Great Falls : "The Bite That Grows Up"

This band features members of Kiss It Goodbye, Undertow, and Playing Enemy. However, musically, this time around they are playing sludge with shouted noise rock vocals. Thi si not to say their hardcore pasts do not shine through as they do. The creepier, more melodic passages are some of the most interesting parts of the opening track, and it makes the build-up pack more punch when it comes. The vocals are emotional, but burlier than screamo, so a lot is going on here. They blast into the more punk "Pinned Against Time". It is as chaotic as you might like your power-violence, but without fitting the parameters of that genre. It is, however, not as well written as the first song. 

The bass player is going crazy on "Worse Than Sleep," but for the sake of their sonic oddity and confrontational collision, they sometimes sacrifice the finer points of songwriting for this sound. This is, however, a little better than the previous song, as it locks into a tense palm-muted groove of sorts. They can obviously play their instruments and are capable of delivering, but are possessed by a fetish for aural abrasion. So three songs in and they are obviously more of a noise-rock band. "Hailstone Numbers" is the most minimalist, with his howling the focal point until midway in, when they start bringing the wall of crunch down. The drummer is impressive here, but finding a groove might work better. They throw in some angular riffs to jerk you around and command your attention. At seven and a half minutes, this is the album's longest song. There is, however, some dynamic ebb and flow that fans of this sort of thing might appreciate. "Debt Ethics" finds the drummer approaching it more like free-form jazz, where they jam around. If King Missle were angrier, they might have done something like this. 

At this point, I am getting sick of the vocals. It does not seem like "Nicotine in the Spine" is going to change my mind in this regard. Sure, I don't mind when Henry Rollins does this sort of thing, just like I think Ian Curtis's voice works for Joy Division, but I don't need to hear other bands doing that. There is some darker dissoance I appreciate. Two mintues in and they get more aggressive. This builds up into a furious buzz; "Buildings Full of Rope" just feels like what they build the previous song into, though it ends with a more metallic riff. I like the contrast they pull off with the more deliberate drumming conrasting the more frantic clanging drone. They have potential; all capable players. Maybe next time they will settle down and write more songs and not just clang up something to scare your ears with. I will give this one an 8, it drops October 18th on Neurot Records. 

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Gore. : "...Then You Cannot Love Me"

 

I became aware of this band through the YouTube algorithm, as it was like, "Oh, you like pop oriented nu-metal with hot chick singers? have a look at the tits on this one." So I gave the video a watch. Well done, but following the formula currently being pushed. It was memorable enough for me to check out this album. I did, however, get on YouTube and watch the videos they have for this album first, as they are better to take in visually than just listening to or perhaps one complements the other. The first song I heard from this album was "Crucified," which made me think of the band Issues, though there was a more screamed section at the end. Then it was 'Lead Me to the Slaughter' which is the second song. It has an anthemic chorus. 

Their singer Haley has a decent pop voice; when she uses a harsher tone, she sounds like every other metal chick doing this sort of thing, so she needs to place the focus on her singing as she does some intersting things with her melodies. Is she in Courtney LaPlante's league? No. The album sounds good, and they have dialed things in when they went into the studio, for sure. The guitars touch on a little melody and dynamics rather than the more typical nu-metal bouncing chug on the first song. You also get to hear more of her range on this one than the singles. Is it predictable? Yes, but it's a fun listen; not everything has to have Chelsea Wolfe-level depth. 

"Bones in the Garden" has more of an electronic thump before the djent-gone nu-metal guitars come in. I like how her vocals are produced on the verse. It's more of an Amy Lee-style turn on the chorus. But their riffs are more intersting and there is less piano here.I already forgot what "Crucified" sounds like, and I just listened to it for songs ago, so that tells me something. I forgot the bass line had a groove to it; there is the thing about making deals with the devil, which comes back to me once it kicks in again.

"Walk on the Moon" is less experimental and more formulaic, which does not capitalize on their strengths thus far, but it doesn't suck either; it just feels very middle of the road. All the screaming won't make it any heavier either. This is where self-awareness goes a long way; I am unsure wha tthey think there is to prove if they are better at pop than trying to be metal.  In This Moment, who are better at this alreaddy put out an album this year.

