Metal band Pariah debuted its latest single and video over the weekend.
The band debuted its new single, ‘Venerate‘ and the song’s companion video Friday. The band, which rose to fame in the early 2000s through its EP, The Torn Instances (2003) and its two albums, Misanthropos (2004) and The Barnacle Cordious (2009), went on indefinite hiatus in June 2010 and has not released any new music until now.
The musical arrangement featured in the new single is a heavy, guitar-driven composition that blends elements of thrash and hardcore for its body. The immediate comparison that can be made here is to works from the likes of Hatebreed and Unearth. If the song is any indication, it marks a strong return for the band and possibly a whole new beginning for the group.
No information was provided about the song’s lyrical theme in the news release announcing the single’s release. No lyrics were provided with the song’s video, either, leaving interpretation wholly to listeners and the band.
The video blends vintage footage of the band performing live with more recent live footage of the band performing as the song plays over the visualization.
More information on Paria’s new single and video is available along with all of the band’s latest news at:
Unearth announced a new slate of tour dates Wednesday in support of its forthcoming album, The Wretched; The Ruinous.
The band’s tour is scheduled to launch May 4 in Lubbock, TX and to run through July 2. The first leg of the upcoming North American leg is scheduled to run through May 19 in Rochester, NY. Upon a Burning Body and 156/Silence will serve as support for the brief run.
The second leg of the North American tour is scheduled to run from May 20 in Hartford, CT to May 27 in Detroit, MI. The band’s run in this leg will be as support for The Halo Effect alongside High Command.
The tour’s third leg is a group of festival dates between May 28 at the Milwaukee Metal Fest in Milwaukee, WI and July 2 at the Reality Bites Fest in Saarbucken, Germany.
The band’s full North American tour schedule is noted below:
UNEARTH – The Wretched; The Ruinous Album Release Tour
With Special Guests Upon A Burning Body and 156/Silence
5/4 – Lubbock, TX – Jake’s
5/5 – El Paso, TX – Rock House
5/6 – Tucson, AZ – The Rock
5/7 – Anaheim, CA – Parish Room @ House of Blues
5/8 – Los Angeles, CA – The Regent Theater
5/9 – Roseville, CA – Goldfields
5/11 – Portland, OR – Star Theater
5/12 – Seattle, WA – El Corazon
5/14 – Salt Lake City, UT – Soundwell
5/15 – Denver, CO – HQ
5/16 – Lawrence, KS – The Bottleneck
5/18 – Columbus, OH – Ace of Cups
5/19 – Rochester, NY – Montage Music Hall
UNEARTH
Supporting Halo Effect With Special Guests High Command
5/20 – Hartford, CT – The Webster
5/21 – Brooklyn, NY – Monarch
5/22 – Philadelphia, PA – Brooklyn Bowl
5/23 – Worcester, MA – The Palladium Upstairs
5/24 – Quebec City, QC – Imperial bell
5/25 – Montreal, QC – Fairmount Theatre
5/26 – Toronto, ON – Horseshoe Tavern
5/27 – Detroit, MI – Crofoot Ballroom
UNEARTH Festival Dates
5/28 – Milwaukee, WI – Milwaukee Metal Fest
6/15 – Dessel, Belgium – Graspop Metal Meeting
6/16 – Clisson, France – Hellfest 2023
6/30 – Emmen, Netherlands – Pitfest
7/2 Saarbrucken, Germany – Reality Bites Fest
The band’s upcoming summer tour dates will come on the heels of a European tour that is scheduled to launch April 1 in Dortmund, Germany and to run through APril 21 in Stockholm, Sweden. Misery Index, Year of the Knife, Turbid North, and Leech are scheduled to share time on the tour as support.
