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By: Philip Sayblack For every band out there, every album is that group’s best. It is an all too familiar line that audiences have gotten from bands across the board for ages. Sadly, it is a line that holds true less often than one would like to think. Luckily there are some exceptions to that rule out there and Nonpoint’s forthcoming latest album, The Last Word, is the latest to prove itself that exception to the rule. Scheduled for release Sept. 18 via the band’s own label, 361 Degrees Records, the 10-song record (also its shortest to date at only 28 minutes), it really is the band’s best full-length studio recording to date. That is due in no small part to its featured musical arrangements. The lyrical themes that accompany that musical material adds to that appeal in its own way, as does the collective sequencing and production of the album. Each item noted is important in its own way to the whole of The Last Word. All things considered, they make The Last Word a presentation that will leave audiences hoping it will not be the last album from this veteran band. The Last Word, the forthcoming latest album from Nonpoint, is the band’s strongest record to date. Its success comes in no small part through its featured musical body. At points, the arrangements offer a solid blend of familiarity and growth. At others, the arrangements offer something wholly new and unique. That whole makes the record’s musical body a solid foundation for The Last Word. Right from the album’s outset, listeners get that blend of familiarity and growth in ‘Failing the Conversation.’ Guitarists Jaysin Zeilstra and Rasheed Thomas lead the way here, throwing back to the sound and style that really helped Nonpoint break out in 2000 with its debut album, Statement, while building on that to make a work that is wholly its own. Drummer/founding member Robb Rivera and bassist Adam Woloszyn add their own touch alongside fellow founding member and vocalist Elias Soriano. The collective performances make this song a solid first impression from this latest outing. ‘Is It,’ ‘The Last Word,’ and ‘Shoreline’ also exhibit that blend of familiar and new, the result being full engagement and entertainment in each work, too. Meanwhile, a song, such as ‘Dial Tones’ easily lends itself to comparison to works from Discrepancies while also clearly adding a touch of Limp Bizkit. The duality therein makes this arrangement another easy choice for this record. As the record reaches its final two entries, ‘Fine Print’ and ‘Settled,’ the band shows more growth than ever, going in a more melodic hard rock direction than ever before. Again, some hints of the works that the band has crafted in its existing albums are there but more than ever, audiences hear so much growth and change in these final two songs. The prior conjures thoughts of songs from the likes of Saul and others of its ilk while the latter goes in a full aggro-rock direction that is entirely infectious. They collectively put a solid period to the album, closing it out just as strongly as it opened. When these two songs are considered alongside the rest of The Last Word’s arrangements, that entirety makes this album the band’s most focused and honestly best album to date. No doubt the musical arrangements featured throughout The Last Word do more than enough to make the album worth hearing. They are just one of the positives to note herein. The lyrical themes that accompany the album’s musical material makes for its own appeal. Case in point is the theme featured in the album’s lead single, ‘Is It.’ Soriano has been cited as stating the song’s lyrical theme centers on a familiar matter. He explained that the theme herein is one of a person’s inner struggling, wondering if what one has done was enough or too much. In other words, was trying to help really a good thing in the end or was it more detriment. Everyone has reached that moment at one point or another at least once in life if not more times. The message is well-illustrated as Soriano sings in the song’s chorus, “Am I to blame/Am I to blame for/Is this just another reason/For me to be/Justified/to be so outta control?/Didn’t wanna have to break it to you/Didn’t wanna have to be the one to tell you/Didn’t wanna make a problem/Anybody?/I mean anybody/Help me with an explanation.” Here is that inner turmoil that so many have faced in various situations delivered so clearly. Keeping that in mind, this theme is familiar and accessibly delivered, clearly making it an example of the important of the album’s lyrical themes. ‘Red Yeti,’ the album’s second single, is another important example of the place of The Last Word’s lyrical themes. In the case of this song, it comes across as being a call for listeners to let go of the past and just move on. This is inferred in the song’s lead verse and chorus, which find Soriano rapping, “I replayed the clip a thousand times/I watched you sink up to your eyes/Tried to kill the noise/but the echo stayed/Try to do the math/You can watch me laugh/I scared the kids/And ghosted through/I let one off/And cleared the room/Speaking in codes/Now you got me red/Phone was making noise/’Cause the line is dead/Snow won’t cover these tracks/What’s gone is gone/And it won’t come back/Life that you’re hanging by a thread/Shed every bad feeling that’s running through your head/Red Yeti.” Those lines in the lead verse are complimented by Sky Sweetnam adding her own touch, essentially saying to people who had done wrong in the past, she is moving on past them. This as she adds at one point, “I left the cage/Said f*** the zoo.” That zoo is the “wild” of