BY: PHILIP SAYBLACK

Early this past March up-and-coming progressive rock act The Far Cry released its sophomore album, Once There Was.  Released independently by the band, the 64-minute record is a presentation that fans of the genre’s founders and current notable acts will find worth hearing at least once.  That is due in part to the musical arrangements that make up its 15-song body.  The lyrical themes that accompany the album’s musical content are of their own interest and add some more reason for listeners to take in the record.  The production puts the finishing touch to the presentation.  Each item is of its own importance to the album’s presentation.  All things considered they make Once There Was a record that prog fans will agree is worth hearing at least once. 

Once There Was, the recently released sophomore album from The Far Cry, is a presentation that prog-rock fans will agree deserves at least some attention.  That is due in part to its musical arrangements.  Speaking technically, the album is spread across 15 songs, though the vast majority of those songs are actually “movements” in the album’s fourth song, its title track.  Over the course of all of those tracks, what audiences get is essentially a presentation of the history of progressive rock.  There are influences of bands, such as Yes, Genesis, and even Emerson, Lake and Palmer peppered throughout the record.  At the same time, just as evident is the influence of other more modern acts that continue to emulate the sound and style of those acts, including and not limited to Spock’s Beard, The Flower Kings, and Transatlantic.  This is evident in the vocal delivery style of front man Jeff Brewer, the work of keyboardist Chris Dabbo, and even the specific drumming style and sound of Robert Hutchinson.  Simply put, the band does not necessarily break any new ground in regard to the prog-rock realm through the album’s overall musical content, but it is still interesting to hear the band’s take on such a familiar sound and style.

On another note, the album’s lyrical content makes for its own share of interest.  ‘Unholy Waters,’ the album’s opener and its longest track, for instance – the song clocks in at 14 minutes, 10 seconds -- , is allegedly centered on the waters of the infamous Bermuda Triangle and other similar locations of the world’s waters.  This is inferred as Brewer sings in the song’s lead verse and chorus against the sound of blowing winds and even a plane engine in the opening bars, “Further than the eye can see/Over the rim is a mystery//Messages sent/Though truth concealed/In each event/No reason revealed.”  This points clearly to so many disappearances around the world of aircraft and ships that have vanished without explanation.  He adds later in the song, “Moving across a vast expanse/We realize/You are taking a chance…Yet no one knows the tragic events.”  Some of the lyrics are a little difficult to decipher sans a lyrics sheet but the message is clear, especially as Brewer and his band mates further add, “Sailing ships and flying machines/Never again were they to be seen/Forces and elements they didn’t know/Unholy water above and below.”  Between everything that has happened to aircraft and ships in the Bermuda Triangle, the disappearance in recent years of the infamous MH-370 airliner, and so many other incidents the world over, the song becomes even more gripping, especially considering the upbeat nature of the song’s arrangement.

The biggest example of the interest in the album’s lyrical content comes in its expansive fourth song, its title track.  This song comes across as a sort of concept record within the bigger picture of the album.  It follows the people of a fictional town who take into account their present, future and past.  At least that is how this critic interprets the whole.  It is an intriguing tale spread across the larger body of the record that is certain to engage and entertain listeners.

‘The Following’ is another deep lyrical presentation.  It centers on a young man dealing with an existential matter over the course of its nearly seven-minute run time.  The gentle, flowing piano line that opens the song conjures thoughts of Jordan Rudess’ work on so many Dream Theater records while the vocals that pair alongside the performance gives the song more of a Spock’s Beard type work.  The inferred theme comes as Brewer sings, “Why do you let them/lead you there/Why feel the need to follow/The reason is empty/The idea is hollow/Why do you follow/An innocent child is born to this world…Living a story/High hopes of glory/For the winning/but there will be losing/May he run in the fields/The grass and the trees/Will bend to the breeze/Can he feel which way the wind’s blowing/taking his first steps to learn as he’s growing/So he’s reaching/With a need to be knowing/And to feel the wind blow.”   Some of the lyrics are, again difficult to decipher sans lyrics sheet.  But the seeming message is clear enough, regardless.  Here is a young man whose fate seems controlled but eventually he reaches that point where he starts to question everything.  The existential rumination that follows is a matter to which so many listeners will be able to relate.  That is because so many people have been in that exact same position at one point or another in life.  When this topic is considered along with the other noted lyrical material featured throughout Once There Was, the whole therein makes clear the importance of the album’s lyrical content.

Rounding out the most important of the album’s elements is its production.  From one song to the next, those behind the boards ensured listeners’ engagement and entertainment by balancing the instrumental and vocal performances to the best of their ability.  Yes there are a few minor hiccup moments but for the most part, the production ensures the aesthetic presentation of Once There Was is just as strong as that of its overall content.  Keeping that in mind, the collective content and production of Once There Was makes the album a presentation that while not groundbreaking, still a record that progressive rock fans will agree is worth hearing at least once.

Once There Was, the sophomore album from The Far Cry, is an interesting new offering from the independent, up-and-coming progressive rock act.  Its interest comes in part through its featured musical arrangements, which lift liberally from the past and present of the prog-rock community.  At the same time, each song still boasts its own identity even with the easy comparison to works from so many other more well-known prog-rock acts.  The lyrical content that accompanies the album’s musical content makes for its own interest.  That is because at points it is familiar and unique in its delivery.  In another – the album’s opener – the song’s lyrical content is unique, being that few if any other bands have ever touched on the examined subject.  The record’s production rounds out its most important elements.  That is because of the positive aesthetic that it ensures for the presentation.  Each item examined is important in its own way to the whole of the record.  All things considered they make Once There Was a prog-rock record that deserves to be heard at least once.
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Once There Was is available now.  More information on the album is available along with all of The Far Cry’s latest news at:

