musings from boston

screams, whispers and songs from planet earth

Author: julie (Page 1 of 105)

A Rasta Hanukkah – The Temple Rockers’ Festival of Lights

It seems like an unlikely pairing, yet when you first hear The Temple Rockers’ just-released Hanukkah album, Festival of Lights, you’ll be amazed at how seamlessly (and beautifully) they blend sleek reggae with jubilant, horn-laden traditional Jewish klezmer. The Temple Rockers celebrate Jewish and Rasta traditions, finding common ground for their deeply spiritual and heartwarming music.

The Temple Rockers, based in Ithaca, New York, features members of 10 Ft. Ganja Plant, John Brown’s Body and Big Man Sound Machine. Festival of Lights was produced by their bassist David Solid Gould and is the premiere release on his new label, Fresh Roots Records. On the album, the band is joined by legendary Jamaican singers Ansel “Meditations” Cridland, Wayne Jarrett and Linval Thompson. The album features songs commonly heard during Hanukkah. It’s tremendously uplifting and hopeful, at a time when we need it the most.

Discover the perfect soundtrack for the holiday season (and something to lift your spirits, anytime at all). Download the album from the band’s bandcamp. It can also be purchased on Amazon.

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Inside Brody Thomas’s Perceptive Stream of Consciousness

Think of Brody Thomas as a 21st century beat poet. He’s thoughtful, vulnerable, eternally on-edge and a little paranoid. As he moves through our world, he picks up today’s fears and phobias, echoing them back to us like a reinforcing mantra.

Everything good that happens to me, is because of me
Everything bad that happens to me, is because of me
Because of these facts, I know that I have what I have
Because I’m supposed to have that
Nothing happens just to happen.

Have you ever thought that we create what we see?
And we see and we dream like deja vu,
except that the place you’ve been before only exists
because of you. – Wanted

This spoken word contemplation floats the idea that our thoughts create our reality. If that’s true, at the very least, we’d better be damn careful of the thoughts inside our heads. The idea of self-creation, if you stop to think about it a bit, can be either empowering or terrifying.

Brody Thomas, a Boston-based musician, has been at it for just five years. Everything is potent metaphor, including the title song of this EP, “Jellyfish Stings & Sunburns.” It’s just life, really — those things that bite hard and other things that stay with you, permanently coloring your world view. The minimalist instrumentation points out the stark beauty and truth of Thomas’s lyrics, which are like religiously chanted meditations. Little snippets bubble up like crystal gems.

I wish that I was small enough to fit under your breath,
’cause then I’d hear all of the whispers
and I’d know just what you meant
when you said you’re fine.
..
I’m realizing now that if I’m begging for metal
then I’ve got to love the rust.

“Hoodie” is about learning to wait, accepting imperfection, embracing change, one’s thoughts versus one’s projected self, crippling insecurity and self-loathing, all expressed through the poignant metaphor of a beloved blue hoodie that doesn’t fit quite right.

In “Bugs,” our fearless protagonist steps outside of himself to wonder about the personal life of that insignificant little bug we just mindlessly squashed.

“Rain” contemplates the loss of one of our senses (the sense of taste, for example), and through this mental exercise, another observation pops up –

Everything I want, wants something in return
Do we forget one thing for every new thing that we learn?

“Cancelled” likens a life to a television show that’s had “a few good seasons and cameos,” but is now possibly past its prime. The title song, “Jellyfish Stings & Sunburns” metaphorically speaks of being transparent and vulnerable like the sea creature, with the sun as a source of (spiritual?) nourishment —

When the sun stops giving you light, the darkness starts to feel alright.

This deceptively simple 7-song collection of contemplations poses many intriquing questions — the kinds of questions that can keep you up at night. Thanks, man. It also feels like the tip of a much larger iceberg.

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Walter Sickert & The Army of Broken Toys Get Cozy Under Your Covers

Having been released at the start of this fast-moving year, this one nearly got by me. I’d glad it didn’t. Boston’s own Walter Sickert & The Army of Broken Toys has always been a personal favorite. This charming collection of cover tunes, appropriately (and somewhat menacingly) titled Under Your Covers, is a loving tribute to a diverse selection of fan favorites — from Iggy Pop’s “The Passenger” to Destiny’s Child’s “Bills, Bills, Bills” to “The Toys Go Winding Down” by Primus. The choices were specially requested by the band’s Come Black Magic Kickstarter backers.

