Poppy : "Empty Hands"

 Poppy's new album raises a few questions, as I am not willing to believe this was made in a creative vacuum, causing me to start clicking around to investigate. First off, if it is obvious she has been doing the festival circuit, she is aware of what music works to move large crowds.  Jordan Fish from Bring Me the Horizon, who worked on her last album with her, worked on this one as well, which makes sense as there is a similar feel,l though more pop elements and modern rock elements run through a filter of what Spiritbox did on their last album, so rather than Courtney being mistaken for Poppy the tables have been turned. She collaborated with Courtney and Amy Lee on a single that was pretty boring last year, but she got to see how Courtney works, and she seeks to follow that path on."Bruised Sky," which was the first song released from this album. 

There is more groove to "Guardian," but it invokes the same kind of anthemic choruses that even Spiritbox feels like they borrowed from nu-metal. Everything still works up to this point, though I doubt this formula will keep its gas for the duration of the album. "Unravel" is more electronically driven, with lighter pop vocals floating over it, though it works well for what it is. This is less of a metal album than the last Spiritrbox. The dudes in House of Protection also lend their instruments to the cause on this album. The guitarist from Knocked Loose helped write "Dying to Forget," which is the heaviest song so far, though that is not the highest bar. She screams and sings on this one, the sung vocals factoring in more heavily on this album. 

"Time Will Tell' pretty much follows the blueprint of commercial rock music in 2026. I feel like experimenting more would play in her favor rather than just sounding like everyone else. "Eat the Hate" goes in more of a 90s direction. I respect this more than sounding like today's take on commercial rock music. "The Wait' is more of a ballad. I like where "If I am the Light" is going; I hope it maintains its trajectory. Despite defaulting to the big anthemic chorus and metalcore breakdown, the shift in the verses is enough to work. 'Ribs" follows a similar dynamic with its choruses. The title track closes the album and finds her throwing herself into a more cathartic metalcore chaos. I will give this album a 9, it works for what she does , but it feels like there is not enough of her personality here and too much pandering to the bigger crowds.Yet there is enough of what even long time fans want to make it worthwhile.  

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Blackwater Drowning : "Obscure Sorrows"

 Blackwater Drowning is unleashing another album of fiery over-the-top death metal anthems with a bit of a black metal attitude in the higher scowl of vocalist Morgan Riley. If you are into guitar solos, they are also serving up ample sides of shred.  "Devour" works off a more deliberate syncopation. Morgan throws in a sung vocal hook to add dramatic flair, more than just creating a pop sense. They are not following the typical formula that most bands use when switching gears from harsh vocals to singing. The solo section is even more melodic and tasteful here. 

"Eye of the Storm" has a big orchestral feel before it races off into the aggressive web of riffs spun around the melodic theme of the song. It goes by in a bit of a dizzying blur, with the string hits as the only parts that provide an accent to draw my ear to them. The Hungarian minor scale is the other element that draws me to the song, as it is the undercurrent. "Incubus" races at a faster pace as the album gains frantic momentum. Some might be a fan of this, but it could use more groove to avoid the songs running together and everything becoming a blur of hyper-chugged riffs. 

The symphonic sound opens up "Heir of the Witch' to create a more cinematic sound going into this. This album si very cleanly produced with a mix that gives plenty of room to to all the layers of sound, with the inclusion of strings, which is impressive because the drums were the only thing they outsourced to another studio and recorded the bulk of this one themselves, though recording programs today accesible to the public make this easier in 2026. 

This album is also a study in the evolution of modern metal and how , death metal, metal-core, and thrash have all merged to blur the lines of genre into what we are hearing here. The black metal influence fades unless you are talking about the kind of bands like Cradle of Filth and Dimmu Borgir, who have already evolved beyond the kind of blast-beaten darkness the genre was once known for, which can be heard here in the larger-than-life melodrama the songs sometimes venture into on songs like 'Where Men Fear to Tread".  She does sing a hook on this that works as more of a refrain. 

Despite the shift in sound that expands to include a strummed guitar at the intro for "Death By a 1000 Cuts", it sounds pretty much like all the other hyper-aggressive moments, though there are some more deliberate riffs that stand out. "Teeth and Claws' uses a more intersting syncopation at first before the momentum takes it away. They establish a groove with this and then throw a flurry of something else in your direction. In the middle of the songs it breaks off in a more melodic direction before the guitar solo takes over. These guys are more technical than I remembered after closer listens. 

For the first minute of the last song, I expected them to go full blast, but they take a left turn in a more melodic direction which benefits the overall dynamic range of the album. Then they hit the gas from there with some sung vocal accents to break it up. It is really well done, even if it feels like it follows the expected rules for this type of grandiose melodic eath metal so I will give it an 8.5.  

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Exhumed : "Red Asphalt".

The 2022 Exhumed album did not wow me, as it was brutal but lacked elements like melody or the finger-point of strong writing, relying only on raw aggression. There is more effort with the guitar harmonies leading into the title track. There is more purpose in the song as the riff is allowed to breathe and groove rather than just being an full on assualt. The growl of the vocals is also more feral, but along with this comes more dimensions of tone. 

At times, I am getting more of a Carcass feel with this album, at others it seems thrash is more of the focus. There is an almost Pantera feel to 'Shovelhead" which was the lead single, making this the band's most accessible moment yet. This is contrasted by the more straightforward battery of guitars that is "Iron Graveyard"/ The bass leading into "Crawling From the Wreckage" forces them to slow things down. This added darker weight creates a Morbid Angel feel. 

"Signal Thirty" feels more like Kreator, as it slows down into a more melodic thrash groove. "Death on Four Wheels" goes back to the unhinged approach of focusing on speed. The rest of the album sort of races off in thi direction with the last song more intentional in its focused thrashing. I will give this album an 8.5, which is a big improvement over what they did before. If you are already a fan, then you should be happily surprised. If you want some death metal with an almost Lamb of God-like energy to it, then this is worth your time. Dropping February 20th on Relapse Records.

