Independent hard rock act Raze is giving audiences a new preview of its forthcoming album, Pyrography.
Courtesy: One Eyed Toad Records
The preview came Friday in the form of the album’s title track and its video. The song is available to stream and download. The song’s musical arrangement is a heavy, brooding composition whose vocals and instrumentation immediately lend the song to comparison to so many works from Tool. At the same time, the melodic hard rock leaning that is just as present makes for an interesting juxtaposition and, in turn, balance. The whole makes the song a presentation that is certain to keep listeners engaged and entertained.
According to front man Louis Dunham, the song’s lyrical theme centers on the topic of musical creation through sheer emotion.
“The concept of pyrography, I think, perfectly encompasses what we’ve tried to create with this album,” Dunham said. “The idea of making art with fire – we’ve taken a lot of strong emotion; be it desire, anger or angst, and channeled it every step of the way into creating this music.”
The video for the band’s new single is a straight forward presentation. It features the band performing its new single on a sound stage. A hooded, unidentified figure stands behind the band, using fire-laden tools to “dance” as the band performs its new single.
More information on Raze’s new single, video and album is available along with all of the band’s latest news at:
Aftershock Festival organizers have announced the lineup for the annual event, which is scheduled to be held Oct. 5-8 at Discovery Park in Sacramento, CA.
Guns N’ Roses, Korn, Tool, and Avenged Sevenfold have been announced as the headliners for this year’s festival. Also on the bill for the event are other equally well-known bands, such as Godsmack, Incubus, Pantera, Megadeth, Rancid, Queens of the Stone Age, The Cult, I Prevail, AFI, Dance Gavin Dance, 311, Turnstile, and Limp Bizkit.
This year’s event is being put on by Danny Wimmer Presents, and Danny Hayes, the company’s chief executive officer, said he is looking forward to this year’s festival.
“We are so excited for what will be the biggest Aftershock in the festival’s 11-year history,” Hayes said. “We are grateful for our partnership with the city and county of Sacramento and together we have built an amazing brand that showcases Sacramento to attendees from all over the globe.”
Avenged Sevenfold is scheduled to headline the festival’s first day. Other acts scheduled for Day One are the likes of: Pennywise, Beauty School Dropout, The Cult, AFI, and Incubus.
Tool is scheduled to headline Day Two, with the likes of Megadeth, Memphis May Fire, The Hu, Skillet, Limp Bizkit, and Coheed and Cambria joining the band and others on the day.
Korn will headline Day Three. Others on the day’s schedule include and are not limited to: Corey Taylor, Avatar, The Amity Affliction, Parkway Drive, and Babymetal.
Guns N’ Roses will close out the four-day festival. Leading up to the band’s performance, other acts, including and not limited to: Queens of the Stone Age, Rancid, I Prevail, Dance Gavin Dance, Daughtry, and Mayday Parade will also take the stage.
The full list of this year’s acts is noted below. Audiences can put down $10 now toward the price of the passes. Payments toward the price can be made from there between April and August. The down payment can be made here.
The full Aftershock 2023 lineup is as follows (subject to change):
Thursday, October 5: Avenged Sevenfold, Incubus, Turnstile, The Cult, AFI, Pennywise, Nothing But Thieves, L7, White Reaper, Senses Fail, Don Broco, The Bronx, Nothing, Nowhere., DeathByRomy, Beauty School Dropout, Bob Vylan, Holding Absence, Pinkshift, Thousand Below, Starbenders, SeeYouSpaceCowboy, Static Dress, Letdown.
