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Thursday, November 17, 2016

Gabriel and the Apocalypse - Ghost Parade

Written by Keren Weiss on November 7, 2016 

Minneapolis natives, Gabriel and the Apocalypse, released their third album Ghost Parade in early October courtesy of Pavement Entertainment.  Vocalist Lindy Gabriel, the mad scientist behind the magnificence that is Gabriel and the Apocalypse, successfully merged edgy industrial rock with female fronted angst.  The group has built quite the impressive underground following, mainly due to their extraordinarily intense and theatrical videos.  Ghost Parade is sure to launch the band to new heights with major worldwide distribution and exposure.

Ghost Parade is an amalgamation of gut wrenching chords melded with pain and oppression influenced vocals and can only be described as; heavy yet feminine, staggering yet settling, and passionate yet peaceful.  Bringing forth what could only be considered a hauntingly beautiful piece of industrial rock art or better still, if OTEP, Trent Reznor, Shirley Manson, and Tori Amos gave birth to a music love child, Ghost Parade would be the result. 

The first track on Ghost Parade, “March of Dolls”, just screams BAD ASS!  Bestowing female vocals rarely heard today, it’s refreshing to hear a female vocalist not trying to sound like anyone else or be someone else, just being her.  “March of Dolls” opens with a wavering guitar riff and mix-up of loops, but it is Gabriel’s vocals that make “March of Dolls” stand out from the typical industrial fare; clean, beautiful, and packed full of emotion. 

The thunderous tracks “Beauty under Glass” and “Thrill of the Kill” roar in after a brief jaunt to the softer side of GATA; both tracks incorporate rich electronic samples with beefy, powerful drums, showcasing the talent of Zach Williams (drums).  The title track, “Ghost Parade” is harsh, almost venomous; Gabriel’s vocals ranging from spoken word to pseudo-rapping, Gabriel spits every word with contempt and fury. “Since We’ve Become Ghosts”, the last track on Ghost Parade, is creepy, brooding and unnerving; certain to make the hair on your arms stand on end.  Quiet, almost a whisper, vocals almost guaranteed to send chills up your spine.

Overall, Ghost Parade is epic, full of emotion, and addictive.  Every song is packed full of emotion, from longing to wanting to revenge.  The track intros pull you in, keep you listening, and yearning for what’s to come.  Gabriel’s lyrics are relatable, evocative, and commanding; her remarkable vocal talent together with the power of the band leaves little doubt that GATA is deservedly going places.

Lindy Gabriel – Vocals
Jake LaCore – Guitar
Figgles McGee – Synths/Samples
JACE – Bass
Joey Conelly – Guitar
Zach Williams – Drums

Saturday, October 15, 2016

KIRRA – Run Away

KIRRA – Run Away

Rockers and Oklahoma natives Kirra released their debut album, Run Away, on October 7th courtesy of Pavement Entertainment.  As guitarist Daxton Page puts it with a strong emphasis on the word “rock”, meaning “straight up and raw”.   Their first EP, Sounds from an Empty Room, grabbed the attention of internet radio stations and social media fans in 2014, which prompted lead vocalist, Jesse Williamson, to continue the writing process for a full length release.

While Run Away may not appeal to the more intense metalheads, it will appeal to those that enjoy the rock of the 90’s.  It is quite reminiscent of Sound Garden and Filter, with a bit of Switchfoot and Puddle of Mudd tossed in for excitement.   Kirra may overall be a traditional rock band, but don’t let the smooth face full you with these guys, there are a handful of tracks on Run Away that shed their ‘boys next door’ persona and are pretty damn heavy.   For example, tracks such as “Chemicals” and the closer “Too Far Gone” boast delicious breakdowns and have more of an edge. 

