BRYMIR : "What We Leave Behind"

Here's a death metal band from Finland that embraces a racing thrash style of the genre that is very grandiose, with layers of Viking choruses in the background, but better than what Amon Amarth is doing. This is due to the aggression they hit these songs with. The first actual song is pretty fast, which works for an introduction that kicks the door in, but hopefully they won't try to maintain this speed for the duration of the album. Not the most original take, but they are throwing themselves into this with a great deal of conviction. 

It is a very cleanly produced album, as the solos all stand out and you are never lost in a wall of dense sound barreling at you. You are going to hear this year. They are technically proficient and armed with the drive to do this, but in two songs it seems to be littlei nth way of dynamics, as they never take their foot off the gas. The title track eases into it rather than starting out at hyper speed from the jump, but they do kick in when the verse is off to the races. It comes across as too happy for my tastes despite the anger of the main vocal snarling with conviction. "True Darkness' takes away all the flowery symphonic atmosphere to hit more likea post-Vincent Morbid Angel blast fest.

"Buried Legion" has an almost Dimmu Borgir-like feel.  There is not a great deal that I am hearing to set these guys apart. Sure, they can play their instruments, but at the end of the day, it boils down to what sets these guys apart from other death metal albums I own that makes me want to listen to this rather than Frozen Soul or At the Gates? For someone like me who has already reviewed 450 albums so far this year, there is not a great deal of time to waster when it comes to listening to music on my own time, so to move to the head of the pack you have to stand out and have songs that hook me in. With the rise of AI this is more important, as there is not much here to separate them from AI songs doing something similar with sweeping harmony parts. 

This album is also not that dark, and some of the big anthemic chorus sections sweeping in brighten it up further, which is odd considering how most music from Finland is dark given the prevelence of alcoholism in that country. The album cover is way darker than the music inside. 'The Roaring Kind' is a chug away from sounding like an anime opening theme. The abundance of guitar solos and synths plays into this. Just fast playing does not equate to heavy; the more purposeful riffs employed here are stifled by major keys, the same problem power metal has: "How Much is the Fish"  almsot sounds like a joke; there is too much folk metal in it.  I will give this album a 7. If death metal is too dark and intense for you then this is a good entry point.Out on Napalm Records.  

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ARMS "I Wish You Were Down Here With Me"

The album opens with a raw, frenetic brand of core screamed hardcore, not unlike The Locust or Converge in it's chaotic intentions. They kept the intensity up with the more double-bass-propelled assault for "In A Glass Cage' as the use of effects on the vocals feels more like early Today is the Day, but with more of a metallic energy. "Call My Fucking Name" finds the moan Deftones-like vocal coming in; this song is more experimental but also less focused. They continue this vibe in a more pummeling fashion for "Say I  For Me".  Dynamically, this song works a little better than the previous song, but the frantic riff shifting can be alot to keep up with if you are not ready for it. 

"Ero Guro" finds them converting over to the more nu-metal groove that leans into this Deftones/ Glassjaw vibe, with a more atmospheric haze haunting the song with a sensual slither. Normally I am not down with bands borrowing this heavilly from a band I already like, but it works well enough here. "Placebo Fuck" sounds like neither Placebo nor fucking. It is very chaotic and in your face, so more like jackhammer on meth fucking. They do go into a more Jesus Lizard tension with a riff it breaks down into. Some actual singing comes in midway through the song, but it sits way back in the mix. 

"Nubile Contagion" carries more of a rock n roll groove. It makes for a more crazed syncopation, and it goes into the kinda crazed borderline nu-metal/powerviolence-inflected math-core that is this album's lifeblood. At two minutes, "I Wish" is a more finely coiled punch. "You Were Down" is more effective as it's heavier and more deliberate. It feels more harrowing. At almost 7 minutes long, "Here With Me"  feels almost more like Dillinger Escape Plan in how it weaves and bobs through the labyrinth of angry riffs. The sung vocals return, and a guitar solo surfaces as well. 

"Salo" opens with an electronic thump that helps to break things up. The main riff sounds like it could be from a Rob Zombie song. I also enjoy the darker mood created on "Pass Away" as it's doomy and thus more foreboding. This makes the parts where they come in with the screaming andd temper tantrums more effective.. Overall, this Orlando-based band takes familiar elements and makes them their own. I will give this album a 9,5, and see how often i return to it, but if you are into chaotic metalcore that understands the assignment when it comes to the hardcore side of the equation, then this might be your bag of tricks. The album doesn't drop until December 4th, so hopefully the track below can keep you statisfied til then. 

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Slothrust : "What They Grow in the Garden"

I am not sure I am as current on all their most recent releases, as it looks like some might have slipped between the cracks. This album, however, finds them returning to a more rock sound after some interesting flirtations with experimental pop. In some ways, it makes me think of Forget Cassettes. The drumming is a little more prog, with weird timing that keeps you guessing. "Smile" finds a Muse-like tension lurking in the song's pulse. Her voice accentuates this well. The chorus is heavier than what you expect from them. Lyrically, there seem to be some intersting lyrical themes regarding mental health. 

