DOODSWENS : "S/T"

 

The reason I do what I do is that you can not trust the mainstream metal press. They pander to record labels, which are often subsidiaries of larger media conglomerates with agendas to which they are beholden.  Svart Records is just owned by two Finnish dudes, so they are not suspects. But they can see where certain trends in music are heading and would want to flow with the current. This Dutch "band" is helmed by a girl who calls herself I. She represents in many ways what the press wants for the problematic genre of black metal. To dull the masculine aggression by diluting it, so they are hailing this as a masterpiece. Which is where I come in to answer the question of whether it is or not? 

The first track sounds well-produced, so they are not going for a raw feel here. But it's not all that original it could be someone covering newer Mayhem, well maybe not their most recent album, but their output from the past ten years. The second song is more rabid, also nothing that original. I don't really get interested until some of the songwriting nuance to "The Black Flame" catches my ear with its darker throb. Her vocal apporach remains pretty one-dimensional; not only is she the vocalist, but she also plays drums, which would be a challenge live. Perhaps that is why there are not many shifts of direction once they lock in, allowing things to drone on/. When dragged out for six minutes, it can begin to lose me. 

While I like Myrkur, this is more legit black metal than what she does, as her strength lies in other areas. I also appreciate that this is dark enough to convince me she is coming from a real place, even if the wheel is not being reinvented here. The throb of "These Wounds Never Heal" is more intentional. Her articulation is inconsistent, and the lyrics emerge more clearly in some songs than others.  While things vary from song to so far the first half of the album is dynamically flat. Though there are not a ton of blast beats, the tremolo-picked guitars are pretty color-by-numbers. The first thing they do to switch it up is to give a little more atmosphere going into "She Carries the Curse". The drumming slows things down, and the vocals are more muffled in the mix.  It just sounds like random screaming following the path the guitar left for it. 

"Devils Stone" sounds like if you ordered Watain from Temu. It borrows the feel of their dramatic march. The album looses it's steam in the third act for sure as the last song feels like an extension of the previous song with a little more chaos in the mix. I will give this album an 8, so there are lots of black metal band bands putting out garbage that this is better than. But while well executed it's not the most original thing I've heard. If you want gritty black metal that still sounds good then this is worth your time.

Nine Inch Noize : "s/t"

 

Nine Inch Noize is a collaborative album between producer Alex Ridha, aka Boys Noize, and Nine Inch Nails, which is now basically just Reznor and Atticus Ross.  If you are looking for big arena-rock riffs, that is not happening, as the songs reimagined here are strictly electronic. That's not to say the synths don't have heft, and Reznor's voice roots it in the sound you expect from him. The track listing replicates their Coachella set list. 

 Mariqueen Maandig, who sings for How to Destroy Angels, also lends her voice to this project, which is first heard on "She's Gone Away". The shake the booty of "Heresy" from "the Downward Spiral". This makes it have more in common with the songs from "Pretty Hate Machine", an album they leave untouched here. It would be kind of redundant, so that is understandable. They also rework."Parasite" by How to Destroy Angels, not a cover since Maandig is involved in this project. It gets a hyper-synth wave injection, giving it more amped up drive.

"Copy of a " from "Hesitation Marks' is a dance remix that works well for what it is. This also proves the point that a good song is going to be a good song no matter what context it is presented in. "Me, I'm Not" starts off with what you think is a live recording, but it's not, though the live sounds crop up throughout the album; it's about as live as the fourth side of "Kiss Alive 2." The pumping beats continue to flow through "Me I'm Not". They continue to lean heavily on "Year Zero", which works for me as I thought it was an underrated album, and the dystopian themes are more timely. 

The only actual live track might be "Closer." It deviates less from the original than most of the songs here. The only major change is less crunch when they dig into the chorus. In fact, it feels like guitars have been intentionally removed from this album. I had to give a second listen to this version of "The Warning " to connect with me. I think I prefer the original. The only real cover here is their take on Soft Cell's "Memorabilia." This was originally a B-side to the "Closer" single. It was not the best song to begin with, but what they do works well enough here. 

"Came Back Haunted" has more grit to the bass line in this version. It drones more on the verses as the sonic throbbing pulses. Here is a song that was born for this kind of treatment. This is actually the first time I have given the song "Alive as You Need Me to Be" a solid listen, as I pretty much disregarded the Tron Ares Soundtrack. Here, it has more of a live sound until the vocals come in. It's a pretty solid song. The fact that they did not re-work a Boys Noize song tells me everything I need to know, and I'm guessing he was just twiddling knods alongside everyone else, as they are only credited with production and mixing. But as a remix album, this works. I will give it a 9.5  

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Gozu : "GOZU VI"

 This band's 2023 album made our top 10  Stoner Rock albums for 2023. There is less of a grunge haze this time around and more of a Queens of the Stone Age-like precision, which is not shocking considering the genre they find themselves in. There is a more deliberate metal chug in places on the opener that works well for the soulful vocals to belt it out over. "Midnight Express" carries a much more deliberate doomy stomp. The more Alice in Chains-like vocal returns on this song. I like that it is darker than the opening track. 

