By: Philip Sayblack

Late last month, metal outfit Defecto unleashed its latest album, Echoes of Isolation to the masses via Frontiers Records.  The band’s fourth album and first for Frontiers Records, it is a powerful new addition to this year’s field of new hard rock and metal albums that deserves to be heard at least once regardless of audiences’ familiarity with this band.  As a matter of fact in taking in the nine-song record, many may find this act to be a new favorite, as this critic has done.  The 42-minute record stands out in no small part through its featured musical arrangements, which will be discussed shortly.  The lyrical themes that accompany said musical material adds to the engagement and entertainment.  It will be discussed a little later.  The album’s production puts the finishing touch to its presentation.  When the production is considered alongside the record’s overall production, that whole makes Echoes of Isolation in whole one of the most surprisingly engaging and entertaining new hard rock and metal albums (if not overall albums) of the year. 
Echoes of Isolation, the latest full-length studio recording from Defecto, is a surprisingly powerful new offering from the Danish hard rock outfit that deserves to be heard at least once.  That is because it is such a surprisingly engaging and entertaining record, as is proven in part through its featured musical arrangements.  From the record’s opener, ‘The Unraveling’ to its title track, which is also its closer, audiences get such a wide range of hard rock and metal all encompassed within these works.  Case in point is a single, such as ‘Heart on Fire,’ which technically serves as the opener for the second half of the record.  Right from the outset of this four-minute opus, audiences get a great work that blends elements of power metal with some Soilwork type guitar work, too.  Front man Niklas Sonne’s vocal delivery adds even more interest with its blend of operatic power and hard rock punch.  As a matter of fact, Sonne could easily be mistaken for Metallica front man James Hetfield not only here but at points throughout the album.  That just makes the record’s musical arrangements that much more engaging and entertaining.
On another note, an even later entry, such as ‘Through Cloak and Bone,’ immediately lends itself to comparison to some of the most intense works from Dream Theater throughout its nearly three-and-a-half-minute body.  Incorporated into that main body is some very intense thrash metal riffing and equally impacting death metal style vocals from Sonne.  This is not the first time the band has taken such an approach in its catalog, but that the band has not necessarily made this approach the norm in every one of its songs makes it all the more powerful especially for new audiences.  To that end it is another prime example of the power of the album’s musical arrangements.
On yet another note, audiences get the album’s closer and title track as yet another example of the power of the presentation’s musical arrangements.  Over the course of its nearly 10-minute run time, audiences get so much progressive metal and rock.  As the song progresses the styles change and do so in decidedly fluid fashion.  It keeps the arrangement fully immersive and in turn engaging and entertaining in its own right.  When this composition and the others considered here are considered alongside the album’s singles (which make up the first half of the album) the whole makes the album’s musical presentation reason enough to take in this record at least once.
The musical body of Echoes of Isolation is just one part of the album’s presentation.  The lyrical body of this record adds even more interest to the whole.  Its singles do the best job exhibiting this.  ‘Sacred Alignment’ for instance tackles the mental health issue of obsessive compulsive disorder.  The band made that clear recently upon the single’s release.  ‘Eclipsed By The Void’ seemingly addresses depression and paranoia.  ‘Eternal Descent’ meanwhile comes across as tackling the matter of suicidal tendencies.  This as the song’s lead verse states, “Spiral down abyss/Shattered dreams/Clenched fists/Eternal darkness rise/Hatred sears the skies/Nexus of despair/Death is lurking there/Boundless, endless night/Soul’s eternal flight.” The song further seems to point in that direction later as the song states, “Crimson rivers flow/Life begins to slow/Ashes fill the air/Buried under fear.”  This is all just this critic’s interpretation but would seem to fit.  Hopefully that is somewhere in the proverbial ballpark.
These noted songs are just part of the bigger picture of the album addressing mental health.  Songs tackling mental health issues (primarily depression) are nothing new to the hard rock community.  But to have an entire album taking on not only that topic but so many mental health disorders, bringing attention to the matter, makes the record’s lyrical content all the more important.  When the overall deep lyrical presentation featured in this record is considered alongside the album’s musical presentation, that whole makes Echoes of Isolation such a powerful, immersive record.  It more than gives audiences reason to take in the album at least once.
Putting the final touch to the album’s presentation is its production.  As noted, the arrangements are intense from the album’s opener to its end.  There is so much to go through.  The attention to every detail in each song results in the instrumentations being expertly balanced with the vocals.  Additionally, the instrumental performances complimented one another just as much from song to song.  The result of that attention to detail is a presentation that is just as immersive and powerful for this aesthetic element as for its content.  Keeping that in mind, the record’s production ties with its content to make the presentation in whole one of the most surprisingly engaging and entertaining hard rock and metal albums released so far this year.
Echoes of Isolation, the latest album from Defecto, is a powerful new offering from the band.  It is proof that great hard rock and metal is not limited to just the United States.  Great hard rock and metal can and does come  from all over the world.  This is proven in part through its musical arrangements, which blend prog metal leanings a la Dream Theater with extreme metal in the vein of Soilwork and that with some death metal leans along the way.  The blending of those influences throughout the album make this record so incredibly intense.  The lyrical themes that accompany the musical content each tackle various mental health concerns.  This is an approach that few if any bands have taken in their albums.  Yes, there are occasional discussions on depression and related topics but it is next to impossible to name a band that has taken an entire album to focus primarily on the different mental health issues from which people struggle.  This original approach adds even more reason to take in the album.  The record’s production puts the finishing touch to the whole, ensuring a positive aesthetic impact.  Each item examined is important in its own way to the whole of the record’s presentation.  All things considered they make Echoes of Isolation one of the most surprisingly welcome new additions to this year’s field of hard rock and metal albums.
Echoes of Isolation is available now through Frontiers Records.  More information on the record is available along with all of Defecto’s latest news at https://facebook.com/defectoband.

