Dummy : "do you love the color of the sky?"

 

Not sure how much indie rock I have covered this year; it feels like not enough, as every album turns out to be noise rock or metalcore these days, so here we go. It starts with a driving pop ditty with electronic drums dancing around it, then mellows out for the second song, which has the more indifferent male vocal tones you associate with indie rock. In some ways, it makes me think of a less depressed, more electronic version of Jesus and Mary Chain. The poppier opening trakc wa more unique.

 There are more 90s dream-pop things going on with "Full Spectrum Dominance" that did not match up with that song title. It's a good song, though. When it comes to the quirky Squeaky Wheel," the emphasis seems to be on the beat rather than vocals, going for more of a sound than songwriting. "Touch the Perfect Speed" finds the male vocals returning. It's more upbeat and closer to what you expect from this sort of thing. "Song of Mana" is moodier and more intersting than the previous song. It wanders out into re-mix like jam. "Omen Globe" is another dancey tune. It's more upbeat, like the Sugarcubes. 

"N of 1" has more of that 90s breakbeat. Her vocals balance it out. She is, in fact, not ready for another one of those block rocking beats. She is singing about the anti-Christ, which is intersting. "Heavens What You Make of It" sounds like it came from the more stoned side of 90s alternative radio. I like what they are doing here; I'm unsure how much I will listen to this one, as I am loaded down with dream pop, but I appreciate the thoughts. Enough, in fact, to give it a 9, putting it in the upper tiers of this year's indie rock so far. 

pst444

Bloc Party : "Anatomy Of A Brief Romance"

 "Silent Alarm" might have been this band's calling card, but it was their subsequent albums that proved they were not just a band wanting to sound like Gang of Four. Some of this camke in the willingness to experiment with formula; some of it came with the vocals employing a more melodic cadance. Both those elements are in place here. Ths first track feels morel ike an intro, but they pull it all together for "Coming On Strong".  They have a more upbeat bounce on "Love Bombs" that finds electronic beats moving the song. At this point in time, Kele and Russell Lissack are the only original members. This is sure to play a part in the evolution of their sound.

The energetic motion of the music is not as explosive or urgent as their earlier work, but there is a great deal of finely tuned thought put into the songs, though there are moments where they get ahead of themselves, as the dub-tinged "Pigwig" is not as strong as the first two songs. Perhaps it is just too British for their own good. "Lagoon Blue" carries more atmosphere, which gives the vocals more space to wander. Allowing Kele to find more nuanced vocal colors.

"Muscleworks" is the first song that has any homoerotic lyrics, but they are done pretty tastefully. It's also one of the album's hookiest songs. "Clark Kent" continues the album's trend of electronic drums being the primary percussive force of this album.. The lyrics continue to improve as the album progresses. Where the post-punk earlier days were more driven, the mature pacing allows him to continue finding his voice, with this feeling closer to his final form.  

"Wort Birthday Ever" is not as focused as some of the other songs, but he touches on his more aggressive vocal apporach as the lyrics are spit out more forcefully. "Not the Problem" is more playful, though, dancing with a more bitchy queen energy. Synths set "Now We Can't Be Friends" into motion. Lyrically, he continues to sort through his drama. Not every moment is focused; some of the more balladic moment kill the momentum too much. It's when the electronics lean into a more tense, moodier groove, like on "Moving," that what they are doing works best, even with the minimalism.  They do not always feel as sure of themselves in today's musical landscape, as this one borrows from the Temper Trap's "Sweet Disposition". 'Eulogy" is pretty upbeat considering its title. I will give this one a 9, and see how it grows on me. 

Thanks for reading. Give a listen to the song below, and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

 

pst424

EMMA RUTH RUNDLE: "Thee Killing Times"

Even though she is now 6 albums into her career as a solo artist "Marked For Death" will always be the bar her work is measured against. She did not try to meet it head-on with "On Dark Horses," and it worked wonderfully. She is taking another side step, which pays off on the opening track, then deviates into introspection from an even sharper angle on "God's Picture". What is so different, you ask? Well, she is using different vocal colors and bringing different instrumentation into the mix, with piano being a more focal point. In the past, she has had a more 90s alternative sound, whereas this album finds her not as dark as the other folk-rock sirens of the day, yet still bearing her signature sound amid the changes. 