The guitars in "Killer Khan" are even more aggressive as the album continues to move in a heavier direction. Seems like there are some subtle and not-so-subtle references to wrestling, "Corner Lariat" being one of them. Funny enough, it's a more melodic, less aggressive song. It feels like what some of the metal bands were doing in the mid-90s as the grunge era waned. The more uptempo "Banacek" is the first song that feels more like filler to me. The vocal melodies feel more obligatory half the time. The one-half time riff is cool, but "cool riffs does not a song make" is the rule here. 

The more blues-glazed "They Did Know Karate" sounds more like what I want from these guys. There is a touch of doom to it without being Black Sabbath worship. That said, there is a slight hint of "Children of the Grave" to "Gimme the Lute", though it also shares some sonic space with Corrosion of Conformity." Corvette Summer" closes the album with a more blatant metal gallop. The verse riff reminds me of Mercyful Fate. This is a fun album, and these guys continue to perfect what they do. I will give it a 9.5 and see how it grows on me.Being released on Metal Blade Records May 15th.

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The Last Ten Seconds of Life : " the Dead Ones"

 

I am very picky when it comes to deathcore. This band hooked me in after the first three songs with their knack for groove, and the vocals have amore of a purpose than just random gurgling.  One thing I like about this album is that it is fucking dark. There is a great creep to the riff of "Freak Reflection". Some vocals that are almost sung. At times, there have been some parts that were not far removed from Slipknot's heavier moments. I can see where this might turn off someone just looking for the heaviest shit ever, but these guys are taking heaviness to the limit while making music that still has memorable songs and hooks, which is key over just capturing a heavy sound. 

There is more of a death metal feel to "1-800-Do You Want to Die." It's the breakdown accents that bring the hardcore part of the equation. It's impressive that for something this heavy, it's still catchy. The flourishes of double bass are impressive. "Stiletto" is more deliberate with more of a Morbid Angel crunch that is contrasted by the almost rapped cadance of the vocals in places. "Stereo" finds a more Pantera-like riff, bringing the momentum, until the vocals come in. The vocals are articulated enough to understand the lyrics. The chorus of this song is almost sun, showing they use a dynamic approach to even this style of vocal. The more melodic break two minutes in is also unexpected.

"Dollar to Dime" carries more attitude in its energy. Though I'm not sure this song is as solid as what we have heard up to this point, or perhaps I am now getting used to it, as most of the same elements are in play. Vocally, the toy with the pig squeal gurgle a bit, as well as some bellowing singing. It makes sense that they would kick "CorruptConcerto" off with some guitar shredding. It is not as catchy as the rest of the album. Guess this is more for the kids to karate kick to. The last song is more deliberate with a steady chug setting the stage. Lyrically, they are talking about the world being their's and something about pussy boys.Overall this album is excellent I am giving it a 9.5, and seeing how it grows on me if you like nu-metal on the heavier side or death-core then this album is a must. Released on Metal Blade.

9.8

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Slipknot : " Look Outside Your Window"

 This is Slipknot, so I am not going to call it anything else. It was recorded during the sessions for "All Hope is Gone," and the band is finally giving it a proper release, even though they are trying to distance it from their discography in this odd manner, because well... it's not metal. The first song is Corey Taylor in a soft, emotive mutter over a more ambient industrial drone; things don't get into solid song territory until "Moth," which is like a 90s alt rock ballad that borders on being trip-hop. It's much more experimental than what they normally do.

 I think they should have worked these songs into what they did on "All Hope is Gone." It would have made for a more interesting album. Corey finally belts it out on this one. Darker than what he does with Stone Sour, it does allow him to open up and sing more. "Dirge" is more industrial, but the Filter/ Godlivesunderwater side of the genre. I can also hear some Faith No More in the verses. "Is Real" is more aggressive, but in a rock fashion rather than metal. It takes a few turns and works well. "Away" is not far removed from it, though compositionally more straightforward, but with a weirder mix. "In Reverse" benefits from a strong chorus, which pushes it over despite the verses being less focused. Then  "Toad" is more of a ballad with some strong vocal harmonies. 

"Juliaette" feels more like an A Perfect Circle song, as it builds tension more gradually. This album has allowed you to not only hear them in a more melodic place but breaking from their normal songwriting formula. Corey Taylor has always said Layne Staley was a huge influence on him, and "U Can't Stop This" is the first song where I hear this. Overall, I think I have let my thoughts be known on this album. I think it's different than what fans expect, but not a drastic departure, just lacking the bombastic drumming and metal guitar tones. I appreciate that they are capable of this and these are decent songs in their own right. I will give this one a 9.5. 

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The Cruel Intentions : "All Hail Hypocrisy"

 

The Vains of Jenna helped lead the Scandinavian hair-metal revival. Lizzy DeVine continues what he started there with this band. It's not my first rodeo with these guys. Their previous album, "Venomous Anonymous," scored a 9, which earned them a spot on our Top 10 Rock Albums of 2022. This time around, they have continued to refine their hair-raising brand of arena rock. With big choruses, but not totally weighed down by nostalgia for the 80s. Some riffs hold a more modern rock heft, and there is even a touch of pop on the title track. The one thing the songs seem to have in common is that they are well-written.

