Monster Jams: Tool - Fear Innoculum (released 8/30/2019)

Monster Jams:  Tool - Fear Innoculum (released 8/30/2019)

It's not easy to review an album like this, an experience that must be heard, but I will take a stab at it nonetheless.  Tool has always been a visionary act, an astounding collective fueled by imagination, artistry, and serious chops.  Thirteen years after their last release, they are back with Fear Innoculum, a deft masterpiece that proves to be well worth the wait--and undoubtedly houses hidden treasures that will emerge upon repeated listenings.  There is a depth to these songs that seems to dwarf most of what's out there, and there is a brazen thirst for exploration that remains as unified as it is bold.  The band embarks upon songs that feel like the sonic equivalent of epic journeys, and they do so with an ease that belies the innate grandeur of their musical dexterity.  The cuts here are fierce, haunting, playful, driving, ominous, absolutely beautiful, and, most importantly, fully immersive.  Despite running contrary to anything that the current landscape represents, these powerful contributions to the band's robust catalog are nothing if not accessible, this in spite of the scope and complexity on display.  Most tracks exceed ten minutes in length and cover a lot of territory, but there is a cohesion that never falters.  Expectations are repeatedly cast aside so that the music can explode in another direction or recede into a valley, where it may emerge as either a loving harmony or an aggressive attack.  This may sound rather exhausting, though it is truthfully anything but; there is no fatigue when dipping into this provocative pool, only excitement, and perhaps even joy.  I'm not sure exactly what I wanted from Fear Innoculum, but I know it will take some time to properly embrace what I got--and it's more than we deserved.

Final Grade: A+

Well. it took long enough, but Fear Innoculum is a delightful cabinet of curiosities for fans to cherish and explore.

Monster Jams: My Diligence - Sun Rose (Released 1/30/2019)

Monster Jams: My Diligence - Sun Rose (Released 1/30/2019)

Terrible name, gnarly Belgian band.  Some might bill this as stoner rock or some variety of progressive rock, but I'm not really sure where it fits.  I don't particularly care either--I'm not too keen on this whole label craze with what seems like a zillion different little niches where sub-genres of music are concerned.  In this case, I'm totally cool with filing My Diligence under rock and taking it from there.  These guys are aggressive, with driving riffs, a steady beat, and some serious cohesion keeping the sound exquisitely forceful and equally tight.  The vocals, however, are subdued if not lethargic by comparison, though the melodies are sweet and the grooves pair nicely with the band's emphasis on momentum.  The precision involved is ruthless, and even those who don't favor the sound should be able to acknowledge the talent involved in crafting this music.  The contrast on display yields a surprisingly smooth output that never veers off course while blancing catchy harmonies against a potent dose of adrenaline.  Maybe it's a weird marriage; it doesn't matter, what matters is that it works.  Standout tracks include "Resentful,""Backstabber," and "Lecter's Song."  I'm not sure that anything included in this release is truly explosive, but there are no misfires.  Sun Rose is a thirty-eight minute foray into a hypnotic sound that will not necessarily blow your mind, but it will take you to some unique places, and it will leave you wanting more.

Final Grade: B+

Monster Jams: Clutch - Book of Bad Decisions (released 9/7/2018)

Monster Jams: Clutch - Book of Bad Decisions (released 9/7/2018)

Clutch has released a new album, the latest advance in their quest to transition into a rock and blues band with some jazz influences popping up in the mix as well.  There are still moments when they display the fire and gusto that made them a force to be reckoned with in their wild and woolly days, but the band has clearly embraced restraint and nuance to go along with advanced musicality at this stage of their evolution.  This may or may not be a bad thing; the album definitely rocks, and even if there are boundaries in place and less ferocity than old school fans may yearn for, your average rock fan is more apt to enjoy Book of Bad Decisions from start to finish.  For many, this new approach may be preferable--if your opinion of the band has been rising since they started taking fewer risks and toning down their intensity (say somewhere between the release of Robot Hive/Exodus in 2005 and From Beale St. to Oblivion in 2007), you may rate this among the band's best offerings.  If, on the other hand, you greet each release from these former stoner rock titans with some measure of hope that the guns blazing glory of Elephant Riders will rise from the ashes, you're bound to be disappointed.  I fall somewhere between these two categories.  I enjoy the new flavor, and I can't dispute the fact that this is a quality album (though it must be stated that it offers more material but less punch than their 2015 album, Psychic Warfare), but I wouldn't dare put it up there with releases like the previously-mentioned Elephant Riders, Blast  Tyrant, or Transnational Speedway League.  Is the band more precise?  Absolutely.  Are they still doing it their own way and making raucous noise?  Certainly.  Does it compare to that era when they offered up wild exploration and deftly intertwined metal, funk, and something akin to rage in the first half of their discography?  Man, I don't think it's even close.  Still, Book of Bad Decisions is a tight collection with several killer grooves, and Neil is still spitting about absurd shit even if he has mellowed out a bit.  "Hot Bottom Feeder" and the title track even flirt with the notion of serving as throwbacks to the band's furious past.  Other standout tracks include "Gimme the Keys," "In Walks Barbarella," and "H.B. is in Control."

