This is the 10th album from the New Jersey-based hip-hoppers. Once again, they bring old school rap stylings that are in your face into collision with a haze of electronic atmosphere that almsot has more in common with trip-hop than what you typically think of hip-hop being. One thing I have always appreciated about this project is how dark and depressing what they do is. It offers a different perspective on the bleak urban landscape hip-hop is born in, with none of the ghetto fabulous excess. Surreal in its soni but more real in the overall picture it paints.
The first song that finds a mix closer to conventional hip-hop is" Expressions of Love". That seems to be more focused on the fact that" the only answer/ is to rip out the cancer." There is a similar vibe carried over into "Substance," which is more about drug use. Whenever I hear surreal music, I normally assume they are pro-drugs, but I guess here it is contingent on what drugs are and how they affect society, when it is fair enough for me. There is a double meaning in how substance also refers to how they are rapping, so it flips onto a double meaning from the opening verses.
"I AM A MAN' is the first song that feels like filler to me, and really the only song on this album that falls along these lines, though things are a little less straightforward for "For the People"; it does finds things finds a formulaic, droning pulse. The last song is "By the Time I get to El Salvador." Which lyrically is the most political, but it still works as it is the catchiest song as well, perhaps even the album's best track. I will give this album a 9.5; it works off of what made hip-hop great in the 90s but with more sonic depth and lyrical integrity.
This collaboration between the two bands finds these elder statesmen of Grind Core and Sludge blending what they do in a way that makes sense. The first song, "Tossing Coins into the Fountain of Fuck", sounds like the Melvins are in control of the instrumental arrangements and have Barney Greenway roaring over them. Some impressive riffing kicks off the nine-minute "Somekind of Antichrist." Buzz Osborne's vocals lead into this, with a call-and-response featuring Greenway's more savage snarl. Three and a half minutes, things ebb down to allow for atmosphere. This ambient weirdness consumes the rest of the song.
More electronic elements than you might expect from this pairing comprise the two minutes of "Awful Handwriting," which is more like an interlude than a song. The dark and stormy metal intentions that you might expect from them are the backbone of "Nine Days of Rain". The sludgey mood of "Rip the God" finds Osbourne's sung vocals dripping with melodic unease. It is hard to detect Napalm Death's contributions on this one until Barney's vocals come in later.
The pace picks for "Stealing Horses" which finds them splitting the difference with a more punk flavored riff that still holds the Melvins angular ugliness. There is a fair amount of chaos injected into this. "Comparison is the Thief of Joy" finds a weird synth groove in the midst of a dreamy atmosphere. They rear the metallic head back up with a mean riff driving "Death Hour" that finds Buzz and Barney, layering their varied vocal approaches over this. Once again, the weird wave of experimental ambient noises takes over to wash the song away from going in a more metallic direction. This seems to be the theme of this partnership which is almost too odd for its own good, but works like old Pink Floyd in this regard. I will give it a 9.5 and see how it grows on me. Out on Ipecac Records April 10th.
NO, I did not misspell Slayer. This pop artist has been grinding her hips online for a minute now. This is her 3rd album. If any of these songs sound familiar. It's because over the past year, Catherine Grace Garner has been dropping these bangers like breadcrumbs for you to follow her to this moment. "BEAT UP CHANEL$" is the most notable calling card that embodies her vibe the best. She celebrates all the drugs and swags with confidence and embraces the trashiness of it all.
"CANNIBALISM" is more of an organic apporach in poppy funk. She does not possess the most stunning set of pipes; I would say she is more on par with Charli XCX in this regard, but with a chaos grounded in trailer park fab. She does throw her voice into the mic more aggressively than the average pop singer, though is not marketing herself to a rock audience like Poppy. There is a very 2026 groove to "Old Technology," which embraces drug use in a manner not commonly heard outside of hip hop. "CRANK" is another high-energy declaration of her manic coping skills set against a dirty backdrop of beats that divert from a safe, radio-friendly approach.
'GAS STATION' finds her backing off into a more ambient synth drone, and the beat lingers on for dynamic effect. I think her in-your-face approach works best, but you need these moments to create dynamic variance. I think "Yes Goddd" achieves this in a manner that retains her edge better, though, willing to go to more intense extremes. It highlights how her approach is half-rapped, half-sung, without trying to be anyone but herself. You could even mix this into an industrial set.
"UNKNOWN LOVERZ" is another one where she lowers the intensity level. Not sure how much of this is influenced by a producer trying to steer her in a Sabrina Carpenter direction. There is a better club thump to "I'm Actually Kinda Famous". "St. Loser" is another gritty hyper pop thumper. She takes a more radio-ready approach on "What it is Like to be Liked?", on this song and previous one there is an album Lords of Acid feel. "Brittany Murphy" is almost a commentary on her lifestyle in a more self-aware manner. Though sonically falling into a more accessible pop lens, aside from the lyrics. Overall, I think this is a great pop album. I will give it a 9.5 and see how it grows on me; some of the more mellowed-out moments might need time to click with me.
Raymond Watts is not only a founding member of KMFDM, but has also worked with Psychic TV, Foetus, and Einstürzende Neubauten, making him industrial royalty. This is clear when you hear the heart-thumping lead single"Tosca's Kiss Things" that steers the album in a direction that is brooding and bombastic all at once. Jim Davies of Prodigy and Pitchshifter fame aids him in these endeavors. The vocals are not an afterthought but an emotional expression that adds more depth to the crunching, larger-than-life anthems that unfold here. The range from a gothy baritone croak to a more glam rock-inflected croon.
With the kind of beats that established him in KMFDM, clearing the path on songs like "Sex & Suicide." The album continues to flex its dynamic range. The title track is a recovery-themed musing that ironically carries a Marilyn Manson vibe. "Scars" emerges from a chaotic dark hole and is not as groove-focused, but carries a quirky Tim Burton feel. There is more of a grimy machine-powered march, "Quid Pro Quo," that makes me think more of a 90s industrial. The synth sounds are well-layered on this one, though the entire album sounds great, and I found the perfect mix.
