Bestial Mouths : "Dead Lines"

 

When it comes to post-90s goth artists, these guys are one of my favorites. They have appeared on both our yearly Top 10 Industrial Albums and 10 Top 10 Goth albums lists, always scoring in the top 5. This album seems to lean more in the darkwave direction, with Lynette's vocals creating lush, evocative melodies that flow over the sometimes more apocalyptic crunch of the beats . I can hear where this might be mistaken for industrial, but it's just aggressive darkwave. With the first hints of Halloween starting to show up on shelves, this is a welcome soundtrack.

The groove of "SILK" anchors the vocals, and it all balances perfectly. There is a hint of Siouxsie influence that merges in a more obvious manner than what I recall from their previous work. I have always preached that darkness is heavy, and this album might not prove that as well as their last album, but it is still relevant to the sonic scope that unfolds here. There is enough sklink to its stomp that might find forward-thinking goth DJs working these songs into their sets. One day I will drag my laptop to a club and make this point, so make some noise in the comments if that is something you would like to hear. 

"Deadening" opens with a sample that casts a more political shade on the theme. This is more on the industrial side of things, as politics is not something that defines goth, and industrial being too adjacent to goth also blurs the lines in this regard. This is also one of the more dance floor ready pulses of the album so far. "Garras" finds the vocals being used more as an instrument against the beat, which is an interesting approach. "Shuttered" has a darker ambiance to it. The slow burn lingers with the beat swelling its pulse until midway in. More of a hypnotic dirge than a dancefloor banger. "Choke" closes the album with more tension ebbing forward. I will give this album a 10 as all the songs pretty much instantly clicked for me andd it is what I wnat from dark music. Making this album a must for goth fans in 2026 This album comes out September 4th on Negative Grain.

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Purest Form : "Resistance"

While I like what this duo is doing with their aggressive approach to the more electronic side of industrial music, since I am such a big fan of Youth Code, it's hard not to draw comparisons, particularly when she is using her angrier vocal tone. The breakbeat in the second song helps break away from this a little longer when she uses the more purred vocal tone. They also have used more guitar on the first and third songs, respectively, than I have heard Youth Code employ in their entire discography. 

They start raving til dawn with a more techno feel to "MOVE". The vocals have a snotty punk attitude, and guitar surfaces midway into the song before she drops down into lower spoken vocal. This is more unique to what they do, and I think the more they experiment, the better, as if it solidifies their identity. I had to listen to "Bass Resistance" before it clicked enough for me to pay attention, and when it did it reminded me more of the Prodigy. Not as memorable as the first four songs.

A cover of Prodigy's "Breath" closes the album, which kind of clashes with my rule of not covering a band that is clearly one of our influences., They do nail it and add some of their own sonic touches while being true to the 90s sound. There is something unique to the synth sounds employed here. I guess there is a gap to be filled when it comes to this sort of thing, as they are not as heavy as Youth Code, so they might have a different audience. I will give this one a 9.5 andd see how it grows on me. It drops on Dias Records September 4th.

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Dreamwell : "Hymns For The Denial Of God"

 

Thi band beat out Sanguisugabogg in 2023 to claim the number one spot on the Top 10 Extreme Metal albums list, thus earning a spot on that year's Top 10 Metal Albums list, making expectations high for this album..Unless the title track is an anomaly, they are less extreme this time around, and leaning into the more screamo side of what they do. With grooving riffs and lyrics that are speculating about religion. There is a hint of nu-metal in the riffing, but that was always a thing in metalcore. "Sissy Haat Machine" is a little more straightforward.

A cool bass line leads the way into the darker "The Anti-Christ's Testimony". The riff is also more memorable than the previous song's. They have an angular style that balances melody with dissonance. Their drummer is pretty impressive, throwing in double bass in tasteful little spots rather than hitting you with a full-on assault and numbing you out. The screamo feel is dialed up for a "Crisis of Realization". The sung hook is even more emo than anything we have heard from them before. The proggy tension of "Apostates and Gentiles" works really well.

"Plath vs Kafka Vs Romance" is lyrically the intersting so far; the sung vocals are less 90s emo. There's a hardcore punch that puts them more in league with Dillenger Escape Plan. I like the more melodic moments of "I Dreamt I Survived an Extinction Event".The more screamed sections work as well, in this context. I am obviously not opposed to harsh vocals done right  'Carrion Birds on the Ark" has a great breakdown toward the end, but some moments are not as memorable. It balances out to be decent enough to not feel like filler. Aside from the opening track, they keep all the songs at a compact three-minute range, which is impressive considering what they pack into them,

They close the album with the marginally darker "Cherub Rock of Gibraltar". It has a cool creeping feel. Despite the slight shift in intensity that makes it more progressive screamo than the more intense feel of the previous album, the concept here is intriguing and will likely make me come back and dig into this one for deeper listens. Sure it's a little more accessible in some way, but more challenging lyrically, so I will give this a 9.5, putting it on par with the previous album. It drops August 28th on Prosthetic Records 

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Showing Teeth : " A Fate Worse Than Loneliness"

 This is a solo artist who works with session musicians. This would not be odd if it were a pop artist, but instead it's a commentary on where the genre is heading. She has a very specific vocals paproach that is not broken up with clean sining until the second song. Her clean vocals are the kind of smooth pop hook that we now expect from the pop-focused corner of the genre that is spreading the fastest; you can hear Spiritbox influence in this but without the same scope of songwriting. My first thought was this was being done by AI, as it takes a middle-of-the-road approach even at its angriest. 