Website: https://thefarcrygroup.com
Facebook: https://facebook.com/thefarcry

BY: PHILIP SAYBLACK

Early this past April, Meshuggah re-issued its 2022 album, Immutable, through Reigning Phoenix Music.  The band’s most recent album, it was originally released through Atomic Fire Records and named by Metal Hammer magazine as one of the best albums of the year at the time of its release.  Coming literally three years after its release, this re-issue is an intriguing presentation.  That is because in its new presentation, it is anchored by a trio of live performances recorded during the band’s tours in 2023 and 2024.  There is no other extra content to speak of, which is what leads to the intrigue.  All three songs – ‘Kaleidoscope,’ ‘Ligature Marks,’ and ‘God He Sees in Mirrors’ – are also all included as tracks in the album’s original body.  They will be addressed shortly.  The rest of the album’s body is of its own interest and will be addressed a little later.  The production rounds out the whole of Immutable.  It will also be discussed later.  Each item noted is key in its own way to the whole of the album’s presentation.  All things considered they make the recent re-issue of Immutable a presentation worth hearing at least once.
Reigning Phoenix Music’s recent re-issue of Meshuggah’s Immutable is an intriguing new presentation of the band’s 2022 album.  Its interest comes in large part through its bonus content.  The bonus content in question is a trio of live tracks.  The songs in question are all tracks included in the original album and the band’s performance of each is solid in its live setting.  Very little is added to each performance in the way of content, too.  This as the run times of the original songs and the live performances are within only seconds of each other in regard to run times.  Keeping that in mind, the live performances are a nice way to help promote the band’s current tour schedule, but otherwise only add but so much to the presentation.  What’s more, there is video footage of at least one of the clips but no video clips added to the re-issue so it kind of detracts from the recording more.  Either way, the added live tracks are at least something of a bonus, albeit a minimal bonus.
Knowing that the bonus content is at least somewhat positive, looking at it in the bigger picture with the rest of the album’s body, it extends the listening experience for audiences that much more.  The studio tracks offer their own interest.  Case in point is ‘They Move Below.’  The nearly 10-minute composition blends elements of prog-metal a la TesseracT with the band’s extreme metal leanings for its own unique presentation.  One could even argue that the use of the keyboards makes for some comparison to works from Dream Theater, if Dream Theater’s work was heavier than it already is.  The whole is a fully unique work that is sure to engage and entertain audiences.  ‘Phantoms,’ which comes a little earlier in the album’s run, is another example of the strength of the album’s primary content.  The heaviness in this song’s arrangement is incomparable to anything else on Meshuggah’s new album.  The wall of sound that it presents blends elements of Djent, death metal, and deathcore for another presentation that is unique in the band’s catalog and in comparison to works from any other band.  ‘Black Cathedral,’ which comes late I the album’s run, is another notable addition to the record.  The guitar riff featured here is full on black metal at its finest.  Even though the song barely tops the two-minute mark, it is just so intense.  It is another track that holds its own easily against the rest of the album’s entries.  When it and the other songs examined here are considered alongside the rest of the albums’ entries, the whole therein makes the primary body of Immutable the real anchor of this re-issue.
Rounding out the most important of the re-issue’s elements is its production.  As has been noted, this record is heavy and intense from beginning to end.  From the screaming vocals to the wall of sound approach used throughout each song, there is so much going on.  There are albums out there past and present that have clearly required painstaking attention to detail.  This album is no exception to that rule considering how much is going on.  Thankfully every vocal performance and every instrumental performance is expertly balanced, ensuring the fullest, richest presentation in each track.  On that same note, the audio production of the live performances is just as clear.  To that end, the aesthetic impact of the production is positive both in regard to the album’s primary and bonus content.  When this is considered along with the record’s primary body and the minor addition of the three live clips, the whole therein makes the recent re-issue of Immutable a work that audiences will find worth hearing at least once.
Reigning Phoenix Music’s recent re-issue of Meshuggah’s 2022 album, Immutable, is an intriguing presentation.  Its primary selling point is its three live performances, makes for some appeal.  The issue though, is that the trio of live audio recordings is the only bonus content featured in the re-issue.  So it is a good addition, but not something to write home about.  That makes the album’s primary body its main anchor, and that anchor is solid because of the general presentation of the arrangements.  The record’s production puts the finishing touch to the presentation.  That is because of the aesthetic impact that it has on the recording.  Each item examined is important in its own way to the whole of the recording.  All things considered they make Immutable’s re-issue a presentation that the band’s most devoted audiences will appreciate.
Immutable (Indelible Edition) is available now.  More information on the record is available along with all of Meshuggah’s latest news at:
Website: https://meshuggah.net
Facebook: https://facebook.com/meshuggah
Twitter: https://twitter.com/meshuggah

