By: Philip Sayblack

This past Friday, Worldwide Panic unveiled its latest album, The Greatest Villain the World Has Ever Seen.  Coming roughly six years after the release of its self-titled debut album, the 10-song record has positioned Worldwide Panic as one of the next potentially big names in the hard rock and metal community.  This is proven in part through the musical arrangements featured throughout the 33-minute record.  The lyrical themes that accompany said musical material builds on that statement even more.  The record’s production puts the finishing touch to the whole.  When it is considered along with the record’s collective content, the whole therein makes The Greatest Villain the World Has Ever Seen a welcome addition to this year’s field of new hard rock and metal, and independent albums.
The Greatest Villain the World Has Ever Seen, the sophomore album from Worldwide Panic, is an interesting addition to this year’s field of new hard rock and metal albums, and new independent albums.  That is proven in part through its musical arrangements.  Totaling 33 minutes in all, the arrangements featured throughout the album show a continued evolution that was already evidenced in the band’s 2020 self-titled debut album.  That album exhibited a gradual change from radio ready melodic active rock to a clear much heavier work later in the record’s run.  This record’s musical arrangements, meanwhile, continues that trend, offering plenty of heavy, hard hitting material.  In listening to each of the songs featured here, audiences can easily hear influences of bands, such as Mushroomhead, A New Day Dawns, and even Sevendust and The Veer Union.  Those latter comparisons are made right from the record’s outset in ‘Break Me Down.’  From there, the prior comparisons become evident throughout the course of the record.  Even with the influence noted, the arrangements still maintain their own identity, which makes them deserving of applause in itself.
Perhaps the most standout of the arrangements comes in the form of the band’s cover of Eddie Murphy’s 1985 hit single, ‘Party All The Time.’  The band has replaced the 80s pop arrangement at the song’s center with a much heavier new wave meets metal approach that gives the song a whole new identity.  This is not the first time the band has taken on a song from the 80s.  It covered Tears for Fears’ 1985 hit single,’ Everybody Wants To Rule The World’ in its self-titled debut album.  That song stayed closer to its source material than this work, even as it had a slightly heavier approach.
As the record proceeds, the influences noted are not the only comparisons that can be made.  ‘Lost in Time,’ for instance – one of the album’s later entries – actually has a sound and style at points that leads to comparison to certain works from Marilyn Manson, believe it or not.  At the same time, the guitar solo in the song’s bridge is sort of a stoner rock style riff.  This added variance further exhibits the importance of the album’s musical arrangements in its engagement and entertainment.  All things considered the musical arrangements featured throughout The Greatest Villain the World Has Ever Seen (heck of a title, huh?) do plenty collectively to ensure listeners’ enjoyment.
Adding to the engagement and entertainment herein is the record’s lyrical material.  That is due to the familiarity and accessibility of said content.  Case in point is the album’s opener and single, ‘Break Me Down.’  Not having lyrics to reference, a partial assessment is the best that can be done.  From doing research into the song, it apparently is a commentary on toxic “leaders” who use people for their own gain, breaking down people just to mold them in their own way.  Front man Lane Steele sings in the songs chorus, “You break me down/Just to build me up again/A f***** up cycle/that will never end/You break me down/Just to build me up again.”  That sick mental abuse is something that happens at the hands not only of authority figures but people in general.  We all encounter people like that in our lives at every level.  To that end, having this sharp rebuke of such people is a welcome, therapeutic release.
On another note, a song, such as ‘The End Of Me,’ listeners get what comes across as a familiar discussion on mental health.  This is inferred as Steele sings, “Would you believe/This is the end of me/Deep down inside…/I hear you/I need you/Don’t turn your back…/I wanna look you in the eye/Before I’m forced to say goodbye/No one can stop this/No one can save me…Underneath it all…Would you believe/This is the end of me/Deep down inside/there lies the enemy/Would you believe/This is the end of me/Deep down inside/I knew…I knew then/This was gonna kill me.”  Again, lacking lyrics to reference, a full lyrical examination is impossible, but from what can be understood, the message is clear.  This is someone struggling with a mental health crisis.  Add in the semi-symphonic arrangement here, the screams, and the sheer richness of the song’s musical arrangement and the inferred message becomes even more impacting.  To that end it is just one more example of what makes the album’s lyrical content so important to the record’s presentation.
