Wailin Storms : "the Arsonist"

 Here is a project that has improved over the past decade. Each album has been a little more impressive as it has morphed from a noisy cow-punk band to something more focused and serving songs, rather than working on a sound. The opening track is pretty bleak and powerful, making this point clear. Then there is a shift into something more akin to 16 Horsepower for "Heart of Mine." They return to a darker clanging out that holds more in common with noise rock for "You Never Answered." 

The title track is darker and minimalist as the urgent plea of the vocals goes out into the empty space until the rest of the band slowly swells to life." Never Rest" carries a heavier stomp with some angular clamour creating a grungy atmosphere. It lurks with the collected chaos that the forerunners of grunge carried, harkening to the genre's punk roots.  "Saved" is darker but a little less focused despite the haunting manner it rumbles, feels more likea jam than a song written to hook you in. The first song that feels post-punk is "Patient Night." Then "the Wind," which feels more like a Wovenhand song, works pretty well with it's dark, stormy intensity. 

The last song is rather somber; it could be described as a ballad, as it drones off a piano part with more fragile, introspective vocals. It is worth noting that the vocals on this project have continued to improve, and at one point on the first couple of albums were more of a sticking point for me. Now they are really effect and it feels like the missing piece to their sound has fallen solidly in place. Showing something many bands could learn from, which is that vocals are an essential element and not just an obligatory touch, but the vocal point of a good song. They have moved into the right direction, and this album si a testament to that will give it a 9.5 and see how it grows on meI would not call it goth but it is dark enough to appeal to fans of post-punk who work more of the kind of brooding summoned here.Beings released on Season of Mist. 

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VOXTROT : "Dreamers in Exile"

The impetus for checking out this album came after reading these guys listed as a band who were picking up where the Smiths left off. That might be a bold claim. I can hear where this comparison might be made when it comes to how they use guitars, but that's where it ends. There is no darker underbelly or scathing lyrics draped in humor and self-loathing. Which is fine, they are doing their own thing. I am more curious when these comparisons are made, as I don't actually want another Smiths since I am always going to prefer the Morrissey-helmed band.

"Fighting Back" is the first song with a more biting commentary. But that doesn't mean it's time to pull out your copy of "Meat is Murder" and listen for where the dots connect, because they don't. Sure, the guitars ring out similarly to what Marr does on his former band's more straightforward moments. The synth melody in the background sounds more like it was lifted from one of the Cure's radio moments. Lead singer Ramesh's vocals anchor this in a more conventional pop vibe. He is emotive but plays it safe, and lacks the depth of a Morrissey or Robert Smith. This is what leads to a song like "New World Romance" to carry an overly safe middle-of-the-road feel. This is what keeps them from being a post-punk band aside from the fact their nothing punk about what they are doing sonically, where a band like the Smith's had an energy and attitude that punk despite the fact they were strumming chords and using bouncy bass lines. Nothing that conveys tension is here. 

This album is, however, more organic pop music than, say, The 1975. The title track from this album has more in common with the Cars' poppier moments than what is the current tone of the radio, with a subtle emo tinge.  These are well-written songs, perhaps too perfect in how put together they are, and the saccharine mix doesn't help as the bass couldd come forward and add some heft.  "The Times" finds them relaxing down to a lazier strum that makes me think of the Drums' more beach-oriented moments. The reverb-heavy might help to offset the brightness of what they are doing. It would be intersting to hear the previous songs mixed like this. This is the point of the album where they are experimenting a little more confidently; they knocked out the required radio pop songs. With a song like "Espirit de Coeur." the first song where Ramesh's sexuality comes out, but the guitar tones are pretty cool and set them apart from other middle of the road pop rock bands in 2026.

They dip into balladry with "Quiet Noise," which blends old Motown with country. It is the most organic song so far, and gives the vocals plenty of space to be more convincing. "Quiet Noise" is upbeat and not as focused, also too happy for my taste. The chorus to "Change" is also too happy, though the verses work pretty well, and the lyrics are some of the more intersting ones to be found on this album. "Rock & Roll Jesus" is not convincing as a rock song and falls flat. "Babylone" is an urgent ballad that sounds like something R.E.M. might have done. It's one of the album's better songs. I will give this album a 9 as it's well done for what it is. not something that suits my tastes, but I think I have given all the reasons why I prefer the Smiths vs what is happening here, but it is more organic andd better than most pop acts on the radio. 

