By: Philip Sayblack

​Independent rock act Baby and the Nobodies released late last month, its latest album, Ready or Not.  Clocking in at just over half an hour (32 minutes to be exact), this 8-song record is just the band’s third full-length studio recording.  It is worth hearing at least once, as is shown through its musical and lyrical content.  ‘Kings and Queens,’ the third of the album’s entries, is just one of the songs that serves to make that clear.  ‘Here I Am,’ which comes in the album’s second half, is another example of the ability of the record’s content to make it worth hearing.  ‘Nothing For Me,’ the album’s second track, does much the same.  Each song noted does its own share to make the record worth hearing.  When they are considered alongside the album’s other tracks (which focus primarily on the all too familiar topic of relationships) the whole makes the record in general worth hearing at least once.
Ready or Not, the latest album from Baby and the Nothings, is an interesting new offering from the band that its established audiences and newer audiences alike will find worth hearing.  That is proven through its musical and lyrical content, as is shown in part through one of its early entries, ‘Kings and Queens.’  The song’s musical arrangement is an immediately infectious work what with its DIY garage punk style presentation.  The power chords and the steady, simple time keeping pair with the bass line and the vocals to make the whole at times comparable to works from Dropkick Murphys and at others to works from the likes of The Ramones.  That whole is the epitome of the old adage that less is more.
The lyrical content featured alongside the album’s musical arrangement adds to its interest.  As with so many punk songs, this one’s theme is a familiar anti-establishment protest.  This is made clear as vocalist Rebecca Terry sings, “Got no love for the human race/Got no time for saving grace/You can’t politicize what I’m thinking now/Everybody’s choosing sides/Losing friends over all the lies/You can’t believe what I’m hearing now/Kings and queens make beggars of us all/The government-owned media must fall.”  This is all sung in very controlled fashion, but the message is as fiery as it is in so many punk acts’ works.  Terry continues her scathing socio-political commentary as she sings in the song’s second verse, “Ain’t no one gonna change the world/By repeating everything you heard/I can’t believe how divisive we’ve become/Take the writing off the page/Twist it around/Define your rage/Until the world has finally come undone/Kings and queens make beggars of us all/The government-owned media must fall.”  Again, this is a sharp indictment of everything going on.  People on both sides continue to just parrot everything they hear and read instead of thinking for themselves, only making the hyper partisanship in this country all the worse, and unless something changes it is only going to get worse until…well…the world comes undone.  Keeping that in mind, the song’s statement is clear and simple.  When combined with the song’s simple, infectious musical arrangement, the whole therein makes ‘Kings and Queens’ a clear example of what this record has to offer.
‘Here I Am,’ one of the album’s later entries, is another of the album’s more notable offerings.  In the case of this song, the band continues to offer something of a punk vibe, only this time, tempers it with something more of a Chrissy Hynde edge.  The pairing is unique but still manages to somehow work.  The edge that the arrangement proves infectious in its own right. 
The energy in the song’s musical arrangement pairs well with the composition’s lyrical theme, which comes across as being a commentary about certain celebrities and their egos.  That is just this critic’s interpretation.  This is inferred as Terry sings in a seemingly sarcastic tone, “You see me on the street/Take a picture/’Cause it won’t last/I won’t be around that long/You’ll see/Watch me acting out/In the movie/On your television/Play the part/Like I wrote the part for me/Here I am/Everybody wants me/Here I am/Everybody wishes they were me.”  That chorus seems to point not only at celebrity ego but people’s obsession with celebrity.  The rest seems to sort of make fun of the celebrities who act out in public, making so many negative headlines with their bad behavior.  Again, this is all this critic’s own interpretation.  The seeming commentary continues as Terry sings, “See my name in lights/Billboards and posterized/A diva on the cover of a magazine/Take yourself away/Follow me/Don’t follow me/The creator and the vision of your dreams/Here I am/Everybody wants me/Here I am/Everybody wants to be me/Here I am/Everybody loves me/Here I am/Everybody wishes they were me.”  This seems as clear as ever to be a commentary about celebrities and their egos.  These are people who are completely caught up in themselves once they become famous.  They are the celebrities that are proof that more often than not, people should not want to meet their heroes and favorite celebrities.  If in fact this is what the band was trying to convey with this content, then message received and well done in so doing.  When the seeming theme is considered along with the infectious groove of the song’s arrangement, the whole therein makes the song in whole another example of why this record is worth hearing at least once.
‘Nothing For Me,’ the album’s second entry, is yet one more example of what Ready or Not has to offer audiences.  In the case of this song, the arrangement is far less punk than the other songs examined here.  Rather in the case of this song, there is more of a Joan Jett and the Black Hearts comparison that can be made while also blending in a touch of 80s hair metal influence.  The whole is its own infectious work that stands on its own merits.
As in the case of ‘Here I Am,’ the song’s musical arrangement pairs well with its lyrical theme, which in this case, leaves room for interpretation.  This as terry sings, “Always like a come and go/I read it in a magazine/Falling like a burning torch/Living like an undertaker/Like a falling star/Lost in your tunnel vision/No room for a heart/I’ve got something that I wanna say/There’s nothing you can do for me.”  That chorus seems like an accent on the statement and points to perhaps someone being upset at another because that other person is not making time (or has not made time) for another, and that anger has reached a point, because “there’s nothing you can do for me.”  The seeming tale of a relationship issue continues here in the song’s second verse, which states, “Feels like your time is coming/Tighten up the noose/Like a freight train rollin’/This time you’re gonna lose/Loose lipped tourniquet/Treat you like a star-crossed lover/I’ve got no regrets.”  Having no regrets means seemingly being done with that other person, this because it “feels like your time is coming.”  Again, this is just this critic’s own interpretation.  If in fact that is the case, then the message here is definitely one that will relate easily to audiences; this despite the reality that it is just one more f so many songs on the album that focus on that one overarching theme.  When this song and the others examined here are considered along with the rest of the album, the whole makes Ready or Not a presentation that is at least a welcome addition to this year’s field of new independent albums.
Ready or Not, the latest album from baby and the Nobodies, is a work that the band’s established audiences and newer listeners alike will find is worth hearing at least once.  This is proven through its musical and lyrical content.  The songs examined here make that clear.  When they are considered along with the album’s other songs, the whole therein make the album in whole a welcome addition to this year’s field of new independent albums.
Ready or Not is available along with all of Baby and the Nobodies’ latest news at:
Website: https://babyandthenobodies.com
Facebook: https://facebook.com/babyandthenobodies
Twitter: https://BabyandNobodies