There is an almost gospel melody that hovers in the background of "Ruins", as well as other contrasting sounds that come from left field. With lyrical references to a church of fire, I suppose it's the subtext to this."DNA" hits the hardest groove, and it the most dancefloor appropriate song thus far. The big layers of backing vocals on the chorus carry a KMFDM mood. "Imposter" required a second listen to fully digest; it was not as dynamic as the last song. It carries a creepier, more bluntly unsettling feel like a Manson tune. The last song contrasts this with a greater melodic range.
The Verdict
Overall his experience in defining this genre shows him displaying his mastery of this while bringing a new mood to the table rather than a recycled attempt at nostalgia, so I will give this album a 9, and see how it grows on me.
This French post-punker Years of Shame lean closer to the more depressive moments of coldwave in the bleak opener to this album. The vocals are coated in effects, but this helps add another sonic layer that helps sell it as the droning throb aptivates my ears. "Heat" finds the beat shifting to a more anxiety-ridden tremble. The vocals are more forward in the mix and fall back on the chorus, which is an odd choice. The expressive manner in which they are delivered compensates for this. What is becoming clear is something common with this sort of thing, when it comes to the arrangements working off a simple throb as they follow the programmed drums, which leaves little surprise when it comes to dynamics.
The vocals are generally able to to compensate for this for the first few songs. "Violence" finds them shifting the dynamics on the chorus to conceal that the music is not doing much aid from a faint ebb and flow around them. They go from emotive to emo with the expressive pout the vocals take for "Primary Choice," but it is pretty catchy, so hard to complain about it. I can hear how this might appear to fans of newer projects like TR/ST, but it is also rooted in things like early Depeche Mode and "Pretty Hate Machine" era Nine Inch Nails. The guitar parts are mixed way in the back of the mix for some reason, but it works overall so far.
I like the darker feel of "ECHOES", though the entire album is leading you in the direction of the shadows, there are no whimsical "Love Cats" moments. "LIGHTS" is more of an interlude as it feels more like the idea of a song that was never a completed thought. "Terror" has more form and function it comes from the nu-darkwave school more rooted in indie rock like Boy Harsher, as it works a simplistic, murky pulse, but with less heavy breathing here.
The Verdict
The album really delivers when it comes to taking from a few sub-genres of goth and fusing them into something that pays tribute to the roots of the genre, while still looking to the future to keep the scene alive so I will give this album a 9 and see how it grows on me.
This ep just dropped a few weeks ago. British post-punkers come from the genre's motherland, so they have it in their DNA. The guitar tones really more of the tune, while the hushed, breathy vocal mutterings on the title track that opens this trio of songs create a narrative shrouded in the midnight hours of smoky clubs. While this works for one song, the guitars have a more alluyring on the second song "A Perfect End." Things are in play that are going to ask you what you want from your modern post-punk. If you are looking for a dark pulsing sound that is coated in atmosphere, then you are in luck.
However dirfting deeper into the second song, I am confronted by the sound vs song debate. It can be more of a challenge when the sounds they are offering check off all the boxes for what you want from goth music, though, for me, one box is left unchecked. That is with the vocals, the first two songs found them rather t one dimensional, and I prefer more expressive voices, granted they are not trying to be Ian urtis, who at least knew where to place his mono declarations of despair. This is handled din a manner more like a gender flipped version of Boy Harsher. The advantage they have over Boy Harsher is the flow of guitar they dance around here.
The last song "Western Horror Story" grooves andd flows more organically, as the vocals shift a little more, though it's not a huge outpouring of vocal color, andd things ride the one-dimensional dance of tension, which works, but in the context of a full album, I might get bored.
the Verdict
Great Guitar work, and the songs flow with their brand of moody shadows in a very natural fashion, leaving the vocals as this album's big weakness making me skeptical of how well this would translate to a full-length album. As more than three songs of the same approach might bore me so I will round this one down to an 8.5, but if vocals are not something you put much weight in and just want something moody to dance to they have you covered.
On the pop side of glam rock, they do indulge in a more biting dynamic upon occasion, but their strength seems to be leaning into this 80s-drenched sound that marries Pat Benatar and Cyndi Lauper. Music is not created in a vacuum, so the title track that opens the album is darker andd with some Ghost-like aspirations in how it's mixed and the overall vibe to some extent, as it feels like a late 60 hippie-garage for of spooky like Coven or Shocking Blue. Then they rock out harder for "Nothing Ever Changes' which is less hook-focused, so not as effective.
Things begin to find their groove with a touch of anthemic 80s arena rock, heavier on the hairspray than the metal for "Chantilly Boy". They also display a very taunt songwriting hook and let the vocal take on more introspection on "Cold Silver." The beat picks up on 'Forever Mine,' which tries a little too hard. "Hello Goodbye" is more like 90s dream pop. The vocals create more of a backbone. "Tokyo" digs more into the new wave side of the 80s. The chorus works really well, reminding me of the Bangles.
"Saturday" does not veer from the formula they have in place, and it is hard to argue against it as it works here." Summon My Heart" finds her voice taking on a Stevie Nicks-like tremble, which, given a more epic arena setting, is not unlike the 80s era Heart. They nail this sound and have it convincingly dialed in, which is coming from someone who remembers when this sort of thing wa a more dominant force on the airwaves. Things drop back to the more tense, emotive brand of 80s power ballads on " Somebody Else," that really when this crossed over with the evolution of new wave.
They end the album with a cover of Bad Religion's "21st Century" , and make the msot of what they do with it even if it is an odd choice. I like what goes down here and think they are talented songwriters who have captured an era intact and make it there own, so I will give this album a 9.5, and see how it grows on me.
Atlanta's Attila put the city's ghetto fab attitude into metalcore, and the title track that opens this album reaffirms any sneaking suspicions you might have had about their Juggaloo leanings. There are country flourishes thanks to the guest vocals of Don Lewis. This seems to be the direction this sort of thing is going. It is decently written for what it is. It just feels a little contrived to me. "Handshakes with Snakes" is more metallic. In fact, this album has a pretty massive sound. It's well-produced festival metal that is easily consumed by fans of Ghostemane and Lorna Shore alike. This song, however, is not as hooky as some of their previous work.
I think what works best for them is when they blend ghetto charm and attitude with the Myspace metal feel, which we are not getting on "Grifter' it feels like they are trying to get heavier than what is real for them. Some bands already do this better. There is more groove to "Bite Your Tongue,"whih gives them room for melody. Granted, this might take things to the more pop-oriented side of the spectrum, so seeking balance is best. It would certainly kep things from being generic in either direction.
