It is rare to find an album that captures the true essence of the self-realization experienced through heartache, loss, determination, forgiveness, redemption, and the strength of the human spirit.

To simply say that this is another great album would be an injustice and an understatement to the integrity put forth by frontman Kaz.  Kaz and company have provided more than songs that are noteworthy or memorable for radio, but songs that tell unique stories that any individual can relate to through the spark of human emotion and experience.

I will attempt to provide the best review I can for this band, but I believe whatever words I construct will fall short of my efforts because no amount of words can truly express what is felt when listening to Redlight King’s music. I present to you the dark horse that is….Redlight King.

The opening track, “Something For The Pain”, is the perfect introduction to let listeners know what is in store for them on this album. Instantly, any listener can relate to the opening lyrics of the song: Some days you get the feeling/Of hitting the concrete/Get the strain out of your life/What about your life/You’re getting nervous cause the purpose/Is hidden you can’t see.  What catches the listener is the unique rhythmic lyrics during the verses, bridge, and choruses in combination with the different musical tones of the song. Redlight King seems to pull musical inspiration from several genres such as pop, rock, alternative, and ambient in which it truly gives the listener something for the pain.

Another track that will deluge the listener with musical vehemence is the song, “Underground”.  This song blisters with energy and power that will make any listener raise their fist toward the sky. The combination of ambient/heavy guitar tones, fist pumping choruses, and larger than life sound makes this a powerhouse of a song. Most importantly, this song characterizes the strength of the human spirit displayed through Kaz’s scintillating lyrics: If you’ve been knocked out behind closed doors/Then come through the desert and name your horse/Rebuild the course and rewrite all the rules/Cause we weren’t born to lose.

The song, “Comeback”, is one of the standout tracks on this album as a whole. It is very hard to acknowledge this as being a standout track amongst an album of eclectic songs, but “Comeback” is a song that inspires the drive of human emotion and determination. The verse: I know how it feels when I haven’t got a friend/Even when they’re standing beside me/I know how it feels when the world is gonna end/But they’ll see  is a testament of Kaz’s ability to craft a song that inspires any listener to believe that there is hope and redemption. This song alone is the pinnacle of what Redlight King represents and tries to convey throughout the entire album, the will and determination of the human spirit.

In retrospective, “Something For The Pain”, is more than just a collection of radio friendly hits. Words cannot easily describe or render a perfect explanation for this album, but can only be explained through the power of listening to it with an open mind and heart.  Redlight King has presented more of masterpiece of construed words and lyrics that captures the true essence of the self-realization experienced through heartache, loss, determination, forgiveness, redemption, and the strength of the human spirit.  It’s not the fact that this album has a collection of well crafted songs, appeals to listeners from multiple backgrounds, or has musical diversity, but that it is the honesty that each song displays through rich storytelling presented by Kaz and company. It will be interesting to see how Redlight King will progress as a band, but if “Something For The Pain”, is any indication for what is to come, then the dark horse that is Redlight King is something that is built to last.

Win A Copy Of This Album

Jeromy Moorehead- Vocals (Current)

Mike Gable- Guitars

Mitch Gable- Drums

Trevor Keeling- Bass

Myles Byrum- Guitar (Current)

Former:

David Mackey- Vocals (Bloodline)

Bloodline, the debut full-length album by the band Echoes the Fall, is a record that blends an original powerful sound with familiar styles trail-blazed by other popular bands of the last decade such as Trapt and Staind. The alternative rockers from Phoenix, Arizona manage to establish themselves amongst other modern rock juggernauts with an album that doesn’t hesitate to make use of thumping, heavy instrumentals, satisfying choruses and opening verses, edgy and pulse-pounding riffs and others surprising amenities that will surely bring in a plethora of new rock and metal fans.

The album is kicked off with the opening track, “Break Away.” I was instantly hooked on this song as soon as I was fed the opening riff. It’s one of those riffs that has an aggressive, almost industrial-sounding tandem to it, similar to opening riffs that I’d heard from bands like Staind and Drowning Pool. This riff is used again in some of the verses building up to the choruses. This was another satisfying aspect of the song; the way the song gradually builds up tandem and power to the dramatic choruses. After listening to this song, I can easily picture it adorning action movie soundtracks due to its pulsing yet rhythmic riffs and a chorus that has a slightly slower pace yet more emphasis on powerful instrumentals. As the album’s first single and one of the heaviest, aggressive and instrumentally satisfying songs on the album, this can easily be the prime draw-in for new fans delving into the band’s sound.