By: Philip Sayblack

This coming Tuesday, Walt Disney Studios will release the latest entry in its Tron movie franchise to digital outlets in the form of Tron: Ares.  Ever since making its theatrical debut in mid-October, the movie has been met with mixed reviews among critics and audiences alike.  This critic having not yet seen the movie will avoid discussing either side at this point.  Instead, this critic will examine one thing on which all audiences can agree about the movie, its soundtrack.  Also considered an official Nine Inch Nails release, the 24-track recording was composed entirely by Nine Inch Nails founder Trent Reznor and offers so much to appreciate beginning with the fact that the songs featured throughout the 67-minute record.  This will be discussed shortly.  While the songs featured throughout this soundtrack do plenty to make it appealing, the presentation is not perfect, as its packaging shows.  This will be discussed a little later.  The concerns raised by the packaging are not enough to doom the record.  Knowing that, there is one more positive to note, that being the recording’s sequencing.  The sequencing works directly with the songs featured throughout the record.  Keeping that in mind, the impact of those two items together make for plenty of reason for audiences to own this soundtrack.
Nine Inch Nails’ soundtrack to Disney’s new Tron film, Tron: Ares is the one aspect of the studios’ recently released movie on which all audiences can agree is a definite positive.  That is due in no small part to its featured musical content.  Throughout the course of the album’s hour-plus run time, the songs composed by Trent Reznor throw back to Nine Inch Nails’ 1999 album, The Fragile, at points.  This includes both the songs with lyrics and the instrumental tracks. ‘Echoes’ is one of those songs. One could argue that ‘I Know You Can Feel It’ is another of those works, as is ‘Still Remains.’  At other points, Reznor throws back to the sounds that made up the soundtrack to this movie’s predecessor, Tron: Legacy.  That should make Daft Punk’s fans happy.  That is because Reznor did not try to outdo them but rather pay tribute to them and their work.  ‘Infiltrator’ is one of those songs that clearly throws back to Daft Punk’s work on the aforementioned soundtrack. An argument could also be made for ‘Daemonize’ as one of those throwbacks as well as ‘A Question of Trust.’  At still other points, the songs also sound like they are better fits to the soundtrack to the original Tron movie.  Case in point are songs, such as ‘Forked Reality,’ ‘In The Image Of,’ and ‘100% Expendable.’  Simply put, what Trent Reznor has done here is compose a series of songs that will reach a wide range of audiences while continuing to put his talents as a modern music composer on full display. 
The overall musical body presented in the Tron: Ares sound track more than gives audiences plenty to appreciate.  As much as its musical body does to make it appealing, this soundtrack is not perfect.  The soundtrack’s gatefold packaging for its CD presentation is horrendous.  That is because there is absolutely no way to secure the CD inside the cardstock sleeve as one opens the packaging.  It is so easy for the disc to slide right out, fall and potentially get marred.  The result is that the possible scratching could result in a drastically shortened life span for the record.  Why the people at Interscope and The Null Corporation went this route with this packaging is anyone’s guess.  It definitely detracts from the record’s appeal but thankfully is not enough to doom the presentation.
Knowing that as concerning as the packaging is for the Tron: Ares soundtrack, it is not enough to doom the presentation, there is one more positive.  That positive is the record’s sequencing.  As noted, Trent Reznor has composed here such a wide range of compositions; songs that will appeal to established Nine Inch Nails fans, those of Daft Punk’s work on the previous Tron movie soundtrack, and even those that feel like such a better fit in the soundtrack to the original movie.  Throughout the course of this soundtrack’s 67-minuterun time the sequencing ensures those arrangements change up just enough from one to the next to keep things interesting.  Not only do the sounds and styles change from one song to the next but so do the moods within the songs.  What this means is that audiences who want to truly appreciate the soundtrack absolutely must actively take in this record not just passively have it on as background music.  It is a presentation that like so many Nine Inch Nails music, requires audiences to immerse themselves in the record.  Keeping in mind the appeal that results from the thought and time that went into the soundtrack’s sequencing, the whole therein makes for its own powerful presentation.  When the unquestionably positive impact of the sequencing is considered along with the diverse range of sounds and styles featured throughout the album, the whole makes the Tron: Ares soundtrack (which is also a full, new Nine Inch Nails album) one more of this year’s top new albums overall.  This is the case even with the concern raised by the soundtrack’s packaging.
Nine Inch Nails’ soundtrack to Walt Disney Studios’ movie, Tron: Ares is a powerful new presentation from the act and its founder, Trent Reznor.  It is so impressive in part because of its general musical presentation.  From track 1 to 24, the sounds, styles and moods are so diverse.  There are songs that throw back to the music from the original Tron movie, some that would fit just as well into the soundtrack to Tron: Legacy and even some that are just as familiar for established Nine Inch Nails fans.  The sequencing of that diverse range of songs works with the arrangements to ensure audiences’ engagement and appeal even more.  While the overall presentation is solid, as noted, it is not perfect.  As noted, the album’s CD packaging is a cardstock gatefold offering.  There is no security for the disc, leaving it so easy for the CD to fall out of the package and get damaged.  This is very much a concern but not enough to doom the recording.  To that end, the soundtrack is still among the best of this year’s new overall albums.
Nine Inch Nails’ Tron: Ares soundtrack is available now.  More information on the record is available along with all of the latest Nine Inch Nails news at:
Website: https://nin.com
Facebook: https://facebook.com/ninofficial
Twitter: https://twitter.com/nineinchnails

