DOODSWENS : "S/T"

 

The reason I do what I do is that you can not trust the mainstream metal press. They pander to record labels, which are often subsidiaries of larger media conglomerates with agendas to which they are beholden.  Svart Records is just owned by two Finnish dudes, so they are not suspects. But they can see where certain trends in music are heading and would want to flow with the current. This Dutch "band" is helmed by a girl who calls herself I. She represents in many ways what the press wants for the problematic genre of black metal. To dull the masculine aggression by diluting it, so they are hailing this as a masterpiece. Which is where I come in to answer the question of whether it is or not? 

The first track sounds well-produced, so they are not going for a raw feel here. But it's not all that original it could be someone covering newer Mayhem, well maybe not their most recent album, but their output from the past ten years. The second song is more rabid, also nothing that original. I don't really get interested until some of the songwriting nuance to "The Black Flame" catches my ear with its darker throb. Her vocal apporach remains pretty one-dimensional; not only is she the vocalist, but she also plays drums, which would be a challenge live. Perhaps that is why there are not many shifts of direction once they lock in, allowing things to drone on/. When dragged out for six minutes, it can begin to lose me. 

While I like Myrkur, this is more legit black metal than what she does, as her strength lies in other areas. I also appreciate that this is dark enough to convince me she is coming from a real place, even if the wheel is not being reinvented here. The throb of "These Wounds Never Heal" is more intentional. Her articulation is inconsistent, and the lyrics emerge more clearly in some songs than others.  While things vary from song to so far the first half of the album is dynamically flat. Though there are not a ton of blast beats, the tremolo-picked guitars are pretty color-by-numbers. The first thing they do to switch it up is to give a little more atmosphere going into "She Carries the Curse". The drumming slows things down, and the vocals are more muffled in the mix.  It just sounds like random screaming following the path the guitar left for it. 

"Devils Stone" sounds like if you ordered Watain from Temu. It borrows the feel of their dramatic march. The album looses it's steam in the third act for sure as the last song feels like an extension of the previous song with a little more chaos in the mix. I will give this album an 8, so there are lots of black metal band bands putting out garbage that this is better than. But while well executed it's not the most original thing I've heard. If you want gritty black metal that still sounds good then this is worth your time.

Nine Inch Noize : "s/t"

 

Nine Inch Noize is a collaborative album between producer Alex Ridha, aka Boys Noize, and Nine Inch Nails, which is now basically just Reznor and Atticus Ross.  If you are looking for big arena-rock riffs, that is not happening, as the songs reimagined here are strictly electronic. That's not to say the synths don't have heft, and Reznor's voice roots it in the sound you expect from him. The track listing replicates their Coachella set list. 

 Mariqueen Maandig, who sings for How to Destroy Angels, also lends her voice to this project, which is first heard on "She's Gone Away". The shake the booty of "Heresy" from "the Downward Spiral". This makes it have more in common with the songs from "Pretty Hate Machine", an album they leave untouched here. It would be kind of redundant, so that is understandable. They also rework."Parasite" by How to Destroy Angels, not a cover since Maandig is involved in this project. It gets a hyper-synth wave injection, giving it more amped up drive.

"Copy of a " from "Hesitation Marks' is a dance remix that works well for what it is. This also proves the point that a good song is going to be a good song no matter what context it is presented in. "Me, I'm Not" starts off with what you think is a live recording, but it's not, though the live sounds crop up throughout the album; it's about as live as the fourth side of "Kiss Alive 2." The pumping beats continue to flow through "Me I'm Not". They continue to lean heavily on "Year Zero", which works for me as I thought it was an underrated album, and the dystopian themes are more timely. 

The only actual live track might be "Closer." It deviates less from the original than most of the songs here. The only major change is less crunch when they dig into the chorus. In fact, it feels like guitars have been intentionally removed from this album. I had to give a second listen to this version of "The Warning " to connect with me. I think I prefer the original. The only real cover here is their take on Soft Cell's "Memorabilia." This was originally a B-side to the "Closer" single. It was not the best song to begin with, but what they do works well enough here. 