The more aggressive rock brooding still laces "Ring the Bell," which has a 90s alternative feel.  It's intersting that they are on Equal Vision this time around, as it was once a hardcore label. There is a more post-hardcore feel to "Twusted Paradise," though her vocals smooth this out. "Hearst Castle" has more of a reggae feel to the guitar, as she narrates a story with a Tom Waits-like cadence. Though not adopt a gravelly vocal tone. Not what I expected from them, but they are known for switching it up dramatically. "00101001" is more of a ballad until the shift in the chorus to a more alt-rock crunch. Once again, you can draw comparisons to Muse here. 

"What a Night" opens with a more atmospheric piano line before it gradually gains momentum. Her voice glides over it in a higher, lighter fashion. Then a burly Muse-like bass line collides with it to bring things to a crescendo for a few measures of this slow burn with moments of release. I like Muse's new album and see them as a prog band packaged for pop, which can also be said of how the band is evolving, though they started with a grungey sound. "Absoulte Power" has a somewhat more roots-blues-based backbone. It remidns me of something you might hear in a New Orleans dive bar. There are several layers of instrumentation sitting at the back of the mix. 

"Keep Us Thirsty" expands and contracts with more rock tension. The drumming on this album is pretty great. "The Lake" is a more typical rocker, though with syncopated interplay. "Dystopian Cemetery" closes the album. It builds like a boozy showtime power ballad. Lyrically, it's pretty intersting. I will give this album a 9.5 and see how it grows on me. They continue to be ambitious even if they are falling into a more accessible rock side of alternative rather than the grunged-out rock they once were, but such is the nature of growth. 

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Boy Harsher - 'GET MEAN'

 

This album came as a result of the band breaking up, not creatively but romantically, as the duo of Matthews &Muller, were in a relationship up until 2024.  For a break up album, there is a hopeful vibe running through this album. I can only imagine how awkward the studio sessions were, but perhaps it was healing. There is a new wave feel to these songs rather than darkwave, which is fine, as they had taken what they were doing with the reverbed, cavernous pulse of synths and breathy vocals as far as they could without switching gears. 

Jae has to hit the road and get some perspective so that influenced how she delivers these thoughtful lyrics that are not marred by the kind of cynical venom you expect from a breakup.She does drop down into the more familar purr on "Break Me" which is the darkest of the first three songs. "Tough Luck" is sonically more upbeat, musically reminding me of some of the Cure's early radio hits. The pick up the tempo on "Faulty". Lyrically, this album is heavier, and the music seems to be a counterbalance to that. The first song that feels more like a moody post-punk ballad is " Coming Home' which has a more retro synth feel. 

A dancey thump possesses "Hard Beat." Cellphone voice notes punctuate the album's lyrical narrative. "Ice Pick" is like a more organic post-punk take on their past sound.. She croons a little more on this one, and overall her performance on this album is more nuanced.  The downtime gave this project the needed creative refresh. "Jay's Spiral" is an intersting confessional interlude that paves the way for "Pray 4 Me". It's a smooth New Romantic groover. The drum program begins to take on their more signature formula in the album's third act, which should win over long-time fans, as thi is a staple of their sound. Her vocals also lean back toward her more deadpan moan.

 "Bleed" closes the album with a pretty minimalist approach, sparse hi-hats keeping time over the lethargy of her vocal lines. Dynamics are never what they are known for, but establishing a sensual, shadowy mood; yet this album finds them expanding from that, making it their most accessible and well written relased yet. Heartbreak is good for the creative spirit. I will give it a 9.5 and see how it grows on me.  

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MILEY :"Bass Persuades"

 

Her first album as MILEY, in all caps for dramatic effect. Similar to when  Prince changed his name to a symbol, the fundamental sound of what she does did not change with this new persona. We are now 10 albums in so she knows what she is doing.  It opens with the title track that was also the lead single, an 80s synth wave groover. She continues to keep her sound fresh and willing to experiment, as heard on "Different Religion," where she is joined by Model / Actriz, who is also opening for her on the sparse live dates she has booked. It's a little darker than the first track, and more of a steamy and darker. Rather than belt it out at full chest register, she is using more dynamic vocal nuance. 

"Let's Get Married" is a little more like the kind of pop ballads on her previous album in its reflective nature, but it sounds like there is an actual bass player rather than workstation bass samples. There is a hint of dream pop to this one."Orbit" is another ballad, not as vital as the previous song, as this could be anyone except for the fact she has a more distinct voice than even Taylor Swift when it comes to pop music; pound for pound, she has a better voice than Swift is just a songwriting ninja.  

The more atmospheric elements of "Aftermath" are balanced out by the EDM beat. She can read the room when it comes to where pop music is heading. Another difference between her and Swift who makes the market come to her. "Redlight" works as a low-key funky groove that merges many sounds from varied sonic corners, even country music, which is the remote undercurrent she can't escape no matter what name she goes by.