the negative people and factors of the past. The rest of the song follows in similar fashion. To that end, the message here is one of familiarity that is certain to connect with audiences in its own way thanks to its own accessibility, too. ‘Fine Print,’ the album’s penultimate entry, is yet one more way in which the album’s lyrical content proves so important. Full discretion, having no lyrics to directly reference, not all of the lyrics could be fully deciphered. Soriano opens by singing, “Make sure you read all the fine print/Sure you make up your mind with…Sure you get what you came for/What you’re willing to trade for/Everything that you paid for/Is enough to fool you twice/’Cause they’ve got promises, promises/I know something is wrong with this/I don’t know what will become of this…” Lyrics really are needed for much of this, but even with that being the case, the chorus sees a refrain at least twice, seeming to hint at a message of not letting oneself be fooled by anyone or anything in life. If that is in fact that case, then it is another message that is sure to resonate with listeners in its own right, further showing the importance of the album’s lyrical themes. When this seeming message is considered along with the others examined here and that group with the rest of the album’s lyrical content, that entirety makes for just as much reason for audiences to take in The Last Word as the album’s musical arrangements. Putting the final touch to the whole of The Last Word is its collective sequencing and production. From beginning to end of its nearly 30-minute run time, the album’s sequencing changes things up just enough to keep things interesting. This applies to the album’s musical and lyrical content alike. The album opens and closes with a pair of pummeling works that hold their own alongside the rest of the record’s musical arrangements. From there, the album keeps the energy on high as each arrangement changes the vibe and style from one to the next. In regard to the lyrical themes, they change just as much, adding another layer of enjoyment. The record’s production ensures through so much heaviness and energy that no one band member’s performance overpowers the work of his fellow musicians. The result therein is a fully positive aesthetic impact. Between the positive production and the sequencing, that whole offers The Last Word a fully positive general effect that, when coupled with the album’s overall content, completes the presentation. The positive of all involved leaves The Last Word easily one of this year’s top new hard rock and metal albums and hopefully not the last of Nonpoint’s albums anytime soon. The Last Word is scheduled for release Sept. 18 through Nonpoint’s own label, 361 Degrees Records. More information on the album is available along with all of Nonpoint’s latest news at: Website: https://nonpoint.com Facebook: https://www.facebook.com/nonpointofficial Twitter: Nonpoint (@nonpoint) on X 
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By: Breanna Workman Twenty years after their debut Motionless In White launched their seventh studio album, cunningly titled Decades following the release of Scoring the End in 2022. Ahead of the album’s release, Motionless gave fans a taste of what was to come with a series of standout singles. Beginning with my personal favorite, “Afraid of the Dark”—notably, the band’s first-ever No. 1 on Billboard’s Hard Rock Songs chart—followed by “Playing God” featuring Corey Taylor, and “R.I.P.” featuring Skylar Grey. It came as no surprise that the band continued their momentum, with each single reaching No. 1 on Billboard’s Hot Hard Rock Songs chart. But the chart-topping momentum didn’t stop there. Just weeks after the album’s release, “Fight Like Hell” joined the ranks, becoming the fourth song from Decades to reach the No. 1 spot The early success of these tracks set the stage for the album’s impressive chart run. Decades peaked at No. 15 on the all-genre Billboard 200, marking the band’s seventh consecutive album to make the chart. While the numbers tell the story of Decades’ commercial success, they merely scratch the surface of what makes this such a standout album for the band. Decades is supercharged with a mix of heavy instrumentation and synth-pop influences while still preserving the band’s core identity. This combination allows the album to showcase the growth of Motionless In White while maintaining the dark, theatrical sound that has defined the band throughout their career. The result is an album that feels both familiar and fresh. Both “log_in//crash_out” and the title track, “Decades,” kick off the album with formidable weight, leaving riff-hungry fans hyped and ready for more. The intensity then takes a step back with “R.I.P.” featuring Skylar Grey while simultaneously maintaining the atmosphere offered by the album. The most compelling track for me— and many other listeners— was track eleven of thirteen titled “Afraid of the Dark.” Segments of the song made rounds on social media for a moment highlighting the lyrical depth found throughout the album. When speaking on the single, Chris Motionless explains the track is about seizing your destiny and shaping your own future without fear or hesitation. With four No. 1 hits and another Top 200 album under their belt, Decades proved to be more than a celebration of the band’s two-decade career—it was another milestone in Motionless In White’s continued rise through the hard rock scene. More than anything, it serves as a reminder that the band is more than capable of standing tall, continuing to evolve, and overcoming whatever challenges are thrown their way. 