BY: PHILIP SAYBLACK
​
Hard rock and metal fans have had a lot to be happy about this year.  New releases from the likes of Pop Evil, Machine Head, and Killswitch Engage are just a few examples of how much the hard rock and metal masses have had to appreciate so far this year.  Ther are also highly expected new albums on the way from Dirkschneider and the Old Gang,  Shadows Fall, and others on the way, too.  While audiences wait for those upcoming records, there is still lots of other engaging and entertaining fare already available, including Arch Enemy’s latest album, Blood Dynasty.  Released March 28 through Century Media, the 11-song album (the band’s 12th) is another strong new offering from the veteran extreme metal outfit, as the five singles it produced have shown.  There are other songs worth noting that point out the album’s strength, not the least of which being ‘March of the Miscreants.’  ‘Vive Libre,’ one of the album’s later entries, is just as notable in its own right.  Much the same can be said of ‘Don’t Look Down.’  This and the other two songs noted here work with the album’s expansive list of singles and that whole with the album’s remaining works to make the whole a work that Arch Enemy’s established fans will appreciate just as much as more casual fans.
Blood Dynasty, the recently released 12th album from Arch Enemy, is a strong new offering from the veteran melodic death metal outfit.  It is a presentation whose musical and lyrical content alike will appeal to a wide range of audiences, as its expansive list of singles has already shown.  While those songs make up nearly half of the album’s body they are not the only songs that show the album’s strength.  ‘march of the Miscreants,’ one of the album’s early entries proves to be its own notable entry.  The album’s third entry, the song clocks in at just under five minutes (four minutes, 50 seconds to be exact).  Part of what makes the song so notable is the musical direction that the band took with this song.  The arrangement here is centered on a guitar riff and rhythm section that is more akin to vintage Fear Factory works than any of the extreme metal sounds that Arch Enemy itself has crafted.  Even in the choruses, the melodic approach is a different approach, even with some of the subtle familiar speed/thrash leaning for which the band has come to be known in place.  Even with that stylistic similarity, the band still manages to make the song its own work, giving the work its own unique identity.
The lyrical message presented alongside that engaging and entertaining musical arrangement adds to the song’s impact.  The message in this case is that familiar call to listeners to be proud of themselves and to stand up against what they believe is wrong.  This is clear as front woman Alyssa White-Gluz screams in the bridge, “Will you take a stand/or bend your knee and bow?/Onwards and upwards/Feel the heat/No retreat/Unbowed/Unswayed/Snatching victory from the jaws of defeat/From the shadows/We shall ascend/Triumphant/Triumphant and free.”  That message is just as clear in the song’s lead verse, which finds White-Gluz noting, “In realms obscure/Forever underground/We see the world with different eyes/Hell-bound to this heretic sound/Never give up/No compromise.”  That very statement to “never give up/No compromise,” alongside the note of “the miscreants” seeing things “with different eyes” brings home the noted message even more.  It is a message overall that is easily accessible and familiar.  To that end, it works with the song’s equally powerful and unique musical arrangement to make the whole its own example of how much Blood Dynasty has to offer audiences.
‘Vive Libre,’ which comes late in the album’s 43-minute history, is another prime example of how much Blood Dynasty has to offer audiences.  That is due in part to its own musical arrangement.  Where ‘March of the Miscreants’ is a heavy, intense work with a fully accessible and familiar lyrical message, ‘Vive Libre’ takes audiences in a completely different direction.  Exhibiting clear 80s rock influence, the verses have what can be easily considered a doom metal style approach.  That very juxtaposition of sound and style within the song makes for plenty of interest.  White-Gluz’s vocal delivery style is comparable here, to that of Lita Ford or to a slightly lesser degree, Joan Jett while the instrumentation presents the noted equally unique approach.  The whole herein makes ‘Vive Libre’ quite the departure for the band this time out and welcome at that because of that nature.
Looking at the song’s lyrical theme, comes across as being a sociopolitical commentary of sorts.  This is inferred as the song, which is sung entirely in French (thank goodness for Google Translate) states in the song’s lead verse and chorus, “On the surface/The waves of hatred/Where sobs cause pain/With words/Of healthy phrases/The ideals/Of a vain idea/To live free/Oh live free/And survive to live free.”  It comes across as someone wishing for that freedom again; freedom “covered” by that hatred and the “ideals of a vain idea.”  The desire for that freedom continues to seemingly be stated in the song’s second verse, which states, “Too much death/For an idea/And too many bodies/Desperate/In a setting of freedom/Still seeking the truth.”  This is an intriguing way to address the seeming message.  To that end, the delivery style and the seeming message itself work with the song’s musical arrangement to make the whole another notable addition to Blood Dynasty helping to show the album’s strength.
One more of the more notable of the album’s entries comes late in the album’s first half in the form of ‘Don’t Look Down.’  This is another interesting musical addition to Blood Dynasty in that right from its outset, the full throttle metal riff by Michael Amott is a throwback to the thrash of the late 80s and early 90s.  It is another of so many changes of sound and style featured throughout the album that is certain to engage and entertain audiences.  When that approach is paired with the band’s more familiar melodic death metal approach, the whole comes together to make this arrangement yet another impressive, unique work that so many audiences will appreciate.
Audiences will appreciate just as much, the song’s lyrical theme, which comes across as another presentation encouraging listeners to be strong.  This is inferred as White-Gluz screams in the song’s lead verse and chorus, “Piercing thorns of venom/Grow in the minds of the weak/Mother nature gave us/:Lips to conceal our teeth/Not wind, nor hail, nor thunder/Will hinder the tall poppy’s climb/From the ashes/Rise up/Reach out for that speck of sky/Listen/You’ll hear your name/Praise echoes as disdain/Stand your ground/heavy is the head that wears the crown/Because the nail that sticks up/Gets hammered down/Stand your ground/No one is a prophet in their hometown/Never look down.”  The “poppy” is metaphor for a person, and those obstacles are metaphor for the obstacles that would otherwise hold a person down.  That mention of the nail that gets hammered down comes across as metaphor for the person who stands strong gets beaten down by those whose praise “echoes as disdain.”  This is a strong seeming statement.  If it is the correct interpretation, the result therein is a message that is sure to connect with plenty of audiences.
The seeming message continues in the second verse with even more metaphor as White-Gluz screams, “As the sickle dances/To decapitate the queen/It’s such a sick romance/That blades of grass can cut so deep/Time for harvest/pay the piper/A crescent moon to turn the tide/As the song of insects/Grinds away the still of night.”  There is a lot of contrarian visualization here.  The blade of grass being able to cut so deep is comparison to something seemingly so harmless being secretly capable of so much emotional damage.  That contrast of the moon controlling the tides while the insects “grind away the still of night” builds on that message, with the most unlikely things having so much impact.  Again this is all this critic’s interpretation.  If the interpretation is, again, even close to being correct, then it is a message that is delivered in a unique way and that is powerful in itself.  Keeping that in mind along with the engaging and entertaining musical arrangement featured in the song, the whole makes the song yet one more unique addition to the album that continues to exhibit the album’s strength.  When this song and the others examined here are considered alongside the album’s singles and that collective with the rest of the album’s entries, the whole therein makes Blood Dynasty clearly another welcome addition to this year’s field of new hard rock and metal albums that will certainly appeal to Arch Enemy’s established audiences and to casual metal fans alike.
Blood Dynasty, the latest album from Arch Enemy, is a strong new offering from the veteran melodic death metal outfit.  The album’s singles have already made that clear.  They show that throughout the record the band has really taken a new creative musical direction.  The same applies to the songs examined here.  The lyrical themes that accompany those songs make for their own engagement and entertainment.  When these songs are collectively considered alongside the album’s remaining offerings, the whole makes Blood Dynasty another successful offering from Arch Enemy and one more of this year’s top new hard rock and metal albums.
Blood Dynasty is available now through Century Media.