Friday, October 6: Tool, Godsmack, Limp Bizkit, Megadeth, Coheed and Cambria, Skillet, Bad Omens, The Hu, Deafheaven, Memphis May Fire, Converge, Fire From the Gods, Polaris, Rain City Drive, Gideon, Currents, Varials, Strange Kids, Dragged Under, Tallah, HANABIE., Widow7, Death Valley Dreams
Saturday, October 7: Korn, Pantera, 311, Corey Taylor, Parkway Drive, Babymetal, Polyphia, Dethklok, Avatar, Fever 333, The Amity Affliction, Sleep Token, Escape the Fate, Boston Manor, Fame on Fire, Catch Your Breath, Ten56., Reddstar, Holy Wars, ’68, Ithaca, Devil’s Cut, Traitors, Fox Lake, All Waves, As You Were
Sunday, October 8: Guns N’ Roses, Queens of the Stone Age, Rancid, I Prevail, Dance Gavin Dance, Daughtry, Badflower, Billy Talent, Mayday Parade, Suicide Silence, Movements, Ayron Jones, You Me At Six, Dead Poet Society, Austin Meade, Alpha Wolf, Jehnny Beth, Redlight King, Tigercub, Call Me Karizma, Ryan Oakes, Gnome, Luna Aura, Asava
More information on the 2023 Aftershock Festival is available along with all of the festival’s latest news at:
The Sonic Temple Art & Music Festival will return this summer to Columbus, Ohio.
The festival’s return will come three years after it was put on hold due to the COVID-19 pandemic. Foo Fighters, Tool, Avenged Sevenfold and KISS will serve as headliners for the four-day festival, which is produced by Danny Wimmer Presents.
M. Shadows, Avenged Sevenfold front man, said he and his band mates are looking forward to taking part in the festival.
“We’ve always enjoyed playing Historic Crew Stadium in Columbus and are excited to be a part of this year’s Sonic Temple,” Shadows said. “It’ll be a blast to share the stage with Tool, Foo Fighters and others, we can’t wait to see and play for all of our amazing fans again.”
Danny Wimmer Presents founder Danny Wimmer shared Shadows’ excitement. He said the headliners will join more than 75 other bands for the festival, making this year’s edition of the festival its largest ever just in terms of band lineups.
Among the many other bands set to perform at this year’s festival are: Nothing More, Black Stone Cherry, and Pennywise.
The festival’s full lineup is noted below:
Thursday, May 25: Tool, Godsmack, Beartooth, Bullet For My Valentine, Pennywise, Bad Omens, Suicidal Tendencies, Fever 333, Anti-Flag, Joey Valence & Brae, Bones UK, Ho99o9, The Warning, Oxymorrons, Angel Du$t, Bloodywood, Wargasm, Malevolence, Bastardane, OTTTO
Friday, May 26: Avenged Sevenfold, Queens of the Stone Age, Chevelle, I Prevail, Knocked Loose, Sleeping With Sirens, Badflower, Dorothy, Black Stone Cherry, Converge, Born of Osiris, Band-Maid, Lilith Czar, Des Rocs, Mothica, Fame on Fire, Dayseeker, Vended, Mike’s Dead
Saturday, May 27: KISS, Rob Zombie, Falling in Reverse, Puscifer, Trivium, Black Veil Brides, Rival Sons, Yelawolf Presents: Sometimes Y, Avatar, Senses Fail, From Ashes To New, Giovannie & The Hired Guns, Brutus, Dead Poet Society, The Violent, Point North, Tallah, Varials, Tigercub, Capital Theatre
Sunday, May 28: Foo Fighters, Deftones, Sublime with Rome, Jawbreaker, The Pretty Reckless, Awolnation, Nothing More, Grandson, White Reaper, Filter, Ayron Jones, The Bronx, Poorstacy, Zero 9:36, New Years Day, Nova Twins, Bob Vylan, Aeir, Starcrawler
Pre-sales for the festival are open now. General admission sales start Friday.
More information on this year’s SOnic Temple festival is available at:
Independent rock band Pharmacose premiered the latest single from its new project, Ascencion’s Constraint this month, along with its companion visualizer.
The band premiered the record’s new single, ‘Obey‘ and its visualizer May 6. The song is the record’s second single, behind the recently premiered single, ‘Cleanse,’ which the band premiered in March through Ghost Cult Magazine.
The musical arrangement featured in ‘Obey’ is a dark, brooding composition. The use of the keyboards, electronics, drums, and vocals together to make it easily comparable to works from the likes of Tool, Gary Numan and Nine Inch Nails.