By: Evan J. Thomas
⭐⭐⭐⭐☆ (4.5/5)Probably one of my favorite new bands who I get into early in 2025 and have seen a handful of times and now interviewed the band as well. But holy shit... there are heavy albums. Then there are albums that hit you like a mega ton of bricks to the chest while somehow putting a grin on your face. That's exactly what The Barbarians of California accomplish on their sophomore release, MEGATONS. Aaron Bruno and producer Eric Stenman have once again proven this project is far more than a side venture. While their debut hinted at the band's limitless creativity, MEGATONS takes that blueprint, cranks the distortion, injects even more swagger, and delivers one of the most entertaining heavy records of the year. The album leans into metallic hardcore, groove metal, thrash, and punk without feeling confined by any one genre and it hits hard! From the opening assault of "BACK TO THE VALLEY," it's obvious this band isn't interested in easing listeners into the experience. The riffs arrive in waves, the drums hit with relentless force, and Bruno's vocals effortlessly shift between controlled chaos and infectious hooks. The energy never lets up. One of the biggest strengths of MEGATONS is that it refuses to take itself too seriously. Songs like "THE GNARLYCORE CLASS," "VANILLA LATTE," and the brilliantly titled "BOMB TO A KNIFE FIGHT" showcase a band that's comfortable mixing crushing heaviness with an offbeat sense of humor. That personality keeps the record feeling fresh from beginning to end. The groove throughout this album is undeniable. Tracks like "REALLY REALLY RAD" and "EARTHQUAKE" practically demand your body to thrash, blending hardcore aggression with infectious rhythm that would feel just as at home in a sweaty club as on a festival stage. Every riff feels purposeful, every breakdown lands with impact, and the production gives each instrument room to breathe without sacrificing any of the album's raw intensity. Just when you think you've figured the record out, the closing stretch throws a curveball. "SHARK OUT OF WATER" slows things down with an unexpected acoustic moment before "I AM THE SUBMARINE" erupts into one final explosion of heaviness. It's a bold ending that showcases the band's willingness to experiment while never losing sight of what makes them compelling. If there's one small criticism, it's that the album's nonstop intensity can occasionally blur together during the middle portion. While the musicianship and songwriting remain consistently strong, a little more variation in pacing throughout the center of the record could have elevated MEGATONS from excellent to truly unforgettable. Still, that's a minor complaint on an album overflowing with creativity, attitude, and massive riffs. The Barbarians of California have crafted a record that's loud, unpredictable, and unapologetically fun. It's the kind of album that reminds you heavy music doesn't always have to choose between brutality and personality it can have both. For fans of Every Time I Die, Converge, early Deftones, and anyone who appreciates fearless songwriting wrapped in crushing grooves, MEGATONS is an easy recommendation. The Barbarians of California are one of the most exciting and fearless heavy bands working today. Rating: ⭐⭐⭐⭐☆ (4.5/5) 
By: Philip Sayblack MTV made a huge announcement this week about its annual Video Music Awards event. For those who have not yet heard or read, the company announced this week, it has removed the “Best Rock” category from its yearly awards ceremony. That change is massive as it makes top brass at MTV (which really has not even deserved to be called MTV for ages ever since dropping music videos from its daily programming) look like they have no respect for the genre any longer. That is because as AC/DC front man Brian Johnson once famously sang, “Rock and roll ain’t noise pollution/Rock and roll will never die.” He was right. While executives at MTV may think they don’t need rock anymore, they could not be any more incorrect. There is so much great rock out there, including Joyous Wolf. Having formed in 2014 during the rise of what is now known as the “New Wave of American Classic Rock,” the band released its debut album, In Between this week via Blue Grape Music. Having come roughly six years after its then latest release, its EP, Mother Rebel, this 9-song record is a welcome return from the band that is also a welcome addition to this year’s field of new rock albums. The band’s brand-new album — released Friday — proves it success through its musical and lyrical content alike. From the beginning to the end of the album’s 36-minute run time, the compositions performed throughout the album throw back to the glory days of pure guitar rock while also continuing to carve out the band’s place in the current rock realm. Case in point is a song, such as ‘In Your Shadow.’ Clocking in at just over four minutes, the bombast from this song harkens back to the sound that made (and in some parts of the world continues to make) hair metal so beloved. Audiences can hear influences of bands, such as Ratt, Motley Crue, and others of that ilk in this fun arrangement. At the other end of the spectrum is a song, such as ‘Fine By Me.’ Maybe it is just this critic’s own ears but front man Pedro Cordeiro’s vocal delivery style here is so similar to that of the late great Chris Cornell. That alongside the bluesy guitar riffs makes for a song that is so wonderfully modern in its presentation. The same applies to the album’s penultimate entry, ‘Talk To Me.’ At the same time, that song boasts its own identity separate from ‘Fine By Me.’ Those two songs are their own works separate from the rest of the album’s entries, for that matter, making for even more engagement and entertainment. On yet another note audiences have a song, such as ‘The Mechanic,’ which closes out the album, that is entirely unlike anything else on the record. Where most of the musical content featured throughout this nearly 40-minute record is a mix of modern classic rock, this song is more grunge than classic rock. Keeping that in mind, the Chris Cornell comparison with Cordeiro is even more obvious. It really gives hope and maybe a picture for what could be to come from Joyous Wolf, should the band finally receive the support that it deserves. When it and the rest of the album’s entries are considered in whole, they make the overall musical body of In Between a solid starting point for the album. Building on that foundation is the record’s lyrical content. Lacking lyrics to reference there are plenty of holes and in turn room for interpretation. In the case of a song, such as ‘In Your Shadow,’ the lyrics that can be deciphered sans those lyrics hint at perhaps a sense of cynicism about trying to live up to someone else’s expectations of one. This as Cordeiro sings, “I tried so hard/To live in your shadow” before asking in the chorus, “If I live or I die/How would you know/Could you know?” In the chorus’ refrain Cordeiro adds, “It’s ok/I’m fine/You’re so kind.” Again, herein is a seeming sense of getting to that point of realization of how much of one’s life was spent trying to live up to those expectations, uselessly and pointlessly. If in fact that interpretation is somewhere in the proverbial ball park, then it is a message that is sure to resonate with plenty of audiences. Looking at another of the album’s entries, ‘Talk To Me,’ listeners get something a little bit clearer in what comes across as one of those familiar songs about relationship issues. This as Cordeiro sings in the song’s lead verse, “Can you spell it out for me/Did I take more than I give?” He adds later, “Talk to me/Tell me that I’m wrong/Come on/And talk to me/Tell me why you’ve gone away…Why don’t you care/Talk to me/Pick up the phone.” Again, some of the lyrics here are difficult to decipher sans lyrics, but the seeming topic is relatively clear here. In the song’s second verse, Cordeiro adds, “My spirit’s willing/But I’m tired/Why won’t you/Take it all away.” That questioning line is someone asking that other person why they will not take away all of that uncertainty in the relationship’s troubled moment, it would seem. Again, if this interpretation is right, then it makes this another familiar theme and story that is sure to resonate with plenty of audiences. On yet one more note is a song, such as ‘Runaway,’ makes for its own lyrical interest. According to guitarist Blake Allard himself, the song is, lyrically, “a relentless anthem built for the chase.” The song’s lyrics certainly do depict a chase scene that maybe could be seen in any number of action flicks. This is illustrated pretty clearly as Cordeiro sings in the song’s second verse, “It’s certain death/When the asphalt kisses your head/Don’t try and fool me, son/I ain’t playing fair/There’s no denying/My face would cause a riot/I’m good for a brawl/I might get lucky.” This is a clear antagonist-protagonist setup. He further adds later in the song, “I’d rather meet your God/Than be your dog.” That is a hard hitting line that sends its own message to that other person; a message that the “chaser” maybe does not care about what happens in the fight with the other person. It adds even more impact to the song’s overall lyrical presentation, needless to say. The whole of this song’s apparent lyrical topic works with the other lyrical items examined here (and that whole with the rest of the album’s lyrical content) to make the entirety of the album’s lyrical picture just as interesting as its musical presentation. To that end, the overall content featured throughout the album makes for reason enough to make this record worth hearing. Keeping this in mind, the sequencing of that overall content and the production thereof puts the finishing touch to the whole. The sequencing of that overall material ensures that things change up just enough from one song to the next to keep things interesting. The production is mostly a success. This even as much of the lyrical content is, again, somewhat difficult to comprehend sans a lyrics sheet. That aside, the production still pairs with the sequencing to make in whole, a mostly positive general effect for the album. That general effect, together with the positives of the album’s overall content, makes clear why n Between is a mostly successful first full studio outing for Joyous Wolf. In Between, the debut full-length studio recording from Joyous Wolf, is a largely successful first album from the band, which has actually been making music for more than a decade. That includes a pair of well-received EPs. The record succeeds in part through its musical arrangements, which continue to carry the blend of modern classic rock and homage to the classic rock bands that came before. The lyrical content featured across the album makes for its own interest. This, as it seems to address a variety of familiar topics. The album’s sequencing and production put the final touch to the whole, ensuring a mostly positive general effect. Each item examined is important in its own way to the whole of the record. All things considered they make In Between a record that will appeal to Joyous Wolf’s established audiences and that will entertain new listeners, too. In Between is available now through Blue Grape Music. More information on the album is available along with all of Joyous Wolf’s latest news at https://facebook.com/joyouswolf.  By: Philip Sayblack The late 1990s and early 2000s was a tumultuous age for the rock and metal community. That is because that is when the world saw the rise of the nu-metal movement. Some survived and just as many faded after just one record. One of the bands that managed to survive those early years was rock act Saliva. Ever since releasing its self-titled debut in 1997, the band has navigated those rough waters and maintained its place as a fan favorite, releasing 11 albums along the way. This month, the band released its now 12th album in the form of Breaking Through. The 13-song record is a presentation that will certainly appeal to its established audiences and to casual rock and nu-metal fans. This is proven through its musical and lyrical content alike. The record’s production does just as much to make it appealing to those audiences. All things considered they make Breaking Through an offering that will be welcome among its targeted audiences. Breaking