RED "The Evening Hate" EP

(c) 2019 Red Entertainment/The Fuel Music

1. The Evening Hate
2. From The Ashes
3. Hemorrhage (In My Hands)
4. The Evening Hate (Alternate Version)
5. From The Ashes (Acoustic Version)

Michael Barnes--Lead Vocals

Anthony Armstrong--Lead & Rhythm Guitars, Backing Vocals

Randy Armstrong--Bass, Piano, Backing Vocals

Dan Johnson--Drums, Percussion

Modern metal artists, RED, have returned with a brand new EP just in time for Christmas.  Of course, to give this EP to anyone as a gift, you will either have to download and burn it, or give someone an iTunes or Amazon gift card so they can download it, as The Evening Hate EP is being released in digital format only (at least for the time being). This is a bummer, but not a defining obstacle for me, as I will definitely be burning it for myself in the highest format possible as soon as I can, as I have been a fan of this band and their alt-metal/modern orchestral metal sound since I first picked up The End Of Silence more than a decade ago.

On this new EP, the band is once again a full-time four-piece unit, as long-time session and touring drummer, Dan Johnson, has the band as a full member, joining the founding trio of the Armstrong twins and lead vocalist, Michael Barnes.  Additionally, this is the first recording for the band without the backing of a label (previously RED had recorded for Sony/Essential), as the band has struck out on their own.  Honestly, this made me a bit nervous, as many times bands lose some quality of product when they don't have the big money that labels often provide.  It turns out, I needn't have worried.

The Evening Hate finds RED in fine form, picking up where they left off with their last studio release, 2017's Gone.  Actually, now that I think of it, that is not entirely true, as this EP finds the band returning more to their symphonic approach to writing songs, which I am happy about.  While I like Gone, it lacks that something that set RED apart from so many other bands, especially on End Of Silence , Of Beauty And Rage, and Innocence And Instinct.  While not as heavily infused with programmed strings as those albums, there is a "bigness" to the sound of The Evening Hate that was missing to a large degree on Gone.  That big, epic feeling is especially felt when presented with the HUGE cinematic version of the video the band released for the title track.

Clocking in at nearly 14 minutes in length, this video is actually only slightly shorter than the three new songs released on the EP.  If you don't feel like sitting through the full 13:56 of this version, here is the much shorter, 4 minute take (but trust me...you are missing out!):

The second new, original song on the EP is "From The Ashes", which finds even more symphonic elements returning to the band's sound, including the use of some string elements at the beginning, as well as in a supporting role throughout the track, and then again in a big, emotive way on the outro.  I say "string elements" because these are most likely programmed, but their effect is not lost on the this track, as they only serve to enhance the power of  Barnes' massive voice, which delivers an emotional intensity unmatched by many other singers today, in my opinion.  Whether using his powerful clean delivery or his enraged screams, Barnes has an instantly recognizable voice that is truly unique in metal today.  The guitars here are excellent, with big, sweeping sections that are alternately aggressive and melodic, brutally heavy and also hauntingly subtle in places, and the rhythm section is powerful, with the drums sounding especially full in the mix.

The other new song here is actually a cover, and it is an excellent choice.  "Hemorrhage (In My Hands)" was originally performed by quite possibly my favorite post-grunge rock band, Fuel.  The song was a MASSIVE hit for Fuel in 2000, spending 12 weeks atop the Billboard Modern Rock Tracks chart, hitting number 2 on the Mainstream Rock chart, and cracking the Billboard Top 30.  That's big, folks.  So, for a band to tackle such a well-known and widely-appreciated song is no small feat.  I am happy to report that the band handles it with a high level of success.  While the song remains relatively close to the original musically, it is the way that Barnes handles the vocals that is so impressive to me.  Rather than trying to ape the emotional delivery style of Brett Scallions (Fuel lead singer)...or even the way that Chris Daughtry tackled the track on American Idol...Barnes takes on the song with his own style, utilizing a stark, haunting style that sounds very much like it may have been done in a single take.  The music is largely acoustic in nature, with Armstrong's guitar carrying the song's weight here.  It will be interesting to hear if a full band version of this track is used in the live setting at some point, or if this is where the song remains stylistically as long as RED chooses to perform it.