The lyrical theme featured in the song centers on “corporate corruption in the modern age” according to information presented about the premiere of the song and video.
The visualizer that accompanies Pharmacose’s new single is a simple presentation. It features a man in front of what is either a set of large windows or TV monitors. The words “You are being watched” are presented in large font in front of him on the windows/screens. The visual plays directly into the song’s lyrical theme.
Pharmacose’s new album and its singles are being accompanied by a novel that helps tell the story in the new, forthcoming concept record. One chapter is being released with the debut of each single. Audiences can download the story’s first episode now through Amazon.
Front man Wes Jones recently talked about the concept in the album’s story.
“I have always loved concept albums, and one of my major goals has always been to do one,” Jones said. “I didn’t think it was going to happen this soon, but the lockdowns happened, and all of a sudden I had nothing to do. We had been gearing up for some shows to promote the intended release of Prescription Fiction, but obviously none of that happened. I didn’t want to sit around doing nothing, so I decided it was as good a time as any to start work on that record.
Jones continued, “I had been kicking around some possible concepts for years, but it wasn’t until the lockdowns happened that I was able to commit to one. Even before the pandemic, I found myself ordering more and more things online, and it made me wonder just how dependent I’d become on corporations as well as how big and powerful many have become or are becoming. I’ve also been concerned about how wage stagnation and inflation are going to affect your average person in the future, and so I just combined the two ideas and that became the setting of the novel.”
More information on Pharmacose’s new single and album is available online now along with all of Pharmacose’s latest news at:
The musical arrangement featured in ‘Smother!’ is interesting because of its overall composition. It follows a sort of slow burn approach, starting off in a distinct subdued, brooding fashion. From there, the arrangement turns soon after into a more aggro-rock style work that blends elements of Tool and Deftones into one for a unique musical presentation.
No information about the song’s lyrical theme is presented in the press release announcing the premiere of the new single and video. The lyrics that accompany the song’s video hint at the song centering on the matter of a personal relationship between two people. One person is seemingly trying to get the other to express his/her thoughts, rather than holding things in. At the same time, the main subject seems to be putting out there the impact that the other person’s non-communication is having on him/her. This is all this critic’s own interpretation.
The video for ‘Smother!’ features the band performing its new single in a studio setting of sorts. It crosses that with footage of the band making its way around an unidentified city. The video effects that are used with the video enhance the presentation even more.
In other news, Post Profit is in the midst of a tour in support of its new album. The band’s new live dates are noted below.
POST PROFIT TOUR
3/05- Deadhorse – San Angelo, TX
3/25- Country River Club – Tyler, TX
3/26- Scout Bar – Houston, TX
4/9- TBA – Paris, TX
On Tour with Escape the Fate, Red Jumpsuit Apparatus- TBA
4/29- 19th Hole- Spring, TX
4/30- WhiskeyTangoFoxtrot – Austin, TX
5/19-5/22- Welcome To Rockville (Date TBA) – Daytona, FL
– Post Profit Album Release Party – Saturday 2/26/22 at Texas Players Club (Longview, TX) w/ Special Guests Everyone Dies in Utah, Cutthroat Conspiracy & Gorgeous Jetson.
More information on Post Profit’s new single, video, album, and tour is available along with all of the band’s latest news at:
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Independent alt/prog rock band Seven Eyed Crow premiered the video for its latest single this month.
The band unveiled the video for its single, ‘Weird Boy’ Feb. 10. The song and its video are the latest from the band’s new EP, Icarus, which was released Jan. 21. The band debuted the EP’s lead single, ‘To My Old Man‘ and its companion video Jan. 10.
The ‘Weird Boy’ video features footage of a young boy and girl separately as the song’s lyrics and musical arrangement play over the visualization. The imagery pairs with the song’s lyrical content, which seems to deliver a familiar message of someone feeling like an outsider. That is just this critic’s interpretation.