The European tour’s schedule is noted below:
Hell on Earth Tour 2023
with Misery Index, Year Of The Knife, Turbid North and Leech
04/01 Dortmund, GER – Junkyard
04/02 Antwerp, BEL – Trix
04/05 Munchen, GER – Backstage
04/04 Freiburg, GER – Crash
04/05 Eindhoven, NET – Dynamo
04/06 Sheffield, UK – Corporation
04/07 Leeds, UK – The Warehouse
04/08 London, UK – Islington Assembly Hall
04/09 Lille, FRA – The Black Lab
04/10 Paris, FRA – La Machine Du Moulin Rouge
04/11 Stuttgart, GER – Im Wizemann
04/12 Weinheim, GER – Cafe Central
04/13 Cottbus, GER – Gladhouse
04/14 Leer, GER – Zollhaus
04/15 Chemnitz, GER – AJZ Chemnitz
04/16 Ostrava, CZE – Barrak Music Club
04/17 Berlin, GER – SO36
04/18 Hamburg, GER – Bahnhof Pauli
04/19 Copenhagen, DEN – Pumpehuset
04/20 Gothenburg, SWE – Musikens Hus
04/21 Stockholm, SWE – Slaktkyrkan
Unearth’s new album has already produced two singles, ‘Mother Betrayal‘ and its lead/title track. The album is scheduled for release May 5 through Century Media.
More information on Unearth’s new tour dates, album, single, and video is available at:
The follow-up to his 2017 memoir, For The Sake Of Heaviness, the new, 192-page book continues the story in its predecessor, telling the story of how Slagel’s love of metal music helped him found the label and his experiences with bands that have called and continue to call Metal Blade Records home, as well as others. Among the bands discussed in the new book are the likes of Armored Saint, Metallica, and King Diamond.
The book’s forward was authored by Slayer guitarist Kerry King. King inducted Metal Blade Records into the Hall of Heavy Metal History in 2017.
Along with being available in a paperback pressing, Swing of the Blade: Stories from Metal Blade Records will also release in a box set presentation that includes a cassette tape featuring songs from many of the bands discussed in the book. That list includes the likes of Fates Warning, Unearth, and Amon Amarth. Pre-orders for the box set are open here.
More information on Slagel’s new book is available along with all of Metal Blade Records’ latest news at:
Unearth unveiled the second single from its new album Friday, along with the song’s companion video.
The band kicked off the weekend by premiering its new single, ‘Mother Betrayal‘ and the song’s video. The song and its video are the second from the bands’ forthcoming album, The Wretched; The Ruinous, which is slated for release May 5 through Century Media Records. The band premiered the album’s lead/title track and its video last month.
The musical arrangement featured in ‘Mother Betrayal’ is a heavy, intense composition. It is especially interesting the way in which it progresses. It opens with something of a brooding style sound and approach before turning more in the vein of a death metal approach. That eventually gives way to more of a metalcore sound and style akin to works from the likes of As I Lay Dying. That metalcore approach carries the song through to its finale, ensuring audiences’ engagement right to the song’s final bars.
According to front man Trevor Phipps, the song’s lyrical theme is an ecologically minded message.
“‘Mother Betrayal’ is a warning that we are smashing past multiple ecological tipping points caused by our dependence on fossil fuels that will forever alter life on our planet,” Phipps said.
Keeping in mind the song’s lyrical theme, it helps the song’s video make slightly more sense than it otherwise would have without the explanation. The video features a blindfolded woman restrained on a hospital gurney in a darkened room as various unidentified people watch her. Outside the room, a line of people who look almost like zombies stand, holding bowls of what look like blood. The artistic interpretation seems to paint the woman who is restrained as Earth and everyone else is mankind, bleeding her dry, using her resources. It would make sense, considering Phipps’ explanation of the song’s lyrical theme.
In other news, Unearth is scheduled to launch the “Hell On Earth 2023 Tour” Apr. 1 in Dortmund, Germany. The European/UK tour is scheduled to run through April 21 in Stockholm, Sweden. Misery Index, Year of the Knife, Turbid North, and Leech are scheduled to share time on the tour, too.