By: Philip Sayblack

​The 1980s was a key era for the rock community here in the United States.  Bands, such as Motley Crue, Ratt, Poison, Dokken, Def Leppard, and so many others became household names and since then have maintained their place among the upper echelons of rock.  For all of the fame and fortune that said bands earned and continue to hold to this day, there are plenty of other acts out there who have since remained just under the mainstream radar.  One of those bands is a little glam/sleaze rock act from the United Kingdom known as The Quireboys.  From the release of its debut single, ‘Mayfair’ in 1988 to its latest album, 2024’s Wardour Street, the band has maintained its own level of fame, having released a total of 13 albums, more than a dozen singles, and eight live recordings, the most recent of which having been released late last month in the form of Live at Rockpalast 2007 & 1990.  For those less familiar with Rockpalast, it is a famous German television show that has hosted some of the biggest names in the music community.  ZZ Top, the Stray Cats, Michael Schenker Group, The Grateful Dead, The Police, and countless others have had the honor of playing the show, which could be argued to be Germany’s answer to America’s Austin City Limits.  This two-concert recording from The Quireboys at the famed concert show is an interesting presentation that while imperfect is still worth taking in at least once.  That is due in large part to its general presentation, which will be discussed shortly.  The set list meanwhile, is slightly disconcerting.  It is not enough to doom the recording but certainly does not help the presentation, either.  The set’s packaging rounds out its most important elements.  This will also be addressed later.  Each item noted is important in its own way to the whole of the recording.  All things considered they make The Quireboys Live at Rockpalast 2007 & 1990 a presentation worth hearing at least once.
The Quireboys Live at Rockpalast 2007 & 1990, the recently released live recording from The Quireboys, is an intriguing new offering from the veteran glam/sleaze rock outfit.  For those less familiar, the band can be compared to the likes of L.A. Guns, Motley Crue and certain others of its American counterparts.  The most notable of the recording’s positives comes in the form of its general presentation – its production.  The audio and video is top quality throughout each performance.  The camera cuts, the edits, and the general editing in post gives audiences the best seat in the house.  Thanks to the work done in post-production, the cuts and edits move right with the energy in each song, adding to the aesthetic impact of each work.  The sound balance is just as deserving of praise.  The end result of the positive production is that audiences are certain to remain engaged if only for that reason, considering that it will leave audiences feeling so immersed in the concert.
While the production of The Quireboys’ new live recording collectively offers much for audiences to appreciate, the set list featured herein is not so much the case.  The set list featured in each concert is largely a presentation of the band’s 1990 debut album, A Bit of What You Fancy.  Between the two concerts, the whole album is presented.    There are two other songs featured here, the band’s debut 1988 single, ‘Mayfair,’ and ‘The Finer Stuff,’ which is included in the band’s 2007 album, Well Oiled.  There is no other content here in these two concerts.  Front man “Spike” (a.k.a. Jonathan Francis Gray) offers no explanation for that focused set list in either concert within the liner notes included in the set’s companion booklet.  So, this makes for even more disconcert primarily in the 2007 concert.  The band had so much material from which to pull but instead focused on that one album, just as in the 1990 concert.  Keeping all of this in mind, it is not enough to doom the recording but it certainly does nothing to help the presentation, either.
Knowing that the set list in each of the concerts is not enough to doom the recording, there is one more positive to note, that being the packaging.  Offered as a three-disc set, the set features the concerts on two separate CDs and a standalone DVD.  All three discs are housed in the classic oversized jewel case package with each sitting in its own spot inside the case.  Yes, the case is a bit bulky but that is OK.  The discs being in their own spots makes it easy to remove and replace them without concern about the discs marring one another in the process as a result.  This means that the discs’ lifespans are of no consequence.  Knowing this, the recording’s packaging and its general presentation work together to make for at least some motivation to take in this recording at least once.
The Quireboys Live at Rockpalast 2007 & 1990, the latest live recording from the veteran glam/sleaze rock band, is an intriguing presentation.  It has its positives, mainly in its general production and its packaging.  The positive aesthetic from the production and the longevity that the packaging ensures for the discs does plenty of positive.  The concerts’ set lists meanwhile are problematic as they both separately and collectively focus almost entirely on the band’s debut album from way back in 1990.  Keeping all of this in mind, the whole of The Quireboys Live at Rockpalast 2007 & 1990 proves to be a presentation from the band worth hearing at least once.
The Quireboys Live at Rockpalast 2007 & 1990 is available now through Made in Germany (MIG) Music.  More information on the concert is available along with all of The Quireboys’ latest news at:
Facebook: https://facebook.com/quireboys
X: https://x.com/thequireboys