I like the more nuanced strum of "Wasteland". Lizzy's rasp is less AC/DC these days. In some ways, it still reminds me a little of Taime Downe from Faster Pussycat. To be titled "When Eden Burns," it sounds pretty happy. Lyrically, it's alright though. There is amore of a metal feel going into "Pseudo Genius." Despite the drums providing more drive, the mood is too anthemic and upbeat for my personal tastes in this sort of thing. They maintain a high-energy attack on "Bad Addiction," but it's marginally darker, which is enough to win me over. I'm pretty easy to please, even with the big chorus. 

"Porridge Head" is more melodic, and while it works it seems like they are following more of a formula on this album, which brings a more pop-punk feel to the choruses. Though I am sure bands like Cheap Trick played into the early influence of pop punk. They nail the 80s feel to the guitar solos if that is what you are itching for. "Whatcha Gonna Do" has a more aggressive attitude, which the album needs. Though it does ebb back down to give the vocals room on the verses, that works. The chorus is not as happy as the previous song, so that works for me. There is a little more tension in the guitar to "Cashed Out," which closes the album. I will give this album a 9.5, as it bridges pop-punk with hair-metal in a way that brings more relevance to both genres; it's a great-sounding album, and nobody else is doing this sort of thing this well these days. Drops May 29th. 

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Elder : "Through Zero"

 This band's progression has seen them move from being an indie stoner rock band that increased the levels of psychedelia, until they wandered away from anything resembling the Black Sabbath-worshipping genre they came from. If you see this album being referred to as anything but prog, do not trust the source. The vocal production got the most attention to detail this time around, and it paid off. There are guitar solos that sweep into what is an otherwise mesmerizing throb. Though there is nothing doom-related to it. So, here is hoping their fan base grew with them. 

The second song finds them indulging in more Rush-like acrobatics. Synths and effects color the ambiance of the song. This feels a little more along the line of what you expect from a prog band in 2026, where the opening track held a little more of their signature sound, even if it was further down the evolutionary chain. There is more rock to the winding riffs of "Through Zero." The dynamic ebb and flow of the verses works well, as do the effects on the vocals that create a vibe that brings Yes to mind. They bring more of a chill indie rock vibe going into "Strata."  The vocals also reflect this with more of a subtle indifference rather than belting it out. The more powerful dynamic shift feels more along the lines of Porcupine Tree here. Despite really digging the riff they lock into at the eight-minute mark, some of the rock elements feel predictable. 

The instrumental "Sight Unseen" cruises over a space-age groove. More electronic in the synth sounds than the "Obscured By Clouds" era Pink Floyd, but that is the album it brings to mind. While it feels like a sprawling labyrinth of turning synth sounds, it's under nine minutes long. On the last song, they are back to a more mellow brand of indie rock, with some tension drifting under the surface.  The production of this album is the most mainstream yet, but they don't have the same kind of "Tom Sawyer" hooks that made Rush a household name, so it's not a sellout from their fans' perspective. I will give it a 9, as it's well done for what it is.Out May 29th  

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Requiem in White : "the Visible Heaven"

 This duo is picking up where they left off. According to Doc Hammer, the intention of going into the studio to make the album they wanted to make back in 1994 was very intentional. This time, they are getting it right, with well-layered vocals that recreate a more grandiose sound than they once attempted with fewer tools at their disposal. It seems to pay off for them. While it is easier for musicians to hear past rough recordings to hear the song's potential, it is fitting for them to bring their sound into 2026, as goth is more visible online. 

"Cold or Divine" grips my ears the tightest as the bass line gives it more groove while balancing out the ethereal vocal layers. "Missa Brevis" finds the operatic layers of vocals creating a more grandiose feel, with the guitar punches managing to balance it out. "Solus Sum" is darker with a more brooding bass line helping to get them there. The vocal colors are bright on this album, leaving the instrumentation to hold down the shadowy end of things. The chorus pops with a more nathemic melody to counter this. But it is dynamic songwriting that works for me. 

The more exotic chord progression to "Suffer and Sleep" creates a more Siouxsie and the Banshees-like feel in the more belly dancing writhing of the tempo. The bass line drones while adding more rock heft. I had to listen to the last song a second time in order for it to connect with me. It works off the mood created in the previous song with a vocal melody that is more syncopated in the verses. I will give this album a 9, and see how it grows on me as it could be a tad darker for my tastes, but I respect what they came back to do here, and fans of ethereal goth should check this one out for sure. 

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LEILA ABDUL-RAUF : " Andros Insidium"

This solo album from Vastum's guitarist/vocalist is more experimental than her death metal band. It starts off with some orchestral grandeur that carries an almost ritualistic feeling. The vibe the album gives off is like if Dead Can Dance scored the soundtrack for another remake of "I Spit On Your Grave". The challenge this album is going to face with me, despite being dark enough for my tastes, and delving into the kind of ancient neo-folk that Dead Can Dance weilds, is that it is not as song-focused as what Lisa and Brendan do. The weave in belly dancing grooves. There is something sexy about it, rather than being an artistic statement about how sex is used against women. In fact, I have no clue what her thoughts would be on the subject because she just makes music. 

Granted, this narrative is not shouted in your face with a megaphone, and the lyrics are shrouded in the ambiance, leaving only an ominous mood. Her voice cuts through more clearly on "Eros Anima," which works better as a song, since the song before this ran together with the opening track. "Senex Rule" is more of an interlude with droning throat singing. You can discern the lyrics to "Fractured Body," giving the song more form and function amid its hypnotic atmosphere. The title track is more gothic and creates an interesting backdrop when she brings in some of her harsher vocal tones. It goes to show I am all for experimentation if it works as a song.

