Burner : "No One is Coming to Save Us"

Thematically, this album looks at the violent human nature, with some dispersion. Death metal bands opposed to death are baffling, but here we are; I will give them a shot. It carries more of a sludge lumber, but with clean modern death metal production. Midway into the first song, things blast to life with a blackened buzz. "Harrowing and purposful might best describe what happens here. Josh from Sylosis joins them on the more punk-driven death metal pace of the second song. Though I doubt his voice is distinct enough for me to pick out from the other growling going on here. They are well-produced growls, and more of a hardcore chug comes in on this one. I can hear where the Full of Hell comparisons might cocme in, though they are not as dark as Full of Hell. 

"Blood River " is possessed by a more savage chaos until they lock into the chug. It sounds great, but nothing new is going on here. When I am in the mood to listen to this kind of thing, I probably would be more likely to listen to Full of Hell, as they are more sonically experimental, which is more of my thing. This is not to say I don't like meat-and-potatoes death metal, as Cannibal Corpse is one of my favorite bands. "SSunrise Parabellum" starts off with a racing death metal feel. The drummer has chops, and no one in this bandd is a shabby player. Matt from Trivium is on this song and I cann tell his voice apart from theirs despite never really being impressed by Trivium. Trivium always strikes me as being middle of the road in a genre that should be pushed to extremes. 

There are a couple of songs that venture over seven minutes long, but they are more compact more often than not. "A Shattered Visage Lies" feels like blackened death metal with some hardcore smarts. I think, much like Trivium, what is not wowing me about this album is how it needs to be darker than it is. There are introspective and bleak passages, but nothing holding the weight for darkness, which is weird, as they are influenced by black metal, though not a black metal band themselves. Perhaps that is the difference between a band that is warning you about the dangers of violence rather than a band that celebrates it. Music is an extension of whoever is making it, so they are not very dark-souled people to begin with. 

There is almost more of a Lamb of God feel to  "Accelerationist". So middle-of-the-road hardcore grooves over big guitars.  "The Agony of Peace"is the best song so far, even though it's the least heavy, due to the melodic guitar riff that works nicely to balance the vocals.It compensates for the blast beats they resort to. There is also more purpose to the deliberate drumming on "Wish Granter," which grooves more likea hard core song with more technical riffing. "Kurtz" finds them joined by Anthony from Cult Leader, who I had the most hope for but instead it's more of a raging thrash fest. I do like how samples are used on this album. They go headfirst into blackened hardcore on "My Hands Become Weapons' though without the darker atmosphere of black metal. The melodic section in the middle works well. 

They clsoe the album with a seven-and-a-half-minute ripper, which, when you combine all the styles that are in collision here, the result is metalcore jsut not the Myspace kind. They do bring the breakdown perhaps the hardest on this song, though it's not the only one where they indulge this sort of thing, just the most prominent. Still, the layered guitars are effective. This song also follows the formula of throwing in an almost post-rock lingering melodic section in the middle. Then it builds into a more hardcore chant. I will give this album a 9 as it is effective at what it does even if it is not dark enough for my personal tastes. Drops September 25th on Church Road Records. 

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Chat Pile : "Who Loves the Sun"

The first thing I notice about the opening track to their new album is how the vocals have improved. More sung sections, along with harsh counterpoint. I also appreciate the darker tension lurking in the mood. Not as sludge-flavored as 20024's "Cool World" album, which took the number two spot on that year's Top 10 Sludge albums. Creepier than the Jesus Lizard but with a similar vibe. You can hear this on "Deep Blue," which falls somewhere between noise rock and grunge. They have always been great at capturing the color of feeling unhinged, and this album continues that tradition. They hammer at you harder as "Deep Blue" progresses, though I am reluctant to call this a metal album; however, I am only two songs in. 

"Same Rules" is more introspective that what you might expect from them. I like the mood here, and just wnat good songs, as I am not invested in these guys being heavy; if this was the new Watain, then we might have a problem. They are growing at what they do here. "Pen is Mall" is more pounding, with the vocals stepping up into a more aggressive snarl. The thump of the bass brings back the ghost of nu-metal that has haunted this band before. The noise rock side can be heard in the angular, ugly nature of how they engage this anger. The theme of this album is how the decay of society is due to collective apathy, so this might be why it is less confrontational, though they roar pretty furiously on "Shrine". 

"Oddly," there is almost a funky groove to the jangle of "Intruder", that is contrasted by the more explosive sections of the song. I like the lyrics that someone told him this house needs haunting. "Christabel 26" moves off a bass line that reminds me of Rollins Band. The howl of the vocals also works with this influence. The moredetached spoken vocals hold more in common with King Missile. There is also a depressed Nirvana feel to this one. The ugly angular noise throb continues on "Influence"; there is a similar tension as "Bleach" era Nirvana. This collides against the Jesus Lizard-like tension. 

"Family Funeral" slows the pound down. There is a dissonance to it that falls much clsoer to the bounds of noise rock. A spoken vocal mutters under the burly bassline. The vocals build into a tortured question of where the fuck is he supposed to go. The last song has to sound creepy, as it is called "October All of the Time," which is how I feel this time of year.It is more of a grunge ballad. I will give this album the10 as it deserves. If this is not the album that breaks them into an even larger audience, it might not be happening and they cango back to being indie darlings. Regardless, they are creepier and more melodic, showing a great deal of growth, making this their best effort yet.

8

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Hope ? : "Hell on Planet Earth"

 

This album came out back in February and deserves not to be left flying under the radar as it has Portland crust punks deliver some darkly grim and apocalyptic punk that gets a bit of a build-up with the intro to this album. Metallic guitars and the snarl of female punk vocals get broken up by a howled male voice. It is heavy as you might wnat this sort of thing, with thrash hooks bringing the pit to life even in the comfort of your own living room. It many ways, you can hear how the Plasmatics have influenced what is going down here. The difference being Wendy O Williams is not making any new music from the grave.

By the time we get to  "Disconnected: it is becoming clearer that the full-on high-speed confrontational style of hardcore punk is going to be the heartbeat of this album no matter how they dress it up. Then they bring alittle more groove to  "Flowers For Ghosts". The punches in this song are cool and show how nuanced this kind of thing can get if it is not allowed to just blast past your ears. "The Spiral" takes on a hyper-aggressive metal tone. The roared male vocals trade off with the vicious sneer of their lead singer.

"Five of Swords' is pretty much what you expect from punk, which they have already proven they are able to surpass, making this feel like filler. 'Leeches" opens with rock fanfare before racing off. "Emerge" almsot has more ofa Motorhead feel. Pretty straightforward punk , it'snot like you have not heard similar before they just do it well. Well enough for me to give this album an 8.5  

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Necrocene :"Scumocracy'

 

\What I like about this album right from the jump is that this band hits you with more of the thrashing groove than a pummeling of blast beats. There are faster sections, but they are given a dynamic contrast rather than just sbkur of speednumbing you ears out. The vocals also seem to have some purpose in the song, and the lyrics are articulated enough to not just be a growl. The slight tinge of their Italian accent gives the vocals a slight Sepultura feel. This vibe returns on the title track.

