All That Remains, a metalcore band from Massachusetts, announced the title of their upcoming album, The Order of Things, which is due out in February. The Dec. 12 announcement was made via their website.
Vocalist Phil Labonte “quietly” released the first single of the album, “No Knock” by offering a lifetime pass to all shows to whoever could find its audio on the internet. After leaving a virtual trail of clues, the winner posted the link to the new song, “No Knock” on Nov. 15.
Although no other details or track listing have been revealed, pre – orders for The Order of Things will began on Dec. 15, and can be done so through the band’s website.
In This Moment has come a long way in their colorful music career. On November 18, Black Widow, the band’s fifth studio effort will be released. Each album from 2007’s debut Beautiful Tragedy, to their breakthrough 2012 album Blood have all been very different from one another. So what direction did Black Widow take?
The album starts off with a short little intro track called “The Infection” then goes into the recently released single “Sex Metal Barbie.” This track is a very awkward track. The combination of riffs, popish-like sound, dubstep beats, and silly lyrics do not blend well at all. It’s hard to grasp to hear In This Moment release this kind of sound. When Blood was released, the combination of Metal and Dubstep was done very well. On “Sex Metal Barbie” it doesn’t work. Producer Kevin Churko did not do a good job with this track at all.
The next track “Big Bad Wolf” is great track. It has a heavy, Nu Metal sound to it. This is definitely a track that finally got me hooked on this album. This has frontwoman Maria Brink going back to the more angry, heartfelt vocals we used to. And “Dirty Pretty” is a decent track.
The title track “Black Widow” again goes back to the similar poppy overproduced sound that “Sex Metal Barbie” had. It’s a shame. Maria Brink is just oozing with talent, her vocals shouldn’t have to be produced at all. Makes you miss her raw singing and screaming vocals on Beautiful Tragedy.
Brent Smith of Shinedown makes a guest appearance on the track “Sexual Hallucination” Hearing them sing together is absolutely mesmerizing, so another high point on this album. It has a pop beat to it still, but the vocals of Maria Brink and Brent Smith mesh so well that it doesn’t matter.
Lead single “Sick Like Me” is a pretty solid track. One of the heavier tracks of the album, this track reminds us how talented In This Moment is when the band is clicking on all cylinders. “Blood Creature Poster Girl” is a charming track as well.
“The Fighter” is an absolutely beautiful track. It features Maria Brink using her powerful voice over piano and string arrangements. Definitely the best track. It takes you back to the days of 2008’s The Dream.
The album continues with some good tracks with “Bones” and “Natural Born Sinner” then it segues with “Into The Darkness” which serves as an intro to another great piano ballad “Out Of Hell.” At the end, Black Widow finishes heavy with “Turn You” before closing track “Rib Cage” kicks in to end it on a high note.
Overall, the album has some very low points from the band. It’s clear in some tracks they’re trying to move toward a more poppy sound. It is also disappointing that there are no guitar solos from Chris Howorth. Chris is a brilliant guitarist and a hell of a song writer. It’s a damn shame this album did not highlight his talent more. However, it is still an, In This Moment album, and there are some fantastic songs mixed into the album. So it seems lop-sided. It’s a blend of great songs and some head scratching songs mixed throughout the album. That falls clearly on producer Kevin Churko and the band making the switch from Century Media Records (who have been a staple of some great metal bands) to the mainstream Atlantic Records may have played a key role in the output of the sound of Black Widow. Moving forward it will be nice to see the song writing process return solely to Maria Brink and Chris Howorth like it was during the time of their earlier albums and away from Kevin Churko. People who are expecting the old In This Moment sound will be in for quite a shock when listening to this album. Even people who are expecting Blood Part 2 may have their hopes too high. But nonetheless, a fair album from In This Moment which would make this easily the weakest entry. This album could have done so much better if you take out some of the “pop” tracks that are infused in it. Take those out, and you have a solid album.
Some would say that good music is fast, or energetic, or any other adjective to describe their favorite band. While some of the fastest guitar players in the world have notoriety based on their immense talent, other bands have an amazing knack of sparking an emotional response for listeners. Beartooth, on a lyrical and musical level, brings out this idea — that even if an album is simple, it can still be “good.” Especially in the metal and hardcore community, where ‘shredding’ guitars have quite the prominence, this may be a foreign concept, but some of the best metal records of all time still capture an emotional response, no matter what exactly the musicians are doing. Beartooth’s debut album, Disgusting, is a prime example.