The tour’s schedule is noted below:
Hell on Earth Tour 2023
with Misery Index, Year Of The Knife, Turbid North and Leech
04/01 Dortmund, GER – Junkyard
04/02 Antwerp, BEL – Trix
04/05 Munchen, GER – Backstage
04/04 Freiburg, GER – Crash
04/05 Eindhoven, NET – Dynamo
04/06 Sheffield, UK – Corporation
04/07 Leeds, UK – The Warehouse
04/08 London, UK – Islington Assembly Hall
04/09 Lille, FRA – The Black Lab
04/10 Paris, FRA – La Machine Du Moulin Rouge
04/11 Stuttgart, GER – Im Wizemann
04/12 Weinheim, GER – Cafe Central
04/13 Cottbus, GER – Gladhouse
04/14 Leer, GER – Zollhaus
04/15 Chemnitz, GER – AJZ Chemnitz
04/16 Ostrava, CZE – Barrak Music Club
04/17 Berlin, GER – SO36
04/18 Hamburg, GER – Bahnhof Pauli
04/19 Copenhagen, DEN – Pumpehuset
04/20 Gothenburg, SWE – Musikens Hus
04/21 Stockholm, SWE – Slaktkyrkan
More information on Unearth’s tour, album, single, and video is available at:
Dead By Wednesday debuted the latest single from its album this week, along with the single’s companion video.
The band premiered its new single, ‘Mars In Exile‘ and its companion video Wednesday. The song is featured in Dead By Wednesday’s latest album, Capital Conspiracy, which is available now through Mindsnap Music.
The musical arrangement featured in ‘Mars In Exile’ is a heavy, intense composition that is one part thrash in the vein of Unearth, Whitechapel and Testament and one part Killswitch Engage. The KsE comparison comes in the song’s choruses, what with their more melodic sound and clean vocals.
No information was provided about the song’s lyrical theme in the news release announcing the debut of the new single and video. The lyrics provided with the video hint at a message of commitment in a relationship. It seems present a message of someone saying saying they will be there for that other person even despite doubt from that other person. This is just this critic’s interpretation.
The video for the new single was inspired by drummer Opus’ son, according to the release. It features the band on stage in Lego form along with a Lego audience.
Courtesy: O’Donnell Media Group
In other news, Dead By Wednesday is scheduled to launch what it has dubbed “The Sick As F*** Tour” in April. The tour’s dates are under consideration.
More information on Dead By Wednesday’s new single and video is available along with all of the band’s latest news at:
Unearth offered audiences their first preview of its next album this week with the record’s lead single and its companion video.
The band debuted its new single, ‘The Wretched; The Ruinous‘ Wednesday, along with the song’s companion video. The song is featured in the band’s as-yet untitled forthcoming album, which according to its video, will be released through Century Media Records.
The musical arrangement featured in Unearth’s new single is as intense as any of the band’s existing work. The machine-gun fast time keeping, the screaming vocals, thrash style guitars and rich low-end from the bass make it just as comparable to works from the likes of Testament as to As I Lay Dying. The overall heaviness and power in the arrangement will appeal not only to Unearth’s established audiences, but to metal fans across the board.
According to front man Trevor Phipps, the song’s lyrical theme delivers a message of ecological consciousness.
“‘The Wretched; The Ruinous’ is a summation of our upcoming album as a whole musically and lyrically as it showcases the aggression, power, melody, energy and darkness that is full-throttle Unearth,” Phipps said. “Thematically this lead track puts the full blame on Mankind for the destruction of our planet, and the mass extinction of millions of species, as well as the eventual eradication of man due to our negligence with the climate crisis.”
Phipps said the video for the new single was recorded in Tokyo, Japan. According to the information include in the video, it was recorded live Monday.
Speaking of live shows, Unearth is scheduled to launch the “Hell On Earth 2023 Tour” Apr. 1 in Dortmund, Germany. The European/UK tour is scheduled to run through April 21 in Stockholm, Sweden. Misery Index, Year of the Knife, Turbid North, and Leech are scheduled to share time on the tour, too.