On another note, the band also takes on toxic relationships not once but twice.  Once early on in ‘Left Me To Die’ and again later in ‘Stabbed in the Back.’  While the topic is the same, that the band managed to address it in different ways makes for all the more engagement and entertainment.  Between this topic, the others examined here, and the rest discussed throughout the album, the whole makes clear why the familiar and accessible lyrical themes featured in this record are just as important to its presentation as its musical arrangements.
Rounding out the most important of the album’s items is its production.  There is so much happening in each of the 10 songs that make up this record’s body.  There is so much energy in every song.  It means that those behind the boards had to really ensure that the lyrical and instrumental performances were each balanced with one another.  That work paid off as each performance complimented the others in each song.  The result is a strong aesthetic aspect that adds so much to the album’s presentation.  When the record’s production is considered alongside the positive of the musical and lyrical content, the whole therein makes the album overall a solid new offering from Worldwide Panic that builds on the success of its self-titled debut and makes this record a welcome addition to this year’s field of new hard rock/metal albums and independent albums.
The Greatest Villain the World Has Ever Seen, the brand-new sophomore album from Worldwide Panic, is a strong new offering from the band that builds on the success of the band’s 2020 self-titled debut album.  This is made clear in part through its musical arrangements.  The arrangements exhibit influences from a wide range of the band’s contemporaries.  From Another Day Dawns, to Mushroomhead and Slipknot, to The Veer Union, Sevendust and more, the comparisons are clear even as the arrangements maintain their own unique identity.  The album’s lyrical themes add to the interest, this as they are each familiar and accessible content.  The record’s production puts the finishing touch to the whole, ensuring each band member’s performance is expertly balanced with that of his band mates.  Each item examined is important in its own way to the whole of the album.  All things considered they make The Greatest Villain the World Has Ever Seen a record that with the right support, could make Worldwide Panic one of the next big names in the hard rock and metal community.
The Greatest Villain the World Has Ever Seen is available now.  More information on the album is available along with all of the band’s latest news at:
Website: https://worlwidepanicband.com

By: Philip Sayblack / Phil's Picks

Philip Shouse is likely one of the most well-known musicians that many audiences have never heard of.  Since 2019, he has served as rhythm guitarist for the famed metal outfit Accept.  He has also worked with the likes of John Corabi (The Dead Daisies, ex-Motley Crue), country music star Rodney Atkins, Ace Frehley (as a member of his touring band and on Frehley’s 2020 album, Origins Vol. 2) and even Gene Simmons.  In other words, Shouse has plenty of credit to his talents and career.  Now this week, he has stepped out of the shadows (so to speak) with the release of his debut EP, Side 1.  Released through Wild Kingdom/Sound Pollution, Side 1 is a solid outing featuring Shouse as the star instead of supporting musician.  That is proven in part through its featured musical arrangements.  The lyrical content, which is just as accessible and familiar as the musical arrangements, adds to that appeal in its own way.  The record’s production puts the finishing touch to its presentation.  Each item noted is important in its own way to the whole of Side 1.  All things considered they make this record a notable entry in this year’s field of new EPs.
EPs (extended plays) do not get the attention that they deserve.  Why that is, is anyone’s guess.  They just do not get as much attention from the media (and even audiences) as their longer playing “cousins.”  There have been so many great EPs out there over the years to prove their value, too.  With his new EP, Side 1, maybe, just maybe Philip Shouse can help make the case for EPs.  Regardless, the EP will definitely make the case for him as his own accomplished front man, considering his resume.  This is proven in part through its featured musical arrangements.  Throughout the course of the record’s roughly 16-minute run time, the musical arrangements featured herein are some welcome compositions.  The pure rock and roll vibes that the arrangements are easily comparable to works from the likes of Ricky Byrd, Kurt Baker, and Joy Buzzer.  One could argue, at the same time, that arrangement are (interestingly enough) similar to those of Corabi, who himself will release his own solo debut this spring.  Simply put, the arrangements featured in this brief record are simple, infectious, and accessible.  The result is that they are fully engaging and entertaining, making them a solid starting point for the EP.
The lyrical themes that accompany the EP’s musical arrangements add their own appeal to the presentation.  Right from the outset, ‘Run Away From You,’ what audiences get is clearly a song about a man who is trying to get away from a woman who is nothing but bad news.  This is inferred as he sings, “All these words/And there’s nothing to say/But you won’t ever shut your mouth today/All I wanna do/All I wanna do/You preachin’ to me/Like you’re free from sin/I seen the devil/Honey/I ain’t him/All I wanna do/Is run away from you/Ain’t no stoppin’ me/’Cause, babe I’m through/Hit the gas/Til you’re in my rearview/All I wanna do/Is keep runnin’ away from you.”  This is a pretty straight forward message.  It is also especially interesting, in all seriousness, because of all the songs out there that make men out to be the villains.  It is possible for women to be just as toxic as men and there certainly seems to be far less songs about that matter than there are that continue to make men look bad.  To that end, this song’s message is a welcome breath of fresh air in an otherwise stale lyrical environment of that nature.