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ghostbells : " Catacoture"

This duo blends various sub-genres of dark electronic music into a moody but buoyant pop that feels like it is haunted by the 90s. The female vocals offer a childlike sing song cadance to their chant. Repetition is king here and works. The alluring singer makes watching the videos for this album more of an immersive experience than not having the visuals there; they seem to have videos for the bulk of the songs on this album. Though despite the lead single "Darkness Saves" not being the msot dynamic song of the album, it still works for what they are doing, and the entire album, even moments of more droning introspection, prove better the louder this is played. 

"Ghosts' falls on the more pop side of the the equation, and while the nuance is effective, the best song of the album might be the more energetic churn of 'Immortal Lovers' that finds her singing more aggressively from her higher register to create an almost Charli XCX feel to things. "the Color" is the first song I did not find a video for, it's a shame as this has perhaps the albums most punchy beat but it is also stepped pretty deep in an 80s synth sound while moving like the more atmospheric strains of 90s techno. Her vocals float like a texture of it. She breaks it up on the chorus by going into the higher, more shouted vocals approach applied to the previous song. You can hear a slight Grimes influence in some of the vocal phrashing. 

The last song finds what worked on the previous songs in motion here. Overall, this album fills a gap on the darker left-hand side of what Chvrches does, being more aware that they are purposefully going for a more goth sound. It is not over produced, in fact , underproduced as far as pop goes. I will round it up to a 10 and see how it grows on me. pst27

PONTE DEL DIAVOLO : "De Venom Natura"

Ponte Del Diavolo is an interesting band from Italy. Their 2024 album scored a 9.5, as they continue to perfect what they did on this album as they kick in the door with blast beats before bringing a shadowy vision of post-punk snake its way around the verse before exploding back into a more snarled chorus, though singer Erba excels at blending vocal tones. One of their strengths is that they do not mix the two genres in an expected formulaic way, so they blend in a very organic manner. The second song finds manic post-punk vocals over the tense tremolo-picked guitars, though the drummer does not just fall back to blast beats to concince your they are into black metal, instead it keeps a punk vibe. 

The rapid-fire tempo of "Spirit, Blood, Poison, Ferment" caused me to need a second listen to absorb it. I like the ebb and flow of the dynamics used when the vocals bring things to a more deliberate place on the verse. I was not expecting the flourish of horns going into the chorus. Dark-wave tinged electronics add to the mood brewing on "il veleno della Natura" with black metal guitar bridging the verses to create a throbbing tension. Midway into the song, things accelerate but do not rush the vocals, which belt it out with the same steady resolve. 

"Delta-9" seems to be about the old devil's weed, which I would not expect them to be tokers of, but whatever works. It does unfold with a more psychedelic drone than what they have explored previously on the album. Then they wink in the direction of Cypress Hill, which was even more unexpected, before the bass rumbles into creating a pretty crushing riff.  Gionata Potenti lends his voice to the beginning of "Silence Walk With Me". He has a more conventional classic metal voice that is cleanly sung in the vein of the Scorpions, which brightens the tone. They close the album with a cover of Bauhaus' "In the Flatfield." I will take this every day over another cover of "Bela Lugosi's Dead." They keep the vibe of the song with the underlying tension, adding blast beats under the frantic chorus. I will round this up to a 10 based on the fluid blending of styles and Erba's stellar vocal preformance. 

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PILGRIMS : "Gemini"

 

Chilean-bred PILGRIMS relocated to Boston and has become a more focused songwriting machine. With vocals at the front of the mix, the murky layers of synths and guitars create a fog-drenched landscape of sound while the drums dance under them. All too often, darkwave-leaning bands like this are not organic enough, but this band feels like they have a balance of electronic elements and instruments plugged into amps. It seems like half the lyrics are sung in their native tongue, making the vocals at times more of a textural layer. 

There is a marginally more upbeat vibe to "Blissing Hour". It carries a dancey cadance that is anchored by the bass line. "Datura" is heavier in both groove and the dark depth of its mood. "Storms" is also another song that might summon goths to the dance floor. There are some interesting touches applied to how the vocals are produced here. To their credit, unlike many female-fronted post-punk bands, these guys are not trying to be Siouxsie and the Banshees. "Amethyst" finds a more ethereal slant to the lilt of the vocals. The bass line keeps this song moving in the right direction. 

"Glass Cages" offers more electronic ambiance, though once it kicks in, this is contrasted by a punchy punk attitude possessing the song. The vocals are more shouted, that offer a nice dynamic contrast. It even makes me think of pre-Mike Patton Faith No More. "Elegia" plays it safer and sticks to what you expect from this sort of thing. "La Mar" might be the song that best encapsulates what this band does with the groove and melody being locked in. The last song finds her voice going up into her head register to create a more Cocteau Twins-like sound; it's also another one of the more dance-oriented moments on the album. Overall, this album is the kind of dark, grooving fun I want from this brand of goth-tinged post-punk, so I will give it a 9,5. 

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Mayhem : "Liturgy of Death"

 

Moving in a bigger and more symphonic direction for their new album, Norway's black metal icons Mayhem keep things dark even if it means crossing over into a marginally more accessible style that feels more like Dimmu Borgir in its epic scope. Hellhammer is behind the drum kit, so that brings a larger-than-life flurry of double bass. Obviously, Necrobutcher and Atilla are crafting these songs with guitarists who have been with them for well over a decade now. Atilla is more confident in his voice though what he does is not as different as you might expect. The burst of operatic bellow is more controlled, and his groans are well layered against the screams. The second song finds them accelerating the momentum, but it is well guided with enough restraint to serve the song. 

