this song, it takes on the all-too-familiar topic of a broken relationship. This is made clear right from the song’s outset as Mullins sings, “This was never good/And we knew/But I wasn’t built for goodbyes/I turn and walk away/Just for you/’Cause I know we won’t change our minds/We have to hold on/It’s time to go/Love doesn’t stay/Where it don’t belong/Meeting you was my first mistake.” What is interesting here is the mournful manner in which these lyrics are delivered. Normally, such content conjures thoughts of frustration, but instead, Mullins and company opted to present this in such more emotional fashion. It presents the song’s subject as placing the blame for the relationship’s end on his own shoulders. The song’s subject even keeps the blame on himself here. It really makes for an interesting approach to an all-too-familiar lyrical theme. That it is presented more in a rueful fashion than the more fiery delivery that audiences might expect makes it that much more interesting. It makes the theme just one more example of the importance of the album’s lyrical content.
Along with ‘Black Hearts’ and ‘Redemption,’ ‘Alive’ is yet another strong example of the importance of this album’s lyrical content. Not having a lyrics sheet to reference makes deciphering the song’s lyrics somewhat difficult. However, just enough can be understood that it can be inferred that this song is meant to deliver an uplifting message of confidence and hope. This is inferred as Mullins sings in the song’s chorus, “It don’t/Matter who you are/Believe and you’ll go far/When fear/You decide to face….” Again much of the song’s lyrics are tough to understand without a lyrics sheet to reference, but this brief statement in itself to know this song is meant to be something positive. The mention of dying with “memories/Not just hopes and dreams/You were born with all you need” adds even more to that interpretation. Considering all of this, the more than likely uplifting nature of this song’s lyrical content serves even more to show the importance of the record’s lyrical themes. When it is considered along with the other noted lyrical themes and those not directly examined here, the whole leaves no doubt as to the importance of the record’s lyrical content. When the record’s lyrical and musical content are combined, they make for even more reason for audiences to hear this record. The sequencing of that content brings everything together here and completes the record’s presentation.
Redemption’s sequencing is important to note because of its role in keeping the record’s content varied. From beginning to end, the sequencing ensures the record’s lyrical themes change just as much as the stylistic changes in the album’s musical arrangements. That in itself ensures listeners’ engagement and entertainment. At the same time, the sequencing also keeps the album’s overall energy stable from beginning to end. There are brief moments within certain songs in which the album pulls back, but those moments are very brief at the most. Even in the album’s most reserved moment in ‘Black Hearts,’ the energy doesn’t pull back but so much. Overall, what audiences get thanks to the sequencing is a record whose energy remains high and stable. Keeping that in mind along with the album’s overall content, the album in whole proves itself to be an impressive addition to this year’s field of new hard rock and metal albums that deserves to be heard.
The CEO’s debut album Redemption is a positive start for the band. That is proven in part through its musical arrangements. The arrangements in question bear noticeable influence from some more well-known hard rock counterparts of the band. The thing is that the band does not just rip off those bands’ sounds. Rather it successfully blends those influences with its own sounds and approaches to make the record’s musical content in whole reason enough to take in the album. The lyrical themes that accompany the album’s musical arrangements are diverse in their own right, and are also accessible. That makes for even more engagement and entertainment. The sequencing of that overall content brings everything together and completes the album’s presentation. It ensures that the album’s content changes from one song to the next while also keeping the album’s energy stable from beginning to end, putting the final touch to the album’s presentation. Each item examined here is important in its own way to the whole of the album. All things considered, they make Redemption a strong addition to this year’s field of new hard rock and metal albums. The album is scheduled for release Friday through Rat Pack Records. More information on Redemption is available along with all of The CEO’s latest news and more at:
Independent rock band Hindsight unveiled its latest single last week, along with its companion video.
The band debuted its new single, ‘Rhythm of Fate’ March 26, along with its companion lyric video. The single is available to stream and download through Spotify, Bandcamp, Apple Music, and Amazon. The debut of the song and its video follows that of the band’s then latest single, ‘Where We Found Hope’ and its video last year. Both songs are featured in the band’s forthcoming EP, Catalyst.
The musical arrangement featured in ‘Rhythm of Fate’ is a melodic hard rock style composition that fits well into any active rock radio programmer’s play list. Immediate comparisons can be made here, to works from the likes of Three Days Grace, The Veer Union, and Sevendust.
The lyrical theme that accompanies the song’s musical arrangement deals with a concept which will resonate with many listeners, according to information provided about the single.