The other two tracks on this EP are alternate takes on the two originals.  Both are done very well, and I have to admit that the acoustic rendering of "From The Ashes" is particularly interesting to me, as it really changes the dynamic of the song.  Both alternate takes are nice additions here, although I would be dishonest if I didn't say that I would sacrifice either (or both) if it meant we could get even one more new, original, full band song.  

I sincerely hope that RED returns to the studio soon, and that a physical product release will accompany the next release the band comes up with.  Perhaps RED is planning to release a couple of digital-only EPs, and then to combine them into a single physical CD, which is fine with me.  I realize there is always the chance of musical flow being interrupted by such a product packaging, but I think most fans of a band...ANY band...would welcome having their favorite songs available in CD form rather than having to stream the same music.  At least the music fans I know would prefer that...

Rating:  As I frequently state, I'm not a fan of rating singles and EPs, but in this case I feel a cranking of an 8 is not out of line.

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SKILLET "Victorious"

(c) 2019 Atlantic Records

1. Legendary
2. You Ain't Ready
3. Victorious
4. This Is The Kingdom
5. Save Me
6. Rise Up
7. Terrify The Dark
8. Never Going Back
9. Reach
10. Anchor
11. Finish Line
12. Back To Life

John Cooper--Lead & Backing Vocals, Bass

Korey Cooper--Rhythm Guitar, Keyboards, Programming, Backing Vocals

Seth Morrison--Lead Guitars

Jen Ledger--Drums, Vocals

It's hard for me to believe that Skillet has been around for ten full albums now, with a career spanning over two decades.  Granted, I was a bit late coming to the Skillet party...or, rather, I took an extended break in returning to the party.  I was on board with the debut, self-titled record clear back in 1996, as I had no problem with the post-grunge sound the band utilized at that time, and rather enjoyed the band with the silly name.  But then, with the sophomore Hey, You...I Love Your Soul, and it's electronic alterna-pop sound, I was outta there...and I didn't return until 2003's Collide record, which is where the modern sound of Skillet really started to evolve.  Since that record, I have been a dedicated Panhead, with my entire family enjoying the band now, and all of us having notched Skillet concerts on our live music belts over the years (with another show planned for summer of 2020).  

With this newest album, Victorious, the band returns for more of the huge arena rattling modern hard rock that they have blasted their fans with in various forms and fashions since that Collide record.  In fact, upon hearing the lead single, the infectious anthem "Legendary", I was actually a bit concerned that Skillet had bought into their own hype a bit, resting on their musical laurels and resorting to churning out formula-based radio rock.  While "Legendary" is catchy and hits relatively hard, it wasn't necessarily what I was hoping to hear from the veteran band, especially after the previous album, Unleashed, was reissued as Unleashed Beyond with some bonus material that found the band experimenting with heavier sounds (the Lacey Sturm supported "Breaking Free" and the heavy riff rocker, "Set It Off") as well as more mainstream rock balladry ("Brave"), and even a rather classic rock-sounding track ("You Get Me High").  And yes, I know, sometimes bands do things with bonus tracks that they wouldn't normally do, but after the very strong fan (and radio) response to "Breaking Free", and the positive reactions to both of the band's side projects (John's Fight The Fury and Ledger's...well...Ledger), I really had hoped for some musical growth and not stagnation or *gasp* regression.

It turns out that all I really had to do was get the CD and be patient for a couple of songs, as musical growth abounds on Victorious, without doing anything to alienate their heavy rock fan base.  There are plenty of hard and fast numbers, from the lead single "Legendary" (which WWE picked up for the theme song to RAW) to the aggressive "You Ain't Ready", to the album-closing metallic blast of "Back To Life", complete with a massive jam session at the end of the song, very similar to what we heard on "The Resistance" when Unleashed ended.  And those are great songs, don't get me wrong.  I'm sure they will all be staples in the new live show and will have fans on their feet, screaming along and pumping their fists in the air.