‘Time Bomb,’ the record’s closer, is another example of the importance of the EP’s lyrical content.  The lyrical content here is more of a story of sorts.  It is a story about someone who is admitting that they are their own worst enemy.  Shouse makes this clear as he sings, “I’m so sorry for the things I said/I was going right out of my head/And everything was rollin’ along/Until I lit the fuse/And it all went wrong/So it goes/When you’re a ticking time bomb.”  He continues, “I’m so sorry for the person I am/Even I can’t understand/Why I destroy/What I built to be strong/And then I turn around/I keep moving on/So it goes/When you’re a ticking time bomb.”  The song continues in similar fashion, with Shouse’s subject even admitting to skeletons building up, and facing his demons “until they’re all dead and gone.”  This is another clearly accessible lyrical theme, further proving the importance of the record’s lyrical content.
‘It Gets Better,’ which serves as the EP’s midpoint, is yet one more example of the importance of the record’s lyrical content.  The content here is more familiar 9and welcome) territory as Shouse reminds listeners…well…it’ll get better.  The world needs this reminder more now than ever before, it feels like.  People are living with so much doubt about the world and about their own lives.  So, to have this positive message, told as Shouse’s subject runs into an old friend (or acquaintance) whose life has been rough, makes it all the more resonant and accessible.  He sings ins the song’s lead verse and chorus, “Haven’t seen you in forever, my friend/Seems you haven’t changed/How ya survivin’ this weather?/All this thunder and this rain/Seasons change/And rearrange/And all the plans you made…Don’t you know it gets a little better/Every day/I’m just trying to get myself together/Before it all blows away/I’m just trying to get a little better/Better than yesterday/You keep reading me the same old story/Again and again and again.”  There is one line from the lead verse that is slightly difficult to decipher sans lyrics, but the overall message is clear here in the discussion between the two subjects.  There actually seems to be a back and forth between the two individuals, with each speaking to the other.  It makes for an interesting presentation and definitely interesting way to approach such a message.  The conversation continues in the second verse which states, “I know what it’s like/To feel this loss/To have no guiding light/Trying to hold onto anything/But it all seems outta sight/out of reach/Out of touch/Out of love/Out of time/In the moment/In your head/In your hand and your mind/’Cause you know it gets a little better every day/Just trying to keep yourself together/Before it all goes away/I’m just trying’ to get a little better/Better than yesterday/Keep telling me the same old story/Again and again and again.”  This is that same friend trying to convince his friend whom he has not seen in ages, that while things are not great, they can and will get better.  Again, it is such a reminder that the whole world needs.  Given it is not an easy message to believe by any means but things do get better.  We just have to remind ourselves that they will get better.  Keeping all of this in mind, it is clear proof in its own right as to the importance of the EP’s lyrical content.  When it and the other lyrical content examined here is considered alongside the rest of the record’s lyrical content, that whole leaves no doubt as to the noted importance thereof.  When the EP’s overall lyrical content is considered alongside its musical arrangements, the whole therein makes for all the more reason for audiences to take in this EP.
Putting the final touch to the presentation of Side 1 is the EP’s production.  Throughout the record’s nearly 17-minute run time, the production ensures the instrumentations are expertly balanced in each song.  At no point do the instrumental and vocal performances overpower one another.  For that matter, at no point do any of the instrumental performances overpower one another, either.  The result is a positive aesthetic impact that gives listeners just as much to appreciate as the record’s content.  All things considered Side 1proves to be a positive debut outing for Philip Shouse as a front man.
Philip Shouse’s debut EP, Side 1, his first outing as a front man instead of supporting artist, is being marketed as “the first chapter of a new era rather than a one-off side project.”  If in fact that is the case, then it is a well-formed first chapter in this new story of Shouse’s career.  That is proven in part through the record’s musical arrangements, which are fully accessible, engaging and entertaining works.  From one song to the next, the arrangements are pure rock and roll compositions, quite opposite of the songs he has taken part in as a member of Accept.  The lyrical content that accompanies the record’s musical content makes for its own appeal because of its own familiarity and accessibility.  The record’s production puts the final touch to the whole with its aesthetic appeal.  Each item examined is important in its own way to the whole of the record.  All things considered they make Side 1 a strong offering from Philip Shouse that also continues to prove EPs deserve as much respect and attention as LPs.