By: Philip Sayblack

Danko Jones released its latest album last weekend.  The record came Nov. 21 in the form of Leo Rising.  The follow-up to the band’s 2023 album, Electric Sounds, this 11-song record is a step up from that record.  The band’s latest offering, Leo Rising proves itself worth hearing in part because of its musical arrangements.  The lyrical themes that accompany said musical material adds another layer of engagement and entertainment to the whole.  The record’s production puts the finishing touch to its presentation.  Each item noted is key in its own way to the whole of Leo Rising.  All things considered they make Leo Rising one more welcome addition to this year’s field of new rock albums.
Leo Rising, the latest album from Danko Jones (the band’s 12th album), is a mostly successful record that proves itself worth hearing at least once.  That is proven in part through its featured musical arrangements.  From beginning to end of the nearly 40-minute record (37 minutes to be exact), the arrangements featured in here are each their own easy fit for any active/modern rock radio programmer’s play list.  To be more exact, every song is easily comparable to works from the likes of Buckcherry.  The album’s bluesy finale, ‘Too Sick For Love’ could even be argued to be comparable (at least to a point) to works from the likes of Queens of the Stone Age and Clutch.  To that end, that paints the songs as so easily accessible for audiences.  To that end, the infectious grooves established by the band throughout this record make for a solid starting point for the album’s presentation.
The lyrical content that accompanies the album makes for its own interest.  That is because they are just as accessible and resonant with audiences as the album’s musical arrangements.  One prime example of the strength of the album’s lyrical content comes in the form of ‘Gotta Let It Go.’  The album’s ninth entry, this song delivers a familiar uplifting message.  Front man and band namesake Danko Jones delivers the message, singing, “When the going gets tough/And you’re outta good luck/Make sure you’re never getting stuck/Get down/Your eyes can’t deceive you/You know what you’ve been through/So take stock/Get up/And get on the move/Things might have slowed you down/But nobody counts you out/You gotta let it go/Don’t look back/Get back on track.”  As noted this is a straightforward, easily accessible delivery of a familiar theme that is just as welcome in this case as in any song from any of Danko Jones’ contemporaries.  That positive, uplifting message continues in the song’s second verse, which states, “So if your heart was in a mess/And you left under duress/Don’t bother ever looking back/Don’t stop/Follow your intuition/You’ll make the right decision/Look out/Look up/Look on/And get in the groove.”  This reminder to keep going is certain to resonate with so many audiences.  It is just one example of what makes the album’s lyrical themes so important.
Another example of the lyrics’ importance comes in the form of the album’s opener.  Just as positive as the message presented in ‘Gotta Let It Go,’ this song is a full-on celebratory song that raises up the joy of simply rocking out with good music.  This as Jones sings, “If you want it/You got it/We’re gonna give you what you need/If you close your eyes/For just a moment/You might start to hear/That living sound that’s ringing in your ears/It was long compounded into weeks/That turned to years/And it’s still not enough to quell the hunger/It’s so addictive/This craving that you live with/Do you want it/If you want it/You got it/We’re gonna give you what you need/If you want guitars to make you go deaf/We’re gonna give you what you need/If you want that bass/Across your face/We’re gonna give you what you need/If you wanna get beat up/By the big old drums/We’re gonna give you what you need.”  He adds a little later, “Forget about your worries for a moment/They’ll disappear/’Cause that sound was better than you imagined.”  Again, herein is that timeless celebration of the simple joy of rocking out, the power that music has to take a person to another place even temporarily.  It is another simple, accessible message whose accessibility and familiarity in its own right is sure to engage and entertain audiences.
Yet one more example of the strength of the album’s lyrical content comes in the form of ‘Going Blind.’  This song is summed up with the line, “If hindsight’s 20/20/I’m going blind.”  Jones expands, singing, “I found out the hard way/Always the last to know/Just sitting pretty/Nothing to do/Or maybe I’m just too slow/Or maybe I’m fine/Who really knows?/Hardest in the morning/When you got no place to go/Waking up to nothing to do/And you got nothing to show/Or maybe it’s time/But something’s not right.”  He adds further, “Still don’t got a handle/Of where things had to go/Call it confused/Or maybe it’s due/To how I need to grow/Or maybe sometimes/I can’t see the signs.”  This song, while a solid mid-tempo rocker, delivers a seeming story of someone who is in that familiar place of feeling completely lost where they are and unable to make sense of his or her situation.  If in fact that is the case, it is another situation that will resonate with audiences.  Ironically if it is in fact the case, then the song’s arrangement certainly does not align with the mindset here, but that is not necessarily a bad thing.  That is considering how many songs of this ilk are typically so overly emotional and contemplative.  When this theme and the others examined here are considered along with the rest of the album’s lyrical content (much of which centers on women and relationships), the whole makes the overall lyrical content reason in itself for audiences to hear the album.
Putting the final touch to the album is its production.  Throughout the course of Leo Rising’s 37-minute run time, the production shines, bringing out the best from each musician’s performance.  Each performance compliments the others, never overpowering one another at any point.  The result is that each song offers audiences the fullest impact and in turn the whole becomes a fully immersive presentation for listeners.  To that end, the positive aesthetic impact of Leo Rising works with the album’s overall content to make the whole a presentation that the band’s established audiences and more casual rock fans alike will find enjoyable.
Leo Rising, the latest full-length studio recording from Danko Jones, is a mostly successful addition to the band’s catalog that is also a welcome addition to this year’s field of new rock albums.  The album’s success comes in part through its featured musical arrangements.  The arrangements are of note because of their familiarity and accessibility.  The same can be said of the album’s lyrical themes.  They are just as accessible and familiar.  The record’s production ensures a positive aesthetic impact, finishing out the presentation.  Each item examined is important in its own way to the whole of the record.  All things considered they make Leo Rising a presentation worth hearing at least once, as it is a welcome addition to this year’s field of new rock albums, even this late in the year.
Leo Rising is available now.  More information on the album is available along with all of the band’s latest news at:
Website: https://www.dankojones.com
Facebook: https://www.facebook.com/dankojones
Twitter: https://twitter.com/dankojones

