PROX Intake

Blog

  • Reetoxa Bottle Review

    Reetoxa Bottle Review

    The song takes you into the world of rock from the very beginning with a riff reminiscent of Ugly Kid Joe’s “Everything About You.” It has a nostalgic quality that transports listeners back to the 1990s. The song blends these retro vibes with a modern sound to create something fresh yet familiar.

    Reetoxa Bottle

    The harmonic variations throughout the track are intriguing. The verse moves fluidly, building anticipation leading up to the chorus. When the chorus hits, listeners are greeted with a series of chords that stick in their minds. This familiarity, combined with the melody, creates an effective and interesting result.

    The style of rock presented here holds a slightly psychedelic edge. It’s adventurous while still rooted in that classic rock feel. Listeners looking for a connection to their past while enjoying a contemporary twist will find satisfaction in this track.

    Bottle – Sound and Atmosphere

    Reetoxa pulls off a unique balance. The nostalgic references appeal to those who grew up during the ’90s. Simultaneously, the fresh production techniques attract newer audiences. The mix engages a wide range of listeners.

    The instrumentation is polished yet retains an edge. Guitars scream with energy while the rhythm section remains tight and driving. The production allows each element to shine through without overshadowing others. This creates a cohesive listening experience. The mix of heavy and melodic elements contributes further to the overall appeal.

    Bottle – Performance and Production

    Songwriting in “Bottle” demonstrates Reetoxa’s capability to create memorable hooks. The melodic lines remain catchy without feeling forced. They contribute to the song’s enduring quality. Reetoxa successfully strikes a balance between their creative flair and the standards of the rock genre.

    The vocal delivery pairs perfectly with the instrumental backdrop. There’s an authenticity to the performance that resonates throughout the track. The singer’s voice carries an emotional weight that enhances the overall narrative. Combining lyrical honesty with a fitting vocal style makes for a strong connection with listeners.

    The modern influences are evident yet do not dominate. Instead, they coexist with the nostalgic components, creating a fresh yet lasting impression. It’s a reminder of how genre fusions can yield exciting results. This is a blend that appeals to rock purists while attracting a new generation of fans.

    “Bottle” by Reetoxa is a refreshing take on a rock sound infused with the flavors of the past. It successfully marries elements of nostalgia with modernity, making it relevant and enjoyable. This single deserves attention and showcases Reetoxa’s skill and creativity.

    Explore more:
    New hot indie music
    Explore gothic stories

    Pure Rock

    🔥 If you love this music: Discover More
    Find Reetoxa here:
    Spotify | Instagram

    For fans of:

    Ugly Kid Joe

    The post Reetoxa Bottle Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • The Mustard Someone Review

    The Mustard Someone Review

    The Mustard has taken on the task of creating a new version for a classic song by Simple Minds. Their cover, while a reinterpretation, holds a sense of reverence for the original. The first aspect that stands out is the noticeably faster BPM in The Mustard’s rendition. This tempo change infuses the track with an energy that feels more rock-oriented, yet retains the unmistakable vibes of the 1980s. The result is a more open and invigorating expression of the song, steering it away from its darker roots.

    The Mustard Someone

    While the original version possesses an air of mystery, this new interpretation significantly raises the adrenaline. The original’s vocals are deeper and almost oracle-like, wrapped in a slower arrangement that allows for ample breathing space. In contrast, The Mustard’s version is more dynamic. The voice emerges distinctly from the mix, thanks in part to Charles Harry Allen’s clearer vocal timbre. This freshness invigorates the material, offering a new perspective on a well-loved classic.

    The guitars also take on a more aggressive stance in this rendition. The arrangements are far more elaborate, decorating the song with vibrant nuances that enrich its texture without compromising its essence. The band’s ability to expand on the original’s framework is commendable. They have succeeded in executing a revitalization that is respectful and innovative.

    Someone – Sound and Atmosphere

    Listeners will appreciate how The Mustard has managed to preserve the spellbinding quality of the original while simultaneously injecting it with a sense of urgency. The methodical pacing of the original, which often attracted listeners with its hypnotic charm, has been replaced with an invigorating burst of energy that revitalizes every note.

    The Mustard has reframed the song while honoring its roots. Such a thoughtful approach demonstrates their understanding of the material and their respect for its legacy.

    The vocals, by Charles Harry Allen, shine brightly within the contemporary arrangement. This clarity not only showcases his range but also allows the emotional undertones of the lyrics to resonate more profoundly with listeners. His performance injects a new life into the song, inviting both long-time fans and newcomers to engage with its narrative from a fresh perspective.

