Piss : " you made me / skin on linen "

 

This noisy punk band has Needle Drop-level hype behind it. The opening track "I wanted to be a singer" is interesting, as the spoken-word vocals rant over dense bursts as creepy guitar dances behind it. Ironically, no actual singing occurs on this song, so the joke is on her. "Time Loop at hot slit" is more energetic and punk. This couldd have turned more into performance art, but they manage to pull some interesting sounds out, which has to happen or their overt message-first method might be obnoxious. It is not as good as the first song, but it works for what it is. 

"A Little Girl's Horse Craze betrays her" is more of a grindcore stykle temper tantrum that is more noise than music. There are as many sampled interludes as there are songs. "there was a door" benefits from the fact that it is just under two minutes long. Long enough that they can build a song, but not long enough that her voice can annoy you any more than it has to. The samples are the only way you can establish a narrative for these songs most of the time; though, to her credit, she articulates more for  "how can you act opposite of this emotion" . This is not to say she does not scream at all, but it makes snese more, though the cooler sound they start this song with gets lost in the middle. Playing actual music for two minutes is alot to ask them. 

"blocking a scene you can't remember" is a slow strum that departs from the temper tantrums that dominated the album up to this point poin. It creates more of a Sonic Youth feel, as her spoken vocals feel more like Kim Gordon. At almost five minutes, I begin to wonder what else they are going to do with this halfway into things, and the answer is not clear, even though her voice builds it almsot like Suicidal Tendencies' "Institutionalized," , I guess all she wants is a Pepsi, it does crash into a heavier riff three minutes in. 

"self blame with thornnecklace and hummingbird" sounds like they are throwing their instruments down a stairwell while she rants about it. "Rote Zora" has an actual riff to it, and it is pretty cool. There is an almost call-and-response here, as it is interspersed with her spoken word. This cool riff gets deconstructed into jsut rumbling distortion. This song highlights the problem with this album which is that ,her soapbox is more important to them than writing a fuckking song, though most of the songs are about fucking.

 The last song " I keep trying to change the ending" is six and a half minutes long, and it recalls the more King Missile-like feel that they touch on in the first song. It shows they do have potential as a band, but they need ot write more songs; I think if that was the focus, it would make the message hold more weight. I will give this one a 7, which is generous considering that after the destroyed last song, there were about two and a half actual songs on this.I am only scoring it that high because I can hear where the ideas were working. She just writes songs about things that upset her and then can't keep it together, so even if they bought into the psy-op at least the band stands for something as the passion there makes it worth a listen, but not a second listen. That said, it's understandable, end-of-year, why the psy-op crowd is hyped here; if it pops up on anyone's end-of-year list, then you know who not to trust when it comes to music or anything, really. 

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November is Doom- Moloch :"Bend. Break. Kneel. Crawl."

This British band released this album back in February, so glad I am able to go back and give it a listen as it got eclipsed in the States by things like the new Neurosis. These guys play a very angry version of sludge that is influenced by Eyehategod. The vocals snarl with seething venom. The mood is dark and depressive as they pound away with great determination. There is a creepy atmosphere on the first song that does not turn into post-rock. It's very bleak, which plays to their advantage. The fuzzed-out bass line adds more of a hefty dynamic when things kick in. The lyrics are vomited out with such angst that they are lost in the blur of caustic torture being done to his vocal cords. 

The opening track is the longest song at its lumbering seven and a half minutes. "Bleeding Through the Interrogation" does not sprawl out as much as it moves with a taunting stomp that puts it at three and a half minutes, so it takes half the time, but is a different mood, that flirts with noise rock in the angular riff. A lower growl possesses " The Bunker," which is another compact song that still carries nad ominous rumble. It's heavy as hell though neither song carries the dark ambiance of the opening track; this one is more droning than the previous song. Some more harrowing guitar sound so come in but it works off the same throb. 

"Slowly Chewing Umbilical" has the huge wall grime oozing chug that you want from this sort of thing, but I am also listening for the mood, the dynamics, and what might hook you into this song aside for a fetish for your ears being punished. Feedback squeals as they milk this riff for all it's worth. Midway in a begin to wonder what they are going to do for the next three minutes is it going to be the riffs just trambling over you in slow motion. It is so heavy the getaway with it to some extent; it would be fun to hear live, but I am not sure how much I would need to replay this song. The breakdown is a lingering pound, but it's pretty typical for the genre. 

"Another Family Slaughters Itself in the Countryside" is a great song title, but they are going to need to do more than just ride the opening riff to live up to it. The vocals could be random screaming at this juncture. "16.03.13" offers a powerful hammering, but in terms of songwriting, it's compromised for the sake of being abrasively heavy. That leaves this feeling like an idea more than a fully fleshed-out song. Some might be impressed by the sheer heaviness of this. At almost nine minutes, "Mother Medusa" closes the album. The vocals are spoken, well, mumbled from the shadows, until it comes time for the screaming. This song comes closest to recapturing the energy they had on the first song. It is dense and evil-sounding, making the more sprawling nature of it work, since it is a denser riff that trudges the groove. I will give this album a 9, it's dark and solid riffing even if the heaviness at times forsakes the songwriting, keeping them out of the Amenra or Fistula tier, but closing in on it with some of the ideas here. 