"Weep For Nothing' chugs along with enough menace, but is not as melodically adorned as the first two songs. Atilla makes many pained declarations, as things sweep along, but it's more likea chaotic ride through a black metal-themed amusement park ride. Blast beats race off with 'Aeon's End" as many fans of the genre will be overjoyed by the more extreme passages of hyper aggression. "Funeral of Exsistence" employs the kind of cold, ringing chords that inspired bands like Dissection and Watain, before galloping to victory. It does accelerate in a more predictable black metal fashion, but it works well enough. Hellhammer's ability to turn a passage around on the next beat gives them the ability to shift seamlessly in complex arrangements, showing the benefit of a band being only as good as their drummer. 

For this to be Necrobutcher's band, the bass is buried in the mix until "Realm of Endless Misery". 'Propitious Death' finds them racing at you with a more Dimmu-like fury. There is a fucking awesome riff that kicks in a minute into things and rips your head off with very deliberate purpose and groove. The last song writhes and rages with the intensity you want from these guys, but does not hook you in like the previous song;  instead, you are plunged into a seething cauldron of sound. I will give this album a 9.5 and see how it grows on me. I think it is an expansion and refinement of the sound they are known for, with the only great risk being not more experimental or abrasive.It drops Febuary 6th on Century Media.  

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CLAWFINGER : "Before We All Die"

Their first album in 18 years finds Clawfinger sounding less like one of the nu-metal bands and more like what thrash became after the nu-metal circus left town. It opens with a very politically sided track, that has some decent locomotion to it. The vocals are just barked and not the most charismatic, but they work for what is going on. The sun hook to " Ball & Chain" finds them working better with some melodic elements in play, as the rapped verse feels a little awkward. Feels more like reciting poetry than riding the groove. "Tear You Down" carries more of the groove that the previous song lacked, and it's a more tightly written song, even if the lyrics are somewhat silly. 

"Big Brother" feels a little off despite most of the elements in play working; there is some energetic dust that still needs to be knocked off, I suppose, though the riff to "Linked Together" works better. Yet the phrashing of the vocals feels like it's from 1987. "A Perfect Day" is pretty terrible, mainly thanks to the vocals; they blend the hip-hop elements better on "Going Down". They go for a more Limp Bizkit sound. "Call Yourself a Teacher' leans more into 90s punk. There is more of a House of Pain feel to the blues-based "Fucking Disgrace".

The darker touch to "Kill the Dream" makes it the album's best song. The guitar riffing is the strongest thing in motion here, though the drummer gets the job. The Big Daddy Kane vocals return to bring the old school to a place where I am not sure the same class is in session. Some of the hooks works but it's inconsistent. If I were going to say get in where you fit in these guys need to be playing Juggaloo Festivals. The title track closes the album with more of a thrashing feel. I will give this album a 7, as some decent riffs are driving it, and some intersting sound layered around them with the vocals as the element that does not work as well. But if you were a fan of these guys back in the day, chances are your taste has not improved. 

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Malignant Aura : "Where All of Worth Comes to Wither"

 

Australian Doomsters Malignant Aura lurch into this album with the kind of dark melancholy I want from all heavy music, but expect from doom. This is the band's second album. "The Pathetic Festivals" finds them delving deeper into the death metal side of the death doom equation, with a more Morbid Angel-like feel. It features a commanding stop that emerges with a mechanical grind of the guitars. Midway into the song, they relent to the darkness, and things ebb down into a more dismal, yet spacious cavern of sound. 

The low gurgle of the vocal complements the twisting riff of "Languishing in the Perpetual Mire". When every thing breakdowns into the woeful cry of discordant atmosphere, it feels almost like free-form jazz. It is ambient in a way that halts the momentum, and places the focus in a more intangible mood. As a 13-minute song, this is eating up a chunk of time. They pulls things back together, but even then it does not feel as focused as the first two songs. It takes another two minutes before they wind back around the Morbid Angel-like riff. I like the doomy melodic riff they solo over that closes the song. 

I think doom is who they are, but the pull of Morbid Angel is strong, on "Under a Crown of Anguish." the depression wins out.     When they go doom, they go full-on funeral doom and do not mess around. There are no aspirations to be Paradise Lost. These twin guitar harmonies are one of the strongest elements of their sound. The last song finds them walloiwing in the sorrow of doom. It does build but a flow of double that acts mroe as an undercurrent than a full on aggressive assualt.I will give this oen a 9, it is certainly an abum fans of death doom need to take note of this year. Being released by Memento Mori.  

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Megadeth : "s/t"

 Here we are at the last Megadeth album. Better to hang it up than besmirch their legacy.  I used to love these guys, but "Youthanasia" was the last album I got into. The opening track feels like they are pretty focused on the kind of thrash that works best for them. I think they are the epitome of a band who struggle to find themselves when the creative head of the band got sober. Let's face it, these guys are pretty much just the Dave Mustaine show.  "I Don't Care" goes back to the more hook-focused accessible writing that defined "Countdown to Extinction." It works well enough here. Then things begin to take a turn.

"Hey, God' works as a song, but lyrically it's kind of dumb, but it seems brilliant compared to "Let There Be Shred," which is a display of stupidity so profound that it is the sort of thing that makes metal hard to be taken seriously when presented in this context. Even if you just like jerking off to shredding, it is done more tastefully at other points on this album.  None of the songs on this album comes across as being dark, which is part of the problem, but at least "Puppet Parade" can be taken more seriously. His voice sounds better than some of the previous albums from the past 10 years here. There is still plenty of the 80s flowing through the veins of these songs, so much so that "Another Bad Day" could almsot be a Dokken song. But it works well enough for what the band does, and it feels like they are touching upon previous corners of their legacy. 

The drummer gets to shine on "Made to Kill," which feels like it could have come from "So Far, So Good, So What' which is my favorite album by the band. This shows that everything can still click into place for the band when they stop fucking around. "Obey the Call" finds them continuing to fire off another banger at optimum function. I am ok with the 80s dripping from the riff that leads into "I am War" as the rest of the song is killer and what you want from this band. "The Last Note' also works well at upholding their legacy. Things come full circle with their take on "Ride the Lightning." I was expecting 'Fight Fire With Fire." The difference being Mustaine should have tracked these vocals in 1988, and it might have held up better against what James did, but I would not have been opposed to him releasing an album of all the Metallica songs he helped write jsut to hear the differences. "Let There Be Shred' is really the only sour moment on the album, and it is balanced out by the moments where they really knock it out of the park so I will round it up to a 9.5 and see how it grows on me. 