Having pulled up some of the originals to hear how the Broken Toys’ re-imagingings compare, I can happily report that these songs are performed with due reverence, yet with the Toys’ trademark Gothic elegance and ominous magnificence. It’s “all hands on deck,” with Mr. Sickert on vocals, piano, guitar, effects and programming; Edrie playing with her ‘broken toys’: Rachel Jayson wielding viola and melodica; jojo the Burlesque Poetess making magic on uke and flute; Matt Zappa on percussion; Brother Bones on guitar; Mike Leggio with both stand-up and electric bass; and the legendary Mary Widow lending her vocals and mandolin. It’s a potent witches’ brew.

The Who’s “Baba O’Riley” is given a harsher modern industrial makeover, with male and female warrior vocals making this 47-year-old song seem starkly relevant. Powerful vocals and strings plus driving percussion adds immense tension to the disturbing lyrics of “Chaos & Confusion.” In “Bills, Bills, Bills,” the Army conjures a completely different song and mood, threatening serious damage and retribution. One can hardly expect to improve on Iggy Pop’s masterpiece, “The Passenger,” and in fact, I would normally cringe at the very thought of a cover of one of my Top 10 songs EVER. However, Mr. Sickert and Company do this song justice and are very faithful to the original and respectful of the Master. Rachel’s mournful gypsy viola is a gorgeous addition that I’m sure Jim would highly approve of.

At the risk of insulting hardcore fans, I won’t say which cover versions are, in my humble opinion, far superior in style and depth to the original. Several of them are. Run, don’t walk, to their Bandcamp page, name your price and download this eye-opening yet nostalgic and loving tribute. And be sure to click into each song’s page, so you can enjoy Walter’s mind-melting original art. They’re the perfect visuals for this magical mystery tour through our musical past.

Track Listing

Who We Are, from The Hunger Games: Catching Fire – Original Motion Picture – Imagine Dragons (2013)

The Toys Go Winding Down, from Frizzle Fry – Primus (1990)

The New Zero, from How We Quit the Forest – Rasputina (1998)

Baba O’Riley, from The Kids Are Alright – The Who (1971)

10538 Overture, from The Electric Light Orchestra – Electric Light Orchestra (1971)

Chaos & Confusion, from Space Age Senior Prom – Zerobot

Bills, Bills, Bills, from The Writing’s on the Wall – Destiny’s Child (1999)

The Passenger, from Lust for Life – Iggy Pop (1977)

Trip, from Wake No More – Porcelain

Don’t Come Around Here No More, from Southern Accents – Tom Petty and the Heartbreakers (1985)

Kingdoms & Castles, from The Triples – Abbie Barrett

Freaks, from Secret Samadhi – Live (1997)

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But for the grace of god

Dear Diary,

I had a ‘but for the grace of god goes I’ moment today.

For many months, I’ve been absorbed in my life, my self-doubts, my madness. And then I was forced off my little island, away from the comfort of my lair and into the big, bad world.

Julie, the spoiled; Julie, the privileged; Julie, she with her head up her ass
with her first world problems and neuroses.

I was in the Lynn Economic Opportunity office. I had no business being there, among the truly needy — single moms struggling with multiple jobs to keep their kids fed, clothed and relatively healthy; older folks trying to get by with meager, monthly social security payments.

Why was I there? I was trying to get income verified for a Barrier Mitigation Grant, a program administered by Mass Save and the Massachusetts Department of Energy Resources for middle-income homeowners so they could grab a chunk of money from the state to get rid of asbestos containing materials during a home improvement project.

As I sat down to wait my turn, it occured to me that many of those who came into this office were likely homeless or living in section 8 housing. There were WIC brochures and information about Head Start and fuel assistance programs in kiosks on the wall.

And here I was, with my canvas bag full of mortgage papers, account statements from my brokerage, a passport, a list of estate debts and an inheritance.

Julie, the non-hispanic white caucasion; Julie, the fortunate;
Julie, the loathsome.

When it came time, I took a seat at the woman’s desk and prefaced my financial story with a lame apology, something to the effect of “I’m a bit embarrassed to be here, as I’m much better off than many,” followed quickly by, “I just want to say, you’re doing very important work here. Thank you.”

It sounded ridiculous, and I felt like the pathetic, self-righteous, holier than thou white girl that she was no doubt sizing me up as. But she handled my awkwardness graciously and seemed pleased with the compliment.

