The Black Queen - Fever Daydream (Record Review)

It has been a very long build up to this particular record. Starting with mystic and cryptic messages from the band itself through Instagram / Facebook / Tumblr and their newsletters. The road to this very piece of music has been long and, which makes it especially outstanding, incredibly intimate. Starting by sending out unique cassettes to the first 33 who signed up for their newsletter, developing into VHS' they randomly added to three orders of merch including even more riddles for the fans to solve, highlighting the importance of their followers by giving them special treatments through early access to their limited merch before the public eye even got as much as a glimpse of it, as well as sending them pieces of their music video 'Distanced' as another 'thank you' for being as loyal as they are and to show and treat them with as much respect as they in reverse treat the band. The bond these guys have created with their followers can only be described as exclusive, intimate and honest. Even more outstanding through the fact that The Black Queen have been involved in every little detail of this release, making it all a huge DIY project for everybody engaged.

In conclusion, the wait for the record to finally be released has challenged their fans' patience a lot. But they stayed sane and supportive and now that the record is finally out, the reactions have been nothing but positive so far.

I, myself, have been a fan of this band from the very beginning, honored to have received one of those cassettes at the start of it all. So to be able to give this piece of art a listen, is rather exciting. Here's what I think of it:

The intro is exactly what is to be expected of these guys, leading to the first proper track, and my personal favorite of the previously released ones, 'Ice To Never' which throws you back to 80s synth-pop. People who know the vocalist, Greg Puciato, from his main project The Dillinger Escape Plan, will be more than surprised as he starts singing. While he has proven often enough that he isn't just the maniacal frontman of Dillinger, but has an immense vocal range and musical talent in other genres. Clear are also the influences of fellow band member Joshua Eustis, who has been involved in bands such as Puscifer or his main project Telefon Tel-Aviv. Smoothly, it transfers into 'The End Is Where We Start' before diving into the smooth 'Secret Screams', which is drained with an erotic and sexual vibe in a way that only Nine Inch Nails' 'Closer' has done before. Another previously released track follows called 'Maybe We Should' tapping into a more dance and groove orientated corner. 'Distanced' on the other hand tones it all down again, dragging the listener to a nostalgic, but calm place. The same vibe continuous with 'Strange Quark' maintaining the previously set mood. 'That Death Cannot Touch' grabs you with its first notes and pulls you up to get back on the levels of 'Ice To Never', transferring into an almost outer-space mood as 'Taman Shud' kicks in. Ending the whole thing with the perfectly chosen track 'Apocalypse Morning', soothingly closing up the record in as much of a smooth way as it needs.

This record definitely received its proper way of marketing and promotional run till its release that it needed and deserved. The intimacy of it all is clear to everybody who listens a little more closely to it and especially the lyrics.

Another interesting aspect will be how they will present this all in a live show. Luckily, the wait for this won't be long since they're scheduled to play in front of a sold-out Complex (Glendale, LA) in just a couple of hours. Bringing it also to European grounds with a show at the Oslo Hackney in London on February 5th. These performances will certainly also be one of a kind and a must-see.

Without a doubt, even considering as early in the year as it is, this will most definitely claim its place in my personal Top 5 records of 2016.

Favorite tracks: Ice To Never, Secret Screams, The End Where We Start

Overall: 10/10

Cheerio xx

Tour of the Year - Parkway Drive / Architects / Thy Art Is Murder - January 23rd, 2016 - Zenith, Munich, GER (Concert Review)

The Zenith is one of the biggest venues in Munich and, especially for bands in this genre, it's one of the greatest accomplishments and verification of success to be able to play it and actually (almost) sell it out. As did Parkway Drive with this one. Just over 5.000 people attended the gig, making it PWD's biggest headine show outside their home country, Australia.