There are two minutes of what sound like a fugel horn, but might be synths, leading up to "A Requiem for Ishtar". Here is employs higher, more siren-like vocals with an operatic leaning to a haunting effect. Another more droning composition. The last song carries the same hypnotic drone that surfaces in various incarnations throughout the album; this time, there is a more haunting Switchblade Symphony-style vibe to it. I will give this album an 8.5. I enjoy the mood it creates, but if I am in the mood for this type of things will mroe than likely listen to Black Tape For a Blue Girl or Dead Can Dance. But if you want some haunting, cinematic neo-folk, this is worth a listen. Drops April 17th on 20  Buck Spin. 

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UADA : "Interwoven"

 

The idea that the band has to record an acoustic version of one song from each album works for me, as I think a good song will be a good song no matter the context in which it is played. You should write heavy music with acoustic guitars to begin with, rather than just hide behind volume and distortion. The bones of the song have to be there. 'Djinn" displays this well, though it reminds me a little of Fields of the Nephilim. Which is a compliment, since they are one of my favorite bands. However, depending on where the note falls in his upper register, they become a little pitchy. But overall, the song works.

"Devoid of Light" has a more country feel to the guitar. It's funny, as it shows the link between Scottish and Irish folk with bluegrass. It is darker than the first song, which I appreciate. Jake Superchi employs a more Nick Cave-like croon here. Midway, it switches gears, emulating the way the riffs in their music shift. "The Dark" swings more than traditional folk. The complex arrangement feels more proegressive in this context. He sings in a lower, droning voice for this one. Midway into the song, it feels more likea jam. It's clear he is a better guitarist than singer, but he is decent enough as a singer here.

The dance is more of a jig for "The Purging Fire' which sounds like it could have come from "The Witcher" soundtrack. The low baritone vocals are more along the lines of King Dude. They work better when layered. The Rome cover should have been a Nick Cave cover. The cover of Nirvana's works better when taken into a darker direction. The chorus is more haunting, and the cello works well here. Though on the second version, they answer the question of how Nick Cave would sing this. I appreciate what is being done here; the sounds are familiar, but the intentions are something more that black metal bands should try. Dropping on Eisenwald Records. 

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Heave Blood & Die : "Burnout Codes"

When it comes to punk, there are not many bands doing something new. The genre largely follows the dictates of a dozen bands from the late 70s / early 80s and follows that blueprint. Odd for a genre that values non-conformity. Norway's Heave Blood and Die, brings synths to the party to divert their course away from the punk rock rule book. The attitiude is still there, but it's tempered by droning grooves. Originally released in 2024 on a Scandinavian label, they are being unleashed upon the rest of the world by Ardous.

The only traditonal punk influence that breaks the surface is Black Flag, who were, in their own right, more experimental than people give them credit for. The vocals create a similar burly blustering as the lyrics are bellowed with biligerence. You do not hear their post-punk side until the more sardonic tension of "Stress City". It becomes apparent that these guys are also fans of Killing Joke, which is fine by me. 

"Mjelle" is a little darker. The bass line keeps the song in motion. Female vocals are more noticeably layered over the verses to "Things That Hurt." "Heatwave 3000" finds them back in a more apocalyptic Killing Joke mode. The synths hold an interesting place in this arrangement. The vocals are also more aggressive. "Seen It All" ends things with a gloomier march and more emotive vocals.  I will give this one a 9.5, great songwriting, though a similar mood to some of the songs. This is a must for fans of modern post-punk. 

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Six Feet Under : "Next to Die"

 

I go into these albums with low expectations. Chris Barnes' vocals improved on the last album, but before that, these guys were scoring in the 6.5 range here. Not terrible, but not blowing minds by a long shot. Let's see what they are bringing here. The opener does not find them pouring on the speed, chugging with purpose. Barne's vocals in decent form, not Corpsegrinder power, a solid guttural growl. "Destroyed Remains" starts off feeling more like a Cannibal Corpse song, before finding its groove. "Mister Blood and Guts" is in an older, more straightforward direction. The lyrics are articulated in a clearer manner.

"Mutilated Corpse in the Woods" finds him reverting to a more muffled growl. It moves with faster attack, but not blasting speed, so call that a win. "Unmistakeable Smell of Death" is run-of-the-mill death metal, falling in the bounds of what you expect, the first song that felt like filler. There is more energy in the darker "Wrath and Terror Takes Command." The purposeful intro sets up the verse well, as the vocals go deeper tonally and in the mix. The chorus of "Skin Coffins" is catchy enough to work. I do find myself having to go back and re-listen to songs, as they begin to run together. What I do like is the fact that they are using almost doomy riffs to complement the more evil focus of the lyrics. This is not to say they do not revert back to their old ways, which you can hear on "Naked and Dismembered". 

They are more deliberate on the title track, which benefits from a deliberate chug. The last song is the best, because it finds them stepping out d by dropping the distorted and expected metal drumming in favor of something darker and more unsettling. They took a chance, and it paid off. I will give this album a 9. I think switching things up worked out well for them, and this is the best album I have reviewed yet by them on par with the first few albums from the 90s.Drops April 12th on Metal Blade.

