Requiem in White : "the Visible Heaven"

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

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

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

LEILA ABDUL-RAUF : " Andros Insidium"

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

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

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

UADA : "Interwoven"

 

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

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

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

Heave Blood & Die : "Burnout Codes"

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

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

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

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Six Feet Under : "Next to Die"

 

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

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

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

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Bringers of Death : "Sulphur"

 

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

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

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

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Restless Spirit : "s/t"

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

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

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

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