Through, Saliva’s latest full-length studio recording, is a presentation that will find appeal among a specific audience. That is proven in part through its musical body. Throughout the course of the record’s 41-minute run time, the band’s current lineup – front man Bobby Amaru, bassist Brad Stewart, drummer Sami Jo Bishop, and guitarists Josh Kulack and Sebastian LeBar – offers audiences plenty of familiar nu-metal offerings, leaning heavily on the sounds and styles that made Linkin Park and Limp Bizkit popular. Those compositions are complimented with more melodic arrangements that are just as familiar from Saliva’s early days. The sequencing of that mix of sounds and styles does just enough to keep listeners engaged and entertained, too. To that end, the album’s musical body gives the noted targeted audiences at least some reason to take in this presentation. The lyrical content accompanying the album’s musical material makes for its own interest. That is because of its own familiarity. From matters of mental health (which the band tackles multiple times in this record) to personal relationships, to social commentary and anthems of perseverance, the lyrical content featured throughout this record offers its own source of engagement and entertainment, again, for its targeted audiences. In regard to the matters of mental health, the band tackles mental health in various forms. ‘Too Broke to Fix’ for instance, addresses depression and feelings of hopelessness. This is made clear as Amaru sings, “Sometimes I feel/Like I’m just too broke to fix/It’s a reckless taste for anarchy/I live to feel the fire/That the chaos brings/Sometimes I feel like I’m just too broke to fix/Because I can’t sit still/I can’t slow down/When I know the end is coming anyhow.” On another note, the album’s title track, which follows immediately after ‘Too Broke to Fix,’ finds a subject who is stuck in his or her own head, battling those same feelings. This as the subject states right in the song’s lead verse that he/she is “Waging a war/That was lost before it began.” That person adds, “I’d give anything/To escape this/To feel something more beyond this/With every breath/I lose control.” Both this presentation and that in ‘Too Broke To Fix’ are fully accessible, meaning the message is certain to resonate easily among audiences. On the matter of personal relationships, the band tackles the equally familiar topic of toxic relationships in ‘Sadistic Love’ and more romantic situations in ‘Weird,’ The social commentary comes early in the record’s run in the form of ‘Cope,’ the album’s second track. The story-telling fashion of the lyrical delivery conjures thoughts of fellow nu-metal act P.O.D.’s ‘Youth of the Nation’ on one hand and Everlast’s ‘What It’s Like’ all while still maintaining its own identity. To that end, it stands on its own merits, making it engaging and entertaining in its own right. The anthems of perseverance come right from the album’s outset in the form of the full-on nu-metal composition, ‘Hit ‘Em Where It Hurts’ and later in ‘Fight of My Life.’ These two songs’ lyrical deliveries are polar opposites, with the prior being more fitting for a gym workout and the latter for more emotional moments. Between these songs, the others examined here and the rest of the album’s lyrical content, the whole gives the album’s specific audiences just as much reason to take in this album as the record’s musical arrangements. Putting the final touch to Breaking Through is the record’s production. Throughout the course of the album’s nearly 45-minute run time, the instrumental and lyrical performances compliment each other well. No one part ever overpowers any of the others at any point. The result is a general effect that will add to the album’s targeted appeal just as much as the record’s content. Keeping that in mind, Breaking Through’s production proves just as important to its presentation as its content. All things considered they make Breaking Through a presentation that its targeted audiences will agree is worth hearing at least once. Breaking Through is available now. More information on the album is available along with all of Saliva’s latest news at: Website: https://salivaofficial.com Facebook: https://www.facebook.com/Saliva X: Saliva-Official (@OfficialSaliva) on X  By: Philip Sayblack This coming fall, Tungsten will hit the road for its “Anthems of Steel Tour.” Set to kick off Oct. 7 in Herford, Germany, the tour (and further dates that follow) will be in support of the band’s forthcoming album, Ashes. The band’s fifth album, it is scheduled for release Oct. 8, just a day after that noted tour launches. Spanning 11 songs, the 41-minute record is a solid new offering from this veteran power metal outfit. That is proven in part through its musical body, which will be discussed shortly. The record’s lyrical themes make for their own interest as they certainly offer a bit more variety. The record’s production puts the finishing touch to the whole. Each item noted plays its own important part to the whole of Ashes. All things considered, they make Ashes a welcome new record from Tungsten that casual metal fans and the band’s established audiences alike will appreciate. Ashes, the forthcoming fifth album from Tungsten, is a mostly successful new album that audiences are sure to appreciate. That is due in part to its features musical arrangements. From the beginning to the end of the 41-minute record, the arrangements present plenty of familiarity from the band. They do not necessarily break any new ground. The familiar keyboard lines are there along with the powerhouse vocals of front man Mike Andersson and the equally solid guitar work of Nick Johansson and bassist Karl Johansson. All of the familiar harmonies and punch of the band’s work are on full display throughout most of the album. The softest that the band gets is the late entry, ‘For Thee.’ This song incorporates some clearly Celtic instrumentation that when blended with the band’s more familiar power metal leanings, makes for the most unique musical composition. Now, in the bigger picture, even with the familiarity in the arrangements’ sounds and styles, the arrangements still manage to maintain their own unique identity. In other words, the arrangements are not just copied and pasted from the band’s other albums. Keeping that in mind, the arrangements still present their own positive to the bigger picture. Knowing the strength that the musical arrangements bring to Ashes, that is just one of the record’s strong points. The record’s lyrical content makes for its own interest. Case in point is the song, ‘Sunshine of Fall.’ As Karl Johansson explained of the song, “The lyrics are inspired by autumn. I think it’s often overlooked. There’s something special about the colors, the falling leaves, and that feeling of an ending before something new begins.” How many hard rock and metal bands out there can say they have crafted a song that is simply about the beauty and warmth of fall. It is not exactly the first thing that a person thinks of when one thinks of metal and hard rock, but there it is, and it works, too. It is a nice, unique presentation, needless to say. Audiences looking for something perhaps more familiar get that right from the album’s outset in ‘Bite My Tongue.’ Again, citing Karl Johannson, “The lyrics are about how people often voice their opinions about various things loudly without hesitation, but when you hold a different view, it’s sometimes better to stay silent to keep the peace which can be quite frustrating at times.” Considering the current state of the world, this song is a statement that certainly resonates. It really is frustrating to have to hold one’s tongue when certain others want to run their mouths so loudly and then try to shout down those who have opposing views that they do not want to hear. Sadly, that is where this world has come to in its current age and it looks like there is no end in sight to this state of affairs. To that end, it makes this song’s topic such a strong opener and part of the whole. The topic is approached clearly as Andersson sings, “Same old script/Same tired show/Can’t stand when I don’t bow/You paint your truth/Like it’s the law/But I won’t be your mirror on the wall/Poh god it burns so bright/Feeding hunger lost in flight/Endless silence/Endless pain/Trapped inside this cruel chain/I sit in silence/Bite my tongue/While you preach/Like you’ve already won/If I speak back/It’s all out war/So I stay quiet/can’t take no more.” This is a pretty straight forward statement that, again, resonates so loudly in the world today. To that end, the accessibility herein pairs with the song’s musical arrangement (which actually is comparable to works from fellow power metal outfit Sabaton) to make the whole such a unique and solid addition to the album. On yet another note, the band also offers a simple topic in the form of national pride (so to speak) in the single, ‘The North Will Rise.” The song features a guest appearance by Sonata Arctica’s Tony Kakko. Andersson said of this song, “Lyrically it’s a kind of a hymn to our part of the world in the north. We hope the metal community and the fans of Sonata Arctica and of course TUNGSTEN will like this song and crank it up LOUD!” This again, shows the diversity in the album’s lyrical body. When it and the other lyrical content examined here is considered along with the rest of the album’s lyrical material, the whole therein leaves no doubt as to the role of the album’s lyrical content. When that material is considered alongside the album’s more familiar musical body, the whole further solidifies the album’s presentation. Rounding out the most important of the album’s elements is its production. The production ensures that each composition is fully immersive. From beginning to end of the record, the vocal and instrumental performances are expertly balanced, with each musician’s work complimenting that of his band mates. The result is a fully positive general effect for the record. That general effect pairs with the positive of the arrangements themselves and the diverse, engaging and entertaining lyrical content to make the whole a positive new offering from Tungsten. Ashes, the forthcoming new full-length studio recording from Tungsten, is a strong new offering from the veteran power metal band. The album’s success comes in part through its musical body. The arrangements featured herein are familiar territory for the band but still present their own identity separate from the arrangements that the band has composed in its existing albums. The lyrical themes featured within the album are more diverse, ranging from the serious to the simple. They ensure plenty of engagement and entertainment not just for that diversity but also for the accessibility in their delivery and their familiarity. The record’s production puts the finishing touch to the whole. That is because of its impact on the record’s general effect. Each item examined is important in its own way to the whole of the record. All things considered they make Ashes a presentation that metal fans in general will appreciate just as much as Tungsten’s established audiences. Ashes is scheduled for release Oct. 8. More information on the album is available along with all of Tungsten’s latest news at: Website: https://tungstenofficial.net Facebook: Tungsten  This coming September, Theory of a Deadman will release its latest studio recording in the form of its new EP, Part 1: Funeral Songs. Set for release Sept. 4 via OneRPM, the 6-song record will come more than three years after the release of the band’s then latest offering, its album, Dinosaur, which was released in March 2023 through Roadrunner Records. The record is a solid addition to this year’s field of new EPs. This is shown through the record’s musical and lyrical content alike. A prime example of this comes early in the EP’s title track. ‘The biting satire that is ‘Monster Truck,’ is another great example of what makes the EP worth hearing. ‘Winnebago (Lay Low),’ one of the record’s early entries, is yet one more example of how much the record has to offer. When it and the other noted songs are considered collectively, they make Part 1: Funeral Songs an undeniably strong new entry in this year’s field of new EPs. Part 1: Funeral Songs, the forth coming new EP from