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Bringers of Death : "Sulphur"

 

Jeff Wilson of Chrome Waves has a blackened death metal project with the drummer from Acid Bath/Goatwhore, that is as ripping as you might expect, given Jeff's prior work in Nachtmystium and Wolvhammer. After the opening assault, things get into a more purposeful throb, and a darker mood is created that carries ample atmosphere. In fact their is a low croaked vocal on "First Born of the Dead" that helps to give things a different vocal color than what you expect from this sort of thing.

Given that the guitarist from Acheron and the bass player from Usurper are involved, it is more melodic and experimental than expected. It does still build up into an aggressive explosion of sound, which is fine as they have already established a dynamic contrast. "Sacred Heart of the Abyss" launches off in a more feral blasting. Ben from Goatwhore also appears on this song. It works for what it is.  Oddly, the title track is an interlude. 

"Flower Bloom From the Prophet's Skull" has more purpose. Though on these last two songs, you can hear where the Nachtmystium influence takes over as they both work off a hypnotic throb, so much that it seems like one drifts out of the other with a melodic theme running through the guitar lines of both songs, making them feel connected. I will give this album a 9 and see how it grows on me, I like the mood it creates and appreciate the darkness invoked here, rather than just a bunch of blast beats beating you in the ears.

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Restless Spirit : "s/t"

 I approach traditional heavy metal coming out in 2026 with trepidation. I am often afraid it will sound too much like power metal. This would make it too happy for me, with more emphasis on solos and yodels that go nowhere. This might seem odd considering how some of my favorite bands are Iron Maiden, Dio, and King Diamond.  All of whom employ dramatic yodelling, but in a darker, more serious manner. This band gets it right on the opening track, which finds powerfully sung vocals that do not get mired down in silliness. 

They pack a more aggressive punch on the second song. They are also going for a more retro warmth in the production than everything reverbed out. The vocals are belted with a great deal of balls to them, and focused on melodies more than just swinging for the fence, trying to make each note more operatic than the last. They work off more of a stoner groove for "Red of Tooth and Claw". "Desire Lines" makes me think of Only Living Witness with its catchier riffing. 

"Desolations Wake" is more driving. I like how the vocals are produced here as well. "Time's Distance" finds a proggy nuance wrapping around the intro riff, before things get down to business, with an energy similar to the opening track. "Phantom Pain" has a more stoner swagger before ebbing down into a moodier place to give the vocals room. It also has the most psychedelic moments of the album. I will give this album a 10 as it excels at navigating this style of metal, which holds classic crunch without sounding dated or being too happy and anthemic. Fans of bands like the Sword should, without question, give these guys a shot. It not mellow out weed music but bang your head weed music. 

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The Ghoulstars : "the Dark Overlords of the Universe"

 

This band from Finland plays an upbeat brand of shock rock that opens with a gritty throaty anthem that makes you think they are going in a more Lordi direction. Then things get darker for "the Dead in Purgatory."  As far as horror goes, it's more in the light-hearted side, like if a rock band were playing at Disney's Haunted Mansion. Vocalist Arthur Thure is more versatile than just a leather-lunged howler. There is nothing all that original about what they are doing here, but it does have a charm. Until we hit the thunderkissed chug of "the Brain that Wouldn't Die," the use of samples is the only part that brings White Zombie.

Four songs into the album, it fees like they are sonically closer to post-Brockie GWAR mixed with the 69 Eyes, as I am sure fans of both those acts will find plenty of Halloween fun that is up their alley. "Graverobbers From Outerspace" has more of a Misfits feel, though the vocals are grittier.  "The Wolfman" might be one of my favorite movies, but this song is not my favorite on the album, as it's more aggressive but not as catchy. There are some decent riffs in it, but cool riffs alone does not make a good song, is the motto here. 

"The Ballad of the Cursed Bandits" is not a ballad at all, though that should not be a surprise considering the album up to this point has been paced more like Motorhead-style thrash than not. The more brooding metal mood of "Vampire" works for me better, which makes snese as I prefer vampires to werewolves. Most of these guys are in death metal bands aside from this band in fact the bass player was in Hooded Menace, so some of that influence comes out on the last song  I will give this an 8.5, as I like where they are going with this since horror movies and metal are pretty much what I am about, but with that said I personally already have a ton of bands that fill that need for me , as these guys are almsot too happy for my taste, these guys would be a great entry point for younger European auidences that are just discovering that sort of thing. They care about songwriting and set the stage with a fun mood. Drops on Season of Mist on May 15th.

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gif. from god : "Dissimulation"

From the hype around this band, I went into this album expecting it to be totally unhinged, unlike anything I had heard before. It's pretty straightforward grindcore, with death metal trading off with higher-pitched screamed vocals. The second song finds a mathieir angular form of acrobatics touching the riffs, but nothing mind-bending. Are they fairly scathing andd rabid? Yes, but what grindcore band is not? "Life Like a Sickness" blends a cacophanous riff with hardcore chugging. 