BY: Philip Sayblack

​Alt-rock outfit Spin Doctors is an act that deserves so much respect.  That is because over the course of its 30-year-plus life, the band has pushed on through matters that would have (and have) led so many of its contemporaries to call it quits long before and kept making music.  From front man Chris Barron’s vocal issues years ago that could have ended his career, to dealing with issues with record labels, to lineup changes, to band members being busy along the way with their own side projects, the band could have easily just called it quits long ago. 
That trend continued this past April as the band, in its current iteration, released its latest album, Face Full of Cake.  The 12-song presentation, released through Capitol Records, is an enjoyable new offering from the veteran band, as its four already released singles – which make up the first half of the album – have shown.  They are just some of the songs that show how much the album has to offer.  ‘Double Parked,’ which closes out the album’s first half, is its own notable addition to the record.  It will be addressed shortly.  ‘The Buddha oh the Lawn,’ which is part of the album’s second half, is just as notable.  It will be discussed a little later.  ‘When You Got Turmoil On Your Mind,’ the album’s closer, is one more example of the album’s appeal.  It will also be examined later.  All three songs work in their own way to make this record worth hearing.  When they are considered along with the album’s singles and that whole with the remaining entries, the whole therein makes Face Full of Cake a welcome return for Spin Doctors and an equally welcome addition to this year’s field of new rock records.Face Full of Cake, the latest album from Spin Doctors, is an impressive new offering from the veteran alt-rock outfit.  That is especially notable considering the fact that it is the band’s first new album in more than a decade (12 years to be exact).  The album’s singles, which make up most of the first half of the album, make that clear in their own way and are only part of what audiences have to appreciate.  There are other notable entries in this record, such as ‘Double Parked,’ which closes out the record’s first half.  This song is notable in part because of its musical arrangement.  The arrangement is a dual style presentation.  The verses are light and subdued and honestly somewhat comparable to lighter works from the likes of King’s X.  The choruses meanwhile are slightly heavier and more clearly blues based.  The duality of that presentation, the back and forth of the musical approaches herein make the arrangement a solid foundation for the song.
Building on that foundation is the lyrical theme featured alongside that content.  The lyrical material here comes across as coming from the vantage point of someone who is in a very negative head space.  Barron even sings in the song’s chorus, “Doing my best/I’m deeply depressed/You can’t pet every dog that barks/Remind me to tell you why/The tub’s full of shark/ But it’s a long story and I’m double parked.”  That depression becomes even clearer in the song’s lead verse and chorus, in which Barron’s subject sings, “Head in the clouds/And I’m afraid to fail/Got a knife in my shoulder/And I can’t inhale/I try to quit/But I can only quail/And I lost my card that says/”Get out of jail”/Plastic people with electric books/Dogs on the street all giving me looks/Not enough shepherds and too many crooks/Not enough mermaids and too many hooks.”  Those “electric books” could be a reference to all the fake people out and about on their phones, making it all about themselves while the mention of there being not enough shepherds and too many crooks is clearly a reference to there being too many bad people and not enough good.  The subject’s frustration at it all is clear in this wording.  The frustrations continue in the song’s chorus as Barron sings, “Foot on the brake/And a face full of cake/I took off my shoes and stepped on a rake/Single shot/Double take/Bad faith for goodness sake.”  Again, here is a statement of the subject trying to do good but only getting punished for it.  The heavier edge to the chorus’s musical approach makes even more sense considering this.  The mood is edgier here.  It comes across as the frustration reaching a point between the verses and choruses.  To that end, the whole of the song’s musical and lyrical content makes clear why ‘Double Parked’ is another notable addition to Face Full of Cake.
‘Double Parked’ is just one additional example of what makes Face Full of Cake worth hearing.  ‘The Buddha On The Lawn,’ which comes early in the album’s second half, is another example of the album’s appeal.it is the antithesis of ‘Double Parked.’  Where that song was edgy and contemplative, ‘The Buddha On The Lawn’ is a celebratory song  Right from the song’s opening bars, guitarist Eric Schenkman pays homage to the classic rock sounds that built the foundation for today’s rock.  The most notable comparison is to works from the likes of Lyrnyrd Skynyrd.  The overall southern rock approach and sound here is certain in its own right to engage and entertain audiences as it is presented alongside the song’s lyrical theme, which is itself a loving recollection of the past.
Whether being about Barron’s childhood or someone else’s, the story is still fun, too.  That is because of the loving memory that is presented about the subject’s dad and how he decorated his lawn with things like gnomes and pink flamingos.  As the song continues, the subject says he is facing the same issue with his wife that his own dad had with his mom.  It is just a fun, lighthearted story that together with the song’s equally infectious musical arrangement, is sure to resonate with audiences.
As the album reaches its finale, ‘When You Got Turmoil On Your Mind,’ the mood changes dramatically.  The whole of the song’s arrangement is a subdued, contemplative work that is so beautiful in its pained delivery.  Even being so difficult to take in, it still will resonate with audiences in its own right because it is presented in such honest fashion.  This especially as it pairs with the song’s lyrical content.
That lyrical content does not try to offer any consolation.  It just points out what people go through in those tough situations.  What is so interesting here is that taking this approach is actually a good thing.  That is because it says to audiences, these matters are what they go through, rather than just trying to be sappy and schmaltzy.  Audiences can read and hear the delivered words and say to themselves, “that’s exactly right.”  In making that connection with listeners, said content will let audiences know they are not alone in their trials and tribulations.  To that end, this lyrical content and its delivery style works expertly with the song’s equally rich musical arrangement to make for a powerful final statement from Spin Doctors on its latest album.  It works with the other examined songs and that whole with the album’s singles and other songs to make the whole one a welcome return from Spin Doctors and a welcome addition to this year’s field of new rock albums.
Face Full of Cake, the latest album from Spin Doctors, is a presentation that the band’s established audiences will agree is a welcome return from the veteran alt-rock outfit.  Its singles, which make up the record’s first half, make that clear through their musical and lyrical content.  Much the same can be said of other entries, such as the songs examined here.  When that whole is considered alongside the remainder of the record’s offerings, the whole therein makes Face Full of Cake a return that audiences will agree was worth the wait and that is a welcome addition to this year’s field of new rock albums.
Face Full of Cake is available now through Capitol Records.  More information on the album is available along with all of Spin Doctors’ news at:
Website: https://spindoctors.com
Facebook: https://facebook.com/@spindoctorsband
X: https://x.com/spindoctorsband