For me, however, the greatness of this new album comes in the not-so-tried-and-true areas.  Take for example the art rock, Imagine Dragons-styled "This Is The Kingdom", with its big, catchy intro and punchy-but-sing-along chorus.  Nowhere in the Skillet catalog will you find a song sounding anything like this one, and I truly hope this is released as a single as it will expose a completely different side of the band to people who think that Skillet has only two speeds: full-blast and then ballad.  And while "Rise Up" has plenty of fist-in-the-air power to it, it is impossible to miss the dare I say dance-able groove of the track, even when John's roaring through the chorus of the song.  And lest you thin Seth's guitars are overlooked or underplayed, tracks like "Reach" or "Save Me" showcase just how truly great he is on guitar.

For me, some of the greatest points in this album come in the slower moments.  Take for example "Terrify The Dark", a truly great track which really showcases the vocal talents of both John Cooper and Jen Ledger. While, as a whole, this album has a bit less Ledger than the past couple have, her moments are big and powerful, and nowhere is this more evident than "Terrify The Dark".  The vocal interplay between the two has become a big part of who Skillet is, especially on the slower material, and while this isn't a true ballad, there is plenty of power and emotion poured into the song from both singers.  This is easily one of my favorite tracks on the album, and again one that I hope is released as a single.

Ledger is also a strong presence in another one of the album's shining moments, the title track, "Victorious".  Rather than simply supply the response to John's lead vocals, Ledger has a supporting melodic run to accompany the lead, adding a depth that is not present in many of the harder numbers.  This mid-tempo number about overcoming depression and anxiety is powerful and one that John has said was inspired by, among other things, the death of Linkin Park's Chester Bennington.

Another track that will likely catch longtime fans a bit off guard is another of the most powerful songs here, the penultimate "Finish Line".  There is a sassiness...even a strut...to this song that is not standard Skillet fare.  The vocal swagger that Cooper brings to the opening verse is almost tangible as he grins knowingly through the lines, "Good evening my people up in the chandeliers, The wining and dining, the menu blood sweat and tears".  Pair that with the HUGE, thunderous chorus that will have everyone chanting "Heroes never die!  Gonna make it to the finish line! We know, we'll survive.  Even if we have to crawl to the finish line!"  For me, this may be the most inspirational track the band has ever put together and should be their next massive hit, being picked up by athletes and teams across the competitive spectrum, from the greatest stars to the biggest underdogs all being able to claim some connection to the challenge issued by the lyrics here.  

While many may decry the band's seeming lack of faith-based lyrics, if a person digs into the words of the songs, there is plenty of faith on display here.  No, the band doesn't beat the listener over the head with Bible chapters and verses, that has never been their forte.  But there can be little mistaking the spirituality of songs like "Anchor", "This Is The Kingdom", or "Terrify The Dark".  And while Cooper has expressed his understanding that his band exists in both the Christian and secular worlds, he has also refused to back down from his stance of faith and interjects his beliefs thoughtfully into his projects, even if the listener has to do some soul searching of their own to piece together how those lyrics also fit into their own life.  

Overall, Victorious took me into different musical places, utilizing the tried and true, as well as the unexpected, to create an album that is both accessible and challenging for long-time fans.  For those who don't want their favorite bands to grow and change and expand, I would imagine Victorious is a bit uncomfortable in places.  But for those who are willing to go on a musical journey to some new places, while also stopping at some beloved checkpoints along the way, Victorious may be the album of the band's career.  I'm willing to go for the ride, personally, and while I am not sure if this is the best album the band has ever made, it is definitely a really, really good record that I continue to spin with great regularity months after its release.

Rating:  Definitely a cranker, blast this one at 8.5.