By: Philip Sayblack

​Ronnie Romero has been in the headlines a lot this year.  The singer, whose credits include work with Rainbow, The Michael Schenker Group, and The Ferrymen, saw that latter group release its latest album in January.  It was followed up late this spring with a new solo live recording and a brief tour this fall in support of his sophomore solo album, Backbone, which was itself released late last month through Frontiers Music.  That 10-song record is an engaging and entertaining offering in part for its musical arrangements.  The lyrical themes that accompany the noted musical material add to the interest in its own right.  The production puts the finishing touch to the whole, completing the presentation.  Each item noted is important in its own way to the whole of the recording.  All things considered they make Backbone an interesting new addition to this year’s field of new rock records.
Backbone, the newest solo offering from Ronnie Romero, is a record that is sure to appeal to established audiences of the famed singer.  The record’s appeal comes in part through its featured musical arrangements.  From one song to the next, the album’s musical arrangements clearly lean heavily on influences of the 80s hard rock scene.  At the same time, it should be noted that unlike so much of that music (maybe save for the softer ballad-esque woks here) the heavy rock compositions are not the cheesy over the top works that audiences came to know from the likes of Motley Crue, Ratt, and others of their ilk.  This even with the influence clearly there.  It does well to help keep the album’s musical content separate from those works and maintain its identity.  As a matter of fact, one could even argue to a point – in hindsight – that the album’s opener and title track actually boasts a little bit of a prog metal lean.  The use of the Hammond organ throughout so many of the arrangements against the heavy guitar lines and rich rhythm sections makes for just as much interest in the compositions maintaining their own identity.  At points, its use makes comparison to works from Deep Purple just as possible, odd as that may sound.  All things considered the blend of vintage hard rock and modern leanings throughout the album make the record’s musical body reason enough for audiences to check out the album at least once.
The musical content featured throughout the album are collectively just one notable aspect of the presentation herein.  The lyrical themes that accompany the musical material makes for its own interest.  Case in point is the album’s opener and title track.  This song comes across in relatively straightforward fashion as a familiar reminder to audiences to persevere through life’s tough times.  This as Romero sings, “In the shadows of the night/When the dark is so cold/And you feel the pain is not gone/Like a rising sun/With the light in our eyes/We prevail/In the fall/’Cause we listen to the sound/Of the magic that we found/Inside our souls/And a miracle is done.”  This metaphorical language makes pretty clear that this is a message of finding that inner strength, which will create our own “light” and in turn, lead to a miracle in those tough times.  Romero continues that seeming message in the song’s second verse, which states, “If this world would ever end/Like the book used to say/We’ll just find a reason to stay/Let’s turn the page/Let’s break the chains/Why keep us under the spell/’Cause we listen to the sound/Of the magic that we found/Inside our souls/When the miracle is gone/’Cause we are the backbone/Never refusing to fight/So bring the backbone/I’ll never leave you behind/We’ve got the power inside.”  That reminder that “we’ve got the power inside” is further reminder about finding that inner strength to push on.  Simply put, what Romero has done here is craft a song with a familiar message that delivered in accessible fashion.  Keeping that in mind it is a clear example of the importance of the album’s lyrical presentation.
After ‘Backbone,’ quite a number of the album’s remaining songs center on the same topic, that of relationships.  From ‘Running Over,’ to ‘Hideaway,’ to ‘Eternally’ audiences get plenty of that familiar topic.  Meanwhile, other songs,  such as ‘Keep on Falling’ and ‘Never Felt This Way’ come across as somewhat social commentary type works.  To that end, the lyrical content presented throughout the album offers more than its share of familiarity.  That familiarity and the accessibility of the overall lyrical content works with the album’s musical arrangements to make for another layer of interest for this album.
Putting the final touch to the album is its production.  Each song presented within Backbone is a presentation that expertly walks the line between rock and hard rock throughout the presentation.  There is so much going on in each song with the heaviness and depth of the instrumentations.  Thanks to the work put in behind the boards, each musician’s performance compliments well, that of his fellow band mate.  As a result, the production put into this record balances each song expertly, resulting in a positive aesthetic that is sure to appeal to Ronnie Romero’s established audiences.  To that end, the result of the production works with the album’s overall content to make the whole a work that Ronnie Romero’s audiences and more casual 80s rock fans will appreciate.
Backbone, the latest solo offering from Ronnie Romero, is a work that will certainly appeal to the singer’s established audiences.  That is due in part to its featured musical arrangements.  As noted, the arrangements throw back to the sounds of the 80s hard rock scene while also incorporating other elements, such as influence from Deep Purple.  The combination of influences makes for a presentation that musically, makes for reason to take in the album at least once.  The album’s lyrical themes are of their own note.  That is due to their accessibility and familiarity.  The record’s production ensures a positive aesthetic impact for audiences, putting the finishing touch to the whole.  All things considered they make Backbone a presentation that Romero’s targeted audiences will appreciate.
Backbone is available now.  More information on Backbone is available along with all of Ronnie Romero’s latest news at:
Website: https://ronnieromero.online
Facebook: https://facebook.com/ronnieromeroofficial
Twitter: https://twitter.com/theronnieromero