BY: Philip Sayblack

​Up-and-coming thrash metal outfit Phantom unleashed its latest album, Tyrants of Wrath, to the masses Friday through independent record label High Roller Records.  Spanning 11 songs, the band’s sophomore alum (and third studio recording overall) is a work that any metal purist will find worth hearing.  That is due in no small part to its featured musical arrangements, which will be addressed shortly.  The album’s lyrical themes build on the foundation established by the musical arrangements and ensure listeners’ engagement further.  This will be discussed a little later.  The record’s sequencing rounds out its most important elements, ensuring each musician’s performance is balanced with the work of his band mates.  It will also be discussed later.  Each item noted is key in its own way to the whole of the album’s presentation.  All things considered they make Tyrants of Wrath a welcome addition to this year’s field of new hard rock and metal albums.
Tyrants of Wrath, the brand-new sophomore album from Phantom, is a work that any metal purist will find worth hearing at least once.  The record’s appeal comes in part through its featured musical arrangements.  Throught the course of its roughly 47-minute body, the arrangements lean heavily on classic Slayer influence.  However at points there are some changes.  Case in point is the album’s second entry, ‘The Tower of Seth.’  The song opens with a riff that conjures thoughts of vintage Metallica and Megadeth.  From there, the song launches into that noted full-on homage to vintage Slayer.  ‘Thunderbeast,’ the album’s very next entry opens with a tiff that immediately leans in the classic Eddie Van Halen style before going back into that Slayer-esque approach.  ‘Nocturnal Opus 666’ is another interesting change of style.  This fully instrumental composition is a solo piano work.  The mysterious sound and style makes it sound like something one might expect to hear in a vintage silent film, such as Cat and the Canary.  When the songs noted here are combined with the rest of the record’s entries, the whole therein makes for a strong foundation for Tyrants of Wrath.
Building on the foundation established by the musical arrangements is the lyrical content that accompanies said material.  Throughout the course of the record, the lyrical themes range from fantasy type things that sound like something right out of a Dungeons and Dragons game to more introspective material while still having that fantasy lean.  Interestingly enough, front man JC Mecrohex said of the songs’ lyrical themes, are “mainly vampires, castles, warriors, death, axes, swords.”  That is evident throughout the course of the record as there are songs about hordes of warriors fighting (‘Violent Invasion’), a person going to the underworld (‘Nazghul’) and even some general horror (‘Dance of the Spiders’).  Those songs and the likes of ‘The Tower of Seth’ all fit the noted themes.  At the same time audiences could argue that ‘Thunderbeast’ for instance could double as a commentary about warfare while ‘Nimbus’ is one of those empowering pieces reminding people to not give up.  Looking at all of this and the rest of the album’s lyrical themes, the whole therein makes clear why the lyrical content featured in this record is as important as the album’s musical arrangements.
Putting the finishing touch to Tyrants of Wrath is the record’s production.  As has been noted, much of the musical content featured throughout the album is very much an homage of sorts to Slayer, what with the clear stylistic approach used in so many of the arrangements.  That means that these works are all extremely loud and heavy, leading to the need for the utmost attention to detail.  Those behind the boards are to be commended for their work as each arrangement is pummeling but also very immersive and rich.  Keeping that in mind, the result thereof is that the record proves just as worth hearing for its production as for its content.  When the content and production are collectively considered the whole therein makes Tyrants of Wrath a record that metal purists and Slayer fans alike will find engaging and entertaining. 
Tyrants of Wrath, the brand-new sophomore album from Phantom, is a strong new offering from the up-and-coming metal outfit.  The album’s success comes in part through its musical arrangements, which exhibit a heavy (no pun intended) vintage Slayer influence.  There are some additional elements (E.g. a riff very much in the vein of Eddie Van Halen at one point and what sounds like a silent horror flick type work in another moment).  The whole makes the arrangements reason enough to take in this record at least once.  The lyrical themes that accompany the album’s musical arrangements are of their own interest what with their lyrical themes that conjure thoughts of works from Exmortus.  The record’s production puts the finishing touch to the whole.  It ensures the record’s aesthetic appeal is just as positive as its content.  Each item examined is important in its own way to the whole of the record.  All things considered they make Tyrants of Wrath a welcome addition to this year’s field of new hard rock and metal albums.
Tyrants of Wrath is available now through High Roller Records.  More information on the album is available along with all of Phantom’s latest news at https://facebook.com/phantommetalband.

BY: Philip Sayblack 
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​Pop Evil is a band that like many others, clearly does not sit idly on its laurels.  Since the release of its debut album, Lipstick on the Mirror in 2008, the band has spent no more than three years between the release of each album that has followed.  Sometimes fans’ wait for new music has not even reached three years and each album has been received to its own deserved acclaim.  Late this past March, the band continued that trend when it released its seventh album, What Remains.  The band’s second release through MNRK Heavy, it is also some of the band’s best work to date if not its best album yet.  That is due to both the musical and lyrical material that makes up its 32-minute body.  Each of the four singles that the album has already produced – ‘Wishful Thinking,’ ‘What Remains,’ ‘Deathwalk’ and ‘Side Effects’ – have already proven that.  They are only some of the songs that support the noted statements.  ‘Knife For The Butcher,’ the penultimate entry in the 10-song record, is another example of how that collective content makes What Remains so strong.  ‘Zero To None,’ which is part of the album’s second half, is another example of how that collective musical and lyrical content makes What Remains a solid new offering from Pop Evil.  ‘When Bullets Miss,’ the album’s opener, is yet another example of how much this record has to offer audiences.  When it is considered alongside the other songs noted here and that trio alongside the album’s singles and the remainder of its material, the whole makes What Remains easily one of this year’s top new hard rock and metal albums.What Remains, the latest album from Pop Evil, is a record that leaves plenty of excitement that this veteran hard rock band has plenty remaining in its tank.  That is proven from beginning to end of the record, which barely breaks the half-hour mark.  The album’s success is due equally to its musical and lyrical content, as its current singles have already shown.  They are only a snapshot of how that collective material makes the album so strong.  The album has plenty of other offerings that do just as much to make it stand out among this year’s field of new hard rock and metal albums.  Not the least of those other songs is the album’s penultimate entry, ‘Knife For The Butcher.’  This song’s musical makeup makes it stand out because it is another exhibition of the growth the band shows throughout the album.  Right from the outset of the precisely three-minute song, audiences get a work that is easily comparable to works from Imagine Dragons.  That is evident through the use of the keyboards and electronics alongside front man Leigh Kakaty’s rhythmic delivery.  This is mostly prominent in the song’s verses.  The choruses meanwhile get far heavier, that juxtaposing contrast of styles making for such a hard hitting work.