"Anvil" finds a strum can get the same things accomplished when it comes to the steamy grooves her music is prone to summon. She brings the emotion I want from her and keeps flexing her vocal cords, adding more nuanced colors as she blends her head register. She blends the strum of her acoustic with a more rock drive on "Catherine Wheel," which does not seem to be about the band. The more 90s feel is back on this one and elevates it to my favorite song so far; what can I say, I like what I like. I am going to guess that Gina Gleason is playing all the guitar solos.

There is a more subdued feel to the strum of "Don't Delay Heaven". It's more of a ballad, but needed to give dynamic range to the album and flows really well. Based on the lyrics, "Enough" is sort of the title track; it weaves with the melody in a manner not unlike what we like about her past work. It builds into a chaotic swell while the main theme of the song churns under it. "Human Kindness" wanders a bit, making it more about the mood it gathers to build into a soaring climax.

"Oceans of Time" finds Lukas Frank joining her as he layers his voice with hers, and Marissa Nadler also chimes in, making this album an intersection for all the Millennial Alternative sirens, as Chelsea Wolfe's drummer Jess also plays on this album, but it is more of an outro. Overall, I will round this one up to a 10 as she gets the done done and maintains her level of artistry; it is good to have her back in this context. Now let's see how this album is going to grow on me. There is a little from all of her varied sides, though not big on the heaviness yet; there is a little of that here and there. Being released on her own imprint, Errant Child Records.

Thanks for reading. Give a listen to the song below, and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pst422

Actors : "Our Love Will Live Forever"

This Canadian band is poised to be one of the biggest goth-adjacent acts of 2026 as they have been top-billed at many festivals already.  times around things work off a bigger throb that carries the weight of synthwave and festival edm. There is more of their familiar style of post-punk on "Youth". Rather than stark tension it works off a more danceable energy.  On "Stimulation" this is almost taken to the furthest end of the spectrum before becoming pop music. There is a little more urgency thanks to the more organic bass line of "Left on Read". The vocals stick to a similar desperate tone. To their credit, they are not trying to be Interpol; sometimes there is a more serious baritone inflection, but they are not as dark or unsettled. If this had come out twenty years ago, it would have put them alongside acts like the Killers. 

"Dead Inside" is the first song that leans into the shadow to wink at the goth segment of their fan base. It starts a little more like "Bela Lugosi's Dead, " but things get more upbeat once we get to the chorus, and it is an improvement of mood, which was beginning to feel to carefree despite this being a collection of melodramatic break songs. There is a denser electronic pulse to "Object of Desire," and darker synths emerge in places. "In Real Life" is more introspective and melodic, expanding the overall dynamics of the album. Then they get another darker moment for "I'm Not Here" 

There is a cold wave feel to the detached mood of "Exploded View."  The last song 'Bad Boys," has a Gary Numan vibe to it. The guitar rings out but feels like it sits distant in the mix. The robotic mood is what they were going for, so I guess that it works for what it is, but Gary Numan does this better. I will give this album a 9.5, and see how it grows on me, as it sounds great andd puts them where they need to be as artists, but it will be interesting to watch how this album connects with their expected demographic, as it falls between the cracks: not dark or tense enough to really be goth or post-punk, but not hooky enough to be pop. In ome ways, I think what they are doing here has more in common with a bandd like the Faint. Their current fan base should be into it, so we can see where they go from here. Being released on Artoffact Records who I don’t see doing a major marketing campaign for them.; In fact I had to hunt this one down myself, but as art it's a needed step of maturity for this band.

Thanks for reading. Give a listen to the song below, and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pst420

onelinedrawing : "RAINBOWMACHINE"

 

When it comes to Jonah Matranga, I am still hung up on Far. When he puts out other music, I listen for the parts that sound like Far and gravitate toward them. Is this fair? No, but life is not fair, and he raised the bar for himself so high with that band. I have not given anything else as much of a chance, though this album touches on a great deal of what I loved about Far, but with some of the nu-metal-leaning elements dialed way down. This also brings up a fair argument about why Far was not a bigger band. It is because they were too emo for the nu-metal kids and too nu-metal for the hipster emo kids. But now is the perfect time for a reunion; they need the kind of posthumous TikTok fame Type O Negative and Acid Bath got. 

