By: Philip Sayblack

Motionless In White officially ended a wait of more than four years for new music this month when the band released its brand-new album, Decades.  The band’s seventh full-length studio recording, this 53-minute record is a solid return for the band.  The four singles that the album has already produced – ‘Afraid of the Dark,’ ‘Playing God,’ ‘Fight Like Hell,’ and ‘R.I.P.’ – have already made that clear.  The rest of the album’s entries do just as much to display the album’s strength in their own way, too.  From one song to the next the record’s musical body and lyrical themes present plenty for audiences to appreciate.  The end result is a record that is easily among the best of this year’s new hard rock and metal albums so far if not potentially one of the year’s best overall albums.


Decades, Motionless in White’s latest album, is one of the best of this year’s new hard rock and metal albums without question.  Its success comes in part through the musical arrangements featured throughout its nearly hour-long body.  Many who have already critiqued the 14-song presentation have lauded that material, saying that it shows the band branching out and trying new things.  To a point, that argument is true.  However, it is not the first time that the band has ever taken such approach to any music in its catalog.  It is just the first time that such focus has been so present throughout any of the band’s records.  The band has balanced that focus on more electronics with its familiar emo-goth and metalcore leanings to make a whole that is, from beginning to end, a presentation that has justifiably surprised many in the best way possible.  Between the 80s new wave influence of ‘Love at First Bite,’ the more semi-industrial Spineshank-esque lean of ‘All That I’ve Ever Known,’ the cover of the classic 80s new wave hit ‘Sunglasses at Night’ (which is really a great take on this song) and the rest of the album’s entries, that increased focus on electronics throughout the album has really formed a solid foundation for the presentation.


That more focused approach is not all that Motionless in White offers audiences here, either.  Right from the album’s outset, its title track takes audiences back to its metalcore roots from its days signed with Fearless Records.  That song’s intense arrangement is easily comparable to works from the likes of Wage War, which itself is interestingly currently signed to Fearless.  The bonus take of ‘Fight Like Hell,’ which the band recorded with Outlier, takes the band in a nu-metal direction, interestingly enough but it works.  Considering this it is interesting that Chris Motionless’ work with Outlier on its single, ‘Warriors’ was not included in the album, too.  For those who have not heard that song, it is a powerful song that fits perfectly here both musically and lyrically.


Speaking of lyrics, the lyrical themes featured throughout the album largely follow one central theme, that of overcoming adversity, both personally and otherwise.  The album’s lead single, ‘Afraid of the Dark,’ makes that clear, with Chris Motionless singing in the song’s chorus, “You’ll never know yourself/Until you walk alone/With blind faith and broken bones/So follow the light in your heart/And be not afraid of the dark.”  In other words, take that leap.  Take the emotional scars and heal, and have faith, do not be afraid of the unknown, the future.  Once you do, you will find yourself and know yourself.


‘Decades’ and ‘All That I’ve Ever Known’ both display that message in their own way, too.  In ‘Decades,’ Motionless sings to audiences, ‘I have never felt so alive/Among the faces in which I confide/Pen to the pavement/Failures reframed/Ashes to embers/I fueled the flames/You will remember my name/You’re either in or you’re in my way/Hatred and harmony collide internally/I built a fortress/From stones that were thrown at me/Define a new day.”  What he is saying here is that he has a clear head, very much as in ‘Afraid of the Dark.’  He tells listeners that he has taken the negatives – those stones thrown at him – and used them to strengthen himself.  He has developed a sense of determination to overcome that negativity before reminding listeners in the song’s second verse, “Strike fast/This is your last chance to fight back/Earn your legacy/Steadfast/This is your moment to outlast/Own your history.”  This is a powerful, uplifting statement.  He is telling listeners to not give up themselves, to not let others get them down.  It is a familiar message that resonates just as loudly here as from any other band out there past and present.