“Here to Stay” is a slightly slower-paced song that nonetheless makes use of the band’s masterful use of a grinding metallic sound through its guitar and bass (Mike Gable -Guitar; Trevor Keeling-Bass). Throughout the song I’ve also drawn comparisons between the singing styles of vocalist David Mackey and Trapt’s Chris Brown; although as I’ve listened to Bloodline more and more, I find Mackey’s vocals to actually be edgier and heavier (in a good way). His vocals really flow well with the band’s pulsing sound; particularly in this song’s choruses where his vocals come off as strong yet emotional, helping to amplify the song’s message about love.

“A Life Less Loved” has a fluid drum opening by drummer Mitch Gable, which quickly mashing together wonderfully with another awesome riff. Despite the collective use of instrumentals, I did find the song to be somewhat run-of-the-mill lyrically, at least in comparison to the two tracks that preceded it. Nonetheless, it is a fluid song that exemplifies the five members of the band working instrumentally as a functional unit throughout the verses.

“Bloodline”, the self-titled track for the album, makes the strongest use of bass thus far, in my opinion. In the opening and closing of the song, the bass sound gives sort of an empty void feeling (again, in a good way) that preps the listener for the rest of the song. The lyrics for the choruses could have been a little more original, but I can’t entirely fault it because Mackey’s adaptability and being able to take on a more melodic turn during the chorus makes up for it.

“Things Will Change (This Time Around)” was my another one of my personal favorite tracks on the album. The parallel beat of the bass and drums that open this song is extremely satisfying and provides most of the framework for the subsequent verses. Even without listening to the rest of the song, I immediately found myself listening to this over and over again just for the juicy opening. But, once the guitar and vocals come into play, it gets even better. Lyrically and vocally, I also found this to be amongst Mackey’s most powerful work on the album. I felt in the choruses that I could almost level with the emotion portrayed in Mackey’s edgy yet solid singing. Overall, the song is strong and has a subtle hint of anger as it, lyrically, delves into the idea of redemption. I think this song, along with “Break Away”, have the potential to be real hooks that can draw new listeners into their elemental sound. It is also noteworthy that the final track of this album is an acoustic version of “Things Will Change (This Time Around).” This too is just as satisfying as the regular version but with more melody and a hint of subtle tragedy mixed it.

“Dirty Water” is that primarily-melodic, slower paced song on the album. Its position in terms of track listing was spot on because of the fact that it was the melodic one. It was a pleasant change to be assaulted by the full heavy ensemble that you get in the first five tracks before retracting back to get a slower song in “Dirty Water.”

“Your Move”, I felt to be that inspirational “battle-cry” song that seems to also be heavy enough to be riot-staring material. This idea holds true in the later vocal verse of the song in which Mackey says in almost a speech-like manner, “Don’t ever be afraid to take it to the extreme. Don’t ever be afraid to push the limits.” Since the song is called “Your Move”, it then makes sense that the track really serves as a challenge to push yourself to your fullest potential.

“Black and White” was amongst my favorite songs on the album as well. Lyrically, I really enjoyed the song because it really begs you to question whether or not you are looking at the world subjectively and in shades of grey, or through lenses of black and white. Those lyrics in the choruses, along with the ever-powerful instrumentals, really made this song the introspective dramatic track that I can appreciate.

Finally, “Eye of the Tiger” is a metal-infused cover song of the famous single by the band Survivor. Do you remember that inspirational theme song from Rocky III? Well, there’s that, and then there’s the edgier Echoes the Fall version with stronger riffs and vocals. I actually found this spin-off to be a great addition to the album, and I dare say that I would have gotten even more fired up from watching Rocky Balboa doing his thing if this version of the song had been the driving force behind it instead.