"Came Back Haunted" has more grit to the bass line in this version. It drones more on the verses as the sonic throbbing pulses. Here is a song that was born for this kind of treatment. This is actually the first time I have given the song "Alive as You Need Me to Be" a solid listen, as I pretty much disregarded the Tron Ares Soundtrack. Here, it has more of a live sound until the vocals come in. It's a pretty solid song. The fact that they did not re-work a Boys Noize song tells me everything I need to know, and I'm guessing he was just twiddling knods alongside everyone else, as they are only credited with production and mixing. But as a remix album, this works. I will give it a 9.5  

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Gozu : "GOZU VI"

 This band's 2023 album made our top 10  Stoner Rock albums for 2023. There is less of a grunge haze this time around and more of a Queens of the Stone Age-like precision, which is not shocking considering the genre they find themselves in. There is a more deliberate metal chug in places on the opener that works well for the soulful vocals to belt it out over. "Midnight Express" carries a much more deliberate doomy stomp. The more Alice in Chains-like vocal returns on this song. I like that it is darker than the opening track. 

The guitars in "Killer Khan" are even more aggressive as the album continues to move in a heavier direction. Seems like there are some subtle and not-so-subtle references to wrestling, "Corner Lariat" being one of them. Funny enough, it's a more melodic, less aggressive song. It feels like what some of the metal bands were doing in the mid-90s as the grunge era waned. The more uptempo "Banacek" is the first song that feels more like filler to me. The vocal melodies feel more obligatory half the time. The one-half time riff is cool, but "cool riffs does not a song make" is the rule here. 

The more blues-glazed "They Did Know Karate" sounds more like what I want from these guys. There is a touch of doom to it without being Black Sabbath worship. That said, there is a slight hint of "Children of the Grave" to "Gimme the Lute", though it also shares some sonic space with Corrosion of Conformity." Corvette Summer" closes the album with a more blatant metal gallop. The verse riff reminds me of Mercyful Fate. This is a fun album, and these guys continue to perfect what they do. I will give it a 9.5 and see how it grows on me.Being released on Metal Blade Records May 15th.

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The Last Ten Seconds of Life : " the Dead Ones"

 

I am very picky when it comes to deathcore. This band hooked me in after the first three songs with their knack for groove, and the vocals have amore of a purpose than just random gurgling.  One thing I like about this album is that it is fucking dark. There is a great creep to the riff of "Freak Reflection". Some vocals that are almost sung. At times, there have been some parts that were not far removed from Slipknot's heavier moments. I can see where this might turn off someone just looking for the heaviest shit ever, but these guys are taking heaviness to the limit while making music that still has memorable songs and hooks, which is key over just capturing a heavy sound. 

There is more of a death metal feel to "1-800-Do You Want to Die." It's the breakdown accents that bring the hardcore part of the equation. It's impressive that for something this heavy, it's still catchy. The flourishes of double bass are impressive. "Stiletto" is more deliberate with more of a Morbid Angel crunch that is contrasted by the almost rapped cadance of the vocals in places. "Stereo" finds a more Pantera-like riff, bringing the momentum, until the vocals come in. The vocals are articulated enough to understand the lyrics. The chorus of this song is almost sun, showing they use a dynamic approach to even this style of vocal. The more melodic break two minutes in is also unexpected.

"Dollar to Dime" carries more attitude in its energy. Though I'm not sure this song is as solid as what we have heard up to this point, or perhaps I am now getting used to it, as most of the same elements are in play. Vocally, the toy with the pig squeal gurgle a bit, as well as some bellowing singing. It makes sense that they would kick "CorruptConcerto" off with some guitar shredding. It is not as catchy as the rest of the album. Guess this is more for the kids to karate kick to. The last song is more deliberate with a steady chug setting the stage. Lyrically, they are talking about the world being their's and something about pussy boys.Overall this album is excellent I am giving it a 9.5, and seeing how it grows on me if you like nu-metal on the heavier side or death-core then this album is a must. Released on Metal Blade.

9.8

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Slipknot : " Look Outside Your Window"

 This is Slipknot, so I am not going to call it anything else. It was recorded during the sessions for "All Hope is Gone," and the band is finally giving it a proper release, even though they are trying to distance it from their discography in this odd manner, because well... it's not metal. The first song is Corey Taylor in a soft, emotive mutter over a more ambient industrial drone; things don't get into solid song territory until "Moth," which is like a 90s alt rock ballad that borders on being trip-hop. It's much more experimental than what they normally do.

 I think they should have worked these songs into what they did on "All Hope is Gone." It would have made for a more interesting album. Corey finally belts it out on this one. Darker than what he does with Stone Sour, it does allow him to open up and sing more. "Dirge" is more industrial, but the Filter/ Godlivesunderwater side of the genre. I can also hear some Faith No More in the verses. "Is Real" is more aggressive, but in a rock fashion rather than metal. It takes a few turns and works well. "Away" is not far removed from it, though compositionally more straightforward, but with a weirder mix. "In Reverse" benefits from a strong chorus, which pushes it over despite the verses being less focused. Then  "Toad" is more of a ballad with some strong vocal harmonies. 