They shift into a more Slayer-like aggressive thrashing on "Scale of Gray", though the opening track and the title track are the best sngs o far. The deliberate pacing and purposeful drumming make this song shine. They go back into this more Slayer-tinged mood for "Human Lithification". It fluctuates between faster passages and a more stompy groove. They have a knack for somegreatmoshy riiff, and also keep the songs around the four-minute mark or less, never dragging things out.

"Concrete Petrichor " slows things down into a heavier groove before they pour rapid-fire double bass on. This is done back in the more Sepultura feel of things, which is the mode of playing they switch back and forth from; by Sepultura, it's more like the "Arise" era for the band."Weapons of the Damned" might be the best song written in this more Sepultura-like style. "The Lust of Us" shines in its more purposeful groove rather than when they pour on the spped, and thankfully those moments are outnumbered. I will give this album a 9.5; it might wear its influences on its sleeves, but it's well done and hooky as hell. It drops September 18th on Personal Records.

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Dinosaur Jr : "There Near"

One thing I have noticed about the modern era for this band is that there is less of a moody grunge noise and more of an upbeat jangling element to the guitars..Undoubtedly influential when it comes to post-hardcore and modern indie rock. "No Friends" finds the jangle given more rock context andd the vocals carrying a hint of melancholy; some of the riffing brings Neil Young to mind. This album carries a warmer, more organic sound than most of their previous material, with "Everything at Once" representing more of their classic sound and serving as one of this album's best songs it brings the introspective melancholy and melody I want from these guys.

There is more of a rowdy rock clanging to "Take Me With You". the layered guitar sounds balance this one out. 'Blowin' Up" is more deliberate. The vocals take the spot lightliek they are once again ready to take their place on 90s rock radio. Lyrically, it is also interesting. "Gone Off" is more up-tempo, but not as immersive as the previous song. First song that almost feels more like filler, though it is a decent song for what it is; they have already raised the bar pretty high for themselves here. 'Clam Along" finds the more straightforward rock elements falling in place more naturally. 

"Walk Me Back'works really well at staying true to the ghost of their classic sound. "Read the Room"has the vibe of fumbling along like a 90s slacker."Put It Down made me think I had clicked somewhere else in my iTunes, and it was one of the 80s metal bands doing a ballad. One of the album's most melodic songs, though a bit out of character. They pick up the tempo a little into more of a country strum for the last song. I will give it a 9.5 for now, as I am sure it will grow on me. They don't have to prove they know how to write a s ong but did anyway.

 

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Twisted Teens : " Florida Water Blues"

 

This duo has gotten a great deal of hype for their jangly take on punk, blending garage boogie with grunge and 90s indie rock. New Orleans is not the place I would expect this to come from, but it makes sense over time. The first song works well, but I am going to need more dynamics as the album progresses, as a full album of this won't work for me. The second song counters this malady but brings in some blues-based clean guitar and more swagger. Yes, it is a step away from punk, but it works. 'Swamp" is the first song that feels more like filler, and the truth is I already have the Viagra Boys who do this better.

The title track has them mumbling along with an acoustic strum that sounds like any band that could be playing any dive bar. They continuethe rockn roll jangle on "Guided Thunder", Part of the problem lies in the vocals, which are the same for every song. Not every one hasto beMike Patton, but I prefer a more dynamic performance in this regard. "Top of the World HwyNo 2" has some atmosphere in the background that marginally help butwe are beginning to hit monotony. "Cncealed Weeping" is not as interesting as "Riding," which has more of a groove and a better vocal performance.

Things continue to be hit of miss as "Business" is an interesting song while "Javelina" feels less inspired even with it's cocuntry influence. "Weather the Season" has more of a 50s feel."Dancer" finds someone coasting over the tension being built. At this point, the vocal totally bored me. It ends with the strum of "Sun Go Down," which is pretty run of the mill. I'll give this a7.5 as it is interesting for what it is for people who are looking for this sort of thing, but it's not my thing.

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Krallice : "Scour Order"

This band's 2022 album earned a 9, which is impressive considering how their angular math rock takes on black metal had begun to dull on me over time. Yet this album dials back the math and puts songwriting and nuance back in focus, rather than letting a technical labyrinth of buzzing riffs take center stage. This is not to say some of the more adventurous sonic trademarks of the band are not still in place, but the vocals sit differently in the songs, the drumming is more deliberate, and everything has more organic space in the mix. Things had almsot become clinically sterile with them, so the changes made lure me back into what they are doing here. Granted, six minutes into the eight-minute opener makes me wonder how long they can jam on this, but somehow they make it work without boring me.

There is a more racing, thrashy feel to  "Grievous Corrector". The vocals return to their older, more death metal howl. The higher tempo makes things feel like a busy blur of ringing notes, rather than riffs you are following. Lots of accents fall out of the corners of this arrangement. The melodic passages work best for me, though thi si clearly hipster metal. The patter of blast beats runs under the chors that are allowed to breathe in the storm of guitar they unleash. There is more aggressive metal crunch to "Kill the Guardian," a more traditonal metal songtitle for sure, and the pounding riffs accent this fact. The vocals are more shouted than growled. At seven and a half minutes, they leave me unsure how they are going to keep this going for another five minutes when I am two and a half into the song. The anser is shifting guitar tension while keeping the tempo brisk. 

They slow things down going into "Unceasing Path," though it is clear once again that their intention are more in line with being a technical death metal band than a progressive black metal band. The drums revert to the pitter-patter of blast beats. There is something creepy about this song's angular nature. Palm-muted picking once again creates the tension.  We are back to the more familiar buzz of blast beats on "Living Useless Ritual," which should find them doing something more interesting as the song progresses in order to keep my interest.  The second half of the album finds them cruising along in a high-speed jam that runs together but is still somewhat effective. 

The 13-minute title track closes out the album. The first mintues seem like they are trying to get their bearings and figure out where to go. The direction turns out to be in your more typical blasty mcnasty black metal tremolo picking drone. There are some darker dissonant undertones sburied in this din, but there should be for black metal, and this might be the only actual black metal song on this album, as it is the only one with sinister vibes. At four minutes in, I am uncertain if this warrants nine more minutes of said vibes. There is a hypnotic amabient break down that does not last that long before swelling back up into the more typical black metal. At the eight and a half minute mark, a guitar melody emerges over the slow throb. I will give this one a 9, putting it on par with the last album I heard from them. I respect what is being done here, but overall it is not dark enough for my tastes, and feels more like hipster death metal, but there is still an audience for this, and they deliver it well. It drops September 8th on Profound Lore. 