Bloodline overall was a very entertaining album that combined familiarities from well-known rockers while establishing a new tasteful sound for Echoes the Fall. Their powerful instrumentals exemplified in addicting songs like “Break Away” and “Things Will Change (This Time Around)” really get your fired up and craving more. I’ll certainly be listening to their music further down the road and look forward to hearing new powerful, elemental sounds from these Phoenix rockers.

Do you remember when you were younger and saved up enough cash to go out and buy the album you really wanted and once you got home that was all you listened to? Well, it’s just like that with Black Water Rising.

So, who’s this band I’m raving about? First off, the frontman and guitar player Rob Traynor, formerly of Dust to Dust and Boiler Room. Former Stereomud guitarist Joey Fattoruso joins Rob with nasty riffs. On the bass, we have Oddie McLaughlin and keeping the beat behind them is drummer Mike Meselsohn, also formerly of Boiler Room.

Tracklisting:
1 The Mirror
2 Brother Go On
3 Hate Machine
4 Black Bleeds Through
5 Blessed
6 No Halos
7 Living Proof
8 Rise
9 River
10 Sale On Your Soul
11 Burn It Down

I feel these guys are more of a hard rock rather than a metal group. They don’t have that edge and speed I associate with Metal/Heavy Metal, which is not a knock on them as they are extremely tight in their playing.

THE MIRROR is a great lead off track with an almost haunting melody and searing lyrics that this band seems to have in all their work. This is one of the songs that really makes you look into that mirror we all have and question our inner self.

BROTHER GO ON and HATE MACHINE are both politically driven in the lyrics with a great dose of hard-hitting rock and roll to back it up. The combination of their political angst along with the power of the music take both of these songs to another level in my musical mind. To have either one is almost common in today music, but to have BOTH the angst and aggressiveness in their music to really gel like it does in these songs well that’s a whole other thing that Black Water Rising pulls off!

RISE explodes out of the gate with energy and power. So much so, the National Hockey League’s New Jersey Devils decided to use it as their entrance song for the 2011-2012 season. Great news, right? NO!!! In August, the band filed a $10 million dollar lawsuit over the fact that the team had not paid for the rights to use the song. When frontman Rob Traynor heard about the use of it, he thought that was cool, but when he found out the team planned on using it the whole season without any compensation or very little to the band, that was not so cool. As of writing this review, the two sides had not yet come to a resolution on this. Stay tuned for more on this as it happens.

SALE ON YOUR SOUL…everybody’s standing around a six-foot deep hole…the devil pushes forward and there’s a sale on your soul….haunting lyrics from the chorus of this song. Haunting in the fact that we ALL have that little space for compromise in us. In some way, shape, or form we have all sold a bit of our souls. We can’t help it; it’s part of human nature. It’s a part none of us like to admit we have, but we do.

On a whole, this CD rocked me from The Mirror all the way to the final track, Burn It Down. It’s a very solid mix of heavy rock riffs and political angst run rampant. From Rob Traynor’s vocals to the real strength of this group, their playing abilities. They mesh so well for a band that’s only on their first release, something that many of today’s bands are still striving for.

So that does it for Black Water Rising, an awesome first release for this band that in my opinion has a rock solid base and has nowhere to go but straight up in the future. In case you were wondering if this is worth your $9.99. I got a copy for free and still went and bought it at Amazon. That should tell you all you need to know!

Your comments are always welcome and thank you for taking the time to read this review.

Keep on ROCKIN’!

John Solberg

Kyle Gruninger – Vocals

Jim McLaren – Keys

Jon Olson – Bass

Gatlin Fitzgerald – Guitar

Phil Gardner – Drums

I was a bit incredulous going into this review due to having admittedly never heard of the band Incura, let alone listened to their music. However, this hesitation was short lived after one clean sweep of listening to the latest album by these Vancouver, Canada-based rockers. Perhaps the fact that I went into this with no expectations and no prior knowledge of the band is what contributed to my immense surprise when I heard a band with fluid instrumentals, clever and emotional lyrics, blended musicals styles and genres, and an overall revolutionary sound that will likely keep me and many other listeners coming back for more.