The musical arrangement featured in ‘Weird Boy’ immediately lends itself to comparison to works from the likes of Tool, A Perfect Circle, and Leprous. That is exhibited through the performances on bass and guitar, as well as the unique vocal delivery.
More information on Seven Eyed Crow’s new video and song is available along with all of the band’s latest news at:
Independent alt/prog rock band Seven Eyed Crow is scheduled to release its latest record this month.
The band is scheduled to release its new EP, Icarus Jan. 21. In anticipation of the record’s release, the band released its debut single, ‘To My Old Man‘ and its companion video Jan. 10. Icarus will be the band’s third overall record and second EP behind its debut EP, Dark Ways (2016) and its follow, the band’s debut album, Organized Chaos (2018).
The musical arrangement featured in ‘To My Old Man’ is a subtle, flowing composition. At some points, influences of Leprous and Tool are evident. At others, hints of Incubus are just as audible. It sounds like an odd contrast in sounds, but it works well in this case.
No information was provided about the song’s lyrical theme in the press release announcing the premiere of the band’s new single and video. No lyrics were provided with the video, either. From what can be deciphered, it would seem that the song’s lyrical theme (in partner with its title) is of a personal nature that perhaps deals with the loss of one of the band member’s fathers. There is a mournful tone to what can be deciphered sans lyrics and explanation, too. That and the song’s musical arrangement gives the song such a powerful depth.
More information on Seven Eyed Crow’s new single, video, and EP is available along with all of the band’s latest news at:
The band — Ron Poisson (Cult of Individuality owner), Will Hunt (Evanescence, Black Label Society, Crossfade), Doc Coyle (ex-God Forbid, Bad Wolves), Chris Cain (ex-Bury Your Dead, Bad Wolves), and Kyle Konkiel (ex-Scar The Martyr, Bad Wolves) — debuted its take of Tool’s ‘Sober’ and Slipknot’s Dead Memories’ Jan. 7.
The covers came as a result of the pandemic, according to information provided about the songs. Poisson and Hunt were having conversations through social media about how to keep busy during lockdowns. The conversations led Hunt to reach out to the other band members, and the rest (as they say) is history).
Tempest’s take of ‘Sober’ largely stays true to its source material. However, there are some subtle differences in the two takes. They come through the guitar solos. The solos in Tempest’s take on the song move more in a subtle hard rock direction. By comparison, the solo in the original maintains the song’s dark prog approach and sound. Audiences can hear Tempest’s take on the song here.
Tempest’s take on Slipknot’s ‘Dead Memories’ came about as a tribute to the late Joey Jordison,’ who played drums with the band from its formation in 1995 until his departure from the band in 2013. The single stays largely true to its source material. The most notable difference between the original and Tempest’s take on the song is in the vocals. Poisson’s vocals are clearly different from those of Corey Taylor. Where Taylor’s vocals are grittier and darker, Poisson’s delivery style is more melodic.
More information on Tempest’s new double single is available along with all of the band’s latest news at:
Alt-metal band Gemini Syndrome released its latest album over the weekend. 3rd Degree – The Raising was released Friday through Century Media Records. The band’s third album, it came more than five years after the release of the band’s sophomore album, Memento Mori (2016). The wait for the record was worth it, too. This has already been proven through the singles that the album has produced. That is due to the songs’ musical arrangements and lyrical themes. The musical and lyrical content featured through the rest of the album is collectively just as powerful. Each will be discussed in the bigger record’s bigger picture here, as will the record’s sequencing. Each item noted does its own important part to make the album successful. All things considered, they make the album overall, yet another strong addition to this year’s field of new hard rock and metal albums.