The tension before the start of the first support band, Thy Art Is Murder [7], gets more and more unbearable as the lights dim. Reason for that is the recent departure of the Australian deathcore band's front man and vocalist CJ. His vocals being rather significant for the band's sound, the new live sound would be an interesting experience. Especially since it was only the second time the new singer appeared with the band after the tour's debut in Würzburg a day earlier. 

But the doubts reveal themselves to be unnecessary as the new vocalist, Nick Arthur (Molotov Solution), delivers an outstanding performance. None the less, the most impressive, personally, are still the drum tracks and how well Lee Staton delivers them live.

Next up are one of the UK's best exports these days, Architects [10]. Due to 'only' playing a support slot, the band's setlist remains rather short, and also mostly unchanged from the one they had on their latest festival run in summer 2015, but it none the less gets the crowd moving in every corner of the venue. While their stage show never really includes much apart from a huge banner in the bag and a few light effects (or some special effects for their last headliner show at the Roundhouse in London in March 2015), this time, not even the banner made it onto the stage. But these guys don't need much of a show, their performance itself is enough to fully deliver everything perfectly and with a thundering sound as they're giving it their all. Architects always deliver, no matter their time given or the stage they're presented with.

Finally, the headliner is getting doomingly close and the lights slowly dim as Bohemian Rhapsody by Queen comes to an end. The whole room gets quiet, the stage is tinted dark red, before a few single spotlights show the silhouettes of the band members behind a curtain. A few guitar riffs in and the curtain, gracing the band's latest album cover, drops down to the ground with a boom of the drums and a just as loud bang from two confetti canons at the corner of the stage, drowning the crowd in a red and white menace of paper. Parkway Drive [9] have arrived. It takes some time, but, at latest, as soon as the sounds to Vice Grip (their first released song off of their latest record 'Ire') bellow through the hall, every single person joins the madness. The show is further undermined with special visual effects, as well as different stage set ups getting revealed as another curtain drops behind the band, and, obviously, flames shooting into the sky for the last couple of tracks.

This tour is a circus full of attractions and is not to be missed if you have any chance to attend it.

Overall: 9/10 

Panic! At The Disco - Death of a Bachelor (Record Review)

I know I'm a little late to the new P!ATD party, but it's been busy and I'd still like to add my little something to this new gem of art.

Personally, I've been excited for this baby to be out ever since the glorious 'Hallelujah' got released onto the world. The excitement never died down with each song that got put out. Such as the intro 'Victorious' which instantly throws you off your chair to cheer and dance along to Urie's significant chants, immediately marking itself as one of my personal favorites. It's no secret that Urie has an immense vocal range and certainly likes to show it off, too, which is why in songs like 'Emperor's New Clothes', 'Hallelujah' or 'Golden Days', you might find yourself in utter awe at his talent. Not only that, but the notable fact that Urie plays all the instruments himself, adds to the already over-whelming musical talent with which this record is soaked. 

While in tracks like 'Death of a Bachelor', he shows off the obvious influences of one of his long-time heroes, Sinatra, and gets more jazz-y and groovey, others, such as 'House of Memories', make you move your hips once more. If you want to or not. There's really not much of a choice. 

Lyrically, it's very clear for the most part what he intends to get across. Most obvious e.g. in 'Don't Threaten Me With A Good Time' which covers the nightlife and its temptations, including drugs, alcohol, sex and the consequences it comes with for the next morning, its mood perfectly set instrumentally. 

Apart from the musical aspect of the record, Urie's has also done one hell of a job with all the videos he delivered to the songs so far, especially 'Emperor's New Clothes' probably being the most outstanding of them.

All in all, while the record does have a bit of a low point with 'The Good, The Bad and The Dirty', other than that, it's a rather flawless record, delivered by one of the brightest minds of music these days. 

Having gone through all the member changes, being the only original member left, Urie still lives up to the name and delivers another marvelous record with 'Death of a Bachelor'.

Favorite song(s): Victorious, Impossible Year, Emperor's New Clothes

Overall: 8,5/10

Cheerio xx