tag:blogger.com,1999:blog-917431190547314702024-02-19T03:43:07.400-05:00Paragon Music Magazine ReviewsRob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-91743119054731470.post-30386751639646486902014-06-16T14:42:00.000-04:002014-06-16T14:42:19.504-04:00Monica Richards: Kindred<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Monica Richards <br />
<i style="mso-bidi-font-style: normal;">Kindred</i><br />
Reviewed by Lisa Selvaggio</b></div>
<div class="MsoNormal">
<b>Rating: 5/5</b><br /><br />
I have to begin by saying that this review is pathetically long overdue, and I
want to first apologize to Monica for that. <i style="mso-bidi-font-style: normal;">Kindred
</i>is her third solo release and, yet again, she doesn't disappoint. The packaging
is unique, complete with a 16-page book filled with inspiring lyrics, artwork,
and photos in a DVD digipack. The booklet also contains "Spring,"
which is the story written for her graphic novel <i style="mso-bidi-font-style: normal;">Anafae</i>. What I personally really like about this album, though, is
that it was written to honor all of the kindred animal spirits that have touched
Monica's life. From frogs and bats to rain and thunder, Monica recorded animal
sounds and elements from Nature to incorporate them impeccably into every song
on the album, effectively turning them into music. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2oBavX5Q-hRCapRGJq1j1DMH0FLJPfxc1PbYR0ADkdU9WeHF-zpFGFRxBflHcNHRbKH6NSFGA3vm56vTCahuM_IEqIQ_pD8VfBYYIDloYxphP5R_q_nkGt2f8ENEPC0rsSlIyW-_8zU/s1600/Kindred+Cover+Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2oBavX5Q-hRCapRGJq1j1DMH0FLJPfxc1PbYR0ADkdU9WeHF-zpFGFRxBflHcNHRbKH6NSFGA3vm56vTCahuM_IEqIQ_pD8VfBYYIDloYxphP5R_q_nkGt2f8ENEPC0rsSlIyW-_8zU/s1600/Kindred+Cover+Art.jpg" height="200" width="320" /></a></div>
<div class="MsoNormal">
The album will suck you in immediately, and by the third
track, "Fall," if you're anything like me, you'll get the urge to get
up and dance along to the lyrics that tell you to "fight the Fall." There
isn't a track I don't like, but some that stand out include "The Bird and
the Snake," which was written with Strange Boutique bassist Steve Willett,
and "Let You Go," which is beautiful in every single way and will
have you in tears knowing that it was written for her beloved cat, Mina. Faith
and The Muse fans will also enjoy the reincarnation of one of the band's most
famous tracks, "Sparks." </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
"50 Euro Boy," with its many layers, is one of my
favorites. But the most adorable element of the album is when Penelope the cat
makes her musical debut on "Penelope" and, I must say, she is quite
good on those keys--must be a result of all that time spent with Monica!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As with all of Monica's other solo work, this album proves
what a versatile artist she is. She is able to take recordings of the natural world
and seamlessly fuse them with a dynamic musical landscape (case in point:
"Speak"). With a combination of electronic and tribal elements and,
of course, her signature voice, if you've enjoyed Monica's previous work, you
must pick up <i>Kindred</i> as well. I
highly recommend taking the time out to listen to each track as you look
through the booklet and read the lyrics. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:Zoom>0</w:Zoom>
<w:TrackMoves>false</w:TrackMoves>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing>
<w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing>
<w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery>
<w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:DontGrowAutofit/>
<w:DontAutofitConstrainedTables/>
<w:DontVertAlignInTxbx/>
</w:Compatibility>
</w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="276">
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--></div>
<div class="MsoNormal">
<i><b>To purchase Monica Richards' music, click <a href="http://www.monicarichards.com/merch_CDs.htm">here</a>. </b></i></div>
Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-39495024326042591352014-06-09T00:24:00.001-04:002014-06-09T00:24:51.231-04:00Sevendust Acoustic, Live at the Starland Ballroom<b>An Evening With Sevendust, Acoustic</b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 2/5</b><br />
<b><br /></b>
It pains me to write the words I'm about to put below this, but it has to be said. I've been a fan of Sevendust for a long time and I've seen them more times than I can count, but the show I just witnessed was the worst one so far. I feel like I'd be doing an injustice and a disservice if I were to gloss over the negative details and sugar coat this, so in the interest of this hopefully being seen as constructive criticism, here we go:<br />
<br />
When I see a show billed as an acoustic performance, I expect an acoustic performance. This was not an acoustic performance. Some people may argue that a few of the songs had been re-arranged in an acoustic fashion, which I'll give you. Others may argue that the guitarists were playing acoustic guitars, again, this would be true. However, there is more to playing acoustic than simply performing songs on a hollow-body guitar. I understand that in a live and studio setting, you need to plug in, and run through an amp, and I have no issue with that at all. I do have an issue with running effects pedals in your signal chain, and making your acoustic sound like the Les Paul you use on all your other tours. I have an issue with the drums being mixed as though you're using them to perforate the lungs of the audience. I have an issue with the vocal performance of a song barely deviating from the original despite the band having claimed to have rearranged the songs. More importantly, I have a huge issue with showing up with a set of expectations, mostly consisting of 1) seeing a true acoustic performance, and 2) not having my ears ringing to the point I'm checking them for blood, only to have those expectations greatly let down.<br />
<br />
I don't feel I'm being unfair here. I'm not taking away from Sevendust the fact that they practically ooze positive energy or that I've never seem them put on a bad show, even tonight. In fact, it's not the performance or the vibe that has me disappointed at all. I've seen many bands go the acoustic route for either part of their set or for a full tour, and none have missed the mark quite like Sevendust. This was not an acoustic show, this was a regular Sevendust show played with two hollow-body guitars mixed in with electric bass, drums, and keyboards.<br />
<br />
The show was divided into 2 parts, with about a 30 minute intermission. The first half of the show, I felt was full of less-recognizeable songs, even for someone who has been seeing the band live, on just about every tour, since about 2003. With just a few songs that stood out instantly, most of them just sounded the same to me. The second set, which had a few more favorites, was stronger, but by then I'd already given up on the idea of the show being a more laid-back acoustic variation on what I'm used to. Also, a note to any band that is going to cover Nine Inch Nails' "Hurt": Don't change the lyrics. More specifically, don't change "I wear this crown of shit" into "I wear this crown of thorns." Not only is it such an iconic song that you shouldn't ever consider changing the lyrics, but the implication of those 2 lines are completely different and you ruin that part of the song by changing it as such. A crown of shit means you're the king of garbage, negativity, sorrow, nothingness. A crown of thorns implies condemnation and accusation. Completely different, please don't do it again.<br />
<br />
I really wanted to like this show, and I really hate giving Sevendust a poor review for a live show, but I can't lie about this, it really failed to impress me or even meet the most basic expectations.Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-18576047170546083092013-12-19T23:19:00.000-05:002013-12-19T23:19:18.355-05:00Megadeth and Fear Factory LIVE in New Jersey<b>Megadeth and Fear Factory</b><br />
<b>Live in NJ on 11/29/13 at The Wellmont Theater</b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>RATING 4/5</b><br />
<b><br /></b>
<b><br /></b>
Megadeth and Fear Factory are two of my favorite bands, especially to see live, so when I saw they were on a bill together I was really excited. To make it even better, they were playing a few towns over from me in my home state of NJ, so I didn't need to pay a bunch extra in tolls and parking to go into New York City to see them. (Side note: contrary to popular belief, people who live in NJ don't necessarily love, or even like, traveling into NYC.)<br />
<br />
I hate to say it, but the show was a little disappointing, which was no fault of either band, I might add. Fear Factory has always had one of the most energetic live shows with some of the craziest crowds I've been witness to. The energy just wasn't there that night. The band was full of pep and sounded great, but you could tell by the way Burton C. Bell was talking to the crowd that even he could sense that they just weren't giving the same energy back. He made multiple references to how the crowd seemed sleepy, and blamed it on the fact that the day before was Thanksgiving and everyone "must have eaten too much shit, too much turkey." He was most likely right, as everyone looked like they were still in tryptophan comas. This was also the first time I'd ever seen Fear Factory as an opening or support act, aside from that one time they were on Gigantour after <i><a href="http://www.amazon.com/gp/product/B000A2H9IE/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B000A2H9IE&linkCode=as2&tag=dig0a5-20">Transgression</a></i> came out. I was completely not expecting such a short set, but I can't complain about the song choices, to be honest. They opened with the obvious choice: the title track from their most recent album <i><a href="http://www.amazon.com/gp/product/B007WFR1MQ/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B007WFR1MQ&linkCode=as2&tag=dig0a5-20">The Industrialist</a></i>, and from there it was a 7-song barrage of oldies but goodies made up of "Shock," "Edgecrusher," "Damaged," "What Will Become?," "Demanufacture," "Self Bias Resistor," and, of course, they closed with "Replica." The band deserves 5 stars for their energy, song choices, and their performance, but the crowd dragged down the whole mood. It's a double-edged sword because I normally love Fear Factory shows but complain about the audience because they're too rowdy and obnoxious, and this time I'm complaining because it's like they didn't even care that the band was there.<br />
<br />
<br />
<a href="http://www.digimmortalphoto.com/p98556116/e16a24c7a"><img alt="DIGImmortal Photo: Fear Factory 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v111/p379735162-2.jpg" width="400" /></a>
<br />
<a href="http://www.digimmortalphoto.com/p98556116/e9b95a6c"><img alt="DIGImmortal Photo: Fear Factory 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v105/p163142252-2.jpg" width="400" /></a>
<br />
<a href="http://www.digimmortalphoto.com/p98556116/e1f5cae7b"><img alt="DIGImmortal Photo: Fear Factory 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s5/v118/p526167675-2.jpg" width="400" /></a>
<br />
<a href="http://www.digimmortalphoto.com/p98556116/e16ceb24"><img alt="DIGImmortal Photo: Fear Factory 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v99/p23915300-2.jpg" width="400" /></a>
<br />
<br />
Headliners Megadeth need no introduction. From the second the video screens turn on and "Prince of Darkness" starts pumping through the speakers, you know you're going to be in for a great show. Being one of the photographers shooting the show, I'm right upfront for the first 3 songs of the set, so I get to hear what the band hears, which is why when they opened with "Hangar 18," I was confused as to why Dave wasn't singing when he was supposed to be. Until I looked up and realized he was! Whoever was running sound for this show really must have phoned it in that night. Couldn't hear vocals in the monitors at all for the first 3 songs, and when I left the photo pit to go to the back of the room to watch the rest of the show, I realized that the vocals were mixed terribly. Not only were they pretty low compared to the music, but the quality of the sound was really bad, and you couldn't make out a word Dave was saying. It wasn't Dave having a bad night either, because even between songs when he'd talk to the crowd, you still could hardly make out any words. As the show went on, the venue, or the soundguy, or whoever was at fault, pretty much ruined the show. The sound was terrible, and by terrible, I mean completely awful. The guitar tones were way too thin most of the time, and David Ellefson's bass was almost completely lost. The worst part was at the beginning of "Peace Sells" when David switched to his new signature Kelly Bird bass, which, as a bass player and lifelong fan of Ellefon's, I was very excited to finally hear live. The sound was so bad it sounded like he was playing a shoebox with rubber bands around it.<br />
<br />
Here's the thing: I'm not taking points away from the band for any of this. I know for a fact that they do not sound like this normally. I honestly feel like the venue cared more about volume than clarity of the mix. If I'm all the way at the back of the venue, away from the speakers, my ears should not be numb when I leave as though I was standing in the front row the whole night. I have seen variations on this setlist numerous times now since Ellefson's return to the band and not once have they had a bad night. There are, however, two things that I'm slightly disappointed with: 1) it was Black Friday and they did not play "Good Mourning/Black Friday," which, to me, just seemed like an appropriate song to play, and 2) the only new song I've heard live since <i><a href="http://www.amazon.com/gp/product/B00BEXB18M/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BEXB18M&linkCode=as2&tag=dig0a5-20">Super Collider</a></i> came out has been "Kingmaker." While I know it's the big single from the album, there are other tracks on there that really should get the live treatment.<br />
<br />
Overall, the show wasn't bad as far as Metal shows go. It's just very disappointing that a venue that was recently renovated would have such an awful sound for such a huge band. For a complete setlist for Megadeth, check it out <a href="http://www.setlist.fm/setlist/megadeth/2013/wellmont-theatre-montclair-nj-3c43177.html">HERE</a>.<br />
<br />
<br />
<a href="http://www.digimmortalphoto.com/p921210604/e1b667dfe"><img alt="DIGImmortal Photo: Megadeth 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v91/p459701758-2.jpg" width="400" /></a>
<br />
<a href="http://www.digimmortalphoto.com/p921210604/e1ba88f18"><img alt="DIGImmortal Photo: Megadeth 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v96/p464031512-2.jpg" width="400" /></a>
<br />
<a href="http://www.digimmortalphoto.com/p921210604/e1ea0bb74"><img alt="DIGImmortal Photo: Megadeth 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v97/p513850228-2.jpg" width="400" /></a>
<br />
<a href="http://www.digimmortalphoto.com/p921210604/e10d72c55"><img alt="DIGImmortal Photo: Megadeth 11-29-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v100/p282537045-2.jpg" width="400" /></a><br />
<br />
For more photos from this show and others, visit <a href="http://bit.ly/1i5PrG9">DIGImmortal Photo</a>.Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com1tag:blogger.com,1999:blog-91743119054731470.post-6664176086188078482013-11-14T13:20:00.002-05:002013-11-14T15:27:53.258-05:00John Kiernan: Of Oceans<b>John Kiernan</b><br />
<b><i>Of Oceans</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 5/5</b><br />
<b><br /></b>
NOTES! Lots of notes, and really fast! New Jersey native <a href="https://www.facebook.com/Johnkiernanmusic">John Kiernan</a> is further proof that there must be something in the water in this state that makes people excellent musicians. [Note: I am NOT talking about Bruce or Jon]<br />
<br />
NJ is famous for local music heroes that either achieve cult status within our own little bubble, or go on to more impressive national success. Some of our local guys like <a href="https://www.facebook.com/MetalMikeC">Metal Mike Chlasciak</a>, <a href="https://www.facebook.com/steviehimself">Steve Bello</a>, or <a href="https://www.facebook.com/angelvivaldi">Angel Vivaldi</a> are very well known for their instrumental Metal guitar playing. Enter John Kiernan, who can be added to the list of the aforementioned players, with influences from other artists that merge with his own taste in every riff. If you're looking for a fast-paced but not overly self-indulgent example of some top-shelf guitar playing, then you need to check out <i><a href="http://johnkiernanmusic.bandcamp.com/">Of Oceans</a></i>.<br />
<br />
The production quality on this is incredible, and it's very rare to hear local or indie artists with this level of production. The drums absolutely boom with every hit and the layers of guitar are tastefully arranged. There's just enough complexity to set it aside from your run-of-the-mill songwriting, but not enough where it becomes pretentious.<br />
<br />
The album starts off with "The Hit," which is a song that evolves as you go deeper into it. It starts sounding like something early Van Halen would write and then builds into something a little more sonically mature and involved, and ends with a short but aggressive drum-lead beat. All of this in just over one minute. It's a great way to kick off the album by showing off a quick portfolio of skills. Another standout track is "Astraeus," which sounded very familiar the first time I heard the intro. I finally figured out that the intro had a similar feel (at least in my mind) to Megadeth's "Head Crusher" from 2009's <i><a href="http://www.amazon.com/gp/product/B002C6K7N0/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B002C6K7N0&linkCode=as2&tag=dig0a5-20">Endgame</a></i>. Both songs are actually quite different once you move beyond the intro, but there's that familiarity that struck me on first listen. I guess great music minds really do think alike. The album ends with John's cover of Alice DeeJay's "Better Off Alone." I think the crowning coincidence is that the album that the original song appeared on was called <i><a href="http://www.amazon.com/gp/product/B0076T1R8W/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0076T1R8W&linkCode=as2&tag=dig0a5-20">Who Needs Guitars Anyway?</a></i> Kiernan's adaptation is excellent and catchier than the original, if that's possible. Guest vocalist <a href="https://www.facebook.com/SykaMusic">Syka</a> lends her pipes to the track, showcasing an impressive sustain and vocal control.<br />
<br />
If you're into Instrumental Metal and Shred, I highly recommend you check out <i><a href="http://johnkiernanmusic.bandcamp.com/">Of Oceans</a></i> today. Plus, John's a really nice guy, and a <a href="http://www.giants.com/">Giants</a> fan, so he's got that going for him as well.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsp9OzN2KLXwp8qd0uwEgCXgw-eRp1rBzyQUeLcsbqPiXRNQvdxnrNn3cvRwFqcRYXTwkPyRon1vdeh2ubqpXfg7OD08MKJD2-HC5q2S3-XcGJzRVGfKBzh6Y0RnQWWTxkLwCzY1aOOL99/s1600/jkcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsp9OzN2KLXwp8qd0uwEgCXgw-eRp1rBzyQUeLcsbqPiXRNQvdxnrNn3cvRwFqcRYXTwkPyRon1vdeh2ubqpXfg7OD08MKJD2-HC5q2S3-XcGJzRVGfKBzh6Y0RnQWWTxkLwCzY1aOOL99/s320/jkcover.jpg" width="320" /></a></div>
<br />Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-59412983318760399482013-10-14T20:27:00.000-04:002013-10-28T16:03:22.170-04:00Nine Inch Nails: Hesitation Marks<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00EQUP3Q6" style="height: 240px; width: 120px;"></iframe>
<br />
<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:Zoom>0</w:Zoom>
<w:TrackMoves>false</w:TrackMoves>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing>
<w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing>
<w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery>
<w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:DontGrowAutofit/>
<w:DontAutofitConstrainedTables/>
<w:DontVertAlignInTxbx/>
</w:Compatibility>
</w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="276">
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal">
<b><br /></b>
<b><br /></b>
<b>Nine Inch Nails<br />
<i>Hesitation Marks</i><o:p></o:p></b></div>
<div class="MsoNormal">
<b>Reviewed by <a href="https://www.facebook.com/AnotherDistractionMusic?ref=br_tf">Antonio Staropoli</a><o:p></o:p></b></div>
<div class="MsoNormal">
<b>Rating: 5/5</b><br />
<br />
When I was a kid and music videos actually played on MTV, I remember having a
very vivid memory of the Nine Inch Nails video for "Closer." Mostly
because the imagery was disturbing for a child, but it had a pretty catchy
hook. Not to mention a generous use of the word fuck in the uncensored version.
But it wasn't until years later that I was introduced to <i><a href="http://www.amazon.com/gp/product/B00489YLBS/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00489YLBS&linkCode=as2&tag=dig0a5-20">Pretty Hate Machine</a></i>,
the very first album/halo in the NIN collection. I played "Head Like a Hole"
ad nauseam and became beyond obsessed with the cover of Joy Division's song
"Dead Souls" on <i>The Crow</i>
soundtrack. I finally understood why all my friends had at least one Nine Inch
Nails t-shirt.<br />
<br />
Since then, Trent Reznor has completed eight studio albums and worked on a lot
of side projects, including the one that earned him an Academy Award for the
score of <i><a href="http://www.amazon.com/gp/product/B0043ISH6O/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0043ISH6O&linkCode=as2&tag=dig0a5-20">The Social Network</a></i>. So,
naturally, there's a huge expectation for this award-winning artist, especially
when there is talk of a new NIN album coming out after five long years. The
last record, <i><a href="http://www.amazon.com/gp/product/B001CFOPMQ/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B001CFOPMQ&linkCode=as2&tag=dig0a5-20">The Slip</a>, </i>had a very raw, minimalist garage-rock sound,
relative to Nine Inch Nails anyway. One of the beautiful things about this
“band” is that every album has a flavor and unique sound, but at the very core it's
still recognizable as NIN. So when the first single, "Came Back
Haunted" was released, I thought, what the fuck is this? I just couldn't
process it as quickly as I would have liked to, but after a few listens I
finally got it! I'm now being taken back to that time I listened to <i><a href="http://www.amazon.com/gp/product/B00489YLBS/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00489YLBS&linkCode=as2&tag=dig0a5-20">Pretty Hate Machine</a> </i>when I was a kid. This is an electronically heavy record with
little Rock and Metal influence. So much so that I wonder if you can even
categorize this as Industrial. A friend of mine even referred to it as <i><a href="http://www.amazon.com/gp/product/B00489YLBS/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00489YLBS&linkCode=as2&tag=dig0a5-20">Pretty Hate Machine</a></i> without the hate. But that doesn't mean you won't hear that
dark, brooding Trent Reznor undertone we know and love in each song. Some
songs, like "Find My Way" and "Disappointed," may even have
you contemplating what the least painless way to go is. This brings me to the
title, <i><a href="http://www.amazon.com/gp/product/B00EQUP3Q6/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00EQUP3Q6&linkCode=as2&tag=dig0a5-20">Hesitation Marks</a></i>, which comes
from the term "hesitation wounds," used to describe the marks made by
a blade prior to a suicide attempt. So what is he trying to say? There are a
few ways this can be interpreted, but I'm more interested in talking about the
material and how it relates to the title.<br />
<br />
The first two songs that were written for this record were "Everything"
and "Satellite;" each one with sounds constructed on opposite ends of
the spectrum. He then had to decide whether to go with the guitar infused Poppy
sound of "Everything" or the electronic-based and more layered sound
on "Satellite." He clearly went in the direction of the latter.
However, for the first time in NIN history, he was not the only one calling the
shots. He worked very closely with Atticus Ross (How to Destroy Angels/<i>The Social Network</i> score/<i>The Girl with the Dragon Tattoo</i> score)
and Alan Moulder on the production of this record, which he claims was somewhat
relieving. Yet, he still wrote and performed everything on this album to give
it that authentic NIN feel. <br />
<br />
The second single, "Copy of A," denotes an obvious humility in Reznor
where he claims, “I am just a copy of
a copy of a copy / Everything I say has come before / Assembled into something
into something into something / I am never certain anymore.” The song
begins with a simple synth melody accompanied by a bass/snare drum repetition a
few measures in and then slowly layers on more ominous synth sounds during the
buildup and chorus. Eventually, you hear something that really comes through in
almost every song, which is a Latin-like percussive element that adds so much
to an otherwise empty or standard dance rhythm. And despite the humble
intentions of this song, the rest of the record is very much an attempt to
sound like something different and new. This could be some sort of indication
of an internal war Reznor is having with himself, but I'm just speculating. <br />
<br />
Some songs seamlessly flow into each other while others end and begin abruptly,
which kind of creates a roller-coaster of emotions that go from unsettling
intensity to an urge to move on the dance floor (yeah I said it), to a
terrifically dismal lull. "In Two" is the perfect example, as it
embodies all of these qualities in one song. There's a conviction when he says “Yes / Yes, of course / It's gonna hurt,”
an electro-dance tone during the pre-chorus, “Nature is violent / The nature of the beast is violent / You know that
/ And someone else / Another one that wasn't me, no,” and a calm while
he whispers “I just don't know anymore.”
All the while, a vocally melodic chorus “It's
getting harder to tell the two of you apart” is really driving the song.
The only anomaly that I still can't figure out is the saxophone part of the
following song, "While I'm Still Here." It seems a bit forced and
pretty out of place, and not just in terms of the song but in relation to the
entire album. However, I'll let it slide, considering that the rest of <i><a href="http://www.amazon.com/gp/product/B00EQUP3Q6/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00EQUP3Q6&linkCode=as2&tag=dig0a5-20">Hesitation Marks</a></i> has a well-defined and calculated sound, like that of the song "All
Time Low," which exudes precisely the type of confidence and swagger I
expect to hear in a NIN song. It carries a groove with the bass and drums that
propel the song in a vertical direction. Then an equally groovy guitar melody,
layered with synthesizers, provides both background dissonance and rhythm in
the form of odd and sometimes unfamiliar sounds.<br />
<br />
Every component of this record seems to be intended to provoke and stir emotion
to manipulate the listener's disposition. It's a moniker of any Nine Inch Nails
piece. But at the same time, it is a more commercial-friendly endeavor, which
gives fault-finders something to gripe about. And the deluxe version offers
little musically with its remixes of "Find My Way," "All Time
Low," and "While I'm Still Here." Of course, these are essential
to the avid Nails fan, but I found them to be decent at best---mostly just
excessive though.<br />
<br />
All things considered, <i><a href="http://www.amazon.com/gp/product/B00EQUP3Q6/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00EQUP3Q6&linkCode=as2&tag=dig0a5-20">Hesitation Marks</a></i> provides a wide range of flavors
from all over the NIN spectrum sure to please the musical palette, and a
welcomed addition to the band's halos. It's obvious that Trent cannot move away
from this band, no matter how much he tries to distract himself with other
endeavors. He will always be trying to find himself and his way through the
expression of the Nine Inch Nails outlet. And this record is the perfect
example of how he has succumbed to that inevitable truth. Are these songs a
reflection of Trent's “hesitation wounds” in accepting his fate as the voice of
a tormented generation? Give it a listen. You be the judge.<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></div>
<!--EndFragment--><!--EndFragment-->Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com1tag:blogger.com,1999:blog-91743119054731470.post-31889626517592797392013-09-17T00:54:00.001-04:002013-09-17T00:54:35.359-04:00Carnival of Madness in Asbury Park, NJ<b>The Carnival of Madness (We as Human, Sevendust, In This Moment, Skillet, Shinedown)</b><br />
<b>Live in Asbury Park 8/11/13</b><br />
<b>Review and <a href="http://www.digimmortalphoto.com/music">Photos</a> by Rob Acocella</b><br />
<b>Rating: 4/5</b><br />
<br />
The Carnival of Madness tour opened in Asbury Park NJ on August 11 at the famous Stone Pony. That particular tour date consisted of performances by We as Human, Sevendust, In This Moment, Skillet, and Shinedown.<br />
<br />
Unfortunately, after arriving at the venue just a little late (NJ beach traffic on a nice day), but still with plenty of time to at least catch Sevendust's set as the second band, I realized from the parking lot that what I was hearing was "Angel's Son." Knowing that Sevendust usually puts that late in their set, I darted for the door only to catch the last 30 seconds of their final song by the time I made it through security. Apparently someone decided to start the concert way ahead of schedule.<br />
<br />
After setting up some pretty elaborate set decorations, In This Moment took the stage. I'm not going to fake anything here, while I've long been aware of this band, I never really followed them. Not knowing any of the songs in particular, I can't give a critique of how much like the album they were or weren't. I will say this, though: The band sounded really solid and tight from the point of view of someone that hadn't heard any of the songs before, and Maria Brink and her synchronized slave dancers did a great job of provided creative visuals to go along with each song through their movements, props, and occasional costume changes. I can certainly appreciate the amount of work that must have gone into synchronizing the performance movements for each song and having to memorize an entire performance to repeat every night for weeks on the road. Overall they were entertaining to watch, between the smoke guns, the dancers, and the rebel-zombie-like stage costumes of the band against the pure white piles of skulls and fence gates set as a backdrop. For anyone that wants to know, it seems that the setlist from this show can be found <a href="http://www.setlist.fm/setlist/in-this-moment/2013/the-stone-pony-summerstage-asbury-park-nj-5bc6c78c.html">HERE</a><br />
<br />
<a href="http://www.digimmortalphoto.com/p1060708821/e691485f0"><img alt="DIGImmortal Photo: In This Moment 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v86/p1762952688-2.jpg" width="400" /></a>
<br />
<br />
<a href="http://www.digimmortalphoto.com/p1060708821/e662b8668"><img alt="DIGImmortal Photo: In This Moment 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v89/p1714128488-2.jpg" width="400" /></a>
<br />
<br />
<a href="http://www.digimmortalphoto.com/p1060708821/e61efb2a3"><img alt="DIGImmortal Photo: In This Moment 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s8/v85/p1643098787-2.jpg" width="400" /></a>
<br />
<br />
The direct support slot was filled by Skillet. I'm again going to be blunt here, they did not jive well with me. The backing vocals done by drummer Jen Ledger sounded awful, similar to a young school child yelling or whining. The band's overall sound was so generic that I wasn't sure if I was at a Rock concert or walking through the local mall. On top of it all, vocalist John Cooper took every chance he could to insert biblical references or drop other Christian propaganda on the audience between songs which were about the same topics. I had not previously known that they were a Christian Rock band, but it became increasingly evident as the show went on. My personal opinion is that religion should be kept out of music, or at least Rock music. If you absolutely must put your religious views into music and lyrics, it should be done in a way that it is not completely obvious or preachey, which I don't feel they accomplished, and I don't feel was their goal to begin with. The reason is that music should be something everyone can relate to, and when you make the message of your music more exclusive, you start to leave people out and make it hard for them to digest. The band has an energetic stage presence, and I suppose if you're a fan of their music already then you would appreciate the stage show they put on, including a rising pillar system that would elevate 2 musicians at a time on either side of the stage. If you are a fan of Skillet, and want to see what they played that night, you can find the set list <a href="http://www.setlist.fm/setlist/skillet/2013/the-stone-pony-summerstage-asbury-park-nj-53c6c78d.html">HERE</a><br />
<br />
<a href="http://www.digimmortalphoto.com/p835271854/e6773e18c"><img alt="DIGImmortal Photo: Skillet 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v90/p1735647628-2.jpg" width="400" /></a>
<br />
<br />
<a href="http://www.digimmortalphoto.com/p835271854/e632140ec"><img alt="DIGImmortal Photo: Skillet 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v88/p1663123692-2.jpg" width="400" /></a><br />
<br />
<a href="http://www.digimmortalphoto.com/p835271854/e6c6ccbd1"><img alt="DIGImmortal Photo: Skillet 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v100/p1819069393-2.jpg" width="400" /></a>
<br />
<br />
The show closed with an amazing performance by Shinedown which included fan favorites like "45," "Simple Man," "Devour," and "Second Chance." It was also the live premiere of "I'm Not Alright" which had previously not been performed live. Shinedown have long been known for their high-energy live shows and as always, they did not disappoint. Brent Smith's vocals were spot-on and with the extra help from Eric Bass and Zach Myers they nailed every note. It wouldn't be a Shinedown concert without some inspiring words from Brent, and he got the crowd really energized talking about how strong NJ was for making it through Superstorm Sandy and rebuilding the beaches, and how Rock and Roll is a way of life and not just a genre of music. I may be a bit biased as a fan, but I've never seen a Shinedown concert that I had anything bad to say about, and I'm happy to report that the trend is still continuing.
<br />
<br />
<a href="http://www.digimmortalphoto.com/p500727969/e7c02ca42"><img alt="DIGImmortal Photo: Shinedown 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v104/p2080557634-2.jpg" width="400" /></a>
<br />
<br />
<a href="http://www.digimmortalphoto.com/p500727969/e752036cf"><img alt="DIGImmortal Photo: Shinedown 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v113/p1965045455-2.jpg" width="400" /></a>
<br />
<br />
<a href="http://www.digimmortalphoto.com/p500727969/e7558ab6f"><img alt="DIGImmortal Photo: Shinedown 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v113/p1968745327-2.jpg" width="400" /></a>
<br />
<br />
<a href="http://www.digimmortalphoto.com/p500727969/e7737e0be"><img alt="DIGImmortal Photo: Shinedown 08-11-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v98/p2000150718-2.jpg" width="400" /></a>Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-51188188662452891652013-08-24T01:51:00.000-04:002013-08-24T03:09:26.360-04:00Gigantour 2013 in NYC<b>Gigantour 2013 (Megadeth, Black Label Society, Newsted)</b><br />
<b><i>Live in New York City</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b><br /></b>
<b>Rating: 4/5</b><br />
<br />
When Dave Mustaine announced he was putting together the 2013 incarnation of Gigantour, my ears instantly perked up to see who would be on the bill. Known for great lineups, I was eagerly awaiting the announcement. The first time I heard that Black Label Society and Newsted would be on the bill, I knew I had to be there.<br />
<br />
The New York City show had been broken up into two separate nights rather than one all-day festival, and from what I understand, it was the only stop on the tour that was managed that way. Unfortunately, the first night, which was supposed to feature Hellyeah and Device, had been cancelled.<br />
<br />
Anyone who knows me from when Paragon first started knows I've always been a huge fan of Zakk Wylde's work, as well as Megadeth, and if you came up on Metal music beginning with post-Cliff Burton Metallica, you know it's been way too long since Jason Newsted got on stage and performed.<br />
<b><br /></b>
<b><i>(Clicking the photos below will take you to full galleries of each band's performance.)</i></b><br />
<br />
<a href="http://www.digimmortalphoto.com/p565811518"><img alt="DIGImmortal Photo: Newsted 08-07-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v109/p1613988288-2.jpg" width="400" /></a>
<br />
<br />
The first band of the night was <a href="https://www.facebook.com/NEWSTEDofficial">Newsted</a>, and what a great show he put on. I had not yet had the chance to hear his new music, so I wasn't totally sure what to expect. If you had ever seen the concert footage of Metallica's <i><a href="http://www.amazon.com/gp/product/B00006YXCH/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00006YXCH&linkCode=as2&tag=dig0a5-20">Binge and Purge</a>,</i> you know Jason is well-known for lending his vocals to live versions of "Whiplash." After a full set of all new, <a href="http://www.amazon.com/gp/product/B00DCRE83S/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00DCRE83S&linkCode=as2&tag=dig0a5-20">original material</a>, true to what I had hoped, they covered the Metallica classic at the end of the set. I was surprised to see Mike Mushok of Staind performing with Jason, as I hadn't heard the announcement that he would be joining the band. Say what you will about Staind, but Mike is one hell of a guitar player and has a great stage presence when performing.<br />
<br />
<a href="http://www.digimmortalphoto.com/p996710190"><img alt="DIGImmortal Photo: Black Label Society 08-07-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s9/v92/p1812448854-2.jpg" width="400" /></a>
<br />
<br />
Black Label Society played a great set with a good balance of mid-career and new material. Zakk shreds his guitars like only Zakk can. The only thing I have been critical of over the years has been his singing voice. He had been doing backing vocals and harmonies for Ozzy for so long that his previously gruff, masculine voice has turned into a higher-pitch whine. No, I'm not a fan of the way he started singing on anything after <i><a href="http://www.amazon.com/gp/product/B00242KCXM/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00242KCXM&linkCode=as2&tag=dig0a5-20">1919 Eternal</a></i>. That's not to say that he has put out bad music since then, I just wish he'd sing like he used to on <i><a href="http://www.amazon.com/gp/product/B00242KCT6/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00242KCT6&linkCode=as2&tag=dig0a5-20">Stronger Than Death</a></i>. The unfortunate thing is that it sounds even worse live. Enough about Zakk's voice though, because what people really go to see BLS for is the playing, and there was lots of great playing that night. Zakk and Nick Catanese have always locked in real tight and, together, they create one big wall of guitar sound. J.D. is a monster of a bass player and even tosses in some Funk flavor when playing these songs live. Overall, it was a great performance, but I wish I could have heard a few of my favorites from the first two albums as well. I'm not picky, though. I'll go see Zakk play any chance I get because I know it will always be a great show.<br />
<br />
<a href="http://www.digimmortalphoto.com/p946628436"><img alt="DIGImmortal Photo: Megadeth 08-07-13 &emdash; " height="267" src="http://www.digimmortalphoto.com/img/s10/v106/p1794926940-2.jpg" width="400" /></a>
<br />
<br />
Finally, the band everyone was waiting for, Megadeth, took the stage and opened with "Trust." I have to be honest, I was expecting more songs from <i><a href="http://www.amazon.com/gp/product/B00BEXB18M/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BEXB18M&linkCode=as2&tag=dig0a5-20">Supercollider</a></i> than only two, especially since one of those two songs are a cover. I was happy to hear "Kingmaker," as I've already said in my review of the album that it would have been a better choice for a first single over the title track. I just think that something like "Forget To Remember" or "The Beginning of Sorrow" would have been a better choice than "Cold Sweat." I did like the cover of "Cold Sweat" on the album, but if you're out promoting the new record, I would have expected only original tunes in the set list, at least for the fist time out. It was great to hear "Wake Up Dead," "Darkest Hour," and "Architecture of Aggression," in addition to the regular live favorites like "Hangar 18," "She Wolf," "Peace Sells," and "Holy Wars." The rhythm section of Ellefson and Drover has to be one of the tightest I've seen live, almost ever, and the scorching rhythm/lead change-offs between Mustaine and Broderick will give you whiplash. I've never seen a bad Megadeth show, and this continued that streak.<br />
<br />
Even though this wasn't the full Gigantour lineup, I give this mini-Gigantour a solid 4/5 only because of my strong feelings on certain setlist choices. Performance-wise, though, it was flawless. Click <a href="http://www.digimmortalphoto.com/p565811518">here</a> for a complete gallery of photos from the event.Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-42305939950629742522013-07-26T17:04:00.000-04:002013-07-26T17:04:07.879-04:00Above The Flood, Sugar of Lead<b>Above The Flood</b><br />
<b><i>Sugar of Lead</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 4/5</b><br />
<b><br /></b>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://www.cdbaby.com/cd/abovetheflood"><img border="0" src="http://images.CDBaby.name/a/b/abovetheflood.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-size: x-small;">Get the album on CDBaby.com!</span></div>
<b><br /></b>
<b><br /></b>
Above the flood is an independent Alt Rock band out of upstate New York. We've been friends and fans of Mike Grosshandler since we first heard his work with The Velmas years ago, back when Paragon was actual print magazine. Imagine that, paper with words on it, that you hold in your hand... anyway, I digress...<br />
<br />
When we heard that Mike had a new project going with a new bunch of guys, we were naturally excited to hear what it would sound like. What we got was so much more than we had anticipated. From the pounding intro of "Nothing New" to the rally-cry closing of "Get By" <i><a href="http://www.cdbaby.com/cd/abovetheflood">Sugar of Lead</a></i> is a great collection of songs, even if it is a little short (Hey, it's a 5-song EP, what do you want?).<br />
<br />
I hear lots of influences in Above The Flood's music, most notably a bit of Seether mixed with Alice In Chains. Not a bad mix, and there's even a little bit of a Type O Negative-like dirge here and there, which I can only rightfully assume is Mike's doing. Matt Shufelt deserves all the credit he can be given for his amazing voice. He's a tremendous vocalist with a great range for this brand of Rock music. He's gritty and smooth all at once, and really projects the attitude of the music. I'm assuming Matt is the chief lyric writer, as the singers typically are, and to that my only comment is: Dude, there's a lot of bitter relationship stuff on here. While that's great Rock song fodder, don't get stuck into a cliche niche of the genre, because you'll have a hard time working your way out of that spot if you ever want to touch on more serious material down the road. I'm all for free speech, but I would assume that lyrics like "I'm a man and I need to control you, then dispose of you" doesn't really win you many female fans, or at least any with healthy self respect. I mean no disrespect in saying this, of course, I just think that lyrics like that are better left to Poison and Motley Crue.<br />
<br />
Back to the music: these songs are really catchy, so if you're prone to <a href="http://www.urbandictionary.com/define.php?term=Earbug">earbugs</a>, you should know that going into this. I only have to listen to the album once all the way through and I'll have these songs stuck in my head at random times for weeks. No joke, I would wake up some mornings with the lyrics in my head even though I hadn't heard the songs for days. That's the sign of good song writing, and when it comes to hooks, these guys are full of them. I've gotta say that my personal favorites are the 2 most aggressive tunes on here: "Nothing New" and "Love To Hate You."<br />
<br />
Overall, I've gotta say that the production value on this is so much better than most debut EPs we get sent, and when you add that in to the songwriting chops, the huge vocals, and all the other little details, this is one of the most solid first releases I've heard from a band in a long time, especially one that isn't signed to a major label with a huge production budget. You can tell these guys take their music seriously and it pays off big-time for them.<br />
<br />
For more info on Above The Flood, check out their <a href="https://www.facebook.com/abovetheflood">Facebook Page</a>Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com1tag:blogger.com,1999:blog-91743119054731470.post-60549243792089031122013-07-26T14:28:00.000-04:002013-07-26T14:34:47.109-04:00Star & Dagger, Tomorrowland Blues<b>Star and Dagger</b><br />
<b><i>Tomorrowland Blues</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 3/5</b><br />
<b><br /></b>
<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00C3MKAR6" style="height: 240px; width: 120px;"></iframe>
<b><br /></b><br />
<br />
Star and Dagger is the latest endeavor of White Zombie bass player Sean Yseult along with her friends Dava She Wolf and Von Hesseling. Their first offering is <i><a href="http://www.amazon.com/gp/product/B00C3MKAR6/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00C3MKAR6&linkCode=as2&tag=dig0a5-20">Tomorrowland Blues</a></i>, a Blues Rock album with some Rockabilly flavors.<br />
<br />
"In My Blood" and "End of Days" have a strong presence to start the album off but things get very slow, and dare I even say, boring, with "Selling My Things." "Side Winding" brings the groove back with a great Grunge inspired opening bass line and the song holds up with mid-tempo rhythm and some great vocal harmonies. "Your Money" brings them into a little bit of a heavier range and a little bit of a darker vocal delivery before diving into another bass-heavy track with "Used To Me." The album closes with "Your Mama Was A Grifter" which I'm honestly not too crazy about.<br />
<br />
I'll admit I'm a tough critic as this gritty style of Blues Rock isn't exactly my favorite genre to begin with. That's not to say I can't recognize talent when it's there, and these three women clearly have it, I just have lukewarm feelings about what they put together this time around. I think the first thing that really threw me was that they are labeled a Blues-Rock/Metal group, and when I listen to this collection of songs, I have to be honest, but I just don't hear the Metal at all. Being a White Zombie fan, I suppose I went into this with certain expectations, and I already know that's wrong of me. All in all, though, it's not a bad album, and I'm sure fans of the genre will like it a lot more than I did. I feel like there is great potential in this group but they just need to bring a little more energy and variety to the table. The Blues vocals and dense guitar and bass layers are really great, it's just missing that bite, or edge, that would really give it a larger presence. In fact, the vocals remind me a lot of Shirley Manson of Garbage.<br />
<br />
Overall, I gave <i><a href="http://www.amazon.com/gp/product/B00C3MKAR6/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00C3MKAR6&linkCode=as2&tag=dig0a5-20">Tomorrowland Blues</a></i> a 3/5, because while I'm not a huge fan, I do know that it's well done and the songs are well written, and I can't take away points just because it's not my personal favorite style of music when there is an obviously large amount of talent and potential.Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-39142042312061124852013-06-16T15:55:00.001-04:002013-06-16T15:55:17.386-04:00Anthrax: Anthems<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00B671W6W" style="height: 240px; width: 120px;"></iframe>
<br />
<br />
<b>Anthrax</b><br />
<b><i>Anthems</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b><br /></b>
Anthrax, like many Metal bands, are no strangers to paying homage to their inspirations in the form of cover songs. This is why when Anthrax announced <i><a href="http://www.amazon.com/gp/product/B00B671W6W/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00B671W6W&linkCode=as2&tag=dig0a5-20">Anthems</a></i>, it was no surprise that it would be a collection of cover songs, though some may find the bands they cover to be a surprise.<br />
<br />
The first track is their cover of Rush's "Anthem"which is done solidly and is a testament to the drumming abilities of Charlie Benante. The middle of the album is my favorite, though, featuring covers of AC/DC's "TNT," Boston's "Smokin'," and Journey's "Keep On Runnin." Having grown up on a steady diet of Classic Rock that included Journey, Boston, Styx, AC/DC, Foreigner, and the like, it's easy to see why these 3 songs got me the most excited. "TNT" and "Smokin" are done so true to the originals that you almost can't believe these are covers. The band does inject their own signature vibe into them, but they are just so well done that it kinda blows your mind a little. The band also brought in keyboardist Fred Mandel (Alice Cooper, Queen, Elton John, Cheap Trick, Supertramp) to handle keys on "Smokin'," and I believe this is a big part of nailing that signature Boston sound on here.<br />
<br />
Their cover of Thin Lizzy's "Jailbreak" is another standout track. The only thing I wasn't crazy about on <i><a href="http://www.amazon.com/gp/product/B00B671W6W/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00B671W6W&linkCode=as2&tag=dig0a5-20">Anthems</a></i> was the inclusion of 2 versions of the song "Crawl" which was previously released on the band's last studio release <i><a href="http://paragonreviews.blogspot.com/2011/09/anthrax-worship-music.html">Worship Music</a></i>. I know that this was probably done as a B-side tactic, but most Anthrax fans already have the original song, and I feel like the remix is good, but it really didn't need its own release. Don't get me wrong, "Crawl" is a good song, but an album that is meant to be all covers should have remained all covers. What they could have done was cover one of their own songs and have Joey lend his vocals to a track that had been previously recorded with John Bush. That, of course, is just my own 2-cents. Speaking of Joey, he nails every song on <i><a href="http://www.amazon.com/gp/product/B00B671W6W/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00B671W6W&linkCode=as2&tag=dig0a5-20">Anthems</a></i>, which is proof of what an amazing range he has as a singer.<br />
<br />
Overall, though, this is a great album of tunes made famous by other bands, and made slightly Thrash-ey by Anthrax.<br />
<br />
<b>Rating: 4/5</b>Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-48797980625532141062013-06-16T13:33:00.001-04:002013-06-16T13:33:20.431-04:00Sevendust: Black Out The Sun<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00B1I1BE4" style="height: 240px; width: 120px;"></iframe>
<br />
<br />
<b>Sevendust</b><br />
<b><i>Black Out the Sun</i></b><br />
<b>Reviewed by: Rob Acocella</b><br />
<b><br /></b>
<b><br /></b>
I feel that at this point in Sevendust's career, it is fair to say that you pretty much know what you're going to get from them when you pick up a new release. You're going to get the same awesome pulse-pounding drum patterns, grungy riffs, and the combo of smooth and aggressive vocals that the band consistently delivers time and again. You know that as long as there wasn't some massive unexpected change in the inner workings of their songwriting, you're going to be happy with the results. Before I even started listening to <i><a href="http://www.amazon.com/gp/product/B00B1I1BE4/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00B1I1BE4&linkCode=as2&tag=dig0a5-20">Black Out The Sun</a></i> (ok, I had already heard "Decay" and "Got A Feeling") I knew it was going to be classic Sevendust.<br />
<br />
There is only one time that this can be a problem, and that's when you're a journalist trying to come up with descriptive words that you haven't used a hundred times already. It's difficult when you have nothing to complain about, but also don't have fresh new synonyms for expressing how a song sounds or how much you like a particular set of lyrics. Anyway, it's not a bad problem to have, so I'll give it a shot:<br />
<br />
<i><a href="http://www.amazon.com/gp/product/B00B1I1BE4/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00B1I1BE4&linkCode=as2&tag=dig0a5-20">Black Out The Sun</a></i> opens with a melodic, and almost symphonic, arrangement called "Memory," and just when you think the album is going to go the way of an Yngwie Malmsteen CD, the audio assault of "Faithless" hits you in the face like a ton of bricks. This song can be a bit bi-polar with frequent changes between heavy and soft, but it's that main riff and the chorus hook that makes it an aggressive powerhouse to start the album off. "Till Death" is one hell of a rally cry song, with layers of aggressive vocals ranging from LJ's signature sound to something a little more Death Metal, as well as Morgan Rose's unmistakeable yelling from behind the kit. "Mountain" and "Cold As War" pick up the pace with a more uplifting vibe and then give way to the title track, which brings things down to a more mid-tempo pace temporarily.<br />
<br />
A few songs later, we find the single "Decay," which harkens back to early Sevendust. It's a more vintage-style song for the band, and it sounds as though they went back to their first few albums for the inspiration on this song. It's an obvious choice for a single and that would explain why there was a <a href="http://www.youtube.com/watch?v=cYw9ChYKcE4">video</a> made for it. (Click the link here or scroll down for the video.)<br />
<br />
When it comes to slow-tempo, my favorite Sevendust track had always been "<a href="http://www.youhttp//www.youtube.com/watch?v=jpP0b_CQQi4tube.com/watch?v=jpP0b_CQQi4">Angel's Son</a>" but on <i><a href="http://www.amazon.com/gp/product/B00B1I1BE4/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00B1I1BE4&linkCode=as2&tag=dig0a5-20">Black Out The Sun</a></i> they tucked in a little gem near the end of the album called "Got A Feeling" which just tied neck and neck with "Angel's Son" for my favorite semi-acoustic Sevendust song. I'm a sucker for a good acoustic melody and harmonized vocals and they really knocked it out of the park with this one. I'm not going to lie, as a photographer and budding videographer, if there aren't already plans in place for a video for this song, I'd love to someday help with creating that. Yeah, I like it that much.<br />
<br />
The album closes with "Murder Bar" which brings us back to the grungy riffs and schizophrenic drum patterns that you come to expect already. The song fades out the end of the album with a spacey treatment that eases you out into nothingness, or right back into the album opener (if you've got your CD player or iTunes set to repeat).<br />
<br />
A solid effort that I can't really find any flaws with. I can always rely on Sevendust to put out quality songwriting and not stray too far from the band's signature vibe that made me love them in the first place. I haven't caught them on tour for this album yet, but I have no doubt in my mind that some of these songs will fit their aggressive, high-energy live show perfectly, and I look forward to catching them soon.<br />
<br />
<b>Rating: 5/5</b><br />
<b><br /></b>
<b><br /></b>
<iframe allowfullscreen="" frameborder="0" height="225" src="http://www.youtube.com/embed/cYw9ChYKcE4" width="400"></iframe>Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-2455260542102037462013-06-10T23:48:00.000-04:002013-06-11T01:28:38.441-04:00Megadeth, "Super Collider"<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00BEXB18M" style="height: 240px; width: 120px;"></iframe>
<br />
<b><br /></b>
<b>Megadeth</b><br />
<b><i>Super Collider</i></b><br />
<b>Reviewed by: Rob Acocella</b><br />
<br />
By this point in my life, I think I'm finally able to use the term "lifelong fan" without worrying about how I didn't know about the band when I was 5 and technically it hasn't been my whole life. I've been a fan of this band ever since I became a fan of Metal back in junior high, and I've stuck by them through all the highs and lows since. And, like every lifelong Megadeth fan, I was curious to see how they'd follow up 2011's <i><a href="http://www.amazon.com/gp/product/B005LRWRZ8/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B005LRWRZ8&linkCode=as2&tag=dig0a5-20">TH1RT3EN</a></i>. <br />
<br />
<i><a href="http://www.amazon.com/gp/product/B00BEXB18M/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BEXB18M&linkCode=as2&tag=dig0a5-20">Super Collider</a></i> opens with what you would think would be the obvious single, "Kingmaker." While it didn't make it as the first single, I can tell that this song will be a big hit in the live set, as it's one of the few anthemic tracks on the album. It's got a classic Megadeth vibe with a more modern personality. The second track is the title track and lead-off single. I have to be honest and say that when they previewed this track online I thought it was a very bad sign of things to come, but it's a grower, and now that I've heard it a few times, I don't mind it as much. It's just odd for Megadeth to have a title track that winds up being one of the less aggressive songs on the album. It honestly feels like Dave decided to try writing a Classic Rock tune with this one. Considering how long the band has been around (this is NOT an age joke, by the way) it makes sense to put out at least one track that could possibly appeal to another range of radio stations to get more airplay. Nothing wrong with doing that, and it's still a good song if you're open enough to the fact that they're not going to be putting out a second recording of <i><a href="http://www.amazon.com/gp/product/B00005V0X5/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00005V0X5&linkCode=as2&tag=dig0a5-20">Killing Is My Business</a></i> any time soon.<br />
<br />
"Burn!" and "Built For War" aren't bad songs, but I feel they're just the run-of-the-mill album filler. They have their place on here, but aren't really standout tracks. "Off The Edge" and "Dance In The Rain" are reminiscent of <a href="http://www.amazon.com/gp/product/B00005EBQE/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00005EBQE&linkCode=as2&tag=dig0a5-20"><i>World Needs a Hero</i></a> and the sound the band went for on that album. "Dance In The Rain," in particular, is, lyrically, one of my favorite songs on here, focusing on the plight of a middle-class worker struggling to get by in an economy that doesn't allow one to thrive. And, as you could expect, there is the expected social and political commentary from Dave on this one.<br />
<br />
"Beginning of Sorrow" is another strong track and an obvious favorite with an awesome bass intro and bitter, brooding lyrics about an unwanted teen pregnancy. At this point in the album, you can imagine that the listener has already picked up on the vast array of Megadeth flavors peppered in. But if you're anything like me, when you get to "The Blackest Crow," you're first thought will be "...fucking banjo?!" Believe me when I say this, give it a chance, because even though the intro is deceiving, the ganjo (not a typo, ganjo is an actual instrument, apparently) actually fits this dark song pretty well.<br />
<br />
"Forget to Remember" picks up the mood again with a more lively energy and plenty of radio-friendly hooks, making it a great Rock song, if not slightly depressing, as the song is about a battle with Alzheimer's Disease. The Jazz style jam that introduces "Don't Turn Your Back" quickly slides into a pulsing riff with double bass drums with a vibe that could have easily put this song on <i><a href="http://www.amazon.com/gp/product/B0002EXH4U/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0002EXH4U&linkCode=as2&tag=dig0a5-20">Cryptic Writings</a></i>. The album then closes strongly with a cover of Thin Lizzy's "Cold Sweat" that is done pretty true to the original, if not a good bit heavier in classic Megadeth fashion.<br />
<br />
<i><a href="http://www.amazon.com/gp/product/B00BEXB18M/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BEXB18M&linkCode=as2&tag=dig0a5-20">Super Collider</a></i> is a collection of songs that covers a gamut of style ranges for the band, and provides some thought-provoking messages. It's a solid follow-up to <i><a href="http://www.amazon.com/gp/product/B005LRWRZ8/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B005LRWRZ8&linkCode=as2&tag=dig0a5-20">TH1RT3EN</a></i> and, even though some songs may need to grow on some people, I feel it will ultimately earn its place among some of the band's best recordings. The musicianship, as always, needs no description. If you don't already know what a talented lineup this is, then I question why you're even reading this.<br />
<br />
Rating: 4/5Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-55248057452366636282013-05-06T21:34:00.000-04:002013-05-07T13:08:55.378-04:00Killswitch Engage, Disarm the Descent <iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00BVVA138" style="height: 240px; width: 120px;"></iframe>
<b></b>
<br />
<div>
<b><b><br /></b></b></div>
<b>
</b><br />
<b></b><br />
<b><div>
<b><br /></b></div>
Killswitch Engage<br />
<br /></b><b><i>Disarm the Descent</i></b><br />
<br />
<div>
<b>Reviewed by Antonio Staropoli </b><br />
<br />
Formed in 1999, this Massachusetts-based band has just released their sixth studio album entitled <i><a href="http://www.amazon.com/gp/product/B00BVVA138/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BVVA138&linkCode=as2&tag=dig0a5-20">Disarm the Descent</a></i>. And if you've been following Killswitch Engage since their inception, you know this album welcomes back the original vocalist, Jesse Leach, since his departure in 2002. Before I continue, let me just say this: when listening to this album, you should spare yourself the comparative analysis between Howard Jones and Jesse Leach. Why, you ask? Because it's pointless and slightly insulting to both vocalists. They are both great vocalists in their own respects. Get over it and make a judgment based strictly on the music.<br />
<br />
With that being said, let's finally talk about the album. It begins with Jesse growling along to thrashy riffs and blast beats, on the track “The Hell In Me.” It's apparent from the start that this is an album to be reckoned with. This intensity is balanced out by an equally melodic chorus that has lyrical intent: “Protect me / From the hell that burns inside me / No one can see / This is the hell in me / Will you set me free / This is the hell in me.”<br />
<br />
The first single released from <i><a href="http://www.amazon.com/gp/product/B00BVVA138/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BVVA138&linkCode=as2&tag=dig0a5-20">Disarm The Descent</a></i>, “In Due Time,” is full of syncopated drumming and melodic guitar harmonies throughout. A perfectly placed bridge complete with operatic and guttural vocals is followed by a blistering fast guitar solo that brings the song together. Lyrically, the chorus is infectious and positive, “All in due time / See the world through different eyes / All in due time / Shadows will give way to light.” In fact, the entire album is laced with positive messages lyrically, which are very reminiscent of Hatebreed-type vocals.<br />
<br />
“The New Awakening” is the second single off this album and probably my personal favorite track. It's very uplifting both musically and vocally. During the bridge, a hardcore breakdown style chant is recited, “I will not live in fear / Live life with no regrets / I will not live in fear / I will not live in fear.” The song is a perfect blend between hardcore chugging riffs, Swedish metal melodies, and thrash. <br />
<br />
Other tracks, such as “You Don't Bleed For Me,” will make your head bob and your body sway. “Always” is a bit of a departure from the fast-paced heaviness throughout the album, but is still very melodic and ballad-like, serving as a good way to break up any perceived monotony. <br />
<br />
Overall, this is one of those records that you really can listen to from start to finish without skipping any tracks. Quite frankly, it's a densely packed, well-written and admirable piece in the Killswitch Engage discography. It is currently getting the most play out of any playlist or album on my Spotify, and I recommend it to KsE fans and anyone with an appreciation for artistic metal. Welcome back, Jesse Leach! <br />
<br />
Rating: 4.5 out of 5</div>
Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-48625350747328550892013-02-06T11:40:00.003-05:002013-02-06T12:18:59.297-05:00Chris Bickley, Tapestry of Souls
<!--StartFragment-->
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris Bickley</b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Tapestry of Souls<o:p></o:p></i></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Reviewed by: Rob
Acocella</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Tapestry of Souls</i>
is the latest solo release from professional guitarist Chris Bickley, released
on Shredguy Records. From the start of the album, with the first few notes of
“Race Car Guy,” you know this is going to be filled with some serious riffs and
leads. Chris Bickley’s songwriting skills are top notch, if not slightly dated.
I only say “dated” because it has that late 1980s Yngwie Malmsteen kind of
vibe going on. He knows all the right places for hooks that snag your brain and
won’t let go. <br />
<br />
The only area that I feel the album falls short in is the vocals.
There are four songs that feature vocals and, to be perfectly honest, none of the
vocal stylings really grabbed me. In fact, most of them turned me off to the
songs that they were a part of. It’s a shame that it had that effect on me
because the songs themselves were really well written and executed, but
something about them each time just didn’t sit well with me. Sometimes it was
the sound of the person’s singing voice, other times it was their tone or
delivery. <br />
<br />
From an instrumental standpoint, this is a really strong recording and
I urge fans of guitar-centric Rock to check it out. You can find more
information, or buy the CD, at <a href="http://chrisbickley.net/">http://chrisbickley.net/</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rating: 3/5</div>
<!--EndFragment--><br />Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-31012442266836032272012-12-04T09:34:00.000-05:002012-12-04T09:37:31.225-05:00Mitch Trupia "In Your Head"<!--StartFragment-->
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Mitchell Trupia</b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Mitch Tru: In Your Head</i><o:p></o:p></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Reviewed by: Rob
Acocella</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mitch Trupia is a solo artist with some stories to tell. The
first thing I noticed with this album is the very strong Classic Rock
influence. There are flavors of The Who, The Rolling Stones, Bruce Springsteen,
and even some acoustic KISS evident on <i><a href="http://www.cdbaby.com/cd/mitchelltrupia">In Your Head</a></i>. <span style="mso-spacerun: yes;"> </span>When I saw that the
first track was titled “No One Like You” I thought I was in for a Scorpions
cover, but luckily it was an original tune. Mitch has a pretty good following
online for a solo independent artist, and the track “Can’t Change The World” is
not only my personal favorite from the album, but it also seems to be the one
that gets the most attention from his online fans.<span style="mso-spacerun: yes;"> </span>Other standout tracks include “Straight Jacket,” “13
Sundays,” and the bonus track “I Would Do Anything.” Every song on here has
it’s own unique groove, but they also all feel very connected by Mitch’s
overall style and vibe. This is a quality album by a talented songwriter that
definitely is deserving of your attention. Check out his Facebook page for more
info and some links to his music: <a href="http://www.facebook.com/MitchellTrupia">http://www.facebook.com/MitchellTrupia</a> - Also, make sure to hit up <a href="http://www.cdbaby.com/cd/mitchelltrupia">CDBaby.com</a> to pick up the album!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: left;">
Rating: 4/5</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
</div>
<!--EndFragment-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images.CDBaby.name/m/i/mitchelltrupia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://images.CDBaby.name/m/i/mitchelltrupia.jpg" /></a></div>
Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-11340809642892389522012-11-27T10:45:00.000-05:002012-11-27T10:48:12.045-05:00Mike Grosshandler, Blue Skies Black<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B007I7GGH4" style="height: 240px; width: 120px;"></iframe>
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><br /></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><br /></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Mike Grosshandler<o:p></o:p></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Blue Skies Black</i><o:p></o:p></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Reviewed by: Rob
Acocella</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><a href="http://www.amazon.com/gp/product/B007I7GGH4/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B007I7GGH4&linkCode=as2&tag=dig0a5-20">Blue Skies Black</a></i>
is the latest solo album from Mike Grosshandler (The Velmas, Above The Flood).