Gemini Syndrome’s latest album, 3rd Degree – The Raising, is an impressive new offering from the band. Its success comes in part through its musical arrangements. The arrangements continue to exhibit the richness and heaviness that became so familiar to audiences over the course of the band’s first two albums, Lux and Memento Mori. However, a close listen also reveals clear growth from the band this time out in terms of the arrangements. In place of the aggro rock and more nu-metal leanings present in those records’ arrangements is a darker, heavier approach that blends influences of Tool’s dark prog and Breaking Benjamin’s gloomcore sound into one. Each arrangement is unique from its counterparts here, but the influences are still there. The changes in the sounds and stylistic approaches are subtle from one to the next, but again, a close listen will reveal those variances. Case in point is the arrangement featured in ‘Absolution.’ This radio ready arrangement whose contemplative verses and heavy, fiery choruses create a great contrast that is certain to keep listeners engaged. The intense approach taken in the arrangement’s bridge, which finds front man Aaron Nordstrom almost rapping (believe it or not) adds even more to the song’s interest. By comparison, the full-on alt-metal approach taken in ‘IDK’ (one of the album’s singles), complete with Nordstrom’s screams against the more melodic choruses is a distinct change in sound and style. Yet it is still so immersive with its richness and heaviness. On yet another note, a song, such as ‘Children of the Sun’ takes listeners in yet another direction. The guitar riff that opens the song immediately conjures thoughts of Pantera. Interestingly enough, that comparison is only brief as the song progresses. From there, the guitar and bass line that builds presents an almost bluesy influence in its stylistic approach, even as heavy as the pairing proves. The song’s chorus meanwhile is a full, immersive melodic hard rock presentation. All things considered here, there is a lot that happens in this arrangement, but it is all so well-balanced from beginning to end. The whole stands on its own merits separate from the album’s other arrangements. Keeping that in mind, when it and those other arrangements (including the ones noted here) are considered collectively, they leave no doubt that the musical content featured in this record is so important to the album’s presentation. They are just a part of what makes the album an impressive presentation. The record’s lyrical themes also play in to the album’s success.
The lyrical themes that are featured throughout this album are important because of their overall accessibility. The theme featured in ‘Absolution’ is a prime example of that accessibility. The theme presents a seeming message that yes, things are going to be tough in life, but it is up to us to make a difference in our lives. He reiterates that seeming message in the song’s chorus, noting that “This is our last chance for absolution.” For those who might not know, absolution is the act of forgiving for having done wrong. It would seem to go in line with the inferred theme. He seems to be saying that forgiving others is part of making changes in our lives for the better; that we cannot hold onto anger as well as making the most of ourselves. This is all just this critic’s interpretation of course. Regardless, the seeming message is powerful and will certainly resonate with listeners whose hearts and minds are open to that apparent theme.
‘Broken Reflection’ is another example of the importance of the album’s lyrical themes. This song – one of the album’s singles – is a rumination on how we view ourselves versus how we present ourselves to the public. Nordstrom talked about the song’s theme when the single was released this summer, noting, “We are all trying to show the best versions of ourselves, but we need to master those versions inside before we can present the perfect image and not have it be confused for something illusory.” This statement makes sense and hopefully will to audiences. He is saying we need to look inward before we look outward as part of that process of rebirth. The theme of personal and spiritual rebirth is the overarching theme of this album, so that makes this theme even more fitting.
‘Where We Started From’ is another example of the importance of the album’s lyrical themes. In the case of this song, the inferred message (again this is this critic’s interpretation) seems to be one of addressing how we find ourselves in vicious cycles, doing the same things over and over. It would seem that the song hints at how our own mental and emotional states play into those cycles happening. It would seem to play into the album’s overall lyrical theme of personal and spiritual rebirth, too. Once again, this is all just this critic’s interpretation and is hopefully somewhere in the proverbial ballpark. When it is considered along with the themes (and seeming themes) of the other songs addressed here and those in the rest of the album’s songs, the whole makes clear that the album’s lyrical content is just as important to its presentation as the album’s musical arrangements. The content overall gives audiences plenty to appreciate here. When the sequencing thereof is considered, too, it works with the content to show even more why this record is a success.