The infectious musical arrangement featured in ‘Knife For The Butcher’ becomes even more impacting when it is set against the song’s lyrical theme.  In the case of this song, the theme in question comes across as someone who has had enough of the negative actions of others.  This is just this critic’s interpretation.  It is inferred as Kakaty sings in the song’s lead verse and chorus, “Keep me sitting in the dark/In a violent room/With a beating heart/I think that you took too much/And your number’s up/’Cause you went too far/You been racking up debt/I think it’s time to collect/You’re gonna play with the dead/Why would I settle for less/They say an eye for an eye/I say a tooth for a tooth/We can make ‘em come loose/Hand another knife to the butcher/Standing in line/Waiting for the end/Blood on your hands from the slaughter/Cut you down/We’ve been misled/Here’s another knife for the butcher/Running out of time/It’s a lonely death/I can spare your life/But I wouldn’t/Cut you down/Leave you for dead.”  That mention of a person racking up debt and it being “time to collect” speaks volumes.  It comes across as someone saying the things that person has done have added up and now the devil’s going to get his due so to speak.  That added mention that the song’s subject could “spare your life/But I won’t” adds to that statement.  This is a powerful statement that this person has had more than can be taken and that the other person is going to get what they deserve.  At least that seems to be the case with this song.  When such wording, in its power, is considered alongside the power of the song’s musical arrangement, the whole therein makes the overall song another clear example of how much What Remains has to offer.

Another example of the album’s overall success comes a little earlier in its run in the form of ‘Zero To None.’  The album’s eighth track, ‘Zero To None’ is another example of the aforementioned growth exhibited by the band.  Instead of the melodic rock that the band has crafted in its existing catalog, this song instead blends elements of melodic hard rock and metalcore for one more of so many unique musical offerings.  The heaviness of the verses conjures thoughts of some of Wage War’s heaviest compositions while the choruses, being more melodic, are comparable to some of Sevendust’s heaviest melodic hard rock compositions.  That dichotomy makes the this song’s arrangement another hard hitting addition to the album.

The song’s lyrical content adds even more to that impact.  In the case of this song, the message comes across as being that familiar theme of determination and defiance against the odds.  This as Kakaty sings, “Caution/They try to lay you down/In your coffin/Buried in the ground/Momentum always torn apart/You’re waiting to strike/But now you’re ready/Revenge always makes a good enemy/No more waiting/There’s nothing left to lose/When the clock runs out/Your time’s up/In the blink of an eye/It’s all on the line/You get one chance/It’s your fight/But you’re not done/You will not run/You’re zero to none.”  That last stanza, noting that “you get one chance…But you’re not done” is the strongest of the ways in which it seems the song tackles that noted theme of determination.  If in fact that is the case, then that message, coupled with the song’s equally powerful musical arrangement, makes the song in whole one more clear example of how much What Remains has to offer and what makes it a success.

Yet one more example of how much this album has to offer audiences comes right from the record’s outset in ‘When Bullets Miss.’  The use of the siren and dubstep against the heavy guitar riff in the opening bars, leading into the almost Saliva-esque nu-metal approach gives audiences yet another blend of familiarity alongside something new.  That heavy side that dominates the remainder of the song pairs with the electronics here to make this arrangement yet another unique arrangement well worth hearing and a strong first impression from Pop Evil this time out.

The musical arrangement featured in this song is unquestionably powerful and infectious.  When it is paired with one simple line from the song’s chorus, the whole makes everything make sense.  Kakaty sings in the line in question, “You took your best shot/But you missed.”  This comes after he additionally states in the chorus, “Now I’m staring down the end of a barrel/I thought it was us against the world/Shell shocked/You pulled back the hammer/Load it up to let it go/You pulled the trigger/Flipped the switch.”  Simply put, this is a statement overall, toward a person who tries to do such wrong to another but didn’t succeed in the end.  It is metaphorical language, but it resonates.  As the song enters its second verse, the message becomes even clearer as Kakaty sings, “There’s no running away/The game’s been played/I’m still alive/I’m not dying today/I’m not dying/GO!”  As with the previously examined song, this is another work that delivers a message of defiance against certain odds, in other words.  When that message is paired with the song’s equally powerful musical arrangement, the whole here makes this one more prime example of what makes What Remains another standout offering from Pop Evil if not its best record to date.  The singles that the album has spawned and the rest of the album’s entries join with this trio of songs and make that even clearer.  All things considered What Remains proves itself not only some of Pop Evil’s best work to date but also one of this year’s top new hard rock and metal albums.

What Remains, the latest album from Pop Evil, is a work that the band’s established audiences will appreciate just as much as casual hard rock and metal fans in general.  This has already been proven through the singles that the album has spawned.  Each of the songs examined here do just as much to make that clear.  When that group of songs is considered along with the rest of the album’s entries, the whole therein makes What Remains one of 2025’s top hard rock and metal albums.

What Remains is available now through MNRK Heavy.  More information on the album is available along with all of Pop Evil’s latest news at: 
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Website: https://www.PopEvil.com
Facebook: https://www.facebook.com/popevil
Twitter: https://twitter.com/popevil