Final Grade: B-

Monster Jams: Ultraphonix - Original Human Music (released 8/3/2018)

Monster Jams: Ultraphonix - Original Human Music (released 8/3/2018)

A killer surprise, Ultraphonix's Original Human Music is a stellar album that may be the best rock album to hit my radar in 2018.  Heavy on variety, the album offers up some dope rock that leans toward metal, some funky jams, a soulful ballad or two, and frequent splashes of jazz and blues to keep things popping.  It never misses, and as so-called "supergroups" go, singer Corey Graves (Living Colour), guitarist George Lynch (Dokken), bassist Pancho Tomaselli (War, Philm), and drummer Chris Moore (Cry Wolf, Damage, DeathRiders), deftly intertwine their respective talents to produce something new and distinct.  While their efforts do conjure their greatest strengths, the end result isn't a nod to any of the performer's bands and certainly seeks to cover new ground.  This is a key element of the album's success, and it is impressive that the band is able to take an experimental approach to much of the material without sacrificing intensity or cohesion in the process.  Everyone has brought their A game, and everyone has their moment to shine, though Graves occassionally dominates the proceedings with his range and passion.  Though he may not enjoy the same fanfare as Lynch, Tomaselli surely holds his own on bass, and while George shreds all over the place in blistering displays of talent and vision, Pancho provides Ultraphonix with a lively heartbeat and several deft flourishes of his own.  Moore's work here is a bit more deliberate and less showy, but his steady hand is a key element of the band's ability to cover so much territory without getting lost in the wilderness.  Standout tracks include "Walk Run Crawl," "Free," "Wasteland," and "Take a Stand," but you won't find a bad cut on this gnarly recording.  Highly recommended!

Final Grade: A+

Short Attention Span Review: Dead Cross

Short Attention Span Review: Dead Cross 

In fairness,  I should make my readers aware of the following tidbits:

1) Faith No More is my favorite band, and as such, there is little doubt that I would classify Mike Patton and the versatility and creativity that he brings to his vocals as the best things ever to happen to any microphone, anywhere.

2) I'm a diehard Slayer fan, and while I take nothing away from the band as a whole, I have stated on more than one occasison that if the band were to offer any album featuring Dave Lombardo as a drums-only release featuring his work on the skins alone, well, I would snatch that shit up in a hot minute.

So, this whole Dead Cross thing is a bit of a dream project as far as I'm concerned, and I want to make this clear as I obviously have a considerable bias at work as I sit down to write this review.  By the same token, these tidbits should denote a potent set of expectations regarding this latest release from the throbbing treasure chest of unruly sounds that is Ipecac Recordings.  As with anything one approaches with high hopes and a decided thirst, it was entirely possible that even a solid recording would have been a bit of a disappointment.  Yes, I listened to this album mere hours after it was released fully expecting to hear something noteworthy, and I'm very happy to report that I wasn't disappointeed.  In point of fact, Dead Cross has surpassed my expectations, and if there's a better way to spend 28 minutes listening to music, I'm not aware of it.  Most surprisingly, while Patton and Lombardo both rise to new heights and bejewel this stash of hardcore gold with the very best that they have to offer, it's the guitar work courtesy of Mike Crain (Retox) that really puts this sonic blitz over the top.   Justin Pearson (Retox, the Locust) also nails the bass parts for this brief but incredible descent into unbridled fury, but I was constantly amazed by the twists and turns that Crain threw down, thrashing and grinding his way through a guns-blazing assault on the eardrums that never fails to surprise or entertain.  Quirky, energetic, and brimming with tongue-in-cheek hostility, this is hardcore at its most enticing and inventive.  Dead Cross is a serious kick in the pants that should thrill any fan of exciting music in general, and those who are enamored with any of the participants will find everything they're hoping for and more.  Make no mistake, this is a fiery bundle of lunatic rage where 9 out of 10 songs come up short of 3 minutes in length, yet no stone is left unturned.  Standout tracks include every fucking one of them, no bullshit whatsoever, my friends.