The tour’s schedule is noted below:
Hell on Earth Tour 2023
with Misery Index, Year Of The Knife, Turbid North and Leech
04/01 Dortmund, GER – Junkyard
04/02 Antwerp, BEL – Trix
04/05 Munchen, GER – Backstage
04/04 Freiburg, GER – Crash
04/05 Eindhoven, NET – Dynamo
04/06 Sheffield, UK – Corporation
04/07 Leeds, UK – The Warehouse
04/08 London, UK – Islington Assembly Hall
04/09 Lille, FRA – The Black Lab
04/10 Paris, FRA – La Machine Du Moulin Rouge
04/11 Stuttgart, GER – Im Wizemann
04/12 Weinheim, GER – Cafe Central
04/13 Cottbus, GER – Gladhouse
04/14 Leer, GER – Zollhaus
04/15 Chemnitz, GER – AJZ Chemnitz
04/16 Ostrava, CZE – Barrak Music Club
04/17 Berlin, GER – SO36
04/18 Hamburg, GER – Bahnhof Pauli
04/19 Copenhagen, DEN – Pumpehuset
04/20 Gothenburg, SWE – Musikens Hus
04/21 Stockholm, SWE – Slaktkyrkan
More information on Unearth’s tour, album, single, and video is available at:
Ovtlier debuted its latest single over the weekend.
The band premiered its new single, ‘Nemesis‘ Friday. The song’s premiere came a month after the premiere of the band’s then latest single, ‘Blame The Dead.’
The musical arrangement featured in the band’s new single is a heavy, intense composition. There are groove metal leanings throughout the song, and some more pure metal elements throughout the work. That combination of elements makes the song comparable, stylistically, to works from the likes of Lamb of God, Unearth, and Slipknot.
The song’s lyrical theme takes on the issue of facing narcissists, said front man Joey Arena.
“We’ve all encountered narcissistic individuals who hide behind a mask,” he said. “There are many snakes out there, ones who try to get close, only to gather intel and use it against you. I pride myself on keeping it truthful and transparent with everyone I meet and that will get you both loved and hated. The best part is I believe in healthy boundaries and it usually weeds out those who are not good company. I live my life by ‘do no harm, take no shit’; If I don’t like you, you’ll know it. ‘Nemesis’, it’s in the name”.
More information on Ovtlier’s new single is available along with all of the band’s latest news at:
Almost three years ago, upstart hard rock/metal band Bloodywood first started carving out its place in the hard rock and metal community when it released its single, ‘Ari Ari.’ The song, which blended the band members’ Indian musical background with a more western nu-meatl approach started was jus the beginning of a meteoric rise for the band. Each song and each video that the band released built its fame and fan base even more, even leading to a performance at one of the world’s most respected live festival shows, the Wacken Open Air Festival, in 2019. On Feb. 18, the band will take yet another big step forward when it releases its debut album, Rakshak. The 10-song album joins all but one of the singles that the band has released to date – ‘Ari Ari’ is, ironically the only single not featured in this record – to make an overall presentation that given the right support, will make Bloodywood one of the next big names in the hard rock and metal communities. That is proven in part through its noted musical arrangements, which will be discussed shortly. The lyrical themes that accompany the album’s musical content add even more appeal to the presentation. They will be discussed a little later. The sequencing of that content rounds out its most important elements and will also be addressed later. Each item noted is important in its own way to the whole of the album’s presentation. All things considered, they make Rakshak a successful debut album for Bloodywood that audiences will agree was well worth the wait.
Rakshak, the debut album from up-and-coming hard rock/metal band Bloodywood, is a successful first outing from the band. It is a presentation that audiences will agree was well worth the wait. That is proven in part through its featured musical arrangements. The arrangements in question blend so many influences from one song to the next. Case in point is the arrangement in the early entry, ‘Aaj.’ Vocalist Jayant Bhadula’s growls in this song reach the level of death metal growls a la Whitechapel front man Phil Bozeman. His screams meanwhile pair with the rapping of co-vocalist Raoul Kerr to form the foundation for a sort of metalcore sound and stylistic approach. That leaning is highlighted even more through the combined performances of guitarist Karan Katiyar and the added bass and drums. There is so much going on here in terms of the instrumentation and in terms of the influences, yet it is all so well-balanced. The end result is a work that serves to show Bloodywood is not just another nu-metal band, but a viable hard rock and metal outfit with very real talent and ability.