By: Philip Sayblack

Twenty-five years ago, when Slipknot released its debut self-titled album, the nine-man metal machine from Des Moines, IA was just another face in the crowd so to speak.  In the quarter century since then, the band has gone on to become one of the biggest hard rock and metal acts in the world, constantly changing and evolving its sound (and lineup almost as much).  Early last month, Roadrunner Records marked the anniversary of the release of the original record with a new two-disc 25th anniversary re-issue of the presentation.  While it is an interesting presentation, the recently re-issued record is an offering that the “maggot corps,” the band’s fan base (of which this critic is part) may actually find somewhat disappointing, considering the band’s legacy.  It is not a failure, though.  There are some positives, the most obvious being the added content that comes with the record.  At the same time the extra content featured here does leave some wanting for a little more.  This will be discussed a little later.  On the more negative side is the lack of any real examination of the band’s legacy anywhere in or on the record.  There are no liner notes to celebrate and discuss said item, which is disheartening.  While this is not enough to doom this latest re-issue of Slipknot, it certainly would have enhanced the presentation.  To that end, there is at least one more positive to note, that being the record’s packaging.  Each item noted plays its own crucial role in the bigger picture of Slipknot’s 25th anniversary re-issue.  All things considered they make this record imperfect but still enjoyable if only to a point.
Roadrunner Records’ recently released 25th anniversary presentation of Slipknot’s 1999 self-titled debut album is a presentation that is imperfect but enjoyable at least to a point.  The record’s primary positive is the bonus content contained on its second disc.  The bonus content in question is a total of 13 extra tracks – demos, remixes, and even some songs that did not make the final cut for the album.  Two of the tracks, ‘Interloper (demo)’ and ‘Despise (demo)’, are actually carry-over tracks from the album’s original extended digipack release. 
On a related note, that digipack released also featured the songs ‘Me Inside’ and ‘Get This.’  ‘Me Inside’ is carried over here but as a demo instead of the final cut, it is also presented as a demo.  ‘Get This’ meanwhile is completely omitted from this presentation.
On yet another note, ‘Eeyore,’ which has gone on to become a favorite of Slipknot’s fans, was originally included in the original album as a “hidden track.”  In the case of this album however, it closes out the bonus disc as its own extra.
The Jay Baumgardner mixes of ‘Surfacing,’ ‘Only One,’ and ‘No Life,’ join the demo versions of ‘Wait and Bleed,’ and ‘Prosthetics’ as being really enjoyable in their own right considering how much more “raw” they come across as being in comparison to what audiences get in the original album.  It makes for a great side-by-side that audiences are sure to appreciate.  Additionally, the addition of ‘Purity’ and the Ulrich Wild mix of ‘(sic)’ add even more for audiences to appreciate.  The Ulrich Wild mix of ‘(sic)’ is so raw in comparison to the final product, too, ensuring even more for audiences to appreciate.  It is just sad that Roadrunner did not also carry over the song’s “Molt-Injected Mix” from the album’s 10th anniversary re-issue.
Speaking of content not carried over, this is where things start to get a little bit dicey.  There are so many great extra tracks featured in the 10th anniversary re-issue that could have been presented here for those who do not have that re-issue.  At the same time, the fact that the original presentations of ‘Me Inside’ and ‘Get This’ from the original digipack release were also not carried over here just makes this re-issue start to feel like so many movie re-issues that have suffered with various extras from one iteration to another.  This is exactly the same sort of situation, only with music instead of video.
Though if audiences wanted, they could also argue that the 10th anniversary re-issue having a full-length concert recording and this re-issue not even having that is disappointing in its own right, too.
Now the standard rebuttal that likely would come from Roadrunner Records is that including any live recording would probably push up the record’s cost and that is something audiences would dislike.  There is some truth to that point but knowing this band’s legacy and the amount of content this band has crafted and that has become so beloved among Maggots the world over, that is something those fans would likely overlook.  Without all of that, this record just begins to feel like a cash grab for Roadrunner Records.
Making the situation even more difficult in regard to extra content is that there is nothing in the re-issue’s companion booklet in terms of discussion on the band’s legacy.  This is something that many audiences might not forgive.  Considering that Slipknot has gone from being just another face in the crowd in 1999 to being one of the most influential acts in the metal community today, it would have been a nice touch to pay that homage to the band, its rise, current place in the metal community.  This plays even more into things considering all of the videos that were posted to the band’s official Facebook page leading up to the album’s re-issue and that there was even a retrospective of sorts on the band in the bonus DVD included in the album’s 10th anniversary re-issue.  Even the band’s hit live recording, Day of the Gusano included insights throughout from the band in which the band discussed their own thoughts on the band’s influence.  Keeping all of this in mind, this is another disappointing aspect of the record’s re-issue.  Between this shortcoming and the included and omitted extra tracks here, there is a lot left to want in the bigger picture.  It leaves a true Slipknot fan wanting for more and feeling like this record is just a cash grab for Roadrunner Records.
While all of the noted omissions and inclusions make for a mixed bag presentation for the 25th anniversary re-issue of Slipknot, there is at least one more positive to note.  That positive is the record’s packaging.  The original album disc and the bonus are contained inside the jewel case, each on its own spot on either side of the moveable tray inside the case.  This protects the discs from marring one another and in turn extends the life of each disc.  It would have been easy for Roadrunner to have gone the route of a cardstock gatefold package that sees the discs in their own side.  When opened up, such packaging allows discs to slide right out and in turn potentially get damaged.  To that end, this is actually a positive that audiences will appreciate along with what extra content is included.  Keeping that in mind, the overall presentation that is the 25th anniversary re-issue of Slipknot proves to be far from a perfect celebration of this ground breaking and still influential metal act but still at least somewhat enjoyable.
Roadrunner Records’ recently released 25th anniversary re-issue of Slipknot’s self-titled debut album is a mixed bag presentation.  It succeeds, at least in part, due to its bonus tracks.  At the same time, when one compares the extra tracks featured here to those included in the original release’s digipack and those in the record’s 10th anniversary re-issue, some questions and concerns start to come to light.  The same applies to the lack of any discussion on the band’s place in the metal community, its rise to the community’s upper echelons and other related items in the re-issue’s companion booklet.  The booklet features original publicity shots of the band included in the original album and track listing for each disc instead, nothing more.  There is no denying that this is collectively problematic for the record.  It is not enough to doom the record, though but certainly is still concerning.  To that end, there is at least one more positive, that being the packaging.  On the surface, the packaging may not seem all that important, but in reality, it plays its own crucial role in the album’s longevity, as has been discussed here.  Each item examined is important in its own way to the whole of the re-issue.  All things considered this latest presentation of the album that started it all for what is one of metal’s most influential current acts is sadly one of the more forgettable of this year’s album re-issues.
Slipknot’s 25th anniversary re-issue is available now through Roadrunner Records.  More information on the album is available along with all of Slipknot’s latest news at:
Website: https://slipknot1.com
Facebook: https://facebook.com/slipknot
Twitter: https://twitter.com/slipknot