The 7-track album, The Lost EP, opens up with the song “The Greatest Con,” which I believe to be a wonderful opening to the album due to its fluidity, fast-paced instrumentals, powerful lyrics and entertaining chorus. From this opening track, you really get the package of everything that is to be loved and appreciated about this band. Vocalist Kyle Gruninger’s smooth yet edgy voice never seems to falter here, even despite the song moving forward at a fast pace from the tandem of drums, keyboard, guitar and bass in the background. This is something that I really appreciate; I feel that in many cases in metal music, a lead singer’s voice can sometimes become incomprehensible and boggled down when coupled with a fast-paced verse before they shift gears and put all their emphasis and power solely on the chorus. Luckily, this doesn’t happen here. Gruninger manages to keep his singing steadily smooth, understandable and rather good throughout.

The song “Between the Walls” continues on in a similar cohesive pattern as heard in the opening track. Here too you also get powerful riffs and all of the instrumentals working in near perfect conjunction with each other as the song progresses into the choruses. I also begin to notice with this track just how multitalented Gruninger can be as a vocalist. Throughout most of Incura’s songs, he is able to lift his voice to impressive proportions during the choruses while being quickly able to shift back to a suddenly softer, more melodic tandem in the subsequent verse. During this song, I’ve noticed similarities akin to Queen’s (one of Incura’s cited influences) Freddie Mercury, as well as some resemblance to Alter Bridge’s vocalist Myles Kennedy, in the sense that they both seem to possess the ability to cover such a wide tenor vocal range.

“Here to Blame” is arguably the heaviest song on the entire album and is undoubtedly my favorite song on the album due to its crushing instrumentals, mixing of different genres, and variety with Gruninger’s vocals. The song is kicked off with an eerie keyboard opening by keyboardist Jim McLaren. This sets the stage for a song that is emotional and triumphant and tragic thanks to the keyboard opening reminiscent to the tandem of funeral music. The song then quickly launches into a pounding guitar riff that is equally satisfying and never gets old as the song continues. As the song progresses, I also noticed how different genres are brought into play; from the beginning with its eerie sound present in the opening and its verses, I related it to gothic metal, while Gruninger’s edgy growling and screams later on in the sound immediately made me think of the metalcore genre. These varied vocals, powerful riffs and intrinsic use of keyboard only broadened my admiration of this band that won’t confine themselves to one particular genre, but will experiment and blend various sounds and styles together. That experimentation and initiative really paid off in this song in particular.

“I’d Give Anything” is another powerful song that once again starts off with a keyboard opening that sets the stage for the rest of the song. I’ve really come to respect and enjoy the sound of McLaren’s addition to the band because the keyboard actually plays a real role that establishes the song’s specific theme. I also love how it actually plays a continuous role in the song, rather than getting lost amid the guitar riffs and drumming as keyboardists sometimes do.

In this song, the pace starts off slow and gradually picks up tandem and speed before dropping back down to the same harmonic yet sorrowful sound of the keyboard from the opening. The lyrics are also powerful and emotional for this song; primarily dwelling on the theme of unrequited love and the scenario of a relationship just not working despite the best efforts to make it work. Here, at the apex of the song, I also seemed to notice that the band possessed a sound that was strikingly similar to what you’d hear in a musical. The band had stated that vocalist Gruninger had a background in theater prior to forming the band, as well as theater music being one of their overall influences. Their theater roots are certainly reflected in the chorus and impressive storytelling technique that the song seems to effectively do as it progresses.

“Over Until It’s Over” is a song with another satisfying opening guitar riff that coincides with equally drum beats. I found that this song had the weakest choruses vocally compared to all the songs that preceded it, however, the overall lyrical content of the song makes up for it in the other verses. The song primarily reflects on regret and reconciling one’s poor choices and superficial cravings and trying to change for better. “So this is the life of bliss and glee. Searching the streets for what satisfies me.” These lyrics and others like it throughout is really what made the song for me.

The last two songs: “Confessive” and “Pride” were songs that I was slightly less enthusiastic about, however they both contributed to the uniqueness of the album all the same. “Confessive,” a song that delved into the nature of sin, I felt possessed the most powerful use of bass, by bassist Jon Olsen. “Pride”, on the other hand, was the slowest, most melodic song on the album. It was perfect for a steady, emotional closing to the album, although I felt that the overall lyrical content wasn’t as creative as the other songs. This isn’t necessarily bad a thing however, because the lyrics of the choruses are a simple yet powerful message. This is (as implied by the song), learning to have faith and love for yourself and to take pride in who you are as a person. Ending the album on such a positive note was certainly a smart move and wrapped up The Lost EP very well.