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Chelsea Wolfe : "the Dark"

 The 9th studio album by the wonderful Ms. Wolfe opens with the soulful "Cold" that finds less of the ghostly reverbed vocals and her singing out at full voice in a more accesible manner. The also worked with producer Jennifer Decilveo who has also worked with the Gossip., Miley Cyrus, Bat For Lashes, and Hozier. Her voice sounds great nd it fits comofrtably in her hweelhouse. She continues this more  raw vocal production on "Seethe" which is also more straight ahead rock. It is not as dark as her previous work. Not too far removed from say Florence and the Machine. The drums groove thanks to having Tori Amos' drummer Matt Chamberlin playing on this album fand Troy from Queens of the Stoneage / Failure also lends his guitar talents, but serving the song so much you would not notice it was him.  

"Humours" is more back to the shadows basic for her, which she knows she needs to return to based on her fanbase which includes people like me who expect this sort of thing. If anyone was wondering if she coulkd sing ofr was just hiding behind the stylistic apporach with effect this album clears that up. It ameks sense consdiering artists she influenced like Ethel Cain are playing bigger venues. There is a more rock feel to "Swallower" though it does include many of her sonic staples like tinges of haunting guitar notes that ring out.  

"Halo" ambles along with a hooky flow. So far the vibes of this album remind me most of  "Birth of Violence'.  It is weird tha Angel Olsen collaborator Ben Babbitt lent a hand on the title track as it's stripped down to her just playing guitar. It is not until two minutes in that other layers of sound begin to rise around it. So they just helped her flesh it out. "Turn the Key" finds Robin Fink of Nine Inch Nails dropping some guitar in. "I'm Not There" is a slice of Americana tinged songwriting that is not foreign territory for her.

"Death is Not the End' goes from themore delicate fragile vocal to aheavier sonic dirge of emotion drivintg thesong. The album closes with "Dancer in the Sky" which is another introspective ballad. She slowly builds it up from the minimalist piano line, andit is one of her most compelling vocal performances. I am not sure if her new  found soberiety is what is making her more comfortable in her own skin but that is what it sounds like to me ,and it is clearly working as it's another flawless album from her,. I will give this one a 10. Out on LornaVista.

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Cemetary Echo : "Civitas Lachrimarum"

The black marrigage of goth and metal has been attempted with various results bands like Type O and My dying Bride being the most triumphant in this regard, but other bands like Atriarch and In Solitude who did not garner as much of a c ult following were still artistically sucessful and left a void in their wake, that has only come close to being filled by a band like Grave Pleassures, who still lean more on the goth sidde of things with more punk tenencies than metal, Unto Other has mad eand effort and the new Final Graps is perhaps closer to what I want , though this band from New Yporkfinds themselves on the more metalic sie of what In Solitude once tried. 

The vocals are the only shakey part of this foundation, they work on the first song, but are more uncertain on the second so hey are goibng to be what makes or breaks them here. I orefer the more atmospheric balance they strike on "Snakeland's Pull". There is more ghoulish aggression on "Knight Rider". The romanticized darkness they linger in holds melody even when the vocal drop into more of a growl. Their more aggressive side is not as death metal as say Tribulation, but carries more of a punch than Unto Otthers.  

The moodiness brings a new level of emotional depth to the sonic pulse found in "Dungeon of Love", here there is more of a Feilds of the Nephilim feel. The vocals are working better but they are sitting further into the mx. There is more  of a 80 vibe to "Sanctuary' which I appreciate. This is one of the album's best vocal performances andd perhaps the album's hookiest song.. "Trouble With Demons" finds the vocals almost more spoek on the verses which does not work as well to my ears.The last song works well, as the vocal deliever and the mood is gloomy enough for me in it's introspection.The vocals are effective enough to get the job done so I will give this album a 9 and see how it grows on. 

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Dragger : "Taken Form"

If you took a hardcore band and gave them a sludge band's production, then this is what it would sound like. The guitar tone is blown-out, dense sludge of fuzzed-out meaness. They are plenty angry and have a bit of thrash in their aggressive attack. On the first song, the one lead guitar is the only element that feels out of place, and that is because it sits too forward and too cleanly in the mix; it is an overdub that was not managed into the present wall of sound, or the guitar tone itself needed to be tweaked to blend it."In the Mire " is the band working of a more deliberate chug and none of the over dubbed guitar is there to distract me from it. It also feels like an extension of the previous, so there is not a great deal of overall dynamic range to what they do so far. 

"Potent Sea" finds them building more memory as the barked vocals fall into the background. The husky vocal delivery on this one sounds more like something a sludge band would do, as it has that lumberjack feel. Though all of this lies in the pacing and the phrashing as it becomes more punk on "Martyr Tombs". Though even in this song they allow themselves to evolve and blend genres.  There are moments where this also reminds me of early Mastodon, with plenty of powerful chugs to back up this theory. The drumming is not as frantic as Brann's. They fall back into the more uptempo take on sludge with " Cautionary Tale". The guitars are doing most of the heavy lifting to compensate for the vocals. 

There is more form and function to "Everything is Rot". The vocals are just another layer here as the guitars tell the tale. Everything does fall into place in a very compact manner that gets the point across. I will give this album an 8.5; they are certainly heavy enough to please most. If you are looking for a more punk-minded sludge band, then this should do it for you.

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CUTTERRED FLESH : "The Shapes of Hidden Malice"

 

This Czech death metal band is not what I expected going into this album, as there is a more technical feel to their grooves than what I expected from "horror-themed death metal. It is hard to say if this s my thing from the first song alone, as I do like bands with some technical aspects when it comes to death metal; there is not one set rule that I stick to. "Le Horiaa' is more deliberate as things slow down to a more purposeful crunch. I can hear where Cattle Decapitation comparisons could be drawn, though with less of a chaotic vocal delivery and a different atmosphere that creeps up here as synths become more apparent. They have a well-layered guitar presentation I prefer the more creeping aspects than when they go full bore. 

"The King in Yellow" works off a more syncopated groove that works against more frantic flurries thanks to the drumming. The horror aspects can be felt as this song progresses. Not sure how it relates to the work this song is named after, but it's the thought that counts. There is marginally more traditional death metal on "The Willows ", though when it gets more progressive it kinda loses focus and throws a bunch at you. Some of the more crazed blasting does not work as well for me. However, there is no doubt these fine fellows are talented. They have plenty of chops and already have proven they can write a song, but can they be consistent is the question. The angular battery that powers "Mimi-Nashi" at least works better than the previous song. 