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By: Philip Sayblack

Early this year, Buckcherry returned with its latest album, Roar Like Thunder through Round Hill Records and Earache.  The band’s 11th album, it was released June 13, barely more than two years after releasing its then latest album, Volume 10, which was also released through Round Hill Records.  The 10-song record is everything that audiences have come to expect from Buckcherry musically and lyrically.  In other words it does not necessarily break any new ground for the band but even with that in mind, is still a mostly enjoyable offering.  One of the most notable of the album’s entries comes right from the outset of the 31-minute record in the form of its title track.  ‘Blackout,’ the album’s midpoint is another example of why this record proves just as solid as Buckcherry’s existing catalog, as is ‘Machine Gun,’ the record’s penultimate entry.  Each song noted does its own part to make Roar Like Thunder enjoyable.  When they are considered along with the rest of the album’s entries, the whole makes this latest offering from Buckcherry one more welcome addition to this year’s field of new rock albums.
Buckcherry is back and in fine form, ladies and gentlemen.  That is evident in the band’s recently released 11th album, Roar Like Thunder.  Released June 13 through Round Hill Records and Earache. The album is 31 minutes of everything audiences have come to expect from the band throughout its catalog.  Even though the record does not necessarily see the band break any new ground, there is still something about the music and lyrical content throughout that manages to make the record fun.  This is evidenced right from the record’s outset in its title track.  Clocking in at barely more than three minutes, this high-energy song starts with a bang and keeps audiences electrified (yes, that horrible pun was intended) throughout the course of its three minute, seven second run time.  Between front man Josh Todd’s vocals, which are as powerful as ever, the solid, intense time keeping of drummer Francis Ruiz (who really is at the heart of the energy in this 2/4 composition) or the work of the guitars and bass, the whole here is as strong of a start as any act can get for a record.  Throughout the course of the arrangement, audiences can easily make comparison to works from the likes of L.A. Guns (in its prime), Guns N’ Roses, and others of that ilk, only more modern.  The impact of the collective’s work is a song whose musical arrangement is a firm anchor for the presentation.
Adding to the song’s interest is its lyrical content, which seems to send a message of making change and making the most of life.  At least it comes across in this fashion.  This as Todd sings in the song’s lead verse, “You want the money/You want the fame/You want a photograph to see it again/Time is the teacher/How will I change/And if I had a choice/I’d feel no pain/Every time I close my eyes/My thoughts get in the way/Hey/what you gonna do/Just me and you/Let’s see it through/And roar like thunder.”  He further adds in the chorus, “You realize/It’s not a crime/Just stay alive/And roar like thunder.”  He continues in the song’s second verse, “We make the conflicts and play the games/Then years go passing by/And nothing’s changed/We want the secrets/To make money rain/And you can’t tell me/You don’t feel the same/So don’t you ever hesitate/It all comes down to faith.”  Here again is what sounds like a call to make things change, to make something of life.  Those notes of nothing changing as years pass and wanting those secrets yet doing nothing about it really seem to further point to the inferred message.  If in fact that is the message then the delivery fashion is unique and definitely in turn, will engage audiences.
Another notable example of the strength of the album’s musical and lyrical content comes in the form of ‘Blackout,’ which serves as the album’s midpoint.  ‘Blackout’ is a great, immediately infectious track.  Clocking in at barely more than three-and-a-half minutes, this blues-based rocker is a solid mid-tempo piece that is sure to be an earworm for established and casual audiences alike.
Lyrically, one is led to believe the song is about getting way too drunk.  At least that is, again, this critic’s interpretation.  This as Todd sings, “Something’s got a hold of my head/I’m fadin’ in and out/I don’t feel so well/I don’t even know what I said/I feel like someone went and just rang my bell/I’m in a blackout/Somebody help me/They call this s*** a blackout/And I can’t come down/What came out of my mouth/Oh no/I blacked out.”  This certainly seems like something that would come from someone who is way too drunk.  The seeming theme continues in the song’s second verse, which states, “I feel like I’m the walkin’ dead/I guess I fucked up/I went off the rails/Didn’t even make it to bed/And lucky for me/I stayed out of jail.”  That last statement about being lucky the person “stayed out of jail” further hints at someone who has had way too much to drink.  If this whole is in fact what seems to be inferred, the whole therein makes for quite an interesting presentation.  That is because while on one hand it seems to celebrate getting that drunk, it could also be argued to be a warning about getting that drunk.  If that is the direction being taken, then the song can definitely be applauded. 
One more notable addition to the record comes in the form of its penultimate entry, ‘Machine Gun.’  Right from its outset, this three minute, 11-second song immediately lends itself to comparison to AC/DC’s timeless hit, ‘Thunderstruck.’  Even as the song progresses from there, the AC/DC comparison continues.  Whether the band intentionally took that creative direction is anyone’s guess.  Either way, it is sure to engage and entertain audiences.
In regard to its lyrical content, this song is definitely one that plenty of male audiences will appreciate.  That is because it is a warning about a certain kind of woman; the kind who as the song states, “don’t like the good boys/Don’t want no ring.”  This is a woman who prefers “the bad boys” while being asked, “Is breakin’ hearts just a part of your scheme?”  There are a lot of women out there like that.  Men are not always the guilty party.  Women can be and many times are, just as bad, and this song expertly illustrates that message, lyrically.  This especially as Todd sings in the song’s chorus, “You better run/She’s a machine gun/Shootin’ the good boys down.”  He further adds of this type of woman, “sharper than a knife/Hotter than steam/No one’s gonna stop you from livin’ your dreams/You don’t like to talk/You’re never comin’ clean/And if you are a nice guy/You won’t be getting’ seem.”  So to all the good men out there who actually want something serious, you’ve been warned.  This is just a nice retort to all of the songs out there that plainly point the finger at men always being the bad ones.  Women can be just as bad.  There are females out there like this.  To that end, this song proves itself especially resonant.  When this direct lyrical theme is coupled with the song’s musical arrangement, the two elements together make for all the more interest and entertainment.  When this song and the others examined here are considered collectively, they paint a vivid picture of how much Roar Like Thunder has to offer audiences.  When they are considered along with the rest of the band’s new album, that whole makes for a presentation that Buckcherry’s established audiences and even more casual listeners alike will appreciate.
Roar Like Thunder, the latest full-length studio recording from Buckcherry, is an enjoyable new offering from the band.  Despite not breaking any new ground musically or lyrically for the band, the record still proves engaging and entertaining.  The songs examined here make that clear.  When they are considered alongside the rest of the album’s entries, the whole therein makes the record overall one more welcome addition to this year’s field of new rock records.
Roar Like Thunder is available now.  More information on the album is available along with all of Buckcherry’s latest news at:
Website: https://buckcherry.com
Facebook: https://www.facebook.com/buckcherry
Twitter: https://twitter.com/buckcherry