 It lets you know Spiritbox is doing something right when you have bands trying to jump on their bandwagon with "Hallowed Ground". They almost pull it off. Starting to get bored with this one, but I only have one more song to get through. It starts off more like a power, then they throw an almost gospel clap into the chorus, which feels too hopeful for me. They do a melodic breakdown in the middle that adds to it though it does not have the same hooky bump as the other songs. Though I get that they need to have a range of dynamics. I will give this one an 8.5; they have potential. Let's just hope they find themselves before this trend washes over, as she could take her singing to the next level with the right songs. 

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Mother of Graves : "the Light That Keeps Us"

 

This death doom band continues to be consistent; in fact, they might have pulled out their hookiest batch of riffs yet for this album. This says something, as their 2022 album made the top 10 Doom Albums of the Year list, putting them in the top tier when it comes to this style.  Dan Swano on the first track should tell you where they're headed, and they are not satisfied with just sounding like melodic European death metal from the 90s; the gloom of the Peaceville bands is all over the first few songs.

 The title track is the first song that really builds momentum, andd even then it's pretty melodic. Though I had to give it another listen, as the first time through it just kind of drifted by. It grew on me with another listen, though it might not be as memorable as the first couple of songs. The guitar melodies stood out and hinted an Iron Maiden influence lurking in their past. They get heavier on "Even Tide Angel". The tight chug of guitars is more aggressively locked in, and it is a more dynamic song than the title track making it more memorable.

 "The Silent Weight of the Stars" highlights what great riff-crafters they are. The growled vocals are articulated and purposeful, showing they are serious about writing songs. Granted, if you are familar with their past work, this is not a surprise, but they are keeping the quality up for sure. The guitars are really well produced; I normally like them dirtier, but this works for what they are doing. "A Moonlit Tryst" is more death-focused in its intentions, reminding me of old Opeth. The guitars chugging, lurking behind the more melodic passage, is very effective. 

PThey pour on the most speed in the middle. The last song is doomy and dynamic; the vocals feel a little more obligatory, but it might need to grow on me. In fact, this album sounds better with additional listens that allow it to simmer and sink in. I will give this one a 9.5. Profound Lore should be very proud of these guys and give them as much of a push as they would give their biggest sellers.Drops October 16th  

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Embers of Dawn : "Infernal Culture"

 

Here's an industrial-tinged death metal band from Florida, though not the death-metal part of Florida. The guitars are locked into a tight chug when the album opens, with electronic flourishes accenting the riffs. "Infernal' has a more Static X-like hammering groove, and you guys have to hand it to them, as they care about songwriting. There is more of a gothy singing vocal on "Don't Wait to ie' but it feels like they are trying too hard to play Welcome to Rockville when it reaches the chorus. It is a big-sounding, well-produced record, though. 

"Shadow of Her Veil" seems like they are intent on keeping moving in this direction. It ends up sounding likea heavier version of The 69 Eyes. It works for me, and I am glad this sort of thing is making a comeback; it feels like we are back in the 90s. "Age of Corrosion' has more of a Ministry thing going on, but as the song progresses, they get more metal. "The Passing" is supposed to be about Peter Steele, but it sounds more like Korn. "Static Prayer' just sounds like most metal from the 90s crammed into one song.

The album ends with two remixes. I never heard their first versions of these, so I am going to count them for the purpose of this review. I can appreciate that they are also into Fields of the Nephilim, though; they speed things up into a frantic flurry of double-time and lose some of the mood. They remixed their cover of 'Wolf Moon,'  which is a little self-congratulatory; his Peter Steele is fairly limited, as it lacks all the nuance. He does go up into a higher belt, which works ok. I've heard worse covers of this song. He is a little pitchy on the chorus. Overall, they are riding a wave of nostalgia that I am here for, so I will give this one an 8.5

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GODFLESH : "Decay"

The 10th album from JustinBroadrick's crushing British industrial machine is a harrowing portrait that reflects the state of the world back to us sonically. The nightmarish opening track his a huge sound. As a song, it's more of a hypnotic, droning mood, andd a fitting soundtrack for the end of days in any case. This also marks the end of Godflesh and perhaps music for Broadrick due to health issues.  Vocals come in for the second song, "Living / Ending," which finds a powerful groove that throbs and captures the classic spirit of this project. The guitars carry a gargantuan chug that sounds like a monster stomping through Tokyo.

