Lustmord Lombardo : "The Pulse of Atoms"

 

Dave Lombardo is one of my favorite drummers. Lustmord is the other side of this equation, as someone I respect, since he has worked with some of my favorite artists. Granted, he has always added experimental ambiance to those collaborations. This one is no different in that regard. Post-Slayer, Lombardo has been more experimental, or he has played punk, too, at the extremes of sonics. This album lies at the fringe of experimentation. When the label sent me tis I told them not to expect a quick turnaround, as I knew it would be something I  would have to have a stoned rainy day to listen to. I knew it would push the limits of my sound vs. song rule, as this is all sound. The opening track finds Lombardo's contribution very limited. Not even like he is warming up. 

This is referred to as industrial music; it is in the Coil sense, though even more ambient and less song-focused than that. There are more percussive elements in the second track than the third, but not by a great deal. Is it enough to take up 9 minutes of time is the next question that begs to be asked here. The answer was not really, but it was better than the first track. I was watching Hammer Studios' "Frankenstein and the Monster From Hell" while this played in the background, and it helped the movie's mood greatly. Three tracks in, we get a burst of actual drumming from Lombardo. 

The fourth track is most likea song thanks to the krautrock synths that come in. It saves it from being a formless void of sound." The Desolate Shore' is the most fitting song title on this album. In fact, it describes how most of the songs made me feel; Lombardo's drumming slowly appears on this one. Jazzy flourishes. It does find a syncopation that begins to establish more structure.  The "Emergence" portion of the Desolate Shore sags sounds like a foghorn is being blown as someone walks up stairs in the distance. Things crash, cymbals ring out; creepy sounds are made. Is there a reason for the last song, "the Abyssal Deep," to be drawn out for a ten-minute drone? Only for the sake of drone alone. Lombardo's cpntributions couldd have been boiled down into three three-minute songs; better EP than album I will give it a 7. 

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Überchriist : "Dæmonic Apotheosis"

 

Atlanta is not known for its black metal. This makes the band an anomaly outside of, perhaps, Cloak. They play it pretty safe. However, what they do get right is the mood and darkness black metal is meant to convey. The mix and production help the rather dry rasp of the vocals. The guitar harmonies are where they shine; the second song gains its footing but does not have as much of its own personality as the first song. Much of the presentation makes me wonder how serious they are about this, but "Vicissitude ov Fate" feels more earnest. 

When they resort to less mood and just resort to blast beats, then the results are less compelling. This is the case with "Tomb Creeper".  "Faith in Darkness" could be just dramatics for the sake of drama, as truth be told, I never met many Satanists in Atlanta. No, the Satanic Temple does not count. Lyrically andd sonically, it feels like they are trying to be Dissection here. But it works better than the previous song. "Black Void" is very deliberate, and it great, punchy compact songwriting where they go into "Subterranean Goat Transfiguration" with more death metal aggression and sprawl out into a moodier expanse. 

There is more of an old school metal gallop to "Everdark Calling' which makes sense given the song's title for it too take on a more Immortal-like cadence. "Awakening Ancient Power" has more groove until the verse kicks in. Then it feels like they are defaulting to the typical expectation of black metal, while leaving you waiting for the opening riff to kick back in . The last song opens with a darker more melodic atmosphre. It's a gradua;l build but they make more of an efofrt to maintain a melodic sense to this even if the vocals just snarl along.Even if the irony is lost on me andd this just playing dress up the songwriting works and they do not just blast beat their way through everything and make this a memorable listen which is more than can be siad of the hunddreds of truv raw black metal bands I delete from my inbox after being bored in the first song so I will give these guys a 9.5, they surprised me and are worth a listen.  

7.7

Wharflurch : "Mycodeath and Rebirth in the Outer Clusters'

 

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The second album from this death metal duo finds them continuing the storyline started on the previous album. Supposedly, this is a concept album, but the vocals are such a gurgle that they are left falling back against the drums, making any narrative of a story to be told irrelevant. When it comes to death metal, incomprehensible growls are not a deal breaker for me as the growled vocals are often just another abrasive texture. However, most death metal bands do not bestow upon themselves the pretense of being storytellers, so it's not as big of a deal. If I went into this thinking this was just another death metal album, then ignorance would have been bliss. The first song rules, and the second song is not as focused, but still works for what they are doing.