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By: Philip Sayblack

​Independent hard rock outfit Remember The Monsters unveiled its latest single, ‘System Override‘ this month.
Along for the ride on this new single are the members of Orgy. Orgy’s influence is evident throughout this industrial/electronic style composition. The rich, heavy guitars and the electronics pair with the vocals to make the whole a powerful wall of sound type approach that is certain to engage and entertain audiences.
According to information provided in the news release announcing the song’s premiere, the single is a sociopolitical commentary. As the information states, the song “paints a picture of a collapsing society through the lens of personal disillusionment and collective struggle. At its core it’s about mistrust, division and the breakdown of systems, whether political, social or spiritual, that once promised stability but now only deliver emptiness and control.”
‘System Override’ is just one of the songs on which Orgy has contributed this month. The band also worked with OddKo on his single, ‘Siren Song‘ this week.
More information on Remember The Monsters’ new single is available along with all of the band’s latest news at https://facebook.com/RememberTheMonstersBand.

By: Philip Sayblack

​Singer-songwriter Kurt Deimer is getting help from a well-known friend for his latest single.

Deimer, whose resume includes work as a horror actor and producer, and former oil industry employee, unveiled his new single, ‘In Deep‘ and its companion video Friday. The song features a guest appearance from Buckcherry front man Josh Todd. The pair’s vocal delivery, coupled with the hard-edged blues rock arrangement collectively makes for easy comparison to works from the likes of Brand New Sin, Jason Charles Miller, and others of their ilk.

The song’s lyrical theme tackles the all too familiar topic of relationships, as explained by Deimer.
“I recently was very lucky to tour with Buckcherry, and Josh and the band were really great,” said Deimer. “Towards the end of this most recent tour, I had been speaking with Josh and he was gracious enough to agree to collaborate on a song together. I had this song I thought he would be perfect on, originally called “He Was Good To Me,” and it was about women unfortunately falling prey to men with bad intentions. He listened to it but wanted to re-do the lyrics. The song now is about how you can get in to a relationship and you are in it too deep. You gotta watch out for those situations. It’s really about thinking before you act and get too involved.”

Deimer continued, “During the creative process when Josh and I got together at Chris Lord-Alge’s studio and I saw Josh in the vocal booth being Josh Todd like he is on stage with Buckcherry and how in to it he was I just knew this had to be my next single. It’s a blessing for me to be able to share my art and Josh was more than gracious to help and be a part of this killer tune ‘In Deep.’ I hope you all enjoy it.

More information on Kurt Deimer’s new single is available along with all of this latest news at:
Website: https://kurtdeimer.com
Facebook: https://facebook.com/Kurtdeimer
X: https://x.com/kurtdeimer

By: Philip Sayblack

Independent hard rock outfit Arsenic Kitchen will release its new EP, Handbook for the Recently Deceased Oct. 25.
In anticipation of the record’s release, the band earlier this month, premiered the record’s debut single, ‘Devil’s Advocate‘ and the song’s companion video. The musical arrangement featured in the new single is an interesting blend of melodic hard rock instrumentation with occasional metalcore style screams. The whole makes for a unique approach. This especially at the point that the creepy bells come in alongside the noted metalcore screams. It conjures thoughts of works from Ice Nine Kills.
The press release announcing the debut of the new single and video did not provide any details regarding the song’s lyrical theme. Lyrics were not provided with the song’s companion video, either. From what can be inferred through a close listen, it would seem the song is literally a song about the grim reaper’s job of bringing the dead to the afterlife. That is just this critic’s interpretation.
Speaking of the song’s video, it features the reaper coming up to various people who have just died and leaving a copy of the “Handbook for the Recently Deceased.” This little bit is sure to get some laughs as it is a direct homage to director Tim Burton’s classic horror comedy, Beetlejuice.
Arsenic Kitchen will premiere its new EP on its release date at a special performance at the Desert Grey Festival in Mesa, AZ. Tickets for the festival are available here.
More information on Arsenic Kitchen’s new single and EP is available along with all of its latest news at:

Website: https://arsenickitchen.com

Facebook: https://facebook.com/ArsenicKitchen

By Philip Sayblack
​
Re-issues have been all the rage it seems this year. Not only in the realm of movies but also that of music.  Foghat recently released its iconic album, Fool For The City.  The Rolling Stones have also re-issued another of its albums recently, as have the likes of Slipknot, The Cranberries, and Jimmy Paige and the Black Crowes among others, with even more on the way before this year ends.  One of those many others worth noting is that of Deep Purple’s 2005 album, Rapture of the Deep.  Released Aug. 29, the record is an intriguing position as it is highlighted by its bonus content more than the original record.  That content is a handful of instrumentals of tracks featured in the original album and one previously unreleased song recorded during the sessions for the record.  While the bonus content is engaging, it does not add but so much to the presentation especially when compared to the album’s previous 2006 re-issue, which was released through Eagle Rock Records, now Mercury Studios.  This will be addressed a little later.  The record’s production, which was handled personally by Roger Glover, rounds out the most important aspects of this record.  It will also be addressed later.  Each item noted is important in its own way to the whole of this re-issue.  All things considered this latest re-issue of Deep Purple’s Rapture of the Deep still proves an interesting new offering that the band’s most devoted audiences will appreciate the most.
Deep Purple’s new 20th anniversary re-issue of its 2005 album, Rapture of the Deep, is an interesting new presentation of the band’s 18th (yes, 18th) album.  The record is an intriguing presentation in large part due to its featured bonus content.  Housed on a second disc, the bonus content in question is primarily instrumental “studio rehearsal” takes of four of the songs featured in the record – ‘MTV,’ ‘Money Talks,’ ‘Back to Back,’ and ‘Before Time Began.’  The fifth bonus track, ‘Closing Note’ is a song that was recorded during the album’s recording sessions by Steve Morse but not included in the final release.  The instrumentals are largely mirror images of their full version counterparts save for ‘Money Talks,’ which includes almost a minute more content at the beginning in the final presentation, and ‘Back to Back,’ whose final opens with a solid, funky drum into for a few bars before the bluesy, almost souful full presentation comes into play.  ‘Closing Notes,’ which closes out the bonus disc, is a simple composition that is so beautiful in its simplicity.  It is another instrumental track but is so rich in its presentation that is yet another example of why Morse remains today one of the most talented and respected guitarists in the rock community.
The bonus tracks featured in this latest re-issue of Rapture of the Deep is entertaining in its own right even being so close in sound and style to the final product.  The thing is that as entertaining as it is, it honestly does not add but so much to the presentation, this especially considering that this is the second time the album has been re-issued since its original release in 2005.  Mercury Studios’ (nee Eagle Rock) 2006 re-issue was also a double-disc presentation, that one featuring eight extras, five of which being live recordings of various Deep Purple songs, one being an updated take of ‘Clearly Quite Absurd,’ another being an outtake from the sessions for the band’s album, Bananas, and the last being another Morse track, ‘Things I Never Said,’ which is another Morse track that never made it onto the album’s original U.S. release.  It was however, included in the record’s Japanese release.  Why all of this content was not carried over to this release is anyone’s guess.  Considering that 2006 re-issue was released through Mercury Studios and this one through earMusic, one has to at least assume the issue is that Mercury Studios owns the rights to those previously released extras.  If in fact that is the case, then the lack herein makes more sense.  If not, then the question remains, why was it not included here?  Keeping that in mind, the inclusion of this content but not the other just makes this latest re-issue feel like just another re-issue.  It is a presentation that is enjoyable but does not really stand out among this year’s field of new album re-issues.
The bonus content and lack thereof in this new re-issue of Rapture of the Deep is not enough to doom the presentation, but does not necessarily help the record, either.  Keeping that in mind, there is at least one more positive to note, that being the album’s production.  The production was reportedly handled personally by Roger Glover.  Glover’s work paid off, as the sound is expertly balanced throughout the album, including in the bonus instrumentals.  In the “full” tracks, the instrumental and vocal performances are expertly balanced.  The “rehearsal” instrumentals balance everything just as well with each musician’s performance.  The result of the clear attention to detail throughout is a positive aesthetic element that gives audiences at least some more reason to take in this album.  Keeping this in mind, that positive effect pairs with the enjoyment offered by the bonus content to make the record in whole a presentation that while clearly imperfect, is still worth hearing at least once.
Deep Purple’s recent 20th anniversary re-issue of its 2005 album, Rapture of the Deep, released through earMusic, is an intriguing presentation.  It is highlighted by its bonus content, which is comprised of four instrumental tracks and one previously unreleased track recorded by Steve Morse during his stint with the band.  There are only two tracks herein that really exhibit any notable difference from the final production, and those differences while notable are minute at best.  The fact that this is the second time that the album has been re-issued, the lack of the bonus content from that previous 2006 re-issue herein does detract from the presentation but not enough to doom the record.  To that end, there is one more notable positive, that being the album’s production.  The album’s production results in a positive aesthetic impact that will keep listeners engaged.  Each item examined here is important in its own way to the whole of Rapture of the Deep’s 20th anniversary re-issue.  All things considered they make this presentation worth hearing at least once and one that will find the majority of its appeal among the most devoted of Deep Purple’s established audiences.
Deep Purple’s 20th anniversary re-issue of Rapture of the Deep is available now through earMusic.  More information on the re-issue is available along with all of Deep Purple’s latest news at:
Website: https://www.deep-purple.com
Facebook: https://www.facebook.com/officialdeeppurple
Twitter: https://twitter.com/_DeepPurple