'The Feather Pillow' opens with a bunch of blast beats before it begins to find its footing. The drummer is almost playing against the grain of the song here. When it comes to songwriting, the strongest moment so far feels like it is "the Letter U", though even here they eventually erupt into a merciless speed fest.  'The Painted Skin" opens with more purpose in the pounding. This builds into an almost Cannibal Corpse level of brutality. They bring more suited weirdness to " The Colour Out of Space' perhaps not as Lovecraftian in feel as the lyrics should be. I appreciate the nod to my favorite author.. "Bernice," like most of the songs, is possessed by more blasting than it needs.  I will give this a 9 as it is not my preference for death metal but even then there are song sand moments I enjoyed, so they won me over enough to know death metal fans into this sort of thing will love this album.Drops November 11th on Transcending Obscurity.  

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Bizou : "Widow"

This is a post-punk all -star band that features former members of Wax Idols. Smashing Pumpkins/ Garbage, and Light FM.  There is a mix of influences; some of them lean their sound in a more dream pop direction. This is more pronounced on the synth wave-tinged title track that carries a dreamy glaze, though the guitars and vocals anchor it well. The vocals are performed andd produced in a manner that sounds like they could have come from a 4AD album in the early 90s. The drums add a bit of heft. The guitars are not afraid to add a more rock-like melody. 

"No One Can Have You" finds the band cruising on a solid groove, as the drums keep things flowing. The guitar dances around this with a crystalline patter of notes. I am not sure I couldd call this synthwave, as it is more like dream pop with a side of post-rock tension, though they get dancey at the end of this song."Death Mag" has a beat that is not unlike "Running Up That Hill". But the vocals bring things back to a more somber mood. It's not hard to be less dramatic than Kate Bush. The synths darken things coming out of the chorus. Even though this seems like the most synth-dominant song so far, it is still balanced out with guitar. This is the most dance floor-minded song I've heard on this album. \

Was not expecting a Wire cover, but that is what we are getting; it is a more electronic take on the song. The last song kinda drifts by and does not grip me as much as the others, but ya win some, lose some; it doesn't suck; they just raised the bar high for themselves already, I will give this one 9.5, which puts them at the top of the heap for this sort of thing. 

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Mob Rules : "Stories From the Verdant Vale"

The German Power Metallers are at it again. This EP is an extension of their 2025 album "Rise of the Ruler". The first actual song, and not an intro piece, is "Master of the Black Crow," which has enough drive for power metal; it also has the happier guitar melodies that I am not a fan of, as they come across as too happy to me. The song after this, "Masquerade Ball," works better in this regard because it's less happy. It also, riff-wise, sounds like "Where Eagle Dwell. I like Maiden much better than Helloween, so there is that. Even the vocals follow that pattern on the verse, though they switch it up on the chorus. You can also hear a touch of Queensryche in this. 

Another problem I have with a great deal of power metal is the silly power ballad that they indulge in. They are always so melodramatic it takes all the edge off of it, and that is what is going down here. It almsot reminds me of Dream Theater in that regard.. Thankfully, they drive "Balance of Power" out with a more thrashing riff. The vocals are belted in an over the top fashion that comes with the genre and sounds great here. Considering that Klaus is at least in his 50s since the band formed in 1994, his voice sounds great.

This album also offers some songs from their 2014 album Timekeeper, but for the purpose of this review, I am not going over these songs since they are not new versions being released last year. This blog has been around since then, and I did not review it when it came out, but I never got huge into power metal, though it does summon a nostalgic feeling for an era of music I do love. They are consistent, and Klaus is the sole original member, but he has kept it going in a way that is true to who thee yare, so I will give this one an 8.5. It drops August 21st on Reigning Phoenix Music.

        

pst379

L.O.T.I.O.N multinational corporation : "Machine Halluinations"

 Electronic tingehardocore does end up sounding like industiral. The first song sounds like it could have been from the 90s. I do like the harder-edged guitar fighting against the synths. "Spiral of Destruction" sounds like White Zombie jamming with the Butthol Surfers.. You could almost say something similar about "Absolute Insanity," but it also carries stronger ties to Killing Joke. But it also finds them settling into more of a songwriting formula. "Boots On the Ground" is more Ministry-inspired.

They kick up equal amounts of dirty noise and grooves on "Digital Rot".At this point in the album he vocals begin to get a little boring with their one-dimensional nature. I suppose if Motorhead is one of thre your favorite bands, you won't notice. Speaking of Motorhead, the vocals take on a more Lemmy vibe for "Acid Reign." . The vocals also have a little more purpose on this one so that works for me. There is a more punk feel to "You're the Product" 

"Never Say Never" is another more punk song with some Devo tendencies. This is offset by a more metallic riff driving it. Then it's back to a more old school industrial sound for "Smooth Operator," tink Revolting Cocks in this regard.. Lulu contributes her voice to "Five Star General," which helps to switch things up into a more indie new wave revival sound. Overall I appreciate what they are going for here, not blown away by it , but they captured the sound of an era I like and wrote some decent songs on their own terms making this album a great deal of fun so I will give it a 9.

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Codex Lovelace : " Galvanized Heart"

 

Here is a weird darkwave project, which, like most darkwave projects, does not think it is darkwave. The guitars do not make it any less darkwave, as plenty of darkwave bands once had guitars it is something I hope makes a comeback. Though it is unlikely this band is the one that is going to spearhead that comeback.  What they do will appeal to a very particular segment of darkwave fans. Most of them will be at Dragon Con or some other fantasy convention that hopefully these guys will find themselves performing at.  They bring a heftier beat on the second song, though the vocals are the aspect I am not a hundred percent sold on, and that will be their goal over the course of this album. They seem to be pitchy in places, and I think a different mix would benefit them. 

"Clorkwork" does not invoke the sound of what I think steampunk would sound like, which in my mind is closer to Rasputina or Heartworms. I appreciate they are bringing a heavier element to the tapestry of sounds they are trying to weave together here. The vocals are more effective when coming from more of a purr.  The higher they are belted, the more margin for error. I think more effects would also play into their favor. "Ada" does have some sounds that are more steampunk to my ears, and a better groove, with an experimental collision of sounds working for them here. Uses more ofa sci-fi theme, that follwos the more techno pulse. It gets weird, but weird works for these gals. They even add an almost industrial thump. 

On "High Rise," when they sing in their alto range is working really well. "The Corps"  has more groove, and the moaned vocals hold more weight in this context. Though the pitchiness is questionable in this place, which is odd as it worked on the previous song. "Alice" finds things getting darker. This is the path they need to be following, though I am partial to darker music. Both girls sing, but one is a better singer than the other; you can hear this in the dissonance when their voices join. I do like they mention the Jabberwocky in the Alice in Wonderland song. 'Vampyre" is a little upbeat to be about Dracula, and this is not the girl who should be singing it. Not all voices are created equal. 

The xylophone sound that is the centerpiece of 'Dollhouse" works well at the steampunk sound they were going for. and they vocals sound fine, so they are just inconsistent. This song is somewhat of a ballad. When it builds, it's one of the album's better beats. The last song also captures the steampunk feel they are going for. The more industiral vibes it goes into work as well as the odd, angular, quirky pulse it carries.  I will give this album an 8.5; there is some fine-tuning that it needed in post-production, but it carries its own charm in the present format. Something like this should be a little strange so you can't fault a girl for that. 