In the case of ‘All That I’ve Ever Known,’ it seems like Motionless is letting listeners know that the music is there for them.  To that end it makes one think of Slipknot’s ‘Pulse of the Maggots,’ which serves as that reminder that the band and its music is there to speak for those without a voice and to empower them.  This is inferred as Motionless sings, “take every part of me/The anger and the energy/The anguish and the ecstasy/To feel like you’re not alone/I can numb the pain/The quiet and the deafening/A symphony of your escape/Is all that I’ve ever known.  If in fact this is the intended message, it certainly is not the first time the band has ever gone this route.  The band has also crafted songs in support of its fans and even the LGBTQ community.  To that end, it makes the seeming message of empowerment here just as powerful as it is in the rest of the album’s entries.


That sense of empowerment is not all that the band delivers, lyrically in this record.  ‘Playing God’ and ‘Log in and Crash’ are both biting commentaries on the role of social media while ‘Hollywood’ delivers its own social commentary as Motionless reminds listeners, “The hunter and hunted are one in the same/’Cause everybody’s somebody’s/Somebody’s prey.”  It comes across along with the rest of the song’s content, a reminder that there is always somebody trying to do someone else wrong.  In other words, it comes across as a commentary about human nature; that need that people feel to compete and one up one another.  If that is in fact the case then it is delivered in fine fashion.  When it is considered along with the rest of the content examined here and that collective with the rest of the album’s lyrical material, the whole therein makes Decades that much stronger.


Rounding out the most important of the album’s elements is its production.  Being that there is so much energy in each song and so much going on in each arrangement, the production had to ensure balance in every moment.  That effort paid off well, too.  Each performance, each item complimented the other throughout the album.  The result is a record that is just as appealing for its general effect as for its content.  To that end, Decades proves itself a solid new addition to this year’s field of new hard rock and metal albums.


Decades, the latest album from Motionless in White, is a solid new offering from the veteran hard rock/metal band.  This is proven through its musical arrangements and its lyrical themes, as well as its production.  That is evidenced in the album’s singles and through the songs examined here.  All things considered they make Decades one of Motionless in White’s best albums to date and easily one of this year’s best new hard rock and metal albums if not one of the year’s best albums overall.
​

Decades is available now.  More information on the album is available along with all of Motionless in White’s latest news at:
Website: https://motionlessinwhite.net
Facebook: https://facebook.com/motionlessinwhite
X: Motionless In White (@MIWband) on X

By: Philip Sayblack

August Burns Red officially returned last month when it released its latest album, Season of Surrender.  The band’s 11th album, it came more than three years after the release of its then latest album, Death Below.  The band’s first record for its one time label home Fearless Records since the release of Guardians in 2020 (that record’s follow-up, Death Below, was released through Sharp Tone), it is a powerhouse presentation, both musically and lyrically.  The record’s production puts the finishing touch to its presentation, ensuring a solid general effect that works with the overall content to the end of making Season of Surrender another welcome addition to this year’s field of new hard rock and metal albums.


Season of Surrender, the latest full-length studio recording from August Burns Red, is a solid new outing for the veteran metalcore outfit.  Its success is proven in large part through the musical arrangements featured throughout its 44-minute run time.  From the record’s opener, ‘Legions,’ to its finale, ‘Forged By Failure,’ the record’s musical body is a nearly nonstop slab of familiar metalcore leanings with some surprises.  The surprises come in the form of the occasional death metal breakdowns a la Whitechapel.  Those breakdowns come in the end of ‘Legions’ and in the final minutes of ‘Whispers Like Splinters.’  The rest of the way throughout the album, audiences get plenty of familiar touches from the band while also blending the best elements of Killswitch Engage, As I Lay Dying, and All That Remains.  The end result is a work that every metalcore purist will welcome in their music library.


Building on the appeal of the album’s musical body is the lyrical content that accompanies that musical material.  The lyrical content in question deals very heavily with the matter of mental health.  It is not the only topic tackled here, though.  The band also takes on the matter of self-identity (another familiar topic for hard rock and metal) and even the dangers of a narcissistic individual (wonder where the inspiration for that came from?) in the album’s opener.  There is also the matter of the mental and physical impact of fighting disease in ‘Den of Thieves.’