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SCOTT STAPP "Space Between The Shadows"

(c) 2019 Napalm Records

1. World I Used To Know
2. Name
3. Purpose For Pain
4. Heaven In Me
5. Survivor
6. Wake Up Call
7. Face Of The Sun
8. Red Clouds
9. Gone Too Soon
10. Ready To Love
11. Mary's Crying (Bonus Track)
12. Last Hallelujah (Bonus Track)

Scott Stapp--Vocals

Whether you loved or hated him and his band, Creed, in the 1990s and early 2000s, Scott Stapp is one of the biggest, most recognizable voices of his generation.  Often considered an Eddie Vedder clone...which, for many, is NOT even close to a compliment...and despite the multitude of hits Creed strung together, the more than 50 million albums sold worldwide, and the multiple successful tours, Stapp, and by extension Creed, could not catch a break from the people who sought to slander them.  Some of that was, of course, the same thing that bands such as Nickelback, Pearl Jam, even Metallica, have faced as their careers skyrocketed and the pockets of people who "have been there since the band was nobody" became disenchanted that their own personal favorite band now belonged to millions.  But some of it was because of the demons Scott Stapp has fought against, fallen to, and then regrouped himself to fight against once again.  To be fair, Stapp has owned up to his failures, even opened up about them in his book, Sinner's Creed, and in numerous songs, including the powerful title track to the latest album by the band Art Of Anarchy, The Madness.  And, whether you love or hate him, the man continually feels called to keep writing, recording, and releasing new music to his fans, both as a part of his chosen profession, but also as a means of staying in touch with his fans and spreading a message of hope to those who seek it.

The Space Between The Shadows is Stapp's third solo album, following the multi-platinum success of  2005's The Great Divide, and the critical acclaim and Christian rock chart success of 2013's follow-up, Proof Of Life.  This new record, however, may be his most consistent musically and his most honest...perhaps even vulnerable...lyrically.  

The album kicks off with a bang, as two of the first three songs are hard-edged rockers, with the second being a tough, mid-tempo snarler of a song.  "World I Used To Know" laments the state of the world we live in today, a world filled with hate and anger and division among people.  The track starts off with a howling wind and the sounds of a distorted radio talking about dark...perhaps apocalyptic...events taking place in the world.  There's a steady drum build then the explosion of guitars as the song kicks itself in.  Stapp sounds strong, smooth yet edgy, his voice unmistakable to anyone who listened to rock radio from about 1995 on.  The uncredited (more on that in a bit) is definitely strong, with special note given to the gritty, buzzsaw feel of the rhythm guitars and some really big sounding drums.  Stapp appears to be supplying his own backing vocals, which is neither good nor bad...it just is, and it works fine on a punchy rocker like this one.

That edgy, mid-tempo number I mentioned a second ago is up next, as "Name", finds Stapp reflecting upon his life as a young child abandoned by his father and the pain that abandonment caused.  More mid-tempo than ballad-esque, "Name" is truly autobiographical, as he sings,  "I was a child/I was abandoned/Too young to fight to have a say/Oh God what seemed so heavy handed/Made me the man I am today."  Later in the song, Stapp makes a promise to his own children that they will never know the pain that he experienced as "...a son without a father/He gave his name and walked away...".  This is also the track from which the album's title, The Space Between The Shadows, is referenced, when Stapp refers to himself as both the "space between the shadows" and the "light inside the sorrow" for his own children, something that he never had for himself.  Poignant and powerful stuff.

With the third track, the album really comes alive with the lead single, "Purpose For Pain", which is the pinnacle of the album, musically.  Bordering on metallic, "Purpose..." is one big guitar hook right from the start as the rhythm guitars swirl among the big, thundering drum crashes with hints of synthesizer providing some musical fill in the few gaps to be found in the track.  Stapp wails about how he "...Shut every door but the right one/I fought the devil...and he won" when singing about his addictions and personal demons.  The song is listed as the third biggest hit on www.christianrock.net for the 2019 year, and it is easy to see why.  A far heavier rocker than anything I can remember Creed doing, this song is a brilliant piece of modern hard rock and one that has found its way into my workout mix.  Check it below...

"Heaven In Me" slows things down significantly, as the album enters into ballad territory for the first time.  A largely acoustic track, "Heaven In Me" is about as far away from "Arms Wide Open" as it can get musically, yet in both cases, it was Stapp's voice that does the majority of the heavy lifting.  "Wake Up Call", however, is another ballad that finds itself leaning a bit more in the direction of Creed, particularly when a children's choir is interjected into the piano-driven song.  That the track manages to avoid becoming overly sappy is in large part due to the song's subject matter: finding your way back from your own personal turmoil and making a change for the better..."if you want to/This is your Wake Up Call/And you can change it all/If you want to...".    