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GODTHRYMM : "Projections"

 This band's last album cracked the top 5 doom albums of 2023. They have always been solid, so hopes are high for this one. It starts off with the kind of commanding chug you want from metal, with the vocals carrying both grit and brooding, while still capable of the more melodic soaring vocals that bands like Solitude Aeternus and Trouble have employed.  Two of these guys hail from My Dying Bride, yet they are not digging into that brand of dark sorrow and doing their own thing, putting more of an epic-metal foot forward.

"Truth In My Own" falls more along the lines of traditional than doom, though it's a darker take on traditional metal. The trade-off with the female vocals adds a chilling layer of atmosphere to the otherwise powerful, double-bass-driven charge. "The Sun Never Fell" is more along the lines of what you expect from doom, with its more mournful tone. The vocals are more melodic and solemn. It wanders into some sonic spaces that bring Palbearer to mind. The doomy vibes carry over into "Endure My Skin."This is coupled with a deeper sense of languid melody. The use of harsher vocals works well here as they are not expected.

"Jewels" is the most accessible thing I've heard from them, with a more rock n roll feel on the verses. This is contrasted with the heavier direction of the last song, which is still not so oppressive that the vocals don't have room to soar as needed. Her vocals are more hypnotic n this one to juxtapose the hammering intensity of the drums. All the pieces fell in line perfectly for them here, as it is well-balanced, making this the band's best effort to date. I will give it a 10. Out May 29th on Profound Lore.

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Steve Austin : "Marked Cards and Loaded Dice"

Steve Austin from Today is the Day is releasing a country album. Not what I would have expected, and even as I am listening while typing this have fully processed this weirdness, which in some ways reminds me of Ween's country album. His nasal tenor has enough tawng to come across as legitimate. There is a different boozy feel than what most country albums come to the table with, and lyrically, some of these songs are hard to take seriously if they were ever intended to be serious. 'Oh Lord, I'm Coming Home' is another one where certain elements are nailed solid, and others seem like they are winking at the camera.

'Am I Just Crazy' is a little darker around the edges, and vocally, he seems to be taking themselves more seriously.  He knows his limitations as a singer, but is making this work. "Long Way to Hell" is not as dark as the previous song, and using themes like running from the law that are more country stereotypes, he has already touched on a few in previous songs making it hard to tell if he is even taking this seriously. I think there are some elements from the more recernt Today is the Day albums that could have blended to make this feel less like a country parody.

"Lovin' to Do" has a more bluegrass feel. He sings about being drunk on this one, which leans into the earlier point I made about this being a country parody.  The music tends to check off all the boxes from what you expect from country, not unlike the lyrical concepts, but it's so straightforward that it feels like he is just trying on a cowboy hat rather than owning it. 'Crazy Dreams' feels a little more sincere. I know it takes a great deal of time and money to make an album, so I doubt this is all the punchline to the joke we haven't heard yet, but it's a shade of weird he has yet to paint in until now. 

'I Won't Make it Last' sounds more likea a country-influenced indie-rock band than legit country, but it's certainly a more believable perspective. Going into the title track, it also feels like it might be more earnest than some moments on this album. I'm not sure I would call this outlaw country, as it feels like it's a series of misdemeanors; there is none of the danger that Waylon Jennings carries in his songs.  I will give this an 8.5, as it sounds good, and the insturmentation is pulled off in a manner that adds some legitimacy to this. 

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Bad Stuff : "s/t"

Former members of True Widow are some of the founding members of this project, so it obviously has to be worth a listen. It opens with a creepy 1960's western tinged pysch-pop sunater that could have come from a David Lynch movie. The guitar rings each note out with a lonely, haunting reverb that is pristine. I'm sure someone will try to throw some kind of doom tag on this because it is slow and melancholy, something like "doom noir,"  but I am not hearing the sense of loss, and the darkness is there, but in light mysterious ocean-side haze.

Things pick up into a shuffle for "Grusome."  Some electronic elements weave themselves into what they are doing for "Summer Girls," which is more synth-heavy. If Lana Del Rey made a soundtrack for a horror movie, the results might be similar. This song does not get heavy but shifts in a more sonically dense manner. If you see this album on anyone's top 10 end-of-the-year metal lists, no longer believe anything they say, as this album is not metal, nor is it trying to be. "Invisible Man" finds low male vocals stepping up to the mic. In some ways, it's similar to Morphine. Not as jazzy, and almost more of a rock dynamic comes out here. 