"Juliaette" feels more like an A Perfect Circle song, as it builds tension more gradually. This album has allowed you to not only hear them in a more melodic place but breaking from their normal songwriting formula. Corey Taylor has always said Layne Staley was a huge influence on him, and "U Can't Stop This" is the first song where I hear this. Overall, I think I have let my thoughts be known on this album. I think it's different than what fans expect, but not a drastic departure, just lacking the bombastic drumming and metal guitar tones. I appreciate that they are capable of this and these are decent songs in their own right. I will give this one a 9.5. 

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The Cruel Intentions : "All Hail Hypocrisy"

 

The Vains of Jenna helped lead the Scandinavian hair-metal revival. Lizzy DeVine continues what he started there with this band. It's not my first rodeo with these guys. Their previous album, "Venomous Anonymous," scored a 9, which earned them a spot on our Top 10 Rock Albums of 2022. This time around, they have continued to refine their hair-raising brand of arena rock. With big choruses, but not totally weighed down by nostalgia for the 80s. Some riffs hold a more modern rock heft, and there is even a touch of pop on the title track. The one thing the songs seem to have in common is that they are well-written.

I like the more nuanced strum of "Wasteland". Lizzy's rasp is less AC/DC these days. In some ways, it still reminds me a little of Taime Downe from Faster Pussycat. To be titled "When Eden Burns," it sounds pretty happy. Lyrically, it's alright though. There is amore of a metal feel going into "Pseudo Genius." Despite the drums providing more drive, the mood is too anthemic and upbeat for my personal tastes in this sort of thing. They maintain a high-energy attack on "Bad Addiction," but it's marginally darker, which is enough to win me over. I'm pretty easy to please, even with the big chorus. 

"Porridge Head" is more melodic, and while it works it seems like they are following more of a formula on this album, which brings a more pop-punk feel to the choruses. Though I am sure bands like Cheap Trick played into the early influence of pop punk. They nail the 80s feel to the guitar solos if that is what you are itching for. "Whatcha Gonna Do" has a more aggressive attitude, which the album needs. Though it does ebb back down to give the vocals room on the verses, that works. The chorus is not as happy as the previous song, so that works for me. There is a little more tension in the guitar to "Cashed Out," which closes the album. I will give this album a 9.5, as it bridges pop-punk with hair-metal in a way that brings more relevance to both genres; it's a great-sounding album, and nobody else is doing this sort of thing this well these days. Drops May 29th. 

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Elder : "Through Zero"

 This band's progression has seen them move from being an indie stoner rock band that increased the levels of psychedelia, until they wandered away from anything resembling the Black Sabbath-worshipping genre they came from. If you see this album being referred to as anything but prog, do not trust the source. The vocal production got the most attention to detail this time around, and it paid off. There are guitar solos that sweep into what is an otherwise mesmerizing throb. Though there is nothing doom-related to it. So, here is hoping their fan base grew with them. 

The second song finds them indulging in more Rush-like acrobatics. Synths and effects color the ambiance of the song. This feels a little more along the line of what you expect from a prog band in 2026, where the opening track held a little more of their signature sound, even if it was further down the evolutionary chain. There is more rock to the winding riffs of "Through Zero." The dynamic ebb and flow of the verses works well, as do the effects on the vocals that create a vibe that brings Yes to mind. They bring more of a chill indie rock vibe going into "Strata."  The vocals also reflect this with more of a subtle indifference rather than belting it out. The more powerful dynamic shift feels more along the lines of Porcupine Tree here. Despite really digging the riff they lock into at the eight-minute mark, some of the rock elements feel predictable. 

The instrumental "Sight Unseen" cruises over a space-age groove. More electronic in the synth sounds than the "Obscured By Clouds" era Pink Floyd, but that is the album it brings to mind. While it feels like a sprawling labyrinth of turning synth sounds, it's under nine minutes long. On the last song, they are back to a more mellow brand of indie rock, with some tension drifting under the surface.  The production of this album is the most mainstream yet, but they don't have the same kind of "Tom Sawyer" hooks that made Rush a household name, so it's not a sellout from their fans' perspective. I will give it a 9, as it's well done for what it is.Out May 29th  

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