Final Grade: A+ 

Buy this shit now!!!!!!!

Psychic Warfare from Clutch (released 10/2/15)

Clutch is back with a new album, unleashing Psychic Warfare on their legions of fans.  They remain consistent, churning out a steady stream of rowdy rock and roll with a touch of blues while a deranged lead singer drops curious vocals with a nifty combo of grit and style.  Clutch will never be as heavy as they once were, but this record is a bit more aggressive and a bit less somber than some of their groovier releases.  There's some serious bravado on display here, and it cannot be denied that Psychic Warfare offers listeners a thumping good time with an emphasis on excess.  Yet it still emerges as a far cry from Elephant Riders or the band's glorious self-titled album, so it's hard to review this one without penalizing Clutch for being so damn awesome once upon a when.  Is new Clutch that much different from old Clutch?  Well, while the band has always remained true to themselves, they have certainly grown over time.  As musicians, these guys are truly top-notch, and they are better at what they do now then they were back then.  However, there was something damn near primal about those unruly days when the sound was a bit more raw and everyone was a bit angrier (and the lyrics were a bit sillier) that has proven difficult to replace.  Having said all that, this is probably my favorite album that Clutch has released since Elephant Riders and it is a real kick in the pants.  I love "X-Ray Visions," "Firebirds," and the semi-operatic "Son of Virginia," and there isn't a song on Psychic Warfare that doesn't work.  It's a quality recording that is worthy of the band's legacy even if it is a bit overshadowed by those monumental releases that still define these unique rockers from Maryland.

Final Grade: B

Clutch is back with another rad record. unleashing Psychic Warfare on eager listeners.

Slayer - Repentless (Released 9/11/2015)

Slayer hit us with Repentless today, the first album the band has released since Jeff Hanneman passed away.  The impossible task of stepping in for Hanneman falls upon Gary Holt of Exodus.  Holt is a quality guitarist and he works hard to fill a significant void, though his efforts are somewhat diminished by Kerry King taking on a larger role.  For the most part, King actually plays it straight, but there are enough "Hey, look at me!" solos around to drag the proceedings down at times.  Paul Bostaph fills in nicely for Dave Lombardo on drums; there can be no doubt that he fits this band just as well as Lombardo, though I still give Dave a slight edge in ability and a bigger edge in finesse.  Tom Araya does a fine job with the vocals and bass, but that should come as no surprise.  It's a good album, much better than much of what's out there right now.  How does it stack up alongside Slayer's best recordings?  Come on, man.  Still, an average Slayer album trumps a top-shelf disc from the vast majority of acts playing the heavy metal scene in 2015.  I contemplated giving this album a "C+" but it occurred to me that I wasn't being very fair.  This would get no less than a "B" if it was released by most bands in the same vein, and there are several big name entities out there that have never produced something as worthwhile as Repentless.  The opening track, an instrumental entitled "Delusions of Saviour," is perhaps my favorite cut, though it seems like it should exist as the intro for the title track.  Speaking of the title track, the song is cool but the "Repentless" video is totally gnarly.  Slayer + Danny Trejo + a grisly prison riot = 1 extremely metal music video.  Other standout tracks include "Piano Wire," the punk-esque thrashfest that is "You Against You," "Vices," and "Pride in Prejudice."  I don't think that any of these offerings stack up well against any of Slayer's best cuts, but none of the songs on Repentless fall flat.  In the end, I am enjoying this one, even if it will never be confused with one of this legendary metal band's greatest albums.  It's still Slayer, even if things look and sound a little different, and Slayer still raises hell better than anyone.

Final Grade: B-

Slayer's new line-up delivers a solid album that is head and shoulders above
most of what's out there right now, though it is surely a far cry from their best stuff.