By: Philip Sayblack

It is hard to believe but 2025 is almost over.  As of Monday, there will only be one month left in this year.  So much music has been released this year, especially in the rock and hard rock communities. So much that it has been easy for some of it to slip through the cracks for any outlet, including Phil’s Picks.  That being that case, before the year lets out, there are still some recent releases to touch on, one of which being Don’t Sell Your Soul, the latest album from guitarist Michael Schenker’s band, the Michael Schenker Group.  Released in early October through earMusic, the 11-song record proves an engaging and entertaining new offering from this Schenker project.  The group’s follow-up to 2022’s Universal, this latest offering from the collective is a presentation that Schenker’s established audiences and those of his many projects will find enjoyable.  That is due in part to its featured musical arrangements, which will be discussed shortly.  The lyrical themes that accompany said content makes for its own interest, adding another layer of interest to the presentation.  The production that went into the 43-minute record rounds out its most important elements.  The aesthetic impact that it creates puts the finishing touch to the whole.  Each item noted is important in its own way to the whole of the record.  All things considered they make Don’t Sell Your Soul a work that is certain to appeal to established fans of Michael Schenker and his many music projects.  It proves a record that said audiences will agree is a welcome addition to this year’s field of new rock albums.
Don’t Sell Your Soul, the latest studio recording from the Michael Schenker Group, is a work that the legendary guitarist’s established audiences and his various projects will agree is a positive new offering from the collective.  That is due in large part through its featured musical arrangements.  The arrangements in question are of note because of their clear 80s hair metal influence.  From the beginning to the end of this nearly 45-minute presentation, the arrangements largely throw back to the sounds and styles that were so commonplace during Schenker’s formative years.  At the same time, those sounds and styles are not the only ones featured herein.  There are some variances, such as in the late entry, ‘Sign of the Times.’  This bluesy, high-energy composition, which clocks in at just under four minutes, could fit easily into any modern rock radio station’s playlist.  Interestingly enough, even with that in mind, audiences can still hear that 80s rock influence still infused into the arrangement but thankfully does not overpower the more modern lean.  To that end, it makes the whole one of the most notable of the album’s entries.  ‘It’s You,’ which comes a little later after ‘Sign of the Times,’ is even purer in its presentation and heavy.  There is still a touch of vintage lean, but it is far less prominent here than in the aforementioned song, making for its own interest.  ‘Surrender,’ the album’s closer, is another notable entry to the record.  That is because it stands so starkly against the rest of the album’s entries in its clear power metal leaning.  It is a completely unexpected addition to the album, considering everything else exhibited throughout the album, and in the best way possible.  To that end, this group of songs overall makes for an interesting starting point for Don’t Sell Your Soul.
Expanding on the record’s examination a bit, the lyrical themes that accompany the album’s body are of their own interest.  There is plenty of content regarding the all too familiar topic of relationships here (IE ‘You’re The One,’ ‘Janey The Fox,’ ‘I Can’t Stand Waiting,’ etc.).  Thankfully the album offers more than that.  Case in point is the record’s opener and title track.  In the case of this song, it comes across as a statement of standing up for what it important in one’s life.  The seeming message is delivered in an interestingly unique allegorical style as it tells a tale of a man who “came alight/he started young/He had all it takes/To become a star/He had a vision/He followed through/On a mission/He knew what to do/All he wanted was to be/And stay away from misery/To enjoy his art and life.”  This was a man who just wanted to live life and to be.  As the song progresses, vocalist Erik Gronwall continues the story, telling listeners that the man “Walked tall throughout his life/Protecting his heart and soul/But sometimes tempted by surprise/Protected by the light/He did not fall/All he wanted was to be/And stay away from misery/Protected by the light/He did not fall.”  In the choruses, Gronwall tells listeners that the man “saw them fall” while also telling audiences “Don’t sell your soul/Can’t have it all.”  This entire presentation serves as a reminder that it is better to just be happy with what we have and with our place in life, to not sell our souls for something that we cannot attain.  It is a statement that rings so true for everyone to this day.