    Someone – Performance and Production

    Whereas the original’s arrangement unfolded slowly, the new version invites listeners to experience the song at an elevated pace. The energetic pulse brought forth by the fast tempo is exhilarating, transforming the song into an anthem of sorts. This change feels daring and necessary, showcasing The Mustard’s willingness to take creative risks.

    The Mustard does not fall into the trap of overpowering the original’s essence. Instead, they artfully navigate a path that brings life to their interpretation while honoring the emotional subtext of the lyrics. This balancing act is a skill often overlooked but is crucial in cover performances.

    Explore more:
    New hot indie music
    Explore gothic stories

    Intense

    🔥 If you love this music: Discover More
    Find The Mustard here:
    Spotify | Instagram
    For fans of:
    Simple Minds

    The post The Mustard Someone Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Stryper launch video for title track of upcoming album ‘Throne of Thorns’

    Stryper .

    The post Stryper launch video for title track of upcoming album ‘Throne of Thorns’ first appeared on Sleaze Roxx.

  • Polkas, Pity, and Pandemonium: Weird Al and Puddles Turn Absurdity into Art

    REVIEW BY CHLOE LECHTENBERG & PHOTOS BY DEAN BIRKHEIMER | Go Venue Magazine

    On Sunday, June 28, Puddles Pity Party and Weird Al Yankovic performed for a nearly sold-out crowd at Omaha’s Baxter Arena for an evening that celebrated the wonderfully bizarre.

    Opening with special guest Puddles Pity Party! This act was hilarious and emotional! Puddles was super charismatic and fun. His songs were both touching and funny. There was a couple of times when a backing track would play a song in which it asked if anyone would like to help the clown. The first time saw a young man simulate playing a guitar to the song “Crazy Train”.  The second time an adult was brought on staged and forced to eat ding dongs while simultaneously trying to sing the song “Under Pressure”! After the show Puddles went to go greet his fans. I can tell he loved to interact with them. I loved that he did that. Overall his part was absolutely creative and a joy to behold.  A big round of applause for Puddles!!

    The crowd was now primed for a whirlwind of costume changes, razor-sharp musical parodies, and the kind of joyous absurdity that has made Weird Al one of entertainment’s most beloved live performers. What can I say, he was BRILLIANT!! He was very quirky and funny. He still sounds like he never aged. For Al’s first song “Tacky” he began backstage and made his way into the audience, he was super fan friendly!  “Fat” was a parody of my favorite, Michael Jackson song “Bad”.  That part was so priceless. The crowd loved it as he came out in a fat suit. It was like a life changing experience to see.  The song “Stop Forwarding That Crap To Me” was inspired by famous singer and song writer and producer, Jim Steinman, who you may know as the man behind Meatloaf’s Bat Out Of Hell album, among several other famous LP’s.  I loved that he did that because Jim Steinman is a legend. For “White and Nerdy he came out on a scooter, which was SO AWESOME. It definitely brought the energy. He also did a medley where he took a bunch of his songs and shortened them, that was such a great idea!! Best part of the show. Overall Weird Al was so good and hilarious! The crowd was super pumped up for him and He did a fantastic job! What a fun night, thank you Weird Al!!

    PUDDLES PITY PARTY SETLIST
    I’m Always Chasing Rainbows – Come Cry With Me – Crazy Train Message in a Bottle – America Today – Estoy sentado aquí – Come On Up to the House – In the End – Stairway to Gilligan’s Island – Under Pressure / Let It Go

    WEIRD AL SETLIST
    Fun Zone – Tacky – Mission Statement – Polkamania! – Drum Solo – Everything You Know Is Wrong – One More Minute – Another One Rides the Bus – Smells Like Nirvana – Dare to Be Stupid – Party in the CIA – It’s All About the Pentiums – Bedrock Anthem – My Bologna – Ricky – Ode to a Superhero – I Love Rocky Road – Eat It – Like a Surgeon – Word Crimes  – Canadian Idiot – Fat – It’s My World – Captain Underpants  – Now You Know – The Letter – Skipper Dan – Drum Solo (reprise) – Ebay – Stop Forwarding That Crap To Me – White and Nerdy – Amish Paradise

    ENCORE
    Toccata and Fugue in D Minor – We All Have Cell Phones – The Saga Begins – Yoda

    “Weird Al” Yankovic

    [See image gallery at www.govenuemagazine.com]

    Puddles Pity Party

    [See image gallery at www.govenuemagazine.com] All images © Dean Birkheimer

    Follow our socials, only take a second and is free by finding us on:
    Facebook | Twitter | Instagram | BlueSky

    The post Polkas, Pity, and Pandemonium: Weird Al and Puddles Turn Absurdity into Art appeared first on Go Venue Magazine.