Theory of a Deadman, is an interesting new offering from the band. It is a presentation that is sure to appeal widely among the band’s established audiences and more casual listeners alike. That is proven in part through its title track, whose musical arrangement is a driving bluesy punk-tinged composition that keeps listeners fully engaged and entertained from beginning to end of its 4-minute run time. On a side note, that run time makes it the EP’s longest track. The fire in the song’s musical arrangement pairs well with the edge in its lyrical theme, which is a clearly angry work that finds its subject essentially giving the middle finger to someone whose time has come. This is inferred clearly as front man Tyler Connolly sings, “This is your funeral song/Hate to say it/but I’m glad you’re gone/Church boy choir/They’re about to sing/So light that pyre/It’s a beautiful thing/I showed up late/And I came alone/With crocodile tears/And a heart of stone/It’s hard to hide that smile of mine/When you’re going to hell/In a shell of pine/You may see me jump for joy/But oh no/You won’t see me cry/At your funeral/No, you won’t be missed at all/It’s true/That I won’t lie/There’s blessing in the pain/But I don’t feel a thing for you/Six feet down/Is where you’ll rot for good/At your funeral/This is your funeral song.” Everyone has had someone they disliked this much but few if any have ever had the inner strength to so blatantly come out and say such things about such individuals. To that end, it is a song that is sure to help so many people, especially considering that according to society, we are not supposed to have such negative emotions toward anyone even if we hold such dislike for them. Keeping that in mind, this is Theory of a Deadman bucking that social norma and doing so in welcome fashion. Interestingly enough, this does not seem to be aimed at someone of the opposite sex. Rather it would appear to be aimed at someone of the same sex, considering the note that, “Your exes/Your hoes/Are here/But they won’t shed a tear.” So, whomever this person was, he was clearly not a good person. It would be interesting to know the story behind this biting work that is also so empowering. Regardless, it is a discussion that certainly gives this EP plenty of positive. ‘Monster Truck,’ the EP’s penultimate entry, is another example of how much the record has to offer. As with ‘Funeral Song,’ that is due in part to its featured musical arrangement. Fittingly, being that the song is a satire of American culture, the song’s arrangement is a modern country rock presentation. Being that Theory of a Deadman is Canadian and all of the tensions between U.S. and Canadian government agencies, the jab even on this level is justified. Interestingly enough, it is also a sound and stylistic approach that established audiences will recognize almost immediately as it throws back to the approach the band took early on in its catalog. The real biting commentary comes as Connolly launches into honestly what could be argued to be the culture of the MAGA cult. From singing about a person being in a monster truck with a pack of Camel cigarettes and having a gun rack, etc. to singing that “My ears are ringing from the sound of America,” what Connolly is doing is poking such loud fun at that simple-minded nature of that culture. To that end, this could so easily be considered a sociopolitical commentary just done in a more subtle fashion. If in fact that is the case then the band has pulled it off in such a smart fashion and in turn is to be commended. When that seeming commentary is paired with the song’s equally funny country rock musical arrangement, the whole makes this song yet another example of how much this record has to offer. One more song that shows the EP’s strength comes early in its run in the form of ‘Winnebago (Lay Low).’ This song stands out just as much for its musical arrangement as the rest of the songs featured herein. Right off the bat, the arrangement makes itself easily comparable to the country western work that Falling in Reverse composed alongside Jelly Roll, ‘All My Life.’ Even with that in mind, the arrangement still holds its own identity. The song, lyrically speaking holds its own identity even with its own familiarity, too. The song’s lyrical theme tackles “finally getting to an age where you don’t want to go to the bar and realize staying home is now a much better option,” according to Connolly. In other words it is a song about getting older both in regard to age and maturity. This is exemplified as Connolly sings, “Oh no/I should have just stayed home/I should’ve laid low/In the Winnebago/Oh no/I should’ve just stayed home/I’m so pumped up/Gonna have some fun/On a Saturday night/Seein’ everyone/But a calm night out/Turned right fast into a storm/After three or four bars/It was getting’ late/It was time to slow down/Time to hit the brakes/But you know I ain’t stoppin’/Til I have a few dozen more/It went from going out with my friends/To a night that’ll never end/Now I’m drunk as **** And I don’t even care/Yeah, I’m streaking Broadway/In my underwear/Oh no/I should’ve just stayed home/I should’ve laid low/in the Winnebago.” In other words, this is someone who wanted to go out and party and realized after the fact, the impact of going out and getting drunk, acting stupid. It is that point of finally growing up and realizing one is not the same anymore. Everyone reaches that point in life at one moment or another. To that end, this is another resonant message that plenty of audiences will appreciate. When it and the other themes examined here are considered along with the EP’s other themes, the whole therein proves that much more just what makes the record worth hearing. When that whole is considered with the whole of the record’s musical arrangements, that entirety leaves no doubt that Part 1; Funeral Songs is a welcome addition not this year’s field of new EPs. Part 1: Funeral Songs, the forthcoming new EP from Theory of a Deadman, is a successful new offering from the veteran rock band. Its success comes in part through its featured musical arrangements, which offer plenty of familiarity and accessibility. The lyrical themes that accompany the EP’s musical material adds to the whole, too. That is because of their own accessibility. All of the songs examined here make all of that clear. When those songs are considered alongside the rest of the record’s entries, the whole leaves Part 1: Funeral Songs a solid entry that is also a welcome addition to this year’s field of new EPs. Part 1: Funeral Songs is scheduled for release Sept. 4 through OneRPM. More information on the EP is available along with all of Theory of a Deadman’s latest news at: Website: https://theoryofficial.com Facebook: https://facebook.com/theorymusic Twitter: THEORY OF A DEADMAN (@TheoryMusic) on X  Five Finger Death Punch's LEGACY Proves Some Bands Don't Need to Reinvent Themselves to Dominate8/12/2026