According to that information, “The song involves dealing with the bitterness of those who are unable to deal with the success of others around them who they claim to care about while at the same time not coming to terms with their own fears that have prevented them from succeeding themselves. In general, the band feels that this is a common occurrence in many areas of society but in particular, it is one that plagues music and the arts in general.”
The lyric video for Hindsight’s new single features the song’s lyrics presented next to the artwork for Catalyst while the song plays over the whole.
More information on Hindsight’s new single and forthcoming EP is available online along with all of the band’s latest news at:
Metal band 2 Shadows debuted its new single over the weekend along with the song’s video.
The band debuted the video for its new single ‘Screamworks‘ and its video Friday. The song’s debut comes les than three months after the band debuted its then latest single, ‘Scratching at the Surface’ and its video through Metal Insider.
As with the band’s prior single, this latest offering was produced by The Veer Union front man Crispin Earl. The song blends elements of industrial metal with some symphonic/melodic metal elements to make the song engaging and entertaining. The addition of front man Glen Bridden’s death/black metal style screams to the mix adds to the song’s edge even more.
According to comments from Bridden, the lyrical theme content that accompanies the song’s musical arrangement, touches on a universal topic to which everyone will relate.
“’Screamworks’ is a song about people who make you want to SCREAM,” said Bridden. “People who would rather manipulate you to serve their own end even when you have a common goal in mind. The song is an expression of the frustration found in dealing with someone who has their head shoved so far up their own….you know. In a lot of ways its hugely cathartic for us and allows us to finally talk about past experiences bottled up for far too long.”
The ‘Screamworks’ video features the band performing its new single on some scaffolding in an undisclosed studio setting. Meanwhile various imagery, such as a cathedral, tarot cards, and people dancing around a bonfire plays along with that central footage. The lighting in the cathedral shots leaves viewers to assume that the scaffolding on which the band performs its single is inside that setting.
2Shadows is working on its forthcoming debut EP. It is unknown if ‘Screamworks’ and ‘Scratching at the Surface’ will feature as part of the record.
More information on 2 Shadows’ new single and video is available along with all of the band’s latest news at:
Independent hard rock outfit Zero Theorem is one of those acts whose members do not rest easy on its laurels. The up-and-coming band released its new EP The Killing II last month. The follow-up to the band’s 2020 EP The KillingI, its release last month was not unexpected. It was announced last year that the band hoped to release this new record around this time. The band’s latest studio recording continues the success of its predecessor. This is evidenced in the EP’s musical and lyrical content while also showing some growth from the band. The growth in question comes from the 16-minute EP’s closer, ‘Waiting.’ It will be discussed shortly. While ‘Waiting’ shows some growth from Zero Theorem, the band’s new record also offers plenty of familiarity for listeners in terms of its musical and lyrical content. That is evidenced in ‘Translucent,’ the EP’s opener. It will be discussed a little later. ‘The Future’ gives listeners something familiar and some growth all in one setting. It will be discussed later, too. Each song addressed here plays into the success of The Killing II in its own way. When they are considered alongside the EP’s two remaining songs, the whole of the record proves to be a solid follow-up to The Killing.
Zero Theorem’s new EP The Killing II is a presentation that takes the success of The Killing and ensures even more, the continued rise in the band’s popularity within the hard rock community. That is the case because the band’s new EP offers audiences something familiar both musically and lyrically while also showing some growth from the quintet in terms of the record’s musical content. ‘Waiting,’ which closes out the EP, is the clearest example of that musical growth. Whereas most of the band’s catalog presents musical arrangements that are comparable to works from the likes of Disturbed and Breaking Benjamin, this song’s arrangement takes listeners in a different direction. In this case, the musical arrangement is more comparable to works from Sevendust and The Veer Union than Disturbed and Breaking Benjamin. That’s even the case in front man “Caesar’s” vocal delivery style. To be more specific, the arrangement here is especially comparable to Sevendust’s more recent works, what with the addition of the electronics and minor chords. That whole approach is such that it will appeal to a wide range of listeners. The lyrical content that accompanies the song’s musical arrangement adds even more to that appeal.
The lyrical content featured in ‘Waiting’ comes across as a sort of statement about simply living life and making the most of it while we are here. That is inferred most clearly in the song’s chorus, which states, “I am no longer waiting/For you to carry me away/If it’s my time now/Then there is nothing you can say/I am no longer waiting/For you to show me everything/If it’s my life/now/Then tell me who else/Who else will lead the way?”