Slayer - Repentless Singles (Album is Due Friday)

Like many Slayer fans, I'm looking forward to the release of Repentless on Friday, but I'm also a bit conflicted about this latest offering from heavy metal's biggest and baddest act.  While Dave Lombardo is probably my favorite drummer, it isn't really his absence that bothers me.  No, I'm still on board in light of that unfortunate development, largely due to the fact that Paul Bostaph is a monster on the skins in his own right.  It's the fact that Jeff Hanneman is no longer around to contribute that makes me wonder if the album will measure up to the band's considerable legacy.  Fortunately, Slayer has dropped four singles to give us some idea of what to expect.  None of them are bad, that's for sure.  Each new song has some value and there is surely no indication that Repentless won't be a solid release.  Having said that, none of the songs are great either, leaving one to wonder if we can hope for more than an average record from Tom Araya, Kerry King, Bostaph, and newcomer Gary Holt.  Slayer fans don't dig on mediocrity and the band has always rewarded their feverish base with blistering albums loaded with rich songs that most metal acts wish they could dream up.  It will be interesting to see if Repentless rises above the four decent singles that have hit the scene or simply offers up more of the same.  I guess it's possible that the rest of the songs could suck and Repentless could wind up being the trainwreck that some longtime fans are expecting, but I doubt it.  This is Slayer, after all.  Anyway, I'm going to provide track notes for the singles and you can drop by on Friday for a review of the album itself.

Tracks released thus far:

Track 2 - "Repentless" - Probably the strongest single we've gotten thus far, this is a fitting nod to Jeff Hanneman's love for speed and aggression.  It's a brief jaunt with a nifty chorus and it isn't overburdened with a lot of that Kerry King "Fuck the cohesion of the song and check out my solo!" bullshit.

Track 5 - "Cast the First Stone" - Brooding and brutal, it has some punch even though it doesn't really make any attempt to stray from the formula.

Track 6 - "When the Stillness Comes" - Bolstered by some deft vocals c/o Araya and a driving beat, this is a dark and demented song that doesn't disappoint.

Track 8 - "Implode" - This nearly rises above the pack and emerges as a stellar assault on the eardrums, but there is a bit too much of that Kerry King bullshit happening in the last third of the song. 

The new album hits Friday and I will be posting a review here at Land of Way.

Playlist/Soundtrack for my Current Project

 I know, I know, it's en vogue for artists to tell people all about the music they're listening to while they work these days.  Forgive me for being trendy, but I had an urge to share.  I'm currently nearing the end of my fifth novel, currently titled 101 Nights of the Rougarou.  Ever since I wrote Trailer Park Trash & Vampires, people have been asking me if I would ever pen a story about werewolves.  In a way, this current project is just that, though much I like did with vampires, I'm doing things a bit differently.  The rougarou itself is a bit different from the werewolf, though there are similarities.  There are also several variations sprinkled throughout the folklore pertaining to this particular beast, so that gives me a lot of room to maneuver.  I like that.

Anyway, like many, I like to listen to music while I work.  I've always thought it was a good idea to listen to a fairly consistent mix while I work on a project to maintain a certain mood, so I actually create soundtracks for each of my projects.  I have always been a very visual writer, and I think my work would lend itself well to film, so I proceed accordingly.  Each of these playlists starts with a song I imagine playing over the opening titles and ends with a song I would like to hear played over the credits.  The rest of the music suits the mood and flow of the piece.  Often, there will be songs that are tied to specific scenes.  Finally, since I favor big third acts, you may notice that things build to a crescendo toward the end of the playlist.

So, for those who are interested, here is my soundtrack  for 101 Nights of the Rougarou:

"Sniper At The Gates Of Heaven" by The Black Angels

"I Can Almost See Them" by Tomahawk

"I Am A Man Of Stone" by The Toadies

"Human" by Elastica

"Mama Told Me Not to Come" by Three Dog Night

"Connected" by Stereo MCs

"Caress Me Down"  by Sublime

"Blood On Our Hands" by Death From Above 1979

"The Hives Are Law, You Are Crime" by The Hives

"Adrenalize" by In This Moment

"Silver Queen" by Philm

"Lobster" by Bender

"Smoke a Little Smoke" by Eric Church

"Aisha" by Death In Vegas

"Nervous Shakedown" by AC/DC

"Psychotic Break" by Jerry Cantrell

"The Talking Horse" by The Melvins

"Boom" by Soulfly

"Hush" by Tool

"Adeadenemyalwayssmellsgood" by Future of the Left

"Exhale" by Kylesa

"Stillborn" by Black Label Society

"Bury Me" by Helmet

"Evil World" by Powerman 5000

Philm - Fire from the Evening Sun

As many of you know, Dave Lombardo is no longer drumming for the metal juggernaut that is Slayer.  Of course, that doesn’t mean that he’s retired.  He’s currently gearing up for the first Fantomas show since 2009 alongside Mike Patton, Buzz Osborne, and Trevor Dunn, and yesterday Philm released their second album, Fire from the Evening Sun. 