Side 1 is available now.  More information on the record is available along with all of Philip Shouse’s latest news at Facebook.

​

By: Philip Sayblack / Phil's Picks

Fans of The Veer Union no longer have to wait for new music from the band.  That is because the band released its latest album Friday in the form of Reinvention.  The band’s intent was to release the album in 2025 after joining Arise Empire’s artist roster, but something clearly delayed its release until now.  For the most devoted of the band’s audience base, the record will prove a welcome new offering.  That is due in part to the album’s featured musical arrangements.  Its familiar and accessible lyrical themes add to its interest, as does its production.  Each item noted is important in its own way to the whole of the record.  All things considered they make Reinvention a record that is anything but a reinvention for the band but is still worth hearing at least once.
Reinvention, the brand-new album from The Veer Union (the band’s ninth album – and seventh of new material as Decade III (2018) and Quarantine Collaborations (2021) were just compilation records) is a record that the most devoted of the group’s established audiences will appreciate.  This is proven in part through its featured musical arrangements.  Throughout the course of the record’s roughly 32-minute run time, the arrangements presented are quite familiar from one to the next.  That is because each one continues to be easily comparable to works from fellow melodic hard rock acts Sevendust and Gears.  Yes, there are some changes to the band’s sound this time out, with some heavier moments, such as in the album’s opener, ‘My Empire’ (which is also one of the album’s singles along with ‘Caught in the Crossfire’ and ‘Sea of Fear’) but in large part the arrangements still take a largely familiar approach.  In other words, for the most part, this record does not necessarily break any new ground for the band, musically speaking.  Even with that in mind, the growth that is exhibited makes its musical content reason to take in the record at least once.
Also of some familiarity herein is the record’s lyrical content.  The lyrical themes that complete the record’s body are familiar territory for the band.  Staying on ‘My Empire,’ the song delivers a familiar message of perseverance.  This according to the news release announcing the single’s premiere in June 2025.  According to the news release, the song is “a fierce declaration of survival and self-empowerment, telling the story of rising from the ashes despite chaos and inner battles.”  This theme, this message, is as welcome here as in any song from any of The Veer Union’s contemporaries.
Just as familiar are the clear themes presented in two other of the album’s songs, ‘Venom in my Veins’ and ‘Dying Light,’ the record’s fourth and fifth entries.  ‘Venom in My Veins’ centers on the all too familiar topic of toxic relationships.  This is made clear as front man Crispin Earl sings, “You’re the venom in my veins/I’ll free myself from all your poisoning/You’ll circle down the drain/I’ll wash the tainted blood before it stains/I am the sun/When you are just the rain/I’m drowning/The pain/’Cause I am the hurricane/You came in/Slithering/Drinking in/Unholy water/You drag me down and then/Now I’m on top/Of the bottom/How low you’ll go/How low will you go?”  This person being addressed is that person that makes another miserable.  He or she is that person that is…well…toxic and vile; a negative influence on anyone around him or her.  The speaker is telling that person that he or she is better than that other, toxic figure, and will overcome that person and his or her impact.  It is another topic that because of its familiarity and accessibility, is sure to engage and entertain the noted audiences.
In the case of ‘Dying Light,’ the theme is clearly one of mental health, another familiar theme in the rock community.  The inferred theme is presented as Earl sings, “Horizons fade to black nights/And leave us cold/Machines come to life uncontrolled/Reaching for a light I can’t hold/Something’s tearing at my broken soul/Lost futures/Visions turn black and grey/Fading through illusions every day/Feeling shattered/Scattered into disarray/Searching for a dawn in this darkest day/Cry out for a brighter dawn/Crushed by the weight of hope gone/Raging against the dying light/Holding on with all my might.”  The reference to poet Dylan Thomas’ famous poem, “Do Not Go Gentle Into That Good Night,” which is a statement against death, makes even clearer what audiences are getting here.  That inner storm that so many people weather daily (often times in silence due to the continued stigma associated with depression and mental health) is on full display just in this lead verse and chorus.  The rest of the song continues in similar fashion.  To that end, this theme, which is familiar and accessible in its own right continues to show the role of the album’s lyrical content to its presentation.  When it and the other content examined here is considered alongside the rest of the album’s lyrical material, the whole therein makes obvious the import thereof.  When the overall lyrical content featured in this record is considered along with the album’s musical arrangements, that whole even more makes the album worth hearing among the noted audiences.