 Ben Green joins Broadrick in this farewall with his bass thumping as aggressively as ever. "Feral Colony" finds the momentum building even though his vocals are more of a distant chant over the collapsing world captured in the samples of this song.It shows that atmosphere is just as important to industrial music, as it brings balance. This carries over to some extent in " Fear of Man", It's less droning than the opening song, but not as song-focused as the rest of the previous songs.  

"Fodder' has a more malicious intent in its pounding...It varies just enough to create the illusion of having a verse and chorus section. Their version of dynamics is how many layers of sound are included in pounding your ears. "Consume Me " is the lat song on their last album, so that puts the pressure on. It is sonically heavy and rings out with dissonance. The vocals are a lower,\ snarled mutter as the song unfolds in a singular point of bleak expulsion. This sprawls out for almost 12 minutes. This does sum up who they are and what they do even if it is not their best batch of songs, it's better than many bands' best batches of songs. This band just raised the bar for themselves really high, but with that said, I will still give this one a 9.The end comes September 25th on Relapse Records.

 

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LACRIMAS PROFUNDERE : "Lay Me Down O Silent Fear"

This German band has been around for 25 years, so it goes to show that if you stay true to who you are, then the music cycle will spin around to give you another chance at mainstream relevance. While they claim to have adopted a more metal core sound, it feels like this is just a more polished and hooky version of what they were doing in the 90s. It's the most radio-ready I've heard this singer. The overall feel of a song like "Nevermore" is a cross between HIM and Stone Sour, which works well enough for the first two songs; for those, they are going to need more dynamics. 

At times, what they are going for reminds me of Sentenced. Which I can live with, as Sentenced was a band I gained more respect for over the years. They lean more heavily into the HIM side of their formula for "O Silent Fear". There are several times where the singer's cleaner tones remind me of Corey Taylor, particularly when he belts it out from his higher chest register.  "Agony"  is one of the most notable songs where this occurs. There is more of a death metal feel to the first verse of "Faceless" before we are tied back up in a Slipknot. It clicked more on my second pass through. 

The more syncopated nu-metal-like groove to "Arcane Promises" finds their sweet spot in 2026; sure, there are some Slipknot moments, but it works more often than not. They try to pick up where they left off with "A Sinful Desire", The chorus is too Shinedown for me. Then there is a nu-metal power ballad before going into the last song that finds them doubling down on the heaviness. This album sounds good and perhapoo thare are kids who have not heard anything from these guys or Slipknot, so this will be next-level shit to them or just not have had the time to train their ears to these things, perhaps there, so for that reason I will give this one an 8.5. 

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PLUME : "Saferooms & Healing Frequencies"

 

The opening track shows that their take on My Chemical Romance-flavored emo and post-MySpace pop can work together, with a tinge of synthwave saxophone thrown in at random. They ride the beat more aggressively, considering how aggressive someone this androgynous can get.  This is hooky and fun, not seriously considering this metal, but it is more complex than pop. They do have big, pop-pink choruses. These guys would have been huge if this hit in 2002. The Used is also a fair reference point. 

"Frankincense: is the first song where they begin to lose their impact with me. I guess the nostalgia wore off quick and I began to think about The Used. It is also when the album gets too happy and goes on a downhill turn, with it beginning to sound like AI could have written these songs. It should be darker to go with their look, but hey, poseurs are a dime a dozen these days, so why not add to the burn pile. It is more interesting when they are making pop music on "Angel Engine"

"Real Spirit Caught On Tape" is catchier, but still borderline too happy for me. I do think the vocal lines are pretty clever on this one. Lyrically, it is also better than most. 'My Cortisol Face" is a great song title, but the song itself was less memorable, as I had to go back and give another listen to hear what happened. IN going back the results were not much different. Time flies while you are being numb, so it's been two decades since this sort of thing was big so the nostalgia comeback makes it when this album gets lost in the anthemic formula that made this sort of thing big, but there is an audience for it, so for them I will give this album an 8.5 .

 

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