The sequencing of 3rd Degree – The Raising is important because it takes into account the subtle changes in the songs’ arrangements and their lyrical theme as it assembled the record. It also takes into account the energy in each arrangement. Considering the mood that the arrangements establish (even considering the overall positive and contemplative nature of the songs’ lyrical themes) this is extremely important. That is how emotionally heavy each arrangement proves. The themes, as noted, are meant to help audiences relate and cope with situations in their own lives. The sequencing ensures that those themes change from one song to the next. That in turn ensures listeners’ maintained engagement and entertainment even more. When this is considered along with the impact of the record’s sequencing in terms of the subtle changes in the arrangements, the whole proves the sequencing just as successful as the album’s content. When all things are considered together, they make the album overall a powerful new offering from Gemini Syndrome that the band’s fans will enjoy just as much as hard rock and metal fans in general.
Gemini Syndrome’s latest album, 3rd Degree –The Raising is a successful new offering from the band. It is a presentation that will appeal equally to the band’s established audiences just as much as it will to hard rock and metal fans in general. That is due in part to its arrangements. The musical arrangements stand out because of their familiarity and accessibility. The lyrical themes that accompany the album’s musical arrangements are accessible in their own unique way and will also make audiences really think deeply about life and themselves. It strengthens the record’s presentation that much more. The sequencing of that overall content rounds out the album’s most important elements. It takes all of the content into account in every way and ensures the songs are ordered so that the content has the maximum impact on listeners, ensuring the audiences’ maintained engagement from beginning to end. When it is considered along with the content and its impact, the whole makes the album overall a strong finish to Gemini Syndrome’s trilogy of albums and gives hope for the band’s future.
3rd Degree – The Raising is available now. More information on Gemini Syndrome’s new album, single, video and live appearances is available along with all of the band’s latest news at:
Prog-metal outfit Vokonis has quietly made quite the name for itself in the past few years or so with its existing trio of records. That name will grow in notoriety Friday when it releases its fourth album, Odyssey. The six song record is a work that definitely holds its own against its metal and prog-metal counterparts, both more well-known and lesser. That is due in part to its featured musical arrangements, which will be discussed shortly. The lyrical themes that accompany the record’s musical arrangements adds to the record’s success. It will be discussed a little later. The record’s production puts the finishing touch to its presentation. Each item noted is important in its own way to the whole of the recording. All things considered, they make the 40-minute album a must hear for any metal purist.
Vokonis’ forthcoming fourth album Odyssey is a unique addition to this year’s crop of new independent and hard rock/metal albums. It is a record that provided the proper support, is certain to continue building the band’s name within the noted genres. That is proven in part through the album’s featured musical arrangements. Throughout the course of the album’s 40-minute run time, it incorporates a variety of influences in each arrangement to make its whole. ‘Rebellion,’ the album’s opener for instance, opens with a guitar riff that would fit easily into any active rock radio programmer’s playlist. As the vocals come into play, the guttural screams from front man Simon Ohlsson lend themselves to comparison to those of Crowbar front man Kirk Windstein. The more melodic, clean vocals from Ohlsson’s band mates – Jonte Johansson (bass, vocals), Peter Ottosson (drums, percussion), and Per Wiberg (keyboards) – make for more of a Tool-esque sound. The two stylistic approaches are vastly different, but used against one another, somehow manage to work. The full-on wall of sound approach that the band uses here is also comparable to that of Crowbar. It all sounds very raucous, but at the same time controlled in its chaotic approach. It is just one example of how the album’s musical content plays into its appeal.
On a completely different note, the musical arrangement that is presented in the late entry ‘Hollow Waters’ lends itself to comparison to works from the likes of Leprous, as well as to those of Crowbar. The Leprous comparison comes in the choruses with their full yet somewhat ethereal sound. It makes for a welcome change of pace to ensure listeners’ maintained engagement and entertainment. As with ‘Rebellion,’ this song’s arrangement is just one more example of what make the album’s musical content so noteworthy. ‘Blackened Wings,’ the album’s lead single, is yet another example of how the power and variety in the album’s musical content makes it successful.