There is plenty of punch to keep things moving along through the first ten tracks, however, with "Face Of The Sun" being a catchy, positive rocker, and "Survivor" hits hard and heavy as a bottom heavy riff-rocker with a message of never quitting on oneself or letting anyone deter you from moving forward, as Stapp snarls, "I'll never bow down/Never own defeat/Cuz you messed with a fighter/I stand here, Baptized by the fire/A Survivor".  Sounds like the kind of call-to-arms anthem that Skillet might have placed on their latest effort, Victorious, but outside of the lyrical direction, the song styles really aren't all that similar. 

While I tend to gravitate towards the harder/heavier moments of an album, those aren't always my favorite tracks on any given disc.  As such, on Space Between The Shadows, my three favorite tracks on the album would be the rockers "Purpose For Pain" and "Survivor", and the the slower (not really a ballad), powerhouse of a song that is "Red Clouds".  This song is huge in its sound, and Stapp really delivers a vocal performance to match the style and scope of the track.  Probably the most "Creed-like" song on the record, it still has a heaviness and urgency that Creed hadn't really had, at least on any of their singles, since the My Own Prison days.  Stapp really seems to be pondering the state of the world in "Red Clouds" as he opines, "These are the days we live in/Sliding, winding, finding our way through the maze/The times of the unforgiven/The Light inside it slowly fades away"...and that's just the first verse.  For those who question where Stapp is at spiritually on this record, the chorus seems to answer that question, as he sings, "Reign down/Reign down/Red Clouds/Wash over me/Reign down/Reign down/Red clouds/Come and set me free".  For those who may miss the meaning, "Reign" would seem to refer to Christ coming to Earth to set up his reign, while "Red clouds" seems to be a reference to events in the Bible book of Revelations.

"Gone Too Soon"is a song of mourning for the loss of people who, as the title implies, have left us, seemingly before their time.  The video for this song incorporates images of Prince, Soundgarden's Chris Cornell, and Linkin Park's Chester Bennington, along with soldiers at war, and people visiting the grave sites of those they have lost.  Yet, when you really listen to the lyrics you soon discover that the mourning feeling of the song is gone after verse one, and the song gives way to a message of hope that we will be rejoined with those that we have lost.  Stapp really delivers vocally here, especially when he pours his emotions into the last few lines, when he belts out, "Gone too soon, my friend/I know you're dancing with angels on the wind/Its not the end/Until I reach forever/And we're together...".

"Ready To Love" isn't a power ballad or anything, but it is definitely a much slower song than "Purpose For Pain" or "World I Used To Know", and the incorporation of strings in the track gives it an epic ballad feel, which would have made for the perfect album closer, except this isn't where the record concludes, as there are two "bonus tracks".  I give that term the quotations treatment, because I have yet to find a version of this album without the bonus tracks, although I am told that there is a version with just ten cuts.  If that is truly the case, then I would avoid that version and find this one, because the two "bonus tracks" are among the strongest on the record.  "Mary's Crying" is a poppier mid-tempo track with a strong message and some of Stapp's best singing, and "Last Hallelujah" is a heavier, plodding mid-tempo number, similar to "Red Clouds" in style and tempo, but with a bit less darkness to the sound.  Again, a strong lyrical message and a great performance from Stapp really pushes this song for me, and I find myself repeating this track every now and then...which, to be fair, I do with "Purpose..." and "Red Clouds", also.  

The packaging is pretty solid, overall, although I am still a fan of the old-school jewel case as opposed to digipacks.  That issue aside, the booklet contains full lyrics and writing credits for each song, as well as a thank you section and the typical production credits.  What it DOESN'T include, however, is credit for who plays what instrument on the album.  Unless I have completely missed it somewhere, I can't find a single name of a guitarist or drummer or anything.  I have to wonder if Escape The Fate's guitar player, Kevin "Thrasher" Gruft plays on the album as he is thanked in the credits.  It's also worth noting that Stapp give special, specific credit to Aerosmith's Steven Tyler "for giving me hope and teaching me to 'pass it on'".