By: Cole Bandit
⭐⭐⭐⭐☆ (4/5) Twenty years into their career, Five Finger Death Punch could have easily played it safe with a greatest hits formula. Instead, LEGACY feels like a confident reminder of why they've remained one of the biggest names in modern hard rock and metal. While it doesn't completely reinvent the band's sound, it refines everything they've done well over the last two decades into a tight, hard hitting collection of songs that balances aggression, melody, and reflection. The album also marks a new chapter with producer Drew Fulk, while retaining the band's signature style. The opening title track immediately sets the tone before standout singles "Eye of the Storm," "De Oppresso Liber," and "Nails in the Coffin" showcase crushing riffs, arena ready choruses, and the band's unmistakable groove. Ivan Moody delivers one of his strongest vocal performances in years, effortlessly shifting between raw intensity and emotional vulnerability. Guitarists Zoltan Bathory and Andy James provide massive hooks and muscular riffing throughout, while Chris Kael and Charlie Engen lock everything together with the thunderous rhythm section fans expect. What makes LEGACY work is that it embraces the band's strengths rather than chasing trends. Tracks like "In Time" and "Shelter" reveal a more reflective side, while songs such as "Unscathed" and "Scapegoat" deliver the kind of relentless heaviness that has become synonymous with Five Finger Death Punch. The album's concise runtime also works in its favor, keeping the pacing tight and eliminating unnecessary filler. The only reason LEGACY falls just short of a perfect score is its familiarity. Longtime fans will recognize many of the songwriting patterns that have defined the band's catalog, and while the execution is excellent, there are few moments that truly push Five Finger Death Punch into unexplored territory. That said, consistency has always been one of the band's greatest strengths, and this record delivers exactly what fans want without feeling stale. LEGACY isn't about reinventing Five Finger Death Punch... it's about celebrating who they've become. Heavy, melodic, emotionally charged, and built for festival stages, it's another strong entry in the band's catalog and a fitting soundtrack for their 20th anniversary. 
By: Tracy Heck
For well over 60 years, The Rolling Stones have remained a force to be reckoned with. While other classic rock bands are out on nostalgia tours, The Stones continue to put out new music and try new things. Some choices have been better than others, but they keep on trucking. Continuing the creative resurgence of 2023’s Hackney Diamonds, the band’s 25th studio album Foreign Tongues isn’t reinventing the wheel, but still manages to sound current and fresh while staying true to what a Rolling Stones album should sound like. Released July 10th , the album is a furious blend of their rock and blues roots alongside some punk, country, pop, funk and even a little disco flair. Mick Jagger still has his swagger that bursts through on the three leading singles, “Rough & Twisted,” “In the Stars” and “Jealous Lover” and Keith Richards lets his vulnerability show on ballad “Some of Us.” Ronnie Woods brings the fire on a powerful guitar solo on “Back In Your Life” and the album shines a brighter light on bassist Darryl Jones and drummer Steve Jordan. They haven’t forgotten about drummer Charlie Watts, who make a posthumous appearance on “Hit Me in the Head.” Along the way on the journey through Foreign Tongue's; 14 tracks, the band also brings in guests Steve Winwood, Paul McCartney, Robert Smith, Chad Smith and a tongue-in-cheek credit for Bruno Mars on cowbell. For the most part lighthearted and funny, the album is everything a Rolling Stone fan could hope for in this stage of their career. 
By: Tracy Heck
It was a long 3-year road to get there, but on July 10 th Detroit rock band Eva Under Fire released their long-awaited third album Villainous. The album moves the band into a heavier direction as vocalist and licensed therapist Amanda Lyberg (Eva Marie) pours her heart out as she brings the audience along on a therapeutic journey. Villainous is comprised of thirteen tracks about the loss of humanity and how to combat it. It’s a story of struggling with the ways other’s see you and how you must face the worst things in your self to overcome them and prioritize our own well-being. The album opens with “Awakening,” which immediately grabs your ear with a powerful and emotional showcase. As the album moves on, loss of identity, anger and pain are explored with a mix of metal, rock, punk and industrial alongside some operatic moments and even some electronic pop elements. At times, Eva Under Fire's music definitely shows sparks of In This Moment vibes and on this album, In This Moment vocalist Maria Brink joins Lyberg on the title track and new single “Villainous.” Together, they push the truth that just because you may be the villain in someone else’s story doesn’t mean you actually are one as guitarists Rob Lyberg and Chris Slapnik and bassist Ed Gawlik takes listeners to the edge and back. The band closes things out with “A Violent End,” with thunderous drum work from Dave Miller and a eerie ending that will stay with you long after the track fades out. Eva Under Fire are currently on tour with Cody Jinks and Five Finger Death Punch. 
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