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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Requiem in White : "the Visible Heaven"

 This duo is picking up where they left off. According to Doc Hammer, the intention of going into the studio to make the album they wanted to make back in 1994 was very intentional. This time, they are getting it right, with well-layered vocals that recreate a more grandiose sound than they once attempted with fewer tools at their disposal. It seems to pay off for them. While it is easier for musicians to hear past rough recordings to hear the song's potential, it is fitting for them to bring their sound into 2026, as goth is more visible online. 

"Cold or Divine" grips my ears the tightest as the bass line gives it more groove while balancing out the ethereal vocal layers. "Missa Brevis" finds the operatic layers of vocals creating a more grandiose feel, with the guitar punches managing to balance it out. "Solus Sum" is darker with a more brooding bass line helping to get them there. The vocal colors are bright on this album, leaving the instrumentation to hold down the shadowy end of things. The chorus pops with a more nathemic melody to counter this. But it is dynamic songwriting that works for me. 

The more exotic chord progression to "Suffer and Sleep" creates a more Siouxsie and the Banshees-like feel in the more belly dancing writhing of the tempo. The bass line drones while adding more rock heft. I had to listen to the last song a second time in order for it to connect with me. It works off the mood created in the previous song with a vocal melody that is more syncopated in the verses. I will give this album a 9, and see how it grows on me as it could be a tad darker for my tastes, but I respect what they came back to do here, and fans of ethereal goth should check this one out for sure. 

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LEILA ABDUL-RAUF : " Andros Insidium"

This solo album from Vastum's guitarist/vocalist is more experimental than her death metal band. It starts off with some orchestral grandeur that carries an almost ritualistic feeling. The vibe the album gives off is like if Dead Can Dance scored the soundtrack for another remake of "I Spit On Your Grave". The challenge this album is going to face with me, despite being dark enough for my tastes, and delving into the kind of ancient neo-folk that Dead Can Dance weilds, is that it is not as song-focused as what Lisa and Brendan do. The weave in belly dancing grooves. There is something sexy about it, rather than being an artistic statement about how sex is used against women. In fact, I have no clue what her thoughts would be on the subject because she just makes music. 

Granted, this narrative is not shouted in your face with a megaphone, and the lyrics are shrouded in the ambiance, leaving only an ominous mood. Her voice cuts through more clearly on "Eros Anima," which works better as a song, since the song before this ran together with the opening track. "Senex Rule" is more of an interlude with droning throat singing. You can discern the lyrics to "Fractured Body," giving the song more form and function amid its hypnotic atmosphere. The title track is more gothic and creates an interesting backdrop when she brings in some of her harsher vocal tones. It goes to show I am all for experimentation if it works as a song.

There are two minutes of what sound like a fugel horn, but might be synths, leading up to "A Requiem for Ishtar". Here is employs higher, more siren-like vocals with an operatic leaning to a haunting effect. Another more droning composition. The last song carries the same hypnotic drone that surfaces in various incarnations throughout the album; this time, there is a more haunting Switchblade Symphony-style vibe to it. I will give this album an 8.5. I enjoy the mood it creates, but if I am in the mood for this type of things will mroe than likely listen to Black Tape For a Blue Girl or Dead Can Dance. But if you want some haunting, cinematic neo-folk, this is worth a listen. Drops April 17th on 20  Buck Spin. 

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UADA : "Interwoven"

 

The idea that the band has to record an acoustic version of one song from each album works for me, as I think a good song will be a good song no matter the context in which it is played. You should write heavy music with acoustic guitars to begin with, rather than just hide behind volume and distortion. The bones of the song have to be there. 'Djinn" displays this well, though it reminds me a little of Fields of the Nephilim. Which is a compliment, since they are one of my favorite bands. However, depending on where the note falls in his upper register, they become a little pitchy. But overall, the song works.