  • KISS hint at release of live album for Anaheim show back in 1976

    KISS .

    The post KISS hint at release of live album for Anaheim show back in 1976 first appeared on Sleaze Roxx.

  • Watch Dave Mustaine Cuss Out Journalist During Megadeth Show

    Find out what question set him off. Continue reading…

  • 5 Hair Metal Songs You Probably Didn’t Know Are Actually Covers

    You probably sang these songs at the top of your lungs without realizing some of them were already a decade old! Continue reading…

  • GoFundMe for Cliff Burton’s Sister’s ‘Life-Saving’ Surgery

    A GoFundMe has been launched for Cliff Burton's older sister Connie's 'live-saving' surgery as she has decay that has spread to her sinuses. Continue reading…

  • Rush Announces Last-Minute Concert Postponements

    It's the reunion tour's second setback in recent days. Continue reading…

  • It’s Coming From Inside the Playhouse! — Portland Synth-Pop Duo Odor Eater Shares Video for “Night Caller”

    I sit alone
    Biting my nails and biding my time
    I’ve walked these stairs so many nights before
    I search for answers in my empty glass 

    Harley Moore and Logan Devlin’s Olympia/Portland project Odor Eater takes the old horror-movie phone gag, the one where the menace has been upstairs all along, and turns it into a jittery synth-pop panic attack with a cheap plastic grin. Their new single, Nightcaller, is built from tight drum programming, rubbery synth stabs, and a vocal performance by Moore that sounds cool enough to pour over ice until the dread starts chewing through the glass. You can hear Devo in the playful, clipped angles, Lene Lovich in the nervy theatricality, Berlin in the glossy noir danger, and Human League in the way the machine beat suddenly seems to have a social life.

    The song is funny until it starts looking at you too closely. Moore’s lyrics circle a room that has become a trap, where solitude curdles into habit, and the telephone becomes less a communications device than a guilt-infused organ ringing from inside the body. A glass sits empty, answers fail to appear, and the old domestic safety zone catches fire in the imagination. The terror stems from recognition: the locked door, the collapsing walls, and the feeling that all the frantic activity has achieved nothing. By the end, curiosity fades, motivation halts, and the self is left diminished to smoke and ash.

    Devlin’s old school synths and drum programming keep Nightcaller lean, bright, and a little cruel, as if the whole arrangement were smiling with too many teeth. Nothing here slumps under its own cleverness. The beat pushes, the keyboards jab, and Moore rides the arrangement with a voice that can play with panic as an over-the-top performance without tipping over too much into camp parody.

    The video, made by Devlin and Moore with additional filming by McClain Nicholas High, gives the song a visual world that understands how ridiculous fear can look when dressed up for television. Its DNA runs through mid-Eighties children’s programming: Pee-wee’s Playhouse and Square One TV in particular, with the rubber-faced theatricality of Peter Gabriel’s classic clips and the handmade oddness of old stop-motion experiments. Then it reaches back further, toward Loïe Fuller’s fabric-and-light dances from the 1890s and Méliès’s A Trip to the Moon, pulling early stage illusion into a thrift-store future where every prop seems ready to accuse the viewer of taking doom too seriously.

    That mixture of cleverness and silliness saves the video from becoming a museum of references. It has the scrappy pleasure of people making a world from cardboard, cloth, bodies, lamps, and nerve. The gestures are broad, the effects knowingly artificial, and the joke keeps sharpening into a small blade. By the time the house is burning in the mind, the clip has turned playtime into a warning sign.

    Watch the video for Nightcaller below:

    Nightcaller lands ahead of the band’s album, But For Who?, out July 24 on LP and cassette via Feel It Records. It is a lean little crisis machine, catchy enough to dance to and anxious enough to check the locks afterward.

    Listen to Nightcaller below and order the single here.

    Follow Odor Eater:

    The post It’s Coming From Inside the Playhouse! — Portland Synth-Pop Duo Odor Eater Shares Video for “Night Caller” appeared first on Post-Punk.com.