I wonder now how those in the Lynn Economic Opportunities office feel about acting as a clearinghouse for what’s certainly a stream of middle-class folks trying to get those elusive cash grants. She was polite enough not to let on.

What was more embarrassing was that, taking just my income into consideration, she said it looked like I was in their low-income range. Surely not! I have substantial stock and IRA portfolios, my own house, and last year, before mom and dad passed away, they supplemented my income whenever I had trouble paying the bills. But because I was a freelance worker, they immediately knocked 40% off my wages for their calculations. That’s the rules. It seemed wrong somehow.

Dad would say, jokingly, “We never should have raised you to be so honest. That will be your undoing.” Perhaps. But they also raised me to be compassionate towards others, and to recognize injustices, however slight.

They both worked in the medical field, helping people in large and small ways. Mom was a registered nurse. Dad was a medical equipment researcher, with patents for light and sound scanning devices that could detect breast and prostate cancers. They both served in the Navy during World War II. After retirement, Mom volunteered at the local blood bank and cared for an elderly neighbor whose own family had abandoned. She became my adopted grandmother. When I was young, Mom brought me along to collect old clothing for the Revitalization Corp, a charity group in Hartford. Me? I’m a wannabe writer with a few clients and a half-baked notion to write novels “someday.”

Julie — the underachiever, the anxious, the unwashed.

Helping people afford asbestos abatement, whether they’re low income or middle income isn’t really a big deal. It’s expensive work, and many people earning even $45,000 a year, especially in the Boston area, won’t have $10,000 available for a home improvement project, even for one that could have health ramifications. Truth be told, a $7,000 abatement grant is nothing compared to the special treatment in place for the wealthy, from tax loopholes to offshore bank accounts, so that they can hold onto more of their money.

Do the wealthy also ponder the unfairness of it all?

Maybe I’ll get some assistance. Maybe I won’t. But one thing I do realize now is that I must find a way to give back, somehow, to those not as fortunate as I. This is the real reason I was in that office this morning.

Julie, the awakened; Julie, the humbled; Julie, the grateful.

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Seattle’s Becoming Bristol addresses suicide and promises brighter days

BecomingBristol_2018

Becoming Bristol gives us upbeat alternative pop songs that contain important messages. Their latest single, “Brighter Days,” was written by their singer/frontman Britt Espinosa, and is about an experience he had with a friend who was contemplating suicide (fortunately, they’re still with us). September is Suicide Prevention Awareness Month, and the band will be donating 100% of all sales and streaming proceeds during the month to Anthem of Hope, a non-profit that’s “dedicated to illuminating hope for those battling brokenness, depression, anxiety, self-harm, suicide and addiction.”

“Brighter Days” is available for streaming and purchase. The song has a snappy beat that’s definitely danceable, and even more importantly, its lyrics are comforting and hopeful in times of great difficulty.

We all know what the poets say
Pain only ends when your dead
I don’t think it’s got to be that way
I think there’s brighter days ahead
I know life’s not okay
It aches beyond any words
But my friend this will only make it worse

It’s easy to throw away
A life riddled with cuts and scars
There’s something still left to save
It’s at the core of who you are
So push on to the brighter days
You don’t know what you’re worth
Oh my friend, you don’t know what you’re worth
– “Brighter Days”

The single was produced and mixed by Brooks Paschal at Mockingbird Studios.

Formerly known as The Exchange, Becoming Bristol is a pair of brothers (Britt and Jack), along with Tyler Mays and Manny Gounder. They began touring when Britt was 16, and the band is completely self-booked and self-managed. They’ve performed at more than 500 shows, with 8+ national tours.

Previous singles include “Sort Myself Out” (with producer AKA Wolves, released in June) and “Liars and Thieves” (released in July). The former is about taking responsibility for where you end up in life, rather than blaming someone or something else, and the latter addresses the idea that good and evil exists within all of us, and the need for empathy.Important messages for these perilous times.

The line between right and wrong cuts through all of us… the face of god is hiding inside

For the rest of 2018, the band will be releasing a new song each month.

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The Campaign Begins Now: Bees Deluxe and Flippin’ for the Blues

flippin_logo_x400

Here’s a wonderfully cool idea. Boston-based acid-blues band Bees Deluxe is taking their deep bluesy groove on the road to get out the vote and support Democratic (blue) candidates in their attempt to flip political districts from red to blue. They’re calling this noble cause Flippin’ for the Blues (get it?).

These guys are extremely soulful and accomplished musicians. Check them out.