‘Eye of the Storm,’ another early in this record, is another notable example of what makes the album’s lyrical content important to its whole.  In regard to this song, the lyrical theme is another thoughtful presentation.  It seems to address humans being caught in between good and evil.  This is inferred in its clearest as Gronwall sings late in the song, “Somewhere between hell and the sky/Into the eye of the storm/It’s here that we stand for all that we own/Finally standing as one/Somewhere between hell and the sky/Into the eye of the storm/Those that will live and those that will die/Fighting ‘til all hope is gone.”  This message is bookended by the tale of good and evil being at battle all the way back to “creation of time…a battle to take all our souls.”  This brings the overall discussion to being summarized in that we are caught in that proverbial “eye of the storm” that middle of all of the strife in that battle between good and evil.  It is really an interesting topic coming from a band that is not a Christian act.  It reminds audiences along the way that things will get better.  This as Gronwall sings, “All of the pain/Of the trust you lost/Suffer no more/My dear friend.”  The whole song is so unique, lyrically speaking.  It makes the whole of the song yet another example of how much the album’s lyrical content helps the record’s presentation.
‘Sign of the Times’ is yet one more example of the interest generated through the album’s lyrical themes.  This one leaves itself wide open for interpretation what with its mentions of Valhalla and the “journey north to the island way/Shaped by the hands/Guided by their God’s command.”  The discussions that this song’s lyrical content is proof in itself of the importance of the record’s lyrical content.  When it is considered alongside the rest of the album’s lyrical content, the whole adds its own layer of interest to the presentation.  When the overall lyrical content is considered alongside the album’s musical arrangements that whole makes for that much more engagement.
Putting the final touch to the album’s presentation is its production.  Over the course of the album’s 43-minute run time, the production brings out the best of each performer’s work.  While Schenker’s name takes top billing in the group’s name, at no point does his performance overpower his band mates’ own work.  Gronwall’s powerhouse vocal delivery is on full display in each song while in a song, such as ‘Janey The Fox,’ bassist Barend Courbois and keyboardist Steve Mann get plenty of time in the limelight thanks to the production.  Schenker’s work is there but does just as well here in its supporting role as anywhere else.  Again, this is thanks to the attention to detail behind the boards.  In a song, such as ‘The Chosen,’ the whole group’s performance works expertly together, each musician’s work complimenting that of his band mates.  It is yet one more example of the positive impact of the production.  The overall result of the production is a positive aesthetic that is sure to keep listeners entertained from the record’s opening to its end.  Keeping that in mind, the positive impact of the production works with the record’s overall content to make the whole a presentation that is certain to appeal to all of Schenker’s established audiences.
Don’t Sell Your Soul, the latest full-length studio recording from the Michael Schenker Group, is a work that Schenker’s established audiences are sure to appreciate.  That is proven in part through its musical arrangements.  The arrangements feature plenty of 80s rock influences, considering Schenker’s background.  At the same time there are also works that fit just as well into the modern rock category and even the blues rock realm.  The album’s lyrical content is interesting in its own right.  That is because of the clear thoughtfulness that went into each song’s lyrical content.  That thoughtfulness is certain to result in plenty of discussions among listeners.  The record’s production puts the finishing touch to the presentation, ensuring a positive aesthetic impact for listeners.  Each item examined is important in its own way to the whole of the record.  All things considered they make Don’t Sell Your Soul a work that all of Michael Schenker’s established audiences will appreciate.
Don’t Sell Your Soul is available now.  More information on the album is available along with all of Michael Schenker’s latest news at:
Website: https://www.michaelschenkerhimself.com
Facebook: https://www.facebook.com/michaelschenkerrocks
Twitter: https://twitter.com/MW_Schenker