Run Away delivers exactly what Kirra intended, straight forward rock and roll.  So many rock bands take themselves too seriously and try to force a message down fans throats, Kirra doesn’t do any of that here.  They didn’t intentionally make the album radio friendly to have the masses singing along with every track, they stayed true to themselves and put out rock and roll that most people can or have related to at some point in their lives.  That gives Run Away wide market appeal, regardless if that was their intention or not.  While it is initially tempting to brand Kirra another pop rock band that will probably get some pretty good radio play and then fizzle out, they are much more than that.  These fellas are honest, talented, and true to rock and roll music. Run Away proves that it isn’t necessary to have a lot of flash and dazzle to have a beefy, fresh, poignant, and straight shooting rock album.

Track List:

1.    Tappy Gilmore
2.    Fly
3.    Lies
4.    Lay You Down
5.    Run Away
6.    Chemicals
7.    Downfall
8.    Should’ve Been Gone
9.    Drown
10.  Stay
11.  Forgive Me
12.  Too Far Gone


Jesse Williamson – Lead Vocals/Guitar
Ryne McNeill – Bass Guitar/Vocals
Daxton Page – Lead Guitar
Zach Stafford – Drums

Written by Ken Bowden for Bloodrock Media

Friday, October 14, 2016

Temple Agents - Live Santiago de Chile

Written by Ken Bowden for Bloodrock Media on July 4, 2016

Temple Agents, a hard rock band from Santiago, Chile, formed in 2009 by their two founding members, Ale Solar and Fernando Elizalde. Since the band’s inception, they have toured all over Chile and opened for bands such as Seether and Evanescence. They were also part of the 2013 Lollapalooza Chile lineup, sharing the stage with Pearl Jam, The Black Keys, Queens of the Stone Age, A Perfect Circle, and others.  Their live album, Live Santiago de Chile, was released on July 1, 2016.

Temple Agents is best described as Alice in Chains meets Soundgarden, the 90s alternative and grunge influences are undeniable.  And when you are lucky enough to have alternative rock legend Kevin Martin (Candlebox) doing collaboration tracks, like Live Santiago de Chile’s first track, “Divine Lightning” has, you can still pull off the grunge thing in 2016.  Solar’s vocal skills are not only unique but absolutely flawless; the pure amount of talent he possesses in his voice is almost unbelievable. 

While the biggest issue with live albums is they typically are filled with bad mixing, not the clean vocals and unfiltered bass you get from a studio album, somehow Temple Agents pulled it off.  Aside from the cheering of the crowd every so often as a reminder, you completely forget that Live Santiago de Chile is live.  Tracks like “Red Demons”, “Divine Lightning”, and “Find the Place” exhibit powerhouse vocals and will keep grunge fans entranced for the duration.

TTNG - Disappointment Island

Written by Ken Bowden for Bloodrock Media on September 20, 2016 

British math rockers, TTNG (formerly known as This Town Needs Guns), released their third full length album titled Disappointment Island in July 2016.  Math rock?  Yes, math rock is rhythmically complex, guitar-based rock music influenced by post-hardcore, progressive rock bands, characterized by irregular stopping and starting, odd time signatures, angular melodies, and extended chords. 

Disappointment Island is a bit mellower and melody heavy than TTNG’s prior release (2013) but from the notable opener “Coconut Crab” to the extremely satisfying, smooth jam that is “Empty Palms”, Disappointment Island is filled with easy to listen to guitar, bass, and drums, unmistakable energy, and extraordinary lyrics.  The island themed track names are almost as entertaining as the songs themselves….ALMOST.  The overall desolate island theme is quite ironic because there isn’t a millimeter of unoccupied space on Disappointment Island, every nook and cranny is filled with solid, well-crafted musicianship. 

On their first listen fans will enjoy Disappointment Island, but listens two and three will be even more enlightening and magnify fans appreciation to the intricacy that TTNG has put forth with this album.  

Thursday, October 13, 2016

Decivilize - Decivilize

Written by Ken Bowden on September 20, 2016 for Bloodrock Media 

Wisconsin's own, Decivilize released their self-titled debut album, Decivilize, on September 30, 2016, courtesy of Pavement Entertainment.  The band is comprised of Kurt VanderVelden on vocals, Tim Beyer on guitar, CJ Kreski on bass, and Thor Nielsen on drums.  