This is a powerful album, musically and especially lyrically.  To say that it is not Stapp's finest post-Creed effort is foolish; to say that it is his best effort ever is possible.  The sad thing is that there will be those who deny themselves the opportunity to hear this great record simply because they continue to do the once-trendy thing of bashing the man and his former band, largely because of their success.  That is their loss, however.  It doesn't need to be yours.  Get The Space Between The Shadows and see if you can't find something to love about this album.

Rating:  Love him or hate him, this album is crankable!  Crank The Space Between The Shadows to 9.

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IGNESCENT "Into The Night/Demons 777" split-single

(c) 2019 Independent Release

1. Into The Night
2. Demons 777

Jennifer Benson--Lead Vocals

Deven Elion--Lead Guitars

Joey Sepulveda--Rhythm Guitars

Ian Sebastian--Bass

Chris Calix--Drums

Ignescent means "emitting sparks of fire when struck".  Think flint and steel.  If you are still in question, check out the picture above.  Notice the sparks?  There you go!  Now, Ignescent the band is trying to spark a fire of their own in the Christian rock scene with the release of this two track single, "Into The Night/Demons 777".  Combining aggressive guitars and big rhythms with pop songwriting sensibilities and catchy hooks, this Chicago band has refined their sound and style, pulling in influential elements of bands such as Evancescence, Flyleaf, and Paramore, with bits and pieces of Fireflight, particularly in the vocals of Benson, while creating a sound that is all their own.  

The first single, "Into The Night" starts off with some programmed elements introing an aggressive percussion section from Calix, and a rumbling bass line courtesy of Sebastian, when a furious rhythm guitar line grinds its way into the track, setting the stage for the smooth, soaring vocals of Benson kick in.  Elion's leads run up and down the verse sections while Sepulveda's rhythm guitars saw their way through the track.  The keys/programming here are uncredited, but they serve as a big part of this rapid-fire, uptempo track.  As I stated before, there is a definite pop sensibility to the way the vocals are produced and layered in the chorus section, but the rock is unrelenting throughout this song about the redeeming power of Christ's love, even when we are at our worst and fighting our own darkness.  And while the whole track works extremely well, it is truly driven by the vocal approach of Benson...and punctuated by the crushing kit work from Calix, who really brings the thunder in this track.  The song has done huge things for the band, and if you somehow missed it, you would do yourself a huge favor to seek it out.  Check out the video below.

The other track here is the title track to the upcoming 2020 CD, Demons 777.  Equally hard-hitting, with edgy, aggressive rhythm guitar lines, the song is a bit darker in its sound.  Even the vocal approach from Benson is a bit more angst-driven, with less high-end soaring and more use of her lower-range.  Don't take this to mean that she plays it safe or that she never unleashes, because the is not the case.  However, there is a usage of effects on her vocals, particularly leading into the second verse section, that ups the modern rock feel here.  Less pop-oriented than "Into The Night", the buzzsaw rhythm guitars are a bit more prominent here, and the overall feel of the song is more aggressive, even if it isn't quite as fast, tempo-wise.  Currently climbing the Christian rock charts, "Demons 777" is a compelling piece of modern hard rock that I hope is representative of the overall sound of the record.

Produced by Cameron Pierce Mizell, who has worked with bands such as Memphis May Fire and Sleeping With Sirens, these tracks from Ignescent show not only a band that is on the verge of breaking through on a national level, but also a band that knows who they are and what they are trying to do musically.  Focused, energetic, and accessible while remaining faith-driven in their purpose, Ignescent is poised for great things if the rest of Demons 777 sounds anything like the two tracks here!  You can follow the band on Facebook and Twitter at @ignescentmusic as well as their website, www.ignescentmusic.com

Rating:  I don't normally rate singles, but the music here is definitely worth seeking out!

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