There is a bit of pop-punk and 80- radio rock in the first few songs. The opening track could have been on the new Menzingers album. It is fitting that "80s El Camino" plugged into the vibes of the days he is singing about, with a Joan Jett feel to the riff. The Far moments don't start coming till "Failures Virgin" and "inbetweener,"  which are not him trying to recapture the past, but it organically comes out since that is a part of him. There is more of a folk rock 90s strum to "Day One EightyThree"; he adds a more vulnerable tone to the vocal and layers them in harmonies as it progresses.

"On Watering Planets" also has a more strummed ballad feel like the Menzingers. His choruses build in the expected way, does not really hold up as solidly as the other songs. The title track is another emotional ballad of sorts that feels like one of the Cure's happier moments. Thevocals are layered with some Beatles influence to them. There are a few riffs that carry a Far-like cadence but are less emotionally intense. The difference would be Everclear to Sunny Day Real Estate. 

"Water in the Summer" is too happy for my tastes, but I can appreciate the songwriting. They end the album with another more fragile ballad that is not as sugary as, say, Dashboard Confessional, but heading in that direction.  I was waiting for it to kick in, and it jsut kind of ambles over its introspection. I will give it a 9 as he is a great songwriter; sometimes his intentions were jsut too different from what I wanted, but we have already gone over  this part.  

pst400

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.

 

pst387

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.

pst386

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.

pst384

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.

pst374

Charli XCX : "Music, Fashion, Film"

She is wise not to take her Brat Girl Summer head-on. She eluded it on the "Wuthering Heights" soundtrack. Now she knows it's time to step up and see where it goes. Of course there have to be guitars on a song called " Rock Music". It feels like she is pivoting from hyper-pop and has an eye on what Oliva Rodrigo is doing. She knows what she is doing, and the stakes could not be higher for her. The first two songs have not been a Brat-sized banger, but are solid songs, more of a bop, as the kids would say. Then things get weird.

Weird in the best way for "Card Declined," that comes across like some oddball indie rock from the late 90s. This album is really well produced, but it is not big and in your face like her last two. There is more of an indie rock strum to "Camera' that works off a jangle that is remixed. These are good songs; they are just not going to be what you expect or knew you wanted from her. It feels like a change she had to make to not recycle herself creatively. '2007" is another weird one that grows on me, with its danced-out jangle.

"I'm Afraid" and "Yeah" feel like companion pieces, working off the energy in a subtle way that underlines the genius of this album. "Wink Wink" feels like a more organic 90s inspired version of what you might expect from her. "Persona" has an overdriven bass line and woozy shoegaze-like guitars. It's got more pop hooks than the bulk of the record. "Magic Metal Montana" is experimental but works in the context presented well. It is fitting that David Croenberg's voice is used on the last song, as this sums up what kind of pop album this is. If it is a pop album, you could just as easily call this one an indie rock album. I hope Taylor Swift doesn't try to release an album this year, as it's hard to compete with this. 

Thanks for reading, give a listen to the song below, and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pst341

Man/ Woman/ Chainsaw : "Cannonball"

 This quirky band from the UK is hard to pin down, though they have a sense of 90s alt-pop about them. Too progressive to be BritPop or Dream Pop, there are those elements in play as a violin dances around what they do whih might be simplified without the layers they have so cleverly added. The whimsy of what they do takes you by surprise, but after the first song, I began to wonder what kind of songwriters they are. This is not easily answered in "Canyons" as it is not as hooky as the first song, but is more dynamic.. So I give them a pass for the willingness to be marginally more explosive. 