"Make It Out" employs more groove. The pop vocals lead the way here; the chorus is not as explosive, and the song itself backs away from the metallic approach until midway in and then it feels predictable. She has a decent voice but is not Courtney.  Laplante has a more defined personality. Once we get to 'Rip," things take more ofa turn toward generic. There is a more technical aspect to the riffs bringing the chaos to this one that jerks you around a bit. 

"Shallow Grave" finds the screaming and chugging back in place.     It really does feel heavy or hooky at this time as it follows the formula KillSwitch Engage laid out over 20 years ago. "Paradigm' closes the album out. It's a ballad that finds you waiting for the other shoe to drop, because you know it will, as it's basically a power ballad. A pop beat comes in to keep it moving before the guitar comes in.  Like Nostradamus, my prophecy comes true, and the harsh vocals come in before the song ends. This drops on Spinefarm September  4th, and I am sure she will be hitting the big rock fest circuit stages. I will give ths album a 8.5, as it is effective at what it does. 

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Taake : "En skog av nidstang"

 

This is the Norwegian project's 9th album. It finds Hoest continuing to perfect his take on the country bision of black metal with chilling riffing employed in a somewhat jarringly dissonant fashion on the opening track. I have not paid attention to the lyrics, which are normally screamed in a fairly incomprehensible manner. It seems to be nature based mytholgy draped in metaphor.  The second song has an equally intense static build of tremolo-picked guitars that plays it closer to the traditional expectations of the genre. The drums are largely buried in the mix. 

Drummer Rune has played with him for seven years, making him familar with the chaos this music tends to unfurl.  This one carries more drone than the opening track. The bu blurs into the background as the rabid picking falls into a wave of sound. More straightforward than what I expect from this project who has often thought out side the box to create more memorable black metal in the past. "Engler" finds more purpose in the drums slowing down and building a more epic nood. The drummer provides the space needed to do so. The scathing scowl of the vocals feels more uniform on this album. At the four-minute mark, I am surprised that I still have five minutes to go as I can not fathom how that is going to happen given what the song has become.The song deconstructs and builds back into some thing more tortured heading into the six minute mark.

The last song opens with a eeire guitar line before going into what I think of as the triumphant black metal gallop, though there is a darker slant this time around, This album feels like it carriesa rawer edge. production wise.With this comesa more traditional black metal feel.At two minutes in things break down for more melodic speculation to create more of the experimental feel.Certainly a better choice than more blast beats and adding more nuance to the album without backing down from it's confrontational nature. I will give this album a 9, it holds up against this porjects body of work and gives black metal fans what they want in a manner that's more than the status quo for the genre.

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Russian Circles : "Nine"

 As a singer, it's hard to sell me on instrumental bands, but there are a few exceptions, this band being one. Melodic guitar playing and a bit of a metallic drive make them more memorable. I think Pelican was the first band I was introduced to doing this sort of thing, though I was already a fan of Mogwai; those guys were more atmospheric drug music. Russian Circles blends both worlds. Some albums have been heavier than others; some found them almost wanting to lean in a black metal direction, when if they had a burly lumberjack barking in the background, they would be a sludge band. The hammering of the second song, "Empath," lends weight to this theory. The dense guitar sound creates a sonic wall that closes in on you.

At eight and a half minutes, 'Eluvial' leans more toward their atmospheric side, which is more typical of the post-rock genre. But it is kept balanced here and still makes for an effective listen that hooks you in without the benefit of vocal hooks. There is a similar vibe later on with "Meridian," though that one is a little more brooding and melancholic. 'E2" has some cool electronic sounds in its pulse, which finds the band mixing it enough to keep you interested. The only time they drone is on "Meridian" 

The last song ends with more of a heavy crunch; the only issue with this is that when I just left it playing, the stream started back on the first song, and I could not tell that it had changed songs which for me as a red flag that the songs sound the same; granted, when it comes to instrumental music, this is one of the more common problems, there were only a couple moments where I felt like they were doing something new, but when they do what they do they do it well, so fans might just have asound they want more than soungs, They are skilled at this and made the album they sought to make so I will give it a 9.5. Not sure how many times I will revisit this album, but post-rock fans should make it required listening.Drops August 28th on Sargent House. 

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Kulk : "Choosing to Die"

 

This British band thinks of itself as doom; well, perhaps their record label wants to market them as such, as they are on Church Records, but what I am hearing is noise rock. Noise rock is having its biggest moment yet, and I think the new Chat Pile will elevate it to larger stages, so this is not the time to try to jump off that bandwagon for one that has a more settled niche. Feedback squeals and the vocals are shouted as they continue to bang on their instruments into the third song, so the first three songs run together. Granted, the minute and a half "We're Worried About You " is the song that gets lost in the shuffle as the lines are blurred as to whether it is the outro for the opening or the intro for "Being Forgotten" .

I wonder what these recording sessions were like, as it seems like msot are trying to noisegate the feedback where these two want it erupting from every chord and corner of the song. This is carried to extremes on "Collapse".  The first darker, more melodic moment is on "For Blood" , though there are still some explosive riffs that take over. 'To Take Life" finds the grooving on a pound that meets somewhere between "Filth Pig" era Ministry and early Helmet. It's more deliberate, making it one of the album's best songs so far.

"The Saddest Holiday" is not far from what they were doing in the previous song. "Ache" is more like early Swans in its bleak pulse. The vocals are barked with a similar anger. It has a more droning nature to it than the other songs. The last track is just ambient noise. I will give this album an 8, now remaking the feel here, but they do have an interesting love of feedback; they get the job done. Sure, fans of heavier noise rock like Karp should find much to love here. This album drops August 28th.

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