First up is an event for NH-1 candidate for congress, Maura Sullivan. She’s a former Assistant Secretary of Veterans Affairs and senior Pentagon official in the Obama Administration, Marine Corps Veteran, and candidate for Congress in New Hampshire’s First District. This event takes place in Portsmouth, New Hampshire on Friday, August 31 at Cisco Brewery. From there, it’s Syracuse NY, Allentown PA, Harrisburg PA, Cleveland OH, Columbus OH and Albany NY for various local candidates. For more information and advance reservations, see the official website.

BeesDeluxe

Help support this great cause — Donate To Their Kickstarter Campaign!

At the Portsmouth event, Bees Deluxe will be supported by the Jugghead Band, and after a few words from the candidate, the band will perform. Their set will include original songs from their new CD, Voice of Dog, along with their own interpretations of the music of B.B. King, Amy Winehouse, Billie Holiday, the Meters and other world class musicians. The band features Conrad Warre (lead guitar, vocals), Carol Band (keyboard), Allyn Dorr (bass) and Paul Giovine (drums).

If you like what you hear of Bees Deluxe, you can stream the new album on Spotify or purchase it from Amazon.

Flippin’ for the Blues: web | twitter | facebook | instagram
Bees Deluxe: web | facebook | twitter | soundcloud | youtube

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The Greying’s Cognitive Dissonance: Bipolar Disorder Meets its Match

TheGreying

While metal/hardcore isn’t usually my preferred musical genre, I honestly can’t think of a more apt way to address (stalk, do battle with, and eviscerate) the horrors and confusion of bipolar disorder. Listening to The Greying, a Cape Cod/South Shore-based metal/hardcore band (imagine that), is a visceral experience. But these guys are no literary slouches. They just know their subject matter, and this isn’t the kind of shit that can be properly expressed in a polite pop song. And that is why they’ve blessed us with their Cognitive Dissonance EP. It was written by singer/songwriter Ryan Meehan, as a way to cope with his bipolar diagnosis.

Each of the five tracks focuses on a particular aspect of this bone-crippling, soul-destroying illness. The desperate rantings of singer Ryan Meehan’s exquisite suffering is driven hard by a raucous racket courtesy of Robert Carlson (guitars), Derrick Darmody (bass) and Noah deVeer (drums).

“Panic” starts out slow and menacing, snarling and grinding its teeth.

Panic comes in droves and circles ’round the carrion
memories that fester in the background.
Suffocate on words I should have spoken.
Sadness turns to rage.
I am broken.

“Regenerate” speaks (screams) of the difficult process of working through the pain in search of healing, and choosing life, however excruciating, over suicide.

Shed your skin
Destroy what’s underneath
Regenerate
Kill what you can’t create
Separate reality from fate
I must learn to settle for myself

“I must learn to settle for myself.” Amazing. It’s all about self-acceptance, which seems like such an easy, straightforward thing, but lordy, it’s not.

“Demons Run” is a charming little ditty about confronting the devil within and the demons without, while one questions/confronts God. Nathan Calcagno of Regime lends his bone-chilling growl for multi-dimensional effect.

No promises of damnation
Wretched hearts go screaming toward the void regardless
Watch the world fall through the hour glass
Demons run when you relinquish hell

Lord forgive me. I’ve done nothing.
Lived a life in fear your hand would come to strike me down.
Felt the fault break with shepards spewing hate
Left the herd before the sickness caught me.

There’s something in there as well about our current political climate, but I won’t go there. Nope.

“Dissociate” is about running away from reality and not confronting your fears, while “Paranoia” is about how one tries to cope with uncomfortable thoughts and feelings. One is left wondering if, at times, the “cure” might be just as bad as the illness. “Dissociate” closes with a harrowing scream that ends in a sardonic chuckle. If that isn’t the perfect metaphor for living with bipolar disorder, whether it’s your own or a loved one’s, I don’t know what is.

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Learn more about bipolar disorder, and if you’re struggling, check out the Depression and Bipolar Support Alliance.

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The Making of a Malignant Narcissist: Danny Ross’s “The Son”

DannyRoss

As Donald Trump protest songs go (surprisingly, there really aren’t that many of them), Danny Ross’s “The Son” is in a class by itself. It tells the childhood story of our 45th President in a manner that turns Dickens’ Oliver Twist on its head. Instead of the formative years of a band of poor street urchins, this dark tale is about a young boy born into privilege. It attempts to explain the grown man’s depraved ways by examining his upbringing and his relationship with his domineering father — all in charming musical theater style with clever animation by Elvie Mae Parian.