The statement is furthered later in the song as Caesar sings, “Now is when/I will join with the wind/Moving out and in/To places that I’ve never been. It is another line that declares the determination to make the most of life, not let himself be controlled before asking in the song’s finale, “Who else will lead the way?” That final statement is strong. It puts the period…er….question mark to the song’s overarching statement about determination and drive, not just letting life pass one by. This and the song’s musical arrangement pair to leave no doubt as to its place in the EP. They join to make this song just one example of what makes The Killing II such a successful new offering from Zero Theorum. ‘Translucent,’ the EP’s opener is another example of what makes the record successful.
‘Translucent,’ the opener for The Killing II gives the band’s established fan base something familiar in regards to its musical and lyrical content. Examining first, the song’s musical arrangement, its heavy, crunching, controlled guitars pair with the vocal delivery of “Caesar” to immediately lend itself to comparisons to works from Disturbed and Breaking Benjamin. Even with that comparison in mind, the song still boasts its own unique identity separate from their songs. Additionally, while the song is stylistically similar to the work on The Killing I, the overall sound is just as unique. To that end, audiences again get something familiar here from Zero Theorem while also getting a new musical arrangement overall. The musical arrangement, paired with the song’s lyrical content makes for even more engagement and entertainment here.
Zero Theorum debuted ‘Translucent’ last year ahead of the EP’s release. “Caesar” discussed the song’s lyrical theme at the time, saying of that content, “‘Translucent’ represents the act of seeing through one’s outward or public persona to identify the authentic self within. As with other songs throughout The Killing recordings, ‘Translucent’ depicts a scathing character portrait while questioning the validity and usefulness of the artificial trappings of our daily lives.” In other words, the song’s lyrical theme focuses on the topic of self-realization. That is the short and simple of the song’s lyrical theme. The commentary is delivered with “Caesar” stating in the song’s lead verse, “You paint yourself inside a white picket fence/You’re sliding in and out of walls/Waiting until the moment is tense/You step away from your existence/You don’t like to answer a broken call.” He continues in the song’s second verse, “A sound of anger that takes violence to create/Missteps have slammed another door/Consequence is not your concern/You have endless time to burn/To you we’re only another chore.” The commentary concludes with the third verse’s statement, which notes, “Translucent eyes/They cannot hide/The parasite that lives inside/It’s feeding on your/wicked mind/The parasite that lives inside.” That final stinging line leaves no doubt about the commentary’s statement about the song’s theme. Together with the song’s musical arrangement, the two elements make this song another strong example of what makes The Killing II a positive return for Zero Theorem. ‘The Future’ is yet another key addition to the EP.
‘The Future’ features a musical arrangement that shows growth from the band as well as something familiar from the group. The influence of Disturbed and Breaking Benjamin is just as prevalent here as much as in certain other songs in this record. The use of the added keyboards and electronics give the song a bit of a symphonic metal style influence. That added element and Caesar’s screams collectively lend themselves to comparisons to music from Amaranthe. When the energy in the song’s musical arrangement joins with the theme in the song’s lyrical content, the song gains even more traction.
The lyrical content featured in ‘The Future’ comes across as a statement of the direction in which the human race is headed. It is not the first time that any band has ever taken on such a topic. Even with that in mind, the manner in which the seeming theme is presented here still ensures listeners’ engagement and entertainment. The song opens with the statement, “We keep on spiraling all the way down/No chance to reconcile/Pestilence multiplies/On machines we rely/The vain and senseless shaping what we perceive/Of right.” This lead verse statement leaves little doubt as to what it is saying. It is saying that the human race is headed in a bad direction. The song’s chorus adds to the warning, stating, “Now/This is the future/We’re on the other side/We are the ones under blackened sky/Now/We’re in the future/We’ve burned the past alive/Just trying to prove we’re not/dead inside.” Building on the song’s lyrical warning is its second verse, which states, “We keep on burrowing all the way down/Hastening our demise/The roots replaced with wires/Our truth beset by liars/It’s all to advocate the cyber cult/Of right.” Of course for all of the nihilism that is on display here, the whole of the song does in fact end with some hope. That glimmer of hope comes in the song’s third and final verse, which notes, “Watch us come alive/Right now/This is the future.” This is a brief statement but speaks volumes. It is the masses saying, “We have seen the light and we are changing. We must change.” It is a powerful statement, especially when considered with the warning that makes up so much of the song. It reminds listeners that for all of the bad that is happening, it is not too late to change things. When this whole is considered along with the song’s musical content, that overall content makes clear why this song will appeal so much to audiences, and why the EP is a success. When this collective is considered along with the other songs examined here and the record’s two remaining songs, the whole becomes a presentation that more than earns its place among this year’s best new EPs.