‘Blackened Wings’ is just as busy and loud as any of the album’s other arrangements. Yet even in that controlled chaos, there is something so engaging. The guttural death/black metal style screams set alongside the song’s death metal guitars lend themselves to comparisons to works from Between the Buried and Me. The contrast of that sound to the cleaner, heavy, sludge metal style approach to the rest of the song makes for even more interest here. The expert balance of those distinctly differing styles speaks highly of the production that went into the album. This aspect will be discussed later. Staying on the topic at hand, this song’s arrangement does just as much as those already examined and the rest of the album’s works, to show why the diverse influences and power in the arrangements make them so important to the album. The whole of the album’s musical arrangements, including the clear Dream Theater influence exhibited in ‘Azure,’ creates a solid foundation for Odyssey. Building on that foundation is the lyrical content that accompanies the album’s intense musical content.
The lyrical themes that are presented throughout Odyssey will make for just as much engagement as the musical arrangements that they join. Case in point is the lyrical content featured in ‘Hollow Waters.’ The song’s lyrical content seems rather nihilistic on the surface, what with the mentions of the “Circle of sorrow/Closing in on you” and everything bad going on in the world.” However, the song’s lyrical theme ultimately is one of hope. This is pointed out in the song’s second verse, which states, “Cities will fall/Empires crumble/Hope can prevail/We will follow/Forests will burn/Under the scourge/Lead us again through these faraway lands.” The message of hope is raised again in the song’s third verse, which finds Ohlsson singing, “Wrath of the scorned/Born of fire/Tainted fury leads to nothing/Let it all pass/Open yourself/Lead us away through these faraway lands.” That positive message is delivered once more in the song’s final verse, stating, “The everlasting light/Is the flame of eternity.” These notes and the rest of the song’s lyrical content join to form a unique approach to a welcome theme. When that theme joins with the song’s already noted equally unique musical arrangement, it shows in whole why the album in whole is so powerful.
The lyrical content featured in the album’s title track is another example of what makes it such a strong new offering from Vokonis. This song’s lyrical content seems (at least in the ears and mind of this critic) to deliver a message of living life and facing life’s challenges. Again, this is only this critic’s interpretation. The inference is made as Ohlsson sings about overcoming “the final step” and the “Beacon of tranquility” shining “upon us all/Light of serenity/Essence of the divine.” It’s one more unique lyrical presentation from Vokonis on its latest outing that is certain to keep any listener engaged. When this original presentation is considered along with the other content examined here and the rest of the album’s lyrical content, that whole leaves no doubt as to the importance of said content. When the album’s collective lyrical content pairs with the record’s equally powerful musical arrangements, that body makes for even more engagement and entertainment. Even with that in mind, it is only a portion of what make the album such a surprisingly engaging and entertaining work. The album’s production rounds out its most important elements.
As was noted earlier, the songs featured throughout Odyssey each utilize a powerful wall of sound style approach, as well as other elements and influences. Considering how much goes on throughout the album, those behind the glass had to pay exceptional attention to every minute detail. Luckily, that painstaking attention to detail paid off from beginning to end. The result is a record that even being so active and full, completely engages and entertains. Keeping all of this in mind, the album proves to be a surprisingly impressive addition to this year’s field of new hard rock and metal albums.
Vokonis’ forthcoming album Odyssey is a strong new presentation from the already established prog-metal outfit from Sweden. It is a work that serves as a strong starting point for those audiences who are less familiar with the band and its catalog and an equally new offering for the band’s established fan base. That is proven in part through the album’s musical arrangements. The arrangements exhibit a wide range of influences, not just prog-metal. That applies within each song and from one to the next. The lyrical content featured throughout the album adds to its interest. It is presented in truly unique fashion even as it touches on what seem to be some familiar topics. The album’s production rounds out its most important elements. It ensures that even as busy as each song is, the record’s arrangements do not become muddied and worn down in themselves. The result of the work put in through the album’s production is an album that will appeal aesthetically just as much as for its content. It all makes the album a musical odyssey that any metal purist will be glad he or she took. More information on Odyssey is available along with all of Vokonis’ latest news at:
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