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GRADIENCE : "Anomaly"

It did not take me long to hear what my purpose for reviewing this album was. This Danish band leans on the metal core sidde of nu-metal, despite the presentation and marketing; they are poppier than you might suspect, which seems to be the theme for the album. This album is well produced. I was promised trap mixed into the metal, and that does not show up until " Master to Slave". When it arrives, it is the best song so far. I am not sure what they are doing when it comes to the more metallic side; I think they are all over the place. He is a better rapper than Screamer.

There is some more rap going on with "Stains' but in the hard streets of Denamrk if does not come across as correct as it does if this were from the States. If it did, it would be more along the lines of Atilla. There is a riff that sounds more like Slipknot that is cool for what it is. Then by the time I get to 'Deathwish," this album starts fading into the background, and I have to go back and give it another try. There is an extreme turn from a Post-Malone-like ballad to blast beats on "Undone".  But this is offset by the chorus that follows it, and the two do not go together that great. Some decent ideas might fit better in a different context. 

"A Witness" finds a better balance; it mixes the hip-hop tendencies in a way that is not too Linkin Park. "White Noise" follows a similar path, though it's more like early 90s rap rock until the harsher rasp comes in. "Grimey Potential" carries a more melodic ringing tone. The vocals are lighter and poppier. 

. There are reasons the music press is going to try to prop these guys up. But this is far from original; it works at times, and the results are entertaining when it does; they exceed their grasp when it comes to playing heavy music. They are more suited to the kind of rap rock, and even the melodic pop vocals are kind weak, but they make it worth it well enough, so I will give this one an 8. That is my purpose for writing this review as there are going to be many other reviews that call this black metal and tell other lies to sustain a narrative they are hoping for rather than hearing this album for what it is. 

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Colorblind : "Who Sold You This Truth - Was It Yours To Hold"

If you wanted to know what Justin Bieber might sound like if he made Myspace Metal, this is the answer. With that out of the way, we can focus on how hooky these songs are, even if it means compromising what you might expect as heaviness. But not every band needs to be heavy, so if they want to lean into the pop side of things, that is fine if it is who they are. They are not a metal band, so with that expectation taken care we can enjoy this album as "Car Crash "is pretty catchy. These guys would have worked well on one of those "Pop Goes Punk" cover albums.  They get moodier andd more melodic on "Needle Eye," which has a pretty anthemic chorus. They follow the path left by bands like Issues. Though they have less attitude. 

"Chemical Warfare" is another moody anthem, with less of a hip hop undertone and more of the metal pop punk feel. It begins to sound like they need to break from their formula a bit by the time we get to this one. When he screams, I am not much of a believer, as he looks like he weighs 130 lbs, but when it comes to his almsot androgynous emo whine, I am a believer. Almost everything I said about the previous song could be applied to "Let Down".  There is, however, a lower-tuned angular djent riff at one point.  Things begin to stall by the time we get to "Misery Loves Company".

They switch it up not in the direction I suspected, as it's a synth wave-like pop-power ballad,  on "Incomplete," but it works for me. Vocally, this one is sugary but more impressive than his screaming.  Then they are back to the more middle-of-the-road formula. "The Countdown" finds strummed guitar taking over as they go about as hard as Taylor Swift, unless we are talking about "Look What You Made Me Do," then she's going harder. It's pushing the boundaries of how much sappiness I can take. "God Complex" approaches this from a different angle. It's more rock for sure. 

It's by "Lost in Translation" that things begin to sound the same, though a solid listen finds this song is not like "Heavy Heart' that follows, though it is more inspired sounding than "Heavy Heart. Then with "Paradox" there is more of an electronic groove taking over.  , Though this and the last song find themselves drowning in their own sugar when they would have worked better with a marginally darker atmosphere. Whelp, this album eventually kind of became background music for me, but I appreciate their willingness to fully commit to emo pop hooks. I will give it an 8. 

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Street Tombs : "Existence Is Corruption"

 In today's musical climate, it is not hard to damage the second album from these Santa Fe death metallers, breaking them into the larger metal scene. They have some thrash riff smarts and a raw punk attitude coupled with their more feral embrace of death metal. Going into "Deceptor," they are almost crossing over into thrash, with the vocals being the main thing anchoring them to death metal. It does speed up as the song progresses into something that recalls the early days of the genre. There is a much more dynamic take on songwriting than I expected, with some of the more nuanced passages while still being true to the raw punk spirit. 

"Septic Values" is pretty solid, not speed-obsessed but keeps the energy up as needed for this era of the genre. The vocals have purpose. Some cool more traditonal metal riffs are going into "Upset the Grave" before it gets some double bass under it and goes cruising off. "Systematic Suffering" runs closer to the more expected side of death metal and has less of their own peronsaluty embedded in it., still a decent song, just not as vital as the first few. By the time we get to "Mental Mulilation," things are beginning to run together and sound the same as the dynamics begin to find similar footing. This song is a little more deliberate, but when it speeds up, it all runs together..

The death thrashing races on with "Braindead". The vocal accents shift a little, but it racing long a similar highway as the other songs. A dive bomb Slayer solo or two join in. The last song sounds almost just like the previous song as things find a more monochrome sonic formula to fall into I will give this almost an 8.5 as the first half is strong enough to balance things out when it finds the songs sounding too similar. Being released on Carbonized Records

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In This Moment : "Witch"

This band has changed a great deal over the years, and now music has caught up with them, with plenty of women screaming in metalcore. It would make sense for them to pivot and lean into their more industrial side rather than try to beat a band like Spiritbox at their own game. They kind of split the difference on this front regarding the opening track of their new album. It works in keeping a balanced presentation of what they do. Where they are keeping up with the tide of the industry is by having a bunch of guest spots on this album; the first is on "I Wnat to Believe" when Dayseeker joins them. It finds them meandering on some atmospheric yet anthemic modern rock with pop subtleties. It sounds good and is well put together, though certainly for the younger end of their fan base. Maria is the culprit on this one when it comes to wanting to believe in keeping things on the more nu-metal sidde of the genre. 

"Crawl" is what you expect from this band; there's some grooving and her dynamic vocal performance. There is a more focused hook on the chorus. This song grabbed me more on my second listen. "Into the Dark" is an intersting has a bit of an 80s vibe. Her voice is really well produced on this album. It is a little weird that they already have a song called "Into the Darkness' but this song is so good it's forgivable. They pull off a cool dark cover of "Wrapped Around Your Finger." I can hear this playing in a movie trailer already. They bring Kim Dracula, who tries to be Johnathan Davis for Halloween on "Heretic." This is the album's first misstep, but it was going pretty stellar up to this point. 