"Turn From the Ruin" offers more melodic tones to better craft an actual song with, which also brings a crusty black metal sound to the mood.  'A Fucked Up Face' is a harsher outburst that focuses on the feral gnashing of teeth. This is carried over into "Your Sorrows Pin You to this Place", though there is a little more of an angular edge and purpose to the pounding. "A Gift From God' works for me as it is darker and more melodic, so in my wheelhouse. 

"Volatile Simian Nervous System" finds them back in the chaos, a little more atmosphere, and not just them attacking you. They revert to their more emo sidde which I enjoy with "Burnt House Horizon."They toy with a more dissonant vision of hardcore toward the end of the album with a dash of grindcore tossed in, a little like Portrayal of Guilt's early work, but not as dark. They close the album by getting back to their grindcore roots. I will give this album a 8, as I appreciate what they are doing but already have this need met in my life by bands who do it better, but for fans of experimental grindcore this is worth your time.Dropping April 16th on Prosthetic Records.

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Vomitory : "In Death Throes"

 

The problem I had with their last album, "All Heads are Gonna Roll," which only earned a 6.5, was that it came across as a one-trick pony. The songs bled together due to the uniform sound. It only gave death metal fans stuck in a certain era the fix they needed: the energetic 90s death metal, breathe. They are redeeming themselves here. The band came with more purpose this time around, finding the opening track holds more in common with American death metal than it does with the Swedish countrymen that normally either default to melod-death with twin guitar harmonies that sound more like power metal, or they are a total Entombed rip-off.

A song like "Forever Scorned" might not be the most original thing you are going to hear, but it shows they learned their lesson and can slow things down and attack you with greater purpose at slower speeds. There is a great deal of groove, melody, and purpose from "Wrath Unbound," which is really all I am asking death metal bands to bring to balance out the aggression and keep things from being a monochrome battery of the ears. It is not until the title track that they really pour on the speed, which was the focus of the last album. It's not as effective as what they did on the first four songs. The song that follows this "Cataclysmic Flesh Front" is also racing with a great speed behind it, resulting in a blur of guitar. Dropping on Metal Blade Records.

"Two and a Half Men" is fast but more thrashing, so it's not just a buzz of guitars rushing past you. Some of the more nuanced moments are handled in a more Cannibal Corpse-like manner here. The bass line to "Erased in Red" helps set the powerful tone for the song. It shows they are stronger with groove at the core of the riffs. "The Zombie War General" also carries purpose in it's chug rather than getting caught up in a blur of speed until it's called for. "Oblivion Protocol" finds the guitar solos at the beginning, setting the tone for the song's epic nature with larger-than-life drumming taking command.This album is a huge improvement over the previous release so much so it gets a 9,not breaking any new ground for death metal, but working well with the tools already in place.

9.2

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Bodysnatcher : "Hell is Here, Hell is Home"

 

Florida's Bodysnatcher plays a larger-than-life version of metalcore that sounds more like it is rooted in actual hardcore. They might own a Terror album or two. Though they obviously must be big fans of the band as Scott Vogel appears on the song "Survive of Die" in the album's thrid act.  They are pretty big on breakdowns, and the vocalists do drop down into a more guttural death metal gurgle in places. Four albums in, they are aware of who they are and what they do with little experimentation involved in the formula. Gang vocals chime in for "May Your Memory Rot".  Could this be considered deathcore? Sure, though I feel there needs to be more death metal in the instrumentation; they just have a vocalist who likes death metal, which I don't feel defines the whole vibe. 

They declare they "see a fucking crime scene in your future" on "Violent Obsession." This seems like big words coming from just average Joe-sized guys. But they do carry a great deal of technical precision, which is more of their strength than the gym. Midway into the album, I begin to get the itch to hear a little more of what they can do aside from just dropping big breakdown riffs. Instead, they give me more of the ear-hammering, tough-guy attitude. This is where the monochrome aggression begins to make things feel uniform. I guess the guitar solos are another more death metal element. 

"Blade Between the Teeth" finds the heavy chugs dialed in. But it is more predictable than not. I am not sure what the chorus is or where things are really heading aside from another breakdown. But some kids are into that sort of thing. All I know is they'd better show me another side to what they do in the next three songs. 

"Two Empty Caskets"  carries a little more djent in its groove. Their drummer is certainly good, but you have to be to play this sort of music. The songwriting is more defined on this one, so it pacifies me for now. "Hell is Home" closes the album; it is a little more anthemic. Overall, I enjoyed this album; it was well done. I appreciate that they are more aligned with hardcore than the poppier modern metalcore scene. Sure there is a bit of uniformity in what they do, but it's fun for what it is and they made the album they set out to make, so I will give this a 9. Out on April 10th

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Sun Don't Shine : "From Birth to Death"

This band is one half of Type O Negative and one half of Crowbar. So as expected, it's a 90s -post-grunge collision with sludge. Kenny Hickey handles the vocals as the stoner swagger moves with monolithic grooves. It's even more impressive than you can imagine.  The second song reminds me of Type O more than the first. This can be heard in the flavor of despair haunting the chorus. Kirk lends his voice in places to serve as a burly counterpoint to Hickey's tenor. 

There is more doom in "Coming Down."  They rumble out of it with the more swampy shuffle of "All You Wasted". There are some more melodic guitar sections buried in this blues-tinged dirge. Halfway into the album, my favorite song is "When It's Time to Leave," as it goes in a darker and thoughtfully melodic diretion. Hickey's voice feels like it is in its sweet spot here. They are amore overtly metal on "The Promise Song," which carries a late 90s post-grunge swagger to it. 

