Hidden Mothers : "Erosion / Avulsion'"

You may or may not be aware of the fact I've been writing for Ghost Cult Magazine. They are based in the UK, which means that they have their pulse to more music there than we are in the States. The ebb and flow between the sung vocals and the more shouted vocals works well on the second song. Though sometimes they still get a little lost in their own clamor. They do employ interesting dynamics and their guitars sound great, so that is going for them. Though to some extent they occupy a more post-hardcore corner of what Glassing does better in terms of atmospheric sludge with screamo tendencies. 

I like the urgent singing that starts off with "Still Sickness". It does explode into more of a post-hardcore anger. When I use post-hardcore here I get to refer to bands that actually fit that rather than when idiots call a band like Bring Me the Horizon. 'Caton Green" is more of a post-rock instrumental. "The Gray" finds the vocals belted more aggressively, as they offer up a little more of a stop coming out of the shimmering guitar. The vocals are the hardest part of this. It drops back down into a more minimalist ambiance. This mood to some extent continues on the more blues-based "Grandfather' in which you get a better picture of what the vocals are capable of. They also show restraint by not building it up into something explosive. 

"Violent Sun" finds things getting more tense. Though it ebbs down to give the vocals more space. I like the groove this works itself into. Then things get angrier, not more aggressive which is an interesting dynamic. The vocals go up into a higher register, which feels like something Far might do. I will give this one a 9, and see how it grows on me. I like all the sounds they allow themselves to explore and how they are not afraid to indulge melody. 

 

pst615

Copse : "MMXXIV"

Bristol's answer to Deafheaven is my suspicion going into this album, lets see if they prove me wrong. About two and a half minutes into the first song, I am proven right. Sure there are some slight variations on this theme, but it's more slight than what someone like Infant Island busted out. There are some cool palm-muted riffs, but the rule here is "Cool Riffs alone does not a good song make". The vocals have a little more screamo to them and less of the black metal malice. 'Mondrem" makes more of an effort to establish its own identity, but still, it's within a sub-genre that one band has heavily dominated. When they steer clear of the more overt blasting and tropes of this sub-genre their songwriting is on better footing. 

There is an interlude, that is about two minutes that I am disregarding for the purpose of this review. 'Old Belief" does not really tap into any new ground. The sweeping chord progressions work for the song and the frantic drumming is what is expected from this sort of thing, but I do not feel like they are not going above and beyond, which leaves them to play it safe in a genre that should celebrate extremes. It does not suck, but I want to know, why I should listen to this album instead of an album by someone who does this better and they are not making enough of an argument for what sets them apart,

The last song is almost 15 minutes. I am waiting to hear what is going to justify this or is it going to be a self-indulgent sprawl. The first two minutes cut be trimmed down as the song does not really start until the vocals come in. They use actual singing here, which is something they would be wise to expand on as it's better than the screamed vocals as it gives them more identity, maybe that identity is not as heavy as the band they want to portray but maybe that is who they really are. I think giving this album an 8, is fair, with the last song playing into them scoring this high. 

pst614

Four Year Strong : "analysis paralysis"

 

I think this band crosses too far into pop punk for me to really be into it but I will give the album a shot,and if it sucks I think you guys know you can count on me to stand up and tell it like it is. Just because you pull out break-down riffs, does not mean you are metal or hardcore. The lyrics are more tormented than the music. It reminds me of Sum 41 in this regard which is not a compliment. Thankfully the songs are all around three minutes so I am never tormented for long.  "Maybe It's Me" combines the things I do not like about both Blink 182 and the Foo-fighters and combines them into one song. 

"Uncooked" works off it's feel-good charm. The chorus is too happy, but it's one of their most hooky songs. "Out of Touch' works off a 90s alternative formula, but this formula was the more homogenized sucking cock for corporate radio one, bands like All-American Rejects and Lit fall into this category. I am not sure who they are trying to convince that they can get heavy like a core-anything band on "Daddy of Mine'. They are made at their dad if you care. "Dead End Friend" is an angrier take on the radio-cock sucking I referred to earlier, and really Sum 41 would be included in that.

By the time I get to the song "Paranoia," I am having to skim through the songs because even three minutes of this feels like I am wasting my time. "STFIL" is a little more of a pop ballad, but truth be told this sounds more authentic to what they are supposed to be doing. "Rollercoaster' makes me suspect these guys will be on a future version of "Punk Goes Pop".  "Better Get Better' finds them still trying to crank out a power chord riff, though I am not sure of one person who would believe this is punk that has one ounce of brains in their heads. I thought when I read the song title "How Do I Let You Go?" that this would be a ballad and boy was I right. I will give this album a 6., it has enough clever songwriting to keep them off the radar of my top 10 worst albums of 2024. 

pst613

SÓLSTAFIR : "Hin helga kvöl"

 

I'm old enough to remember when this band from Iceland used to be black metal. They have been on this more rock n roll road for some time, so the direction never surprises me. The vocals are emotive and have more edge than your average rock band, The use of atmosphere works really well, as they start off the album with a strong dynamic balance. On the title track, they also remember when they were a metal band as their drummer really starts getting it. As things build up they even catch a groove that makes me think of Slayer. "Blakkrakki" has more punk drive to it, though the guitar melodies bring it into a more straight-up rock n roll-like place with its more Motorhead-like nuance. 

"Salumessa" ebbs back down to an almost more psychedelic place, with dusky shadows holding sonic space. The way the effects sit on the vocals makes me think they are winking in Pink Floyd's direction. At the very least smoking a lot of pot."Vor as" feels like a more soaring build-up from the previous song. "Freygatan' breaks things down to piano which I was not expecting. it shifts into a power ballad. The vocals are a little pitchy in places, but the overall vibe works. It's like Kvelertak covering Pink Floyd. 