By: Philip Sayblack

This year has been one heck of an age for metal and hard rock fans.  Over the course of this year, no fewer than 30 great records have been released from the hard rock and metal community, not the least notable being Dream Theater’s new album, Parasomnia.  The band also has a new live recording due out Nov. 28.  This year has also seen notable new releases from the likes of Machine Head, Whitechapel, Grave Digger, and Arch Enemy.  Very soon, Testament’s latest album will add to that list, too. 
Orbit Culture also added to that list Friday with the release of its latest album, Death Above Life.  The band’s fifth album and ninth overall studio recording (counting its EPs), this 53-minute record makes a solid case for the top spot on this year’s list of the year’s top new hard rock and metal albums as its five current singles have already shown through their musical and lyrical content.  They certainly are just part of the overall picture that proves why the album deserves that spot.  ‘The Storm,’ which serves as part of the album’s second half, is yet another example of the record’s strength.  It will be discussed shortly.  ‘Inferna,’ the album’s opener, is another example of the strength of the album.  It will be discussed a little later.  ‘Inside The Waves,’ another of the early entries in this 10-song record, is another solid example of why Death Above Life stands out so well in this year’s field of new hard rock and metal albums.  IT will also be discussed later.  Each item noted is important in its own way to the whole of the record.  When these songs and the album’s current singles are considered collectively and that whole alongside the two remaining songs, the whole makes Death Above Life not only some of Orbit Culture’s best work to date but one of this year’s best hard rock and metal album so far, if not the best so far.
Death Above Life has been one of the most highly anticipated new hard rock and metal albums of 2025, and as its five current singles have already proven, the wait was well worth it.  They are only a part of the picture of how much the album has to offer hard rock and metal fans.  ‘The Storm,’ one part of the nearly hourlong album’s second half, is another example of how much this album has to offer audiences.  The song’s musical arrangement sits at its center.  Right from the outset of the four-minute-plus composition, a comparison to works from Orbit Culture’s fellow Swedes in Amon Amarth comes to mind what with the guttural vocals, and distinct melodic death metal guitar arrangement.  Even with the comparison in mind, the overall arrangement still manages to maintain its own identity separate from anything crafted by Amon Amarth, showing even more why the song is another positive addition to Death Above Life. 
The lyrical content that accompanies the song’s musical arrangement makes for its own share of engagement.  Like so much of the lyrical material in this record, the content here is somewhat nihilistic.  In other words, it is not for everyone.  The imagery that it conjures is like something out of the book of Revelation.  This as front man Niklas Karlsson sings/screams, “The storm/Calling to gather all its forces/This storm/Darkness assemble/We swore/Fires’ll rise in Heaven’s kingdoms/You pray/Nothing will stop these winds from blowing/The storm/Welcome the world’s end/Beneath the oceans/Through the mist and darker waters/I saw the heavens/Rising tall above the graves/Across the wastelands/Through dust and flames of old sails/I saw the dragon/Rising tall above the Earth/The night is calling all of our forces/We march/Flames in the sky/Light up our forces/This void/Pulling the threads of our existence/The winds/Carrying the beast upon its shoulders/In war/Like it or not/You’re in the trenches/The sword/Nothing will stop these men from roaming/Now rise/Welcome the world’s end.”  Karlsson continues in the song’s second verse, “The price of loss is fatal/Indeed, we gave a fight/The price of a thousand soldiers/Left in sands/In the mist of rain and thunder/Indeed, we gave him hell/In horizon/More they come now/Help yourself.”  There is almost a storytelling aspect here about the forces of good and evil fighting.  That mention of the soldiers “left in sands/In the mist of rain and thunder” almost sounds like commentary about the men who died on the shores of Normandy or Iwo Jima.  Odds are that was not what the band was aiming for here, but either way, this seeming encouragement for people to stand up to evil is certain to get audiences thinking.  This and the song’s intense (and familiar style) musical arrangement makes clear why this song is yet another example of how much Orbit Culture’s new album has to offer.
On another note is the album’s opener, ‘Inferna.’  Coming in at just under seven minutes, this song is a powerful first impression for the album.  The band’s familiar death metal leanings are there.  At the same time, listeners could argue that there is also a hint of some black metal guitar work here.  The blend of the screams and clean vocals make for their own unique touch to the whole.  The approach of having the “clean” vocals in the choruses and the screams in the verses makes for such a powerful contrast here.
The lyrical content featured in this song is just as heavy as that in ‘The Storm’ just in its own way.  In the case of this song, the theme seems to be one of someone battling his or her inner demons.  This as it states from tis outset, “The riot starts/I fall/There is no bottom/No peace to obtain/Just blood and the gore/Lost in the part/In siren’s brawl/The flames spread/Leaving wounds on my skin/I succumb to endless damnation/I’m leaving the pain/Can’t say why/Insanity is crawling deep within me/I’m leaving the pain/And I don’t know why/Calamity is crawling deep within me/My life/It is all forgotten/Just chaos and pain/Just cut off the cord/Left in the dark of hospitals/No place to hide/Leaving pills on your bed/I succumb to endless damnation.”  This certainly comes across as someone battling mental health issues.  If that is in fact that case, it is not the only time in this record that the band tackles the topic, either.  It is just presented in its own unique fashion.  The song continues in similar fashion, lyrically speaking, in its second verse, stating at one point, “I’m forever locked in this cage/I’m forever locked in this hell/Forever.”  Again, here is what certainly comes across as that battle with self.  If, once again, that is the case, then this is a theme (and delivery fashion thereof) that is certain to resonate with audiences.
‘Inside The Waves,’ the third of Death Above Life’s entries, is yet one more example of how much the album has to offer audiences.  In the case of this song, it honestly comes across as the most radio friendly of the album’s entries.  The Amon Amarth-esque guitar and bass is present once again but alongside the distinct vocal delivery (which are so similar to that of Dry Kill Logic front man Cliff Rigano), the whole is so subtly different from the rest of the album’s entries that it proves to be just heavy enough to fit into so many active rock radio programmers’ criteria for airplay.  That is just this critic’s view.
As with the album’s opener, this song’s lyrical theme seems to hint at one’s personal mental health battle.  This as Karlsson sings/screams in the song’s chorus, “Inside the waves/I’m meant to be/But drift away/I meant to cut these ties in two/I want to feel it all/All the pain/I meant to cut these ties in two/I’ll break like you/These scars I hide/No refuge from the I’ll keep what’s mine/No shelter in the obsolescence.”  This is a heavy statement.  Karlsson further adds, “It’s all that’s left of me/I’m lost in the sin of my heart/It lies in the ocean with me/The Swirls of currents pull me/Down now beneath the sea/I find it hard to breathe now/I find it hard to see all/I’ll be facing the rest of my broken life.”  This is a sense that so many people have at those lower moments.  Listeners in that heavy space may hear these words and know they are not alone, hopefully offering hope that they are not alone, that they can relate to this situation.  In the end, that understanding can help them to push on.  Keeping that in mind, this song, and the emotional storm that people feel in such a situation illustrated through the song’s musical arrangement makes this song yet one more example of how much the song has to offer along with the rest of the album’s entries.  When it and the other songs examined here are considered alongside the album’s singles and its two remaining songs, the whole makes Death Above Life a record that while maybe not for everyone lyrically, is still an intense work that every metal and hard rock fan will appreciate.
Death Above Life, the latest album from Orbit Culture, is a heavy, intense new offering from the established melodic death metal outfit.  Its musical and lyrical content alike make it one of this year’s most standout offerings so far, as its singles (which make up half of the album) have already shown.  The songs examined here further make that clear.  When that whole is considered with the album’s two remaining songs, the whole makes Death Above Life one more of the best of this year’s new hard rock and metal albums so far.
Death Above Life is available now through Century Media.  More information on the album is available along with Orbit Culture’s latest news at:
Website: https://deathabovelife.com
Facebook: https://facebook.com/OrbitCulture
Twitter: https://twitter.com/orbitculture