The driving sounds of the music kick off into the leading track, aptly titled “The Lines,” a sad song about an addiction. The album came out in June, but its sounds are just now making rounds. The music is simple, but quite interesting. It will please fans of old hardcore, such as Black Flag; it draws influence from a more brash act such as Slipknot (especially “Body Bag”), as the band has mentioned; and the emotional melodies are reminiscent of bands like Linkin Park, Falling Up, and other powerful alternative acts (“In Between,” “Sick and Disgusting”). Overall, Disgusting should be praised as a strong debut and will be enjoyed by a wide variety of people both for musical and lyrical content.
“We are the sons/We are the daughters/The generation of disorder,” Shomo screams toward the end of the first track. These lyrics alone give rise to the tensity of the rest of the album. Many of the words, written by Shomo, surround personal struggles which many can relate. “Beaten in Lips,” Shomo said, is about child abuse. “This is for the kids with the beaten in lips/Whose parents try to shut them up using their fists/Keep living loud and proud/They never can hold you down.” But don’t let select positivity fool you. That same track further encourages said victims to “wipe the walls with kerosene,” and notes that “this is the sound of your children revolting,” before the rest of the band launches into a rhythmic assault.
On a musical level, this album is not dynamic. It is in your face. It is loud and vulgar. It is an example of how to write an emotional melody (especially on the chorus of “In Between”) while adding enough angry chaos through noisy dissidents close to obnoxious leads at some points. Rhythmically as well, Disgusting approaches a high level of integrity as it boarders — in a few spots in progressive influenced patterns, whereas some of it is simply fast and fight – starting. For an example, check out “Relapsing.” Further, one of the best tracks on the album for its quality, musically, and lyrically is “One More.” It’s the anthem of the album and could be enjoyed by even those who despise this genre.
From an overall view, Disgusting is a strong debut. Shomo’s gifts as a producer, lyricist, and musician are clear, but the band has room to grow. We’re looking forward to seeing this promising band evolve.
Key tracks: The Lines, In Between, One More
The album can be purchased on iTunes, in stores, and from the band.
The massive success of Volbeat and Five Finger Death Punch in the last year has led to a co-headlining tour that is built on epic proportions. The lineup is filled out by rockers Hellyeah and Nothing More, and will wind up playing two shows in the Upstate area. I got the chance to talk with Rob Caggiano, the new guitarist of Volbeat, as well as alumni of the bands Anthrax and The Damned Things. We talked about what it’s like to be in Volbeat, and what this tour has in store for the fans.
Photo by Amy Harris from thefirst3songs.com
Jeff Ayers: So the tour started last night Sept. 16, in Salt Lake City, how did it go? How was the first show?
Rob Caggiano: The first show went great, really good. As to be expected though, with any ‘first show’ on a tour like this, there are some kinks that need to be worked out, some technical stuff, but overall it was killer, and a great crowd.
JA: Yea I saw pictures online, that crowd looked insane! This tour is being heralded by the press as the two hottest rock bands co headlining a U.S. tour. Rightfully so, with both bands increasing successes. The response from the fans when you announced this tour must have been incredible.
RC: Yeah, there was a lot of excitement about this lineup, and it feels really good. We are very excited to be on this run, and all shows coming up.
JA: Awesome. Speaking on that a little, Volbeat and Five Finger Death Punch both have been doing great things for rock, and heavy rock, on the charts and off. Do you have any thoughts on Gene Simmons recent comments about how rock is dead?
RC: He’s been making a lot of comments lately, about [all kinds of] stuff. [laughs]. I don’t know where he was going with that. I saw something on twitter about that, but obviously, rock is not dead.
JA: You guys are a testament that it is not!
RC: I mean, the music business is very different these days, than it was even five years ago. So it’s changing rapidly, and things are different. Record sales aren’t even what they used to be, it’s a totally different landscape right now. That might be what Gene Simmons was referring to, but I don’t know. It is certainly not dead.
JA: [The album] has done really well since it’s release. You helped produce that album, how was that experience?
RC: It was great. We were in Denmark, on the countryside at a place called Randers, and it was cool. We were isolated in the studio, and totally focused on the record. We had a great team too, Jacob Hansen was also there, and has been Volbeat’s long time producer. I had one of my engineers out there too, Brian Russell, and it all came together. I am really proud of this record.