By: Philip Sayblack

​This past June, hardcore band Deathblow released its new EP, Open Season through independent record label Sewer Mouth Records.  The four songs that make up the record span a brief 12 minutes but in that time they pack quite a punch musically.  The record’s lyrical content makes for its own intense impact, too.  The record’s production puts the finishing touch to the whole.  Each item noted is important in its own way to the whole of the record.  All things considered they make Open Season a welcome addition to this year’s field of new EPs that if it has not already, is sure to appeal to a wide range of audiences.
Open Season, the recently released new EP from Deathblow, is an interesting addition to this year’s field of new EPs.  The follow-up to the band’s 2023 EP, Rotten Trajectory, it is certain to find appeal among a wide range of audiences. That is due in part to the musical arrangements that are exhibited throughout the record’s short run time.  The arrangements, from one to the next, show a clear growth from the band in comparison to most of the work that the band has produced since releasing its debut album, Prognosis Negative in 2014.  That is because the majority of the compositions that the band has presented since that time have been geared more in a clear thrash metal direction.  There are even some death metal leanings in the band’s body of work, subtle as they are.  By comparison what the band presents here is more of a New York Hardcore style sound a la Madball.  The band’s thrash leanings are still present throughout but no doubt the much more hardcore lean is as present as ever here.  That growth is certain to expand the band’s audience base given the right support from radio and media outlets.  To that end, the musical presentation featured throughout Open Season makes for reason in itself for audiences to give the EP a chance. 
The musical presentation within Open Season is just part of what makes the four-song record worth hearing.  The social and sociopolitical commentary contained within the record makes for its own share of interest.  Case n point is the record’s second track (and second single) ‘Deny, Defend, Dispose.’  This song comes across lyrically as a damning indictment of those in power and how they abuse the middle class.  This as front man/guitarist “Holger” states in the song’s lead verse and chorus, “they built their house of glass/bet they wish that they never had/Parasites/Sucking out the life/So easily exposed/Deny, Defend, Dispose!/Too much, too fast/Just leeching off the working class/Give them just an inch/And they’ll take a f****** mile/Their fate is self-imposed/Deny, Defend, Dispose!/Talk is cheap/And there’s nowhere left to hide/You profit off of people/As they die/I won’t cry for those gambling with our lives/Your time is up/Your claim has been denied.”  That final line right there, “Your claim has been denied” points a harsh finger at America’s health care system and those connected directly to it within this nation’s halls of power (including even within Congress’ halls).  If in fact that is the case then this is a harsh and deserved indictment of the country’s healthcare system.  What’s more, few if any bands out there are taking on or have even taken on America’s healthcare infrastructure in their songs, so that being the case, kudos goes to Deathblow for this commentary.
On another note, the EP’s title track and lead single is another solid example of the strength of the EP’s lyrical content.  IN the case of this song, the theme seemingly takes on the horrific militaristic actions being taken globally and the reaction (or lack thereof) by the general populace.  This is inferred as it states early on, “Did it rattle your feelings/Whey they spoke out of line/Were you lost in denial/When children were buried alive?/Have your liberal values been put to the test/There’s no lesser of evil/In this system of death/Your silence is fueling modern pogroms/As you debate which side/Should be sending them the bombs.”  Before we get deep into the weeds here, “pogrom” really is a word.  According to Merriam-Webster, a pogrom is “an organized massacre of helpless people.”  To that end, what audiences get in this lead verse is another damning indictment, again as noted, that of the military campaigns being waged globally and that regardless of the waging, there is no lesser of two evils because both sides are guilty of mass murder, essentially.  In asking “Were you lost in denial/When children were buried alive?”, the band is asking “Did you say anything when these atrocities that even claimed the lives of children were happening?”  The band revisits the notion in the song’s final line, stating, “Your silence won’t save you from internal decay/From the rubble of Gaza to the prison gates of Guantanamo Bay” while adding ahead of that, “If they came for your family/Would you sit idly by?/Is your personal comfort worth more than your lives?”  This is another powerful statement all in all that further makes the case for why this EP’s lyrical content is so important to its presentation.
Yet one more example of what makes the EP’s lyrical content so important comes in the EP’s closer, ‘Never Again.’  As with the EP’s opener, this song follows in similar fashion, lyrically speaking.  It adds another layer to the mix though, indicting people who “twist the words of God/To cut hell loose/Rape and rob.”  To this day there are people who continue to do just that right here in America.  It has been happening since the Puritans came to America from England.  Just as powerfully, the band reminds those who would commit such atrocities, “You can shoot them in the back/But their knees will never bend…Cry wolf/You aren’t a victim/You’ve become everything that you feared.”  This is such a powerful statement yet again.  That statement is a reference – intended or not – to the adage that “I’d rather die on my feet than live on my knees.”  Between this hard hitting statement, the others examined here and even that noted in the record’s remaining song, ‘Tormentor,’ there is no doubt as to the importance of the record’s lyrical themes.  When those overall themes are considered alongside the EP’s equally powerful musical arrangements, the whole make for a presentation that is certain to appeal to a wide range of audiences.
Putting the finishing touch to the record is its production.  There is so much intensity in the record’s arrangements, needless to say.  That means that the utmost attention had to be paid to each arrangement in order to not let any one part overpower the others.  The result was that each song is impacting fully in its own right and in turn makes the overall presentation fully immersive, engaging and entertaining.  Keeping in mind, the positive aesthetic impact ensured through the production alongside the appeal ensured through the record’s overall content, the whole makes Open Season undeniably one of this year’s best new EPs.
Open Season, the latest studio recording from Deathblow, is a strong new offering from the veteran independent metal outfit.  That is proven in part through its musical arrangements.  The arrangements are of note because of the growth they exhibit from the band.  Instead of the standard fare from the band, the group has instead opted to take its familiar thrash leanings and blend them with a more New York Hardcore approach.  It is a different approach taken by the band in comparison to the compositions that make up the band’s other records and one that is sure to appeal to a wide range of audiences in itself.  The lyrical themes that accompany the EP’s musical arrangements make for their own interest as they are just as hard hitting as the record’s musical content.  That is due to their stirring social and sociopolitical commentary.  The record’s production puts the finishing touch to the whole, ensuring the fullest impact is made in each song.  Each item examined is important in its own way to the whole of the EP.  All things considered they make Open Season one more welcome addition to this year’s field of new EPs.
Open Season is available now.  More information on the EP is available along with all of Deathblow’s latest news at https://facebook.com/deathblowofficial.