"Father" is more of a grooving nu-metal ballad that works well. Obviously about her father who died. Feels pretty honest and heartfelt. There is more of a synth wave vibe that bubbles up for " With Out Me There is No You," which feels more like a Spiritbox ong which is not a problem since it just means the songwriting is forced to dial itself up. Not sure why anyone is treating Kat Von D like she is an actual singer bu they chose to bring her along for their cover of "Another Brick in the Wall"; it's a dancey electronic version. Three covers seems a bit excessive, but here we are with her bringing the heavy breathing to 'Something I Can Never Have". It works, and overall this album is pretty impressive I will give it a 9.5, one of their best more recent efforts. 

  

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Diavol Strain : "Eterno Retorno"

 This darkwave project from Chile is bringing the more aggressive goth side of the equation to their new album. Not the best drum machine sound, but the opening track is better than expected. I know metal is big in Chile, so it makes sense that goth would have a marginal foothold in the area, though the energy the country gives off seems to make it more suited for the primal forms of metal than the elegance of goth. But the brand of dark wave they are playing is at times frantic and oppressive sonically, little romancing of the darkness, though for what it is, it's suitably dark. Their native tongue does not flow as well. They are somewhere between a punk delivery and the kinda moan a project like Boy Harsher employs. But the melodrama is not as articulated here.

The reverb-heavy mix carries a woozy density rather than just going for a Bat Cave sound.It does provide them with a bit of charm. By the third song thing begin to drone a bit, but I appreciate they are switching the vocal tones and employing a more dynamic delivery. If you want to hit peak goth in August, play this album as you watch "Taste of Blood Dracula " with the sound off.."La Ultima" has a more atmospheric drone. The bass stands out on "Nix Dada".  This gives it an almost Killing Joke feel. When the guitar comes in, the layers work together nicely, making it the best song so far."Tension" works off a more traditional darkwave vibe. The most dance floor dominant song thus far.

"Solve et Coagula" is a cooler song title than it is a song that actually gives off occult vibes. It works for what it is, but is closer to filler than being a banger."Terminal Silence" has more of an industrial beat, which works here. They close things on a darker note for the last song that follows a more Siouxsie-like take on traditional goth. These gals give it a solid shot and are true to the genre while staying relevant so I'll give this one an 8.5 

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Quicksand : "Bring on the Psychics"

  

If you go back and listen to these guys, you can hear how much they influenced Turnstile. If there was any justice in the world, they would get the kind of TikTok revival bands like Deftones and Type O Negative received. They recapture the kind of explosive magic they ignited with their first two album here. "Agency"  breaks from the formula and finds the chorus going in a more melodic and introspective direction. The tempo ramps up for "Crystalize" with the vocals balancing the guitar's energy.

They pack more of a grooving punch that was their trademark on "Supercollider". The smooth vocal melodies are plaintive but commanding. There is a riff in this one that makes me think of Bad Brains.  "In Full Color" has more swagger and is produced in a manner that gives it more of an older Turnstille sonic feeling. Unlike Turnstille they are not big pop sellouts. Granted, I like pop music, so that is not even a deal breaker for me.. If the mention of Turnstile finds you pondering influences, you can hear a bit of Fugazi in "Days You Run To"reminding you that music is not created in a vacuum.  

"Cool Guy" has more of a the big explosive riff energy. "Moving Forward" reminds you they came from the Bad Relgion side of the punk equation. The last song finds some ofthe energy waning but they kept things strong for the bulk of the album so it blaances out and it is probaly a case of me needing to hear it a few times for it to grow on me. eNERGY WISE i think this is the best album since "Manic Compression", as the other post-90s albums have experimented with the sound that works , and even hear this is produced in a more modern manner so is not as raw , but works better than expected so I will round this one up toi a 10. Staying True to the game it was released on Equal Vision Records.

8.9

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Ostraca : "Thread"

The fourth full-length from this Richmond based based who hails from the same scene as City of Caterpillar and pg 99. They were once called Kilgore Trout, and now they are banging out so dynamically violent tunes that offer a manic depressive mood swing over the course of the first track. I would say they fall closer to hardcore than metal, as they are not too unlike early Converge. Sure, there is a chug here and there, but you can say that about many hardcore bands. They mellow out into a strum going into "Enmiserate"; it flows more like 90s emo. The vocals are screamed with a great deal of anguish. The melody carried by the guitars makes it an interesting song. The sung vocals in the background make for a suitable tribute to 90s emo. Midway into it they lash out with an effective thrashing. 

"Song For November' felt a bit likea breakdown for the previous song so I had to go back and give it another listen. This also means that thesongs are pulling from similar sonic shades; the syncopation is the main thing that sets it apart. The darker melodic shift helps to establish this song's identity. They explode into a furious burst of snarling to bring it t o a boil. "Ganymede " works off a subtle palm-muted tension. It's the instrumental you never guessed this album needed.

They rage back to life for "Freedom From Pain". Even here they wander off into some more speculative moments, which makes the build-up into a more powerful chug effective. "Greater Darkness" is more of a  punk power ballad, with vocals expelled emotions in a few different ways..  I will give this album a 9.5 it'sa geat deaql of fun, not being a slave to the era it pays tribute to as they find their own path here.

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SHRINEBURNER : "Hymns of Despair"

 

The vocals howl as just an angry human layer, leaving the guitar playing as the most interesting thing about what is going on with the first song from this Chicago-based sludge band. The mournful clean guitar sections that are picked off give it more of its own identity, whereas the heavier sections are more conforming to the genre status quo It gets the job done, but over the course of this album, they are going to need to prove they have more sonic color to display to bring a greater range of dynamics. They bring more drive to the charge of "Bodies Dragged to Sunlight".

 The new Neurosis album is a blessing and a cure for the subgenre. It does bring the genre into the spotlight, but it also raises the bar so high that simply chugging a wall of sound along as you bark just does not cut it anymore. People are prone to say that music is not a competition, but it is. There are only so many hours in a day to listen to it, so if you have two hous to spend, which album are you going to choose? The only thing they're doing differently on this track that differs from the first song is less nuanced guitar playing and more aggression; it might as well be the same vocal track.

"Slow Death Chant" has a more memorable riff leading the way as it weaves around the pound of the drums with an angular slither.. The vocals also have more purpose, making this the album's best song thus far. It does not remake the wheel but uses what they have wisely. There are guitar melodies in the fuzzed-out rumble of chugged guitars which add something to the mix.. The 13-minute "An Ocean of Broken Hope" finds the first minute droning as fat as it could have been trimmed before the song really starts. This more melodic nuance is something the previous songs could have used as well.