The infusion of the noted nu-metal and metal influences is displayed just as well much later in the album in the form of ‘BSDK.exe.’ Kerr’s rapping against the keyboards and electronics at points throughout the song is full on nu-metal in every sense. That sound and stylistic approach is contrasted in the song’s choruses with a much heavier, guitar-driven influence. Again, Bhadula’s death metal growls are on full display, and so are some sharper screams. The band’s Indian influence is present here, too, just not as prominently as in some of the album’s other arrangements. The best comparison that one might be able to make in this case is to works from the likes of Fear Factory and early works from Chimaira. In other words, it boasts its own identity separate from that of ‘Aaj’ and all of the album’s other songs. It is just one more way in which the album’s musical arrangements show their importance to the record’s presentation. ‘Dana-Dan,’ the album’s midpoint, is another example of the importance of the album’s musical arrangements.
‘Dana-Dan’ is important in examining Rakshak’s musical arrangements because it also boasts its own identity. In the case of this song, the arrangement is just as heavy as ever with its down-tuned guitars, its screams, rapping, and its rhythm section. The nu-metal leanings are just as present as ever here courtesy of Kerr’s rapping. Bhadula’s vocals, paired with those of Kerr and with the instrumentation helps to take the arrangement in yet another direction. In the case of this song, his work and that of his fellow musicians gives the song a sound and stylistic approach that is similar to that of Devildriver and Slipknot. One could even argue a comparison to works from Unearth. That is the case even with the use of the keyboards and electronics subtly incorporated into the arrangement. All things considered, this composition is just as heavy as any other song featured in Rakshak and at the same time, still boasts its own identity. When it is considered along with the other songs examined here and with the rest of the album’s works, the whole makes clear the importance of the album’s musical arrangements. Of course the musical side of Rakshak is just one part of what makes the album a success. Its lyrical themes are just as important as its musical arrangements.
The lyrical themes that Rakshak presents are important because they are each so powerful and as diverse as the album’s musical arrangements. Case in point is the lyrical theme featured in ‘Jee Veerey.’ The theme here is one of determination. Bhadula encourages listeners in the chorus, to ‘Live, brave one/Fight those internal storms and/Win, brave one/Weather those wounds and/Rise once again/Fly once again” Kerr builds on that message as he reminds listeners that “We’ve all had to go/To the land down below/Where the sun don’t shine/And the moon don’t glow/Sat back/Trapped in the big bubble, saying/Chuck that man/It ain’t worth the trouble/Sound familiar don’t it/I think we all own it/A mindset that don’t seem to get/We’ve outgrown it/Now I’m sat back/Poking at the big bubble, saying/Talk back/You’re bigger than the trouble/Walk this valley of death/Head high/Say ‘I’ll be back, today I won’t die/’Cause try as we may/We can never deny/We can get back up if we’re still alive.” Kerr’s straight forward wording is sure to connect and resonate with any listener. This message of overcoming depression and mental health issues in general is anything but new, but is presented in a fresh way here. That in itself is impressive. What’s more, addressing mental health is always important. To that end, this song’s uplifting lyrical theme is a prime example of the importance of the album’s lyrical content. The lyrical theme featured in ‘Endurant’ is another example of that importance.