The stories are true, inspired by a 2016 Washington Post article, “Confident. Incorrigible. Bully: Little Donny was a lot like candidate Donald Trump.” Written more than 4 months before the election, it’s likely that if more people had read this article, they might have been sufficiently concerned enough not to vote for him. Even as a teenager, he refused to acknowledge mistakes, threatened his classmates, frequently lashed out in violent actions and was widely known as “a loudmouth bully.” He spent his young life trying to prove himself to an elusive and disapproving father.

Ross makes a powerful statement about Trump’s presidency merely by sharing these anecdotes from his childhood. Presented as it is, you could almost feel sorry for the guy. I did say ALMOST. Suffice it to say, this deceptively cheery little ditty and its accompanying video is eerie as hell.

Danny Ross is one interesting guy. His CV reads like a strange ‘mash-up’ — songwriter and producer, music columnist at Forbes, husband at Babetown (it’s a surf-rock duo with his wife), press secretary at the New York State Senate, chief of staff at the New York State Assembly and scheduler for the U.S. Congress. Ross and his wife are currently based in Brooklyn.

In his Forbes article, “3 Modern Protest Songs in the Trump Era,” Ross marvels at the dearth of Trump protest songs and discusses the difficulty of creating satire about Trump without sinking to his level. He discovered an elegant and effective way to do it, through delving into Donald’s past.

While you’re perusing Ross’s other Forbes articles about music and entertainment, be sure to read his latest piece about the Music Modernization Act (MMA), which seeks to bring antiquated and wildly unfair songwriter royalties into the 21st century.

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David Bowie’s Never Let Me Down album is reborn as part of the upcoming Loving The Alien (1983-1988) box set

Bowie_LovingTheAlienBoxSet

David Bowie’s Never Let Me Down album, while frequently panned, then and now, by the musical elite (and by some fans) for not being his best work, holds a special place in my heart. It was at the time of this record’s release and subsequent world tour that I was most deeply immersed in my Bowie fandom. I had just begun publishing a David Bowie newsletter with legendary fan Rose Winters called ‘Bowie Bits’ (her name, not mine! It would soon be changed to ‘Sound & Vision’), and I followed the European and U.S. legs of that tour, reporting on the highly ambitious and wildly extravagant Glass Spider Tour shows. So now, 31 years later (egads!), the much-maligned Never Let Me Down album has been not just re-recorded but remade by former Bowie collaborators Reeves Gabrels, Mario McNulty and others, as part of an eye-popping 11-CD, 15-record box set called Loving The Alien (Warner Music/Parlophone), which will see its release on October 12.

Before I launch into all the info., which is head-spinning, have a listen to “Zeroes,” the first single from the collection.

Gone is the overbearing, leaden ’80s production, and in its place, a sleek, clean acoustic guitar centered mix that puts Bowie’s vocals up front and center, where they belong. From the original, they kept the best parts — David’s acoustic guitar and vocals, and Peter Frampton’s classy sitar lines, which come along like a delicate string of pearls to beautifully offset the otherwise sparse and understated instrumentation. The old version now sounds quite dated, but this sparkles brightly and sounds timeless. It’s exquisite.

As Reeves reveals in a recent BBC Radio 6 interview, David was not happy with the NLMD album. The year after it came out in 1987, he was already voicing his disappointment with the production. In 2008, he remixed “Time Will Crawl” with McNulty, recording new strings and new drums (courtesy of Bowie’s drummer from 1991-2004, Sterling Campbell, who is also on this upcoming release). In the album notes, Bowie wrote, “Oh, to redo the rest of the album.” He has now gotten his wish.

Other musicians featured on the reimagined Never Let Me Down album include David Torn on guitar and Tim Lefebvre on bass, who played on ★ (Blackstar). Also part of Never Let Me Down (2018) is a string quartet with arrangements by Nico Muhly and a special guest cameo by Laurie Anderson on Shining Star (Makin’ My Love).

The set includes newly remastered versions of Let’s Dance, Tonight and Never Let Me Down (original and 2018 versions), Glass Spider (Live Montreal ’87), the previously unreleased Serious Moonlight live album, Dance (a collection of original remixes) and Re:Call 4, a non-album, alternate version, b-sides and soundtrack music compilation.