Thankfully, all the songs are around the three-minute mark so nothing has to be endured for too long. "Killdozer" is pretty color-by-numbers; if you told me AI wrote the song, I would believe you. "Rock$tar" almost gets them back in the direction that works best for them. Though lyrically it's pretty silly as they drop rock song titles from the 80s in order to build cred. They bring pop country singer Shi Eubanks onto "I Don't Drink, I Get Drunk," and as stupid as it might be, it works because it is catchy. It's a gamble that pays off.
'America's Rejects' is for the lowest common denominator, perhaps their Juggalo fan base. It is well produced and sounds great despite this. "Atl" needs to sound like Pantera and have more trap beats in order to capture the vibe of the city. While these do surface, it needs to fully ghettoize things out. The overrated Will Ramos of Lorna Shore shows up for the more generic metalcore of "Pressure," which, for all it's aggressioon manges to be boring as hell. Rapper Smoke Chapo joins them for the last song, which works better than it should as it seems to be something they needed to lean more into this album and just become a nu-metal band, as no one takes them seriously by trying to get heavier.
The verdict - they have been more effectivr at eriting hookier songs in the past, it's still big dumb metal with a ghetto swagger that will keep getting Faygo sprayed in their direction, but they could have more fun and not try as hard, the chances they do take work in their favor so I will give this album an 8, the fans should love it, but I won't listen to it again.
This is my first time reviewing this Italian screamo band. They hold a tense balance of blasting hyper-aggressive hardcore grit with some sonic teeth behind it and more nuanced passages of brooding melody. Normally with this kind of music, the vocals are just another layer, and you get bits and pieces of the lyrics. At times, it is an obligatory element that only comes into focus when hardcore bands give you some atmosphere to let the song breathe, which these guys certainly do in space, but the fact that they are screaming out things in their native tongue makes things run together, not to say Italian is not effective in some forms of music, most notably opera. Here, the romance of the language and the aggressive nature of the music don't blend well.
At times, I get the feeling it is not for lack of trying, as the songs have melodic nuance to them. But jsut as I was thinking that, I checked and realized I am on the 5th song and not the 4th; however, it has all run together in a frantic blur that has kept the songs sounding the same. This happened even with the sonic variation I was complimenting them on. "Costellazoni" might be the song that sets them apart and could have appealed to a broader audience, and who knows, perhaps the underground hardcore hipsters are going to declare this as the next big thing.
It could happen as it's not too happy for me, and they are more than willing to experiment a bit, as the last song shows. But "ISOLE" is more about the sounds they have woven together here and less about being a song, even if it does provide a reprieve from them yelling at you.
The verdict - I will give this album an 8 as they are good at what they are doing. If you like harcore from all over the world and care less about lyrics, then this might be up your alley. It's more kinetic than heavy but it works here.
The joking is over on the opening track to Fistula's new album. They go for the throat with the momentum of death metal behind them. The barrage is a powerful sonic force that goes for heft over some of the songwriting smarts they have shown in the past, but it works for what it is. They continue to flex their raw sonic power with"the Unhappy Man," which carries more deliberate sludge weight behind it. "Expire" moves with a similar sludge weight; in fact, it might even trudge a bit more. They do bring samples in andd create a surreal breakdown which is closer to what I want from them.
The scowling vocals have become more intense and, with that, not as articulate, which is a shame as their clever lyrics were one of the highlights of who they are as a band. The title track moves at a more doomy pace. While its pound is powerful, it does drone a bit. The tempo and groove of 'Something Real" work better. The guitar solo of sorts brings a more chaotic element to the eightly lumber that tramples your ears.
Things get more raging and feral on "You Take," which finds the vocals even more harrowing in their wild howl. The last song, "Fools Choie" works on another dense raw rumble that is more of a doom tempo, though it does gain some momentum. I will give this one a 9, as it's powerfully heavy, the song writing doesn't impress me as muh as they did with "Longing for Infection" which set the bar for these guys as it was next level shit.
Here is a new double album from the metal veterans that are taking things in a classic rock direction with more of an emphasis on the Sabbath side of the equation, as after the more rock opening track, which was pretty catchy, the Sabbath influence comes on hard and heavy, so that you can almsot pick out the fiffs they are drawing inspiration from. They said "Gimme Some Moore" was 80s punk rock, but it sounds more Clutch to me. They did pack some impressive riffs for this trip to the studio, but have also dipped them in ample amounts of high-energy chaos.
They claim their producer was calling these sessions the Dark Side of the Doom. This one, but the first song I hear any inkling of doom in is " The Handler" that finds the tempo dropping to add deliberate menace a bit."Beoudin's Hand" incorporates more melodic guitar tones, but is more of an instrumental jam interlude than an actual song. The first song that shows any Pink Floyd influence is "Run For Your Life." It's more about the phrasing of the riffs, with the vocals more like Lynyrd Skynyrd. I had to dig back into the album and re-listen to the title track, which is likea funky version of "Sweet Riff." It falls somewhere between ZZ- Top and Queens of the Stone Age.
"Lose Yourself" is not an Eminem cover, but another funky rock tune. A great deal of these funky shuffles are also in the ballpark of what Mastodon has been doing these days. To their credit, they are catchy. "Asleep on the Killing Floor". Finds the vocals dropping into a lower Captain Beefheart jive rap, before exploding out like a Jimi Hendrix-inspired Clutch song. Around the guitar solo, it gets jammy. "Handcuff Country" is driven by another grooving blues boogie. " Swallowing the Anchor" is another grooving blue jam that is more lyrically interesting than the previous song. This vibe is the dominant force of this album.
"Birckman" is more of a rambling ballad, but at least it's a break from the Blues grooves. They go big to end things with 'Forever Amplified." It is a more Pink Floyd moment if we are talking about some of the more grandiose moments from The Wall. It's the best Clutch song that Clutch did not write. I will give this album a 9, as to why it's not "Blind", it's better than their more Metallica-like fare.