 If this is your first time reading this blog you might think "Oh he just doesn't like heavy music as he wants all this melody." well you might want to click through and see what a fan of genres like grindcore and crust I am, so heavy is not the problem I expect the same level of songwriting na matter the genre it just needs to happene in the appropriate context. The vocals have more purpose in their roar, though at four minutes into the song I cannot conceive how they are going to occupy the next nine minutes. They jam out on this verse riff for some time and slowly build it. At the right minute mark, it ebbs down a bit to a more post-rock vibe, though not as minimalist. A burly bass line leads them into a more harrowing build. This does get tempered with sonic nuance that adds more hook. 

The title track closes the album. It opens with a strum of a cleaner guitar tone; it carries a bit of a jangle as a calm before the storm as they kick into the chug. Their drummer is more dynamic than most drummers of the genre. It has almost a Tool-like groove jsut without the meticously palm muted picking. The vocals come roaring out of reverb.. It works off a powerful throb, but not the most dynamic moment moment but it is effective.  This album sounds good, but they are pretty basic when it comes to sludge, so I will give this an 8.5, as fans of the genre will dig this album. 

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Phoebe Bridgers : "Lost Weekend"

 

The six-year wait is over; now she is going to deliver after the anticipation has built. Having gone from indie darling to opening for Taylor Swift, things have changed since her last album. It is weird to think she is now playing arenas while making the kind of space-age folk that she opens this album with. It's delicate and surreal in equal measure. "Lost Boys" was the first song I heard from this album. It is a quaint pop song influenced by the crossroads where folk music and country music meet, but the production smooths out all the twang from it . Lyrically, it's pretty brilliant and one of the best mainstream songs to come out this year. 

Not sure of the exact single cycle for this album, but it seems like "Kill Me " was next up as a single. The only reason it's relevant is that the singles are snapshots of the bigger picture of the audience she is seeking to provide a summary of who she is right now for. It is a rather atmospheric ballad. In many ways, the production of this album reminds me of Bon Iver. Another artist who shares a Taylor Swift connection. I think this is as ambent as she should get while still preserving the structural integrity of her songwriting. Anything less tangible is going to float off. Though this song finds a dynamic that hooks it in as it builds by the end. 

If you were going to weigh this against another pop album like Charli XCX, it would be hard to even compare them as this is so atmospheric and abstract in comparison.It works off emotionally fragile melodies rather than beats and hooks. Some of these moments could stand to have more of a pop backbone, but I am trying to appreciate it for what it is. "Bobby" does offer more to sink your ears into and brings a great deal of what she learned in Boygenius to the table. The drums are more present and give a rock layer to things. It is a very lush arrangement.

She is the lighter side of the spectrum, with Ethel Cain on the more experimental other side. Here is wistful hope in the introspection conveyed on a song like the title track. Things do take an odd turn on this song, almsot like "Hounds of Love" era Kate Bush. "Haunted" crosses all the way over into country music. There is a more surreal transition from this on "Panorama," which is a more experimental soundscape interlude than an actual song, until two minutes in, when her vocals come in. 

"Still Standing" has a more delicate vocal. That finds her at just above a whisper and close up on the mic. There is not as much to hook you in as it ebbs and flows, though the vocal melody is strong and honest enough to hold it together. There are 16 songs on this album, so nothing really sprawls out, which plays to her benefit as less is more in that regard with the pop-tinged nature of what she does. Her more indie folk side comes back to life on "Liberty Tree' which has country flirtations. This continues on for "Never Going Back" which, for her, does not feel likes he fully fleshed out the song but was working off an idea. 

The ghost of a vocal melody floats more than it possesses the kind of form or function that would make it a song. Her vocals remain hushed on "I Can't Wait" but still hold the song together. She sings about being California sober. Cameron Winter from Geese lends his voice to the song.ON "As Above' she proves she can make a ballad dynamic and not jsut whispered ambiance. I will give this album a 9.5; it finds her drifting into experimentation, but she writes enough solid songs to balance this out.

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Fog Wall : "Gloomweaver"

There is supposed to be a Tolkien theme to this album by this crushing death metal unit from Nevada. Not hearing it, but some deathcore-like grooves work well. I can also hear a slight Morbid Angel influence in how the vocals are handled, but they also dig into the more guttural low end like Cannibal Corpse. "Lmof Sting Tooth" might dig into the heavy too hard for its own good, as the drums are almost overpowered by the dense pummelling riffs. There is a technical, angular side to what they are doing that is more subtle than the overt hammering of double bass. 

By "The Acursed" thing is being blasted by in a dense glur of sound accented by a commanding growl. Cannibal Corpse do this with It alsmot turns into soothing white noise during the speedy blur set in motion here. o three song before things start sounding the same. There is a more deliberate crunch to "Mazarbul". I do prefer they sound like this rather than Amon Amarth. There is a more Deicide-like vibe to the aggression of "Belching Black Vapours". The production on this album is weird, then they go and add more ambiance on  " StranglingGloom" that eventually evolves into a song. There is a more black metal gallop that develops. 

"Fleshpot Ritual" carries a more feral death thrash to its frantic riffing. It feels a little rushed even with some of the more technical riffs that erupt from it. The riffs are kinda boomy sounding here but find their groove. The more deliberate crunch of guitar as it winds its way into it works well. There is also a touch of metalcore to this song. "Frantic Orb Weaver' also finds more solid footing after a chaotic intro.. The Type O Negative cover is an odd choice, though glad to hear the less obvious songs getting some love as "Profits of Doom" is a solid song. They nail most of the music, but use death metal vocals rather than try to sing. A doomier lumber possesses the last song, which works as they need to give some contrast to what they have been doing so far. They do build this back up into something more punishing. I will give them an 8.5; they are good at what they do and care about the songs, though sometimes heaviness pliays against them, and there are some odd production choices here and there, but most death metla fans who prefer the more modern incarnations of the genre will enjoy this. 

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Slow Pulp : "Melodie"

 This is the indie-rock band's third album, and it opens with a folky strum of guitar supporting the introspective vocals. Singer/guitarist Emily Massey strikes a pretty perfect balance of emotion and indifference in her delivery. Drums come in for the second song, and things begin to take motion. In some ways, it brings Cat Power to mind. The upbeat strum is counterbalanced by the speculative tone of the vocals. It kinda jams off this one theme, not the most dynamic writing style, but works for what it is at present; time will tell if this becomes a formula, if it begins to bore me or not. 

"Better Man" has a more garage rock feel; it's not a Pearl Jam cover but catchy in its own right. Emily sings out in her upper register here. The full band fleshes things out much better here. Their songwriting is super compact, with everything clocking in around three minutes. The title track has a punky riff that keeps the song bouncing along. It almost has a Boygenius feel. There is a slight tinge of post-punk's more new wave side to "Red Car". They bring things back down for "Not For Nothing", as her vocals step up into the spotlight.  The arrangement is sparser, but her vocals carry the weight. The plucked strings border on the country side of folk. 