The vocals are handled by three people, Billy Ward, who sings "Goddamn Lizard Man" with a smoky baritone in the vein of Leonard Cohen. Vera and Emmie handle the vocals most of the time. The guitar adds more rock to this one, but I am not feeling that it is their stock and trade. "Lighter" is a more delicate ballad. It is more atmospheric than what pop normally does with a jazz underpinning. The movement that drives "Nosedive" carries the tension of 90s indie rock, and proves they can write songs. Ironically, "Get Up and Dance" is not a dance song at all, but I like it as it's darker and moodier.

"Snake Bite" is more of an abstract ballad that feels like upbeat trip-hop that turns into more of a show tune."Flick of the Wrist" is back to a more Nice Cave-like place as the male vocals are the dominant force. It is not as dark as Nick Cave. They continue down this path but with a more rock emphasis on 'the Thing" . "Still Angry" feels like it would have been a pop song from the 90s. The last song kind of meanders, but I appreciate where they are going with it. A great deal of this album makes me think of HAIM jamming with the Dave Matthews band whichc should let you know there is no lack of tlanet here, I will give it a 9.

pst296

The Menzingers :'everything I Ever Saw"

 

The band's 2019 album "Hello Exile" became the high-water mark against which the album that followed would be weighed, as it balanced country-drenched Americana with the band's punk roots in a way that was honest and carved out its own niche. They seemed to be trying to find their way back in that direction on this album. The opening track "Chance Encounters" gives more drive by finding its strum for Greg Barnett's voice to bleat out his emotional croon. This is accented by Tom May's grittier approach.

"Better Angels" might take some time to grow on me, as it does not connect with me in the same manner as the opening track or "Romanticism". There is something about 'Other People's Money" that makes me think this is what it might sound like if the Dropkick Murphys wrote songs for the radio/ "Gasoline and Matches" puts indie rock in the back of it's beat up pick up tuckand takes a drive out into wide-open farmlands, which is the best plae for these guys. The vocals are pretty heartfelt here. "the Fool" just kinda of breezes along with a more casual strum, that crooses over into a late 90s puink feel. I had to listen to it twice before it clicked with me. 

"Nobody's Heroes' taps into their more reliable songwriting magic."Breath With Me" follows this path as well, though is marginally more anthemic as the tempo finds a little more vigor. The synths that ring out going into "When She Enters My Dreams" give things more of an 80s feel. There is a great vocal performance on this one. "Parade Day' might stand out more if they had not already loaded this album down with some high-powered emotional punches that a re more memorable. They turn up the dials a little for the title track and hold some of the punk influence that steers them toward Social Distortion. I will give this album a 9.t as it finds the band recapturing the balance of sounds that works best for them and polishing them more with the production value being even bigger using Turnstile's producer.Out July 7th on Epitaph 

 

pst284

Modest Mouse : "An Eraser and a Maze"

 Isaac Brock is the sole original member of this band, who is plugging away on its 8th album. This was originally written to be for his solo project, Ugly Casanova, but he fleshed it out into his band with more name recognition. The style of quirky indie rock has not changed a great deal since "Good News For People Who Love Bad News," though the second song, "Remember Yourself," has a folky, organic introspection. This is the band's first album back on an indie label, which might seem like a step down, but it also comes with more artistic freedom and fewer suits breathing down their neck. Brock loosens his belt and lays back into a 60's flavored groove for "Life's a Dream." His voice feels warmer, as it relaxes against the flowing layers of sound dripping down from behind him. 

For me, their best album is "The Moon & Antarctica." That was a much darker affair with speculative lyrics about aliens; here, trippy elements are painting the walls, but they are playfully grooving. You would think a song called "Third Side of the Moon" would take you back to that place, and it is a marginal turn in that direction, but a glimpse at least. There is a strum of Brock's brand of quirky folk with a twang on "Dogbed in Heaven." This song is connected to "Give it a Skeleton," which is an intersting puzzle of a song lyrically, though musically it sounds like it's left over from the 90s. There are other songs like "Speak n Spell" that also feel like they have taken parts that sound like they should belong in a Modest Mouse song, but forgot how they should fit together. 