I found Incura’s overall sound as displayed in The Lost EP to be one this is revolutionary and one that reflects a band that isn’t afraid to break ground, cross genres and expand themselves as musicians. I look forward to further work from these Vancouver-based rockers in the future and urge other fans of punk, rock and metal who are craving a new sound to do the same.

Any trepidation lurking in the recesses of my subconscious quickly dissipated with the first few bars of “Say Goodnight Forever”.  This song is a perfect opener for the CD, and the perfect introduction to new listeners.  The sound is polished and tight, while the attitude behind the song is raw and unfettered.  It’s heavy, and yet there are morsels of musicality embedded throughout.   It’s a showcase of the rest of the CD and the band itself.

The next song continues to expand on what you can expect from Inside It Failed.  If it weren’t for the contemporary recording quality – kudos to producer Dave Ottoson, I presume – I’d sooner believe “Down Universe” was the product of a metal outfit from mid-Texas in the mid-90s than a modern act hailing from Canada’s left coast.   It might well be the heaviest song on the album, and the most fun.

High Points

Aside from the production value, which is pristine and makes this CD worth a listen in and of itself, I’d have to say the coolest thing about this band is Doc Kohler’s voice.  He’ll seem instantly familiar, even if you’re not quite sure who he reminds you of.  Maybe it’s because this dude’s voice has so many flavors.  He can evoke the guttural growls and screams of a Phil Anselmo, fill a note like Chad Kroeger, and occasionally display shades of  Corey Taylor and even the great Brett Hestla.  Seriously, I’m pretty sure the hair on the back of my neck stood up toward the end of the title track.  I could loop the song from the 3-minute mark to the end and listen to it 20 times without it growing old.  Now, as a singer I’ve always cringed at vocal comparisons, but I also understand how useful they can be in helping someone who hasn’t heard the band get a grip on the gist.

Aside from “Say Goodnight Forever” and “Down Universe”, I consider “Leave Me Dry”, “Youth Is Gone” and “Bleeding Sun” to be the stand out tracks.  The chorus grooves in particular are things of beauty.

Also worthy of note is Brett Nussbaum’s bass tone.  Every time I hear it peak out from the mix it makes me smile on the inside.  As a music producer, I’ve always found the challenge of honing in on a bass tone with this sort of character to be elusive.  Brett’s sound is the kind of thing that makes a guitarist think – if only for a split second – that maybe they made a poor choice in opting for the six-string ax.  ’Cause, DAMN.   I was digging it in my car, but once I played the CD through my studio monitors I was sold.

Other Points

There are points on this CD where I feel like I’m missing something; like there’s a layer of awesome being hidden because the guitars are sunk into the background of the mix.  Don’t get me wrong, the drums are monstrous and Doc’s vox should be out front as the thing that lifts Inside It Failed from the pool of rock bands with a similar sound, but I can just barely hear some really cool stuff going on underneath that would make a couple tracks so much more interesting.  But such mix issues are totally subjective, and coming from a guitarist you should probably take it for what it’s worth.

As much as I prop up Kohler’s voice, I’d like to say that I’d personally like to see more substantive lyrical content.  This is one of those albums I’ll listen to purely for the music.  But that’s me.  If you spend your time focused on sex, vengeance, and interpersonal drama you’ll find in “Say Goodnight Forever” a soundtrack for your internal script.

I feel “Bleeding Sun” would have been the best possible closer for the album.  ”Lose Your Head”, the actual final track, leaves me feeling like there’s more coming.  But then I guess there is…because I’m gonna let the CD start over!  And if these boys ever make it through my home town on tour, I won’t pass up an opportunity to see them play.  The energy and attitude of this CD hint at a brutal and uplifting live show.