"Creator" lurks with more of a groove than the vocals steer, as the drums create a hypnotic drone. "Hush" carries more of a "Desert Surf" feel as it's a more atmospheric ballad. Then "Nepenthe" is more like a heavier take on surf rock. They edge towards a dusty Americana-tinged version of post-punk on "Hush2." They continue on this path for "Human Crush" that finds a maringally more bluesy mood crossing over. The buzz saw guitars do not let up with "Commitment to Death.". None of the lyrics can be made out as they are being violently spewed with little articulation.  The last song is heavier on the ambiance with the lonely guitar emoting into the night as the vocals create more of a Nick Cave feel. I will give this album a 9.5, as it creates a unique mood with familiar sounds, and they captured what they intended here in a very endearing manner. You would expect this sort of thing from a label like the Flenser, but it is coming from Relapse Records 

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Pig's Blood : "Destroying the Spirit

 Going into this, I was expecting something more on the grind-core side of death metal than the black metal, but here we are, it is what it is. Described as being beastial, there is more attention to detail than just the crashing of teeth. Yes, they hit you with an intense bludgeoning, but also remember that they are writing songs in the midst of the angry storm they rain down on you. The title track is more in your face than the opener. The vocals are layered with a more blackened rasp, often coming to the forefront over the lower growl beneath, surfacing from time to time. There are a few slower, more grinding riffs on this one as the song progresses. 

There is more of an early Deicide-like charge to the unrelenting. The vocal laying is less demonic-sounding than what Glen Benton used to do, but it still has a similar effect. The drumming is impressive on this album, while it's a given if you are playing death metal, you need to be a machine, this guy is more well-oiled than some machines out there doing this. The dense production lens it self to the claustrophobic feel of the mix, as if the instruments have closed in on you. Sometimes this blitz can become a bit of a blur, as heard on "Power to Stop it." "Rabid Dogs" is a fitting song title as it describes the nature of the assault upon your ears here. 

None of the songs ventures to the four-minute mark, leaving the blasts of brutality to keep their sting more vital, rather than just numbing you out. The most melodic moments so far can be found on "Satanic Hammer of Justice." There is a more intense blast of double bass that hits you when they hammer into "Aftermath".  The buzz saw guitars do not let up with "Commitment to Death.". None of the lyrics can be made out as they are being violently spewed with little articulation.  Then there are moments of just battery with less musical touchstones, such as 'Ravenous Hellslaught." The last song also follows a similar path. I will give this album an 8 as they do cash in on some pretty mean riffs that have a head-banging catchiness to them that more often than not balances out the more feral aspects of what they do here. 

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Scimitar : "Errare"

 

When was the last time I reviewed an actual goth album?  Oh, it was 12 days ago when I reviewed Requiem in White. Anyways, this band outta LA, is leaning on the more post-punk sidde of the equation half the time, but are not just ripping off Siouxsie. In fact, her vocals are more punk and aggressive in the militant chant of "Epitome" that carries an electronic throb, so they are shifting genres from song to song, but keeping things dark. The more typical post-punk bass line emerges on "Fade' as the guitar uses the reverb-heavy vibrations to create the creepy atmosphere. The vocals are more whispered without trying to be Boy Harsher, though they are pointed in that direction for this one, just more organic and instrument-driven. 

The problem with using the kind of drum machines they are using is how it limits your dynamic range, where a real drummer can switch it up. This leads to them riding the same groove throughout the song. There is a more new wave feel to "Consume." It is weird when they go into the more electronic parts; they are never really delving into dark wave. The vocals are more spoken than sung on these songs and are done in a manner that does not convey those emotions. I think "Astroturf" is about a machine lover, but I haven't been paying a ton of attention to the lyrics. 

"Zenith" flips things into a more 80s new wave style, though the vocals sit further back in the mix than something Blondie would have done. The song references being frozen in time, so perhaps this is a self-awareness of the 80s fixation. Though, to their credit, from a production standpoint it has a more modern lo-fi punk sound. The third act of this album does lean more heavily in a punk direction. It is felt ot a greater extent on "Algo Esta Pasando." In some ways, this is a kink in their creative armor, but it still works well enough here. The reverb returns for the guitars of the last song, which finds her coming closer to singing again. The mood of the song is one of the album's darker moments. I will give this album a 9; it takes a solid stab at doing its own thing and draws blood. 

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