Putting the finishing touch to this record is its production.  From beginning to end of the record, the production ensures no one performance overpowers the others at any point.  Each song brings out the best of each musician’s performance, including that of Earl’s vocal performance alongside the instrumentation.  That balance throughout ensures a positive aesthetic impact that ensures in its own way, the noted audiences’ engagement and entertainment.  Keeping that in mind, the whole of Reinvention proves to be a presentation that while note necessarily a reinvention for The Veer Union, a record that will still appeal to the most devoted of the band’s established audiences.
Reinvention, the brand-new full-length studio recording from The Veer Union, is an interesting new offering from the veteran hard rock band.  That is due in part to its featured musical arrangements.  The arrangements are of note because of their familiarity in sound and style.  From one to the next, each presents plenty of familiarity for audiences, as they continue to be easily comparable to works from the likes of Sevendust and Gears.  There is some sign of growth throughout but for the most part the band has taken a familiar road, which will surely appeal to specific audiences.  The lyrical content featured alongside the album’s musical arrangements builds on that appeal.  That is done through the familiarity and accessibility thereof in each work.  The positive aesthetic impact of the production completes the album’s presentation.  Each item examined is important in its own way to the whole of Reinvention.  All things considered they make Reinvention not necessarily a reinvention for The Veer Union but a record that will still find its own appeal among audiences.
Reinvention is available now through Arise Empire.  More information on this album is available along with all of The Veer Union’s latest news at:
Website: https://theveerunion.net
Facebook: https://www.facebook.com/theveerunion
Twitter: https://twitter.com/theveerunion

By: Philip Sayblack / Phil's Picks
​Late last month, progressive metal outfit Course of Fate released its latest album, Behind The Eclipse to the masses.  The band’s third album, this 45-minute record is a presentation – released via Rock of Ages Records (a division of Reigning Phoenix Music) – that is certain to appeal to most prog-metal fans.  That is proven in part through its featured musical arrangements.  The lyrical themes that accompany said content adds to the album’s appeal.  The record’s production puts the finishing touch to the whole.  Each item noted is important to the whole of this record.  All things considered they make Behind The Eclipse a welcome early addition to this year’s field of new hard rock and metal albums.
Behind the Eclipse, the latest full-length studio recording from Course of Fate, is a strong new offering from the rising progressive metal outfit.  That is proven in part through its featured musical arrangements.  From its opener to its end, the musical arrangements featured in the album’s eight total tracks are of importance because of their familiarity in sound and style.  Throughout the majority of the record’s eight total songs, audiences can clearly hear a stylistic approach that blends the best elements of Dream Theater and Evergrey.  That is just one of the interesting points in the album’s musical presentation.  Late in the album’s run, audiences get something even more unique in ‘Hiding From The Light’ that takes the album in a completely different direction what with its electronics, keyboards and death metal growls.  To a point, one could argue a comparison to works from the likes of Rage here.  Even more interesting, there are also points throughout the record in which vocalist Eivind Gunnesen’s delivery is comparable to that of Fates Warning front man Ray Alder.  As if everything noted is not enough, ‘Memories,’ the album’s 10-minute opener actually features a “movement” that sounds like classic Pink Floyd gone totally prog-metal.  It is such a surprisingly engaging and entertaining moment that stands out in the bigger picture of this album.  Overall, what audiences get from this album’s musical content is a presentation that forms a solid foundation for the record.
Building on the foundation in question is the lyrical content that accompanies said musical material.  Information provided about Behind The Eclipse states that dark and light are used throughout the album’s lyrical content and that is evident early on in the album’s title track.  Co-written by Gunnesen and guitarist Kenneth Henriksen, the song notes the darkness as that of the state of the world.  The light is there, as the narrator points out, but also asks, “Do we need darkness/Isn’t light enough?”  The narrator continues, “In the end it all comes down/It cracks and burns/And tears away the light.”  In the song’s chorus, the narrator even more directly notes the darkness, stating, “Close your eyes child/It burns eternally/Feel the silence and turn away/Witnessing a world beyond repair/Light shines from the circle/Turn your eyes away/Their silhouettes embracing/Turn your eyes away/Their burning hands are reaching/Turn your eyes away/From a world that is ending/Turn your eyes away/And all the earth will fade and die/And pass away/The moment’s lost/And we forget that all is decided.”  To say this is nihilistic is putting it lightly but one must remember that it seems like all of this is bring approached with a certain amount of cynicism and sarcasm.  It is in the bigger picture, a reminder that the light is there while also openly commenting on the negative state of the world, delivering a clear sense of anger and frustration at that situation.  At least that is this critic’s interpretation.  If it is in fact somewhere close to being accurate, then what Gunnesen and Henriksen have done here is taken a familiar theme and given it a whole new approach that definitely will get listeners thinking.