In regard to the matter of mental health, the band takes on the topic in various ways throughout the album.  According to information made available through research, ‘Behemoth,’ the album’s lead single centers on the matter of facing childhood emotional trauma while ‘Cerebral Malfunction’ handles a related topic, that of a person’s tendency toward self-sabotaging and dealing with one’s self-worth.  Those two topics can and often do interact with one another, so that and the reality that certainly they will resonate with plenty of audiences makes for plenty of importance and resonance.  Self-sabotage could be considered a toxic habit that is very self-destructive.  That very matter of trying to break from such self-destructive and toxic habits is at the center of ‘S.O.S.’, one of the album’s later entries.  Dealing with grief and loss, whether through death or through broken trust is also a mental health matter.  Those are both addressed respectively in ‘New Horizons,’ ‘Forged By Failure’ and ‘Whispers Like Splinters.’  So even in that matter, the band is still tackling the matter of mental health, just in the unique fashion as noted.  Keeping that in mind, this familiar overarching theme of mental health that spans most of the album’s lyrical content is certain to resonate loudly with a wide range of audiences.  That resonance will itself lead to even more appreciation for the record alongside its hard hitting musical body.  The two items together make for more than enough reason to audiences to take in this album.


Putting the final touch to the album is its production.  The production is of note because of the impact that it had on the album’s general effect.  Thanks to the time and attention that went into balancing the vocal and instrumental performances in each song, no one part overpowers the others at any point.  The result is a record that is just as appealing for this aesthetic element as for its content.  The whole therein leaves Season of Surrender a welcome return for August Burns Red that is also another welcome addition to this year’s field of new hard rock and metal albums in its own right.


Season of Surrender, the latest full-length studio recording from August Burns Red, is a strong new offering from the veteran metalcore band.  The nearly 45-minute record will appeal widely among metalcore audiences and the band’s established audiences in part through its musical arrangements.  That is due to the familiarity of its metalcore and even death metal touches.  The lyrical content that accompanies the album’s musical material adds to the appeal with its own familiarity and accessibility.  By and large, the album’s lyrical content touches on the matter of mental health in a handful of avenues while still being easily accessible.  The record’s production puts the finishing touch to the whole, ensuring a positive general effect for the whole.  Each item examined is important in its own way to the whole of the album.  All things considered they make Season of Surrender a solid new offering from August Burns Red that will resonate with plenty of audiences.
​

Season of Surrender is available now.  More information on the album is available along with all of August Burns Red’s latest news at:


Website: https://augustburnsred.com


Facebook: August Burns Red

By: Philip Sayblack

Collective Soul’s latest album, Touch and Go, will finally get a CD release next week.  The 10-song record’s CD release will come July 31, more than three months after the band initially released the record on vinyl as a Record Store Day exclusive.  Why the band went this route instead of just releasing it on both platforms all on the same day is anyone’s guess.  That aside, it is still a presentation that is sure to interest audiences.  This is due in part to its featured musical arrangements, which will be discussed shortly.  The record’s lyrical themes are just as accessible and familiar as its musical body, making for even more interest for audiences.  The album’s production puts the finishing touch to the whole.  Each item noted is important in its own way to the whole of the presentation.  All things considered they make Touch and Goa surprisingly engaging and entertaining addition to this year’s field of new rock albums.
Touch and Go, the latest album from Collective Soul (the band’s 13th studio album), is an interesting new offering from the veteran rock outfit that is sure to keep audiences engaged and entertained.  That is due in part to its featured musical arrangements.  The arrangements in question are of note because they find the band moving in a much more pop oriented direction than ever before.  That is not to say that the band has not had some pop-leaning compositions in its existing albums but none of the band’s albums have leaned this heavily on more pop rock style compositions.  From its opener, ‘Rainbow’ to its finale, ‘Love Your Way,’ the album’s musical body is more akin to works from the likes of Kurt Baker, Joy Buzzer and others of their ilk.  The “purest” rock oriented composition featured in this album comes in the form of ‘Fun,’ the opener for the album’s second half.  Interestingly enough, the use of the keyboards and electronics herein also gives the arrangement something of an 80s new-wave vibe.  Many of the arrangements featured here have those subtle touches alongside the pop rock lean, too. On another note, a close listen to ‘Feel,’ one of the album’s much later entries, reveals a piano line that is actually a “tribute” of sorts to John Lennon’s ‘Imagine.’  This is rather interesting considering the song’s lyrical theme, which focuses on the all too familiar topic of romance and relationships that seems to dominate most of this record.  This will be discussed a little later.  The whole of those sounds and styles makes the musical body of Touch and Go reason enough in itself to take in this album.
Going back to the matter of the album’s lyrical themes, lyrics were unavailable for this album ahead of its release.  The result was having to listen very closely to the songs.  Full discretion, sans lyrics some of the content was a little bit difficult to decipher in full.  However, in the bigger picture of the record’s 35-minute run time, it can be noted that by and large, this record is dominated, lyrically, by that all too familiar theme of romance and relationships.  From the uncertainty in certain relationships in ‘Eye on You’ to a seeming story of someone desperate for love in ‘All My Days on Thru,’ to a man who obviously is infatuated with a woman in ‘Shooting For You,’ the noted argument is clear.  At this point, the only song featured in the record that breaks from that seeming norm comes in the form of ‘Heavy,’ which is, well…a heavy emotional piece in which front man Ed Roland sings that “Life’s a heavy load.”  This even with people saying that life is so many great things.  The story on this song would be certainly interesting to learn especially – again – as it sits alongside the album’s other seemingly overarching lyrical content.  Keeping all of this in mind, the lyrical content featured throughout Touch and Go is sure to appeal to a very targeted audience; more targeted than its musical arrangements, which certainly will appeal to a specific audience.
Rounding out the most important of the album’s elements is its production.  From the beginning to the end of this unique new offering, its production ensures a solid aesthetic presentation.  Save for one song, ‘Fun,’ the record’s production expertly balances the songs’ vocal and instrumental performances.  In ‘Fun,’ Roland seemingly sings through a megaphone and that presentation is lowered greatly against the instrumental performances.  The result therein is that again sans lyrics, it is somewhat difficult to catch the message.  That aside, the rest of the record’s production is a fully positive in its own right.  When this is considered alongside the record’s overall content, the whole therein leaves Touch and Go a unique presentation that is definitely a calculated risk for Collective Soul that will still appeal to certain audiences.
Touch and Go, Collective Soul’s forthcoming 13th full-length studio recording, is an interesting new offering from the veteran rock act.  That is due in part to its musical arrangements, which take the band in a completely different direction than that of its existing catalog.  In place of the more direct rock lean of the band’s existing catalog, the band instead goes in a much more pop and 80s new wave direction.  This previously unexplored direction is sure to make the album appealing to a very specific audience.  The album’s lyrical themes, which seem to focus largely on the all too familiar topic of relationships and romance will limit the record’s appeal just as much as the album’s musical arrangements.  The production puts the finishing touch to the whole, ensuring an aesthetic impact that will at least appeal to all audiences.  Each item examined is important in its own way to the whole of the record.  All things considered they make Touch and Go an intriguing new offering from Collective Soul.
Touch and Go is scheduled for release on CD July 31, following its vinyl release this past April as part of Record Store Day.  More information on the record is available along with all of Collective Soul’s latest news at:
Website: https://collectivesoul.com
Facebook: https://www.facebook.com/collectivesoul
Twitter: Collective Soul (@CollectiveSoul) on X

By: Evan J. Thomas

★★★★☆ (4.5 out of 5 Stars)
DED has never been a band interested in playing it safe, and on Resent, they double down on everything that has made them one of modern heavy music's most underrated forces. Blending crushing riffs, emotionally charged lyrics, thunderous grooves, and an unmistakable sense of urgency, Resent delivers a relentless listening experience that rarely lets its foot off the gas.

I've been following DED before they released their debut, Mis-An-Thrope in 2017 and the progression of the band has just blown up with their quality of music. 

From the opening moments, the Resent  establishes an aggressive tone, but there's far more beneath the surface than sheer heaviness. The band's songwriting has matured, balancing explosive choruses with darker, introspective moments that make the record feel personal rather than simply punishing. Every breakdown lands with purpose, every hook sticks, and every track feels like it earned its place.

Joe Cotela's vocal performance is the emotional anchor of the album. He effortlessly shifts between anguished screams and melodic passages, delivering every lyric with conviction. His intensity gives the record its heartbeat, while the rest of the band provides a massive sonic foundation packed with razor sharp guitar work, pounding rhythms, and a rhythm section that never loses momentum.

Production wise, Resent sounds huge without sacrificing clarity. The guitars are thick and crushing, the drums hit with authority, and the mix allows every instrument to breathe while maintaining the album's raw, aggressive edge. It's polished enough for modern rock radio but still carries enough grit to satisfy longtime metal fans.

Where Resent truly succeeds is in its emotional honesty. The album wrestles with anger, frustration, betrayal, and perseverance without ever feeling forced or melodramatic. Those themes resonate because they're delivered with authenticity rather than cliché.

The only reason Resent falls just short of perfection is that a handful of songs lean on familiar modern metal formulas. While they're undeniably well executed, a couple of tracks don't quite reach the unforgettable heights of the album's strongest moments.

Still, those minor shortcomings do little to diminish what is easily one of DED's strongest releases to date. Resent is heavy, memorable, emotionally gripping, and packed with enough energy to demand repeat listens.

 DED proves once again that they're far more than just another modern metal band. Resent is an explosive, emotionally charged album that delivers crushing heaviness without sacrificing melody or heart a record that should satisfy longtime fans while earning plenty of new ones along the way.
​LET'S RAGE!!

By: Cole Bandit

Dead/Asleep – Dead/Asleep (EP)
★★★★½☆ (4.5/5 Stars)
Some supergroups rely on the names behind the project to generate excitement. Dead/Asleep takes the opposite approach. Their self titled debut EP earns every ounce of attention through crushing riffs, memorable songwriting, and a chemistry that feels less like a side project and more like the birth of a band built to last.

Featuring members of Crobot, Drowning Pool, Fire From The Gods, Flyleaf and Live this "Supergroup" has put all the pieces together.  

From the opening notes, Dead/Asleep establishes a clear identity. This isn't an exercise in technical showmanship or nostalgia, it's a focused collection of modern hard rock that blends massive hooks, driving grooves, and dark melodic textures into an explosive listening experience.


The EP walks a fine line between aggression and accessibility. Thick, riff heavy guitars collide with soaring vocal melodies, while the rhythm section provides a relentless backbone that keeps every track moving with purpose. The production is polished without sacrificing grit, giving each instrument room to breathe while maintaining the raw energy that defines the band's sound.


One of the EP's greatest strengths is its consistency. Every song feels intentional, offering its own identity while contributing to the larger flow of the record. Whether it's the thunderous breakdowns, infectious choruses, or emotionally charged lyrical moments, Dead/Asleep demonstrates an understanding that heavy music hits hardest when it's backed by memorable songwriting.


The performances throughout are exceptional. Each musician brings experience and confidence to the table, but no one overshadows the collective effort. Instead, the band operates as a cohesive unit, creating songs that are stronger because of their collaboration rather than individual spotlight moments.


Perhaps most impressive is how naturally the music comes together. There's no sense of forcing different styles into one package. Instead, the EP delivers a seamless blend of hard rock and modern metal influences that feels both familiar and refreshingly original.


If there's one criticism, it's simply that listeners will likely be left wanting more. The EP leaves such a strong impression that its relatively short runtime ends far too soon. Fortunately, that's the mark of a release that succeeds, it leaves you eager for the next chapter.


With this debut, Dead/Asleep has laid an incredibly solid foundation. Rather than sounding like musicians testing the waters, they sound like a band with a clear vision and the potential to become a serious force in today's hard rock landscape.


The self-titled debut from Dead/Asleep is everything a first release should be: bold, heavy, memorable, and full of promise. It's an EP that doesn't just introduce a new band, it announces one. With powerful performances, hook-driven songwriting, and a sound that's equal parts muscle and melody, Dead/Asleep has delivered one of the most exciting hard rock debuts of the year.

By: Evan J. Thomas 

Radkey – BEDROOM SAND
★★★★☆ (4/5 Stars)
I've have seen the progress of Radkey after I first saw them at Riot Fest a decade ago in 2016.  Over the years I have seen them play small clubs like Reggies, The Metro, Rochaus, Empty Bottle and opening for Rock and Roll Hall Of Famers the Foo Fighters in Cincinnati and in Milwaukee. 