Loving the Alien (1983 – 1988) was clearly designed with the fan in mind. NLMD’s new artwork features previously unpublished images from Greg Gorman’s original cover photo session. The 128-page booklet has rare images from many Bowie photographers of the time, including Gorman, Herb Ritts and Denis O’Regan; historical press reviews and album technical notes from producers/engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith.

Read all the details and see the full track listing for the Loving the Alien (1983 – 1988) box set — and Pre-Order It On Amazon!

This is Parlophone Records’ fourth box set in a series of special releases that pays tribute to Bowie’s career from 1969. The other critically acclaimed sets include Five Years (1969 – 1973), Who Can I Be Now? (1974 – 1976) and A New Career in a New Town (1977 – 1982).

For Gabrels, the re-recording of Never Let Me Down was an emotional undertaking. As he explains in the BBC Radio 6 interview,

The first song I worked on was Zeroes… One of the things that we used to do all the time was David and I would often record the acoustic guitars facing each other, both of us playing at the same time. It gave it a little more of a natural feel. So, we would record together. I had my headphones on, and I had my guitar that I was playing in my right ear, and David was in the left ear, and his vocal was in the center in the headphones. I had my eyes closed while I was tracking. And in my mind’s eye, I saw David sitting across from me, and the way his body language was, and the way his eyes would look while he was playing. Because he would get this faraway look, but he was looking at you at the same time. I recorded a pass of me playing acoustic guitar with David, and when I stopped, I opened my eyes, and I expected to see David sitting there. I got that feeling out of the way early, because I knew at some point I was going to hear his vocal or something was going to happen that would bring tears to my eyes… In my mind, he was there.

david bowie official site | reeves gabrels official site | BBC Radio 6 interview (starts 45:00 in) | David Bowie – Loving The Alien (1983 – 1988) press release

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Kevin Blake Goodwin’s Dissonance Sheds Light (and Hope) on Addiction

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If this was just about a couple of amazing guitarists or a mind-melting sand animation artist, that would be enough inspiration for me. Add to the mix a mission to bring attention to the often taboo subject of drug and alcohol addiction, and it’s an unbeatable combination. Kevin Blake Goodwin (a.k.a. Blake Goodwin) is a “hybrid electric and acoustic guitar player” with fingerstyle and technical mad guitar skills. He performs what is known as Djent metal guitar, a rhythmic, progressive and technically complex style of playing. He is also a recovering addict, so this is personal. What he has done is to embark on a wildly ambitious project with some of the best musicians, artists and technical people in the business for an album, tour and 30-minute cinematic short film, raising $15,000+ (and counting) through his Kickstarter campaign.

It’s hard to know where to begin in describing this massive undertaking. Here’s a bit of an explanation, with a delicious taste of some of the musical delights in store.

After beating his addiction in 2014, Goodwin won the 2015 Canadian Fingerstyle Guitar Competition, which brings together the best international acoustic guitar players. He’s gone on to advocate for worthy causes such as disabled veterans, addiction recovery and expanded opportunities for musicians. In 2016, he founded FRETMONKEY Records, an independent guitar record label that now boasts a roster of 23 guitar players from 10 different countries. But he isn’t just an outstanding guitar player who has a label — he’s also the audio engineer, videographer and producer.

Here’s a little more of his playing — a sneak peak at the Dissonance album.

And the world renowned sand animation artist, Joe Costello? You can see some of his previous work, for PlayStation’s “God of War”:

Costello’s incredible work will be featured in the Dissonance film as well as an art animation retelling of the story. This short film, with its accompanying soundtrack, addresses the “spiritual warfare of addiction” as well as offering hope for recovery. It chronicles Goodwin’s own harrowing journey through a dark and nightmarish setting, and he admits it’s not easy viewing. However, as he explains, it ends “with a strong message of hope, help, and redemption.”

The album features 8 highly complex guitar compositions, with collaborations from world-renowned guitarists Adrian Bellue, Jason Richardson and Felix Martin, plus metal vocalist Shayley Bourget and saxophonist Jameson Burton. The album is mixed and mastered by Arch Echo guitarist and engineer, Adam Bentley.

There are also plans to take this important message (and the music) on the road, with all sorts of special electronics, lighting, film and sound to be added as their budget allows. He has reached his initial goal of $15,000, but the more money they can raise, the more impressive the live show can be. So, donate to his Kickstarter campaign now! There are many great incentives, from MP4 digital copies and CD/DVD packages all the way up to private house concerts and high-end production of your own EP or music video.

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