"Gryla" is raw and emotive, but has a grunge-tinged clanging of the guitars. The chords ring like something from Neil Young's heavier Crazy Horse years, The vocals have a wild howl to them while being mindful they are playing rock not metal. The way things keep getting spacey lends more weight to my weed theory. They begin to gather more metallic steam on the buzzing blur of "Nu Mun.."  I appreciate the intensity, but it's not the album's best song. The last song finds them working in more of their ethnic folk roots. However they are still smoking a ton of weed, so saxophones and synths are pulled out to make the most of the mood. They lay the ambiance on thick and jam this one out. I will give this album a 9, I like the direction they are going here, and think the more weed-influenced songs are better than when they try to rekindle the metal fires. 

pst612

Boston Manor : "Sundiver"

 My only experience with these guys was through the "Punk Goes Pop" series where they covered a 21 Pilots song. They are a catchy emo-tinged pop rock band with about as much edge as Jimmy Eat World. You can hear how they might appeal to fans of Deftones on "Sliding Doors'. They begin to slide into nu-metal territory. "Heat Me Up" is poppier and obviously written with radio-ready hooks in mind. It floats into that more atmospheric pop side that more recent Deftones have been wandering in on the past few albums. 

"Horses in a Dream" pushes the pop thing perhaps a step too far as it loses all the rock elements. "Morning Star" is more of an atmospheric interlude, than a free-standing song, so for the purpose of this review I am not counting it. "Why I Sleep" has more of that nu-metal groove to it. The soulful vocals steer in the same lane as the pop stylings of Sleep Token or Issues. "Fornix" is hooky enough to be effective. Not the best song on the album, but solid for what it is. There is a strong pop undercurrent to this that takes off some of its edges. 

"What is Taken, Will Never Be Lost " is a straight-up pop ballad. There is a little more rocking to the last song, but it is also largely pop, much in the same way a band like Linkin Park is pop. I am fine with these guy's take on pop as they are not dressing up in masks or like popes trying to be scary, instead, they just look like the average kids you might see on any college campus. So there is truth in advertising, they are not claiming to be hard when they are not. I'll  give this album a 9, it's good sugar fun with guitars. 

pst611

Kublai Khan TX : "Exhibition of Prowess"

 My first time really paying these guys any attention. They play a version of metalcore that has so much groove to it, that it would not be hard to see this as an evolution of nu-metal. More of a thought guy take on the genre than say Knocked Loose. Dave Peters of Throwdown, is on "Cannibal'.  "X' is more in-your-face hard-core, it's also not bringing much to the genre that you have not heard before. By the time we get to "Theory of Mind,' the songs have begun to sound the same, as every riff sounds like a breakdown. 

The vocals are their weak link, they are tough sounding enough. But just do one thing. Things like the sample in "Mud" help to break things up. The lyrics are also nothing special, like a motivational drill Sargent. "972" Just sounds like every other band doing this sort of thing. The lyrics are beyond dumb. I can listen to bands like Harms Way who do this sort of thing in a darker manner that appeals more to me. If you are just desperate to practice your karate in public this sort of thing might work for you. "Low Tech' does not change the direction they are going in. It's funny because online I have heard so many singing this band's praises. 

"A Hopeless Fate" might feature Jamey Jasta of Hatebreed, but he is another hard-core cheerleader I never really got into. This is also the most nu-metal song on here so far. The pitch-bending riff that moves "Antpile' to at least has more hook to it. I will give this album an 8, as they are good at what they are doing, I have just heard it done better before, so it's not for me. 

pst610

Jerry Cantrell : "I Want Blood'

I owned "Boggy Depot", but haven't checked out his solo stuff since. I love his guitar playing but often feel with most artists' solo work, it is energy that would have been better invested in their main band. The first song sounds like Alice In Chains so it's hard to complain. There is a who's who of rock royalty on the album Robert Trujillo plays on the second song. The riff to this song sounds like it should be on a solo Ozzy album, making me surprised Ozzy has not tapped Cantrell for solo stuff. If this was all supposed to be on the next Alice In Chains album I would not be surprised. 

Duff Mckagan also joins him on "Afterglow", which feels like an Ozzy solo ballad run through the filter of Alice In Chains. The way the chords ring out could have been found in the band's later work. However, the chorus is not as strong as the previous songs. Duff is also back on the more rock n roll title track that feels more in line with Queens of the Stoneage, though I guess on "Facelift" there is some of this on the b-side. Marilyn Manson's drummer Gil Sharone, plays on this album though Mike Bordin plays on the title track. Still, it does not feel like the best use of his talents. It's basic rock n roll. 

Greg Puciato lends backing vocals to "Echoes of Laughter". It's a darker song, that tempers the brooding with soulful melody. The vocals on this album are really well produced. This might be the album's best guitar solo. "Throw Me a Line" is rock but with a slithering groove that works really well. It goes to show his songwriting ability has not faded since Alice in Chains. "Let it Lie" oddly has Bordin just playing the drum parts on the chorus, which I'm not sure they cut it that way, maybe he just got the best take. I like that it is darker which does give it more of the classic Alice In Chains feel, it could have been an outtake from 'Dirt". 

"Held Your Tongue" is more rock n roll, though is still doused in the nostalgia for Alice in Chains. At this point, it's clear, that Cantrell was carrying Alice in Chains, as he proves by making an Alice in Chains record by himself. It's weird because if this was an Alice In Chains album I would have been less hesitant to check it, going to show you how powerful the branding of a band is. "It Comes' is another Alice in Chains-like ballad, but I enjoy the mood it creates. I'll give this a 9.5, as it is the best Alice In Chains album that they did not make as a band. 

pst609

Devin Townsend : "Powernerd"

 It opens with a little more punch to it but sounds pretty much like what you have come to expect from his typical solo stuff. His guitar tone is normally what does not sound that heavy to me, he does care about songwriting so it's kind of like AC/DC for prog kids. It is more overtly rock and roll than metal. The second song is darker so I like that. The delicate vocals adding the atmosphere remind me of what Josh Silver does in Type O Negative. I am never going to say that he is not a great singer, he does his own thing and knows how to produce vocals to make the most out of what he does.