With the official start of World War 3 underway today, how could Neurosis not reconvene to drop a new album? Aaron Turner is replacing Scott Kelly. It's pretty seamless considering this. There is a hint of rock n' roll, but both Isis and Sumac are heavily influenced by Neurosis, so it seems like a natural fit and flows very organically. It's back to the dissonant sludge heaviness with an angular crunch moving the riffs. "First Red Rays" is very dark and ominous; at times, it feels as if they are looking back toward "Souls at Zero." A low growl prevades, leading you into the desolate sonic space.
They come on strong and don't simmer in a great deal of atmosphere until "Blind", this one moves with the kind of bong-laden apocalyptic sludge groove you expect from them, with and empahsis on the bong more than the aggression of when they were once crust punks. It veers off into more surreal places dynamically. Exeuted differently here to some extent, it is familiar enough to sit firmly in their wheelhouse. Some what post-rock by definition, and certainly bearing some influence of Swans, yet firmly their own sound.
There is more of a post-punk feel stirring from inside the density of "Seething and Scattered". There is a great deal of vocal trade-off that Turner blends well. They expand and recoil as a Neurosis song should. "Untethered" is sonically expansive without being overtly heavy. There is an organic, jammy feel to this. "In the Waiting Hours" is alot to take in but delivers what you want form a Neurosis song as it is pummelling when it needs to be but still takes you on a journey."The last song finds the arrangement sprawling out until it dissolves into ambiance. It winds its way around into dark folk sitting against a noisy undercoating. Things get trippy ten minutes into this. They wander off into a more tribal drone. I will give this one a 10 as I think it opens a new chapter that holds up well against their legacy even in the absence of Kelly.
Philly punks Poison Run continue to improve with each album. This one finds them settling into some of their catchiest and most melodic songwriting yet. This does not make them any less punk; in fact, it connects them more closely to the classic punk of the late 70s. The vocals show the most improvement. Despite theming the songs around the Middle Ages, there is an almsot more Western feel to the rambling title track. It is more straightforward and less nuanced than the opening track, but it works for what they are doing, though I hope there are more moments like the opening song.
Things embrace a more punk attack for "Eidolon" though the guitar parts are more intricate and ring out in more of a Brian May fashion, bringing a song like "Tie Your Mother Down" to mind. "Howls From the Citadel" is almsot a folkish ballad that feels more like an interlude. They carry a more Motorhead like charge with the commanding metal-tinged riffs of " Pilgrimage." Even a song like the more punk "Guts" is allowed a middle section where it gets to breathe a bit, showing the maturity of their songwriting this time around.
They hit you with their older style of gritty punk with "Turn to Dust". He howls with a throatier tone. A punk tone rumbles into the more thoughtful chords of "Puzzle Box" which are given more dissonant accents, showcasing the level of songwriting on this album, you don't always hear from punk. Even with the vocals of "Serpent's Curse" more spoken for the verses, the song works well.
"Sleeping Giant" is pretty majestic sounding, but it's more of an intro into the rowdy gallop of "Crescent Sun" which is likea rust punk version of Motorhead. Much of this is due to the big sound of the bass driving it. Despite the more blackened feel of the bombast leading into the last song, it's just your typical punk song leading into it, though a second listen shows the vocals are more subtle than you might expect, and once again they are writing songs rather than jsut bashing it out. Almost more like Social Distortion. I will give this album a 10 as it' one of the best punk albums I've heard in some time, this is the album to beat this year for sure.Drops April 3rd on Relapse Records.
Florida thrashers Intoxicated, despite being from Orlando, were influenced by the Tampa scene and about an hour and a half south of them, which of course leaned towards the more death metal side of the genre, and that can be heard even in 2026. They have been around since the mid-90s, but this is only the band's third full-length. They still retain their knack for writing hooky riffs. The vocals are in a raspy, almost spoken style, making them more articulated, which reminds me a little of Coroner. The title track has less groove than the previous song, as the double bass keeps it more in your face.
These guys are certainly on the heavier side of thrash. "War Club" is a little more mosh-inducing until it reaches a more death metal speed. Guitar solos fire out from the corners of the song, though not handled as gracefully as the last Coroner album. But more purpose to them than Slayer's guitar chaos. The songs are tight three-minute bursts of old school aggression. There is more ominous intent behind "Tighten Your Eyes". I like the effects they use on the vocals , which gives some kind of variance. alomng with the slower pacing. They do throw in a pretty mean riff to give it more dynamics, making it one of the album's best songs.
"Unescaped" is more hammering. It's also a little straightforward in terms of dynamics and sonic colors. The same could be said for "It's Dead," which glides on a tauntly picked riff. You can hear a touch of death in the verses. Some riffs have a hookier punch than others. "Shifted Cross" finds the guitar twisting and turning over the double bass's flow, continuing to pour on the death metal influence. "Rake the Grate" has a more Slayer-esque riff, with its pummelling groove. The last song has more groove but feels like it is riding the momentum of the previous song.
The Verdict
Since I listen to hundreds of new metal albums every year and have been listening to thrash like this since the 80s, it is clear they are good at what they do, but if feels like they are just maintaining their vigor, which is impressive considering how far they go back but not experimenting with the formula enough to break new ground. I will give thi album a 9, meaning it's at the top of the game when it comes to bringing what you want from thrash, but offers nothing new to put it in the top tier of all new metal coming out, but thrash fans will find this worth their time.
The Canadian post-punks are back. They open their newest album with the lead single "Burn in Heaven," which is grooving and dark enough to be in regular rotation at goth clubs everywhere. It bridges the organic guitar focus of post-punk with the slinking slither of dark-wave to fit nicely into the goth paradigm. Synths play a larger role in setting up." I Was Ill, You Were Wrong". It falls back into a mood rather than a groove, like the previous song, though it grows on me with each listen. The hook is subtle when he announces it's a sea of sadness.
On "Seven Fictions," the bass line steers the track toward a more Cure-like direction, with his emotive vocals adding a whine that only deepens this comparison. But it works well as a song, though I am not sure I want the album to only relentlessly pursue this kind of tribute moving forward. \"Cold Skin" is more of an atmospheric ballad, that finds the overwrought plea of the vocals the only thing anchoring them to Robert Smith's zipcode as it drifts toward shoegazing.