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GROS ENFANT MORT : "Le Sang Des Pierres"

 

As genres shift and evolve over the years, it is easy to forget their origins. This is why I was surprised by French screamo band Gros Enfant Mort. They remembered that screamo originated from emo, which was the more melodic and emotive version of hardcore that could be attributed to bands like Rites of Spring and Sunny Day Real Estate. This album opens more in that vein, though they build things into the explosive intensity of hardcore. At times, they find and intersting middle ground between the two while singing in their native tongue. This makes their music less accessible to Western audiences but true to where they come from. 

They reach the halfway mark of "3114" before slowing their feral punk attack into something more thoughtful. Another intersting element to their sound is how they approach the more hardcore side of the spectrum with little of the metallic sharpness, but a more cutting sonic depth that owes nothing to the more Slayer-influenced side of the genre. In fact, it is not surprising that the nuance and jagged clanging they groove on flirt with what Fugazi once did, with taunt bass lines holding the jagged stabs of guitar together. At times, they drift into areas that are a little less focused than the previous songs, arrangement-wise. The staccato verses work well, though. 

"L'art de perdre" finds a more atmospheric guitar part as the foundation for them to throw their temper tantrum over. It works, but took a second listen for me to pay attention to what was going on. They are not totally detached from where hardcore is at today, as can be heard in the chaos of "Merci les cendres," that relies more on the math rock collision of the guitar. The stormy tension it creates is effective. They end the album with a more balanced melodic reflection. Though I question the choice of letting everything drop totally out to faint ambiance and trying to build back up from there, as it kills the mometum and makes it feel like two seperate songs. Nevertheless I will give this album an 8.5, as I appreciate what they are doing here sonically. 

FF047 | Le Sang Des Pierres by Gros Enfant Mort pst20

NO/MAS : "No Peace"

On the more punk side of grind-core, NO/MAS are angry as fuck. They have a dialed-in guitar sound rather than just a raw outburst, and just because they play grind-core does not mean they have not refined their attack on their instruments. At times, even grooves slide into the riffs, which is an ear for detail,l considering that these songs clock in at two minutes more often than not. They are certainly influenced by Slayer in how some of the riffs are nuanced. "Blood Soaked Soil" is more feral until midway into the song when they lock into a breakdown, which proves to be pretty powerful. There are even brief guitar harmonies. 

On "Abolition," which is jsut under two minutes, they fake you out and make you think this is just going to be aggressive chaos but pull it together with cool riffs. "Leech" finds them galloping into a more thrash-inspired feel. There are some riffs on this one that you can not resist banging your head to. While it is empowered by a really cool riff, at a minute length, it's hard to make." The Act of Killing' much of a song. The snarl in a more ferocious manner for "Lay indegina." It's not until "Choke Point" that you hear the more metallci smarts empower the songwriting. 

They use the riffs more like a sword than a club on "Spineless," creating a hook for them to lock into. The title track is not as catchy and is more based on brutality. They end things with more of a thrashing attack on the last song. They throw themselves into a hyperactive punk explosion. I will give this one a 9.5 and see how it grows on me. I have not really dug into the entire slate of grind-core bands with albums coming out this year, but it seems like these guys are setting the bar for the genre to be measured against here. This drops March 13th on Redefining Darkness Records.

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Epimetheus : "Perseus 9"

 

This band from Bristol combines post-punk with sludge. It goes from a brooding tension to a powerful rumble to take things home, which works very well on the opening track. It gives the needed dynamic contrast without following the formula. The riff to the second song reminds me of "Filth Pig" which makes sense considering the styles they are bridging here, though they are more organic and jam out from this in a more Melvins-like manner.  

"Drift Beyond" finds the focus shifting to an angrier rumble that they try to balance out with atmospheric vocals in the background. With a song at almsot ten minutes, they can take their time building up into "Held No More", you can hear influences they lurk below the surface with the art rock years of Pink Floyd bubbling to the forefront. It's halfway into the song before they dig back into heavier dynamics. The title track has a more droning stoner grunge feel that takes you back to the post- hard-core of the 90s in some ways. 

"Calling" find them still scratching at that 90's post-grunge tch but with a more metallic rumble. The last song builds things into more of a pounding 90s-tinged sludge stomp. It's a tried and true formula that even bands like Clutch have dusted off. Overall, I like where these guys are pulling from and the moody dynamic nature of what they do so I will give this album a 9.

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Jupe Jupe : "King Of Sorrows"

 Despite goth being a popular topic of Facebook groups, there is not a huge deluge of post-punk music waiting in the wings, which is why I jumped on the new album from Seattle's Jupe Jupe. The opening track is marginally moody enough, not far from the frolic of a band like Oingo Boingo, though with much less dramatic vocals. They wink in the direction of the 80s. They are quirky but care about the songwriting, as "Kill Your Darlings" is even more thoughtful. They are not as new wave pop-oriented as, say Duran Duran, but they are heading in that direction. There are greater touches of rock n roll swagger in some of the guitar licks. 

"Down With the Setting Sun" has a slight Western feel, but lyrically feels like it is trying too hard. They dance back with the 80s pulse of " A Game of Wait and See". There are melancholy hints in the background, but the overall sound is not that dark. "Nothing Left to Come" carries more hooks to the vocals. "Cane" is the first song with mroe of a post-punk energy to it. "Alive Inside of You" is more of a new wave song, which is the vibe that tends to dominate the album. 