It does not sound like they were smoking as much weed as when they recorded "October Rust." I suppose some of the more psychedelic moments must have been thanks to Josh, though there is a slight trippy shimmer amid the thunder of "Black to Red". They drop back into darker, doomy riffs with "What You Are," which highlights their peak sound. Perhaps this might just be the sound I prefer, as I am obviously a bigger Type O Negative fan than Crowbar. "In the End" reminds me of solo Ozzy. It is more of a power ballad. I will give this album a 9.5. To their credit, it is not steeped in nostalgia but reminds me of a great time for music in the mid to late 90s when it came to this kind of post-grunge metal. Fans of both bands will appreciate it, as well as anyone looking for an awesome doomy album with stellar attention to detail when it comes to songwriting. 

Below is an interview I did with Type O / Suns Don't Shine  Drummer Johnny Kelly

https://www.youtube.com/watch?v=jBWoOWEqFPI&t=114s

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Portrayal of Guilt : "... Beginning of the End"

 "We Are Always Alone" stands as a masterpiece that this band's work is to be measured against. Up to this point, they have not met that head-on, but played around with more extreme and experimental sounds at various genre crossroads in heavy music. Grindcore being one of the more frequent ones, hardcore is another more notable sonic flavor they have painted their compositions with. This album finds them opening their arsenal to include a greater range of sounds, while tightening the songwriting to make songs that are digestible to broader metal audiences without compromising their unsettling, confrontational style. The opening track is more of a David Lynchian guitar piece that sets the stage before they launch into a darker and more melodic mood while still packing a punch that hits more like sludge.

"Heaven's Gate" is more explosive, but anchored by a beefy bassline. Ambience still haunts the corners of the song, creating dynamics rather than just bashing your ears out. "Under Siege" has more hardcore in its punk-driven charge. They show you can be hooked into music this abrasive by providing hooks even amid the unhinged fury. The vocals bark with purpose. The songs have something to say. The album is well broken up with the more experimental forays into things falling outside of the bounds of metal, breaking it up and giving the listener room to breathe. "Ectasy' was one of the lead singles, so I was prepared for its brand of weird that draws from 90s alternative while not forsaking the rough edges. 

"Death From Above" takes a turn down a darker alley. More metallic stomps accent the shadows here. The vocals drop into a more resonant death-metal growl. "God Will Never Hear Me" is another beautifully brooding song that is not dark in a post-punk or goth manner, but effective at introspective self-loathing. The counterpoint is a more dissonant, sludged-out, clanging. A more unexpected direction is Texas rapper Slim Guerilla appearing on "Chamber of Misery."  At only a minute, it's more of a bizarre interlude.

The riff that opens "Total Black" might be the most pleasing to more mainstream metal. The song grooves in its own way, even when the riff drops out to create space. "Object of Pain" is less intense and almost mroe like Crippling Alcoholism in how it slithers over ashtrays and empty liquor bottles. They close the album with the more in-your-face explosion of "The Last Judgement" that opens up on the verse, so give the vocals room to be more than an afterthought. These guys once again show that you can make one of the heaviest albums going this year without having to skimp on hooks to keep you engaged in the song. It's not too experimental; your ears are just boring. I'll give this one a 10, not even  Neurosis and Converge took this many chances. 

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TRIP VILLAIN : "Dose"

 

This project is more nu-metal than it is industrial. There is a great deal of brooding after the more Fear Factory-like thrashing of the opening track. I do like that things get darker as this album progresses. Synths play a larger role on "Cyan Spirits, though entrenched firmly in the dynamics of the nu-metal formula. Mudvayne being remixed by Prodigy is a fair enough assessment of "You Flew a Plane into My Heart".

The title track is just an electronic instrumental thumper, which is not generic, but really, all the button-pushing music tends to sound similar, given the nature of technology in 2026. The guitar and vocals of "Lowbender" that follow it underscore the importance of representing actual instruments. Perhaps there were some in the previous song that got obscured by the other sounds. It is all about balance, as when they dig deeper into metal, they tend to sound like everyone else on "Metrh Communion." 

It does not take much in some ases the right groove for things to work, which can be heard on the trickier time changes they hit you with on "Villain Maw". Some moments get a little chaotic as I had to give "Angelsmoke" a second listen, some of the more electronic-driven portions fade into background music for me.  It makes sense as it feels more likea an interlude that holds tension, while never building to the place it needs to. The payoff does not come until the next song as they close the album with "Shitkill" which is a more banging Slipknot-like tune that has ample melody even when it drones a bit. 

The verdict- 

To the band's credit they are not ripping off anyone while jumping on the nu-metal band wagon, sure Static X might be the most dominant influence4 here, but what they are doing feels like this is who they are, so I will give that a 9 as it means they showed up to the part with enough of their own indentity to make me appreciate what is going down here and a welcome edition to the genre. 