While Some bands spend years trying to capture the raw energy of a live show inside a studio. Radkey has always had that figured out. On BEDROOM SAND, the brothers from Missouri  once again proves that punk rock, garage rock, grunge, and hard rock can collide into something that feels both nostalgic and refreshingly modern.


From the opening track "Victory" which is my favorite song on the album BEDROOM SAND hits with the swagger and urgency that have become Radkey's trademark. Thick guitar tones, pounding rhythms, and instantly memorable hooks give the album a relentless momentum, while the band's knack for writing catchy choruses keeps every song from becoming just another wall of distortion.


What makes the record stand out is its attitude. There's a carefree confidence running through every track. Rather than chasing trends, Radkey leans into the gritty, DIY spirit that has always made them unique. You can hear influences ranging from classic punk and alternative rock to heavy garage rock, but the band never sounds like they're borrowing they sound like themselves.


Vocally, Dee's performances strike a balance between melodic and aggressive, allowing the songs to breathe without sacrificing intensity. The rhythm section of Isaiah and Solomon deserves equal praise, providing a driving backbone that gives every riff extra punch.


While BEDROOM SAND rarely lets its foot off the gas, there are moments where a little more dynamic variety could have elevated the listening experience even further. A handful of songs blend together stylistically, preventing the album from reaching true classic status. Still, the consistency is undeniable, there are no throwaway tracks here.


Ultimately, BEDROOM SAND is exactly the kind of record rock fans need in 2026: loud, unapologetic, hook filled, and packed with personality. Radkey continues to remind listeners that rock doesn't need gimmicks when the songs are this infectious and the performances this authentic.


If you're looking for an album that demands to be played at maximum volume, BEDROOM SAND deserves a spot in your rotation


BEDROOM SAND doesn't reinvent punk rock music but it doesn't need to. It captures everything that makes Radkey such an exciting band: energy, attitude, memorable songwriting, and enough raw power to leave you wanting another spin the moment it ends.

By: Cole Bandit

⭐⭐⭐⭐⭐ (5/5)Jack White – Frozen Charlotte
Some artists spend their careers trying to recreate lightning in a bottle.  Jack White simply creates another storm.

I had the opportunity to listen to the full album two days before it's release at a local record store listening party and I was in love hearing it. 


With Frozen Charlotte, his seventh solo album, White delivers one of the year's most exhilarating rock records, a fearless collision of blistering blues, garage rock swagger, psychedelic grit, and guitar-driven chaos. It's a record that doesn't ask for your attention, it grabs you by the collar and refuses to let go.


From the opening blast of "G.O.D. and the Broken Ribs," White makes one thing abundantly clear: this isn't a nostalgia trip. It's a modern rock record powered by the same untamed spirit that made him one of the defining guitarists of the last quarter century. Every riff crackles with urgency, every solo feels spontaneous, and every song carries the unmistakable fingerprint of an artist who continues to evolve without losing sight of what made him great in the first place.


What makes Frozen Charlotte so compelling is its refusal to play it safe. White jumps effortlessly between snarling blues rock, glam infused stompers, hypnotic grooves, and moments of almost spiritual intensity. Songs like "Dollar Bill," "Nobody Knows," and "She's in a Frenzy" showcase his uncanny ability to make even the most off-kilter ideas feel immediate and infectious, while his guitar work remains among the most inventive in modern rock.


Lyrically, the album explores themes of fear, faith, obsession, and human conflict, but never feels weighed down by its ambitions. White balances theatrical storytelling with raw emotion, creating songs that feel both larger than life and deeply personal.
 

The production deserves equal praise. Instead of polishing away the edges, White embraces imperfection. The album breathes with analog warmth, live energy, and just enough controlled chaos to remind listeners why rock music is meant to feel dangerous. Every distorted guitar tone, crashing drum fill, and unexpected sonic detour serves the songs rather than distracting from them.