They do hit the mark solidly, taking the band's sound and marrying it with new sounds that blend well, like "I Can't Talk Right Now" and "Rotten Fruit," which is a collaboration with indie pop producer Justin Raisen, who has also worked with Charli XCX.He is not the only one bringing the modern pop touches to this album as the band willingly breaks out hooky grooves on "Absolutley Necessary Never," which works well and would have been a more interesting direction to see the band go in.  The album is also littered with instrumental interludes. Though they prove they can make the most of two minutes on "Song About Nothing," which has some punk energy. "Look How Far " is another example of how they can make the most of less than two minutes. Then they close the album with a song that is dialed in from their middle ground. I'll give this album an 8.5. I enjoyed it, but chances are slim that I will feel like listening to it again. They hit on what works for them as a band, dialing it for the fans that have kept them going all these years. It sounds great, so that is probably what you want from these guys as time marches on and so do they.

pst224

Iceage : "For the Love Of Grace & the Hereafter"

 

The Danish punks are back to rock n roll after 5 years. Elias's voice is not as sullen, and the more Rolling Stones direction they were heading in is more subtle on some songs than others with a rowdy jangle possessing songs like "Match Head Girl" that feels like it escaped from 90s college radio with a weird twinge of Bright Eyes to the vocal phrasing. There is almost a country twang to "the Weak' that brings the Violent Femmes to mind. It's has a carefree recklessness to it that is punk in it's own way, even if it's not the best display of their songwriting. They find a better balance on "No Fear" though the bass line keeps it from strolling away with the strum of the guitar leaving the attitude of the vocals as the most punk element. 

"Salve For Every Sore" deviates from the formula they have been using up to this point, but it also less focused. "Mother of Pearl" is carried by an angular jangling, that works similar to 'Lust For Life" era Iggy Pop. "Tender Blades" is one of the best songs so far as it carries the kind of strut and hooks that I want from them. "1835" benefits from a bass line grounding it ,as Elias' vocal style this time around is not as slurred but it also skips around the instrumentation with a similar cadence. His vocals seem more improvisational and not as deliberate. His approach works much better on " Star" . Lyrically, some morose sentiments are being expressed, but in a more hopeful manner than the post-punkish band I first got into. 

"Lifetime" is another very strong song on this album, so the changes that brought them to where they are now have not tarnished who they are as a band or what they are capable of, as they shine on this one. "Holy Water" is more recognizable when weighed against their earlier work and touches more on the post-punk side I missed. "True Blue" is a more interesting side step from the expectations, as it is somewhat of a ballad. It helps recapture who they are as a band. I will give this album a 9.5; there are some pretty great songs on this album amid this more upbeat 90s indie rock vibe, when I prefer them a little more downtrodden, but their talent still shines through.  

pst217

Basement : "WIRED"

 

The band's new album brings a late 90s sound that blends indie rock, pop-tinged hooks, and some post-hardcore grit; the vocals add needed grit to belt it out. I like that you can still hear the punk that is in the DNA of this kind of music that originally merged in the 90s. It takes you back to a time when songwriting mattered, as things evolved from the grunge explosion and began to form their own identity. "Dead Weight" shuffles along with help from a driving bassline that keeps the more indifferent tone of the vocals moving. 

There is a more casual tone to "Broken By Design" that ambles along with less aggression, as the singer finds himself more reflective. They move at a brisk pace for "Pick Up the Pieces," which has a more explosive chorus. Things go in the direction of Failure's more introspective moments for "Embrace." If you want just high-energy songs, it is more of a slow burn, but worthwhile, and it stands as a credit to the band for creating a dynamic album.  Then "Sever" has a more rowdy grunge charge as angst comes to a head. The very raw organic quality of the production lends itself to this kind of rowdiness that they continue on with during "The Way I Feel". 

If you are old enough to remember when this kind of music first dropped on MTV'S "120 Minutes' show before grunge broke big, then it's clear the wheel is not being reinvented here. But you can also confirm that they got the mood right. "Satisfy' finds the hook of the vocal melody taking center stage. There is a more downtrodden sonic shade to "Head Alight." It's not quite a ballad, but something that would have been at home on College Radio in 1993.