"Knuckdragger' sounds like Bon Jovi. Granted it's more interesting than what Bon Jovi, but the big arena chorus feels like it to me. By the time I got to "Gratitude" it was beginning to feel like this was his version of "Shut Up and Play Your Guitar" where Zappa tried his hand a varied styles of music. It feels like he is doing that with radio rock, as this could be "Empire" era Queensryche. "Ubelia" is like a Porcupin Tree ballad. It does go for a more Dream Theater-like over-dramatic chorus. "Jainism" is a little more original, it's more atmospheric and darker, but in the same way, Roxy Music can be dark, until we get to the arena rock chorus, which begins to become the formula he is working off. It's interesting as I can hear how Danny Elfman is an influence on him.

"Younger Lover" is a ballad that sounds like Danny Elfman, but then it get's fucked up with the cheese-heavy 80s-sounding chorus. The middle section finds the guitars catering to nerds into power metal. "Glacier" sounds more like what you expect from him, with over-the-top production and multi-layered vocals. "GoodBye' feels like it is purposefully trying to be Def Leppard. Especially the guitar tone, Def Leppard, needs to hire as their producer. The last song is another ballad, it almost sounds like a joke. There is a slight country feel At the end of the day I repsect what he does , what he does is not something I am always into, so in appreciation for the talent it took to make this album I will give it an 8.5. 

"

pst608

November's Top 10 Albums

It's time for November's top 10 albums. Staying abreast of the month's highlights might help casual readers see what they missed and check these artists out. I am not writing little blurbs on them and just linking the reviews. I am using this to organize my lists for the end of the year, by listing the genre of music the album falls under. Inclusion here does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most, I have albums in my in-box that are not coming out til next year so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month there is a wide variety from Synth wave to Doom metal so you may find your new favorite among them. Here are the Top 10 albums for  November of 2024.

10-Aiwaz- "Darrkh… It Is!" 

Doom

https://abysmalhymns.blogspot.com/2024/11/november-is-doom-aiwaz-darrkh-it-is.html

9-Yersin- "THE SCYTHE IS REMORSELESS"

Crust 

https://abysmalhymns.blogspot.com/2024/11/yersin-scythe-is-remorseless.html

8-Ulver -"Liminal Animals"

Synth Wave 

https://abysmalhymns.blogspot.com/2024/11/ulver-red-light.html

7-Poppy-"Negative Spaces" 

Nu-pop Electronica 

https://abysmalhymns.blogspot.com/2024/11/poppy-negative-spaces.html

6-Underworld -'Strawberry Hotel" 

Electronic 

https://abysmalhymns.blogspot.com/2024/11/underworld-strawberry-hotel.html

5-Opeth -"The Last Will & Testament"

Prog

 

https://abysmalhymns.blogspot.com/2024/11/opeth-last-will-testament.html

4- Fatima- "Eerie" 

Grunge

https://abysmalhymns.blogspot.com/2024/11/november-is-doom-fatima-eerie.html

3-Marilyn Manson - ""One Assignation Under God Chapter 1"  

Goth Rock

https://abysmalhymns.blogspot.com/2024/11/marilyn-manson-one-assignation-under.html

2-David Gilmour - 'Luck and Strange" 

Progressive Rock 

https://abysmalhymns.blogspot.com/2024/11/david-gilmour-luck-and-strange.html

1- the Cure -"Songs of a Lost World " 

Goth 

https://abysmalhymns.blogspot.com/2024/10/the-cure-songs-of-lost-world.html

post-607

Pillar of Light : "Caldera'

This Detroit-based sludge band lulls into things on their debut full length with a hypnotic manner of riff crafting that flows well. The vocals are delivered in the kind of hoarse bellow you expect from this sort of thing. "Leaving" does offer an even greater range of dynamics, but it feels like the vocals should have changed with the music to bring this out as with the same howling from the first song, it creates a more uniform sound.  

"Spared" is even more melodic than the previous song, but the howl of the vocals begins to feel tedious at this point as it is more of the same. If the shouted vocals differed a bit, but they are rather monotone. If you only listen to metal for the guitars and do not give a shit about vocals, then this might not phase you.. They do build things into a heavier climax, which sounds good if you can block the vocals out.  "Eden" opens with a more industrial-sounding ambiance, with reverb-heavy post-rock guitar melodies. As an instrumental, this proves to be time better spent without the vocals making it sound like all their other songs.

The first shift in the vocals is very marginal but I still heard it as the vocals are shouted more on "Infernal Gaze". The song is more sonic, so the vocals fade into the background, as a static narrative. Though it moves at a slower sludge lumber. "Unseeing" comes too close to having the same feel to me for it to be interesting and it begins to fade into the background. I do like it when things drop down to just the bass line as it is darker, but the vocals now have reached my threshold to endure. The strummed guitar that closes things out on "Certain End' creates a more effective mood and the post-rock shimmer is also something that plays to their strength, but the vocals just need to shit in pitch rather than just being shouted at the same tone, never extending out into enough of a scream to feel different.  The vocals eventually became a deal breaker for me I will give this album a 7 though as it does touch on some nice sonic spaces that get smeared with the monotonous roar.It drops on Transcending Obscurity. 

pst606

Panzerfaust : '" Suns of Perdition IV : To Shadow Zion"

 This is a new album by the Canadian black metallers that gained a great deal of buzz when it came up in talks for the best Black Metal albums of the year. Since I enjoyed their previous work, it made sense to catch up and give this one a shot. The vocals once again vary from a more sludge-like below to the more traditional black metal rasp. The album opens with a great deal of drive and power the drums seem like they are laying on more double bass than blast beats but popping things off in that rapid-fire manner. 

The second song is more unrelenting in its blast forward, though not just keeping things at a buzz but allowing layers of sound to carry eerie nuance. The vocals bellow in a manner very similar to what they did on the first song so the vocals are not as thoughtful. "the Damascene Conversions moves with a darker creep to its throb, which works better for me than the pounding of the previous song. The chord progression is color and not color by numbers black metal. The vocals are largely roared, though some slight changes in the cadence which is more effective in this context. 