The definition of decivilize is "to reduce from civilization to a savage state" and the guys in Decivilize have successfully released an album that will make you lose your shit to raw, primal metal.  Their sound is very much like Fear Factor, DevilDriver, and Static-X; a very rusted, mechanical, industrial feel (not in a bad way).  Decivilize is vicious, unforgiving, and undoubtedly brutal and hits you hard, right square in the face from the moment the first track begins to play.

Tracks such as "Everything Clean" and "So Shallow, So Shall I" are undoubtedly meant to put you in the mood and that mood is TAKE NO SHIT RAGE.  Decivilize isn't grandpa's easy listening, but what would you expect from a band named Decivilized?!  There is no room for feng shui and chill vibes when Decivilize is blasting through your speakers.  And there's not a damn thing wrong with that; sometimes you need an solid fist pumping and flipping a random table to pull you out of a shit mood.  Just tell your piece of shit neighbor to give you an hour before he let's his dog shit on your lawn again or you might open a can of whoop ass on him.

Decivilize will make your ears bleed and confirm that it's okay to embrace the animalistic side of human nature.  This album is stellar and reminds you that you don't need the trappings of modern day society all the time; it's okay to turn off your iPhone, turn up the radio, and wild the fuck out!

Slaves on Dope - Horse

Written by Ken Bowden on September 20, 2016

Canadian rockers, Slaves on Dope, are back with their September 9th release entitled, Horse, courtesy of Universal Music Group.  As some may recall, Slaves on Dope were signed by Ozzy Osbourne’s label, Divine Records in the the early 2000’s and toured with Ozzfest.  Slaves On Dope is comprised of Jason Rockman on vocals, Kevin Jardine on guitars, Rob Laurion on bass, and Peter Tzaferis on drums.

When the opportunity to review Horse arose I was pretty jazzed, Slaves on Dope just so happens to be one of the first concerts I saw as a young adult.  Not going to lie, I had lost touch with what the band had been working on, so it was exciting to see their name pop up with some new tunes.  Before reviewing Horse I did a bit of research and listened to the albums they’ve put out over the last decade or so (Metafour, Over the Influence, and a couple of EPs) and honestly, they were all subpar.  So once I came to terms with my disappointment with how Slaves on Dope have spent the last 15 years, I turned on Horse, and I smiled for a few minutes.  Horse is so much better than the last four albums Slaves on Dope released; it is infectious and thought provoking, but with a hint of brutality.  

Throughout the album, they display their ability to be catchy but still appeal to the fans of hard rock.  There are couple of tracks that stand out, “Codependency”, which guest stars Lee-La Burn from the Damn Truth, and the last song on the album “Disco Biscuit”.  There are some disappointments with Horse, one of which is “Disco Biscuit” gets you back into the album and it’s the last song, track organization is crucial, and Horse is lacking that a bit.  Another disappointment is the unclever drug references in song titles, after 20+ years, one would think they would mature and move away from that.  But otherwise, Horse is good, not better than Inches from the Mainline, but it is still good, good enough for me to give it a listen every now and again and for Slaves on Dope to catch my attention again.  

Wednesday, October 12, 2016

Norma Jean - Polar Similar

Written by Ken Bowden on September 14, 2016 for Bloodrock Media

I'm just going to start this review by saying, it's about FUCKING time.  Ever since your humble narrator attended a Norma Jean show a few months back in Detroit, I’ve been chomping at the bit to see what the legendary post hardcore warriors were crafting up with their new album. While during their set they did slide in a new song, it was a just a tease. But it is finally here, the release of Polar Similar.

If you have a single solitary doubt in your mind if Norma Jean still has it or not, mozy your ass over to their site and listen to the first 3 singles, “1,000,000 Watts”, “Forever Hurtling Towards Andromeda”, and “Synthetic Sun”, then kick yourself for ever doubting them, and buy Polar Similar. Of the three tracks, I am particularly partial to “Synthetic Sun” but realistically pretty much every track on this album is fuckin money. Picking out my favs is basically like deciding which bite of your fav pizza is the best except the pizza never runs out and you never get too full, it’s amazeballs.