The last song "Casualty of Love' is more introspective.At the end of the day it's the effort put into songwriting that wins for this band, as they are not trying to be anyone artist, nor a tribute band to an era. I will give this one a 9  

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EIHWAR : "Hugrheim"

 

The Nordic folk duo Eihwar is oddly from France. They have a somewhat poppier take on a style brought to larger audiences by the likes of Wardruna and Heilung. The first two songs carry a great deal of frolic in how the melodies move. For some reason, they are connecting this to electronic music/ dance music, and maybe the scene in France has changed, but a song like "Ein" feels like neo-folk music, just with more emphasis on the percussive elements. The vocals are also very polished and do not have the raw throat quality of singing heard in many of the more pagan minded folk music, with a more liberal use of overdubs. 

Some songs are more like interludes than actual songs, mainly building mood in a cinematic manner. For the purpose of this review, I am not going to count those. The title track has a more deliberate tribal drum, though the melody sounds almost more like Celtic folk. More droning and ritualistic than hooky. The song after this is catchier and works off a more pop-oriented formula, even with the more Viking pulse carried through the background.  "Heil Odinn" has a lighter touch to the melody to counterbalance the more pounding drums. 

"Omenotharena" is the first song that has anything close to a dance beat or electronics. The last song is a more ballad-like version of "Berserkr" which was used as a memorial, so it is more introspective and subdued. Overall, I like what is going on here as they do more service to songs than just getting all the ancient sounds right. I will give it a 9 and see how it grows on me. 

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In a House of Heartbeats : "Divination of Dreams"

 

Essex trio In a House of Heartbeats plays a dark style of post-rock that bridges over into goth and post-rock with shoegazing tendencies. The first dirge they open with finds the guitar filling the gaps where the vocals would be if they existed. They use many familiar sounds that border on psychedelic, but help to create the kind of dark tapestry that feels like clove cigarettes might be smoked to it if there was a low baritone croon that characterizes this sort of thing. I like the first song, but unsure if these sounds alone are enough to keep my attention. 

On "Cambion" they continue to remind me of Russian Circles as they bring a heavier stomp, thanks in part to the hammering tone of their bass player. The problem with what they are doing is that the songs might begin to sound the same, but let's see what happens. "Parasomniac" finds samples helping to create a narrative as they experiment with more atmospheric elements. It is more like an interlude; they continue to flirt with darker sounds, taking them in a more sweeping post-rock direction when they kick back into the next proper song. 

The tempo picks up for the jangle of "Head Full of Ghosts."There is a more rock-minded riff for the chorus. Midway through the song, it drops out into space. Some of the moods it winds around remind me of the kind of prog dynamics Tool would later employ. It is an 11-minute song, so perhaps that is what stirs this comparison. "Drift into Sleep" is an ambient interlude that I am not going to count for the purpose of this review. The last song drifts off in its atmosphere and follows a more typical post-rock formula. I will give this album an 8.5; it works well for what they are doing and I appreciate the darker direction they are taking this genre. Out on Ripcord Records. 

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ANTI-SAPIEN : "At The Mercy Of The Merciless"

Brooklyn-based ANTI-SAPIEN drops some filthy, crusty, death metal that carries the aggression of Deicide in its angry churn forward. They are capable of shredding when it is called for, but prefer staying locked into the locomotive charge that drives the opening song. "Eater of Ghosta' blasts into the kind of hyper aggression that Nails blurs the genre lines with. When they slow down and lock into a chug, the results are powerful. The guitar solos are oddly forward in the mix and feel like overdubs. 

"D.E.A.D" carries a fun, moshy stomp before blasting off. The vocals shift to a more hardcore shout at times. They also slow down and make the guitar solo more melodic here. There is more of a Morbid Angel feel to the title track. It does begin to rumble in the background as the song progresses, and it creates a more uniform sonic blur. In fact, the next thing I know, they are already in "Grinding the System." The guitar solos are more traditional.

The last song buzzes to life with predictable vigor but also tension in the guitar melody before it collides into a storm of riffs. The vocals sound more like angry grunting. Overall, I appreciate the energy of what they are doing here, even if the momentum builds to the point of almost running away with songs at times, I will give this a 9. Being released by Terminus Hate City.

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ECTOVOID : "In Unreality's Coffin"

The most important question we are going to ask here is not can these guys can play their instruments, but what sets them apart from other death metal bands? What are they doing that is original here? They race around with a punk energy infused into their gritty take on death metal. I appreciate that their influences go back to the more 80s-rooted era of death metal, where the emphasis was on songwriting. The second song gets more mired into rapid fire aggressive riffing, which might be the esscence of death metal, but it does not mean to follow the same path so closely, it's not until the doomier riff that things break up a bit. 

"Intrusive Illusions' displays that the vocals are intentional and have purpose, so unlike many death metal band's they are not just another layer of obligatory sound. However, the overall songwriting is not breaking any new ground either. "Formless Seeking Form" took another listener for me to really pay attention to it. It does not blast off with furious speed, so you would think that might hook me in more, but some of the songs are starting to sound the same. There are some cooler riffs once "Irradated Self" finds its footing, which brings a hookier thrash feel.

The title track does little to stand out and finds things beginning to feel like the creative gas tank is being tapped out, as you are hearing a barrage of riffs that feel recycled. "Erroneous Birth" finds the vocals as the only element that has focus aside from the resolution of a few chord progressions. They are onto something with the more melodic touches of " It is Without Shape" that sets them apart more, and is something I wish this album leaned more into. The last song is the longest, and they slow things down to a more death doom-like riff. It progresses into some hookier riffs that bring Morbid Angel to mind. I will give this album an 8.5; it is more memorable than most death metal, but doesn't do anything that different either. It's being released on Everlasting Spew.

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Lionheart : "Valley of Death II"

The first hard-core album of 2026. It is coming from this California-based band, which carries a bit of Biohazard-like swagger in its stomp. So East Attitude coming out of Cali is a weird combo, but ok. It works for the first song. There is a slight nu-metal balance, and they are shouting at you about drinking tequila, so they are not straight edge. Kublai Khan TX appears on this one. They bring a tough guy element to it. "Ice Cold" picks up to more of a punk pace. If you love acting a fool during breakdowns, they are bringing them for you. 