"Occam's Fucking Razor" creates a really cool mood using samples and atmosphere, but is still heavy. It makes me think of what Behemoth might sound like if they were not trying so hard to play stadium metal. This album does live up to the hype. It does build into the more intense in-your-face blasting feel of black metal, but it works because you have already been given dynamics to put it all in context. They close the album with the 11-minute title track There is about a minute build-up before the song unfolds. When it does take off there is a more brooding throb to it. Though in all fairness I was three minutes into the song and wondering where else they could take it. The answer seems to be to get gradually more aggressive. It could be more dynamic as there is certainly enough time to ebb and flow, but to their credit, it's like being hit by a storm cloud of sound. It lives up to the hype so I will give this one a 9.5. If you want black metal that hits you with a tempest of apocalyptic darkness this album is for you. Out on Eisenwald. 

pst605

The Top 10 Stoner Rock Albums of 2024

Living in Florida reminds me why I do not like reggae. It's too happy, and it all sounds the same. I am here to bring the news that you do not have to get stoned to music that sucks. In fact here are ten examples of albums you can break out the bong to. After I sort through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of the year. 2024. The very fact these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. Perhaps you can find your next favorite on this list; and have included links to reviews of these albums if you want to check out the audio on these guys. Anyway here are the top 10 Stoner Rock albums of 2024

10-Gnome -"Vestiges of Verumex Visidrome" 

his band from Belgium is a bit of an oddity,. They have an upbear jammy vibe. Though they pack a punch here and there and even throw in harsher vocals in places.  They do not shy from bouncy riffs to compliment their fantasy lyrical theme. They have prog tendencies but are brought about by bong-beaten tales of the strange. 

https://abysmalhymns.blogspot.com/2024/11/november-is-doom-gnome-vestiges-of.html

9-Hot Garbage+"Precious Dream" 

There is a sonic heaviness to it, but it's not metal. Oddly mutated garage rock that is being attacked by the effects pedals of a shoegaze band. The more surf rock influences do not emerge until a couple songs in which the female vocals are not unlike the self-deprecating moan of Kim Gordan. At other times the music feels like Link Wray jamming with the Stooges.

https://abysmalhymns.blogspot.com/2024/01/hot-garbage-precious-dream.html

8-Black Sky Giant -"The Red Chariot" 

Instrumental Music is not normally my thing, but this album felt worth working my way through once I was two songs into it. There is a hazy stoner vibe underlying the drifting landscape this band from Argentina paints for your ears. There are great guitar tones captured here, that are played in a manner that is very melodic owing more to a David Gilmour style of playing rather than being a shred wank-o-thon. The fact they can keep my attention with what they do speaks highly of them

 https://abysmalhymns.blogspot.com/2024/01/black-sky-giant-red-chariot.html

7-Castle Rat - "Into the Realm" 

 Come for the chain-mail bikini, stay for the Coven-like proto-doom that is nicely doused in psychedelic trappings. Not far removed from the vest metal occult rocking bands from 2010. They are about the songs and work best with inhaling and taking you on a journey to the 60s. 

https://abysmalhymns.blogspot.com/2024/07/castle-rat-into-realm.html

6-Slomosa-"Tundra Rock" 

There is an interesting increase in stoner rock coming from northern Europe. A case in point is this band from Norway. They are on the doomier side of the genre. Mellowed-out vocals coast over fuzzed-out guitars, which creates a nice juxtaposition. It also gives the band a more original sound rather than just being another Black Sabbath tribute band.

 https://abysmalhymns.blogspot.com/2024/11/november-is-doom-slomosa-tundra-rock.html

5-Orange Goblin- "Science Not Fiction" 

This band was one of the first stoner rock bands to blaze the bong in their Camaro across the desert. There is more beef this time around, The vocals have more of a gritty growl, though they are upfront in the mix and hung out to dry with little effects on them. There is more in common with Motorhead here, than Black Sabbath, the riffs have a 90s grunge tinge at times. Though used to think of them as more stoner rock, this album insists they are stoner metal and draws a pretty clear line in the sand about it. Though we throw stoner metal in with the rock for this list so it doesn't matter. 

https://abysmalhymns.blogspot.com/2024/07/orange-goblin-science-not-fiction.html

 

4-Fu  Manchu - "The Return of Tomorrow" 

This is the band's 13th album and vocalist Scott Hill has stated it's a double album because they wanted to include mellower songs in the second half. They rock out with an intensity similar to their peers in Atomic Bithc Wax, who we are also known to cover here. The fuzzed-out bong-worshipping grooves amble with vigor. Compared to Queens of the Stoneage, they are rawer to the point of being a garage rock band. The drummer is really killing it on this album, which makes everyone else keep up. 

 https://abysmalhymns.blogspot.com/2024/06/fu-manchu-return-of-tomorrow.html

3-High Desert Queen - "Palm Reader"

 This  Texan band blends of desert sounds and grunge grit to their cathedral of bong worship. It was the relaxed vocal melody that was able to flex into a more belted bellow when called for, and the grooving riff that sold me on checking this album out. There are of course jammy guitar solos to go along with this. This is the band's second album and the first to have the guitarist's daughter playing bass on the album, she also lends her voice in places. An album that has all the elements of stoner rock you could want. . 

https://abysmalhymns.blogspot.com/2024/11/november-is-doom-high-desert-queen-palm.html

2-Sunnatta -"Chasing Shadows" 

They moved up a spot after their last album earned them 2021's Top 10 Sludge Albums list. The fuzzed-out rough sludge edges were smoothed out by more psychedelic vibes on this album, earning their transition to this list.  The Polish band continues to push their sonic boundaries but with less aggression. In fact, it feels, more like grunge at times, as the droning baritone vocals remind me a little of Mark Lanegan this time around. It sounds great so I am not going to complain about this not being as metal as past releases since it has progressed in a very organic manner, and the intensity is more hushed.

https://abysmalhymns.blogspot.com/2024/04/sunnata-chasing-shadows.html

1-REZN - "Burden"

The new album from Chicago's Sonic Sorcerors found them expanding their minds and sound The dark groovin' drive that lurks as the heartbeat of this album, might not be metal, but it is aggressive enough to get the point across.  The plea of the vocals echoes out into the expansive place they have created here. It feels darker than the previous album, but darker in a more hazy moonlit manner. When it comes to making melancholy stoner rock that is heavy on the atmosphere this year these guys can not be beaten. 

https://abysmalhymns.blogspot.com/2024/05/rezn-burden.html

 

pst604

Full of Hell + Andrew Nolan :"Scraping the Divine"

 

You should know who Full of Hell is. Their collaborator is more obscure.  Andrew Nolan is from the industrial noise underground and was in a band called Column of Heaven. It takes a few listens for some of these songs to sink in. The first one makes sense then, it takes a more cautious ear to pick this chaos apart. It might also require headphones as the programmed drums are not loud enough but the vocals are in your face. "Burdened By the Solar Mass" is even more chaotic. It would be great to play while falling into hell. Justin Broadrick's appearance is obviously on "Sphere of Saturn" as it takes on his vocal drone, which is lopped through effects. My favorite moment so far. 

