Fog Wall : "Gloomweaver"

There is supposed to be a Tolkien theme to this album by this crushing death metal unit from Nevada. Not hearing it, but some deathcore-like grooves work well. I can also hear a slight Morbid Angel influence in how the vocals are handled, but they also dig into the more guttural low end like Cannibal Corpse. "Lmof Sting Tooth" might dig into the heavy too hard for its own good, as the drums are almost overpowered by the dense pummelling riffs. There is a technical, angular side to what they are doing that is more subtle than the overt hammering of double bass. 

By "The Acursed" thing is being blasted by in a dense glur of sound accented by a commanding growl. Cannibal Corpse do this with It alsmot turns into soothing white noise during the speedy blur set in motion here. o three song before things start sounding the same. There is a more deliberate crunch to "Mazarbul". I do prefer they sound like this rather than Amon Amarth. There is a more Deicide-like vibe to the aggression of "Belching Black Vapours". The production on this album is weird, then they go and add more ambiance on  " StranglingGloom" that eventually evolves into a song. There is a more black metal gallop that develops. 

"Fleshpot Ritual" carries a more feral death thrash to its frantic riffing. It feels a little rushed even with some of the more technical riffs that erupt from it. The riffs are kinda boomy sounding here but find their groove. The more deliberate crunch of guitar as it winds its way into it works well. There is also a touch of metalcore to this song. "Frantic Orb Weaver' also finds more solid footing after a chaotic intro.. The Type O Negative cover is an odd choice, though glad to hear the less obvious songs getting some love as "Profits of Doom" is a solid song. They nail most of the music, but use death metal vocals rather than try to sing. A doomier lumber possesses the last song, which works as they need to give some contrast to what they have been doing so far. They do build this back up into something more punishing. I will give them an 8.5; they are good at what they do and care about the songs, though sometimes heaviness pliays against them, and there are some odd production choices here and there, but most death metla fans who prefer the more modern incarnations of the genre will enjoy this. 

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Slow Pulp : "Melodie"

 This is the indie-rock band's third album, and it opens with a folky strum of guitar supporting the introspective vocals. Singer/guitarist Emily Massey strikes a pretty perfect balance of emotion and indifference in her delivery. Drums come in for the second song, and things begin to take motion. In some ways, it brings Cat Power to mind. The upbeat strum is counterbalanced by the speculative tone of the vocals. It kinda jams off this one theme, not the most dynamic writing style, but works for what it is at present; time will tell if this becomes a formula, if it begins to bore me or not. 

"Better Man" has a more garage rock feel; it's not a Pearl Jam cover but catchy in its own right. Emily sings out in her upper register here. The full band fleshes things out much better here. Their songwriting is super compact, with everything clocking in around three minutes. The title track has a punky riff that keeps the song bouncing along. It almost has a Boygenius feel. There is a slight tinge of post-punk's more new wave side to "Red Car". They bring things back down for "Not For Nothing", as her vocals step up into the spotlight.  The arrangement is sparser, but her vocals carry the weight. The plucked strings border on the country side of folk. 

They step back into a more wandering, introspective vocal pondering for "Entertainer" that benefits from the shifting dynamic of a rock chorus. This recalls 90s artists like Liz Phair. "Like Me" drones more like an Ethel Cain soug but without the emotional weight. "Spill" ambles with its slacker strum. I appreciate the added melancholy of "Up to You," which she balances with jumping into higher notes before it floats off like dream pop.It is one of the album's strongest songs as it is also one of the most unique. "Slip Away" is more reflective like a ballad. Overall, this album works for me and I appreciate the direction they are headed, I will give it a 9.

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Marilyn Manson : "One Assassination Under God pt. 2"

 His 13th album and the fourth to be produced by Tyler Bates, with whom he has a pretty decent track record thus far. This album feels darker than Part One. The opening track is particularly strong, though he rocks out more on the second song, "Don't     Answer the Door". Though I have never needed him to be particularly heavy and felt sonically he is at his best somewhere between industrial and Alice Cooper, the guitars on "Front Toward Enemy" carry more heft. Still, the groove of the bass line is more moving. His voice sounds like he has not aged since "Anitchrist Superstar" on this one. Lyrically, he seems to be sorting through his more publicized life in recent years.

Tim Skold is in the touring band but not sure if he is playing on this release, though "All the Vilest Things' feels like something he would have done with him, yet it also bears many of the signature traits of the Bates years. The most commercial chorus so far is on "None of the Suns," as it marks the album beginning to take on a smoother, more 80s-influenced synth-wave sound that is still guitar-driven. It carries over into the dancier feel on "Lucifer's Teardrop." He continues to take things down an equally dark and melodic road on "The Arsonist". Lyrically, it's great..