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Disfear : "the Last Nail"

The band's firs album in 18 years. It was recorded before the death of At the Gates vocalist Tomas Lindberg and drummer Marcus Anderson, which presumably makes this the swan song for the band. The lead single "Early Graves" finds the more Motorhead-like rock n roll vibes sliding in during the chorus. Entombed guitarist Ulf Cederland plays on this album nd gives a very nuanced performance. . The rock nroll vibes are given a more prominent exclamation point on "Open to the Night Within". Lindberg's bark is more of a percussive instrument accenting the riffs. Though not an obligatory layer, it falls right where it needs to. 

Often referred to as a d-beat band, the first song you cna hear hints of this is on "Oblivion Bound," which is the second song that was released as a single, though the previous song might have been a better choice for that as it was catchier. The songs hover around the four-minute mark, so they are not short blasts of punk but more thought-through songs. "The Revenant" is a lyrical horror story that matches the darker mood conveyed in the music, which feels more deliberate.  There are punk moments but still rooted in punk, with a rock riffing sensibility. 

"Cyanide" is even more rock n roll, with a very 70s-inspired riff driving it. They do attack it with more than a rock aggression. This creates a more Kvelertak feel. This is the longest song at over five minutes. They really begin to bust out more guitar solos on the second half of the album. They kinda jam out at the end of the song. The title track closes out the album. They take their time getting into the meat of the song. This tacked on an extra minute to a song that is more of a rowdy punk rock explosion. I will give this album a 9.5, as it's more mature rock nroll than just beer-drinking punk. Not sure how many repeat listens I will get from it, but it's great for what it is if you are a fan of these guys, you should be pleased.

 

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Ministry : "Hate to Go- Take Out or Delivery"

 

Ministry is becoming like Cher, Ozzy, and Kiss, with lots of farewell tours and last albums being used as a marketing ploy. This album starts off just giving you what you expect from Al these days: more metal than electronic, though about as aggressive as KMFDM, though twice as politcal; this is nothing new for this project. "We Hate" is more deliberate andd has a more memorable riff than what they throw at you in the first three songs. Granted, Ministry has some classic albums; "Filth Pig" is one of the heaviest albums that is still song-focused. Al's vocal delivery is more of a roar in this style. They use samples in a way that fits who they are and supports the songs' narrative. 

"Delete" is a commentary about social media that is fuelled by a pretty mean riff that works well. "Grifter" has a more melodic under current. The recent re-visitation of their early work faked us out and made us think that they were returning to a more synth-driven sound, and this song is the first that holds any of those elements. We get reverbed guitar tones and more sonic colors, which is welcome. While lyrically silly," the White Man Lied " works because it offers some melodic layers. 

"Singularity" carries a more aggressive riff. It carries a pretty effective thrashing stomp. The robot voice serves as a counterpoint, and the groove lingers. "Burned Out" benefits from a darker bass line. The samples take over this one, and the groove just kinda of drones. The last song, "We're Still Here' riffs off the previous song. There is a more Skinny Puppy-like vocal coming out of it. Overall, if this is the last album it could have been better; it is focused on dated topics and feels like recycling ideas, but it does capture the sound that work well for them and is song-focused. I will give it a 9.5 

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DeathbyRomy : "Teenage Fever Dream"

 

When the opening track finds its footing, it is clear she is aware of today's musical landscape, as the hyperpop techno feels more relevant than a great deal of her peers who are just writing around on YouTube, trying to convince you they are goth. Weirdly, she is clearly pop but plays festivals like Welcome to Rockville, but the kids need something.  "BODYHORROR" is more aggressive lyrically and marginally more so sonically. She sings about bleeding out on the floor and leaving a pretty corpse, letting you know she might not be as vapid as her previous album tried to imply with her hyper fixation on Hollywood. There are touches of guitar here, but it's unlikely anyone would mistake this for metal. 

Her voice flexes more confidence on "Teenage Ice Age". I detect a slight Pink or Halsey influence on this one. This song is more deliberate and emotionally complex; not sure what it is trying to convey. The more playful sounds on "Psych Ward Fantasy" are more fun, with the bass carrying a great deal of thump. Perhaps more of a Kesha vibe here. It works pretty well when Blk Alt ERA joins her for "Crush," though her collaboration with Princess Nokia works even better. There is a more pronounced touch of hip-hop. How organic these pairings are nad how much of a nudge she got from the industry is yet to be known. After all, just being a white in the music industry is not going to cut it in 2026.