JA: Cool. You joined up with Volbeat in the midst of recording the album, correct?
RC: Yes.
JA: How did that come about, you guys all just hit it off in the studio?
RC: I have been friends with the guys for a few years, before I got that call to produce the record, so we get along great. I‘ve known them since about 2010 when they took The Damned Things on tour, and we would hang out every night on that tour. But I got [to produce the record] and we started going over the pre-production, to figure out what was going to be on the record. There were a few songs that were unfinished, and Michael and I started collaborating on few things. The chemistry was really great, and from that first pre-production meeting, it kind of set the tone for everything. A couple of weeks later they asked me to be a part of the band.
JA: That’s awesome. Before you joined up with Volbeat, you pretty much exclusively behind the soundboard for a little bit. Were you actively looking for projects at that time, or did this kind of fall in your lap?
RC: I think people misunderstood what I said in my press release when I quit Anthrax. It was never about not wanting to tour anymore, or not play guitar anymore. It was just about wanting a change, and I just wanted to produce some records while I figured out what I wanted to do next with my career as an artist, as a guitarist. When the Volbeat record came across my table as a production gig, I was like “Wow this is perfect!” I love the band, and always thought we could make a great record together. It was something we talked about on The Damned Things tour, years ago. Everything just happened at once! [laughs] I ended up producing a record and joining the band.
JA: You can’t beat pure serendipity like that though!
RC: Yes! Yeah, totally.
JA: Volbeat as a band is always so busy, since you joined, how many tours have you played with them?
RC: Wow. That’s a good question. Not sure I know that myself. [laughs]
JA: Yeah, I was trying to look online, and it just seems that Volbeat is constantly on tour.
RC: Yeah we are. I haven’t been home at all, it’s crazy. We have been all over the world a couple of times now, and honestly I don’t know the exact number.
JA: That is totally fine! [laughs] It’s great work if you can’t even count all the jobs. Speaking of circling the world though, with all the times you have with Volbeat, and also with Anthrax especially playing on The Big 4 tour, personally speaking, do you have a favorite place to play or return to?
RC: Oh, I have so many favorite places to play. In America, I love playing New York, I love playing Chicago, Los Angeles, I love Europe as well though. Scandinavia is great, and I love Germany. One of my favorite places in the world is Australia, because it’s so beautiful. I love going over there.
JA: Being an American in a Danish band, is there any culture shock?
RC: I don’t know if you would call it culture shock. It’s a little different for me, coming from New York, everything with me is fast paced, because of New York.
JA: Hell yeah!
RC: So I am always in that mode, where as these guys are little more laid back, which is great. We get along great, it’s really cool.
tour flyer
JA: So for this tour, with Five Finger Death Punch, Hellyeah and Nothing More, what can fans expect, are there any surprises in store from Volbeat?
RC: Well if we did have any surprises, I wouldn’t tell you!
JA: Good answer!
RC: [laughs] It is just going to be a great all around rock and roll show. I think the fans are going to be in for a real treat.
JA: Well the tour is going to be making a few stops in Upstate New York, one at the OnCenter in Syracuse on September 23rd, and then at the Times Union Center on the 27th. You being from the Bronx, and being in multiple bands, you have played this area a bunch. Do you like playing around here, any thoughts on Upstate NY?
RC: I always loved Upstate New York. To me, it’s so crazy. You know, coming from the city, there are so many amazing, beautiful places in New York, if you are a city person, you don’t even realize they are there. The crowds are always great up there though. Joey Belladonna from Anthrax, he’s from up there. [Oswego]. It’s cool, I love it up there.
JA: Cool. What’s next for Volbeat after this tour? Another tour? [laughs] Or are you guys going to take a break and write material, or what?
RC: After this tour, we are actually going back to the U.K. That will be the last thing we do for this year. Then we are going to lay low, the holidays will be coming up, and then we will get into creative mode basically.
JA: This tour ends in Vegas, what are your experiences playing there?
RC: Vegas is cool. For me, I have a three-day limit on Vegas. In three days I have to get out of there, because it is crazy. [laughs] But the crowds are really good, and Five Finger Death Punch is from Vegas, so that final show should be completely off the wall.
The Saratoga Springs, New York horse racing tourists are going home, students are going back to school, and the metal is returning to the Putnam Den. Hometown hard rockers Thank Jesus Christ and the Hallucinogenic Allstars [JCHA] are offering up a great night of music on Friday, September 5th. Five dollars will get you through the door, and into a night heavy on the music and the fun.