"Hemlock Gnosis' is Dylan Walker screaming over ambiance. More sound than song, which is the direction this album was bound to lean in given the experimental nature of what is unfolding. At this point, I had to take a break and listen to the actual new one from Full of Hell to get some perspective. Now a few days later I am clicking on "Blessed Anathema" and its drone is more pleasing to my ears. However 'Facing the Divide' is more noisy than not. 'Approaching the Monolith" is basically a noise interlude that I am not counting for the purpose of this review. "Extinguished Glow" is much more of a song than that one though. However it is more ambient and has some cool sounds, but that puts us back at sound vs song. 

"Common Miracles" finds his screaming work better over a more industrial pound. "Irradiated Sands" feels like it is an extension of the previous song. The last song "Paralytic Lineage' is a more deliberate churning pulse. The growling is lower giving it a more Godflesh feel. I will give this one an 8, since it is not always song focused and things get too noisy at times for my tastes, I prefer the direction Full Of Hell went on their most recent album to this, I like Godflesh, but I own their albums so I do not need bands that sound like them. 

Scraping The Divine by Full of Hell and Andrew Nolan pst603

Prisoner : '"PUTRID | OBSOLETE"

 Catching up with albums I missed earlier in the year so this Industrial-tinged crust band is up as they have a great deal of hype behind them. However, it makes me wonder what they have going for them that we have heard from bands like Inerth, Deadform, and to some extent Chat Pile. The answer is that these guitars' production is dialed in so that they have maximum chug factor in place. Though going into the second song, the question will focus on their songwriting and less on the impressive sound they have dialed in. Since anyone can capture a sound with the right producer, not everyone can write a song. The jury is still out after the second song as it thrashes with more of a crusty punk fury. They achieve the feel and sound of this kind of music but nothing new is brought to the table. 

The third song is more of a crusty death metal pummeling that offer little in terms of melody. Instead, it just punishes your ears. Maybe you are into that sort of thing, but ear punishment without hooks is not something I am going to give a great deal of repeat listens to. "Shroud" that follows has a little more atmosphere to it but mainly attacks like older Ulcerate. The riffs are woven together in a way that makes a little more sense. "Leaden Tomb" is pretty much a death metal song with some touches of industrial leading into it. 

If you are going to rip off Ministry "Filth Pig" is a great song to borrow from. The bulk of the song is more of a sludged-out affair. "Entity" just kind of blasted past me with its cavernous death metal blitz. It's all thunder and little ambiance to create dynamics, one slower riff that is more deliberate, and their drummer is skilled, but death metal drummers have to be.  There is a cool more hammering riff at the end, but the rule here is 'cool riffs do not a good song make". 

The last it's song takes its time finding its footing as it builds the mood they should have been working into the rest of the album. When the double bass comes it, it's pretty much a similar brand of death metal that we have already heard from them. I will round this down to an 8, as they do hit some strong points are dark and heavy, but need more dynamics for my tastes, though for dark apocalyptic death metal they are good at what they do , but certainly not the Best of anything. 

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November is Doom - Doomraiser : "Cold Grave Marble"

 

6 albums into their career and we still have not covered this Italian doom band? Ok, let's change that. The vocals are sung in the required minor keys. The riffs chug along in a more traditional metal manner. So the question becomes what is going to separate these guys from all the doom bands I have reviewed this month? What is going to make this album gain a position in my crowded playlists? There are more aggressive vocals in some places, and they do a good job of switching the riff, up the current one being even more ominous than the last. Guitar solos with some thought behind them that do not overdo it with shredding, not that this genre is normally guilty of that. 

They slow things down more with the more melodic doom power ballad "Once Upon the Fireflies" which, allows their singer to show more vocal colors. The use of harmonies almost creates an Alice in Chains feel in places. "Life in Black' by going in a darker more dismal direction to match the theme. Scowled vocals accent the chorus. The more sonically melodic title track proves to be the album's best song as it does not invest as much into metal tradition. This helps them find their own sound, and find more relevancy as songwriters. The vocals even drop into a more Type O Negative-like baritone by the end of the song. 

"Without a Shadow' picks up the pace into a more driving throb. The vocals gain a little grit to them. The vocals go higher on the chorus. The vocal approach overall on this album is what helps set them apart. "the Great Void" is more of a dirge with a more melancholy lethargy spread over it. "Fifty Shades of Death" is heavier with weighty chords lingering over more grungy vocal melodies. Organ sounds darken it more. The last two songs are more of a  style of rock n roll that makes me think of Ghost, though the last song is more depressive than Ghost, and both are heavier by not sounding like Andy Gibb. I will give this album a 9, not sure, how much I will listen to it , but they are great at what they do. This was released on Time to Kill Records last month. 

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The Holy Flesh : "Advocate, Martyr and Redeemer"

 

The 3rd album from this British black metal project. While black metal when it is done well is one of my favorite sub-genres of metal thanks to its celebration of darkness, few new bands these days are excelling at it . I can typically tell when reading the press release for a band if it is going to be just another senseless blast fest, that would be time better spent reviewing something more original. I am glad I took a chance on these guys and gave this album a shot as it rings out with an eerie dissonance. They bring the storm down as needed, but keep things to more of a dissonant throb. 