By: Philip Sayblack

Trivium is bringing its music to the masses again.  The band is in the midst of a tour in support of its new EP, Struck Dead.  The tour’s next stop is tonight in Calgary, AB.  For those who have not yet heard the EP, which was released Oct. 31 through its longtime label, Roadrunner Records, the 3-song record is a powerful work, but musically and lyrically.  All three songs that make up the EP’s 17-minute body make that clear.  All in all, they make this record one more of this year’s best new EPs.
Struck Dead, the recently released new EP from Trivium, is a solid new offering from the veteran hard rock band.  This is proven through the musical arrangements and lyrical themes presented in each of the record’s songs.  ‘Bury Me With My Screams,’ the EP’s opener, makes that crystal clear.  The song’s heavy, melodic metal and style is familiar territory for the band.  That familiarity, blended with the thrash style opening, and the equally intense down-tuned almost death metal style breakdown in the song’s second half, makes for such a unique whole herein, musically speaking.  Add in the intense guttural vocals from front man Matt Heafy, and the song’s musical arrangement overall becomes that much more hard hitting. 
The overall musical arrangement here is interesting in how it works with the song’s lyrical theme, which at least to this critic, comes across as being about the familiar topic of a person battling with their own inner demons, so to speak.  This is inferred as Heafy sings at first in the chorus, “Bury me/With my screams/They’re pulling me down inside/I can’t say that I know where the body lays inside/So bury me with my screams” before changing the subject’s mindset later, stating, “I must claw myself out of this/I see there is light above me/So I journey up this hell/I refuse to rot in my own prison cell/I dug this hole/Threw myself in/And blamed the world/I know where the body lays/So bury me with my screams/I will climb from the depths/Innermost turmoil.”  Those final lines, that decided determination makes the heaviness in the noted breakdown in the song’s second half make sense.  That sense of emotional heaviness is on full display, lyrically and enhanced even more through that musical heaviness.  The whole of the song’s musical arrangement and its seeming lyrical theme makes the whole a clear example of how much the record has to offer audiences.
‘Struck Dead (Pain Is Easier to Remember),’ the EP’s second track, is another unique addition to this record.  That is due in part to its featured musical arrangement.  In the song’s verses, Heafy utilizes a vocal styling that is easily comparable to that of Hatebreed front man Jamey Jasta.  This is not unfamiliar territory for Heafy but also not overly commonplace for him, either.  The contrast of that approach to the more emotional, clean vocal style in the choruses, which is comparable – to a point – to that of Slipknot front man Corey Taylor makes for such a unique juxtaposition.  It is an approach that audiences will agree Heafy is to be commended for taking.  On the instrumentation side, the heavy, crunching guitars in the verses are just as intense as works from Hatebreed.  At the same time, there are some thrash moments that are immediately likened to works from none other than Slayer.  This is evidenced in the “screaming” guitar riffs.  The rhythm section, with its thunderous approach puts the finishing touch to the whole. 
The intensity of the song’s musical arrangement pairs well with the song’s lyrical content, which delivers a relatively simple message.  The message here comes across as being in the same vein as that in the EP’s opener.  In this case however, this comes across as the song’s subject being at that low point in life, feeling lost in the emotional depths.  This as Heafy screams in the song’s lead verse and sings in each chorus, “Pain is easier to remember/Struck dead/Struck dead from within/Struck f****** dead/Pain is easier to remember/I must descend again/I fanned the flames and now they’re fed/I need to fall from grace/And suffer like I do/This common blackness creeps below/It pulls me down/And won’t let go/Why must I fall again/And suffer like I do?”  The seeming theme of being stuck in that low place continues later in the song as Heafy adds, “The wings I’ve grown have atrophied/The vultures have picked my bones clean/This hungry pack of anxieties/Salivates and chews/Back into the nothingness/Swallowed by my fears”  Turning one’s anxieties into a creature of sorts, that eats at a person is an interesting manner of speaking.  Noting that the person’s wings – that determination to get out of that dark place – have atrophied is a powerful visual.  It shows the person trying to get out of that dark emotional place, but falling back down like Icarus’ wings melting when he got too close to the sun.  This is someone who wants to get out of that dark place but is struggling.  To that end, if in fact that is the message being delivered, the whole is a strong delivery.  When it is coupled with the song’s musical arrangement, the whole therein makes the song all the more resonant with so many audiences.  That is because there are so many audiences going through what is seemingly being discussed here.
‘Six Walls’ closes out Trivium’s new EP.  Fittingly it is also the album’s longest song, clocking in at seven minutes, 19 seconds.  The song’s musical arrangement starts subtle enough before becoming far more intense, presenting a heavy, thrash approach in the verse.  The choruses present a more melodic hard rock styling.  The intensity of the verses makes sense, considering the song’s lyrical message, which comes across once more as being delivered by someone who feels trapped, emotionally.  The metaphorical language here of essentially being trapped in a coffin, “hands clawing from the grave…I buried myself alive” makes that seeming message clear.  Add in that Heafy notes, “Six walls surround me/the scent of pride and fear…death is near” and audiences see how the song’s subject “buried himself alive.”  He brought the misery on himself, considering that “pride cometh before the fall.”  Again, if this interpretation (that of putting oneself in that place of darkness) is correct, then once again, it is a message, a discussion that will resonate with a wide range of audiences.  To that end, the whole herein is yet more example of how much this EP has to offer audiences.  All things considered Struck Dead proves itself another interesting offering from Trivium that is also among the best of this year’s new EPs.
Struck Dead, the latest new studio recording from Trivium, is a strong new offering from the band.  It is a presentation that is sure to have wide appeal.  This is proven through its musical and lyrical content alike, as has been discussed here.  Considering the record’s overall body, it proves to be one more of this year’s best new EPs.
Struck Dead is available now through Roadrunner Records.  More information on the EP, and Trivium’s current tour in support of the record is available along with all of the band’s latest news at:
Website: https://www.trivium.org
Facebook: https://www.facebook.com/Trivium
Twitter: https://twitter.com/TriviumOfficial

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

​