More atmospheric than Cannibal Corpse, but the way atmosphere is used makes me think of Nocturnus jamming with Cannibal Corpse; they were both from Tampa, so it could have happened. They come closer to finding more of a pounding groove with "Non- Zero Expanse". The cavernous mix is more apparent in this song. The creepy nuance and more focused riffs give the song what it needs. They continue to perfect this on "Headless God"; a solo rips through the murk, showing they are masters of their instruments. 

"Dimensional Parasite" is the best song so far; it is darker, with a cool riff at the center, and they weave around it melodically. "Heavenly Orbs" wanders more in the spacey atmosphere but finds some cool parts in this journey. "Revelation ov the Sporelord" is more atmospheric; it wrestles with its need to crunch into or hypnotize you. The title track that closes the album has a more soaring, almost doom-gaze feel to it. It is the album's most melodic moment. It drops this for a whispered narrative; this leaves the song hanging andd does not feel like the transition they need for the cool direction it was heading in. It just kind of drifts off. Despite this unfinished ending, I think they excel at what they are doing here , story aside. I will give this one a 9. 

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Bombstrap :"Big Enemy"

 We need more anarchy in punk, instead of bands feeling the need to pick the pre-packaged side. This band puts the facts as they see them in your face with an almost Plasmatics swagger. Three songs in, they start speeding things up into a more snarling assualt. It's when the bass line is more deliberate on a song like "Shrapnel" that they feel like they are in the sweet spot. This does not mean they are relenting, but giving everything space to coexist in the song without sounding rushed, which is a pitfall many punk bands fall into.

"Bakhmut" is a more thrashing burst of anger that lets it break down when the vocals come in, sounding almost like Venom. Another punk pitfall they avoid is allowing the songs to sound the same. "The Green Dress," for all the fanfare it indulges in before kicking the door in, sets a different tone than the previous songs. Eva Kah growls and shrieks, and helps the band have an identity where another dude barking might fail. "Welcome to Violence" is more of a speed fest. It meets the expectations of confrontational punk. 

"Hellengenblut" has more rock in its veins. The bass player of this band is a champ for sure. Eva continues to use different vocal colors to keep things varied despite the simplistic nature of punk. They take you back to when  hardcore was more closely linked to punk and not just streetwise metal. "God's Favorite' is not as focused as the other trakc but the momentum should keep most from noticing. "Poppy Seeds" closes the album out; it has a more sultry, bouncing groove. Lyrically, she is not spitting everything out in such a frantic fashion, so they stand out more. They slow things down and jam it out in an effective manner. Overall, I like what is going on here. I will see how it grows on me, but will give this one a 9.5, as they got everything pretty much right.  If you are looking for someone to take you back to old-school punk in a legit manner that is not licking the boot of the left or right wing, then this is the album for you. 

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Amon Amarth : "the Allfather Awakens"

 

The guys toured with some legit death metal bands, and when I saw them with Cannibal Corpse, Obituary, and Frozen Soul, it became clear they are not a death metal band, just a classic-sounding metal band with Viking window dressing. After being blown away by Cannibal Corpse, you might think they've taken a harder look in the mirror to see if they are keeping up with the times. But no, here we are with the same old, same old: "Eight Legs of Thunder" is effective, but it sounds like every other song I have heard from these guys.

Things change, and you begin to think perhaps they might have been taking notes as the growl shifts to a lower gurgle for "Kasir's Blood". Lyrically, it's the same old Norse mythology, which you gotta hand it to them for staying on brand. "We Rukle the Waves" has a more deliberate head-banging gallop. The drums speed up on the chorus. Played very loudly, it works best. "Upphaf" is more melodic and shows that side these guys could lean into more if they wanted to cross over into folk metal. Not groundbreaking, but they are expanding the dynamic of the album, which is a plus. 