“Reaction” and “A Thousand Years A Minute” show you that while this isn’t the same ole shit being recycled this is definitely the resurgence of the Norma Jean you know and love. I haven’t been this excited about a new Norma Jean album since Redeemer. I give them major props for ending with such a high energy track like “Nexus”. It is just a ridiculously smart way to end an album of this caliber, instead of the typical “cool down track”. “Nexus” hits you like the climatic battle between the hero and the villain in some action flick that’s had you at the edge of your seat the whole time and makes you cheer your ass off once it’s over for more (luckily hitting repeat is an option here because I can pretty much bank on anyone who bumps this album doing so a couple times after that first listen).

I just want to say to Normal Jean, well done boys, very, very, very well done.

Stellar Circuits - Stellar Circuits

Written by Ken Bowden on September 12, 2016 for Bloodrock Media

Back in November up and coming band, Stellar Circuits made some noise outta North Carolina by dropping their awesome self-titled EP, Stellar Circuits. In light of their looming full length debut I think it’s time we got into why YOU need this album in your rotation.

From the beginning, there is a sense that while definitely a rock/metal band, Stellar Circuits is not some "basic white bitch" kinda metal. Immediately I was overwhelmed by a vibe I haven’t had since I first heard Tool, A Perfect Circle, or even Pulse Ultra. Thick, dramatic, vivacious music with spine tingling vocals, electrifying and wonderful. By the end of Stellar Circuits second track, “Midnight Mission” vocalist Ben Beddick shows that while his style maybe similar to Maynard in his Tool days, Beddick has a fire and intensity all his own. And by the time “Cellar Door” and their killer debut single “Penny Dreadful” (YouTube it, you’ll thank me later) wraps up, you will know exactly what kind of awesomeness you are dealing with. Solid vocals, artsy but not pretentious lyrics, and dope riffs, bass lines, and drums bringing it altogether.

While this nugget of goodness does suffer from EP syndrome (i.e. once it ends you’re like well FUCK I want more of that) it is actually perfect to pick up now, while there is only a short time before the full length release later this year. Stellar Circuits is just enough to keep the band fresh in your music mind for their album release, so grab this EP ASAP.


Written by Ken Bowden on September 12, 2016 for Bloodrock Media

Who are they? Hel---er---heaven if I knew before this album review but coming from the Silver City’s prog metal scene comes GOD. An anonymous group undertaking a Christian metal project of, dare I say, biblical proportions? Embracing the complexity and technicality that have made equally skilled heavy hitters like Animals As Leaders, Tesseract, or Polyphia, GOD brings us the beginnings of frankly one of the what could be one of the most hype djent metal albums of 2016. Being a Christian band in this genre is unique enough but how they are releasing the album is equally as distinctive. GOD is releasing God I as an audio epic, releasing one new song from the full album every 2 weeks culminating in the album’s final track “Truth” to be released on Christmas 2016.

While personally, I am not a Christian and I partake in the dark metal such as Ghost, you would think the heavy religious connotation would be awkward but the first two tracks, "God" and "Salvation" both showcase that God, the unknown wonders, plan on delivering the goods no matter your religious beliefs (or disbeliefs). This is definatley a project to keep your eye on. Truth is, you don’t have to be all about the J-man to feel what GOD is laying down, while their tracks have biblical themes (death, resurrection, the nature of the Divine etc), the music isn't about Bible thumping, it’s about making the listener FEEL something and indulging in the introspection that music brings.

While God I is definitely not some top 40 easy listening this IS a highly ambitious undertaking by some extremely skilled musicians. And truth be told, sometimes it’s a nice break to step away from mindless headbanging and blast something that really just makes you THINK. You don’t have to be a theologian to appreciate God I. Just put on these tracks lay back and get lost in thought, you’ll be glad ya did.