‘Endurant,’ which is one of the songs that helped build Bloodywood’s popularity, delivers a theme of forgiveness. It reminds listeners that while yes, there are people out there who want to make us miserable, we must forgive them. This is not something easy to do by any means. It is not within humans’ nature to forgive. We want to right wrongs done against us. The theme is made clear early on as Kerr comes right out and says in his rapping, “This goes out to the silent who fight the urge to get violent/This goes out with the love/bound with the power to rise above.” Bhadula adds, “Suppressed/self-conflicted/A prisoner of silence/Sever the bonds that always made you yield/Become your own shield.” Bhadula adds in the song’s chorus, “I am endurant/I am not a stray rock/I am the founding stone of a mountain/I am not weak/I am forgiving/Within darkness, I am my own light.” This is a powerful overall statement. It is another theme (and content) that will resonate with any listener with its supportive statements. To that end, it is one more example of the importance of the album’s lyrical themes. Along with facing one’s own emotions and thoughts, the band also takes on the matter of facing loss in the album’s lyrical content. That is made clear in the song, ‘Yaad.’ This deeply emotional song encourages listeners to grieve and to move on. The release and healing happens through holding memories of those loved ones whom we have lost. The band points this out not only in notes with the song’s video, but just as much through the lyrics. Kerr raps here, “Your fire burns beneath the frost/An empire built between my thoughts/Crisscrossed across the line that can’t be crossed/A million memories in this melody/Singing to me/Smile/This is the way it’s meant to be.” He adds, “With every breath/With every smile/With every sound of the beating heart/Your undying fire burns ever brighter.” So again what audiences get here is a message of knowing the loss has happened, but knowing that loved one will never be forgotten and that no one should ever forget loved ones who have moved on. At the same time, we cannot relegate ourselves to pining for them forever after they are gone. It is another familiar theme that is presented in such a unique way, showing even more, the importance of the album’s lyrical themes. When this uplifting theme is considered along with the other equally uplifting themes in the songs examined here, and with the rest of the album’s songs, the whole makes this record’s lyrical content so undeniably important. When the overall lyrical theme is considered along with the overall musical content, the whole of that content makes more than clear why Rakshak is a success. When the content’s sequencing is considered along with the content itself, it completes the album’s picture and leaves no doubt that this record deserves plenty of attention.
The sequencing of Rakshak’s content is important because it takes the diversity of those items into full account along with the energy in the songs’ energies. As already noted, the band takes on a diverse range of sounds and styles in its musical arrangements from one song to the next. The group also takes on a wide range of lyrical themes along the way. The sequencing ensures that both sides change as much as possible throughout the record’s 47-minute run time. Along the way, the energy in the songs’ arrangements is expertly balanced. The presentation starts on a powerful note in the politically charged, ‘Gaddaar’ and keeps that energy moving through to ‘Zanjeero Se.’ The album’s third entry, it balances the band’s heavier and softer side so well within itself, giving audiences the best of both worlds. From there, the energy picks back up in ‘Machi Bhasad’ and carries through to ‘Jee Veerey.’ Here again is a display of the band’s heavier leanings expertly placed alongside the band’s softer side. It is presented in a way that is unique from that of ‘Zanjeero Se,’ too. That makes the listening experience all the better. As the album progresses through its second half from there, the ups and downs are more pronounced in the contrasting sounds and styles of ‘Endurant’ and ‘Yaad.’ ‘Yaad’ is one part contemplative nu-metal and one part heavy ballad while ‘Endurant’ is much heavier and determined. The thing is that even with that difference, the energy between the two songs keeps the record’s energy stable in each work, once again proving the importance of the album’s sequencing. The album’s last two tracks pick audiences back up and get them back into the mosh pit, leaving them breathless by the record’s end. It shows once again, the time and thought that went into the album’s sequencing. The end result of that time and thought is that the sequencing gives the album’s presentation a positive aesthetic impact. When that impact is considered along with the positive impact of the album’s overall content, the whole leaves no doubt that this record is a complete success.