You can hear traces of Immortal in the coldness of the chords, and the mood sometimes leans in the direction of Inquisition, but they are generally doing their own things here. On sure that the second song needs to be 11 minutes long, but that is where we are at. Each song has a one and two, rather than giving them their separate titles. An impressive guitar solo opens up the first part of "Martyr". The vocals are at an almost croaked, dry mid-range rasp.  They are the only obligatory element in play here but offset some of the guitar's more melodic backdrops. The lyrics cut through the buzz of guitar most of the time, but are also more of a texture. 

Another plus to this album is you can actually hear the bass all too often bass playing gets lost on black metal albums. The second part of "Martyr" feels like an extension of the first. The first part of "Redeemer' has a beautifully haunting melody sweeping through it and moves at a more melancholy pace. The more melodic approach also applies to the last song. I will give this album a 9, it's a deliberate take on black metal that once again proves it does not have to live and die by the blast beat. Being released on Caligari Records. 

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English Teacher : "This Could Be Texas"

 This is the time of the year when I get to check out bands that I heard getting hyped earlier in the year and see how well they live up to those claims. Up next on my to do list has been this British band. Lead singer Lily Fontaine, helps separate them from the rest of the indie rock pack. They actually throw some rock music in the mix instead of just getting jangly with their feelings, like most indie rock falls into. The first song is just a windup, the cash in on the momentum on the second song. It has an almost post-punk tension to the taunt guitar playing.  They got their start as a dream pop band, and you can still hear hints of that in the guitar tones. For their first full-length, their approach to songwriting is pretty mature. They have a solid grasp of who they are as a band.

"Broken Biscuits" wanders a little more. The guitars ring out more circularly and, her vocal lines lean more toward spoken word poetry. Their bass player manages to hold it all together. On "I'm Not Crying Your Crying' they come across as a female-fronted version of Bloc Party. The ballad "Mastermind Specialism" is less compelling. But well produced like the bulk of the album so far. The title track also gets bogged down in this kind of abstract spoken word thing, that they just did, when it does wind its way into melody it does not rock out.  They have already shown me that they are capable of writing better songs so that is what I am expecting from them.  "Not Every One Gets to Go to Space" is a more balanced affair, she does talk her way through certain sections but things come together as a functional song. 

Songs like "R&B' and "Nearly Daffodils" play more to their strengths as a band. They are more focused and allow the dizzying atmosphere of the guitar to create a landscape to explore rather than wander aimlessly around. 'The Best Tears of Your Life' is another ballad of sorts, leaning in a more pop direction. This at least finds it developing more hooks. " You Blister My Paint" is more overindulgent in its emotive balladry. To be called "Side Boob" the song is pretty dreamy. The album ends with a pretty decently flowing song that has dynamics.I will give this album an 8.5, they are good when they are focused on putting the drive in songs, the spoken word stuff doesn't; not work as well for me , but giving this album the score I did because it is well done, and they have some great moments, might be a little hyped. 

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Live Review- Better Lovers & Full of Hell @ the Orpheum

 On election night it would be pointless to sit around watching a TV show you something that you can't do anything about, so it made more sense to escape that by going to a "hardcore" show. First time catching a concert on the outside side at the Orpheum, thanks to the Florida weather in November it was barely noticeable we were outside until we got a breeze off the Bay.  SPY was taking the stage when we arrived. They were a punk band whose singer might have owned a Napalm Death album or two, all the songs sounded the same but kids liked shoving each other around on the concrete. Not sure how smart that is but, I was at the age when I did not care about shit like that either and I would have appreciated this band more at this age.

Originally, I agreed to go to the show to check out Better Lovers and did not think to check out who the opening bands were til this weekend so was excited to see Full of Hell was on the bill. I caught them back in like 2013 when they were opening up for Mutilation Rites. They crushed it then, but have evolved and perfected their craft in the past ten years. It felt similar in density to the last time I saw Deafheaven life they hit you with an intensity that they do not let up on. They pulled largely from their new album which I am fine with and in fact, it gave me a new appreciation for those songs. I already think it's one of their best albums, and I gave it a 9 on my initial listen, but the energy behind them is conveyed in an even more powerful way live. Their powerful live performance clicked everything in place and solidified me as a fan.

Better Lovers took the stage with a soundtrack that played various popular love songs mixed by the turning of the dial. This was my first time seeing Greg Puciato, I have had a deep appreciation of his other project and felt he was a good singer. His performance with the band comprised of former Every Time I Die was high energy and very professional it leaned on their newest album which was a wise move as those songs were more anthemic and worked more effectively live than if they just played their more chaotic heavier stuff, Since Full of Hell's performance was so intense they were not going to be able match their sheer heaviness, so taking a more rock approach worked well. I think if you go to this show expecting them to play Dillinger songs or Black Queen tunes you might be disappointed by they established themselves as their own entity. 

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Denzel Curry : "King of the Mischievous South pt2"

 When it comes to Hip-hop this year there seems to be a Bone Thugs N Harmony theme when it comes to what is resonating with me. I tried to review the new YEAT album and it sounded too much like a FUTURE tribute. While the phrase of lyrics being spat here, does share a similar cadence to Bone, there is more of a trap feel that what $uicide Boy$ were doing,.This much like their Louisiana peers, care about songwriting, and there is a darker vibe to what they are doing. A$AP Ferg, is on the third song. 'Act a Damn Fool" is the first song that finds the momentum of the songwriting lagging slightly, though it might have to grow on me. The way the lyrics are phrased is breaking from the Bone style and more aggressive in a 36 Mafia style. 

"Black Flag Freestyle" has nothing to do with Henry Rollins, and falls back in line with the more 36 Mafia style of hip-hop. Speaking of which Kingpin Skinny Pimp, appears on several songs, making this more like  36 Mafia than most these days. "g'z Up" is aggressive with a great groove making it one of the album's songs. The bass on this one thumps with the kind of attitude I want from this kind of music. "SKED" might have Project Pat on the track, and reminds me a little of Dead Prez, musically, but is not as strong as the previous song. "Got Me Geeked' is poppier, but as a song works really well. While he's getting some help in post-production as a singer it's good pop music.