GOD's release schedule for the tracks on God I are as follows:

Track 1 - God - August 22
Track 2 - Salvation - Sept 5
Track 3 - Foreknown - Sept 19
Track 4 - Predestined - Oct 3
Track 5 - Creation - Oct 17
Track 6 - Life - Oct 31
Track 7 - Free Will - Nov 14
Track 8 - Sin - Nov 28
Track 9 - Jesus Christ - Dec 12
Track 10 - Truth - Dec 25

Eva Under Fire - Anchors

Written by Ken Bowden on September 20, 2016 for Bloodrock Media

Doing an album review is usually a fairly smooth process; hit play, listen to a few tracks, and type up a rough draft. Eva Under Fire's debut album Anchors didn't go quite so smoothly, not for bad reasons. After hitting play, Amanda Lyberg's vocals took me on a journey, an amazing journey. Alluring and powerful, a modern day siren, hypnotizing sailors happily to their doom, kind of journey. I listened to the entire album and hadn't written a word. Track after track, I just sat in awe of how amazing her voice is, not to mention the band is not too shabby either.

Far too often mediocre bands with a sexy singer get a lot of hype, because sex sells in music, but Eva Under Fire, they don't need sex....they have Amanda and raw fucking talent. Anchors, from start to finish is pure money. 'Betrayer' is definitely worthy of radio play and should be a breakout hit for the group but listeners will be hard pressed to find a single track that doesn't have them completely entranced.

Eva Under Fire has the right blend of catch writing, biting lyrics, and mesmerizing vocals. Anchors is easily one of the hottest albums to come out of the Detroit rock scene this year. Definitely check it out!

Thursday, September 15, 2016

Shallow State - Now or Never

Shallow State - Now or Never
Chicago area rockers, Shallow State recently released their new single “Now or Never” to Reverbnation. The track is reminiscent of Core/Purple (1992-1994) Stone Temple Pilots with just a touch of Come Clean (2001) Puddle of Mudd, heavier alternative rock with a layer of chick friendly radio rock (in a very good way).
From beginning to end “Now or Never” is very enjoyable; exhibiting tremendously tight vocals, exceptionally catchy rhythms and chorus, and a diverse appeal to fans across rock subgenres, all while being mainstream radio friendly. The only issue with “Now or Never” is the enormous amount of cymbal just after the chorus, 15 seconds of cymbals crashing is a bit excessive, but some may feel ‘you can never have too much cowbell’.
Shallow State should absolutely provide “Now or Never” to mainstream radio outlets for rotation consideration; it is a song that will garner notice from the conventional, but obviously not as badass, rock outlets. Overall, “Now or Never” is an awesome track and will definitely be in Asgard Radio’s regular rotation for listeners around the world to enjoy.  And we patiently await more from Shallow State….okay, impatiently.  
Fans in the Chicago should head over to Penny Road Pub on August 5 to check Shallow State out, the event can be found here:

Monday, September 5, 2016

Essential End - Deadwood

Essential End – Deadwood

Since 2014 east coast natives Essential End have been sharing the stage with the likes of Buckcherry, Saving Abel, and Texas Hippie Coalition.  On August 26th they released their new EP, Deadwood, courtesy of Pavement Entertainment.  Made up of a father-son team and three of their best friends, Essential End, has covered a lot of ground in a very short time.  The name Essential End implies death, everyone’s essential end, but is that what the band intends to convey or does it imply that enough is enough, that the negativity has to stop and it is time for positivity to reign supreme?  Deadwood may provide some insight into the name and mindset of Essential End.

Fans of Ax7, Stone Sour, and Mastodon will eat Deadwood’s intensity up.  The title track, “Essential End” begins soft and measured, but quickly transitions to heavy, killer riffs and a primitive, brutal scream…basically knocking you on your ass (in the best way possible).  “Wasted Time” is another other heavy hitter, while “Sacrifice” is emotional and filled with passion.

While Deadwood is short, four tracks, those tracks are deliberate and purposefully arranged to draw the listener in and keep them interested.   Well rounded, deliberate, and intense Deadwood is enticing and just enough to keep listeners craving more.   