It might be due to the fact I am such a huge fan of the Cure, but I hear "The Hanging Garden" a little too much in "Selfish Hunger". Things move in a more Cold Cave-like direction for "Prayertaker". It's more like older Cold Cave, which works well enough for me. I can also hear a little Clan of Xymox in the overall mood at times. "Dream Drowning" fassked me out as the intro made it sound like they were going for something that sounded too much like "A Forest," but once the song kicks in, there is a dancier feel that reminds me of the early 2000s brand of post-punk revivalism that kept the dark flame burning, bringing us to where we are today.
The last three songs ran together after a casual listen, forcing me to go back and listen with a clsoer ear to sort out what was going on. "Mourn" is more of a brief ballad. It carries a great deal of desperation in its plea, but is subtle in its minimalistic pout. The beat to "Japanese Picture Pony" picks up the pace ajnd add more dance in the step of the otherwise thickly introspective languishing the album does. "Crawl" is a depressive ballad that finds its joy in wallowing. I will give this album a 9.5, even for all its Cure worship and ballads halting the momentum, it sounds great, and there is a depth to the melodies that make you a believer in the moping going down here.
I liked the band's 2021 album, but I have not given Rob Dukes much of a chance, despite having worn out the band's first three albums during high school. On the opening track, he is going for the higher snarl that is what helps defines this band's sound then on the second song, he begins to do his own thing a little more, and the song it self is not as inspired as the first track which was such ripping thrash that it caught be by surprised while raising the bar for this album. This is recaptured on "The Changing Me," which chugs along in a more compelling manner.
Between the sometimes harsher vocals and the nature of the guitar harmonies, they have managed to gracefully update their sound for 2026. This is a little less carried over into "Promise You This," which has a more rock n roll feel. The title track works, but is not what I expect from these guys. It slows down to a doomier pace and has cascades of guitar arpeggios flowing over it. As a contrast, "Beyond the Event Horizon" is a more rapid fire thrashing, in fat it's the fastest song so far. Which I prefer more of a groove, but understand why some fans might seek this out.
Dukes sings more than screams on "2 Minutes Hate". This adds to the overall dynamics and makes it the album's second-best song, with the opener still holding the lead for that title. They start "Violence Works" off with more groove. The one thing Gary Holty has brought over from Slayer is the need for a killer guitar tone. Given the Slayer connection, I am surprised they are not bigger than they are, even for a thrash band that was not big on compromise. The first album, they have refined their sound in a more accessible direction with each album until "Fabulous Diseaster".
"Summon of the God Unknown" opens with the album's most Slayer-like track, resembling the early years very little. In fact, it reminds me more of Pantera, who are playing stadiums, so they obviously have an effective formula. But this is an Exodus album, so I want things to sound like Exodus, which they have already shown me on this album that they are capable of doing. That is not to say the song is not full of killer riffs, but I listen to Exodus to hear killer Exodus riffs.It is impressive that Tom Hunting is bringing it like this after all these years. Dukes is a pretty good metal vocalist who gets the job done, I jsut wish he retained a more Exodus-like style. The last song finds them locked into a more rapid fire thrashing. Maybe what I am looking for is balance, as they do sound more like Exodus here. I will give this album a 9, as they are bringing it in a way that works in 2026, if you asked me if I thought I was going to get more mileage out of this album or the new Megadeth, the answer would be Megadeth, but if yo uare an Exodus fan this is going to bring you what you want even with the curve balls includes which at least prove it's not a total nostalgia fest. Dropping on Napalm Records.
This industrial-strength death metal band comes from Atlanta. They hammer into things with some thoughtful melodic layering of the guitars. The vocals are a little more of an afterthought as they are buried in the mix. The mix is weird on this album and plays as both a weakness and a strength. It leaves space for an atmospheric feel, but since it buries the vocals makes it less song-focused and more about their sound.
"The Sin of Defiance" leaves some room open for melody from the guitars to set the mood. This is more effective than when they are just hammering you, as it shows they care about the songs by creating dynamics. This is something it is easy to take for granted in the larger world of metal, though something I place great emphasis on here. This is a guitar band, as they are first and foremost when it comes to where the spotlight falls. The vocals are a rather one-dimensional growl, so no big loss that they fall into the guitars. To their credit, they are articulate enough to discern a lyric here and there.
"The Fall" basks in its own ambiance until they are ready to lay the smack down in a sludged-out manner. "Apostasy" is more deliberate. The electronic sounds and samples seem to bookend the meat of the music and are not as large a factor as I expected them to be, with some just regular metal riffs dominating a song like "Misery." This could be your average death metal band with an ear for sludgey sounds. I think more variance from the vocals could be useful for them to consider in the future.
The last song just kinda of feels like your average death doom band with a little more of a stomp to the riff. works for what it is , but is not blowing me away either or demanding me to headbang, perhaps it might if you like your death doom on the dense and dirty side. I really liked how the guitar melodies were layered on the first few songs so it raised my expectations. I will give this one an 8.5, as the melodies the guitar does employ show they care enough about songwriting to put them at the head of the pack when it comes to bands rising from the underground of the Atlanta Metal scene to the world stage, where they we be appreciated by metal heads with more bong-laden eardrums. Being released on Terminus Hate City.
Moodring is a one-man project that bridges the gap between metalcore and nu-metal. Granted, it is not a big gap given the poppy nature of most modern metalcore. He is a little more intentional in his pop hooks, and there are plenty of electronic flourishes to give things some depth. More emotionally nuanced than, say, Falling in Verse, but not as darkly atmospheric as the more recent Bad Omens, I could see these songs working well with the Welcome to Rockville crowd.
"Masochistic Machine" is energetic, but the songwriting is less focused. "Gunplay" works a little in this regard, though it brings Korn to mind/ "Anywhere But Here" has a more Deftones feel. If you were to take a section from almsot every big nu-metal song and put them in the blender, the results would be like "STFA" which, thanks to a strong chorus, might be the album's best song.
"Oxidized' finds them back with a taunt vocal melody for the verses, and a pretty solid groove. If this came out in the late 90s, it would have been next-level shit, and to think it used to take four meth heads at a time to come up with this sort of thing. Taking a nod from pop, the songs are all around the three-minute mark. "Bleed Enough?" is more typical of the metal of the genre despite the Deftones-like chorus. A similar thing can be said for "Sickfuck".