They have certainly crafted some memorable songs with not much in the way of filler. "Longshot" comes closer to being a ballad. It has a lazy summer strum. Funny enough, the song about summer that closes the album, "Summer's End," is more of a grunge anthem for 2026's definition of the genre. I will give this album a 9.5 as it certainly captured a time period I am fond of, even if it is not one I revisit the most. Not only did they nail the sound, but they also remembered that songs were much better written back then and rose to the occasion. Being released May 8th on Run For Cover Records. 

pst150

Midscale : "Dread, This Could Save You"

 

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

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

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

pst122

Morrissey : "Make Up is a Lie"

 

There is a reason Morrissey has a fanatical cult following outside of the Smiths. He is one of my favorite singers, even as his croon has aged. It's been six years since "I am Not a Dog on a Chain." Even then, I will split the difference and not use the Smiths as the bar I judge him against in 2026 and use  2017's"Low In High School" as the bar. Granted, now 9 years later, Moz is almost 67 rather than the 58 years he was when he recorded that album. He keeps things at more of a reserved croon, which is pushed up further in the mix than the 2017 album, which sounded that more like he does live. 

When it comes to the percussion, there are more electronic elements in play, though the opener "You're Right It's Time" feels pretty organic with its casual, lounged-out croon. By the time we get to the lead single, Alain Whyte's guitar tone reminds me of the tones Stevie Ray Vaughn used on Bowie's "Let's Dance" album. He covers Roxy Music's 1973 penned"Amazona."  It was a quirky song for the band back then. Moz's version finds the guitar sounding brighter, and rather than go into the falsetto of Bryan Ferry, he shifts the dynamics of his voice to a softer tone to get the point across, showing he still possesses a fluid control of his voice. They even nail Phil Manzanera's solo. 

The tempo shifts for " Headache" that finds him writing with his former touring multi-instrumentalist Gustavo Manzur, which is odd considering Morrissey is supposed to be such a racist that half of his band is Hispanic. Manzur collapsed at a Colorado show and was replaced by Camila Gray, who also aided in writing for this album. While it sounds great, the song , is a ballad that drags a bit and is the first moment that feels like filler to me. "Boulevard" is also a ballad, but his voice does most of the heavy lifting as the accompaniment is sparse and takes time to come to a boil. Lyrically, it's more interesting than the previous song. 

Thi highlights that, lyrically, he is one of the heaviest writers in the game; he goes harder than most metal bands when it comes to the venom he infuses his sardonic poetry with. He also proves he can still belt it out to keep up with the dynamics. "Zoom Zoom the Little Boy" has a very 60s feel, which takes us back to the "California Son" album. Lyrically, he is back to saving animals. It almost sounds like he wrote it for "Yo, Gabba Gabba". Things get pretty fucking funky for " the Night Pop Dropped". 

"Kerching Kerching" finds Moz getting lyrically punchy even when casually crooning. It's a pretty intersting song with fun lyrics. "Lester Bangs" finds his pipes supple and a more lingering rock tone to the introspective nature of the song. His musing about a rock critic he grew up reading is endearing. "Many Icebergs" casts a darker reflection with its haunting folk feel. The kind of languid Brit pop Moz is known for closes things well with "The Monsters of Pig Alley." Overall, this album holds up his legacy in the manner expected. I will give it a 10. 

pst90

Agriculture : "Spiritual Sound"

I have been underwhelmed by what I have heard from this band in the past, but this album has gotten a ton of hype this year, so let's see how it holds up. It is more likea blackened power violence than black metal. There is a heavier sound this time around, and they flip shit around in a zany manner. But there are more riffs, and the bass player is earning their keep. Not as dark as Portrayal of Guilt, but it feels like they are trying to move in that direction. "Flea"  is even weirder but also more melodic, and snarled vocals offset the indie rock heart of the song. 

"Micah" is a raging screamo ditty that lets the momentum carry it away. "The Weight" lives up to its name with an angry sludge feel, bringing a more deliberate heaviness. It's darker and more bleak, but it doesn't really bring anything new to the table. They continue to try and pass off screamo as black metal on "Serenity," and it is where the tedium starts to set in for me. Liturgy did this sort of thing better. It's funny that the reasons the metal crowd shunned Liturgy, they are now embracing this band for. 