1.     Essential End
2.     Pain
3.     Sacrifice
4.     Wasted Time

Vocals- Tad Davis
Guitar- Scott Hearn
Drums- Brady Hearn
Guitar-Connor Green
Bass- Caleb Staner

Written by Ken Bowden for Bloodrock Media

Friday, August 26, 2016

Single Mothers - Meltdown

Single Mothers - Meltdown
Written by Ken Bowden on August 26, 2016 for Bloodrock Media

Single Mothers is one of those noisy punk bands that just grabs you, despite the silly ass name, the music is no fuckin’ joke. In their latest release Meltdown, Single Mothers return to form, bringing in your face attitude, lyrics as catchy as they are biting, and the growling yet groovy punk rock they’ve come to be loved for.
The title track and opener, “Meltdown”, starts things off with a bang, the guitar crunches and kicks, and the drums are a-blasting. By the time it ends you’re hyped up and ready for the rest of the ride this EP is about to take you on. One of the best things about “Meltdown” is it takes you back to yesteryear of punk rock, the days of The Refused, Quicksand, early Glassjaw without sounding dated or stale.
Did they reinvent punk rock with these five killer tracks? Nope. Did they prove that punk is still alive and well outside of the trendy pop punk bopper set? You bet your sweet ass they did.
The only real downside of Meltdown is the length (that’s what she said), while EPs are typically short and Single Mothers is no strangers to fast and furious EPs, it is a bit of a buzzkill to hear these five amazing tracks and 15 short minutes later it is over. The silver lining, and of course there always has to be a silver lining, is that there’s almost always a repeat button on most music playing devices and for that we are thankful. So if you’re feigning for more, you can press repeat OR snatch up Wild Party (2010), S/T (2011), or their full length album Negative Qualities (2014) to get your fix. That being saidMeltdown is DEFINITELY a must listen for anyone who likes music that gets the adrenaline pumping.

Tuesday, August 16, 2016

Another Lost Year - Alien Architect

Another Lost Year - Alien Architect
Written by Ken Bowden for Bloodrock Media on August 16, 2016

So when one hears the words “truther band” they tend to think of extreme examples like Corporate Avenger but Another Lost Year’s, sophomore release entitled Alien Architect is a textbook example of what that style strives for, but without becoming a parody of itself or with the characteristic pretentiousness.

The intro to Alien Architect may be the most honest three minutes ever seen on television.  The intro, a heavy-handed diatribe, from the show The Newsroom, of why America is no longer great, followed by warning sirens and chants of “wake up”.  Following this is the first true track on the album, “Wolves”, a complex, menagerie of a steady drum line, wild guitar riffs, and an epic ending. “Run the Tank Out” continues Alien Architect’s high energy, with a more alternative rock feel.  Alien Architect does slow it down a bit with the track, “He Took Away Beautiful”.  With its prominent bass line and peaceful, yet powerful guitars, the track is an almost haunting experience.
The fourth track on Alien Architect, “Trigger Finger” is hands down the best song on the album.  By the time it is done, the band has you eating out of their hands and begging for more.
Overall Alien Architect perfectly combines clean, biting riffs, a tight rhythm section, and high energy vocals with substance and meaning, without being preachy.  Which is where many bands that dabble in the political message tend to get it wrong, it’s one thing to urge everyone to open their eyes to the world around them, but it’s another all together to shove it down your fans throats.  Quite frankly, Another Lost Year’s approach is much more palatable, to be honest, it is actually quite enjoyable. The entire album is chalked full of phenomenal fist pumping tunes that fans of Blue October, Theory of a Deadman, and Stone Sour will thoroughly appreciate. Alien Architect is the perfect mix of catchy, hard rocking, and evocative lyrics, that even the toughest music critic will find it difficult to stop hitting repeat.