BY: PHILIP SAYBLACK

​Thrash metal outfit Misfire is one of the next big names in the metal and hard rock community.  The band’s recently released sophomore album, Product of the Environment, is proof positive of that.  The album was released May 2 through MNRK Heavy roughly three years after the release of its debut album, Sympathy For The Ignorant.  This record is a step up for the band and definitely cements its place in said community’s current crop of up-and-coming acts.  The musical arrangements featured throughout the 43-minute record make that clear, as the record’s current singles, ‘Left For Dead,’ ‘Living The Dream,’ and ‘We Went Through Hell’ have made clear.  What those singles exhibit is just a portion of how much the album has to offer both musically and lyrically.  The rest of the album’s overall content serves just as well to make that clear.  Each will be discussed a little later.  The production that went into this 12-song record rounds out its most important elements.  It ensures a fully positive aesthetic that makes the record fully immersive.  All things considered Product of the Environment proves to be among the best of this year’s new hard rock and metal albums.Product of the Environment, the forthcoming sophomore album from Misfire, is a solid new offering from the up-and-coming metal outfit.  Over the course of its 12 total songs, it proves this band to be one of the next big names in the metal and hard rock community.  As its current trio of singles show, that is partially proven through the record’s musical arrangements.  From the beginning to end of the album, the arrangements pay direct homage to the bands that laid the groundwork for this and other of today’s thrash acts – Metallica, Megadeth, Anthrax, Slayer, Testament, Exodus — while giving each its own unique modern touch.  The result creates a solid foundation for the album.  ‘Privacy,’ which is part of the record’s second half, is a prime example of this strength.  Throughout the song’s three-minute-plus run time, audiences can hear clear vintage Exodus influence.  That is evident in the rich instrumentation and the equally distinct vocal delivery style.  On another note, the early entry, ‘Day To Day,’ does exhibit some Exodus influence, but the guitar riffs, the drumming, and solid bass line also hint at vintage Metallica and Megadeth thrash.  Yet the band still manages to ensure the arrangement bears its own unique identity, making it another solid example of how much this record has to offer audiences, musically speaking.  ‘End of An Age,’ yet another example of how the band manages so successfully to give the album’s songs such a unique touch.  In its verse, the band clearly exhibits influence of Slayer.  The choruses meanwhile are more akin to some of the compositions that Lamb of God has crafted.  The duality therein makes this one of the most unique additions to the album, musically speaking.  When it and the other songs examined here are considered alongside the rest of the album’s entries, the whole therein forms a solid foundation for Product of the Environment. 
Building on that foundation is the lyrical content that accompanies those arrangements.  The band covers a wide range of topics in the album’s lyrical content.  From the trials and tribulations of going through the bad times to get to the good in ‘We Went Through Hell’ to the reminder to make the most of each day in ‘Living The Dream’ to even bearing the stress of mental health struggles in ‘Born To Die,’ the album’s lyrical themes are sure to resonate with a wide range of audiences.  The band even takes on the rise of artificial intelligence in the aptly titled ‘Artificially Intelligent.’  The theme is clear as front man Tim Jensen sings/screams here, “A perfect formula controls the mind/You terminate the passion of mankind/Blind to this misconception/Hypocrisy skewed perception/It’s dumbing down the human race/Turning passion into artificial waste/Numbs the mind/To clear focused thought/Eliminates all we’ve been taught/Artificially intelligent/Unwilling to change/Eliminate free thought/Pacify your rage/You’ll never think you’re artificially you/Your subconscious never speaks/Artificially true.”  That note of “turning passion into artificial waste” is pretty clear considering all the discussion that continues to be had about the role of AI.  People’s passions, their abilities, are being turned into artificial waste thanks to AI because people are essentially being tossed aside like garbage in favor of AI.  Jensen goes a step further later in the song as he notes that the “exploitation of the mind/rips apart your vanity/Your perception is irrelevant/Blinded by your incompetence.”  He is pointing out how AI has caused people to not think for themselves anymore and become way to reliant on said technology.  It is overall, a powerful yet familiar theme that is certain to resonate with audiences.
The band even goes the sociopolitical root (or so it would seem) in ‘End of An Age.’  Herein, Jensen launches right into the commentary as he notes, “I’ll tell you how it is/This world is made up of lies and corruption/Our foundation wasn’t built on truth/It’s just here to hold our ties/This is the end of an age/Not a new chapter or a new age/The old ways were bought and sold/Now we watch history unfold/Goodbye to evolution/Destroyed by revolution/This is the end of an age/They lost the key to the cage/And after all/We’re all slaves to this broken system/Until we fall/Chained to our beliefs/Killing each other to live.”  He adds in the song’s second verse, “There’s enough proof/So just admit it/It’s history repeating itself/It’s impossible for us to recognize/We’re blinded by a vision created for us.”  The song continues in this fashion in the third and final verse.  The end result is a powerful commentary about how far society has fallen and how it continues to fall.  It is yet another theme that is familiar and accessible.  To that end, it is another example of the power and importance of the album’s lyrical content.  When this and the other themes examined here are considered along with the rest of the album’s lyrical content the whole leaves no doubt as to the strength of the record’s overall lyrical content.  When the overall lyrical content is considered alongside the musical arrangements, the two elements together build a completely solid foundation for Product of the Environment. 
Putting the finishing touch to Product of the Environment is the album’s production.  The production that went into the album’s production is important to examine because of the heaviness of each of the record’s dozen total tracks.  The utmost attention had to have been paid to each song, to make sure each musician’s performance was balanced with those of his band mates.  Luckily, that painstaking attention paid off as each song is completely immersive.  At no point do any of the performances overpower one another.  The rest is that the album’s listening experience proves just as engaging and entertaining for this aesthetic aspect as for the album’s content.  All things considered they make Product of the Environment a powerful new offering from Misfire that is also among the best of this year’s new hard rock and metal albums.
Product of the Environment, the forthcoming sophomore album from Misfire, is a successful new offering from the up-and-coming metal outfit.  The album’s success comes in part through its musical arrangements that throw back to the sounds of the bands that laid the foundation for thrash while also giving each song a modern touch.  The balance of vintage and modern gives each arrangement its own touch that ensures listeners’ engagement and entertainment.  That overall enjoyment is also ensured through the album’s lyrical themes.  That is because the themes are familiar and written in a mostly accessible fashion.  The record’s production puts the finishing touch to its presentation, ensuring audiences will appreciate its aesthetic side as much as its content.  Each element examined is important in its own way to the whole of Product of the Environment.  All things considered they make the album a solid new effort from the band that is easily among the best of this year’s new hard rock and metal albums.
Product of the Environment is available now.  More information on the album is available along with all of Misfire’s latest news at:
Website: https://misfireofficial.com
Facebook: https://facebook.com/Misfireofficial
Twitter: https://twitter.com/misfiremetal