At a time when many legacy artists settle comfortably into repetition, Jack White continues pushing forward. Frozen Charlotte doesn't chase trends or try to fit neatly into today's rock landscape, it confidently carves its own path.
It's loud.
It's unpredictable.
It's brilliantly weird.
And above all, it's unmistakably Jack White.
Standout Tracks

• "G.O.D. and the Broken Ribs"
• "Dollar Bill"
• "Nobody Knows"
• "She's in a Frenzy"
• "Neighbors Blues"

Final VerdictFrozen Charlotte is a reminder that rock music still has innovators willing to take risks. Jack White delivers an album overflowing with creativity, swagger, and guitar heroics while proving, once again, that he remains one of rock's most compelling voices.
This isn't just another great Jack White album.
It's another reason his name continues to define modern rock.
Rating: ⭐⭐⭐⭐⭐ (5/5)Jack White hasn't lost a step—if anything, he's still setting the pace. 🤘

By: Philip Sayblack

​Late this past May, independent thrash metal outfit Hellevate released its latest album, Killicon Valley.  The band’s fourth full-length studio recording, this 12-song record is a work that every thrash purist will appreciate if only for its musical arrangements.  The lyrical content that accompanies the 61-minute album’s musical body makes for its own interest.  The album’s production puts the finishing touch to its presentation, ensuring a positive general presentation.  Each item noted is important in its own way to the whole of Killicon Valley.  All things considered they make the album a presentation that new and established audiences alike will appreciate.
Killicon Valley, the latest full-length studio recording from Hellevate, is a presentation that will appeal widely among audiences.  That is due in no small part to its featured musical arrangements.  From its beginning to its end, the arrangements are thrash at its purest.  This is evident from early on in ‘In The Long Grass.’  The blend of front man Robert Browne’s Tom Araya-esque vocal delivery with the work of his band mates – Dan Whitmer (guitar), Joshua Cole (guitar), Zack Burke (bass), and Rulow Lopez (drums) – makes the whole a solid first full impression from the band.  The term “full first impression” is used as the album’s opener, ‘D.T.C.’ is an instrumental track.  Browne’s distinct vocal delivery style carries through the rest of the album’s entries, making for plenty of engagement and entertainment, needless to say.  This alongside the steady nonstop thrash approach that the band takes in each work, conjures constant comparisons to works from the band’s more well-known counterparts, such as Exodus, Death Angel, Testament, and obviously, Slayer.  Perhaps the most notable of the moments that stands out, musically, is ‘The Rampart.’  Coming just before the album’s midpoint, it takes the band’s familiar thrash leanings and adds the most subtle touch of power metal for a whole that is truly unique.  All things considered, even with the familiarity in sound and style noted, the arrangements featured herein still maintain their own identity that help to form the album’s foundation.
Building on that foundation is the lyrical material presented alongside the album’s musical arrangements.  The lyrical content featured throughout the album definitely makes for its own interest.  Case in point, again, is the album’s first full introduction, ‘In The Tall Grass.’  This song is actually inspired, lyrically, but a scene from The Lost World: Jurassic Park, the sequel to Jurassic Park, which was itself adapted from a novel written by author Michael Crichton.  According to available information the scene in question the scene involved a group of Velociraptors ambushing a group of people in the grass on the island on which the dinosaurs live.  The information additionally states the moment in question is used as a metaphor for the ease with which negative forces in life can overtake a person.    Browne encourages listeners, in turn, to “Run/Don’t stop/Escape.”  In other words, do not let those hidden negative forces overcome us.  Basically, it is meant to be a serious song with an uplifting message to keep pressing on and not let the band things in life stop us or destroy us.  Keeping that in mind, it is a key example of how much the album’s lyrical content has to offer.
‘Part of the Tribe,’ which comes in the album’s second half, is another example of the album’s lyrical content.  According to Browne’s own comments during an interview, the song is a commentary regarding the role of technology and those at the head of the tech world today.  If interpretation is to be correct, Browne cynically refers to those heads of the tech industry that has taken over so much of our lives “shamans,” adding that “the shamans have shed my burdens.”  In other words, those tech leads have taken over our lives and control everything.  This theme is hardly anything new in the music community today but even with that mind, it is still just as welcome in this case as in that of any other band and act’s works.
‘Curse God and Die,’ the album’s finale, is yet one more example of just how much the album has to offer, lyrically speaking.  According to available information, the song’s lyrical theme takes the biblical story of Job to examine just how far a person can be pushed before finally reaching a breaking point.  This is another familiar theme that will certainly resonate widely among audiences.  Add in the irony that a metal band would use a biblical story to deliver such an impacting discussion is itself unique, too, making for even more interest.
As if everything noted is not enough, the band also addresses the familiar theme of religion’s hypocrisy (or more specifically certain religious leader types) in ‘Holy Man.’  The band also tackles (or at least seems to tackle) the felon in the White House in the form of ‘Demagogue’ and even takes on Japanese mythology in ‘Jorogumo.’  Between all of this and everything else discussed, the whole therein makes the lyrical body of Killicon Valley its own reason for audiences to take in this album.  When the album’s musical and lyrical content is considered collectively, the two sides show without question just how much the album has to offer.
Putting the final touch to the album’s presentation is its production.  As already noted, this record is another heavy, intense presentation.  It is loud and it is intense.  Thanks to the attention to detail in each song, the vocal and instrumental performances in each song are expertly balanced.  The result is a positive full general effect that when considered along with the album’s overall content, makes the whole of Killicon Valley one more welcome addition to this year’s field of new independent albums.
Killicon Valley, the latest album from Hellevate, is a strong new offering from the thrash metal outfit that will appeal widely among audiences.  This is proven in part through the album’s musical arrangements, which offer plenty of familiarity in sound and style.  The lyrical themes presented throughout offer their own familiarity (and some other unique content).  The record’s production puts the finishing touch to the whole, ensuring a positive general effect.  Each item examined is important in its own way to the whole of the album.  All things considered they make Killicon Valley a welcome new addition to this year’s field of new independent albums.
Killicon Valley is available now.  More information on the album is available along with all of Hellevate’s latest news at Facebook. 