Juicy J is "Cole Pimp" which is funky and feels like it came from the 90s. P.O.P" is not as airtight, though still better than most of the new hip hop you hear on the radio. The same could be said for the more Too Short-themed "Anotha Late Night". "WISHLIFT" is marginally catchier, though rapping is better than the previous song. "Hit the Floor" has a dirtier underground thump to the beat, that is what gives this song the edge. 

"Still in the Pain' finds them rapping faster, but that is not to say it's catchier. Which is what matters at the end of the day. The last song finds the more inground sounds occupying the background of the song. I'll give this album a 9.5, for me to download a hip hop album these days they have to be doing something right and care about writing songs, even if it is only to gain the kind of clout they rap about. 

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Underworld : "Strawberry Hotel"

 

The 11th album from the British electronica icons feels like everything you expect from them once you get to the second song, there is more melody on the opening track, but the beats start doing their thing soon enough."Denver Luna" not only takes a familiar way they build their songs but then finds them incorporating new sounds and dynamics into that formula, which is really all you can ever ask for from an artist like this. "Techno Skinkansen" is pretty driving and as futuristic as you might hope for from this kind of music. While I prefer the songs with vocals the instrumental tracks do flow like songs, which is what sets this project apart as all too often electronic music is merely sounds to dance to. But they have collected a strong array of sounds, that break from the typical techno synths.

"Lewis in Pomona" is more experimental and leans a little more in the direction of sounds, though the dystopian house beats keep it flowing along. 'Hilo Sky' is a strong testament to what puts them at the top of this sort of thing. There are organic instruments in play while they keep the throbbing intensity. " Burst of Laughter" is more vocal-oriented, though the pulse is not as intense as the previous song. "Ottavia" is more of an interlude than a song. There is an acapella version of the second song as well which I am also not counting for the purpose of this review though it's an interesting touch. 

"Gene Pool' flows of a chilled-out pulse, that relies more on ambiance. "Oh Thorn" works off a similar ambiance, but the vocal line gives it more motion with its chant. Female vocals appear on the also mellower "Iron Bones". The bass line is minimal but bounces around, as the vocals solidify the song. It's the best use of ambiance on the album. The album closes with the acoustic "Stick Man Test'  I'll give this album a 9.5, and see how it grows, on me. I appreciate their willingness to try new things even this late in their career. 

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Sun of Nothing : "Maze"

 Just catching up with albums that fell under my radar and this intense band out of Greece seems worth my time. They self-identify as black metal but feel like metallic hardcore to me until they lay on the tremolo picking. The bulk of the song is more deliberate and bleak, with the harsh vocals going back and forth from a high scream to a low growl. There is an even darker groove to the creeping second song, though the vocals stick to the lower growl of the first song.

Once we get to "Ghost" thanks to the chaotic screaming of the vocals that uses a pretty uniform approach to their feral phrasing, the songs begin to sound, the same though "Ghost" does attempt to justify, their claims of being a black metal band midway through as they go into a dissonant blast beat. Not that blast beats are what makes something black metal, but it does help to steer the sonic attack of the song in that direction. There is a very haunting quality to their sound, that makes this an interesting record even when it works off a similar pulse. 'Voidhanger" which works off a more angular riff. But the throaty howl of the vocals doesn't switch it up enough and it ends up being too similar to the other songs, even with the few dynamic nuances of the riff ebbing and flowing. There is also more blast beating which puts us at two of the first four songs having black metal elements.

 So blackened hardcore might be what I am willing to call these guys. The last song is more sludgey in the throbbing drive it hits you with aside from being both dark and sonic it is not as intentional in its efforts to convince you they are blast metal as the accelerated tempo at the end, is intense, but doesn't;t feel black metal more like something Eyehategod might have done. I'll give this album an 8.5, if the vocals were more dynamic it might have helped the songwriting, but what they do is interesting enough for dark heavy music that touches on extreme elements. 

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Body Count : "Merciless"

 At 66 years of age, Ice-T decided to record an 8th album with his metal band, which worked as a novelty when their first album came out back in 1992, which is the last time I listened to the band. I did see them when they performed with Ice-T during the first Lollapalooza tour. I also like his "O.G" album where he first debuted with them. Since then it sounds like they have evolved into a halfway decent thrash band. Not the most original band riff-wise, as there is almost a straight-up Slayer riff on the first song. The reason I stopped listening to them after the first album was nu-metal and hard-core bands were soon making similar music better, and there are only so many hours in the day to listen to music, so I tend to invest that time wisely. 

Corpsegrinder is on the second song to lend some legitimacy to things. Joe Bad from Fit For an Autopsy is on "Psychopath", which is another pretty decent thrash tune. "Fuck What You Heard" is lyrically strong as it compares politics to gangs, and says they are two wings on the same bird. "Live Forever" is the first song that feels like filler and Howard Jone's vocal is pretty weak. There is a decent groove to "Do or Die". They got David Gilmour to help them cover "Comfortably Numb" which finds Ice-T randomly rapping over the verse. Gilmour just rips guitar solos, which are better heard on his new solo album. He can't save this song.

"Lying Motherfucka" is pretty much warmed-over nu-metal. Max Cavalera helps them on "Drug Lords'. The verse is more of a punk song. "World War" is an improvement over the previous songs. I think when they turn "Mic Contract" into a metal song, it was a good move and perhaps the direction they should go more often. They could do it with Ice-T's first three albums for sure. I will give this album an 8, it's better than I thought it would be for sure. 

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David Gilmour : "Luck and Strange"

 

At 78 Pink Floyd guitarist David Gilmour, is not fading away. The title track of his new album rivals almost any Pink Floyd song that is not on "Animals". It's some of Gilmour's best guitar work. Even his voice sounds great, he's not afraid to reach up into his head register for a few notes here and there. This is the last recording keyboardist Richard Wright appears on before his death. But the challenge is, will the rest of the album live up to this? This question is what we seek to answer in this review. Even regular readers Pink Floyd is one of my favorite bands. 