Up-and-coming hard rock/metal band Bloodywood is primed to be one of the next big names in the hard rock and metal communities. The band’s debut album, Rakshak, makes that clear. Given the right support, it is certain to keep the band’s meteoric rise to fame going strong. That is proven in part through its featured musical arrangements. The arrangements are diverse, offering audiences elements of nu-metal, death metal, and even some aggro-rock and other influences throughout. Those leanings are well-balanced with the songs, too, making for even more engagement and entertainment. The lyrical themes that accompany the album’s musical arrangements are just as diverse in their topics. From socio-politically charged songs to deeper works about accepting loss, and works in between promoting self-confidence among audiences, the themes touch on so many areas. They will resonate with audiences along the way because of their familiarity and the way in which they are presented. The sequencing of that content puts the finishing touch to the album’s presentation. It takes into account the noted variety in the content and the energies established in each song to make a presentation that is wholly fulfilling for any listener. Each item noted is important in its own way to the whole of the album’s presentation. All things considered, they make Rakshak unquestionably one more of the best of the year’s new hard rock and metal albums so far.
Rakshak is scheduled for release Feb. 18. The band is scheduled to launch a tour across Europe in support of the record in March. The tour’s schedule is noted below.
Sat Mar 05 2022 – Im Wizemann Stuttgart, Germany Tickets
Sun Mar 06 2022 – Zoom Frankfurt am Main, Germany Tickets
Mon Mar 07 2022 – Die Kantine Cologne, Germany Tickets
Tue Mar 08 2022 – La Madeleine Brussels, Belgium Tickets
Wed Mar 09 2022 – Melkweg Amsterdam, Netherlands Tickets
Fri Mar 11 2022 – Gruenspan Hamburg, Germany Tickets
Sat Mar 12 2022 – Pumpehuset Copenhagen, Denmark Tickets
Independent metalcore band As Within, So Without released its new album, Salvation Wednesday. The 11-song record is a presentation that will appeal equally to the band’s established audience base and to casual metalcore fans. That is due in large part to its featured musical arrangements, which will be discussed shortly. The roughly 26-minute record’s lyrical content works with its musical arrangements to make for even more interest and will be examined a little later. The album’s production rounds out its most important elements and will also be examined later. Each item noted here is important in its own way to the whole of Salvation’s presentation. All things considered, they make Salvation a work that the noted audiences will find worth hearing at least once.
As Within, So Without’s new album, Salvation, is a record that the band’s established audiences and casual metalcore fans alike will find interesting. That is due in large part to the record’s musical arrangements. From beginning to end, the record presents a nonstop display of metalcore. The heavy, crunching guitars, the dual approach of the screams and clean vocals, and the equally heavy, rich bass and drums makes each song so engaging and entertaining for the noted audiences. The arrangements easily lend themselves to comparison to works from the likes of Ice Nine Kills, As I Lay Dying, and Killswitch Engage, just to name a few similar acts. A casual listen through the record makes each arrangement sound the same. However, audiences who actively listen to each work will catch the subtle changes that make each song different from one another. Case in point is the album’s opener, ‘Ch. III: The Undefined.’ This song’s full one assault is a face melting work that even though it barely tops the two minute mark, absolutely pounds listeners’ ears. That approach and sound makes it comparable to works from the likes of Unearth and Whitechapel. By comparison, a song, such as ‘Frostbite,’ with its machine gun precise guitar riffs and equally tight drumming and screams make it so similar to works from Killswitch Engage. The intensity exuded through the song is so much different from that of ‘Ch. III: The Undefined’ and the rest of the album’s entries. ‘Salvation,’ which closes out the album, changes things up even more with its deep screams and heavy instrumentation. The minor chords used in the guitar line and the punch from the drums and bass pair with the guitar and vocals to give that song a sound that is more comparable to KsE and to As I Lay Dying. That is especially the case considering the contrast of the heavier verses and the more melodic choruses. It is just one more way in which the album’s musical arrangements prove so important to the album’s presentation. Again, the changes from one song to the next are subtle, but those who actively immerse themselves in the album will catch those subtleties and in turn agree that the record’s musical arrangements are so critical to the album.