JCHA has been hosting a monthly heavy music residency at the Den, whose reputation leans toward jam music. The monthly onslaughts have been importing talent from around the northeast along with other local heavy hitters. This month is no different except that instead of it’s normal Thursday occurrence, Metal is invading the Saratoga prime-time, a sacred Friday night.
Crown of Vultures, formerly Vacant, from Albany, will bring their progressive metal to the stage. Then the incredible two man assault of Foaming at the Mouth is an act not to be missed, bringing black and death metal to heights you might not soon forget. Surfacing, from Brooklyn will round out the eclectic night with metalcore reminiscent of Miss May I, and are poised to release their debut full length CD in October.
JCHA is the premier stoner heavy rock band in the region, and along with their on stage bartender/light show technician, will project a performance that has to be seen to be believed. Local artist Alexis Herzog will be painting live during the show, and her finished work from the previous show will be raffled off to one lucky winner, courtesy of only the price of admission.
Summer is over, fall is about to begin. Friday nights in beautiful Saratoga Springs can be unfiltered excitement during this time, as businesses are resetting from a busy season, and ready to entice the Upstate crowd to come out. Have faith, for JCHA, along with the Putnam Den, promise to provide you with a great show to have some fun, and bang your head.
The All Things Dead Tour kicked off in Clifton Park, NY on Wednesday, Aug. 13. Promising to be one of the heaviest tours this fall, it is a month-long assault on the United States and Canada. Fresh off of the Summer Slaughter tour, Origin headlines an impressive lineup, and this first show at Trickshots Billiards started with a bang.
Photo by Jim ‘JT’ Gilbert
The first band on the stage was the only local support, Declension, playing practically right in their own backyard. Having shared the stage with bands like Dying Fetus already in their short career, they showed no nerves warming up the already sixty plus crowd. Starting with an epic intro, it foreshadowed the five-piece band’s talented dual guitar harmonies in later songs. Crushing riffs and old school metal guitar solos, reminiscent of King Crimson, made for a good start on the night.
Next up was Texas band Abolishment of Flesh, who wasted no time diving into their brand of southern extreme metal. The bass and guitar launched into tapping riffs and the singer showed an impressive range from guttural low screams to almost black metal highs. They employed interesting musical breaks in a few of their songs, which was a little surprising, but worked very well with their overall sound.
Photo by Jim ‘JT’ Gilbert
Trickshots has been putting on consistently good shows, along with Joelggernaut Productions, and this night was no different. A big, heavy sound and a great light show highlighted the talent on stage, and the bar was slinging drinks and food at a rapid pace. Beyond Creation, hailing from Montreal, Canada, was the first band of the night to draw a big crowd right to the front of the stage. The attendance was steady from the time the doors opened at 6pm, and they were all happy to be there. Lots of familiar faces from the Upstate metal scene, and also many new fans as well, giving the bar and the merchandise booths a lot of business.
The first two bands on the night were showered with impressive strobe lights, to accent their brutal music. Beyond Creation projected talent and precision, commanding the stage in a hard red light, allowing their music to speak volumes. Two eight string guitars lent to the deliberate sonic destruction they were dealing to the audience, and the crowd response was just as huge. Parallels could be made between the tight, honed presence of Cryptopsy and the intensity of Lamb of God.
All of the great moments of the night so far could barely prepare the crowd for the incredible energy of King Parrot. All the way from the other side of the world, Australia, they joked at one point that they thought they might be in Billiards, New York. But, this was actually their second time in the states, and definitely feel at home being on stage in America, or more likely, anywhere. Toddy, the singer, strutted on the stage shirtless and began to whip the crowd into a frenzy, running to the back and the front of the club with his wireless microphone. It was a sight to behold, and it felt much like catching a crazy punk or metal band at CBGB’s in late ’70s. They instigated the first ever Wall of Death at Trickshots, and the audience happily obliged. A cross between Rob Halford and Iggy Pop, the singer brought everything he had and more, at one point jumping on the bar in the middle of a song. Their unique brand of heavy thrash metal and punk impressed the entire club and set the stage for the headliner.