Zero Theorem’s recently released new EP The Killing II is a strong follow-up to the band’s 2020 EP The Killing. It offers audiences plenty of familiar musical and lyrical content while also exhibiting some growth in regards to its musical arrangements. Each of the songs examined here serve to support the noted statements. When they are considered with the EP’s two remaining songs, including the EP’s latest single ‘Joke,’ the whole becomes a record that is unquestionably one of this year’s best new EPs. It is available now.
More information on Zero Theorem’s new EP is available online along with all of the band’s latest news at:
Independent hard rock band SoulSwitch debuted the video for its latest single last week.
The band debuted the video for its new single ‘Until The End‘ Jan. 21. The video merges footage of the band performing its new single in what is meant to reflect a live setting with video of two separate figures — a man and woman — sitting alone going through what is clearly some emotional turmoil as the song plays over the whole.
The band explained the imagery in a statement as it pertained to its connection to the song’s lyrical theme in a prepared statement.
“While sounding like your typical breakup song, there is more under the surface with ‘Until The End,’ the statement reads. “When you first listen to ‘Until The End’, you may walk away thinking that you have just listened to another song about two people in a broken relationship. Though it is about a relationship, it is not about one you might think of first. ‘Until The End’ is about the relationship between the subconscious and the conscious. The song is about how the subconscious is trying to change the choices of the conscious, but is getting muted in the process.”
The musical arrangement that accompanies the song’s lyrical theme is a heavy, melodic rock composition. It will appeal to fans of bands, such as Sevendust, The Veer Union, and Breaking Benjamin with its heaviness and harmonies.
‘Until The End’ is available to download here. It is the third in a series of four new songs from SoulSwitch. Its premiere and that of its companion video follows that of its predecessors, ‘Take Me Under‘ and ‘Everything I Am.’
Independent hard rock band A Crime Called… is hoping to bring some new music to the world this year.
The band is busy working on music for a new EP that it hopes to release. As the band works on that music, its latest single ‘Drown’ is making the rounds as well as the song’s video. The video features the band performing its single, originally released in July 2020 against the backdrop of an empty warehouse.
The musical arrangement featured in the band’s latest single is a melodic hard rock style presentation. The use of the keyboards, vocals and guitars immediately lends the arrangement to comparison to works from the likes of The Veer Union and Sevendust.
According to band member Andrea Verdi, the lyrical content that accompanies the song’s musical arrangement, the song’s lyrical theme is meant to deliver a message about pushing on through life’s difficult times.
“Life is an oceanic flow of situations, people, and emotions,” said Verdi. “Navigation, even solitary, has moments of difficulty, and too many times it is not even possible to set sail for the next destination. The destination is often just an excuse to continue traveling, not to die inside. Living is the only way we are given not to drown, submerged by the current.”
Metal band 2 Shadows debuted the video for its latest video over the weekend.
The band debuted the video for its single ‘Scratching at the Surface’ Saturday through metalinsider.net. The video for the melodic metal arrangement features the band in a studio setting dressed to resemble an eerie forested setting. Along with that is footage of front man Glen Bridden in a coffin, singing some of the song’s lines.
As noted, the song’s musical arrangement is a heavy, melodic metal style composition. Its crunching guitars, heavy drums, and clean vocals lend it to comparisons to works from the likes of Motionless in White and the band’s Rock Shop Records label mates The Veer Union. Speaking of The Veer Union, the band makes a guest appearance in the song.
The Veer Union front man Crispin Earl co-wrote the song with 2 Shadows’ members. Additionally, he produced the song.
The heaviness and fire in the song’s musical arrangement partners with the song’s lyrical theme to add to the song’s overall impact, which the band addressed in a prepared statement.
“Scratching At The Surface is about people making you out to be something you’re not,” the statement reads. “The song describes the pressure of defining yourself in an environment where people tend to take one look at you and assume they know who you are; and they’re often wrong”.
‘Scratching at the Surface’ is available to stream and download here.
More information on 2 Shadows’ new single and video is available along with all of the band’s latest news at: