John Mayer Shows Us A New Light

John Mayer has been a reliable hit maker since the aughts churning out reliable tunes like "Your Body Is A Wonderland" "Daughters" and now "New Light" a song bathed in sunlight through John's voice and some supreme guitar licks at the bridge that are smoky like the pipes John's been using to great effect. If you want some smile moments the video should fill your quota for the day, month, year, and even decade. You see these delicious backdrops ranging from a goldfish bowl to a baseball game to mountain tops. John's sensual stare seals the deal. You get the feeling there's an intimate relationship at work here between listener and player. Kind of a bedroom pillow talk aesthetic. He has the peppiness angle down to a science. It is truly one of his better efforts from a composition standpoint. It's full of sweetness and light that should sustain you for days. John certainly has a bluesy soul inside of him and it comes out beautifully here. From note one he's an engaging figure and captures his audience perfectly. He's got plenty of rooting value in spades. You want to see him succeed. "New Light" from his "Snack Money" LP gives him the leverage to do just that. https://youtu.be/mQ055hHdxbE

Panic! at the Disco Has Reason To Be Hopeful

Panic! At The Disco comes on with flourishes aplenty throughout "High Hopes". The song is the act's breeziest to date, as the video showing vocalist Brandon Urie scaling a skyscraper should attest. Every facet bubbles with gusto. Brandon Urie is pretty much the one man band at this juncture and he sells it big time. Compared to past efforts "High Hopes" promotes sunshine to the nth degree, as if the nuts and bolts were constructed during an outdoor barbecue. It's that open air. Still Panic! stays true to its playful roots. The lyrics speak to not waiting to ask permission to chase a dream. Just do it as the Nike! ad says. Having a vision is crucial to pursuing one's dream in Brandon's eyes and that makes for a poignant part of the overall songcraft. Mama insisted on rewritten history resulting in cemented legacies. Having high hopes for a living is a tough sell but Brandon pulls off the fantasy with brio. Returning to the video, how much sweat fell from Brandon's brow during filming do you suppose? However Brandon seems to be enjoying himself full throttle as the smile on his face would indicate. Overall "High Hopes" hits the high points of Panic!'s talent.

Three Days Grace Plumbs The Soul For Infrared

Canadian hard rock stalwarts Three Days Grace have crafted a bone chilling slab of hard rock goodness with "Infrared". The chord progressions are utterly spine-tingling, as if they know exactly what buttons to push to elicit the maximum emotional response. I felt it right down to the tips of my toes. Lead vocalist Matt Walst does an outstanding job upping the creepiness factor getting to the meat of the matter, about how easy it is to be seen by the outside world in black and white. Moreover drummer Neil Sanderson pounds out beats like a man possessed. Guitarist Barry Stock strums as if his life depended on it. Bassist Brad Walst brother to Matt, holds up his end of the workload stupendously, banging out thunder with reckless abandon. As a whole this band has a brand like no other, fire and brimstone pulsating from every pore. Their brand of hard rock drips with vitality like no other. The lyric sheet confirms this time and again. Seeing a woman in infra-red...how very cryptic...and mind blowing. Personally my favorite track they have ever come out with is "I Am Machine" which had more of a battering ram style to it. Trust me when I tell you "Infrared" has much more of a melodic sensibility to it. Each passage bursts with an excitable oomph that will not be denied. The pacing is stealth enriched, letting the uninitiated digest every toothsome mouthful. In short "Infrared" is a feast for the ears.

You Can Feel Portugal The Man's Bass Grooves

Beefy bass. Two words. One incredible punch. That's the verdict from here regarding Portugal The Man's "Feel It Still". The bass sells the song. It's a slinky little number that helps get you into a undercover spy sort of frame of mind. The drumming is cool to the touch, very tres chic, a perfect compliment to the keyboard fills that accompany it. It's all about stealth with this bunch, firing off winning licks right and left, making a cohesive whole take shape. And the lyrics...very cryptic "Ooh woo, I'm a rebel just for kicks, now. I been feeling it since 1966, now. Might be over now, but I feel it still." Get what I mean? Pure weirdness. John Baldwin Goury's vocals exude confidence as he weaves his yarn from 1966 era life. The smooth feel of this song defies description. You get to be a player by association thanks to John's confidence. Zach Scot Carothers gets credit for the grand bass playing outlined above. This cut promises to be the monster hit of 2018 what with its bodacious hooks and slick production values. I highly recommend this song as a kick start to any party lagging in energy that could use a boost.

Weezer Does Toto Proud With 'Africa'

I'm a big fan of Toto from way back. Weezer's cover of the chestnut "Africa" is nothing short of a revelation. The sound is polished for the millennial generation. Rivers Cuomo's vocals mimic the cool assurance of Bobby Kimball's from the 1983 original. Both are apt storytellers who weave mesmerizing tales plucked straight out of old time mythology. Cue the wild dogs echoing in the night, the old man searching for forgotten melodies saying "Hurry boy, it's waiting there for you. Kilimanjaro rises like Olympus above the Serengheti. That's New Age deep. In place of Toto's sound we get Weezer's juicy keyboard bridge. Thank you Brian Bell for your delicious handiwork. Patrick Wilson's drumming is feather soft and oh so lounge lizard too cool for the room. In comparison Toto's sound was ballsier, grittier. Overall Patrick's playing ably provides a wondrous comparison to Toto's original. Plus I finally got to understand the lyrics "I bless the rains down in Africa" which I always thought were "I bet the rain's down in Africa." It's funny how decades later mumbled words come to light in bold clarity. Anyway, Weezer's version of this timeless classic pays proper respect to the original in every way that matters. That's no small tip of the hat to Weezer's ability to take a song and make people forget it wasn't their version in the first place. Kudos to Weezer for doing my '80s memories proud.

Foo Fighters Tow The Line Successfully

The Foo Fighters continue to be one of the brightest stars in the rock constellation. Dave Grohl has more than earned his status as one of the nicest guys in rock and his band shows no signs of slowing down. "The Line" finds the Foos at their melodic best, chord changes aplenty, Dave's voice in fine fettle as usual. Lyrically "The Line" delves into some pretty cryptic territory that diehard Foo fans will likely appreciate. Check this out..."Yes or no? What is truth but a dirty black cloud coming out of the blue? I was wrong. I was right. I'm a black moon in the dead of night. Break my bones. I don't care. All I ever wanted was a body to share. Heart's gone cold. Brush ran dry. Satellite searching for a sign of life like you. Somewhere? Are you there? The tears in your eyes someday will dry. We fight for our lives. 'Cause everything's on the line this time. Stern words from a man who has been through the wars and lived to tell the tale. Pat Smear keeps on laying down the guitar licks sweet as honey and passes the savings on to us. Never has he sounded more crisp. Taylor Hawkins drum work has seldom sounded better than it does here. Collectively the band lays down a smooth sheen on "The Line" that defies description. There's no shortage of polish. No note is wasted. No lick is wasted. No chord progression goes by the boards. In short "The Line" lights up like a Roman candle and explodes with similar passion.

Death Cab For Cutie Strikes Gold With "Gold Rush"

Austin can certainly relate to the ghosts of edifices past as described in the lyrics of "Gold Rush." from Death Cab For Cutie"They're digging for gold in my neighborhood. Where all the old buildings stood." Gentrification being what it is there's no shortage of ghosts haunting the perimeter as new Austin replaces old Austin in painful waves. The cash cow known as music is being priced out of existence in favor of a trendier, younger demographic that makes us look like we haven't aged a day. The overall sound of "Gold Rush" brims with vitality of a kind sorely needed in these depressing times. Each man brings to the table his own brand of piss and vinegar which helps the track's appeal grow by leaps and bounds. We need all the help we can get on the energy front and vocalist Ben Gibbard provides it in an authoritative manner befitting a man railing against a changing landscape that is unavoidably so. Jason McGerr bangs away on drums like a man possessed. He truly is the heartbeat for a tune not lacking in spark. I love the anthem style of the chorus as it is repeated over and over like a battalion armed for bear, ready for a mighty showdown with a formidable enemy. Guitarist Dave Depper brings zest to the song by way of well placed melodic harmonies that add oomph to the song in all the right places. The video is highly interesting to look at, grimy facade and all. Meshed together as a whole "Gold Rush" relies on many facets to drive its point home. Again it all comes down to energy which "Gold Rush" has in spades. Nick Harmer's bass should not be denied either. It's surely a welcome meat and potatoes add on to the cut that will hold up in repeated listening. In short "Gold Rush" should strike it rich with alternative audiences.

Godsmack Shows Off How Bulletproof They Are

Have I told you how much I love chord changes? Godsmack has plenty in its new single "Bulletproof". That's due in no small measure to the guitar work of Tony Rombola who strums fast and loose like its nobody's business. Vocalist Sully Erna lets it rip with sound and fury, lyric sheet dripping with venom like nobody's business. Observe the following poetry: "Contemplating, isolating and it's stressing me out. Different versions, contradictions. Why won't you let me out? I need a way to separate yeah but I promise I'll make sure you never forget me. Now that you want it. Now that you want it. Now that you need it. I'm too far gone. You're trying to blame me but I'm not breaking. I'm telling you I'm bulletproof. Believe me I'm bulletproof. You make me so bulletproof. And now I'm too far gone. Stunning expression of emotional depth that touches every bone in one's soul. It's cause for inner perusal, a cleansing of one's inner demons so they don't take over the chief parts of your rational mind. Shannon Larkin bangs away on drums with no small whit of enthusiasm. It lends itself well to the overall firepower of the tune. Chord after chord juggles past each one more hypnotic than the last. Taken as a whole "Bulletproof" has no small dollop of energy and it shows. No wasted movement here and it shows. It comes in at a rough and ready 2:57, just enough to get the point across without overstaying its welcome. It's one hell of an adrenaline rush you'll come to enjoy. It's worth your time and trouble.

Florence and the Machine Serve Up a Delicious High Drama Stew

Crescendo is the best word to describe Florence and the Machine's "Hunger". From her voice to the band's goosebump inducing playing, crescendos are the order of the day. Florence herself emits some emotionally raw lyrics on the subject of love that should give us all cause to reflect on our own relationships. Take for instance the following poetry: "At seventeen, I started to starve myself. I thought love was a kind of emptiness and at least I understood then the hunger I felt and I didn't have to call it loneliness." The chorus is vintage knock it out of the park Florence, teeth armed for bear, summing up a key tenet of the human condition..."We all have a hunger. That hunger being for love, unconditional and pure. Florence goes on to punch out some additional go for the jugular lyrics that put the dirty back in down and dirty. "Tell me what you need, oh you look so free. The way you use your body, baby, come on baby work it for me. Don't let it get you down, you're the best thing I've ever seen. We never knew the answer but we knew one thing. We all have a hunger." Isabella Summers gives it her all on keyboards as if this were the last time we'd ever hear her instrument ever again. Loren Humphrey gives it her all on the drums. Definite spookiness to be found within her skin. As a unit this band puts together emotions that would put Shakespeare to shame. Florence has her pipes in fine fettle. She doesn't waste a single note and it shows. The video bursts with color and vitality and showcases the best part of her, writhing tendencies and all. She gets in your face and lets you know she means business with a capital "B". A good Florence effort always comes rife with high class drama, the kind that comes with smashed plates and slammed doors in most relationships that feel the sting of heat of the moment arguments. She always comes to the table with histrionics at the ready. Any modern couple in relationship troubles should relate to what message Florence is putting out. In summation "Hunger" is good to the last bite. Be sure to pack lots of napkins though. This one's messy.

The Big Gun Show Not Engaging Us In A Screw Job

The Big Gun Show's live rendition of Screw Job really does hit all the right notes for Saxon Pub enthusiasts. Gunter's singing has never been more smoky and accessible. The guitar work at the bridge is nothing short of top notch, the kind of thing Saxon Pub pub crawlers crave. As usual the harmonies gel nicely, not a note out of place or wasted efforts put forth. The drumming is a combination of laid back and authoritative. He bats the sticks like he owns the place. Just look at the smirk on his face while he's at work. He knows his stuff and doesn't mind telling you how much of a legend in his own mind he thinks he is. This band is the epitome of easy going but never complacent. They always give the people what they want in spades and it really pays off for them in spades. Whoever was at the Saxon Pub that night definitely got its money's worth. Liquor appears to be a common theme in its work, with bourbon and gin taking center stage here. Saxon Pub attendants should feel right at home with that concept. Nursing that gin and tonic while bemoaning a lost love sounds like familiar territory for anybody frequenting the facility. Maybe bring a few friends for a joint misery loves company session. Pretzels in the snack bowl. Good old cold beer on tap in the fridge for anyone whose tastes run to Budweiser rather than a smashing zinfindel or harder than hard liquor. Having corresponded with the man himself I can tell you Gunter would give you the shirt off his back if you asked him for it. His band has the mojo needed to rope in repeat customers time and again. I am proud to have reviewed this band's many tracks each one a sonic revelation of epic proportion. If you haven't checked them out by now, what are you waiting for? You're missing out on a good thing in full flower.

Knocked Loose A Bit Too Lifeless For My Taste

Oldham, Kentucky's own Knocked Loose knows its way around Cookie Monster vocals. Just ask vocalist Bryan Garris. He's got the whole thing down pat throughout the band's "Deadringer" a showcase for Kevin "Pacsun" Kane's skin work. Lamentably it's the only really strong aspect of the song. The vocals are too gruff too be palatable. The pacing is uneven at times which detracts from the listener's ability to have a chance to truly appreciate the artistry at work here. Macabre lyrics like "I have dreams of dancing with the dead but my feet won't keep the tempo. A circus of ants. My feet won't follow suit. My tombstone was made at birth. My coffin is on my back. Wrapped in chains I carry burden. Dressed in chains I carry burden. Dressed in tarnished rags I carry burden." Very heavy stuff to absorb. The musicianship does gel well but its a shame the content is so garbled that you don't get a clear enough picture of what could have been a rewarding experience. I feel sorry that I couldn't serve up a nicer review given the potential for greatness is there. It really has a tight sound when it sets its mind to do so. Kevin Otten lays down some cool bass riffs that, again, are wasted on material that is not up to snuff. Isaac Hale lead guitar and vocals add some zip to the proceedings. He's got what it takes to thrive on the stage at this level but again the material isn't up to the level on display. Cookie Monster vocals are so new millennium. A modern upgrade would be nice but I don't see one coming for this group. Not if "Deadringer" is any indication.

The Big Gun Show Shows How Battle Tested It Is Throughout "More The War"

The Big Gun Show channels imagery of long dusty roads where the tire tracks tell the story. Stranded on a back road with a brother taking both the roads taken and not. What I like about this effort is the cohesive combination of instruments on display. For starters you've got this gorgeous harmonica that sounds like it could have been plucked straight off of the Grand Ole Opry stage. Its mellow pacing sets the stage for the contemplation that follows. The drumming is slow and methodical, the perfect tempo for a song about a woman who can be so hard to deal with. The bass guitar certainly merits swoon worthy praise. Dripping in its own beefy juices, it brings a lot to The Big Gun Show party. Blends nicely with the superb drumming on full display. It too motors along at just the right pace for grand reflection. You could easily spend any number of weeknights down at the local watering hole drowning your sorrows to this effort. Then there's Gunter, our master of ceremonies, spinning the yarn to top all yarns. His voice bears the scars of somebody who's been battle tested on more than one occasion and lived to tell the tale. He doesn't appear to be keeping any pent up aggression pent up inside though. Definitely a roll with the flow type of individual to tell you the truth. Butter wouldn't melt in his mouth. The acoustic guitar strums with laid back aplomb. You are eased into "More Than War" gracefully rather than being shoved into the deep end of the pool and made to swim for it. Ten seconds into the song a resounding thump takes over the proceedings, full of fire and brimstone, ready to take on all comers. There's a cautionary tale about how a man don't take to drink unless a mean woman drove him to it. Harsh words but with a ring of reality. This makes the tempo all the more appropriate. Again the reference to nursing a glass of the bartender's finest and engaging in a little pity party. As the song motors along you get into a settled groove where you know what comfort zone is all about. The Big Gun Show never tries to shake you off its trail. The boys want you in on their action. They want you to bask in their orbit, kick the tires, see what you can glean from that new car smell. Gunter is a great narrator, fully equal to the task of doling out the gospel of heartbreak. Gunter earns respect on so many levels. His scars tell the story. "More Than War" represents one large bombshell of musical goodness. You should check it out.

Behind The Barn Some Sexual Heat Can Be Found Courtesy Of The Big Gun Show

Feeling frisky? Then queue up some "Behind The Barn" from The Big Gun Show. What's on display is a potpourri of harmonies ranging from smashing drums to guitar licks to even a smattering of piano. It's all done in the service of a song where the heat is palpable. Gunter spins the yarn of going back behind the barn for some escapades of a promiscuous nature. I can't praise The Big Gun Show enough for throwing down a track where you just add wine and afterglow for a winning formula that lingers long after the evening ends. The mixture of bawdiness and barnstorming floats across the port bow with tremendous results. Drum wise the mood spirals to epic proportions. Each beat resounds with stunning clarity that makes the listener wonder if there is a chance the party could go on until 3 AM at the very least. The smoke rising from the guitar fret would tantalize even the most hardened of listener. Whether your choice of companion is blonde or brunette "Behind The Barn" is a wonderful come hither sort of ditty that just asks for jeans to be rumpled in a big wad on the floor. The song wouldn't be out of place on a jukebox in some halcyon days honky tonk, air filled with the lingering waft of decades old cigarette smoke. All the same The Broken Spoke would be a suitable home for this track alongside a platter of the famous chicken fried steak and a cold beer. The chord progressions make the song crackle and pop like nobody's business. When the piano kicks in later on you get the feeling these boys know how to blend class with their Coors Light. The bridge is nothing short of electrifying. You know you have a track for the ages when the bridge feels just right. In fact it's just as important an element to song as the notorious hook line that stays embedded in your brain for eons and won't let go. Call it the palate cleanser that comes before the main course. "Behind The Barn", upon repeated listening, loosens inhibitions, gets tongues rolling out of heads,and makes celebrating sexuality oh so inviting. Gunter has crafted a persona that smacks of worldly experience in the art of the fairer sex. He should be very proud of that. I know I am.

The Big Gun Show Ain't Nobody's Bitch

Powerhouse rock comes to the table in spades in "Bitch" off of the native Austinites "Shaken Not Stirred" effort. The drumming rips like a house on fire. The guitar playing is about as raw as your favorite T-Bone steak. I mean this is classic meat off the bone stuff that demands a doggie bag or three. The bridge guitar work would appeal to even the most jaded critic. Takes you back to your high school pin-up days when you had Farrah Fawcett posters on the wall. The "Bitch" in question has been put on notice that she's not to cause any friction to the protagonist in question or face divine retribution otherwise. What I like most about the drumming in addition to what I've said earlier is the ferocity with which it gets knocked out of the park. This is high adrenaline stuff of the highest caliber. Gunter's voice is ass kicking. No problem taking names here. Gunter and his band are master craftsman of the highest order. Each member of the group knows his place in the pecking order and executes beautifully. It's as if the boys knew each other for eons. I like the barroom appeal of it. Out of the gate that guitar drum mixture is potent like a chemical too toxic for the open market. The big smile blood red lips imagery will be in your head for days. Need cheering up. The I am woman hear me roar motif is infectious. Can't you just sense the shit eating grin on Gunter's face? The perfect round behind needs no explanation I wouldn't suppose. Gets Gunter hot and bothered to say the absolute least. The guitar backdrop serves as ideal testosterone fuel. The classic girl falls for other guy storyline gets its due of course. It is practically a staple of the rock genre. In bed legs above head leaves little to the imagination. Then again I'm guessing that was the point. "Trouble in stereo" strikes an amusing chord. Never heard that expression before. I probably think it will be the last. Don't see it getting much traction. Shame on the titular bitch for causing troubles. "Running downtown all stripped down," is classic boy toy material. The bitch in question will "never be like Mama was." Am supposing that's a good thing. Instrumentally, like I said, it's the total package. The boys are in fine fettle. Add "Bitch" to your i-Pod shuffle. You won't be disappointed.

When I'm Gone Should Never Be Forgotten

The Big Gun Show really hits new heights of sonic ecstasy on When I'm Gone" which is a delightful romp about a man's claim to his lady that she'll miss him when he's gone. The drumming on display here is phenomenal. Each lick is stupendous and gives the track some pep that cannot, nay, will not be denied. The crunch is this side of phenomenal. Hear it on a primal level and get very inspired indeed. It will take you to the heights of aural decadence. I love how the drum beats resort to trickery to build on momentum accrued over the course of the track. Gives it true macho snarl that the women will totally lap up seeing as how there never does seem to be enough good men to go around. Guitar wise there is no let up in the intensity level at all from start to finish. It's as if somebody pushed the throttle to fourth gear and refused to let go. The playing doesn't let up at all in intensity, a tribute to the guitarist's mojo. Really nails it on multiple levels. Insert your favorite brew pub here and let the drinks start pouring in earnest. As a unit The Big Gun Show has a patent locked up on its brand of roadhouse rock. The pacing of "When I'm Gone" is electrifying. No shrinking violets these lads. They get right to the meat of the matter and do so with bravado. There's no lack of adrenaline at work here. It cuts its way through each nook and cranny of the track, taking the listener on a tour de force of wonderful playing that leaves no stone unturned. How marvelous the group is when they gel together as a combined unit. Each player acquits himself beautifully, lending his talents to the dance. The momentum, once it gets rolling is unstoppable. These boys come to the dance prepared to rock out and never let up for any reason. They love what they do and it shows. What conquering heroes they are. It's a beautiful thing to watch. When these guys are on fire there's no stopping them. Beautiful thing to hear and behold. There's a party going on and you're all invited. "When I'm Gone" hits home on chord progression as well. Each note is a supercharged bundle of cosmic energy just waiting to pounce on its unsuspecting prey. The good vibes go on for ages which serves the song excellently. What's your favorite beer? That'll go great with this outing. The Big Gun Show dazzles at every turn and the results are amazing. Check them out why don't you?

The Big Gun Show Shines On Multiple Levels

Shine indeed. Local talent The Big Gun Show soars into the stratosphere of cool throughout "Let It Shine", a masterful track from their "Shaken and Stirred" effort. Vocalist Gunter Woodson knows whereof he speaks in talking about change and how difficult it can be to adapt, especially if you're a man who lives for the bright lights of the stage and the countdown to performance that goes with it. Gunter has the look of a man who knows the rush by heart the way an all-star QB can't easily escape the allure of game day accolades and high pressure situations that require you to be at peak performance or be forever stuck in goat status. A warm acoustic guitar serenades us and gently gets us ready for the one-two punch of drummer and guitar. The band has a three pronged attack working for them in the guise of Gunter plus Barry Casebeer and Ray Kainz. Their presence is deeply felt throughout the track which would sound perfect on a bright sunny day at Lake Travis or snuggled alongside a picnic lunch at Zilker Park with one's sweet amour. Drummer Yates Hagan shows off his versatility with light taps and full on battering ram explosiveness. He has impeccable timing in this song and knows when to be gritty as opposed to velvet cream smooth. The chorus is hooky and oh so memorable that you'll have it earwig plugged into your head for days if not weeks. Chalk it up to the guitar. You'd swear there was an all-access party going on and you and I were invited. The tempo is just animated enough to get sparks flying but not so fast that you couldn't relax in a hammock to it. Let the other schmoes putter around with the lawn mower duty. The Big Gun Show is serving up cold malt beers and BBQ on the grill. Gunter tries his best to convince his ladylove his catty boy about town ways aren't done at her expense. Rather that's the way he came out of the wrapping and changing that habit is nothing short of Herculean in its undertaking. I appreciate the light airy nature of the gentle drumming. It's a real tension buster on so many levels. Whereas in battering ram mode it's as if somebody whipped the covers off your bed and said "Get up boy!! There's work to be done and it isn't gonna do itself now move it along!!" Gunter glows in his storytelling as is evident at the chorus, a testimonial preaching if ever there was one. Is it any wonder that "Let It Shine" ends on an organ note that sounds as if it was lifted straight from a revival tent deep in the heart of black Sunday school terrain. "Let It Shine" does exactly that. Please check the boys out on the 27th of this month at Saxon Pub on South Lamar. You'll be glad you did.

Panic at the Disco Gets An Amen

Las Vegas stalwarts Panic! Ar The Disco share the usual mirth they're known for in "Say Amen (Saturday Night)". Vocally Ryan Ross is in perfect form. He sounds so much like the seasoned veteran of 14 years that he is. Not only that he looks to be having the time of his life in a video filled with stealthy burglars on the prowl. The martial arts scenes are full of the spunky comedy that Panic! has used as its trademark since its gravy days. You never get the sense that Ryan is in nothing but total mastery of his realm even when the physical rough stuff gets hot and heavy. It's an excellent backdrop to a tune that's as tight as a stripper's G-string. Jon Walker's keyboards, if you'll pardon the humor, are absolutely electrifying, the ideal campy complement entree to (Amen) with its multi-faceted harmonies. Bass player Brent Wilson isn't light in the loafers either. The opening foreboding passage plays out in good fun letting you know this is one stolen artifact caper you wouldn't want to miss. Percussionist Brent Smith shows agility early on once the spooky opening passage subsides. Panic! then lets loose with its four on the floor instrumental assault. Dallon Weekes lays down the smoothest keyboard riffs imaginable and this song's all the better for it. You're strongly urged to join in the fun as the boys lead you up and down one melodic passage after another, a roller coaster ride you find yourself smiling wider and wider as time wears on. Burglars slip and slide all over the place. The sound is tailor made for big arena crowds, lighters or phones in hand. The high note Ryan uncorks toward the end is truly a thing of beauty. Where he came up with the verve to hit that sort of high note puzzles me and always will I suppose. Whatever the explanation I love the outcome. Makes (Amen) a better song than one might expect it to be. The rhythms make it stupendous. How lofty are the heights they reach. Pacing is everything you could ever hope for. You admire the piss and vinegar they bring to the table. Such brashness serves them well. Ryan mulls over if he had one more day to change his life there would be no one left to save. Pretty resigned stuff if you ask me. He swears he's never going to repent and why should he. He's not to be messed with on or off stage. He does take some comfort in knowing he gave everything he had to give. He prays for the wicked on the weekend, specifically on Saturday night. I really take to the vibe of "Say Amen (Saturday Night). It's what diehards and newbies alike should lap up with great gusto.

The Killers Run For Their Lives and We Benefit

Las Vegas hometown heroes The Killers return with "Run For Cover" a glorious literary piece peppered with all sorts of cultural references meant to engage the heart and mind. The song opens with a gorgeous guitar/drum combo followed by Brandon Flowers hot vocals. Keyboard courtesy of Brandon Flowers provides sparkle for days. Dave Keuning adds spicy guitar licks which give the track substance and body. The reference to Sonny Liston makes for a nice nod to the heroes if sports past. Anybody around for Ali-Liston back in the day knows what I'm talking about. Halcyon memories galore. The drum beating from Ronnie Vanucci beats loud and clear with authority. Such verve cannot be denied. It stands out in a huge rock field. Much political content gussies up the first paragraph. The usual cheating heart frame of reference found in much political meet and greet. The conference with man and wife, where no one died though infidelities dotted the landscape. Verse three, otherwise known as the chorus has the hook needed to keep a song in the public conscience for a good long time. Just listen to the chorus "Run while you can, baby, don't look back. You gotta run for cover. Don't be afraid of the fear, that's a played out trap, man. You know you're not the only one, and don't look back, just run for cover. It is what we must all do at some time or another. Leave the past where it belongs, embrace what's in front of you. Don't succumb to the pain. Just get on with the business of living. Don't wait for a kiss or apology to get moving. And remember it's hard to pack the car when all you do is shame us it's even harder when the dirtbag's famous. Real rock poetry writ large. Can't you smell the exhaust fumes? I know I can. "Run For Cover" ranks up there as some of the hottest work they've done. True troubadour stuff with The Killers trademark harmonies which are tight as a rolled up wad of dollar bills. Brandon Flowers knows how to create a real lid lifter which he's done in spades. The bravado never fails to illuminate, excite, and enrich. Brandon knows his way around the rock terrain and for the past decade he's honed his craft very well and it shows. His pipes are in fine fettle. The Killers are in fine form throughout "Run For Cover". As a unit they give it their all and it shows. Three cheers for what they've accomplished. They've done their hometown proud.

Foster The People Deliver The Mood In Spades

Foster The People, the band behind "Pumped Up Kicks" is back with a new album "Sacred Hearts Club" and a new single "Sit Next To Me" which hearkens back to the blue-eyed soul Hall & Oates were known for in the '80s, the kind of sound that just screams "Afterglow". "Sit Next To Me" has the aura of something Peter Pan's pal Tinker Bell would've sprinkled across the scene, airy and whimsical. Vocalist Mark Foster possesses the swagger of a battle tested Romeo who knows what he wants and how he wants to get it. He fades out the talkers cause all he wants is a certain female after last call commences. The vultures are circling but that doesn't deter him. He wants to see where things go naturally (wink, wink). The keyboard fills here are nothing short of stupendous. I really can visualize the martini, shaken not stirred. The lead-in to a bedroom romp sounds like a natural progression to me. Drummer Isom Innis puts some bounce into the proceedings with mellow percussion that crooks a finger and adds a come hither attitude to the whole affair. Mark Pontius throws in some special seasoning on percussion himself. Meanwhile guitarist Sean Cimino scatters flash into the mix and does so with generous aplomb. On the whole "Sit Next To Me" is easily digestible, and in a different way from "Pumped Up Kicks". It's perfect as a way to break the ice when the night is just getting started and even better when cocktail hour has long passed. It's a testament to Foster The People's talent they can make accessible pop songs using two different sets of chord progressions. It really makes them versatile on that score. Bland is in no way beautiful. Foster The People deserves the nod for making sure the cookie cutter tunes of the day aren't uniformly claiming the lion's share of the attention. Radio's in free fall so Foster The People's timing couldn't be any better. From a lyrical standpoint the best of the lot happens to be "I'm pouring out the truth" Truth is something we all have to find for ourselves in this life. Not that you'd expect to get that from Foster The People but the thought's appealing. They've got quite a good track record going for the prospect of career longevity at the rate the boys are going. May we be lucky enough to stick around long enough to see the complete catalog in all its glory.

Imagine Dragons Definitely Have What It Takes

Las Vegas pride and joy Imagine Dragons put together a fine mesh of sound for "Whatever It Takes". Ben McKee's keyboard is swoon worthy and represents the heart and soul of what makes this song a winner. The video's underwater sequence leaves me nothing short of amazed. It's as if you'd drifted away to another dimension entirely yet primed to get stuff done. Lyrically lead vocalist Dan Reynolds weaves an incredible narrative that has definite hip-hop sensibilities. Just try to keep up if you can. You'll find yourself dizzy over lines like "Everybody circling, it's vulturous. Negative, nepotist. Or even "Whip, whip, run me like a racehorse, pull me like a ripcord, two different viewpoints of the same person, one is fast, the other mired in urgency, both equally entrancing. Ben knows his wordplay and is unafraid to unfurl it from every conceivable angle. He's juiced up and ready to make his mark in the world. Daniel Platzman makes his drums count each time he bashes the skins. It's controlled burning but a burn all the same. Over on lead guitar Wayne Sermon lays down an irresistible groove that mere mortals cringe at the sound of. Overall solid work from a guy who has paid his dues to be sure. Meanwhile bass player Ben McKee gives 110 percent and it shows. Real meat on those bones. As a unit Imagine Dragons has been on fire since the days of "Radioactive" and show no sign of slowing down for any reason. That's great because the boys just click. The boys know what works on an arena rock level and then let the masses in on the party they're throwing. "Whatever It Takes" shows the huge potential they have for a sustained career. They know what the audience wants and then gives it to them with gusto. Of course "Radioactive" put them on the map with its barnstorming approach and end of times urgency. "Whatever It Takes" meanwhile has a stripped down approach that lets the solid musicianship shine through. Each member plays out his role to perfection and the results are stunning. Imagine Dragons, like the city it hails from knows how to get attention and serves as a welcome distraction from tragic events like the concert massacre that cut so many productive lives short. In many aspects of life we need that distraction now more than ever.

At This Moment Portugal The Man Keeps Its Winning Streak Going

an ode to the now? Portugal The Man has you covered via its new jam "Live In The Moment", good advice regardless of who you are. There's a definite cathedral vibe at work here underscoring the make hay while the sun shines.  Right off the bat you feel you are in a place of healing and atonement for directions taken in times of elusive clarity.  John Baldwin Gourney leads us through the thicket of uncertainty, head held high, our gatekeeper spiritually.  The message rings loud and clear and John's voice haunting in delivery gets even more spooky thanks to the generous minor chords from keyboardist, Kyle O'Quin.   If he doesn't set your teeth on edge with his playing, then it can't be done.  Each step you take gets made with extreme caution because who knows what lurks arund the next bend.  Dual drum threat, Jason Sechrist, and Kane Ritchotte blast out a militant beat in which you know there is no turning back.  Whatever is around the next bend, hold on because it is headed right at you.  The chant-along chorus gives you plenty of backup adrenaline to fuel your journey.  It is as if said chorus fooled you into complacency, made you think all is right with your world....but no, that's not how this story goes.  Want depressing?  The video shot of John, forlornly riding along in a car, face stripped of emotion, could be enough to send you to the liquor cabinet thinking of how many shots of hooch you wish to polish off.  The condemned man being led to the gas chamber comes to mind.  Zachary Scott Carothers plants in some nifty base playing to spice things up a notch or two.   It's greatly appreciated because of the depth it adds to the tune.   Eric Howk does himself and those in his inner posse proud by hitting the guitar notes that come through in the clutch.  Also, the video has its playful side.  Hence the squealing of tires propelling a car around and around with reckless abandonment.  The kind of free-spirited glee the song endorses.  The rhythm really clicks for anybody needing a pick-me-up in the 'peace of mind' department.  The effort is there on all fronts.  Makes you want to do something awesome because it can be done.  "My home is a girl with eyes like wishing wells" sounds like the ultimate slice of rock poetry.  Even distracts you from whatever mundane tasks you might be engaged in.  It's all in how you turn the phrase, how you glean maximum effectiveness from it.  The workplace milieu of selling souls gets its due as well, and who hasn't been there before.  In short, "Live In The Moment" lives to arouse the dying embers within us yearning for resurrection.

Falling In Reverse Does A Super Job

The great escape from Nowheresville USA is the featured theme for Falling In Reverse's new single "Superhero". In the video three boys are on a mission to leave suburbia behind. The desperation in lead vocalist Ronnie Radke's voice begs for sweet relief and release. He doesn't exactly strike me as the most optimistic dude who ever lived as lyrics like "And you're always running with nowhere to go" prove. This track opens with a haunting keyboard refrain and group chorus that lets us know heavy waters loom up ahead. The drumming from Chris Kamrada goes straight for the heart and succeeds at nailing its intended target You can smell the blood in the water just like those sharks you've heard about so often. There's no speed limit applied here which makes Ronnie's voiced angst that much more poignant and fearsome. The D chord sends icicles through our collective veins. Zakk Sandler's bass demands that you show it the proper respect because asses will be kicked if you don't. The mud on those tires get you right in the trousers. Gritty fret work throughout which only ratchets up the urgency meter. At the bridge Christian Thompson's guitar scorches a hole in your gut and then leaves you to rot. It's one of the key components that allows "Superhero" far more lasting power in the ears than it has a right to demand from its listeners. Full steam ahead, no apologies provided. Derek Jones isn't too shabby in the rhythm guitar department. Barreling through like a bull in a china shop he defines intensity. The chorus falls nothing shy of snazzy. Radical acceptance of reality abounds in Ronnie's admission that "I don't wanna be a superhero cause I can't save the world. So I'm never gonna get the girl. I just wanna do better. Superhero. "Cause I can't save myself much less somebody else so I gotta do better." You want to reach out and give him a hug but he's so far down in the dumps you wonder what good that would actually do. For now we'll have to settle for Ronnie's unvarnished anguish as the window to this tortured artist's soul. "Superhero" represents the latest song romanticizing throwing in the towel and letting Fate have its way with you. As long as there are no way out situations hounding people in this world of ours there will always be a place for songs like "Superhero." Adversity breeds tunes about adversity and the human toll exacted by such hardship. I respect the urgency Falling In Reverse brings to the table. It makes for a listening experience that chills the bones and stops the heart. There's a good reason why Fslling In Reverse has lasted nine years. The material on display exemplifies what next generation rock's possibilities could and should be about.