By: Philip Sayblack

​Mercury Studios has a brand-new live Peter Gabriel recording set for release in just a matter of days on Blu-ray.  Taking The Pulse is scheduled for release Oct. 10.  Filmed in 2010 in Verona, Italy alongside the New Blood Orchestra, the 16-song set is an interesting new presentation for fans of Peter Gabriel.  The set list is the most important of the recording’s presentation, along with the group’s performance thereof.  While the set list and performance go a long way toward engaging and entertaining audiences, there is at least one negative to note here.  That is the lack of any information in the Blu-ray’s companion booklet regarding the concert itself, the planning, the set list, etc.  That is not enough to doom the recording but certainly would have enhanced the viewing experience.  Knowing this, there is one more positive to note, that being the recording’s production.  The production works with the set list and the overall performance thereof to make this recording another enjoyable presentation that despite its one minor shortcoming, is still mostly a successful presentation.
Taking The Pulse, the latest live recording from legendary singer Peter Gabriel, is a powerful new offering from the former Gensis front man.  The recording’s success comes in part through its set list.  Pulling from six of his then eight studio albums and his “soundtrack” album, Ovo, the set list represents a relatively healthy cross section of Gabriel’s catalog at the time.  This is something that audiences will certainly appreciate. Up (2002) and So (1986) are the two most heavily represented of Gabriel’s albums in the set list.  Just as interesting to note is the mix of songs that make up the set list.  From popular singles, such as ‘Red Rain,’  ‘Digging in The Dirt,’ ‘Solsbury Hill,’ and ‘Blood of Eden’ to other songs, what audiences get here is not just a representation of Gabriel’s catalog at that time but a nice mix of familiar songs and some deeper cuts, too.  So this strengthens the set list’s appeal that much more.
The set list does plenty to make this recording appealing.  The performance thereof by Gabriel and his fellow performers in the New Blood Orchestra make for their own share of engagement and entertainment.  Joining rock and classical is nothing new nowadays as so many audiences know (E.g. KISS, Metallica, etc.)  But there is something about the control that the group displays, the “accents” that the musicians bring to each song, that makes each performance so enjoyable.
The combination of the set list and its performance does plenty to make Taking The Pulse well worth experiencing.  For all of the positives they bring to the presentation, there is one negative to the overall presentation, that being the lack of any information on the concert in the companion booklet.  From what research has found, this concert was not his first with the New Blood Orchestra.  It would have been interesting to have had something on that, whether this was part of a bigger tour, why this concert in particular was chosen among others from that possible tour.  The lack thereof does not necessarily doom the recording but it certainly would have been nice to have had that to enhance the viewing experience.  It would have added to viewers’ appreciation for the concert.
Knowing that the issue with the recording’s companion booklet is not enough to doom the presentation, there is still one more positive to note, that being its production.  Throughout the course of this 57-minute concert, audiences at home get the best seat in the house.  Those with sound bars as part of their home entertainment systems really get the absolutely best experience.  Right from the outset, ‘Rhythm of the Heat’ expertly exemplifies why the production is so impressive.  The growing energy from the orchestra is perfectly balanced with Gabriel’s vocals.  It should be noted here that said expert sound balance continues through to the concert’s end, showing the result of the painstaking efforts in post-production to ensure the concert recording’s sound was at its best, which it is.  As the song crescendos and its energy grows, the editing intensifies to really echo that energy, becoming almost blindingly frenetic right up to its climactic ending.  The full audiovisual experience here is such an incredible experience.
On another note, the lighting throughout the concert adds its own special touch to the whole.  At times, Gabriel takes the lead light while his cohorts in the New Blood Orchestra are subtly highlighted behind him.  At other times, the lighting is reduced even on Gabriel to help escalate the mood of a song.  The editing done in post-production to ensure that overall lighting comes out at its absolute best in the end is to be commended in its own right.
On yet another note, the “double box” effect (broadcast news term there) tossed in here and there throughout the concert is a fun way to really show as much of the performance as possible rather than just the typical single shot from a specific angle as are the semi-music video elements tossed in every now and then for good measure.  Overall, the production that went into Taking the Pulse is just as powerful and impacting as the set list featured in this recording and the collective’s performance thereof.  All things considered they make Taking the Pulse another must have for every Peter Gabriel fan.
Taking The Pulse, the forthcoming new live recording from Peter Gabriel, is a powerful new presentation that every Peter Gabriel fan will appreciate.  It has so much to say to its positive, not the least of which being its set list and the performance thereof.  The set list pulls from most of Gabriel’s solo catalog at the time, giving audiences a nice cross section of his work to that point.  What’s more, that cross section includes songs that were both familiar and deeper cuts.  This really adds to the interest.  The group’s performance of the featured songs is beautiful from beginning to end.  The mood set in each song is perfectly translated through the crescendos and decrescendos.  It is wholly translated through the control in each song’s energy that the group exhibits.  The whole is completed through the production, which ensures all of the sound is balanced and that audiences at home get the best seat.  From the shot edits to the light editing to the sound editing, everything that went into the production results in a viewing experience that is fully immersive for every audience.  To that end, Taking the Pulse proves to be among the best of this year’s new live recordings.
Taking the Pulse is scheduled for release Oct. 10 on Blu-ray through Mercury Studios.  More information on this and other titles from Mercury Studios is available at:
Website: https://mercurystudios.com
Facebook: https://www.facebook.com/MercuryStudiosCo
Twitter: https://twitter.com/mercurystudios
More information on the recording is available along with all of Peter Gabriel’s latest news at:
Website: https://petergabriel.com
Facebook: https://www.facebook.com/PeterGabriel
Twitter: https://twitter.com/itspetergabriel