One of the singers from Mike Snow joins her for "Neon Signs," which is extra gay sounding thanks to him. If this is her stab at taking Dolly's place as a gay icon, her application is certainly being considered by the council of queens. This is further hinted at as she implies she's a lesbian on "Innocent Ways," which is a pretty thumping song. "Snow" is carried by a more indie pop groove it's almost more of a ballad until the beat kicks in at the chorus. I like how she twists her phrashing around the programmed drums. The remix of the first song that it ends with is a gay enough house remix to make everyone happy. I will round this one up to a 10 and see how it grows on me, much like all of her albums; chances are it will; 

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Anthrax : "Cursum Perficio"

 It's been ten years since their last album was released, and while metal has changed a little since then, it hasn't changed as much as it has over their career, which reaches back to the 80s. They tried to shake the 80s from their sound to survie the 90s and did better than some bands in that regard.  Rather than expect them to sound likea band from 2020, what I am listening for here is how this measures up against the likes of "Among the Living," a top-tier album not just for thrash but metal as a whole. Even on "State of Euphoria" and "Persistence of Time," they had a hard time measuring up to that one. They open this album with "The Long Goodbye," which is what the band should be in 2026.

 At 65, Belladonna's voice has held up in a way that serves the band, as he retains a commanding tone, but it's unlikely he can still reach his upper register. In 2026, the falsetto yodels would point them in the direction of power metal. "It's For the Kids" feels like filler from the "State of Euphoria" album, almost trying too hard to be anthemic and not as focused as the previous song. They reach a better balance of hardcore punch with melodic 80s thrash sensibility on "Everybody's Got a Plan.". Scott Ian has called "Edge of Perfection" the best Anthrax song in the history of the band. It sounds like they are trying their hand at being Deafheaven until they lock into a groove for Joey to sing on. I will go ahead and say this song is nowhere near what they did on "I am the Law" or even "Keep it in the Family". Not sure why they need to use a blast beat to make themselves feel relevant. I like the effects they use on his voice midway into the song before the guitar solo. 

I will tell you that "Infectious" is a better song than "Edge of Perfection". It has more groove, and the vocals fit with more confidence. Sure, there is a little rock swagger to it, but a good song is a good song. Thanks to the ex-Shadows Fall guitarist Jonathan Donau, their guitar solos are less chaotic, and those sections flow more smoothly. "NYC 93" finds the band trying to convince themselves they are still a crossover band. They sound more like themselves on the title track. This does not mean it's a nostalgia fest but a more effective modern translation. 

'T.O.M.B" finds a meaner guitar tone crunching in, but the groove keeps things in the wheelhouse of what you want from these guys.I guess playing in Pantera has rubbed off on Charlie when it comes to this one.  "Watch it Go" works well and shows they can add a more modern approach to heaviness without compromising who they are. "My Victory" also finds the balance of flirting with hardcore aggression while still being who they are. I will give this album a 9.5 and see how it sits with me , there are songs that I am unsure of biut they are balanced out by strong moemtns that stand against their classic work, which is all I am asking for. 

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Zero Hour : "No Man's Land"

I've been into these guys for some time. They are one of the few progressive metal bands from the Queensrÿche school of thought that are not lost in the melodrama. Queensrÿche is one of my favorite metal bands from the 80s, but I don't need anyone else to sound like them or Fate's Warning, for that matter, which is the problem most bands in this genre run into. These guys are influenced by both of those bands but not defined by them. The melodic vocals are emotive and dramatic, but work with what is going on here. They are not just Journey fucking with odd time signatures and trying to cram a solo into every nook and cranny. 

Granted, this album is 2 thirteen-minute songs, and the instrumental versions of those songs. Add this to the fact  I am not a fan of long songs, but here we are. Things don't get heavy until five minutes into the first song. He even unleashes a little of the falsetto yodel. The syncopated riff that dominates the metal half of the song is effective. At the nine and a half minute mark, they begin to get somewhat chaotic with this as it drones on a bit and puts the weight on the vocals to carry the song. It is impressive playing no matter how you spin it , though some might think it's pretentious despite the very tasteful jazzy section.  At 56 the singer's voice has held up pretty well. 

The second song finds them kicking in with metal from the jump. They fight off the ghosts of the 80s that tend to haunt these kinds of bands, thanks to the clean production. They hold a tension with the main riff that flows through the song. The technical aspects of what they do are not pure masturbatory excess, as they find a groove amid this storm. Three minutes in andd it feels like the vocal melodies are not as catchy as what they did in the first song, as it's harder for them to lock in. When they are a more atmospheric texture, it works pretty well, as they have to ride the wave of riffage. When he reaches up for higher notes from his chest register, the age of his tenor shows more of it rough edges, but it is generally produced in a manner that smooths this over.

A piano line brings a more Dream Theater-like feel to things. Yet this is not as flowery a power-ballad tone as what those guys do, thanks in part to the more interesting drumming. I'm not sure about how rocking they started off and then let things lose its momentum; it would have made a better middle section than climax. It's one of the things that Dream Theater does that I hate, and while these guys are way better than Dream Theater, I will give this album an 8.5, since when there are only two 13-minute songs, every minute counts; still, this score makes it an admirable effort and, at the end of the day, still euals and album prog metal fans need to listen to. 

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