"Die With a War Cry" finds them digging into the chug and coming acorss as being more serious about claiming the death metal label. "Raven God" is the kind of triumphant anthemic march you expect from these guys. Harmony guitar parts that create a more Iron Maiden-like sound, but it really only works for Iron Maiden and, upon occasion, Metallica. The fist-pumping chug of the title track is effective if not playing it safe. I seem to remember their earlier albums had more grit to them. The last two songs kinda run together; the last ong have more stomp of the two, though maybe not the catchiest riffs.If yo uare a fan of these guys, this is the album you want; they are bringing you a great sound amplified to grandiose fantasy proportions, but it does not always maintain its edge as it feels like they play it too safe, so I will give it an 8.5. 

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Johnny Marr : ""the Age of Everything"

 

The former guitarist for the Smiths has released a new solo album that puts songwriting front and center rather than just showcasing his guitar chops; not that he has ever been a showboat in that regard, but fans do have a certain expectation of him. Despite his tenures in other bands, He employs an urgent, hushed tone that fits neatly within the confines of today's Britpop. In some ways, he is only as good as his collaborators. While the haunting, clean jangle of guitar sounds great, much of "Beyond the Rain" breaks new ground and feels more entrenched in expectations of what Britpop should be, even if it is marginally moodier. 

Not hte first solo outing I have reviewed from him, he does put more effort into the structure of these songs. Sonically, it leans closer to the Stone Roses. He does borrow from his old band, as I cna hear echoes of "Girl Afraid " in the riff driving "How Come". Lyrically, he is no Morrissey, and this certainly debunks those who try to say the Smiths would have been better without Morrissey. There is his brighter signature chord progression on "Ophelia" that sounds like it could be on a Morrissey solo album. It's the best song so far. His last solo album was more experimental and electronic, where he drew from more 80s sounds; on this one, perhaps he learned to write for his demographic. 

"That Feeling" has a strong chorus but an awkward verse, but at least he is trying andd it's not the worst new music I've heard this week. There is a more on-brand heartbreaking drama that finds him pulling chords from his youth. When it comes to singing ballads, though, he should leave that to Morrissey, as she sounds like Noel Gallagher trying to cover the Smiths. He proves himself capable of summoning the post-punk energy of old for "Fire With Fire," which finds his vocals as the weak spot again, though better than other points on the album. The last song, "All in a Life,"  is a mixed bag with some great guitar parts in ,clunky arrangements. Just because you are a groundbreaking guitarist does not mean you diod not get by with a little help from your friends. I will give this an 8.5/

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ANAGNORISIS :"Caregriever"

 

This band's last abum took the number one spot on 2016's Top Ten Black Metal Albums list, so the bar is set high after their ten-year absence. They had moved in a more organic and more experimental direction. This album is a more morbid reflection, as it focuses on a more personal darkness. They do not hit you with a slew of blast beats and are more powerful for it. Things hit with more purpose on "Nothing Left to Give". There is some fast-and-furious playing that doesn't conform to the easy color-by-numbers blueprint for black metal. It does sonically remind me of Nachtmystium at times, another band that refused to play by the rules and paraded their personal anguish to give the music a raw, emotional heaviness. 

"Nothing Left to Take" builds into harrowing chaos. Electronic elements have a more defined prescence with "Death of Man" as a sample starting the narrative before more Skinny Puppy-like vocals come in. Industrial complements black metal enough for this to work. In fact, it's one of the album's strongest songs despite sticking to a droning groove. "Death of Men" is even darker and more tormented, which is luckily the direction this album heads. It finds the drummer getting his legs under things to get the song moving.  "A Living Grave" has the more shimmering Deafheaven-like sound. The use of sung vocals works well on this song. 

There is a little more punk in "Mounments in Ash"; it is less experimental than most of the previous song, bringing a more metal and potato-metal attack to your earspotato. "Death of Me" felt like it was an extension of the previous song, so a sonic uniformity emerges even amid the experimentation. Lyrically powerful as he sorts through misplaced resentment, rarely is black metal so self-aware in its scorn. I will give this album a 9.5, as it's top tier black metal for 2026 andd holds it'  own against their previous albums. One ofthe year's better balck metal albums for sure. 

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