The title track grooves a little more. By the time we go "No Peace" it feels like they are crossing over more fully into nu-metal. The sing-song hooks, are catchy but they are clearly a formula midway into the album.  "Roll Call" works well despite only being a minute and a half. Gang vocal accents are produced to give them a much bigger feel than what is typical of hardcore. 'Salt of the Earth" does not dispel any of my theories about this band. 

"In Love With the Pain" feels more like hip-hop in how the lyrics are shouted it out as the syncopated guitars give him room for his ranting. The last song is a minute and a half of white trash cheerleading, which still has a certain charm. This album is fun, plenty of empty calories, but you are not expecting Opeth from this sort of thing. I will give it a 9. 

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VOIDHÄMMER : "Noxious Emissions"

  

Not knowing what to expect from this California trio, I got comfy with the opening riff that felt like crusty old school death metal, before things went into a blur of blast beats . They found their way back to more memorable riffing, so that plays into their favor. The vocals are a low death metal growl that is typically buried. There is also some punk-tinged thrash in the mix that leans in the direction of what we call crust now.  

The find a groove in "Cadaveric Bloat." It splits the difference from a dense Entombed-like crunch to something more like early Carcass. Though I think I prefer the first song, as the drumming is a little more punk on the second song. The way they dig into the lower chords is the most Entombed-like moment. "Phospherized" finds them pouring on the speed. The lyrics are all obscured in the mix as the growl is not that articulate, but it seems they are focused on the physical stages of death. When they slow things down to a more deliberate pace, it works in their favor. In fact, the guitar carries some melody to make it more memorable. 

The last song 'Coffin" is more deliberate and crunches with a greater purpose; there are also hints of Slayer influence in play that help. This demo might only be a four-song EP, but it's a pretty impressive calling card that is going to earn them a following of metal hipsters who are really punk kids playing dress up, but that does not take away from these guys being legit. I will give this album a 9.Being relased on Caligari Records.  

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Gravity Chasm : "s/t"

While I have had more albums lined up than in previous years, January finds me often giving an album I might not be otherwise inclined to check out a listen. Such is a case from this math-rock metal machine. They are billed as being technical death metal, but that is only one part of what they are. Death-grind might be another element in play as we dissect their chaotic attack. The bass cuts through more than every death metal band. Really, aside from the vocals, I am not hearing it by the time we get to "Sassquelch". I think if these songs were all two minutes or under, they might be faster to concede this as grindcore. But they are more like the Locust, than Morbid Angel. 

One thing that impresses me about this band is how their bass tone cuts through everything. By the time we get to "Life Cycle," chaos is reigning as speed takes over, making things a blurred mess. They allow the weird to play a larger role in "Psilocybinary" which is obviously about taking mushrooms. Then speed and aggression begin to muddy the water, ir order to keep intensity the primary focus. It feels more like chaotic hardcore than metal, even with the technical aspects in play.

"Dilated Time" has some intersting sounds in the mix to provide a little more atmosphere coloring. Though everything is harshly in your face here. The album closes with the longest song, the almost six-minute 'Decompiled." The guitars are jerking you around with dizzying speed and angular dissonance. The drummer gets credit for holding this mess together. There is a great deal going on, but without giving me anything to hold onto, just a barrage of crazy sounds. I will give this an 8 as it's intersting and intense. 

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Softcult : "WHEN A FLOWER DOESN'T GROW"

 

This band took the number three spot in the top 10 Shoegaze albums of 2024. Their new full-length is even more polished, and songwriting is on point. It opens with the hazy breeze of "Pill to Swallow". It still has movement even amid the waves of ambiance coating the guitar's shimmer. "Naive" finds the vocals more centered and cutting through the chiming guitars. I am not sure what the lyrics to "16/25" are about, but I am curious, and the song is pretty damn catchy.

Lyrically, things become tangled in the battle of the sexes on "He Said, She Said" which finds them shouting the concept of believe all women. Regardless of the lyrics, it's an explosive, dynamic song that recalls the grunge pop of the 90s. "Hurt Me" continues to flirt with the memory of riot grrl, as they bring a more fiery aggression to things. "I Held You Like Glass" works off a more delicate throb that balances the atmosphere. "Queen of Nothing" shows some Cure influence in the nuanced guitar playing. It is one of the album's darkest songs and also one of the strongest. 

Their punk cheerleading returns for "Tired" and proves to be effective. "Not Sorry" finds the dynamic ebbing to a more introspective place in the verses. They use the 90s formula of building the chorus. The album ends with a dreamy ballad that does build up into something with more of a punch ch but it's mainly draped in atmosphere. I will give this album a 9.5; they are very consistent, and the full-length show off more musical range as a band. 

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the Top 10 Heaviest David Bowie Songs

Heavy is not a term commonly associated with David Bowie, but it's a sonic quality he has used to color some of his songs over the years. When it comes to metal as a genre, Bowie thought that volume alone was an insecure approach to creating something with dynamics and depth. He respected the power the genre created when it was used by capable hands. He thought Lou Reed's collaboration with Metallica was Lou's best work, making him one of the few people who liked that album. Though the term "heavy" does not apply to metal alone, but can be a sonic aggression applied to other genres like post-punk, as bands like Swans have displayed. So on his birthday, he is a look at Bowie's ten heaviest songs ranked in order. 

10-Moonage Daydream

 

9-Seven Year's in Tibet

8-Cracked Actor

7-"She  Shook Me Cold." 

 

 6-Heart's Filthy Lesson 

5-"Scary Monsters."

4-"Pretty Thing." 

3-"I'm Afraid of Americans." 

2-"Under the God." 

1-"Hallo Space Boy." 