By: Cole Bandit

The Ninja Kitties – Ninja Kitties
★★★★☆ (4/5 Stars)
Punk rock has always thrived on energy, attitude, and the willingness to throw convention out the window. On their self titled album, The Ninja Kitties embrace that philosophy wholeheartedly, delivering a fast, loud, and undeniably fun collection of songs that refuses to take itself too seriously while still packing plenty of musical punch.


From the first track, Ninja Kitties explodes with breakneck tempos, razor sharp guitar riffs, and infectious melodies. The band effortlessly blends old school punk grit with modern production, creating a record that feels equally at home blasting through a sweaty club PA or a pair of headphones on your daily commute.


One of the album's biggest strengths is its personality. Every song is loaded with swagger, humor, and just the right amount of chaos. The Ninja Kitties understand that punk isn't just about playing fast, it's about creating songs people want to scream along with. Their choruses are catchy without feeling overly polished, and the band's chemistry shines through every riff and drum fill.


Musically, the album balances raw aggression with melodic hooks, keeping the momentum rolling from start to finish. The guitars are crunchy, the rhythm section is relentless, and the vocals carry enough grit and conviction to make every lyric hit with purpose. It's a record that's equally suited for circle pits, road trips, and turning your living room into your own personal punk show.


While Ninja Kitties rarely slows down, a little more variety in pacing could have elevated the album even further. Several tracks follow a similar formula, making parts of the record blend together during a full listen. Still, the band's enthusiasm and tight songwriting prevent that consistency from becoming a weakness.


Ultimately, Ninja Kitties succeeds because it captures everything fans love about punk rock: authenticity, speed, attitude, and a healthy disregard for playing it safe. It's an album that reminds listeners that great punk doesn't need to reinvent the genre—it just needs to make you want to turn it up louder.


With their self titled release, The Ninja Kitties deliver a spirited, riff driven punk record that's packed with energy and personality. It may not rewrite the rules of the genre, but it doesn't need to. Instead, it offers a collection of fun, hard hitting songs that celebrate everything punk rock does best. If you're looking for an album that demands to be played loud and leaves a grin on your face, Ninja Kitties is well worth the spin.