Being a fan of alternative/hard rock can sometimes be disappointing because I find it difficult to truly find a band that stands above the rest, that doesn’t just use the same formula of hard riffs in every song. So you can imagine my excitement when I began listening to Plan Three’s debut album Screaming Our Sins. Do they pound away at heavy riffs and hard drumming? Yes, of course. But their sound is memorable, their melodies captivating, and their lyrics are honest. Like most artists, Plan Three turns painful memories and experiences into art. Misery makes the best music but Plan Three doesn’t wallow in their sorrows. It’s not an album that will make you want to weep in the bathroom with a bottle of aspirin, but you might feel a little twinge of pain in your heart.

The song “Triggers” has the double honor of being the first song on the album and my favorite song. There’s nothing better than a catchy rock tune that you can find yourself dancing to. “Triggers” is that ‘radio-friendly’ hit that gets stuck in your head, but in a good way. Lead singer Jake Loven’s voice reminds me of Benjamin Burnley of Breaking Benjamin. Both voices have the ability to sound warm and inviting, yet aggressive when needed. Their softer songs draw you in, but their heavier songs remind you they’re not screwing around. “Still Broken” hits a little too close to home for me and I think it will for a lot of people. The music is all rough edges but the center, the lyrics, are so raw and emotional. It’s one of those songs you might tear up over while still rocking out just as hard. It’s almost too painful to listen to sometimes, but I absolutely love it. It comes in a close second for favorite song.

From there, the album continues to meander between songs that evoke sensitive memories and others that are just letting out aggression. “Brush It Off” is the former and is filled with such warmth and pain all at the same time. The string arrangement that sweeps the chorus provides the gentleness, while the lyrics remind you of feelings long forgotten. However, songs like “Freak Show” and “Whatever the Reason” keep the album at that alternative rock pace.

I’ve become so used to the formula-driven album that contains one, maybe two heartfelt ballads that Screaming Our Sins took me by complete surprise. Plan Three isn’t afraid to ‘wear their heart of their sleeves’ (to be overly cliché about it). However, I’m not saying this is in any way, shape, or form is an emo album. This album represents a true palette of emotions. Screaming Our Sins is a musical journey that will stay with you. It’s an album I’ll listen to a year from now and say to myself, “Wow, I forgot how good this is. Why didn’t I listen to this more often?!”

Cry to the Blind is one modern rock band that doesn’t get lost in the sea of mediocrity. Hard rock laced with metal influences and catchy hooks makes this one addictive band to listen to. From Conflict to Clarity immediately got my attention from the first track and held it until the bitter end. They teeter on the edge of the metal scene, which is what I love about this album. The album opens with “Heartless,” a gripping and intense song dedicated to your typical heartbreaker. With fast guitar riffs, pounding double bass drums, and a chorus to remember, this song sets the pace. Singer Jon Lamanna showcases his anger with his scream style singing, reminiscent of Chester Bennington of Linkin Park (on their first album of course).

The album pushes forward and we enter into a world of heavy, yet melodic notes. “Last Goodbye” opens with a painful scream, calming down ever so slightly for those verses. What could make this song even more epic? Why inspirational lyrics of course! Lamanna laments, “This is my world / Here is my pain / This is the last goodbye I’ll say to you because I’ve lost my way.” Us tortured souls have been down this unknown path before, but the song reminds us we’re not alone. Before the guitar solo makes us croon, Lamanna screams in agony, his heart torn. The song is more moving than most ballads. The wounds feel fresh and raw. Tread with caution.

For those looking for something more mellow, you’ll have to settle on “We Don’t Wanna Be Here.” No band can resist whipping out the acoustics for at least one track. Cry to the Blind don’t do acoustic too well and I’m glad it’s the only track on the album. The rock tracks tear at my heart more than the one song that’s supposed to somehow make me weepy. It’s almost comical that the very next song (and last), “Inspite,” is quite possibly the heaviest on the album. A screaming battle ensues right from the start. The song is an explosion of fury. There’s no teetering on that line anymore. The song is pure metal with maybe a sprinkle of hard rock on top. Guttural screams and thrashing guitars, this song is beyond fierce. It makes you thirsty for more. While the album is by no means a disappointment, hearing “Inspite” makes me wish Cry to the Blind tapped even more into their metal roots. One can only hope my prayers are answered on a follow-up album.

From Conflict to Clarity couldn’t be a more perfect title. Cry to the Blind have stated that their mission as band is to take negative experiences and turn them into something positive. The album is a catharsis for those of us who understand that the heavier the music, the more relaxed we feel afterward. I feel rejuvenated and strangely peaceful when the album comes to a close. I’m able to view the world a little more clearly than before.