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MØL: "Dreamcrush"

 

This Danish band is leaning further into their shoegazing influence for their latest Nuclear Blast release. Much like Deafheaven, there is a contrast between the music and vocals as the verse is more snarled, but with more of a hardcore fervor than black metal hatred. They excel at jerking the grooves back and messing with the rhythm. There is less metal in the second song.  The sung vocals take a more pronounced role, though they are dynamically all over the place, which works since it's not the predictable good cop/ bad cop formula. 

"Young" finds the guitar becoming much more metal. It's almost a European flavor of melodic progressive metal when the guitar melodies sweep in. The first two songs felt more solidified in their identity. There is more of an experimental balance on "Hud." At times, it feels like a shoe-gazing version of Kvelertak. "Garland' kind of splits the difference with a more hooky songwriting template over even the accelerated sections of guitar. The production is very clean and spacious, which makes me think of late 90s progressive metal coming out of Europe. "Favour" splits the difference with the first moments that feel like there might be a black metal influence to them in the vocals' screams. 

The sung vocal hook works well on " A Former Blueprint" which is one of the best dynamically balanced songs so far ." Dissonance" proves that they are not just limited to using sung vocals when it comes to hooky songwriting. "Mimic" is more metallic, almost making me think of a band like Scar Symmetry. Very precise chugging. The solo section being perhaps almsot too clean. The last song might be one of the album's most accessible, with its rock-influenced riffs. The arrangements are more intersting than your typical verse-chorus, radio fodder, but the production and some of their musical choices could stand to be darker to peak my interest more; however, I will give this a 9 as it is well done. Dropping on Nuclear Blast. 

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Stabbing : "Eon of Obscurity"

 

The first death metal album I am reviewing in 2026 comes from this Texas foursome follows the path first tread by Cannibal Corpse when it comes to brutal death metal with low gurgling vocals, and grinding guitar that conjures images of gore within the dense riffage. This comes with some of the raw production trademarks of this brand of death metal, like the flat smack of the snare, which was something that took me a while to get used to in the early Cannibal Corpse albums when they were released. There is less about." Massticate the Subdued" as they employ blast beat to turn the dynamic around in a rather predictable fashion. 

The title track kind of blasts by, then "Reborn to Kill Once More" crosses the margin to bring the nuance to accent and grooves that make this memorable. Alot of these brutal death metal bands have more technical aptitude than you might expect, with some of the tight passages that might sound like chaos to a casual listener. "Ruiminations" is more deliberate in its dark grinding groove and works well. It might be the best song so far. It's also an instrumental, so the grunted vocals are just a vibratory frequency that serves as a bottom end. Ricky Myers appears on "Nauseating Composition". The lyrics are a moot point, as none of them can be understood, as articulation is less of a thought here. The chugs that lock in with purpose here are pretty powerful. 

"Their Melted Remains" almost felt likea continuation of the previous song until right before the chaotic guitar solo. This is followed by more brutal moments backed by intentionally chugged grooves. They capitalize on this with "Symphony of Absurdity' It is bound to get a few pits churning. The last song does not sound that different from the previous song, as it also has the slow chug, mixed with some blasts to break things up, so they could've ended it more memorably, but this works well enough for what they are doing. When you compare this to an album like the new Sanguisugabogg, it is clearly outclassed, but if you are just looking for brutal death metal that still cares about songwriting, then these guys are worth your time. I will give it a 9. out on Century Media. 

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Blanket : "True Blue"

 

The album opens with a cacophony of layered sound, before dropping into a tense jangle that becomes "Hole in my Head". They have nailed the classic 90s sound of the genre, with some balls in the wall of fuzzed-out out bleary guitar that comes at you. The vocals are the kind of soft, whispered croon you now expect from this sort of thing that sits back into the guitars. The song moves well thanks to the ample bass line and pounding of the drums that do not hesitate, almost owing more to post-hardcore. 

I feel pretty confident they are not just going to keep riding the sound as the first song had so many dynamic nuances to it. "Levitate" finds them leaning into the boozy My Bloody Valentine guitar tone as the drummer keeps things moving; they also have enough space for the vocals to haunt it, even though chords are crashing all around them. They are milking the song more than working on the song. "Bind" hits you with a more hammering barrage of shimmering sounds as the vocals find more purpose but still fall toward the back of the mix. 

"Leaning On You" backs off, allowing the vocals more room to breathe, which complements their fragile delivery. The airy strum of the guitar could use the backbone of bass and drums. "Summer Skin" is a catchier, more balanced song that is not consumed by atmosphere. There is also more memorable songwriting applied to "Wallflower". If we are judging this by 90s standards, then what should pass as the chorus finds the vocals being buried by the guitar.  Not an unexpected occurrence when it comes to this kind of music. The last song flows pretty well, which is all I am asking from this album; it works and is the kind of dreamy diversion you want from the genre so I will give it a 9.

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Xiu Xiu : "Xiu Mutha Fuckin' Xiu: Vol.1"

Cover albums can be hit or miss unless the band doing them is adventurous, as Xiu Xiu. They find the perfect balance of being true to who they are and honoring the song even amid the filter of weirdness they subject the song to, when they open the album with the Talking Heads' "Psycho Killer", the most suited choice for Stewart's voice. He captures the anxiety the song stirs up well. Then things get weirder for Grace Jones' "Warm Leatherette," a song that was already on the fringes when released. The difference between the first two songs is that I like the Talking Heads classic, whereas I was never into Grace Jones as a singer.

They split the difference on "I Put a Spell on You". It builds into jazz-chaos. When you combine Throbbing Gristle with this band for "Hamburger Lady" the result is almost expected as shades of weird turn almost abrasive with the dissonant ambiance. You might need to get stoned for this. Stewart channels his inner Roy Orbison for "In Dreams," which forces him to lean into his falsetto. Once again a case of loving the original artist, making me appreciate what they are doing here. "Sex Dwarf" falls between the cracks of this analogy. 