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March's Top 10 Albums

March is now in the rearview, so let's get you abreast of new releases. This might help you, casual readers, with what you might have missed.  I am not doing little blurbs on them, just linking the reviews. This helps me organize my lists for the end of the year by listing the album's genre. This does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my in-box that are not coming out til June, so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month, there is a wide variety from Sudge to pop to post-punk, so perhaps you will find your new favorite among them. Here are the Top 10 albums for March of 2026.

10-Dalek- "Brilliance of a Falling Moon." 

Hip-hop

https://abysmalhymns.blogspot.com/2026/03/dalek-brilliance-of-falling-moon.html

9-Fotocrime- "Security" 

Post-punk

https://abysmalhymns.blogspot.com/2026/03/fotocrime-security.html

8-Lair of the Minotaur- "I Hail I." 

Hardcore- Sludge

https://abysmalhymns.blogspot.com/2026/03/lair-of-minotaur-i-hail-i.html

7-Starbenders - 'The Beast Goes On" 

new-wave

https://abysmalhymns.blogspot.com/2026/03/starbenders-beast-goes-on.html

6-Traitrs-"Possessor" 

https://abysmalhymns.blogspot.com/2026/03/traitrs-possessor.html

5-Poison Ruin- "Hymns From the Hills" 

Punk

https://abysmalhymns.blogspot.com/2026/03/poison-ruin-hymns-from-hills.html

4-Slayyyter - "the Worst Girl in America." 

Pop

https://abysmalhymns.blogspot.com/2026/03/slayyyter-worst-girl-in-america.html

3-Morrissey -"Make Up Is a Lie." 

Indie- Rock

https://abysmalhymns.blogspot.com/2026/03/morrissey-make-up-is-lie.html

2-The Twilight Sad- It's the Long Goodbye." 

Post-punk

https://abysmalhymns.blogspot.com/2026/02/the-twilight-sad-its-long-goodbye.html

1--Neurosis- "An Undying Love For a Burning World."

Sludge 

https://abysmalhymns.blogspot.com/2026/03/neurosis-undying-love-for-burning-world.html

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Lair of the Minotaur : " I Hail I"

These bruisers are back with more hardcore grit to their attack. The vocals come across as being less growled and more of a burly command. The grooves are as dense as you might want them. There is almost a sludge weight. The aggression is not a full-speed-ahead charge but a massive grind of distraction chugged with malicious intent.  Things are more melodic on "Enthroned in Violence," which brings the Melvins to mind a little. "Fucked Inside Out" finds the brutality moving more smoothly than expected. 

Sure, "Deepest Hell" moves in a rapid-fire, punishing manner that reminds me more of their older work; the growth they showed me on the first four songs spoiled me and raised my expectations."Saturnus Reigns" is more hammering but slowed down enough to take it all in. It continues to groove like a sludged-out version of hardcore. 

"Prowler Twin Sister"  chugs with headbanging authority, but things continue to move in the same direction. The vocals are more barked in some places.  I knew they were going to do a cover of Ethel Cain's "Family Tree."  The original is more of an atmospheric intro that she does sing over, and the lyrics are pretty muh the only thing that is the same. Not sure where the inspiration for that riff even came from. 'Vulture Worship' sounds cool, but is more of an interlude. Things slow down to a more ominous sludge mood on the last song. I will give this one a 9 andd see how it grows on me it is a excellent return to form, while still showing growth andd heavy as all hell. 

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Midscale : "Dread, This Could Save You"

 

The first from the French band's new EP kicks off with the kinda of woozy vibes you expect from shoegaze in 2026. Especially given how pronounced the nod to the 90s guita5r tones they have dialed in. Where they set themselves apart is in the more indie rock feel of the vocals, This in some ways is more of a production choiuce, less effects on the voice and more forward placement in the mix, instread of the hazy whisper of shoe gaze vocals that are a more androgymous coo, that what happens here, where you can make out lyrics rather than it being the texture of a voice.

This carries over to a greater extent on the second song, "Screengaze," that finds the guitar ringing out more like the Smiths. The sullen croon of the baritone vocals might not carry the anxious tension of post-punk, but it comes closer to the genre than shoegaze here. This gives a strong argument in favor of them not just falling in line with what other bands are doing and setting themselves apart. This is also accomplished in the more nuanced vocal approach with this song. They are also very dynamic songwriters, and I think giving the vocal priority falls in line with this. This can also be felt in hte very organic flow of "Blurry." 

The last song fnds the hesitant chords falling with a thought of deliberation. The vocal melody carries a pathetic drone that sets the stage for the more intense sonic build that grows around them. While this all sounds great, it is more of an abstract arrangement than a hookier songwriting formula they have managed to balance up until this point. Things get heavier, with shouted vocals accenting this, which was not the build I was expecting, but glad they were willing to go there. Overall, what they do here works better than most since they are writing songs and keep the vocals vital, this places them ahead of the pack when it comes to indie rock flavored shoegaze in 2026 so far, I will give this one a 9.5, and see if it keeps my interest as the year progresses. 

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Dalek : "Brilliance of a Falling Moon"

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. 

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The Melvins with Napalm Death : "Savage Imperial Death March"

 

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. 

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SLAYYYTER : "WORST GIRL IN AMERICA"

 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. 

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PIG : "Hurt People Hurt People"

 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. 

Drops May 27th on Metropolis Reccords

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Years of Shame :"Primary"

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. 

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Mouth Ulcers : " Prevail"

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. 

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