"Devoid of Light" has a more country feel to the guitar. It's funny, as it shows the link between Scottish and Irish folk with bluegrass. It is darker than the first song, which I appreciate. Jake Superchi employs a more Nick Cave-like croon here. Midway, it switches gears, emulating the way the riffs in their music shift. "The Dark" swings more than traditional folk. The complex arrangement feels more proegressive in this context. He sings in a lower, droning voice for this one. Midway into the song, it feels more likea jam. It's clear he is a better guitarist than singer, but he is decent enough as a singer here.

The dance is more of a jig for "The Purging Fire' which sounds like it could have come from "The Witcher" soundtrack. The low baritone vocals are more along the lines of King Dude. They work better when layered. The Rome cover should have been a Nick Cave cover. The cover of Nirvana's works better when taken into a darker direction. The chorus is more haunting, and the cello works well here. Though on the second version, they answer the question of how Nick Cave would sing this. I appreciate what is being done here; the sounds are familiar, but the intentions are something more that black metal bands should try. Dropping on Eisenwald Records. 

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Heave Blood & Die : "Burnout Codes"

When it comes to punk, there are not many bands doing something new. The genre largely follows the dictates of a dozen bands from the late 70s / early 80s and follows that blueprint. Odd for a genre that values non-conformity. Norway's Heave Blood and Die, brings synths to the party to divert their course away from the punk rock rule book. The attitiude is still there, but it's tempered by droning grooves. Originally released in 2024 on a Scandinavian label, they are being unleashed upon the rest of the world by Ardous.

The only traditonal punk influence that breaks the surface is Black Flag, who were, in their own right, more experimental than people give them credit for. The vocals create a similar burly blustering as the lyrics are bellowed with biligerence. You do not hear their post-punk side until the more sardonic tension of "Stress City". It becomes apparent that these guys are also fans of Killing Joke, which is fine by me. 

"Mjelle" is a little darker. The bass line keeps the song in motion. Female vocals are more noticeably layered over the verses to "Things That Hurt." "Heatwave 3000" finds them back in a more apocalyptic Killing Joke mode. The synths hold an interesting place in this arrangement. The vocals are also more aggressive. "Seen It All" ends things with a gloomier march and more emotive vocals.  I will give this one a 9.5, great songwriting, though a similar mood to some of the songs. This is a must for fans of modern post-punk. 

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Six Feet Under : "Next to Die"

 

I go into these albums with low expectations. Chris Barnes' vocals improved on the last album, but before that, these guys were scoring in the 6.5 range here. Not terrible, but not blowing minds by a long shot. Let's see what they are bringing here. The opener does not find them pouring on the speed, chugging with purpose. Barne's vocals in decent form, not Corpsegrinder power, a solid guttural growl. "Destroyed Remains" starts off feeling more like a Cannibal Corpse song, before finding its groove. "Mister Blood and Guts" is in an older, more straightforward direction. The lyrics are articulated in a clearer manner.

"Mutilated Corpse in the Woods" finds him reverting to a more muffled growl. It moves with faster attack, but not blasting speed, so call that a win. "Unmistakeable Smell of Death" is run-of-the-mill death metal, falling in the bounds of what you expect, the first song that felt like filler. There is more energy in the darker "Wrath and Terror Takes Command." The purposeful intro sets up the verse well, as the vocals go deeper tonally and in the mix. The chorus of "Skin Coffins" is catchy enough to work. I do find myself having to go back and re-listen to songs, as they begin to run together. What I do like is the fact that they are using almost doomy riffs to complement the more evil focus of the lyrics. This is not to say they do not revert back to their old ways, which you can hear on "Naked and Dismembered". 

They are more deliberate on the title track, which benefits from a deliberate chug. The last song is the best, because it finds them stepping out d by dropping the distorted and expected metal drumming in favor of something darker and more unsettling. They took a chance, and it paid off. I will give this album a 9. I think switching things up worked out well for them, and this is the best album I have reviewed yet by them on par with the first few albums from the 90s.Drops April 12th on Metal Blade.

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