The fact that the title track is a thirty-second track of ambient noise says alot about this band. Things continue to take a downward turn with 'Dan's Love Song" which is the most generic noisy shoegazing you can imagine, that borrows too heavily on the woozy sound of My Bloody Valentine. To add insult to injury, they show they are capable of coming up with riffs for "Bodhidharma." However, they fail to follow it up, so songwriting might not be their thing, as cool riffs alone do not a good song make. With "Hallelujah" they kept throwing shit at the wall to see what sticks this time; it's indie folk. The last song finds a more indie rock-like melody, adding to the buzz of the blast beats. They do take more chances on this album, so I understand how some one might get fooled by it , though it is not a black metal album by any stretch of the word. I will give this album an 8; it starts off better than it ends. 

pst661

Wednesday : " Bleeds"

 Here is a band that has gotten a great deal of hype over the year for cashing in on 90s slacker indie rock sounds. The coolly disinterested vocals of Karly Kartzman recall artists like Liz Phair. The captured the boozy guitar tones of  My Bloody Valentine without coupling it with the kind of bleak melancholy that gives shoe-gaze their feel, the reason for this being it's harder to write pop ditties like "Townies" when you are being a downer. The begins to fade into marginally more introspection for "Wound Up Here". The vocal lines are not as catchy on this one. 

There is a folk strum to "Elderberry Wine"  that is the first that works more of their country side into the songwriting rather than just being window dressing in the periphery. "Phish Pepsi" shows they are also into the Grateful Dead. It works off a  jammed country tinged drone. "Candy Breath" benefits from a strong bass-line as they head backs into the 90s indie rock. It has a quirky charm but is not that hooky. Then the minute and a half of romantic pining that is "the Way  Love Goes" comes in to not waste too much time.

There is more of their quaint middle of the road musings on "Pick Up That Knife" that meanders a bit. "WASP" feels like they are just trying to make a punk song without that really being who they are . It is not the worst thing I have heard all week. "Bitter Everyday" follows the now formulaic indie -90s sound being passed off as a country shoe-gaze hybrid which is achieved more effectively on Ethel Cain's new album.  The meandering begins to consume the album's third act as it gets mired down in ballads. I will give this album an 8.5, they have a good idea what they want to do , but tend to throw shit at the wall and see what sticks

pst597

Cult Therapy :"Get Fucked Sinner"

These zany Michigan punks, have made a scathing album that gives religion the middle finger. There are elements of slacker 90s indie rock in the disjointed slink it takes on at times. There is also a noise rock sloppiness to what is going on here. The lazy croon to "Therapy & Drugs" places them close to bands like Weezer. "The Lord's Army' stays on topic but unleashed angry spasm that are not as catchy, They hang onto the drunken groove of "All Alone" but it feels more like Murder By Death. The mix is odd in how the vocals are way up front but I guess they want to put the message first and foremost, which is better than it being buried.

They get credit for not being pinned down into one genre, as they are more explosive than indie rock at those though on "Deacon's House" it's a more apt description. To the point of where building to the emotional explosion is all part of the formula. "Hallelujah" works off a more 90s  tinged grunge shuffle. By the time we get to "Burn it Down"  relatable lyrics are not enough when the songs begin to run together. The more pondering folk strum of "He Loves" might have worked on the airwaves back in 97 but it does not resonate with me as much since I have been there and already got the t-shirt. I can hear where a band like Brand New might have influenced these guys, but they could stand to be a little darker especially with the subject matter. 

"I'm Fine, Everything's Ok" sonically works off the tropes of the 90s , but the lyrics are what sells this one for me. Things drop down for "Born Again" ( which is not a cover of the Gillan era Sabbath song) .  Dynamically it is a pretty effective song that emotes from a place I will believe. Very familiar sounds, just short of wearing their influences on their sleeves. the lyrics win me over, as it's hard for me not to like an entire album based off the concept of religions pitfalls in the western world ,so I will give this one a 9. 

 

/div>

pst595