"Exit Wounds" is the first song that meets rather than exceeds expectations, but after repeat listens it grows on me and checks off all the boxes for what you might want from him. There are some heavier riffs on it as well. "Extaniomorph" closes the album; there is a slight experimental hint with the creepy samples that open the song. It is the closest this album comes to having a ballad... Maybe it's the clean car smell of new songs, but I think this album edges out the previous one in terms of vocals and songwriting, so I will give it a 10.Out on Nuclear Blast.  

7

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Spirit Mother : "Thistle"

 

We've entered the era when the lines between stoner rock and grunge have become blurred beyond recognition. The drugged-out swagger the vocals croon to recalls Queens of the Stone Age, but there is also plenty of 90s Seattle in here. Screaming Trees being the most obvious link between the two, though Grohl did play drums briefly for Josh Homme and friends. It's not metal metal, though they can put some weight behind the chords as needed. As hoped, there is a downtrodden undertone to the mood. "Violent  Son" has the darkness of looming dusk creeping in its brooding mood. It also steps away from what was coming across as their primary influence to allow you to hear who they are behind that. 

Their identity is further revealed with the more grunge side of "Coat of Arms" .It finds them swinging for the fences with a mroe emoted chorus that finds the singer reaching up into his head regiter. Not the most refined set of pipes, but it puts a great deal of feeling in the notes he does sing that is worth something. Traditonally here this post-grunge revival sort of thing does fairly well, as bands like All Them Witches, Black Foxxes, and O Zorn were all warmly received here as they are dark and familiar enough. A song like "Narrows' shows some common ground with the more introspective side of a band like Soundgarden, along with some country influence sneaking in the back door. This is the band's third album, so they clearly have a handle on what they want to do, if not a better idea of how to get there. ey 

They kick out a raw, gungey cover of Jethro Tull's "Locomotive Breath"  they vocals are more aggressive than they have been earlier in the album. I like how they layered the guitar here. The album begins to fade into background music by the time I get to "Good Faith," forcing me to go back and give another listen. It has a balance of hypnotic throb and jangling amble. Nailing the vibe of the 90s, but still relevant in 2026. While Crux" is more of a rocker, the Whishift to higher energy sacrifices some of the mood. If you are noticing that vibes and mood are being mentioned alot it's because that is the coolest thing this band has going, but that alone is worth a great deal.

There are a few instrumental interludes that I am ignoring for the purpose of this review. "Stranger, You Are" gets back to the meat of the matter and finds that their setting the tone for the trippy, brooding is their strength. "Odetta" is another song that shows mood is king for this album as the vocal melody is wonderfully surreal. The title track is a little more rock but a good balance of the vibes and dynamics that work best for them. I will round this album up to a 10 and see how it grows on me , as it sheds its Queens of the Stone Age influence a couple of songs in to hit some really fantastic moments that balance the album as a whole out. It drops September 4th .

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Flotsam & Jetsam : "Rats in the Temple"

 

This seems like it is the same line-up from the last album so we are in for a solid ride. They are not trying to recreate "No Place For Disgrace" but are moving forward. Ken Mary, who played drums on the heaviest Alice Cooper album "Raise Your Fist and Yell," really propels the opening track. "Damnation' does have more of a traditional thrash riff, which brings back fond memories without hampering them from engaging in 2026. His sung vocals are pretty catchy, and of course there is the noted lack of falsetto wailing, which he has left to King Diamond years ago. 

"Absolution" charges forward with an aggressive chug. The formual seems to lie in how they set up the chorus, and the verses are varied levels of thrashing heaviness, which works for me. There is some tight chugging that is top-tier thrash here."Blame the Knife' is the hookiest song so far, though we are only four songs into the album but this is going to be the bar they set for themselves here. The "breakdown" section before hte solo is pretty awesome. The title track indulges in some melodrama for the intro. There is some interesting production choices in how the vocals are layered here. 

"The Ghost Behind My Door" displays how modern metal production can fuse with timeless thrash. At 61 years old, Eric's voice sounds great. This carries over into "First on the Spike:  His vocals are more aggressive on this one. Prodiuction wise it seems like the layers of vocals are more plentiful on this album. It is hard to argue with results I have not seen these guys live since the 90s so who knows if he can pull it off. He does always put his voice in the right place on this album. They slow things down a little going into "The Edge of Nowhere"  but build it back up to hyper thrashing speed on the verse. 

The bulk of the album, they have kept the double bass flowing so by the time we get to "Last Rites," I begin to wonder if they are going to shift the dynamics, and the answer is no. Things stay catchy enough to make it forgivable that they won't take their foot off the gas, and for thrash, I guess that is what some people want. The bass emerges to give "A Taste for War" a backbone and shift away from the more straightforward thrashing. This gives Eric more room to sing, as the drums drop the bass to a tribal pound on the verses. "Her Blood Your Pain" benefits from catchy vocals. The guitar harmonies are somewhat Iron Maiden-like. 