We’ve been following Mike’s musical career since we started Paragon. He was not
only a featured artist many times, but also a very good friend in the years
we’ve known him. <i><a href="http://www.amazon.com/gp/product/B007I7GGH4/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B007I7GGH4&linkCode=as2&tag=dig0a5-20">Blue Skies Black</a></i> is
different from Mike’s previous solo offerings, as it’s the first to incorporate
electric guitars as well as many other layers of instruments not previously
heard on his acoustic solo albums. The album leads off the with the title
track, which I also feel is the strongest track on here.<span style="mso-spacerun: yes;"> </span>“Status Quo” is the track that follows
and every time I hear it I can’t help but think of Joe Elliot from Def
Leppard’s vocal performance on “<a href="http://www.youtube.com/watch?v=hey0FzdUNA8">Two Steps Behind</a>,” especially with the similar
song endings and all. I also hear a little bit of Green Day on the extremely
infectious song “Everything’s Fine.” Be careful with this track, it’ll be stuck
in your head for days.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Similarities and influences aside, <i><a href="http://www.amazon.com/gp/product/B007I7GGH4/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B007I7GGH4&linkCode=as2&tag=dig0a5-20">Blue Skies Black</a></i> is a really strong
recording from Mike, which I know took a long time to put together. It was well
worth the wait and there are lots of varied styles and sounds on here. All
while being true to the feeling we’re used to from Mike. <span style="mso-spacerun: yes;"> </span>A few more stand-out tracks are
“Florida”, “Too Many Reasons”, and “Nothing Much.” I know this isn’t the last
we’ll hear from Mike on the solo front, and I anxiously await new music from
him, as he never disappoints. Now if only he could get himself down to our neck
of the woods for a show… </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Rating: 5/5</b></div>
<!--EndFragment-->
Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-15957536028290300992012-04-10T11:31:00.003-04:002012-04-10T13:00:33.112-04:00Halestorm, "The Strange Case Of..."<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B0076L9W9Q" style="height: 240px; width: 120px;"></iframe><br />
<b><br />
</b><br />
<b>Halestorm</b><br />
<b><i>The Strange Case Of...</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 4/5</b><b> </b><br />
Until now I've never had my hands on a full album by Halestorm. I have to be honest here and just say that before now I hadn't been all that interested in them. I've seen them live a handful of times as an opening act or direct support to a few great bands, and I did enjoy their live show, but I never had the motivation to buy their music. That changed when I heard a sample of their lead single "<a href="http://youtu.be/FmkHqUwa4zg">Love Bites (So Do I)</a>" and immediately realized what I had been missing out on.<br />
Overall, the songwriting on <i><a href="http://www.amazon.com/gp/product/B0076L9W9Q/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B0076L9W9Q">A Strange Case Of...</a></i> is really good, with a few exceptions where I feel they kind of fell short lyrically. Still, for a band I'm technically new to, the album is impressive. First thing's first: this is fun Hard Rock, so if you're looking to find hidden messages or the<a href="http://en.wikipedia.org/wiki/Lateralus_(song)"> Fibonacci Sequence</a> in the songs, you've got the wrong band. However, if you're looking for something to crank on a Friday night on your way to a concert or party, this is the album to grab.<br />
Lzzy and company mix equal amounts of old school female fronted Rock with some more modern influences. "I Miss The Misery" sounds so much like a <a href="http://www.amazon.com/mn/search/?_encoding=UTF8&tag=dig0a5-20&linkCode=ur2&camp=1789&creative=390957&field-keywords=three%20days%20grace&url=search-alias%3Daps">Three Days Grace</a> song, I was half expecting Adam Gontier to be doing some guest vocals, while "Freak Like Me" and "Daughters of Darkness" are perfect crowd-rallying songs. My only complaints are right in the middle of the album where the songs go a softer route. In my opinion it derailed the flow of the listening experience, and I have to be the bad guy here and just say that I don't really feel Lzzy's softer, more "girly" vocals are all that good, on top of the lyrics being very weak and cliche at times.<br />
Despite my minor complaints, I still find myself reaching for this album when I want to listen to some fun and aggressive tunes. I do give the band credit for including some softer tunes despite what some people may think of them, as it shows a maturity and willingness to take risks that so many newer bands these days don't have. Aside from the tracks I already mentioned, some other favorites on here are "Mz. Hyde," "You Call Me A Bitch Like It's A Bad Thing," and "Here's To Us."Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-75513141847988247172012-03-03T11:43:00.000-05:002012-03-03T11:43:11.238-05:00Mindless Self Indulgence: Tighter<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B004R0XBWI" style="height: 240px; width: 120px;"></iframe><br />
<br />
<br />
<strong>Mindless Self Indulgence</strong> <br />
<div><b><i>Tighter</i></b></div><div><b>Reviewed by Tara Salamone</b></div><div><b>Rating: 5/5</b></div><div></div><div> I've been listening to Mindless Self Indulgence for eight years so, like any long-time fan, I have been coveting their 1999 album <em><a href="http://www.amazon.com/gp/product/B00000I9VT/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B00000I9VT">Tight</a></em>. I would see it pop up on places like <a href="http://amazon.com/">Amazon.com</a> and <a href="http://ebay.com/">Ebay.com</a> but it's usually way too expensive, sometimes up to hundreds of dollars. When <em><a href="http://www.amazon.com/gp/product/B004R0XBWI/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B004R0XBWI">Tighter</a></em> came out, my prayers were answered. It comes together with 15 original re-mastered tracks plus 12 previously unreleased tracks. </div><div> The original tracks did not require re-mastering, considering they're not that old anyhow and they were mostly recorded in mono in the first place. It wasn't needed but I welcome the added bass and they sound slightly more polished, but not by a lot. There is definitely an eclectic mix of different versions of classics like "Bring the Pain," including demos, live tracks, etc. The unreleased tracks took me back to their original raw sound of Electronic/Punk but I was also surprised to hear songs such as "Free As A Birdie," which shows off Jimmy Urine alone with an acoustic guitar. Don't get me wrong, I am not surprised by his total lack of holding a tune, but it was way more organic than what I am used to hearing from them. I like it all the same, though, as their lyrics never take themselves too seriously. MSI's music is meant to make you laugh, gasp, and dance. Perhaps all at the same time. <br />
Overall, I would recommend <i><a href="http://www.amazon.com/gp/product/B004R0XBWI/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B004R0XBWI">Tighter</a></i> to old time fans. All bands evolve and change but people sometimes have a preference for a certain sound. Some tracks could be considered fillers, such as "Agents," but, again, if you've been listening to them since <em><a href="http://www.amazon.com/gp/product/B00000I9VT/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B00000I9VT">Tight</a></em> or at least <em><a href="http://www.amazon.com/gp/product/B000021XS3/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B000021XS3">Frankenstein Girls Seem Strangely Sexy</a></em>, it's pretty interesting to hear about the beginning of the band. My personal favorites are "Cake" and "I Hate Everyone," given that they stick to the usual formula of their older stuff without sounding the same as everything else. I would have to give the album a 5/5 for keeping their fans from the beginning in mind as well as providing a good range of 27 tracks.</div>Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-12242457613267138812011-12-31T20:13:00.000-05:002011-12-31T20:13:41.707-05:00Jason Charles Miller, "Uncountry"<b>Jason Charles Miller</b><br />
<div><b><i>Uncountry</i></b></div><div><b>Reviewed by Rob Acocella</b></div><div><b>Rating: 5/5</b></div><div><b><br />
</b></div><div><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B005KKLWC0" style="height: 240px; width: 120px;"></iframe><br />
<br />
<br />
When you think of Jason Miller from Godhead, you probably don't think cowboy hats and Civil War memorabilia. However, as he explains in the album title track "<a href="http://www.amazon.com/gp/product/B005KKLWC0/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005KKLWC0">Uncountry</a>" there ain't nothin' uncountry about him. </div><div><br />
</div><div>I'm not exactly the biggest fan of Country music, so the few bands and albums I do like have to really have that something special to make them stand out to me. Jason's version of Country isn't your Garth Brooks or Honkey-Tink this-or-that. Coming from a much heavier style of music, you are guaranteed it's going to have an edge, and an edge it has. I would liken <i><a href="http://www.amazon.com/gp/product/B005KKLWC0/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005KKLWC0">Uncountry</a></i> to Zakk Wylde's <i><a href="http://www.amazon.com/gp/product/B00000JCDC/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B00000JCDC">Pride and Glory</a></i>. Even though Zakk was known as the monstrous young guitar player for Ozzy Osbourne, most fans were pleasantly surprised to hear what his softer, more, um, twangy song writing was like. The same goes for Jason Miller. You can hear shades of <i><a href="http://www.amazon.com/gp/product/B00000JCDC/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B00000JCDC">Pride and Glory</a></i> on <i><a href="http://www.amazon.com/gp/product/B005KKLWC0/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005KKLWC0">Uncountry</a></i>, as well as moments that really reminded me of <i><a href="http://www.amazon.com/gp/product/B0000996IO/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B0000996IO">Vicious Cycle</a></i>, which was my personal favorite Lynyrd Skynyrd album. You can hear Jason's signature Goth-Industrial vocals peering through at times, which is reassuring when the album goes a little deeper into the Country vibe.</div><div><br />
</div><div>There are a lot of stand out tracks, and my personal favorites are "Uncountry," "The River," "You Must Have Loved Me A Lot" and the stickiest song on the album, "The Devil." I dare you to listen to "The Devil" and not walk around singing or humming it to yourself all day. Hell, I haven't listened to the album in 2 days and this morning I woke up with it in my head out of nowhere. </div><div><br />
</div>Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-37431735116971501682011-12-31T19:55:00.000-05:002011-12-31T19:55:13.905-05:00Megadeth, "TH1RT3EN"<b>Megadeth</b><br />
<b><i>TH1RT3EN</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 5/5</b><br />
<b><br />
</b><br />
<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B005LRWRZ8" style="height: 240px; width: 120px;"></iframe><br />
<br />
Megadeth are back, and this time it's BIG. Not only is this their <a href="http://www.blogger.com/%3Ciframe%20src=%22http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B005LRWRZ8%22%20style=%22width:120px;height:240px;%22%20scrolling=%22no%22%20marginwidth=%220%22%20marginheight=%220%22%20frameborder=%220%22%3E%3C/iframe%3E">thirteenth</a> studio album, but it's also the return of David Ellefson to the band. David has always been such a huge component of Megadeth's sound that the albums without him really fell slightly flat for me. I may be a bit biased, being a a bass player myself, but without David it just wasn't complete.<br />
<br />
That said, it's not just enough to have the correct lineup, you have to also have great songs and there is no shortage of them on this album. "Sudden Death" leads it off, and is a familiar track for anyone who has been keeping up with the world of Megadeth, as it was included in a Guitar Hero installment, as well as getting released as a single back in 2010, and is the first studio recording of Ellefson with the band since 2002. It's not the only song that will sound familiar to die-hard fans of the band. "Black Swan", "Millennium of the Blind", and "New World Order" are also a part of the Megadeth legacy and go back different spans of time in each instance.<br />
<br />
"Public Enemy No. 1" is one of my favorite tracks right alongside "New World Order" "Deadly Nightshade" and "Fast Lane". Personally, with all the fast, crushing riffs, and especially the reborn older material that has finally received a proper release to the public, this is one of the most perfect Megadeth albums to date. I'm from the school of people that thought <i><a href="http://www.amazon.com/gp/product/B0002EXH5O/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B0002EXH5O">Rust In Peace</a></i> was their masterpiece, and with <i><a href="http://www.amazon.com/gp/product/B005LRWRZ8/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005LRWRZ8">TH1RT3EN</a></i> being released right on the heels of the anniversary of <i><a href="http://www.amazon.com/gp/product/B0002EXH5O/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B0002EXH5O">Rust</a></i>, it's only fitting for it to be such a powerhouse of a record.Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-46553676887191656492011-12-31T19:32:00.001-05:002011-12-31T19:33:58.040-05:00Steve Bello Band, "Go Berzerk"<b>Steve Bello Band</b><br />
<b><i>Go Berzerk!</i></b><br />
<b>Reviewed by Rob Acocella</b><br />
<b>Rating: 5/5</b><br />
<b><br />
</b><br />
<img src="http://images.CDBaby.name/s/t/stevebelloband1.jpg" /><br />
<b><br />
</b><br />
<b><br />
</b><br />