Another example of what makes the album’s lyrical content so interesting comes in the record’s midpoint, ‘So It Goes.’  Written solo by Gunnesen, this song seems to approach the use of light and dark as it seems to tell the story of a young woman who is alone in the world but who is not letting her situation get her down.  This is inferred as Gunnesen sings, “A  child without a mother/A soul without a friend/Without someone to cling to/On the path towards the end/She has no hand to grasp for/No one to show the way/Alone in new beginnings/As she walks into the fray/Facing up to see the sun/Rays of light/In brand new eyes/On the earth/Walking the ground/A new beginning/And so it goes/As life moves on/Shining like light through the darkness/And so it goes/As time passes on/Glowing like light/Through the dark.”  Gunnesen continues the girl’s story, writing, “She wanders past the mountains/Down to the plains below/She may have found the right place/But is it the right time?/She sees the forests growing/Then wither away and die/She stands alone in silence/And waits.”  The chorus is reprised from here, reminding listeners about the woman seeing the light, the positive regardless of everything.  Here is someone who should only be seeing darkness, being alone but instead chooses to see light, hope.  Again, this is just this critic’s interpretation.  It would seem to be in line with the album’s noted overarching theme of light and darkness.  It is certain to get listeners thinking in its own right.  To that end, it is yet another example of the importance of the album’s lyrical content.
One more example of the importance of the lyrical content featured in this album comes in ‘Hiding From The Light.’  The album’s sixth entry, this work’s lyrics were crafted by Gunnesen, Henriksen and Stephan Hay, this song’s lyrical content leaves plenty of room for interpretation.  The song’s lead verse and chorus state, “Twisted worlds collide/Kaleidoscopic visions/Drawn into a maze/Fall from distant shadows/What is reality?/Is there light in darkness/From behind these eyes/Truth illuminated/I’m drawn into a circle of illusions/I see it from inside your mind.”  This comes across as someone who is feeling completely lost and who is trying to make sense of what is good and bad, light and dark.  The inference continues in the song’s second verse, which states, “Inside a memory/A strong disillusion/Light up the dark/And see the shadows align?/In search of truth/Discount the blasphemous voices/Annihilate the light.”  Again this seems to be one person trying to make sense of one’s own situation and who others really are.  Again, if in fact this is close to being correct it is yet another intriguing presentation.  That is not only because of the topic but also in its construction.  This is also the case in the other songs examined and the rest of the lyrical content herein.  The construction thereof makes for such depth.  It is all certain to make for plenty of discussion and thought among listeners.  To that end, there is no doubt in the end just how important the lyrical content in this record is to its presentation.
Putting the final touch to Behind The Eclipse is the album’s production.  The production ensures that each musician’s performance throughout the album is expertly balanced with the work of one another.  The resultant compliment of performances from beginning to end makes the record’s powerful moments and its more subdued times a whole that is fully immersive.  The positive aesthetic that results from the attention to detail ensures full engagement and entertainment among listeners just as much here as for the record’s content.  All things considered, Behind The Eclipse proves to be a work that Course of Fate’s established audiences and new audiences alike will appreciate.
Behind The Eclipse, the newly released third album from Course of Fate is a work that will appeal just as much to general prog-metal fans as to those of this band.  That is proven in part through its featured arrangements, which blend elements of Dream Theater, Evergrey and even Rage.  The lyrical content that accompanies the record’s musical arrangements adds to the appeal.  That is due both to the stories presented and their very composition style.  Those two items collectively are sure to immerse listeners even more into the album because of how much they will leave listeners thinking deeply.  The record’s production puts the finishing touch to this presentation.  It ensures the sound is balanced throughout the record, giving listeners the fullest experience just from listening to the record.  Each item examined is important in its own way to the whole of the presentation.  All things considered they make Behind The Eclipse a unique, welcome early addition to this year’s field of new hard rock and metal albums.
Behind The Eclipse is available now through Rock of Ages Records.  More information on the album is available along with all of Course of Fate’s latest news at  https://facebook.com/courseoffate.