I greatly enjoyed the first album (Harmonic) from this trio consisting of Gary Nestler (Civil Defiance) on vocals and guitar, Pancho Tomaselli (War) on bass, and the godfather of double-bass himself on drums.  However, this second effort represents a tremendous upgrade.  The charged vibe that permeated so many of the heavier efforts on their debut recording is still present, but the space and exploration that defined the stranger outings has been minimalized.  The end result is a leaner and more aggressive recording, yet enough of the avant-garde approach remains to separate it from the pack.

It’s a bit difficult to classify this group.  The strangest among us will surely find their efforts a bit restrained, while their sound will be far too innovative for the status quo.  Yet those who can respect something that is equal parts heavy and different will be entranced by Philm’s quixotic sound.  There are an abundance of dizzying sequences when the band seems to be letting off steam, layering Nestler’s furious vocals amid intricate riffs, a pounding bass line, and thunderous drumming courtesy of Lombardo.  There are also charged sequences that simmer without boiling over, and all of these powerful bits are interwoven with gentle and melodic moments that display the band’s finesse and depth.  It’s hard to find another band to compare these guys to—Filter comes to mind, but they were never this heavy or creative and they got softer and more mundane as time wore on.  That’s okay, because being unique is cool.  Being unique and heavy is even cooler.  Bonus points: being unique and heavy with Dave Lombard on drums is fucking awesome. 

           

 If you dig this kind of stuff and you’re unfamiliar with Philm, you need to check them out, and I highly recommend both of their albums.  Having said that, I feel the need to repeat myself: Harmonic was really cool, but Fire from the Evening Sun positively burns. 

Slayer!

I fell in love with Slayer in the 90s, so Seasons in the Abyss was my favorite album until God Hates Us All unleashed hell in 2001.  Anyway, I've always favored the newer stuff, and while I never disliked the older stuff, I didn't really spend an awful lot of time with it either.  Until recently.  I'm working on a new horror novel and I've been listening to a lot of Slayer while I work.  For whatever reason, it started with Hell Awaits, which I had never really listened to at all, leading to a greater appreciation of Reign in Blood.  Finally, it has brought me to South of Heaven, and I finally see what all the fuss is about.  I've always thought that South of Heaven was good, but I wasn't as keen on it as many of the band's fans are.  I'm still probably going to have to choose between Seasons in the Abyss and God Hates Us All when it's time to pick my favorite, but whereas I didn't fully grasp the South of Heaven camp's argument until recently, I totally get it it now. 

Parting shot: if you didn't already know this, when it comes to heavy metal there is Slayer and then there's everybody else.  That's just the way it is.  You don't have to like it, but it's indisputable.  Slayer is to metal what the Beatles were to classic rock.  True story.

Some Kind of Monster/Lars Sucks

I have no idea why, but I'm currently stuck on the song "Some Kind of Monster" c/o Metallica, a band I've always been lukewarm on despite my love for heavy metal.  Anyway, I really dig this track, particularly the lyrics and Hetfield's performance, both of which seem to represent some of his better work.  And then there's Lars.  I like this song and I'm listening to it a lot, but Lars (a mediocre talent if ever there was one) really sucks it up on this one.  At times, his work on "Some Kind of Monster" is simply awful.

Now, to be fair, I'm a diehard fan of Slayer, a band that has somehow been blessed with both Dave Lombardo and Paul Bostaph in their efforts to rock us all over the years.  That sets the bar pretty damn high, but it still doesn't totally account for my disdain for Lars and his meager effort on an otherwise noteworthy song.  Dude is dreadful, and if being in a rock band was like most jobs, I'm pretty sure he would have been fired during the recording session. 