Ibanez-endorsed instrumental guitarist Steve Bello is back with his fifth and most anticipated studio album yet, titled <i><a href="http://www.cdbaby.com/cd/stevebelloband1">Go Berzerk!</a></i> (yes, the "z" is intentional)<br />
<br />
The album starts off with the very popular lead single "Surfing To Venus" which had a video to accompany it while it was still in demo stages. You can see the video below, or by <a href="http://vimeo.com/14638235">clicking here.</a><br />
Following "Surfing" is a a track called "To Be Human Again" which gets you tapping your toes and snapping your fingers to the groovy little funk-infused intro before jumping right into a chunky lead riff that will take most by complete surprise. The title track is one of the strongest on here which not only showcases Steve's incredible lead abilities but bass player Joe Demott really shines through with his intricate bass fills.<br />
<br />
On "Sometimes Hidden" we get to hear the softer side of Steve Bello with this warm acoustic track. It goes without saying that just about every instrumental guitarist includes an acoustic track here or there, and Steve is no exception, but this track just has such a nice flow and melody that it avoids feeling cliché. "Throwing Away My Skin" is at the top of my list of favorites on this album with it's Slayer-like groove. The guitar really takes on an almost vocal personality on this track. On "Chomp" we again hear Joe's incredible bass abilities. It's gotta be one of the funkiest Funk-Metal tracks I've ever heard.<br />
<br />
I can't give <i><a href="http://www.cdbaby.com/cd/stevebelloband1">Go Berzerk!</a></i> album any less than a 5/5. Steve's been working at this for about as long as we've been working at Paragon and every album is better than the last. This is truly a work of art, incorporating so many different flavors without ever sounding out-of-place. It's availabe on <a href="http://www.cdbaby.com/cd/stevebelloband1">CDBaby.com</a> or <a href="http://itunes.apple.com/us/artist/steve-bello-band/id127661066">iTunes</a>, and you can get a physical copy if you find him on <a href="https://www.facebook.com/steviehimself">Facebook</a> and order direct.<br />
<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="224" mozallowfullscreen="" src="http://player.vimeo.com/video/14638235?byline=0" webkitallowfullscreen="" width="398"></iframe>Rob Acocellahttp://www.blogger.com/profile/12997842637498338521noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-86735984357529160732011-12-15T12:52:00.002-05:002011-12-18T13:58:30.552-05:00Rammstein: Made In Germany 1995-2011<b>Rammstein</b><br />
<b><i>Made In Germany 1995-2011 (Deluxe Edition)</i></b><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><b>Reviewed by Lisa Selvaggio</b><br />
<b><br />
</b></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"> For longtime fans or those who are new to the band, this 2-disc best of compilation encompasses highlights from Rammstein’s entire career. Starting off with “Engel” and including their newest single, “Mein Land,” Disc 1 has a little bit off every album. From “Du Hast” to “Mein Teil” and “Links 2 3 4,” all the songs the band has become famous for over the last 16 years are on one disc, proving how they’ve been able to keep it hard and heavy, never losing their signature sound. There are 16 tracks on this disc, so it is packed to the brim with your favorites. <br />
<br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"> Disc 2 is a CD of remixes created by everyone from Laibach (“Ohne Dich”) to Faith No More (“Du Riechst So Gut ‘98”) and Devin Townsend (“Rammlied”), to name a few. The remixes are innovative and give these classics a brand new twist, as any good remix would. But if you’re looking for the heaviness the band is known for, the remixes lighten it up, sometimes way up, or even change the songs almost completely. Townsend’s remix includes a banjo that is completely out of place and annoying. Westbam’s remix of “Links 2 3 4” could easily be played at a club filled with guidos in Jersey---who would’ve thought you could do that with a Rammstein tune? “Feuer Frei,” though not on Disc 1, is remixed on Disc 2, and it’s pretty good although it loses the speed and aggression the song is known for.<br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"> You can purchase this release in its <a href="http://www.amazon.com/gp/product/B005SODYJ2/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005SODYJ2">standard format</a>, which would give you just the best-of disc with the new single, the <a href="http://www.amazon.com/gp/product/B005SODYGA/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005SODYGA">Deluxe Edition</a> which has the two discs I’ve just described, or the limited <a href="http://www.amazon.com/gp/product/B005OLUOVA/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B005OLUOVA">Super Deluxe Edition</a> which has the two discs plus three DVDs and a 240-page booklet. In any format, it is worth adding this release to your Rammstein collection. </div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><span style="font-family: 'Times New Roman'; font-size: 12pt;">Rating: 5 out of 5</span><br />
<span style="font-family: 'Times New Roman'; font-size: 12pt;"><br />
</span><br />
<br />
<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B005SODYGA" style="height: 240px; width: 120px;"></iframe>Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-81973465336792199942011-11-17T15:27:00.002-05:002013-02-27T12:19:05.551-05:00Animals As Leaders: Weightless<b>Animals As Leaders<br /><i>Weightless</i></b><div>
<b>Reviewed by Steve Bello</b><br /><br /><br /> Tosin Abasi is, without question, the "it" guy for Ibanez 8-string guitar, and creating interesting textures where most players would just stick to Meshuggah-inspired riffing (nothing wrong with that, of course). Those who are familiar with Tosin know that he was once in a band called Reflux that musically was great but vocally was very distracting. When news broke out that Tosin was doing a purely instrumental project, fans of his fleet-fingered work were excited. <br /><br /> Weightless is the second album for AAL and while it is definitely very diverse and a great workout for both Tosin and the listener, something troubles me a bit. Every song virtually starts off the same, with a clean guitar intro, as if to say "This is a false sense of security, I am about to bludgeon you now." Tosin clearly studied Jazz and Progressive music, which is evident on tracks such as "Somnarium," "Isolated Incidents," and "Earth Departure" (the only track not to have a clean intro). One can hear influences as obvious as Yes, Rush, King Crimson, and some not-so apparent like Mahavishnu Orchestra. Utilizing the 8-string to its fullest potential, Tosin wrings out some intricate melodies that aren't contrived or give the sense of "I have heard this somewhere before." Tosin approaches the 8-string from a fresh perspective, not just for brutal guttural riffing (but when he does, he can give so-called "heavy" bands a good run for their money!)<br /><br /> For guys like Steve Vai to praise Tosin up and down, that's high praise indeed! I do recommend this album for anyone that wants to break from the "heavy-for-heavy sake" metal that is out there today. Tosin is clearly ahead of the curve and at the top of the game. Some of us should be so lucky.<br /><br /><br /><b>Rating: 5/5</b><br /><br /><br /><i>Steve Bello is one of NJ's most famous instrumental guitarists, known for his speed and dexterity. With his latest album, Go Berzerk, he is finding worldwide recognition for his hard work and dedication to his music. Check out our video interview with Steve <a href="http://paragoninterviews.blogspot.com/2011/11/steve-bello.html">here</a>.</i><br /><br /><br /><br /><br /></div>
Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-29927788262667424652011-10-24T20:13:00.004-04:002011-10-24T20:19:54.034-04:00Puscifer: Conditions of My Parole<span style="font-family: inherit;"><strong>Puscifer<br />
<em>Conditions of My Parole</em></strong></span><br />
<strong>Reviewed by Lisa Selvaggio</strong><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: inherit;">From the opening track, it’s clear that Maynard James Keenan (TOOL, A Perfect Circle), has yet again given fans something that proves his immense talent, which he takes in a multitude of different directions on this album. Puscifer has always been a project that is humorously experimental while at the same time containing lyrics that Maynard is known for: sometimes goofy, other times emotional or contemplative, and still other times puzzling. In my opinion, each album is better than the one that came before, and, as such, this is my favorite of the three thus far released. </span></div><div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: inherit;">Described as “danceable,” I cannot disagree (just listen to “Man Overboard” and tell me you don’t start moving). “Horizons” even has a sort of Hip-Hop style beat to it. “Oceans” is calming, soothing, somewhat in the same way as “The Humbling River” off of <span class="mw-headline"><i><a href="http://www.amazon.com/gp/product/B004HLO8JC/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=217145&creative=399373&creativeASIN=B004HLO8JC">"C" Is for (Please Insert Sophomoric Genitalia Reference Here)</a></i>. One of my favorites, musically and lyrically, is “Monsoon,” a song about the dry desert calling for help from the sky, in fact asking it to cry its emotions down to quench the thirsty earth. Switching it up, “Telling Ghosts” is heavier, more aggressive, drums leading, marching. “Tiny Monsters,” the opening track, actually starts off with “Tumbleweed,” the final song, playing at a very low volume, making the album come full circle. </span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.5in;"><span class="mw-headline" style="font-family: inherit;">This is the strongest Puscifer album thus far. If you enjoyed the first two albums, you’ll like this one too, and if you weren’t really feeling the first two, give this one a chance anyway.</span></div><br />
<br />
<span style="font-family: inherit;"><span class="mw-headline">Rating: 5/5</span></span><br />
<span style="font-family: inherit;"><span class="mw-headline"> </span><i> </i></span><br />
<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B005KCGIUY" style="height: 240px; width: 120px;"></iframe>Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com0tag:blogger.com,1999:blog-91743119054731470.post-39313577580729906892011-10-14T13:33:00.002-04:002011-10-24T20:09:42.525-04:00System Syn: All Seasons Pass<strong><span style="font-family: inherit;">System Syn </span></strong><br />
<b><em><span style="font-family: inherit;">All Seasons Pass<o:p></o:p></span></em></b><br />
<b><span style="font-family: inherit;">Reviewed by Mike Ventarola</span></b><o:p></o:p><br />
<span style="font-family: inherit;"> For those with a penchant for dark dance electronic music, you won’t need to look any further than System Syn’s latest album, <i><a href="http://www.amazon.com/gp/product/B005LT9XTE/ref=as_li_ss_tl?ie=UTF8&tag=dig0a5-20&linkCode=as2&camp=217145&creative=399373&creativeASIN=B005LT9XTE">All Seasons Pass</a></i><i style="mso-bidi-font-style: normal;">,</i> newly released through Metropolis Records. This is more than your bevy of tracks slated for eargasm club candy. The recording is a concept album based upon a true story and the last days of a young woman who went missing in 2006 only to be found four months later, after the winter’s thaw, with a gunshot to her head. These songs manage to encapsulate the last days of her life and the emotions of those around her. <o:p></o:p></span><br />
<span style="font-family: inherit;"> In a dark music scene that has gone somewhat static as of late, it is something quite bone-chilling to enjoy these tracks so much and, in the back of your head, realize the impetus behind their creation. Lyrics fraught with angst, fear and desperation are interspersed with infectious foot stomping beats. These aren’t just random lines of poetic lyrics as much as they are a tribute to a nameless victim whose short life somehow affected this band enough to pour through the case files behind this crime. The complete story can be found on the band’s web page at </span><a href="http://www.systemsyn.com/"><span style="color: blue; font-family: inherit;">www.systemsyn.com</span></a><span style="font-family: inherit;"> </span><o:p></o:p><br />
<span style="font-family: inherit;"> All of the tracks are constructed with detailed precision that, if one weren’t aware of the reason behind the songs, it would just appear as though the band had raised the bar on themselves to deliver the most comprehensive songwriting of their career. These really well written songs did not stoop to being overly mawkish and melodramatic, but aimed for introspection and psychological emotiveness. In less capable hands, the concept and lyrics could have easily veered into exploitive territory, but the band painstakingly avoided that from the collection we have on this CD. <o:p></o:p></span><br />
<span style="font-family: inherit;"> Each song is enveloped with an otherworldly presence, clearly demarking this as a concerned and loving tribute to a young women none of us knew. The majority of these tightly crafted tracks will more than likely be in heavy rotation in your underground clubs across the globe. In essence, whenever we hear them on the dance floor, it will bring us back to ourselves to remember that life is precious and that a snapshot of someone’s life has been preserved eternally through this recording. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br />
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: inherit;">Rating: 5/5</span><br />
<span style="font-family: inherit;"><br />
</span></div><iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=dig0a5-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B005LT9XTE" style="height: 240px; width: 120px;"></iframe><br />
<strong><span style="font-family: inherit;"><br />
</span></strong>Lisa Selvaggiohttp://www.blogger.com/profile/14994606149095776829noreply@blogger.com0