"Anthem For the Broken" has a more power metal-feeling chorus to contrast the grittier thrash of the verse. I would not call any of the songs filler but this one does not grab me as firmly as the others up to this point have. The last song might have the heaviest riff of the album driving it, which makes sense, though it is balanced with a more melodic passage for the verse. I will round this one up to a 10; it's as [perfect of an album as you could ask these guys for in 2026. It drops August 28th on NapalmRecords. 

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Black Spikes : "Ydos"

 

Here is the sophomore full-length from this Lithuanian metal band, which falls somewhere between a more atmospheric take on metalcore; some more mainstream elements in their grooves come closer to nu-metal. Most reviews are my first listen through an album; this is my second pass through, which was needed to give it my full attention, as there is a great deal going on here. The more atmospheric parts are likea less folky Myrkur. But the punch and crunch seem to be the main objective of this band, which for a metal band makes sense.

There is a great deal of bounce to "MELAS"; it is more intense than the first song. There are electronic elements in play, and at times, it makes me think what it might sound like if Yolandi sang for Spiritbox. The vocals are sometimes phrased in a more rapped fashion.One thing this means is that is very relevant to today's musical climate.  "Mara" finds this falling in a more staccato groove but still aligns with what I said previously. They are very consistent, and within a few songs we shall learn if this is due to being stuck in a formula, but at this point in the album it still works, though all the screams sound the same. There is a blast beat at one point in the song, so people will start referring to it as black metal since they wear makeup. Their drum is on point. 

By the time we get to "Zelvar," I've figured out they are singing in their native tongue. They have also established their sound and are flipping around the varied elements to switch up the songs; the sing-song atmospheric vocals contrast the djent-like crunch and screamed vocals. "Revana" finds the angular crunch leading into a hip-hop groove. The Spiritbox vibes are back again, at times more surreal. "Apatija" is where things start to run together and I have to go back once again and pay closer attention. The chanted choir-like vocals lead into the slower crunch of guitar that builds.. "Aurea" finds them really taking the dynamic shifts to extremes, but it works well.

"Senas Demonas" is one of the heavier riffs of the album and one of the more accessible songs to mainstream metal audiences. "Dulkes" is very intentional in it's heaviness.. This is balanced out with some groove. Overall I really enjoyed this album I will give it a 9.5 and see how it grows on me. It drops on Napalam Records.August 28th.,   

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Kamelot : "Dark Asylum"

The 14th album by the band finds them leaning further into conceptual grandiosity. With a bigger symphonic sound. Their last album The Awakening," was disappointing, as it was filled with melodramatic power ballads and only earned 7.5, which, considering what they have proven themselves capable of  is more of a letdown than that score might suggest. However, they are still at the top of the game for a genre that can get mired down in flowery layers of synths and orchestras.  The opening song "Ashen World  " is heavier. It features death metal vocalist Ignacia Fernandez, who created a bit of a buzz for winning Miss Chile. She is lower in the mix, so hard to get a grasp of her vocal power. The title track is too anthemic for its own good and the chord progressions feel too happy for my taste.  It compromises their brand and identity by sounding like everyone else.

In many ways, you can hear on "Sanctuary" how they are making many of the same mistakes Dream Theater did over the years by sounding more like something Andrew Lloyd Webber might have written, instead of making metal. Though this works better than the previous song. They redeem themselves a bit with "One Last Masquerade" . Tobias Sammet from Avantasia lends his voice; he sounds better than he has sounded on his band's albums, and these guys find more grit in the verse riffs. The chorus flirts with the kind of power metal cheese I am not a fan of, but overall the song balances out.  "Ivey, My Dear" finds them reverting to ballads; this one has almost more of a folk metal feel, emphasis on folk.It's ok for what it is but I can see this opening the door to the mistakes made on the last album. 

Then things begin to get hit or miss. Where "Godlike Alchemy " works with more grit, they seem to dial into their formula for the more predictable "The Sleeping Mind". Then we are back to metal with the chug of "Kaleidoscope", that recalls the "Ghost Opera" and "Black Halo" era of the band. I'm ok with some of the more melodic ballad songs if they are done right; "Enigma" serves as a good example of what works for them. While "Cassandra's Disease" is not a ballad, it lacks the aggression needed to give metal its balls. "The Puppet King" gains their footing until hitting some of the genre tropes in the chorus. I will give this album a 9, it's unlikely that I am not going to listen to one of their earlier albums over this when I am in the mood, but for their fans who do not need them to be at their heaviest and listen to symphonic power metal regularly, this will exceed expectations and is a much better direction for them than their last album. It drops on Napalm Records on August 28th

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