It goes without saying that the musical content featured in Salvation is important to the album’s presentation. Yes, the record’s musical content is largely metalcore in its approach, but the band presents influences from so many of its more well-known counterparts in the metalcore community from beginning to end, changing things from one song to the next and ensuring the songs maintain their own identity in the process. They are just one part of what makes the record worth hearing, too. The record’s lyrical content is just as important to its presentation as its musical arrangements. The lyrical content in question follows an overarching theme so to speak. According to comments from the band, the album is a concept record that follows a man who is on a personal and spiritual journey of healing. Not having lyrics to reference, the content that can be deciphered leads listeners to hear that story, beginning with the story’s subject at a point of total anger over events of the past. From broken relationships with a certain person or people early on to anger over an absent parent in ‘Like The Wind’ to the subject’s seeming eventual realization that there was no point in holding in so much anger, the story will connect with a wide range of audiences. What’s more, the very fact that a metal act opted to take on a concept record to begin with is of its own note. Generally, concept records are saved for the prog-metal community (E.g. bands, such as Dream Theater, Fates Warning, Between The Buried and Me). So to have a pure metal band, such as this taking on a concept record is in itself unique in terms of lyrical content. To that end, that and the story itself together make the album’s overall lyrical content even more reason for audiences to give this album a chance. It is just one more item that audiences will appreciate about the album, too. The record’s production rounds out its most important elements.
The production that went into Salvation is important to address because of its role in the album’s general effect. Going back to the note of the intensity of each of the album’s arrangements, they are exactly that. There is a lot going on in each arrangement between the instrumentations and the vocals. Even in the case of the vocals themselves, the production that went into balancing the screams and clean vocals played its own role. The end result of all of that work from one song to the next is that each arrangement is professionally balanced. No one band member overpowers his band mates at any point. The slightest nuances, such as keyboard lines even play their own important part and add their own layer of engagement and entertainment to the songs. That is again, thanks to the time and effort put in to balancing those lines with everything else in each song. All things considered, the production that went into Salvation gives the album a fully positive general effect. Keeping that in mind along with the role of the album’s musical arrangements in general and with the role of the album’s lyrical content, and the whole makes the album overall a work that AWSW’s established audiences will find just as appealing as more casual metalcore fans.
Salvation is a positive new offering from As Within So Without. That is due in large part to its featured musical arrangements. The arrangements are important to the album’s presentation because they take audiences into so many sub realms (of sorts) of the metalcore community. The changes from song to song are subtle, and listeners who actively take in the album will catch those subtle changes. The lyrical themes that accompany the album’s musical arrangements are just as important to its presentation as the album’s musical content. That is because of their accessibility and the very fact that they play into a bigger concept for the album. That a metal band decided to take on a concept for a record is itself rare, making for even more reason for audiences to hear the album. The record’s production puts the finishing touch to its presentation. It gives the album a strong general effect through the balance that it insures in the album’s instrumentation and vocals. Each item examined is important in its own way to the whole of the album. All things considered, they make Salvation a positive addition to this year’s field of new hard rock and metal albums and independent albums.
Salvation is available now. More information on As Within, So Without’s new album is available along with all of the band’s latest news at:
Independent hard rock band As Within, So Without debuted its latest single and companion video this week.
The band premiered its new single, ‘Salvation’ and its video Wednesday. The single is available to stream and download through Spotify and Apple Music. It is the title track to the band’s new album, which released Wednesday, too.
The premiere of ‘Salvation’ and its video comes more than a month after the band premiered the album’s then latest single, ‘Like The Wind‘ and its companion video. The band premiered the album’s lead single, ‘My Revelation‘ and its companion video in October.
The musical arrangement featured in ‘Salvation’ is a heavy, crunching work. The richness and heaviness in the combination of the instrumentation and vocals immediately likens the arrangement to works from the likes of Unearth, As I Lay Dying, and Killswitch Engage.
No information was provided about the song’s lyrical theme in the news release announcing the premiere of the new single and video. The lyrics provided with the video hint at a theme of overcoming life’s adversity and obstacles.
The video that accompanies ‘Salvation’ features the band performing its new single in a semi-forested setting. Meanwhile, an anonymous figure stands in the ocean waves, letting them crash around his feet. The band’s song plays over the visualization as all of this happens.
More information on As Within, So Without’s new single, video, and album is available along with all of the band’s latest news at:
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