"Die Slow" finds the vocals doing most of the heavy lifting to elevate otherwise generic riffs, with a more thoughtful melodic space created in places; it all comes together to make the song work. The last song is poppier, but it is well-written. I will give this album a 9, and see how it grows on me, one of the better new school nu-metal albums I have heard this year.
Jarboe's solo work continues to reach out further into avant-garde sound, more abstract and ambient than her work in Swans. Percussionist Thor Harris from Swans joins her. Textures of strings aid in creating the waves of sound unfolding here. Both Jarbo and Gira have ventured out into sonic regions beyond the outskirts of conventional songwriting, which almost share more in common with free jazz. Here, there is even a more classical feel if we are talking about composers like Johan Adams or Philip Glass. "Francesa Sun" is haunted by a longing. Sparse droning arrangement floating as lightly as her voice carries its almost chanted melody.
The eerie layering of sounds is not as depressive in its introspection as Swans, but there is a similar sound bath feel as "Soundtracks for the Blind" just achieved through different methods. "The Choir and the Nightfox" is a little darker. It is more of a trance-inducing pulse of sound wrapped into a simple droning melody. "Breathe" is highly meditative, but musically not much, as it consists of bells ringing over ambient synth sounds. This sprawls out for nine mintues.
"Vireo Seranade" touches on the bird theme that provided the inspiration for this album. It feels like it might be an intro for a Swans song rather than the meat of it. The Sangha mix of the first song comes next, it feels a little more intense in its droning layers, almsot a post-rock vibe. I have enjoyed this album. I got a new puppy and it helps him relax when I put it on. It often reminds me more of what Swans did sonically than some of the Swans post-reunion work. But it is not song-oriented, so I will round it down to a 9, which is still better than what most albums get.
Dan from Die Kruezen is back with this band, which started as a way to resurrect the songs of his classic band, before they began looking forward and making their own music. His voice has changed with age. The timbre is different from what it was with Die Kreuzen, but the spirit is there. It is more of an obvious scowl than what he was doing back in the day. Granted, he never sang the same on the Die Kruezen albums as he was allowing his voice to evolve with each album.
The first song, "Nails" might blend more with current metal, but I like it when things begin to get a little weird on "Hate Market'. "Nychthemeron" finds them thrashing into the chaos a little. Much like Die Kruzen, this music is hard to classify. I guess if Black Flag got called hardcore for albums like "Slide It In" then this would still qualify. This song is faster and more aggressive. They have always been kindred spirits with Voivod, and this is more pronounced on "Natronium." There is an angular swagger that works well, and I begin to understand the trick to this album is not to expect it to be Die Kreuzen.
With that said, they do cover Die Kreuzen's "Man in the Trees" from "The October File" album. The production quality is improved over the original version I have. He proves he can still hit the notes, though the raspier-screamed parts are different in places. The album closes with I'll Never Forget You." which is more punk. I am impressed he is not picking up where he left off on "Cement" but this feels more connected to his earlier work. I will give this a 9 and see how it grows on me. It is a highly suggested listen for all Die Kreuzen fans as this is as close as we are going to get to new music from them.
This project was produced by Tim Skold. The first song makes you think it is going to be an album of Marilyn Manson-style goth-flavored rock with industrial-style production. But they end up throwing a bunch of styles at you in an effort to find what elements of Myspace the kids are still into today. The second song is more pop-punk with metal guitars bookending the more Fall Out Boy aspects.
The cover of "Rock Me, Amadeus" could go harder vocally. I think the quirky vocal of the original is a key aspect, and the vocals here are kind of bland in that they are less expressive. It does not come acorss as darker, and as someone who knows dark music, you can take that to the bank.The electronic elements of 'Silk Noose" are pretty effective, and the pop slant to the vocals works for me, as it touches on the Myspace elements I still like.
"Violene Wears Makeup" combines all the elements of the varied genres they dabble in into one song. This means emo vocals against industrial drums. The results should sound like peak AFI, but the vocals keep it from being that dark. Overall, this album might not be as dark as what I normally go for, but I appreciate the fun sound they have and the fact that they care about songwriting, so I will give this one an 8.5, it comes out on Metropolis Records.
Lamb of God is one of the biggest bands in metal today. Yet they have never scored higher than an 8.5 here. What does that even mean, you ask? They get the job done without being original enough to make me give their albums more than a few spins while I am reviewing them. If I am in the mood for this type of thing, I either listen to Pantera or Slayer. I did like their "Sacrament" album, which I listened to quite a bit, but after that, everything started sounding the same. Production-wise, they follow the trends. Previous albums have taken notes from Slipknot; this one finds their producer taking cues from how Gojira and Behemoth dial in their sound.
Randy Blythe has a bigger personality off stage than on. He is rail thin so it's hard to take a scrawy dude barking at you like bad ass. "Parasoial Crisis" is better than the title that opens the album, as it sounds overproduced and generic. "Sepsis" is even better, in fact, the most memorable of the first three songs. The first has a more spoken thing going on that complements the groove. "The Killing Floor" is more of a thrashing groove, which is what works best for them. There are some pretty mean riffs on it.
"El Vacio" is more melodic and shows that despite his miserable performance at the Ozzy farewell show, Randy's singing voice has improved, though it does prove my point regarding how they have taken notes from Slipknot. "St Catherine's Wheel" is pretty much on point for them as it is well done for what it is, but what it is does not resonate with me as it sounds like everything else. I prefer the groove of "Blunt Force Blues" which goes to show I might as well jsut listen to Pantera.
"Bully" is a generic modern metal battery to your ear drums where "A Thousand Years" has more of a hook to it, making it more memorable. "Devise/ Destroy" might as well be a Slipknot cover. Much like their other albums, this one gets an 8.5, it sounds great and is well done, made for the dull masses who do not care if music is original or not. I blame alcohol intake for this numbing of musical sensibilities.
One of my pet peeves is having multiple bands with the same name. Yet here we are. This Throat is from Poland, not Finland. They play a dark and grimy version of black metal rather than a burlier take on post-punk. They are equally dark. This album opens with a murky, clanging take on the genre, a cauldron of chaos bubbling with spewed vocals gasping and choking. The guitar is deliberate, and the production is rather raw, leaving the instrumentation to fend for itself in this mix. The drums suffer the most under these conditions. But they use blast beats sparingly and focus on fiendish moods that create the charm.