They step back into a more wandering, introspective vocal pondering for "Entertainer" that benefits from the shifting dynamic of a rock chorus. This recalls 90s artists like Liz Phair. "Like Me" drones more like an Ethel Cain soug but without the emotional weight. "Spill" ambles with its slacker strum. I appreciate the added melancholy of "Up to You," which she balances with jumping into higher notes before it floats off like dream pop.It is one of the album's strongest songs as it is also one of the most unique. "Slip Away" is more reflective like a ballad. Overall, this album works for me and I appreciate the direction they are headed, I will give it a 9.

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Marilyn Manson : "One Assassination Under God pt. 2"

 His 13th album and the fourth to be produced by Tyler Bates, with whom he has a pretty decent track record thus far. This album feels darker than Part One. The opening track is particularly strong, though he rocks out more on the second song, "Don't     Answer the Door". Though I have never needed him to be particularly heavy and felt sonically he is at his best somewhere between industrial and Alice Cooper, the guitars on "Front Toward Enemy" carry more heft. Still, the groove of the bass line is more moving. His voice sounds like he has not aged since "Anitchrist Superstar" on this one. Lyrically, he seems to be sorting through his more publicized life in recent years.

Tim Skold is in the touring band but not sure if he is playing on this release, though "All the Vilest Things' feels like something he would have done with him, yet it also bears many of the signature traits of the Bates years. The most commercial chorus so far is on "None of the Suns," as it marks the album beginning to take on a smoother, more 80s-influenced synth-wave sound that is still guitar-driven. It carries over into the dancier feel on "Lucifer's Teardrop." He continues to take things down an equally dark and melodic road on "The Arsonist". Lyrically, it's great..

"Exit Wounds" is the first song that meets rather than exceeds expectations, but after repeat listens it grows on me and checks off all the boxes for what you might want from him. There are some heavier riffs on it as well. "Extaniomorph" closes the album; there is a slight experimental hint with the creepy samples that open the song. It is the closest this album comes to having a ballad... Maybe it's the clean car smell of new songs, but I think this album edges out the previous one in terms of vocals and songwriting, so I will give it a 10.Out on Nuclear Blast.  

7

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Spirit Mother : "Thistle"

 

We've entered the era when the lines between stoner rock and grunge have become blurred beyond recognition. The drugged-out swagger the vocals croon to recalls Queens of the Stone Age, but there is also plenty of 90s Seattle in here. Screaming Trees being the most obvious link between the two, though Grohl did play drums briefly for Josh Homme and friends. It's not metal metal, though they can put some weight behind the chords as needed. As hoped, there is a downtrodden undertone to the mood. "Violent  Son" has the darkness of looming dusk creeping in its brooding mood. It also steps away from what was coming across as their primary influence to allow you to hear who they are behind that. 

Their identity is further revealed with the more grunge side of "Coat of Arms" .It finds them swinging for the fences with a mroe emoted chorus that finds the singer reaching up into his head regiter. Not the most refined set of pipes, but it puts a great deal of feeling in the notes he does sing that is worth something. Traditonally here this post-grunge revival sort of thing does fairly well, as bands like All Them Witches, Black Foxxes, and O Zorn were all warmly received here as they are dark and familiar enough. A song like "Narrows' shows some common ground with the more introspective side of a band like Soundgarden, along with some country influence sneaking in the back door. This is the band's third album, so they clearly have a handle on what they want to do, if not a better idea of how to get there. ey 

They kick out a raw, gungey cover of Jethro Tull's "Locomotive Breath"  they vocals are more aggressive than they have been earlier in the album. I like how they layered the guitar here. The album begins to fade into background music by the time I get to "Good Faith," forcing me to go back and give another listen. It has a balance of hypnotic throb and jangling amble. Nailing the vibe of the 90s, but still relevant in 2026. While Crux" is more of a rocker, the Whishift to higher energy sacrifices some of the mood. If you are noticing that vibes and mood are being mentioned alot it's because that is the coolest thing this band has going, but that alone is worth a great deal.

There are a few instrumental interludes that I am ignoring for the purpose of this review. "Stranger, You Are" gets back to the meat of the matter and finds that their setting the tone for the trippy, brooding is their strength. "Odetta" is another song that shows mood is king for this album as the vocal melody is wonderfully surreal. The title track is a little more rock but a good balance of the vibes and dynamics that work best for them. I will round this album up to a 10 and see how it grows on me , as it sheds its Queens of the Stone Age influence a couple of songs in to hit some really fantastic moments that balance the album as a whole out. It drops September 4th .

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Flotsam & Jetsam : "Rats in the Temple"

 

This seems like it is the same line-up from the last album so we are in for a solid ride. They are not trying to recreate "No Place For Disgrace" but are moving forward. Ken Mary, who played drums on the heaviest Alice Cooper album "Raise Your Fist and Yell," really propels the opening track. "Damnation' does have more of a traditional thrash riff, which brings back fond memories without hampering them from engaging in 2026. His sung vocals are pretty catchy, and of course there is the noted lack of falsetto wailing, which he has left to King Diamond years ago. 

"Absolution" charges forward with an aggressive chug. The formual seems to lie in how they set up the chorus, and the verses are varied levels of thrashing heaviness, which works for me. There is some tight chugging that is top-tier thrash here."Blame the Knife' is the hookiest song so far, though we are only four songs into the album but this is going to be the bar they set for themselves here. The "breakdown" section before hte solo is pretty awesome. The title track indulges in some melodrama for the intro. There is some interesting production choices in how the vocals are layered here. 

"The Ghost Behind My Door" displays how modern metal production can fuse with timeless thrash. At 61 years old, Eric's voice sounds great. This carries over into "First on the Spike:  His vocals are more aggressive on this one. Prodiuction wise it seems like the layers of vocals are more plentiful on this album. It is hard to argue with results I have not seen these guys live since the 90s so who knows if he can pull it off. He does always put his voice in the right place on this album. They slow things down a little going into "The Edge of Nowhere"  but build it back up to hyper thrashing speed on the verse. 

The bulk of the album, they have kept the double bass flowing so by the time we get to "Last Rites," I begin to wonder if they are going to shift the dynamics, and the answer is no. Things stay catchy enough to make it forgivable that they won't take their foot off the gas, and for thrash, I guess that is what some people want. The bass emerges to give "A Taste for War" a backbone and shift away from the more straightforward thrashing. This gives Eric more room to sing, as the drums drop the bass to a tribal pound on the verses. "Her Blood Your Pain" benefits from catchy vocals. The guitar harmonies are somewhat Iron Maiden-like. 

"Anthem For the Broken" has a more power metal-feeling chorus to contrast the grittier thrash of the verse. I would not call any of the songs filler but this one does not grab me as firmly as the others up to this point have. The last song might have the heaviest riff of the album driving it, which makes sense, though it is balanced with a more melodic passage for the verse. I will round this one up to a 10; it's as [perfect of an album as you could ask these guys for in 2026. It drops August 28th on NapalmRecords. 

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