Ghost Scares Up Keenly Melodic Doom Metal

Cards on the table upfront. Swedish doom metal act Ghost combines what hardcore metal maniacs dig most about the genre. The bridge gifts you with a fire and brimstone guitar solo. The guitar passages suggest something soulless crafted them. Not to mention some sleep with the lights on vocals. On the table right now I submit for your approval "From The Pinnacle To The Pit". It's marvelous how whenever henchman Papa Emeritus III (I kid you not. That's his handle.) utters the song title his partner in poetry, Alpha formerly Fire (Again I'm not making anything up) is at his side belting out outstanding riffs that make you want to bone up on the devil worship you've let slide by of late. If you listen to bassist Water (What did I say about me not fabricating the truth?) you can hear how his bass, as chord progressions go, follows in tandem with Papa's spooky vocals. I don't mean to imply you'll wet your pants following along to these guys and their twisted playbook but it's eerie how the sounds are so maniacally in sync. Gravediggers everywhere will eat this up. But, if you don't list this occupation on your call sheet you will still be rewarded for your cosmic energy with a track blessed with cold eyes that bear into places you didn't even know could be violated. Why the estate of Maurice White doesn't sue for millions in copyright damages remains a mystery. I mean really...some dude named Earth plays drums. Wind plays keyboards. Only Fire appears to have gotten wise to the setup and became known as Alpha. Off the bat Ghost seeks to intimidate in the most devilish manners possible. Peruse the opening lyrics and you'll sense Ghost's collective elevator doesn't go up to the top floor. Delusions of grandeur are one thing but "You have the power. You wear the crown from the pinnacle to the pit." Man's splash down from acme to nadir...complete with engrossing rhythm section. "It's a long way down." Anybody but me get chills on the back of the neck? Added poetry takes the form of "You wield the scepter. You wear the gown from the pinnacle to the pit." Give the words room to pollinate in your system. After they've gotten their chance you'll not be able to escape the nightmare factory so easily. Musicianship maintains a high quality level here. Somewhere onetime MTV Headbangers Ball host Riki Rachtman has to be getting teary-eyed. He'd kill for this kind of cut to play. Back to the task at hand. "From The Pinnacle To The Pit" also has an unsettling choir sequence. What macabre joy. Bass execution smacks you upside the head at the outset leaving behind no survivors. Papa Emeritus possesses bloodcurdling command of his lower octave range. He's not to be messed with. At the forty second mark the entire Ghost army kicks into high gear. The drumming bores into your marrow. The guitars merge into a freaky fusion. Certainly a feast for the ears. If you want my two cents these guys and Slipknot should go bowling together. They have a trip to the far side of crazy in common. It serves them nicely. The bridge alluded to earlier kicks into high gear at the two minute mark and how monstrous the aftershock is. "From The Pinnacle To The Pit" constitutes all that's righteous about metal. It's a mere taste drawn from its parent album "Meliora" but having your bib strapped on snug would be sage advice. Here's a pinnacle you'd be loathe to climb down from.

Declan McKenna Explores The Wilds of Brazil To Convincing Effect

17 year-old United Kingdom native Declan McKenna knows his way around a steady rhythm...or so it would appear. His all intents and purposes hello salvo to the world of music, "Brazil" goes around one maypole and, here's the best part, it doesn't grow old with repeated listening. Neither does Declan's delivery, heated enough to get your attention, but suave enough to remind you this is no pint sized assassin on the menu but, rather a savvy teen with an advanced sense of direction, both in melody and career. It can't hurt that he won the Glastonbury Festival's Emerging Talent Competition in 2015. How nice for him that he has room to grow in his professional development. He plays all his instruments, in this case guitar and keyboards. He has a heart-wrenching squeal to his voice which makes you want to wrap your arms around him and say "Easy there bud, everything will turn out fine, just you wait." It was a smart opening move leading with the keyboard. Makes you think Declan's another wide eyed pop star wannabe and not much else. Trust me he's quite the cosmopolitan as the video demonstrates clearly. Earnest approach doesn't go out of style and thanks to Declan long may it not. Call it exuberance but much can be said for having the moxie needed to let one's freak flag fly. Yeah, you could argue that the chords don't match the heft on the lyric sheet. Prime focus on Brazilian soccer, the beautiful game, according to McKenna. He has a way with characterization too, as you can tell from this cat who lives down a river with 6 cars and a grizzly bear. Strange company but if it works then what the heck. The ultimate sentiment has to strike a chord with folk singers in training everywhere..."Well, he talks like an angel but he looks like me." Wow. That right there is poetry of the highest order. It's nifty to watch artists in the growing up phase of their respective careers. Let the nostalgia buzz begin. That squeak of his charms no end. Brazil pretty much owns the soccer landscape so any song directed that way is bound to bring up big business and acknowledgement for the sport. Declan's passion for the words he speaks are only going to get harder to ignore as his material and his body both mature. "Brazil" has the potential to help Declan become a worldwide smash.

No!!! Not Meghan Trainor Playing Sex Kitten!!

If you need proof how much the record industry can corrupt an aspiring artist's sense of dignity in zero flat may I present Meghan Trainor. Her new album's title is "Thank You". Based on the bump and grind gutter pandering of the first single "No" it should have been called "I'll Pass". Oh goody, another video featuring a female singer displaying her sizable sexuality while claiming not to want to give the male population any undue encouragement. Can you say "mixed message" boys and girls? Good. I knew you could. I'd like to make one thing abundantly clear. Despite the fact that you'll watch Meghan in this video and ask yourself "What happened to that 'All About That Bass' chick?" the song itself has Miley Cyrus throwaway written all over it. Granted, Ms. Cyrus was a bit too busy making us never think about a wrecking ball in a healthy way ever again but still Miley knows bad girl. Hell, she's been attempting to push that envelope ever she left her Hannah Montana days squarely in the rear view. The only thing Meghan and Miley should ever have in common is the same first letter in their names. So...I repeat. You WILL dance to this on some level even if your rational brain reminds you you've been sold familiar song and dances a zillion times. But, by the same New York subway token, "No", as entertainment diversions go, has all of the lasting appeal of a prostitute you snagged on a seedy street corner in Anytown USA. You get nasty, drop her off, and then move on to conquest #2. Nothing resembling emotional substance. Just some random boink me side project that served the cheap purpose it was designed to serve. Lucky you if you go out for that kind of entertainment but, many of us in the listening audience prefer smokin' souffle to cheap tart. I could easily believe the brass over at Epic Records sitting down with her for a serious meeting regarding her career direction. Perhaps the suits came right out and said, "Meghan, babe, loved "All About That Bass". How divinely retro. I'm getting flashbacks of my Grandma's apple pies right out of the oven. But you see the problem with that is we're in the 21st century now. We need for you to goose sales by giving us some of that Britney Spears sex toy thing. Also, we need for you to convince the 18 year-old male audience that yes really means no. Wear some provocative German inspired lederhosen and roll around on the floor with some other slu...we mean distinguished female team players. Our industry is suffering, love. We need you to prostitute yourself for the greater good. Well deep pocket dudes, consider this mission accomplished. Totally derivative hard-on lowest common denominator excrement. Frankly, that's an insult to the excrement producing community. The lyrics save no part of this sinking ship. That whole "I don't wanna give you my name and number" bit has already been covered successfully by TLC. What's the point in putting that message in the mouth of a completely different pop starlet? The answer? Bling and bling alone. The word "No" fits the takeaway perfectly. No, you won't get those four minutes of your life back. No, apologizing for being dumb enough to fall for this claptrap won't help your guilty conscience. No, Meghan hasn't taken a major career step forward. If anything "No" threatens to push Ms. Trainor into the background of the music business radar. One last example of accentuating the negative before I sign off. No, the background is no place for a 22 year-old woman lusting after career longevity. "No" represents a music lover's chance to say yes to looking out for broader cultural horizons.

Halestorm Releases Mayhem In Spades

What do you do if you're Halestorm lead singer Lzzy Hale if you've grown weary of empowerment yarns like "I Am The Fire". You simply unleash your inner riot girl for a little scream fest called "Mayhem" Not a single thing artsy fartsy about this track. You shouldn't bother raising an eyebrow to the technical wizardry because that doesn't even come close to describing the purpose of "Mayhem". Lzzy, brother Arejay, and co-conspirators Joe Hottinger and Josh Smith simply let both barrels drain ammunition and see where that takes them. "Mayhem" revels in its title. Lzzy shrieks like someone stuck a hot tuning fork through her scalp. It gets more demonic in scope as it goes along. Joe doesn't understand boundaries. He plays the guitar as if he was given ample room to run, full on license to thrill. That my friends is what makes the electric guitar such a gratifying conduit for aggression and moxie. Drummer Arejay makes each drum lick matter for something. He gets to that level of consciousness where ego takes powder. He knows his own strength and doesn't mind hammering the point home to us. And bassist John Smith helps make "Mayhem" the magnificently psychotic package that it is. If MTV were ever to relaunch Headbangers Ball (When pigs fly, right?) "Mayhem" would likely receive a heart-stopping level of airplay. That's because it appeals to both metal fan boys and girls. The video doesn't need fancy tricks to get its message across. Lzzy's someone you don't want mad at you. The expressions she hits upon throughout the video should have driven that point home to you loud and clear. The lyrics place Lzzy in an extremely frustrated place. Already she's grown bored with the world spinning around her. Turn to the chorus if you want to escape that disappointingly jaded feeling yourself. How true is the sentiment "A little mayhem never hurt anyone". Well...I wouldn't go so far as to commit arson but knocking back a few brews and beating your chest would serve a real cathartic purpose. Lzzy likely joins a chorus of voices bored with the status quo and the lack of excitement it foists upon the citizenry. Chaos, fear, and pandemonium are sensations she'd like to see tossed onto her dance card. The more the walls shake, the more she likes it. Humdrum doesn't appeal to too many people and Lzzy's out to bust up the lethargy. The tempo gets right to breakneck pace with evil aplomb. Trying to catch up to Lzzy and her mates is a cardio workout in and of itself. Not that you won't be rewarded by it backwards and forwards. Lzzy deserves a pat on the back for "I Am The Fire", That allowed modern woman to roar and remind the guys they have just as much potential. However, maybe Kelly Clarkson ought to be left carrying that torch. Lzzy is in her element spewing out primal rage. "Mayhem" creates what the title promises and that's saying plenty. "Mayhem" is one rough edged you'll be proud to let your quivering eardrums clean up after.

Sixx A.M. Rises To The Challenge Of Crafting a Venomous Rock Ball Buster

Spring break may be in the books but that doesn't mean the fun has to end. Enter Motley Crue bassist Nikki Sixx's side project, the aptly titled Sixx A.M. Its newest effort "Rise" sums up what all the fuss is about as it pertains to anthem tinged hard rock. James Michael leads this pack and right up front his vocals mean serious business. He sounds the call to action, hoping and possibly praying his disciples are out there waiting to pick up the slack. Then we spin around to the guitar work at the bridge. It'll take awhile to fully absorb how unapologetic the theatrics are. If you've ever experienced, or for that matter hope to experience being dragged behind runaway water skis, this guitar solo ought to hold your appetite at bay until you can arrange for the real thing. To add to that Sixx A.M. comes before us with some pretty generous all over the map chord progressions. Stasis doesn't serve the purpose for these guys. Go big or go home as it's been said. In order to incite revolution you need to have someone act as a mouthpiece who's convincing in leading the charge. Paul fills that role in spectacular fashion. The message is one we all could stand to gain a reminder of, namely get yourselves together and live your lives. Dustin Steinke drills into the drums as if he had a personal grudge to settle with them. Everybody fully commits to the task at hand and it shows. I'm encouraged to unleash my inner ass kicker strictly based on the fact that Sixx A.M. makes giddy rebellion sound so provocative and worth the civil disobedience charges. In the video you see gruesome images of what could happen to you if you don't stand your ground. Nikki's association with standing up to a devil too big for his horns definitely falls in line with his playbook. If you haven't hit upon your finest hour the next one could be right around the corner. Empowerment seems to be slipping out of the collective cultural grasp lately. Sixx A.M. contributes with a healthy jolt of adrenaline. What impresses me most is how the boys keep the punch going from first note to last. Anyone who remembers Sixx from the "Girls, Girls, Girls" days knows Nikki looks at home on a vehicle that roars like a big, bad Harley Davidson. Leadership's one of those concepts modern America looks hard pressed to serve up. Maybe Nikki should suggest "Rise" be a campaign song. I'm guessing the Republicans won't go for it though. "Rise" comes to us from the upcoming "Prayers For The Damned". "Rise" hits the notes that are potent enough to roust anyone from social somnambulism.

The Wombats Try To Make You Smile...And Succeed Beautifully

Nothing to despise about The Wombats "Give It a Try". This Liverpool bunch goes heavy on cute in sound and lyric from the very start. Vocalist Matthew Murphy merits the lion's share of the credit for making the song an adorable cheek pinch. His way around keyboards knows no limits. High energy through and through. You want to dive right into the swimming pool he's frolicking in. Why not I say. Time spent with him cavorting is worth any amount of trouble. Ah yes, but there's plenty more to our tale than a pretty face behind a mike stand. Dan Haggis cuts lose with some of the most unburdened drum playing you're likely to hear all year. You sense he's laid the entire hand out on the table. He'll come along for the entire ride or jettison the experience completely. As for the lyrics, levity rules the day. Smiles are mandatory. With such a springy beat to prance across you'll gladly succumb. The third cog in the delightful machine comes in the form of Norwegian born Tord Overland Knudsen. None too shabby on bass. Anyway, back to the lyric sheet. Catch these frothy sentiments. For openers we get, "I know that I like to let excess succeed, but I just need you in that fur coat." Subtlety would not appear to be a factor in any mode whatsoever. Kudos for his determination in the face of a harsh London that would swallow the soul of a lesser creature. The second stanza ratchets up the hilarity factor by leaps and bounds. "We could be gigantic, everything I need. Vicodin on Sunday nights." Better living through chemistry. Always something to consider when you're flat out of options. Some of the personal ablution material gets me guffawing too. Allow me to explain. "I'm shaving with your toothpaste and trying to vacuum from the ceiling." I guarantee that nowhere in your lifetime will you ever hear quite the affable words as are printed here. It is worth considering that there's certainly an off the rocker mental health edge to shaving with toothpaste. Well duh, right? Nevertheless the minty fresh smell on his face cannot be ignored. Certainly beats the standard shaving cream whiff. Moving on I tell you that "Give It a Try" gets drunk on its own lunacy. The inmates in this asylum gambol about with little to no regard for who knows about how silly they are acting. I claim a band with jocularity doesn't go out of style no matter what decade we're winding our way through. The Wombats have been an active outfit since 2003. The sort of whimsy displayed in "Give It a Try" shares the same DNA as the likes of No Doubt's "Running" from that outfit's infectious "Rock Steady" outing. Spontaneity carries the day in both cases. In the former's instance coloring outside the lines spells a heady romp the general public can really take to its collective heart. Afford yourself the opportunity to bask in the trip happy glow of the accompanying lyric video. It'll take the edge off of whatever life drama you're currently battling. It's got daffy imagery sure to light your eyes up and put a dopey grin on your face. Given the current world tumult, isn't this type of creation a pleasant antidote for us as a collective? "Give It a Try" gives us its best. The Wombats have earned the right to attempt a victory lap.

Maurice White Was Blissfully Down To Earth

Tonight I'd like to pay tribute to Maurice White, the heart and soul behind Earth, Wind & Fire. His passing this past February 4th leaves our temporary island home a little bit less soulful, but his legacy cannot and should not be denied. His band embodied all that is good about music in general. The hits just kept on coming. When Earth, Wind & Fire threw a party we wanted theirs to be one party bound to last forever. Some of Earth, Wind & Fire's songs seemed to extend into the distant stratosphere. "Fantasy" counts as a jaw-dropping example. Not only that, you don't get much more life affirming. What a delectable soup of rhythms. Seconds, if you please. Horns aplenty lit up the track. "December" incorporated some of the most pitch perfect harmonies you'e likely to hear. "Let's Groove" needs to be put up on the funk pedestal that "Super Freak" owns so readily. Not that the entirety of Earth, Wind & Fire's catalog was cued up to R & B/funk workouts. "Reasons" took its own mid-tempo philosophic time and what emerged stands as a stupendous jam that gets heads swaying in zero seconds flat. Although squarely at home in the disco '70s, Maurice and friends melted hearts with the '80s standout "Fall In Love With Me". You really need to get your head examined if that track doesn't have you swiveling your hips in unbridled ecstasy. In a word that's what we hold Maurice forever grateful for...ecstasy, the spirit in which he conducted himself as a performer and funk mastermind. "Sing a Song" goes to show how R & B need not be crude and repressive to strike a chord in the public imagination. Theirs was truly an all-ages affair. I hold "Fantasy" up as a #1 favorite of mine. The luscious orchestration stands head and shoulders above what most modern era sounds are being trotted out. I don't claim this to be a fuddy duddy. It's simply an exemplary song from a band that gets what staying power's about. I feel like I'm sliding down a silky banister into the waiting arms of Phillip Bailey. Guitars to the left, horns to the right. Too cool for the room. Maurice definitely earned his rest. Wherever he is I hope he's smiling at the knowledge that his band's contribution to music will likely always be potent, far-reaching, and cause for rejoicing in big and small groups alike. Heaven was made for upstanding cats like him.

Hands Like Houses Puts The Roar In Romance

Hands Like Houses, a power obsessed rock act out of Australia, gets plenty of room to air it out on its new single "New Romantics". That title conjures up nifty memories of 1980s New Romantic bands like Duran Duran. Trust me when I tell you Hands Like Houses sounds nothing like those glamour pin-ups with the exotic MTV videos. Hands Like Houses rolls into fifth gear right at the outset and doesn't stop to notice who's in their rear view catching up too fast to be believed. These guys rumble like thunder in a Texas summer rainstorm. Nobody phones it in. Trenton Woodley vocals go to that sweet spot that transcends conscious awareness. Each note brims with purpose, direction, and no small degree of name taking. Ordinarily I'd be all over a band like ugly on an ape for sticking to one chord range and not daring to be different. Not the case here because the range Hands Like Houses opts for has way more zing than it has a right to demand. Joel Tyrell, your bass makes me swoon. I would follow that down the darket alley, no mace to be found. Matt Parkitny hammers away on the drums, a man awash in timely desperation. He makes his contribution last, a gesture mandating he'd like to be remembered as something other that a pretty face in a rock band making people squirm with unsteady psychological content. Want proof the boys mean business. True confessions starts from the top of the lyric sheet. How does one self-medicate on reality. I tend to view it as a drug injected into your veins kicking and screaming. Anyway, it's a novel approach to something which can leave us all a tad weary in spots. "Pulling up the floor to go deeper down". Wow. This guy either needs to come off his meds or start up on new ones that don't put him into such a destructive streak. It's all about finding yourself before it's too late. You go around in circles only to be stuck in the same place...circling oblivion's toilet bowl. Matt "Coops" Cooper gently seasons the proceedings on lead guitar. Really though it is Joel's bass that has "New Romantics" hitting the ground running. This band gets how cohesion can take you as far as your imagination will allow. Skies open up. Massive floods explode. Communication becomes less strained, more satisfying. You sense team effort piloted this plane and a smooth landing on the runway isn't very far fetched in the slightest. When all players get on the same page in the playbook, the results can't help but be electrifying. Electricity, super-charged combustion, piss and vinegar, whatever you wish to label it. Hands Like Houses keeps the legacy of strong Aussie bands alive and kicking. "New Romantics" goes on like a new roll of paint spread out from a comfortably reliable old formula.

Things Are Looking Up For Elton John

We'll have officially hit Armageddon when Elton John's creative well runs dry. No chance of that happening anytime soon though. His new album's called "Wonderful Crazy Night" and its first single goes by the name "Looking Up". This song crackles with Elton's trademark enthusiasm. He knows how to squeeze every drop of life from the material in front of him. His versatility, honed over four decades, remains in fine form. The conflicted young man has blossomed into a jolly old sage who has learned pearls of wisdom, and never shies away from his gift for showing it to the rest of us. His backing musicians elevate Elton's handiwork to neat new levels. The drumming has purpose to spare, the bridge guitar didn't leave its oomph on the cutting room floor. In the end though it's Elton's world, a place that's been a gas to visit over and over again. Its accompanying video puts Elton's color and joir de vivre center stage. Certain artists command excitement each time they put a new record out. That's an exclusive list to be on. Smartly, Elton eases us into his paint by numbers landscape, allowing us to soak in whirlpool bath comfort before he shifts chords. We like the fiesta we have joined and are therefore loathe to turn away. I think it's a fair question to ask anyone who has ever come within spitting distance of music appreciation this question, "Has anyone out there not had the soundtrack of his/her life intertwined with one of Elton John's massive hits?" Whatever mood you've ever been in he's been there with a track to serve as tension easing or life affirming. I'd place "Looking Up" squarely in the latter category. His wisdom reigns supreme, as the lyrics will attest. Right up from you can tell Elton has forged a real storyteller's sensibility. The lyrics I draw reference to are "Figuring out where I went wrong. The script not followed then was awfully long." Sentiments sung like a man who knows what it means to survive. Add to that the chorus, which revels in letting the past stay where it belongs. What hasn't Elton, or should I properly say, Sir Elton, done at this stage of his career? I hope this road doesn't end anytime soon because taking the journey with him doesn't skimp on the rewards. My own appreciation for Elton began in the '80s, years after his gaudy fashion sense and lyrical astuteness took hold. From "Empty Garden" to "I'm Still Standing" to "Nikita", Elton left in his wake a string of indelible hits. He has come to be the Betty White of the music world in that, like the spunky nonagenarian, he's been a fixture in our entertainment lives for so long that if he dropped off the planet tomorrow we'd definitely notice. Elton's gifts are a once in a lifetime experience. "Looking Up" looks and sounds like another round of vintage Elton.

Kelly Clarkson Sings The Virtues of Picking Up The Pieces

Kelly Clarkson sings about how important it is to have a strong father figure in one's life in her brand new "Piece By Piece". To make the subject matter easier to swallow she's blessed with some light ethereal keyboard fills that tend to glide over her feminine, proud, one would even say defiant vocals. You don't get much weightier than the sight of a father's back headed for the airport. That's essentially the ultimate kiss off. You don't get over that so easily, sometimes not at all, depending on the person who wronged you. I know from daddy issues. It certainly stings. In the video, Kelly casts a radiant glow. The black and white motif suits her and the topic at hand. Towards the end we are treated to many smile worthy snapshots. Kelly's range remains a force to be reckoned with. She really rounds into form on moderate and higher ranges. Given how perky the single is you wouldn't know she deals with material that isn't easy on the emotional palate. Then again Kelly sure does have a history of baring her inner yawp. It's her stock in trade. Listening to her body of work resembles taking a peek at someone's journal. She makes music to please herself as much as she does her core audience. Speak of said audience, it will find Kelly's persona easy to enjoy. For me "Since U Been Gone" demonstrated early on that Kelly's not going to roll over and die simply because you insist she do it. That single was danceable but with claws out daring you to get up in her face making a big production out of things. By comparison "Piece By Piece" benefits from its shuffle step. If you lean in close enough you'll be able to detect my meaning. Kelly's one mom who isn't about to mess around. That daddy of hers isn't going to come marching back in after having wreaked so much havoc and expect to pick up where things left off. Kelly points out the difference between him and the man in her life who wants nothing other than to take care of her. Strings? What strings? The restored spring in Kelly's step can be detected for miles around. Therein lies the importance of not letting one man, the primary man, the man who helped give you life, cast a pall over the rest of your relationships. Especially when others, if you have the courage to let them, can gladly pick up the cosmic slack. "Because Of You" highlighted the damage that happens when past hurts make you afraid to let down your guard long enough to let anyone else in. "Piece By Piece" shows Kelly making peace with her past and welcoming in love that gives instead of takes away from.

Man, Does AWOLNATION Ever Pay Tribute To Woman

If AWOLNATION were the only band standing after the zombie apocalypse we'd still know that Planet Earth loves its women. Gotta give the LA band credit for injecting some humor into their video. Lots of skin, hair, and babes gyrating in front of that mike. Fun gets front and center attention to delightful effect. When you've got Kenny Carkeet's keyboards to springboard off of then success is the only conceivable outcome. "Woman Woman" fits any post-hangover chill period. It gets a little razor stubble at the chorus but not in such a fashion that migraines are haunting every decision you make, every syllable you utter. Marc Walloch knows to dial back his bass guitar so the overall brilliance of the collective can shine through. Isaac Carpenter allows his presence to be felt behind the kit but he isn't demanding to be given the ball like an NBA showboat. The new album "RUN" gets a good dose of distaff mojo. It's the theme that generation after generation will likely pick up the torch for. I'm sure all the women on camera very much enjoyed their individual turn in the spotlight. You hear chord change but not at the expense of a solid sound that can bring wallflowers out of their shells. Sure, the subtlety doesn't exist but why should that matter. Kenny's keys get us into that deep space tractor beam right upfront. Then percussion spices permeate the broth. Lead singer Aaron Bruno remembered that in rock anthem 101 you want your voice let loose from the porch so it can run with the big dogs. He hams it up on a primeval level. What a treat to hear him espouse one of this orb's simpler pleasures. Come to think of it the video could easily double as soft core porn. You sense fourteen year-olds are getting boners thinking about it right now. Note the cleverly placed black bars. Aaron candidly admits how worthless he is without woman in his life. Surely does point our the effectiveness of wearing one's heart on one's sleeve. Try not to fist pump at the two and a half minute mark. Too irresistible to say no to. As if one could thrive off of anthem within an anthem logic. Nevertheless AWOLNATION possesses this never say never confidence that any band worth its salt would consider itself lucky to have. "Woman Woman" should score points with man and woman alike.

Five Finger Death Punch Introduces Us To a Nemesis Worth Befriending

Long may groove heavy hard rock reign. Five Finger Death Punch, and this is going to sound somewhat ironic for a band with "death" in its title, succeeds in keeping the traditional burning and viable for all who dare walk into its path to show appreciation. "My Nemesis" gives us blood dripping from the fangs. The guitar solo featured at the bridge sounds effusively rapturous. Lead vocalist Ivan Moody explores lower bass facets of his vocal range to chilling nightmare inducing effect. Not that his mid range doesn't work to trouser soiling effect too. On drums we get Jeremy Spencer belting out one glorious sequence after another. That's a thing of beauty to behold. The way Jason Hook's guitar performance melds maniacally with Ivan's bitter lyrics cannot be underestimated in its bravado and ferociousness. If that wasn't enough of a sweet deal you throw in Chris Kael over on bass. What muscular power he brings. I would imagine there will always be a place in the musical firmament for hard rock emphasizing astute lyrics and stellar craftsmanship. This ranks as a well-focused battering ram assault on the senses. Each riff lands with a colossal crunch much like Muhammad Ali's fists did in the legendary boxer's prime years. If you didn't clearly detect notes of resentment in the lyrics strictly from the audio then the video for "My Nemesis" should fill in any left over gaps you might have in your knowledge base. It doesn't take Ivan too much deep breath space before he's off and running with what amounts to a burned out farewell to the planet, his identity on the planet, and all who have done him wrong during his stay on the planet. Doesn't get clearer than "I'm leaving behind this world and all the things I am. I'm tearing away from it because I know I can." Hope flat out doesn't exist in Ivan's universe. The way Jason leans into his guitar solo at the bridge has the potential to leave even the most jaded metal maven reaching to pick his jaw off the floor. Ivan's mode of expression will require you to either run to the store to buy Kleenex to prepare for repeated listening or meander to the pantry for the supply you've got lest Ivan's overt hostility jar you with too much spittle. You had better not try to run from this uncontrolled chaos because what good would that do you anyway. Much shedding of tears and the neatly placed cemetery scene heighten the discomfort factor which in turn heightens the effectiveness of the song. Try not to become engagingly nauseated by the refrain because you know judgments and recriminations can't be far behind. How do you protect your soul from "I gave you everything and in return you gave me nothing. Can't you visualize the spit jetting from that last word. "My Nemesis" wants to get into a pier six brawl with your rib cage, eardrums, and any other part of your body that's not nailed down to solid terra firma. In conclusion "My Nemesis" doesn't covet your friendship given the bad attitude it harbors but it does all the little things right on the road to winning over your admiration with room to spare.

JR JR Has Gone To Its Happy Place

Hailing from Detroit, JR JR ladles out a nice soup of aural delight which gracefully conceals the deep seated unrest gripping the lyric sheet from stem to stern. Like some whistling joviality? JR JR is very happy to oblige. Up for some juicy bass riffs? You'll find them there too. Daniel Zott, Joshua Epstein, Mike Higgins, Jon Visger, and Bryan Pope make for a highly unified collective that goes tripping down the primrose path while grappling with weighty life decisions such as what to do with oneself as Father Time presses forward. Give them credit for upfront declaration about opening door after door trying to find the true self and getting precious little traction. JR JR uses a nifty visual approach in the video. Decapitation station anyone? Lots of legs but no upward body parts accompanying them. The whistling I brought up earlier enables you not to get too swept up in the weight of the immense life decisions, increasingly urgent as time passes. To think JR JR was conceived with precious little intent on reaching the public. The pop chart game is akin to throwing darts against a wall to see what sticks. I'm so glad JR JR didn't throw in the towel. "Gone" tastes very good on the tongue as musical feasts go. You can't hardly beat the peppiness involved. This chorus represents a declaration of emotional independence of sorts. Loud and clear we're treated to "I can't be everything you want me to be." Who on Earth really can? We put our best foot forward and hope for the best when all is said and done. You can bet hand clapping is a prerequisite. That's straight out of the spoonful of sugar helping the medicine go down school of thought. The vocals merge gorgeously in the right places. Mike Higgins keeps the beat maintained beautifully all the while adding due froth to the mix. The group's self-titled album contains this fetching jewel. It never ceases to amaze and delight me how far out in space video directors can be. The "Gone" video must have been created using copious paint thinner inhalants to lube the creative process. That sounds apt given in the '80s plenty of coke was on the mixing console. The stars of the day will admit to using in large amounts. Nothing wrong with liberating the flow a hair. Many an artist has used substance to unlock the hidden potential. Another tightly coiled package at under 4 minutes. The spring action can't be denied nor can the propensity of "Gone" to keep you footloose when and where possible. "Gone" is very much about centering on the here and now and that works out well for these Michigan musicians. Slip this into the iPad shuffle next time you're at a life crossroads.