"Cain's Mark" is rowdier and more upbeat, whih will appeal to fans ot the early second wave of black metal that are looking for something with the punkish attitude of the cvlt charm. It slows down into a more deliberate stomp that is more song-oriented. The track after this is more of an interlude, and jsut creates a droning ritualistic atmosphere. "Corrupted Flesh" finds the vocals dropping down into a more death metal growl with a more sinister intent. They linger on a more brooding doom feel here.
The last song ' the Pact " is a more feral explosion of wrathful aggression that bands away with a reckless punk abandon, not unlike Darrkthrone. I like the vibes that paint the mood they are creating here, even if there is not much that we have not heard before going on. If you want something that is raw with a murky darkness but not just blasting and tremolo-picked guitars, then this album might be for you I will give it an 8, out on Primitive Reaction.
Temple of the Void's album "Summong the Slayer" made the 4 spot of our Top 10 Death Metal albums of 2022. Four years later, we are seeing if the band can still bring it like that against the death metal competition of 2026, which is still awaiting releases from Frozen Soul and 200 Stab Wounds. The kick things off with guitar solos blazing. It moves fast when called for to get your attention, but they are not about to sacrifice the song for the sake of speed. They no longer feel the need to prove who they are. The vocals are growled in a purposeful manner that is articulated enough to get the point across.
The title track features melodic guitar colors mixed into the grind of a more traditional death metal sound, moving with purpose rather than a feral blast. 'A Dead Issue " shows the most impressive display of songwriting so far. It features hooky riffs and a groove that keeps your head moving while offering space in the arrangement to let the ambiance settle in with a darker creep. This is the best song on the album as "Thy Mountain Eternal" has some melodic nuance but does not hook you in tightly.
They return to the hookier songwriting on "Soulburn.", The verse riff is really solid on the last song "The Twin Stranger," as it has an Entombed-like punch to it. There are some strong riffs on this album, but I feel like " A Dead Issue" set the bar really high, and while they have matured by streamlining somethings, this album does not grab me like the previous one, though it is still a great album so I will give it a 9, setting them firmly in the top tier death metal releases this year so far. But perhaps not bringing it like Monstrosity. Out on Relapse Records.
When it comes to this guy, musically is a little more experimental than most mainstream rappers. The second song has a little more interesting thump than the opening song. The overall sonic backdrop on the opening track is more sonically diverse. 'STOLE YA FLOW' finds the stage set by furutistic synths. It finds an effective groove that compensates for the lack of lyrical depth. He does remind you that Rhianna i his baby momma, which is worth something.
His vocal accents on "Stay Here 4 Life." feel more like warmed-up Snoop Dogg from the 90s with a Weeknd wanna-be bringing the vocal hook. Lyrially it is more of a vapid pop love song. When it comes to "PLAYA" the problem with this more streamlined r&b approach is it lacks any of the staples that make him unique as a rapper and sound like everyone else on the radio, right down to the beat. "Stop Snitching " breaks the more bland hip-hop trend that the previous song "No Tresspassing" had not been convincing enough to break from.
Then the album gets the creative breakthrough it needs with two solid songs "STFU" and "Punk Rocky" , the latter has a more rock feel, but "STFU' is aggressive neough to open new doors sonically and break from the middle-of-the-road feel the album was getting stuck in. "Air Force" experiments, but is not all that focused or hooky. The Gorillaz appear on "Whiskey". There is a dreamier haze over the backing track. I am just going to write off "Robbery" as a skit/ interlude.
The title is more of a neo-soul track. It works well enough and is the product of heavy THC use. The last song is darker but more fitting subject matter. I will give this album an 8.5. There are a few strong songs, but he is caught in a tug of war of what the record label wants him to do, what it takes to be on the limited diversity of "urban radio", and what he wants to do creatively, so it is the sound of compromise, which is why I rounded it down to an 8.5 as hip-hop should not compromise or it becomes pop music.
It was hard to know what to expect from Norway's Twin Serpent; the first song felt more like punk rock. This explosion of rowdiness came after they dubbed themselves blackened bluegrass. Then on the second song, it feels more like punk-inlfuenced indie rock. The kind of hobocrust-punk take on bluegrass does not come into the picture until "Stellar Suicide". The dual vocals have a more punk feel, even when given more space for melody, with the female half more willing to relax.
"Freak Flag" feels more like a rambling marriage of folk with punk attitude. "Ain't Home No More" is more nuanced and leans into the blue grass sidde of folk more. Having a pretty solid history of this sort of thing with Amigo the Devil, Bridge City Sinners, and the Dead South, the novelty of it alone is not enough to capture my ear. I appreciate their willingness to blend the varied elements from diametrically opposed genres. "Tussen Takk" casta smokey haze with its more blues-based musing.
They give "Radiophobia" more of a rock kick. While this is different from what we expect coming out of Norway, if these guys were from Texas, this sort of thing would be less surprising. "Fortventninger" is more of what you would expect from this sort of thing, going into the more barroom style of folk. "Holy Ghost" is more melodic and finds the elements they have in play working at the highest level of effectiveness to make this the album's best song.
"Kiou Kivi" is more chanted over a free-form jam. The last is a loose blues-based excursion into country-inflected musings. I appreciate where they are going and the willingness to try new things, as well as the punk energy they bring to them. This album could use a little more focus, they know the sounds they want to use, but all the pieces sometimes get lost in the shuffle, it works mroe often than not as it gets playt off as just being punks fucking around, so I will give this album an 8.5. If you wanna hear moddy punks with banjos, they have ya. Out May 8th on Svart Records.
This band claims to be slug metal. Slug metal is nothing like sludge metal. In fact, it is more of a punk metal hybrid. The vocals are yelled more like punk. There is a hint of rust to what they are doing here, and only judging by the first track makes it hard to predict where it is going from here. I do appreciate the psychedelic trappings on the edges of the song. Granted, Gwar started off as more of a punk band, but these kids are more spazzed-out punk with very little metal. More of a metal influence on drug punk. They have heard a few Iron Miaden album atry to write galloping guitar harmonies that get overtaken by the sonic oddness.