Monday, August 15, 2016


Morrow’s Memory - Take Control
Written by April Baggins for Bloodrock Media on August 15, 2016   

Five years is an eternity in the music world but as the saying goes, good things come to those who wait, and good things have happened for Detroit area alternative rockers, Morrow’s Memory, with the release of their five-track EP entitled Take Control on July 24th.  With sounds ranging from the poetic crooning of Richard Marx (circa 1989) to the technical transcendence of Tool, Morrow’s Memory, is a heaping portion of fiery passion smothered in controlled chaos with a side of  unadulterated badassery (it’s a word, trust us).
“Bloodlust” the first track on Take Control is heavy, but still has that pop catchiness.  Fans will find themselves confused on whether to bang their head or break out into ‘the Carlton’ on the dance floor.  Imagine Tool covering early Killers that is how “Bloodlust” feels.  The growls give it a bite.  The second track, “Ones and Zeros”, is that one song that will make fans fall in love with music all over again.  The intro is breathtaking, the lyrics have attitude but are still beautiful; this track is how every song should make a listener feel.  
“Sapphire”, the fourth track on the album, was actually released in early 2013 as the band’s first official music video.  Beautifully composed, “Sapphire” is pretty damn close to how lyrical and vocal perfection would sound.  It definitely has that ‘OH MY GOD’ factor and showcases the bands enormous talent.  The last track, “Find My Own Way” comes back to the heaviness of “Bloodlust”, but is more of roller coaster ride, a ride that fans won’t want to get off.  It starts out fist pumping heavy, only to slow down to a gentle sway, only to get fists pumping again…controlled chaos…gentle and passionate, yet powerful and aggressive. Absolutely flawless.  
Take Control is by far one of the most intense and stunning EPs released in the recent past.  There isn’t an age maximum or minimum, or a specific genre of music fan that should pick up Take Control.  The album seriously covers all of the bases from pop to rock and old and new; all of this in five tracks.  Still can’t quite figure how that is possible, but it is, and Morrow’s Memory should be very proud of the final product.  Take Control is spectacular and brilliant from start to finish and if it isn’t getting radio attention now, it definitely should and will be.   

Sianvar - Stay Lost

Sianvar - Stay Lost
Written by Ken Bowden for Bloodrock Media on August 15, 2016

Sianvar, a conglomeration of members from Dance Gavin Dance, Hail the Sun, Stolas, and A lot Like Birds, released their debut full length album, Stay Loston August 5th.   If you aren’t familiar with Sianvar, let me introduce you; they are a super progressive/post-hardcore group made up of uber talented members Donovan Melero (vocals), Will Swan (guitar), Sergio Medina (guitar), Joseph Arrington (drums), and Michael Franzino (bass).  Their 2014 self-titled EP, Sianvar, is straight up fire and should definitely be given a listen.
Now back to Stay Lost, “Omniphobia”, the first single was blowing my mind, I blasted that shit more times than I care to admit.  With almost hallucinogenic guitars, Swan and Medina hold nothing back, and the result is mind blowing. Then “Psychosis Succumbing” debut and again, muy caliente, I was still hooked to the infectious groove of “Omniphobia” but “Psychosis Succumbing” was still damn good.  These two tracks had me salivating with anticipation ofStay Lost.
Finally, the day I’ve been waiting for, August 5th, the wait is finally over.   I’m sitting at my desk, palms sweating profusely (okay that may be an exaggeration), and I hit play.  The first track, “Stay Lost” comes on and it’s pretty good, but next up is my jam, “Omniphobia”, with riffs so dope and bass lines so funky, everything is a blur for a bit. So much so that I somehow made it to the seventh track, “Coordinate Love”, before realizing I had missed “Psychosis Succumbing”, so I have to rewind.  “Coordinate Love” and “1100 Days” are definite bangers, boasting upbeat grooves galore.
And that’s where it ends, not the album, there are still two more songs on Stay Lost, but they seem to be, quite honestly, filler. A bit disappointing, particularly when you know what a band of this caliber is capable of, that they underwhelm.  Stay Lost wasn’t a bad experience or even a less than good one, it just felt like an experience. To quote Batman’s young ward Robin “Overwhelmed, underwhelmed, nobody is ever just whelmed.” Well Boy Wonder, this guy was just whelmed.