They give Robyn's "Dancing on my Own" the kind of treatment I want them to. It's darker and more depressing.  This Heat's "SPQR" taps into a different mood for punk that I appreciate. Having not heard the Glorilla song, but aware of what kind of music it is, is all the background I need to go into their cover of "Lick or Sum." If hip-hop normally sounded more like this, I would listen to it more. A Daniel Johnston cover makes perfect sense. It carries a more melancholy atmosphere here. You can apply almost the same thing I said about Throbbing Gristle to these guys tackling Coil. There is more of a pulse that moves this one. 'Cherry Bomb' is not proto-punk but upholds the vibe of the original. I will give this one a 9.5, and see how it grows on me, as it captures the mood needed, while staying true to who they are. 

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Ulver : "Neverland"

This album was released on New Year's Eve, so it will count as a 2026 release. The first track serves as an introduction, featuring a spoken word sample played over ambient sounds. Piano leads into "Elephant Trunk." So far, it seems like they are stepping away from the synth wave 80s sounds of the past couple of releases that have been really strong in terms of songwriting. Though electronic sounds are still in play in a big way, the focus is just not as retrofitted. It has also been instrumental. It sounds like drug music, so perhaps there was something to those Century Media-fueled rumors. "Weeping Stone' does feel more focused on sounds than being a hooky song. 

It is clear from "People of the Hills" that they are dedicated to this more experimental direction. At times, it sounds more like the soundtrack to a weird sci-fi movie.  But this track is more like an idea they did not build into an actual song, feeling more like an intro for "They're Coming the Birds !" which finds more of a groove. Kristofer has such a great voice; it's hard for me to imagine why they would not want to make music that is vocal-focused. But I at least appreciate the mood of this one. "Hark Hark, the Dogs do Bark" feels like an exotic pop song in how it winds around. Then things begin to sail off into the haze of ambiance.

At least there is a defined groove that develops for "Pandora's Box." If you are not going to give me vocals, I at least need that. "Quivers in the Marrow" is less defined and more free-floating floating ambiance. Sadly, "Welcome to the Jungle" is not a cover of the Guns N' Roses song, as that might have been more interesting. The last song musically feels like an instrumental take on the direction they were heading with the previous albums. I will give this album an 8.5; it sounds great, and they weave together an incredible blend of sounds, but their vocal-oriented songwriting is more my thing. 

Kreator : "Krushers of the World"

 Before checking back in on the band for 2017's  "Gods and Monsters,"  the last album I liked by these guys was "Coma of Souls." In its day, this was a change for the band after "Extreme Aggression" had hooked me in. This time around, they are locked into a more rapid, furious form of modern thrash that works better than what they did on their last album. It sztill takes some getting used to when it comes to how Mille Petrozza approaches his vocal delivery that borders more on singing than his once scathing snarl. He also uses more anthem accents on the choruses. It is funny to me lyrically that he declares they are Krushers of the world when he has lamented to the press that disturbing the concept of war is to him. 

Ventor is still pounding the hell out of the drums, having hung tight with Mille over the years. They are joined by the bass player from Dragonforce and the guitarist from Barren Earth. They have refined the art of grooving riffage that carries into "Tranenpalast." The melodic nature of the choruses does its job and is hard to deny even if I want a more aggressive apporach from the band. What they do is more accessible than their earlier work, which keeps them in motion over the years. "Barbarian" has almost a power metal feel.

You can hear how their thrashing attack influenced black with "Blood of Our Blood," where the chorus reminds me more of Accept, who were obviously an influence on this band from the beginning, and do not get enough credit for their impact on thrash. The lyrics to "Combatants' are awkward at best, though the riff makes it palatable. It feels like they are trying too hard to be relevant rather than just being themselves. They do a better job of hitting the mark in this regard on "Psychotic Imperator." There is a Slayer-like intensity they race into the song with. The lyrics are political but in broader strokes. 

"Deathscream" has better lyrics, but kind of races along like methed out Judas Priest. It feels like they set out to write their own version of "Painkiller." They end the album with a bigger gallop for the more power-metal tinged riff that marches the song into a more anthemic nature, but it still works in a very Accept-like manner. I will give this album a 9.5 as it's an improvement over the previous two albums and pretty flawless, though the lyrics are what kept it from being a perfect album, as well as the moments where it feels like they are trying too hard, but some of the riffs, and overall writing and is obviously a sucess when it comes to the band's intentions of ccreating this album. Nuclear Blast releases this January 16th.

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Ellende : "Zerfall"

 I'm excited that my first album review of 2026 will be a new one from this Austrian project that claimed the number one spot in the top 10 Black Metal albums of 2024. They are atmospheric but with stunning guitar work and a haze of melancholy, embossing their waves of scathing picking. The wrathful vocals are perhaps more scornful this time around. Halfway through the first actual song, a melodic swathe of clean guitar with folk elements emerges. It works from the melodic themes established in the song. In other words, it's on point for what you might expect from these guys if you are already a fan. 

The second part of "Wahrheit Teil" starts off as a more melancholic continuation of what they established in the first part, though the difference is that they gain momentum and build this one more aggressively. This does not mean an assault with blast beats. The title track finds them jamming a slow-burning progressive-minded groove into the version of melodic black metal they have clearly mastered. Twin guitar melodies complement their melodic side, going into."Ubertritt"

"Zeiten Wende Teil" is another two-parter, the first part being the kind of sweeping guitar melodies you expect from most black metal that is not singularly focused on blast beats. There is also a sorrowful atmosphere haunting the backdrop. They pick up the attack with a more metallic intensity to the tremolo-picked guitar on the second part. There are some pretty cool riffs on this one as the song progresses, despite not being what I think of as a riffy band. It ends with a great guitar solo. 

The last song sets the stage with a sample of a phone message leading into things with a gradual build. This willingness to experiment is one of the things that makes this one of their best releases so far. A chorus of sung vocals breaks things up as they double down on their commitment to melody and great guitar playing. I will give this album a 9.5, setting the bar pretty high for black metal albums to come this year. 

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