"DMT" is darker and does lend some weight to my claims that they are a drug band. The freaked-out scowl of the vocals is endearing, but it begins to cast a uniform shadow over the overall feel of these songs by the third track. Metal works better on drugs than punk rock, despite punks drug ridden history. But compare the Sex Pistols to Black Sabbath, and it's no contest. The garage rock element to their playing limits what they have the prowess to accomplish. The guitar shows the most capacity for melody; the drumming is a little sloppy.
Most of ht song circles the drain at the three-minute mark, which works. "Heaven's Gate" finds a more deliberate stomp, but it is hard to ignore that some earlier sections of the song are a total mess. This is also the first song that finds the sluig crossing into sludge. The vocals improve on 'Pyschic Surgery." Though the riffs are angular and wonky. "Leeches" is another mess that finds its reach exceeding its grasp. They are going for more of a 70s boogie on the last song. They are one of the oddest stoner punk bands I have heard in some time, which is endearing unto itself. I will give this album a 7, if you smoke lots of weeds and lsiten to punk you will get the joke.
Theres guys play a pop infused brand of Myspace metal that takes you back to 2004. Vocally, there is some depth despite the emo grooves not being the most original thing you have ever heard, but they pull it off in an anthemic enough manner to at least make the opening song work. Who knows, they could have blown their wad on the first song. This is the kind of music Pierce the Veil and Bad Omens emerged from, perhaps to a lesser extent, Sleep Token. There is a formula already in place by the time we get to "Pretty Skin". In some ways, it';s like if a dude fronted Spiritbox, as when they try to go more metalcore, they dig into a djent like stomp. Courtney has more balls to her harsher vocals than this guy.
The groove to 'Pieces" works. If almsot feels like I am listening to one of the Punk Goes Pop albums. "Like A River' features a collaboration with Of Virtue, who I have not heard either to who know which part is which . it is more of a pop song, and that feels like the direction their heart is really in. Metal is like funk; you can't fake it. There needs to be an inner darkness and aggression that is released, and I am not feeling it here. This song is well done, Myspace era Emo. Pop artist Phillip Strand joins them to really flex their pop vaginas on "Love us Dying". It is color by numbers, and if you told me AI wrote this, I would believe you.
By the time we get to "Ghost in the Water," it begins to feel like I have heard it all before. The tempo picking up only makes it seem more like pop punk. The harsher vocals are never going to convince we they are hard; they sound like they are coming from someone who struggles to bucnh 135lbs. "Can You Feel Pain" has a little more potential, and works more often than not. I like how it is produced; it's a good pop song. Some of these sounds feel like they are from a K-pop soundtrack, then when they try too hard to get heavy, it falls flat on "the Art of Being Torn in Half"
I like "Chasing Dreams," which sounds like it is about how Justin Bieber likes rough sex. I think this is how he processes trauma from Diddy baby oiling him up. 'the Fire" is the kind of slow jam I wanted from them all along. and why I kept listening. Fans of Sleep Token can also masturbate to this one. I will give this album a 7.5, based on the fact it is really well produced and there is some decent pop songs in the mix here, they jsut need to come out ot hte closet and try not to jsut metal as the beard for their pop desirres as I do not believe it.
Some artists blend their image with their music in a way that maximizes entertainment value. Cobrah is one of those. The Swedish understands what she has to work with and makes the most of her physical gifts from her vocal cords to her curvy figure and fairytale blond locks. Before a feminist jumps in the comments and says
"If this were a male singer, you would not be talking about his looks; you are objectifying her and sexualizing her."
She is objectifying herself and using it to her benefit, which is reflected in the sensual throb of the beats pulsing under her breathy voice. If you combined the otherworldly alien nature of Poppy and mixed it with the hyper sex of Slayyyter, the results would be similar. Musically close to Poppy, with the electronic throb keeping the songs together. This is also an apt description of the title track that opens this album. On the second song, which is about Instagram is seductively lures you to check out her Instagram. There is a bit of a Charli XCX attitude involved in what goes down here as well.
From a porduction stand point, this album sounds great through headphones. "Platinum" finds dance grooves flexing their basslines, as she chants over it in her sultry style."Hush" was the first video I saw from her, where she is basically some kind of aline stripper, and it drew me in, so it's pretty effective. 'Charming " is a down-tempo ballad, which could use more of a beat to create the dynamic contrast neededto keep my attention. "Dpg' might be the album's best track as the beat goes so hard it is almost industrial.
The songs are all around the three-minute mark or less, so she knows how long she has your attention for. "Hit Girl" finds the beats percolating around the purr of her vocals. "Excusez Moi" works really well, for it does as the beat keeps things moving in the right direction for the mood. Variations of horny and speculating her self-worth seem to be the dominant moods explored on this album. "Snow White" is more ambient, but the beat keeps things in motion, allowing hte ambiance more balance. The last song, " Really Hard," is not about an erection but how she wants to be hit by your car. Even with her vocal limitations, she makes this work, so I will give this album a 9.5 and see how it grows on me.,
When these guys came out, I appreciated what they did, but I just listened to other bands. I was very aware of what they were doing as they blended clean singing with hard-core, though certainly not the first to do this. They, however, influenced much of the Myspace metal to come, and their influence can still be felt on metalcore. The legit organic nature of their hardcore roots colors the opening track. "Primal Bloom" continues further down the more hardcore side of what they did. When it drops into the sung voals it does not occur at the most predictable time, not making it an anthem.
There is a more nuanced lead into "Thoroughbreds". The sung vocals are less pronounced as they continue down a more punk path. The thump of the bass line and the vocal melody put "Everything Hurts" at the head of the pack when it comes to the best songs so far. "Weeping Tones" finds the sung vocals produced in a way that bridges them to modern metalcore; I don't remember being present in their earlier work. There are some cool chugged riffs in "A Wake of Vultures" which feel a little more like Bihohazrd than I recall from them.
"Bad Bodies" continues to flirt with its more hardcore side. At times, the more melodic moments feel like Code Orange. They share a love for syncopated breakdown riffs, going where there is no breakdown. "Drifting Without End" has a more Deftones-like feel. I think this is pushed even further in that direction with the shift in production, which is less organic than their old material. "Melted" works off a more familiar hardcore stomp."Plague With the Most" works off a more metallic chug. The production on this album certainly introduces them to the kids of today who might not know their music history in an effective manner. I will give this one a 9.
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