"2468" has a hook that feels so familar I had to look up to see if it was a cover; there is a Pink vibe to it. It does show she is more than capable of delivering bangers on her own. "Manic Dream" has a more Nine Inch Nails-like throb. It is very well produced. When the beat really builds, it proves to be effective. It should come as no surprise that the song "Heavy Metal" is not metal; after all, that would be too obvious. It has a pretty impressive beat. It is so impressive that it is going to find her going head-to-head with Slayyyter. Though the latter seems more organic in comparison. Guitarist Jayden Hammer, who plays guitar for her live, helps out on the last song. The song carries a great sense of drive. Overall, this album is an improvement over last year's album; she now holds her own just fine. For what she does this album is perfect; I will give it a 10.

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November is Doom- Exhuming the Tunes with Trouble's "Manic Frustration"

 

The 92 follow-up to their self-titled classic was hard to measure, and it deserves to be given a fair chance, as they were moving into the grunge era of music, finding this batch of songs less metallic and taking on a more organic rock feel. There is a great deal of groove to the album opener.  In ' 92, I wanted it to be more metal, as I was more into death metal. "Scuse Me" is more aggressive, but maringally less metal than the previous album. The middle section in this song is more intersting. It makes me wonder if they were trying to go in a more Guns N ' Roses-like direction. 

"the Sleeper' does kick into a heavier punch from the guitars, with the drums driving it more. It's the way it chugs that brings it back to metal. Not their doomiest moment of the album thus far. "Fear" is the first more deliberate moment that flirts with doom. The vocals have more effects on them on this album. This also happens to be where they are really doing more drugs.  It is still working for me, song-wise, so I am not complaining... yet. The very tight midrange guitar tone is very 90s. Then comes "Rain," which is a more mainstream rock ballad. I do like when he goes into his lower register. It balances out the mood here so it is not so bright. It's a pretty simple arrangement. 

They come back harder for " Tragedy Man.", His vocals sit bakc more against the guitar here, and harmony vocals surface more than I remember them using in the past here. Lyrically, it is one of the better moments. The hardest thing they have going for them here is competing against the previous album, though I remember this one being received pretty well. "Memory's Garden" almost makes me think of old Scorpions. The title track works off the groove of the previous song.  It has a more blues-based rock n roll feel, with the punch of the riffs. As a song, it gets more jammy in places when the guitar solos come. Yet it does not quite match the level of songwriting we have heard to this point. 

Without a doubt, "Hello Strawberry Skies" is the strongest song on the album. His voice is dialed in, and it has a darker pulse to the guitars. "Mr White" is another pretty solid song, as his voice clicks just right with the guitars. The vocals sit back against the guitars on this one too, but it still allows the feel of the song to shine through. The album closes with "Breathe," which is a surreal ballad that is darker, making it stand out from the rest of the album. It would say only 20 percent of this album is doom, but the songwriting still works even in this more straightforward direction so I will round it up to a 10.

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Deux Visages : "Call it Goodbye"

 This shoegaze trio balances the sublime swath of sound with melodies that are more dream pop to keep things from becoming dense with ambiance. The warble of effected guitar that recalls My Bloody Valentine has become a staple of the genre andd while present, it is not all they limit themselves to. "Always  You" is the lead single from this album, but it does not candy-coat anything for airplay. The verses do back off alittle to let the vocals come through mroe but that is all the mainstream conformity they engage in, which just lends to stronger dynamics. This kind of restraint tells me they are not jsut trying to make drugged-out sounds but care about the songs. 

It's 'Behind" that has a marginally more mainstream feel, if we are talking about what htey mainstream was in the 90s. The vocals stay light and sugary; the music under her backs off a bit more at times, but converges back in to let the dynamics punch. "Missed Calls" has more of a punk bounce to it, though sitting firmly in the 90s indie rock-post-grunge feel.'Automatic" is grounded by a hefty bass line that adds a darker color to the alternative whimsy. I appreciate the melancholy of Afterthought when they step on the distortion pedals and rock it out, the feel getting submerged below the surface. 

There is a weirdly upbeat mood to "Fleeting Wishes". The bass line keeps it moving in a different direction against the swell atmosphere. It finds dynamic contrast in the punches, but it is a song that will take a few listens to fully click. At a minute and a half, "Silhouette " is more like an interlude than a fully formed song, but when the drums kick in, they try to argue otherwise. The drums lay back and create space on "Paint Myself Blue". It gives her youthful vocal approach room to wander in its musings. The wall of sound crashes back in on a wave of fuzz. You can hear the Lush influence on this one. 

"Pixelate" has a more angular feel that still forms its own groove. The title track closes the album with a fuzzed jangle. The bass player once again keeps things held down, and the verses give her room to sing. It is a formual that works without being overt. They are more uptempo on this one, closing the album with a brisk energy. Her lyrics cut through the layers more easily on this one. I really like what they are doing; it's one of the years best shoegaze albums that is not afraid to show they can play their instruments nad rock out. 

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