BY: PHILIP SAYBLACK

This year has been a busy one for the hard rock and metal community.  New releases from the likes of Killswitch Engage, Whitechapel, Alien Weaponry, and Warbringer have already given hard rock and metal fans plenty to of reason to be happy.  Just recently, Pop Evil, Bloodywood, Arch Enemy, and Bleed From Within added to that reason for happiness, as did Memphis May Fire, which released its latest album, Shapeshifter through Rise Records.  Released March 28, the album is the band’s eighth album is a strong new offering from the group.  That is due in part to the collective musical arrangements that make up the album’s 41-minute run time.  The lyrical themes that accompany that content add to the record’s interest and the production of that collective content puts the finishing touch to the presentation.  Each item noted is important in its own way to the whole of the album’s body.  All things considered they make Shapeshifter a welcome new offering from Memphis May Fire.
Shapeshifter, the latest album from Memphis May Fire (the band’s seventh for Rise Records and eighth overall), is an interesting new offering from the band.  Having come a little less than three years after the release of its then latest album, Remade in Misery, the 10-track record is a presentation that the band’s established audiences will appreciate, as will more casual audiences.  This is due in part to its featured musical arrangements.  The arrangements are of note because in comparison to works from the band’s existing catalog there is some familiarity alongside clear signs of growth.  The heavy, crunching riffs for which the band has come to be known and even some of the vocal harmonies are there at points, such as the album’s single, ‘Overdose.’  Those riffs are front and center, as are the clean vocals alongside the sharp screams from front man Matty Mullins.  Much the same can be said of the likes of ‘Paralyzed,’ and ‘Love Is War.’  The comparisons are just as easy to works from Of Mice & Men, another metalcore outfit just as well-known and respected as Memphis May Fire.  On another note, a song, such as album opener ‘Chaotic’ is more of a mainstream style composition along the lines of works from Pop Evil, believe it or not.  It is an exhibition of the noted growth that the band shows this time out.  On yet another note, a song, such as ‘Shapeshifter,’ the band exhibits yet more familiarity through the intensity of this song to earlier works from its catalog.  At the same time, the song boasts its own identity even with that stylistic similarity noted.  The near death metal growls and razor sharp guitar riffs and rich, pounding rhythm section makes this one of the album’s most notable entries.  When it and the other songs examined here are considered alongside the rest of the album’s entries, the whole of that musical picture makes clear why the album’s musical arrangements are so important to Shapeshifter’s presentation.
Adding to the album’s interest is the lyrical content that accompanies the examined musical arrangements.  Case in point is the theme at the center of ‘Necessary Evil.’  Mullins said in an interview promoting the album that its central lyrical theme is “a journey through the layers of deception, self-reflection, and the struggle to find what’s genuine in a world full of pretense.”  He continued in said statement, “We wanted Shapeshifter to embody that feeling of losing and finding yourself, over and over, until you finally see what’s real.”  Now on that note, ‘Necessary Evil’ follows that theme in its own way as Mullins sings of a person battling his inner struggles and that the battle is “necessary evil.”  This as Mullins sings in the song’s lead verse and chorus, “Back full of thorns in a bed full of roses/Take the pleasure with the pain/Double doses/Stuck in a rage/Can’t escape the emotion/’Cause I try and I try/But I lose every time/I try to change anything in the timeline/Life’s a game and only won in the mind’s eye/Looking for a way out/But it’s all just in vain/Time won’t wait and there’s no sequel/Waste away to thread the needle/Weighed down/’Cause it all ends the same/Life is pain and love is lethal/It’s all necessary evil.”  Again, here is Mullins’ note that the band wanted the record to “embody that feeling of losing and finding yourself…”  The realization here that we have to take the good and bad together is part of that process of finding oneself.    To that end, the song is a prime example of the importance of Shapeshifter’s lyrical themes.
Another example of the importance of the album’s lyrical content comes through ‘Paralyzed.’  Referring back to Mullins’ comments about the album’s overall theme, this song would seem to center on the matters of losing as a person seems to be battling addiction.  In this case, the seeming addiction would be to drugs.  This as Mullins sings, “Every day’s a vicious cycle/And I’m stuck on repeat/I’ve been overmedicating/waiting/Praying for peace/I guess it’s death or deliverance/But it’s not up to me/’Cause the devil’s dealing cards/And he’s playing for keeps/Night after night/hear my soul keep saying/”Fight for your life” but my will feels wasted/Heart is racing/Body shaking/No escaping/Think I’m paralyzed/Out of body and out of mind/I’m lost in the fight or flight/Terrified/Think that I might be outta time/Now I need a lifetime/I’m calling/Somebody please/make me believe I can breathe/I try to scream/Is this a dream/Or am I paralyzed?”  This is someone who has lost a lot due to addiction.  It is someone who has lost himself.  The mentions of dopamine deficiency and adrenaline kicking in during the second verse adds to the sense that this is someone battling addiction and what comes with the associated withdrawal.  This person is self-reflecting on what he has caused and the associated loss.  It is right in line with the noted overall theme, and is certain to resonate in its own way with audiences, too.
One more example of the strength of the album’s lyrical content comes in the form of ‘Versus.’  The album’s penultimate entry, its lyrical theme seems to center on the self-reflection of what happens when a war of words starts between two people.  This is inferred as Mullins sings, “I don’t wanna do this/You don’t want excuses/And who knows what the truth is/Guess it’s useless/When I lay down my weapon/And you sharpen yours/Think you’re twisting the words/This is worth fighting for/I’ll take off all my armor/If you drop the sword/We could leave it all on the floor/I don’t see why we can’t stop it all/Before the worst begins/If you only knew/When somebody starts a war that never ends/Nobody wins.”  The song’s subject wants to bring this struggle to an end peacefully, not carry on the war while the other person clearly wants it to go on.  This is clear self-realization.  Truly nobody wins when someone starts a war that never ends, and it never ends when one person constantly twists the words of another simply to keep the war going because he or she just wants to keep it going.  This is a situation to which plenty of people can relate, and it is a situation that fits the album’s overreaching theme, too.  To that end, it is one more example, again, of the importance of the album’s lyrical content.  When it and the content examined here is considered along with the remainder of the album’s lyrical content, the whole therein proves fully that import.
Knowing the impact of the lyrical and musical material featured in Shapeshifter, there is one more item to note of the record.  That item in question is the record’s production.  The production is to be commended.  That is because of the balance that it ensures between the vocals and the instrumentation in each track.  The two sides compliment one another well throughout the album, making sure that neither side washes out the other at any point.  The positive aesthetic impact that results does its own share to engage and entertain audiences.  When that impact is considered along with the impact of the album’s overall content, the whole therein makes Shapeshifter a work that established Memphis May Fire fans are certain to appreciate.
Shapeshifter, the latest album from Memphis May Fire, is a work that the band’s established audiences are sure to appreciate along with more casual listeners.  That is due in part to the album’s featured musical arrangements.  The arrangements are of note because they present some familiarity and growth from the band, giving audiences “the best of both worlds.”  The lyrical themes that accompany that musical content adds to the album’s interest.  That is because it all successfully follows the album’s central theme while also taking on various topics along the way.  The record’s production puts the finishing touch to the whole of the presentation, ensuring a positive aesthetic impact.  Each item examined is important in its own way to the whole of the record.  All things considered they make Shapeshifter a mostly successful new addition to Memphis May Fire’s catalog that deems worth hearing at least once.


Shapeshifter is available now through Rise Records.  More information on Memphis May Fire’s new album, single, video, and tour is available along with all of the band’s latest news at:
Facebook: https://www.facebook.com/MemphisMayFire
Twitter: https://twitter.com/MemphisMayFire


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