Say "So Long" to Solos

Disclaimer:  The following story was birthed from an informal interview with an unknown source reputed to be an actual representative from an alleged band that wished to remain anonymous.  No real names, dates, or places are mentioned, and the author cannot be considered financially responsible for any insult or injury that may occur to any individuals, fictional or non-fictional, resembling those represented in this depiction of a band reported to be quite famous.  No one was harmed in the writing of this story and rest assured, reading it will not harm you. 

Proceed with caution.

Montana found himself in the final stages of what had surely been an awful performance.  His sweat stank of cheap liquor and his heart was threatening to burst.  The crowd was giving him the benefit of the doubt, but that had never mattered for him.  It was shit, absolute shit, and he knew it.

He looked to Bernie and saw disgust registering on the lanky guitarist’s typically stoic face.  Bernie was a good chap and you could always count on him for a truthful response.  

Mickey was another story altogether.  Montana was hung over, and he had smoked at least six joints and snorted half as many lines of coke in the four hours he had been awake prior to the rise of the curtain, but he was good, really good to be honest, feeling just damn great actually.  His drummer was wasted.  Montana would bet every dollar in his bank account that Mickey had no idea where they were playing tonight—not even so much as the state.  Nothing mattered to Mick the Hick but his next ride, and he was never coming down.

Montana turned back to face the hungry crowd, uncertain of how to proceed.  Should they stick to the script and continue to fuck it up, or try something else completely and take the risk of fucking that up far worse?  It was his call, . . . his and his alone.

“Excuse me,” he spoke into the microphone, trying to find his stride.  “I’m looking for some people who want to tear this fucking place down.  I'm serious.  I want this fucking place to burn.”

A ripple seemed to spread throughout the crowd, which was suddenly gaining energy and enthusiasm.  The head security guard gave Montana a stern glare, but the vocalist ignored it.  He needed some magic and he was going to take a stab at shooting the moon.  Singers always bluff when there’s money on the table.

“That's right, motherfuckers.  I mean you people understand that we only live once, right?  At least in this incarnation, that is if you believe in such things, but the point remains the same.”

Bernie was looking at him like he had flipped his lid.  Maybe he had. 

But maybe, just maybe, he was primed to explode one last time.

“Once.  That’s a hefty fucking word as far as I’m concerned.”

The people were getting into it.  They were moving.  They were getting loud.  Next they would get rowdy.

The security chief was still looking at Montana, but he seemed uncertain now.  Maybe he was thinking about splitting.

“So why don’t we join together, . . . right here, . . . right now, . . . tonight, and make this fucking moment burn.”

What followed was the finest moment in the band’s infamous history.  Only the bizarre notion of telepathy can account for the incident that forever defined them as rock icons and tragic heroes.  

Montana and Bernie exchanged a prolonged stare, their minds melding into one.  As the crowd writhed and chanted, their frenzied intensity blossoming into full-blown mayhem, the singer and the guitarist turned to regard the trashed drummer.  Mickey met their gaze and nodded his head, vowing to go the distance.  “Fuckin’ A,” he slurred, raising his sticks high overhead before screaming and simultaneously striking his cymbals.  

Magic was the word of the day as the band launched into one of their heaviest songs, an unheralded gem from their second album that wasn’t on the setlist.  Truth be told, prior to that glorious night of debauchery, the band hadn’t played “Sewer Bitch” in so much as a practice session within months of the show.  Maybe years.  It was an awful song, but awful times call for awful measures.

As the musicians gave way to the primal power that controlled them, the music brought out all of the passion and angst of those in attendance.  There was chaos, bouncing bodies churning in a sea of violent emotion.

There was rock, there was love, and there was glory.  Oh sweet glory.

And then some asshole accidentally burned the whole place down. 

"Stuck" Video for Drowning Delilah

What's up, peeps?
I've been pretty busy promoting Never Look Back Again and working on my next book, but I also found time to direct a music video.  The band is Drowning Delilah and they are totally badass.  They were cool enough to provide a song for Never Look Back Again and in return I directed the video for that song.  The track is "Stuck" and it's killer--they gave me the opportunity to pick any track from a previous release and this one really worked for me.  I'm equally pleased with how the video turned out.

I went for a high energy, high contrast approach, and I think I nailed it.  Most importantly, I think it captures the spirit of the band, and they're really pleased with it.  With that in mind, I wanted to share it with you guys, so here it is: "Stuck" from Drowning Delilah.