Photo by Jim ‘JT’ Gilbert
Origin just released their new album, Omnipresent, to great reviews from fans and critics. Fitting nicely into their own headlining tour, they were poised to bring their special brand of shredding death metal to Clifton Park. Exploding onto the stage with a relentless onslaught of metal, they drew the biggest screams of the night. The also had the best mix from the soundboard, allowing the audience to really hone in on the intricate music they produce. John Longstreth, revered by many as one of the top drummers in the metal genre, kept the entire set in perfect time with crushing percussive energy. Both John, and the singer, Jason Keyser, call Upstate New York their home, and it was a treat for the crowd to see this band in this area. Jason led a three-part vocal assault that mesmerized the crowd as well as riled them up. They had incredible energy and an amazing stage presence that even allowed for Jason to crowd surf at one point. Being a weekday show, it abruptly ended at 11PM, with Origin possibly cutting their set short. But no one in attendance was unhappy with all of the incredible talent presented before them, getting what they played for and more.
Origin is a very hardworking band, and headlining a tour like this shows all the fruits of their intense labour. For the rare time they, and the rest of the bands, graced the stage in Upstate New York, it was definitely a show that the people who were in attendance will wear that like a badge of honor. For anyone reading this in cities where this tour might be making a stop, it is a heavy metal experience that is not to be missed.
When I first met with Caustic Method in March to discuss their third album, The Virus, I was immediately inspired by their dedication. This album is the bands first with their latest lineup but the second take of the actual album. Concerned that the first take did not represent them, they started fresh. I have a feeling to really learn about the guys of Caustic Method one would only have to look as far as their copy of The Virus. You won’t be disappointed.
The album begins with their title track and first single; Caustic has made a smart choice making this the single to represent the album. Not only is “The Virus” an homage to Caustic fans, but the single itself showcases the complexity in their talent. The range in Matt Caustics voice is unlike what we are used to hearing in metal music. They have separated themselves from other metal bands immediately.
The third track, “Which Way the River Runs” stands out as it opens with Angel Rivera on the drums. In 30 seconds he has your heart racing with excitement. Eric Maliszewski and Darin Scott transform this song from good to great with their amazing talent. Instrumentals are the shining hero on this track.
My favorite track on the album is the final song, “Anti Hero”. If you thought you had heard all of Matt Caustic’s tricks, you were wrong. We are able to hear the softest side of his voice yet when he sings the bridge. It is eerie and chilling, but brilliant. There is nothing this man can not do. Being the most passionate song, it is the perfect end to the album.
The only complaint I have about this album is that it is only five tracks. I feel as if we have only chipped the surface of what these guys can do. However, that being said, this is a solid album. Each track represents Caustic and their incredible talent; there is no fluff to fill space. Every time I listened to this album I ended with a new favorite, each for a different reason. What did I love the most? Was it the quick change in Matt’s voice in “The Virus”, the beat of “Integrity Fails”, the drums on “Which Way the River Runs”, the bass and guitar in “Sex, Drugs, and Violence”, or the bridge in “Anti Hero”. That is the making of a great album. This is a perfect appetizer to what is next for these guys.
New Jersey thrash metal outfit Overkill unleashed their 17th album, White Devil Armory, a couple of weeks ago and could possibly be the best metal album of the year. It is a nonstop thrill ride from start to finish. Overkill has been overlooked for many years because they were never considered the “big four” of thrash metal. White Devil Armory makes the argument that it should be rebranded as such.
The album starts out with the intro “XDM” which is just a short but haunting instrumental tune. Then all of a sudden BOOM! the album gets in your face and makes your ears bleed with “Armorist”. Overkill has never sounded better and showed no signs of slowing down. Armorist is a song made to be played live.
The album never slows down. White Devil Armory continues to hold the pedal on the gas with “Down to the Bone” and “Pig” before going into the six minute bone shattering anthem “Bitter Pill” which is the lead single off the album. Dave Linsk’s guitar solos are groovy as hell and the vocals of Bobby “Blitz” Ellsworth are as fiend as ever. But what stands out the most is the drumming from Ron Lipnicki. My arms and legs get tired just listening to those drums pound.
Another track that really stands out is “Freedom Rings” a real thrash masterpiece as well as closing track “In The Name”.
Overall, White Devil Armory is an album that cannot be overlooked. Most deffinately a candidate for best metal album of 2014. Mabe one of the best thrash metal albums of the decade too. There are no light or slow tracks; It’s nonstop thrash, very heavy album. Overkill clearly has a lot left in the tank. It’s time to really reevaluate who the “big four” of thrash metal really are.