Kennison finally shines on the song “When Daylight Dies” which was produced by former Evanescence member Ben Moody. I don’t know which I enjoy more, the studio version or the acoustic bonus track. Naturally the acoustic version adds a delicate, yet beautiful interpretation of the song. You can hear more pain in Kennison’s voice on the acoustic and we’re all suckers for depressing songs about heartache. Our hearts love to suffer together. Any song that can evoke strong emotions like that is an automatic winner in my book.

One big highlight on this album is the amazing cover of  Peter Schilling’s “Major Tom,” which pays homage to David Bowie’s “Space Oddity.” Many have attempted covers and Heaven Below nail it for a pure fun rock version. Is it the greatest cover I’ve ever heard? No. Is it completely fun and awesome still? Most definitely! I only hope that Schilling and Bowie are just as proud. The upbeat nature continues with “The Laughing Dead” —a song about enjoying every minute of life, and that’s exactly what I did as I listened to the song. It ends with a maniacal laugh, the only proper way to end a song with such a title. The album ends on a reflective note with “Judgment Day,” a song about introspection and desires to become a better person. It’s a fitting ending and I give them kudos for ending on a “smart” note rather than seeking to end the album with a brutal mosh-worthy song. It gives you a more satisfied feeling, your brain is mentally full of great music.

I don’t understand the reason behind title Countdown to Devil, since the album has so many redeeming qualities, but it is a great piece of rock music nonetheless. Heaven Below know how to pack and punch and hit you where it counts.

Even Heroes is:
Nathan Schroyer – Vocals
Bruce Curtis – Guitar
Tom Doss – Guitar
Billy Law – Bass
Matt Chapko – Drums

Even Heroes has played with the likes of 12 Stones and (as of this post) will be playing with new Jive Records artists Atom Smash. The band has drawn immediate comparisons to Alter Bridge. This is likely in part due to the soaring Myles Kennedy-esque vocals of Nathan Schroyer. One thing is clear when you’re listening to this collection of songs…he’s got pipes.

This album may not have the shiniest of production, but the talent is obviously there. The sound of the record in general reminds me of Alter Bridge’s One Day Remains. Songs such as “Cherish the Rain” and “The In Between” have an epic quality to it without being simply long and drawn out and the latter is a perfect singalong tune.

However, my favorite track is the track that introduced me to this band some time ago called “The Highway”. It is the anti-hero of the record. It proceeds to beat you over the head and steal your lunch money. It is a head-banger and a half from the riff, to the heavier beat, to Schroyer’s vocals once again.

Even Heroes had better be continued after this superb effort. I want to see them continue their quest to the hard rock throne. They may very well just get there.

There for Tomorrow is:
Maika Maile: Vocals, Guitar, Programming
Christian Climer: Guitar, Backup Vocals
Jay Enriquez: Bass, Backup Vocals
Christopher Kamrada: Drums, Samples

After a successful EP, Orlando, Florida rockers There for Tomorrow released their Hopeless Records debut full-length, A Little Faster, back in 2009.

There for Tomorrow’s album is mostly produced by David Bendeth, who’s credits include Paramore’s Riot!, Madina Lake’s Attics to Eden, and Breaking Benjamin’s last three records (We Are Not Alone, Phobia, and Dear Agony).

The thing that I like the most about this record and this band is that while There for Tomorrow is a pop-punk band, their music is heavy enough to appeal to hard rock fans without completely alienating their core fanbase.

The heaviness combined with the pop-punk catchiness creates anthems such as an unbeatable one-two punch of “The Remedy” and “A Little Faster”.

The lead single and title track is my favorite song on the album. However, unlike a lot of albums where you hear the lead single and the rest of the album doesn’t seem to live up to it, A Little Faster is one of those albums that is a straight listen front to back, much like the aforementioned Bendeth-produced records.

All this being said, the hard rock fan in me likes the faster-paced songs on the record such as “Sore Winner” and “The World Calling”. But there’s something for everyone on this album and it’s sure to put the world on its ear.

You can find more about the band on these websites:
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