North Carolina’s own, controversial, Young and In the Way delivered an crushing and beyond intense set last Thursday at The Acheron in Brooklyn, N.Y. After the controversy created by these, young, darkened crust musicians – they caused the shut down on of a venue in their hometown after spraying animal blood everywhere, we had to check this show out.
The most recognizable aspect of the music of Mastodon is that their music is not recognizable for a particular aspect. Yes, they have their trademarks, such as unusual lyrical themes, shared lead vocal duties, and a wide variety of musical abilities and sounds. Much like a band such as Phish, there is no actual way to boil this band down into one particular genre because each album sounds different. Their newest album, Once More ‘Round the Sun, is absolutely no exception. In fact, the band is taking you Once More ‘Round the Sun, but you’re going in a different spaceship — in terms of the sound.
It was clear by the release of the album’s first single, “High Road,” the new album would be a further progression into their hard rock side. The album is certainly a way to find a new market. In the single, the band delves into the most “metal” sound they reach the whole album. The song features a driving chorus with emotionally laden chords, but still features Mastodon’s harmonic, trademark vocals from Crack the Skye, or even Blood Mountain. The track’s vocals, mainly delivered by bassist Troy Sanders, are produced much like Jill Janus’ on Huntress’ Spell Eater, the same is true for “Chimes at Midnight” but will be appreciated by fans of evolutionary hard rock, such as Led Zeppelin.
The album’s title track is musically a polar opposite. It features the “weaving” guitar patterns, achieved by Brent Hinds and Bill Kelliher, first featured on an early track the band wrote, “Joseph Marrick,” but casts an evolutionary shadow on “Joseph.” The song is clear evidence that Mastodon’s songwriting has taken an evolution. This is clear because their use of vocals is prevalent. For the second time, drummer Brann Dailor takes a drivers’ seat role, balancing vocals and drumming. In perfect time, each member of the band contributes to this aspect, never failing on their harmonies or blend. Further, vocal editing and pitch correction is less than prevalent.
While the vocals should receive high marks, so should the instrumentation, which is borne of the combination of experimentation and the band clearly not limiting themselves to one school of thought. For that reason, this album could be enjoyed by many music listeners, especially anyone who likes music in the range from something as heavy as a band like Lamb of God, to a band as soft as Clutch.
One of the key, defining aspects of this album is the fact that it follows Mastodon’s trend: each album is a transition into another genre. For instance, Remission and Leviathan featured mainly guttural and unclean vocals, whereas Blood Mountain marked a new era of accessibility for people who did not listen to Mastodon, or heavy metal. This led to Crack the Skye, which proved that Mastodon had a far more progressive side, into The Hunter. Now, the band sounds a lot less frantic. The tunes are all very accessible. You can sing along, show your friends, and rejoice in the fact that heavy metal and hard rock are far more diverse than they used to be, and this was a major complaint for long time Mastodon listeners who misunderstand the works of Mastodon.
Because Mastodon’s sound has changed so much over the years, they can’t really be classified into a genre. Most people would agree that “heavy” bands like Alter Bridge could be categorized. While this is not negative, it is simply the music that they wish to write. For Mastodon, the case is different. They prove that they want to write more than just sludge metal, or prog rock. For Mastodon, music is a great experiment in which the performer is allowed to explore his or her musical polarities. Therefore, it is not possible to make an argument against Mastodon’s ever – evolving sound, as that is exactly the point of the band. Because of this, going Once More ‘Round the Sun is an amazing journey.
Key tracks: Asleep in the Deep, High Road, and Halloween.
All That Remains, a metalcore band from Massachusetts, announced the title of their upcoming album, The Order of Things, which is due out in February. The Dec. 12 announcement was made via their website.
The album starts off with a short little intro track called “The Infection” then goes into the recently released single “Sex Metal Barbie.” This track is a very awkward track. The combination of riffs, popish-like sound, dubstep beats, and silly lyrics do not blend well at all. It’s hard to grasp to hear In This Moment release this kind of sound. When Blood was released, the combination of Metal and Dubstep was done very well. On “Sex Metal Barbie” it doesn’t work. Producer 
The third track, “Which Way the River Runs” stands out as it opens with Angel Rivera on the drums. In 30 seconds he has your heart racing with excitement. Eric Maliszewski and Darin Scott transform this song from good to great with their amazing talent. Instrumentals are the shining hero on this track.