Gilmour's wife, Polly Samson, wrote most of the lyrics. The ambling "The Piper's Call" has more movement than the single. What he did with Pink Floyd is true without being confined to it. While I have not listened to much of Roger Water's more recent solo work, it's hard to imagine it being more like Floyd than the jams this song goes of into to highlight Gilmour's playing. Thus lies the question what makes you think of Pink Floyd more Gilmour's playing or Water's sardonic wit. I accept both "Momentary Lapse of Reason" and "Division Bell' as great Floyd album, so Gilmour's playing is what defines it to me.  Lyrically his wife penned the theme to explore aging and death. At his age, it's a closer reality, though I certainly expect him to outlive Ozzy, as he looks healthier in recent clips. "A Single Spark" is the first song you can hear the age in his voice. 

His daughter Romany sings on "Between Two Points".  She has a decent enough folk voice. The song is mellow and flowing.  'Dark and Velvet Nights' is a grooving blues tune, that allows him to rip out honey-sweet lick with an immaculate tone. The only thing about solo albums is you will find a foray into more conventional songwriting without Waters or Wright to balance him out, thus the song "Sings" , which nothing is wrong with it just sounds like your average middle-of-the-road meandering ballad. 'Scattered' is closer to something Pink Floyd might have done. His lyrical style of guitar soloing is highlighted in this song. The last song is just a more folk-inflected ballad to his daughter also lends her voice, which works well enough. The strong moments from this album and his stellar playing make me give this album a 10. He continues to amaze me. 

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Marilyn Manson : "One Assignation Under God Chapter 1"

 Manson is back. Vocally sobriety seems to be doing him favors. His upper range is not as strained. His 12th album is once again produced by Tyler Bates. It sounds like Code Orange's Rebe Meyers is playing for him and lending backup vocals, which makes sense as she has been a part of his most recent touring band. The first two songs are dark, and melodic with enough rock guitars to make sense. The first aggressive song is "Nod if You Understand". His lyrics "I won't repent, this is what I was sent here for" set the tone for the album, since this is his comeback, after an unsuccessful cancellation. Really if you want Manson to be anything but a sleazebag, you were never into his music in the first place or just don't pay attention.

"As Sick as the Secrets Within" was one of the lead singles from this album. It does pretty much what you would want Manson to do in 2024, though it's somewhat moodier and like an alternative power ballad from the 90s. It brings "Mechanical Animals" to mind. "Sacrilegious:" has the same kind of "Dope Show' strut, he is known for. Not the strongest on the album, but it works well enough. There is a more organic rock feel on this album and less electronic pulsing. His lower vocals take on a more "Beautiful People' cadence, so there is an element where Manson feels like need to bring in familiar elements to remind you why you liked him. Things are streamlined, and less experimental, which is still effective for what he is going for here. 

"Death is Not a Costume" is darker with more grit to the creeping bass line. The most "goth" song so far. The chorus works really well on this one. "Meet Me in Purgatory" is driven by a punk-tinged bass line. Bate's has really figured out how to dial Manson's voice into the mix. The sounds are very clean, and he could have used less noise gating and allowed some of the tones to have more feedback and grit, particularly on a song like this. 'Raise the Red Flag" is another of the singles that preceded the album. It does have that grit I was just referring to on the bass, but the album as a whole needs to be dialed in like this song. Manson's vocals could still be the focal point, and he is not screaming a helluva like on this album, he does dig in more on the chorus here. 

The last song is a ballad, which works well enough, he sounds good on it, perhaps not what I would have chosen for him to do, but there is a creepy little melody in the background. He does go into his head register for a note, which I like. Lyrically it's interesting and honest so it prolly just needs to grow on me, so I will round this album up to a 10, and give it some time to settle in, but aside from a few glances back at his legacy, his voice sounds great and it's dark enough to work for me. 

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November is Doom : Fatima : "Eerie"

This French band immediately impressed me with the first song. The urgent vocals and ominous ambiance, all worked perfectly. The guitar carries the needed metallic punch to drive the point home as the bass anchors this down, with a unique songwriting approach. It's pretty haunting and sets high expectations for the rest of the album. Some 90s elements are lurking under the surface here, and perhaps this is the icing on the cake for me. They bring plenty of power to the overdriven wall of fuzz that leads into the second song.

At this point in the album, I begin to hear how they are following the path created by countrymen Hangman's Chair. This is finds since those guys are one of my favorite bands. There is a little more of a Soundgarden feel going into the trippier "Miracle of the Sun" which finds a warmer sense of melody creeping into things. There is a lighter vocal employed on this as well. The bass keeps "Portuguese Man O War" moving as the vocals are locked in a more hypnotic chant. The lumber of the riffs retains the established heaviness. "Cyclops Cave" has a sludged-out grunge drive as the pace picks up into a palm-muted chug. More in common with the Melvins than Nirvana. 

Speaking of influences I appreciate the Cure-like feel of "Hypericum". The bass brings the slinky groove, while they bring more melancholic tones to the chorus. This album likes taking you through exotic Middle Eastern chord progressions, while "Three Eyed Enoch" flirts with this, it commits to the gloomy more doom-ridden stomp. It shifts into a more grunge jangle at times, but the thread of doom remains tied to the song as a whole. The album ends with a moodier post-grunge power ballad. I'll round this up to a 10 this falls along similar lines as Hangman's Chair or O Zorn ! as it's dark heavy and downtrodden and might not be an actual doom album, but moody enough to appeal to both fans of doom and grunge.

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November is Doom - Iota : "Pentasomnia"

 

This band features the drummer from the Otolith and Subrosa. They play a moody version of a blues-tinged stoner rock, that sets itself in a dusky liminal sonic space. The vocals are soulful and the music is dynamic with great guitar playing. The groove picks up for the second song that moves with a more grunge feel it is not unlike the mid-90s in this regard as metal bands began to feel the changing tides in the industry and sounds shifted. This was a unique period in time as things got more brooding. 

"The Returner" has a loose, jammy feel that wanders off. It feels more like stoner rock to me, that 70s wannabe riffing compressed into radio rock formulas, as it sounds like something you would play if you get high. Extended solos and hypnotic vocal melodies might not be the hookiest songwriting, but it captures a cool mood. This is the album's longest song at almost nine and a half minutes. 'The Time Keeper" is another wandering jam. This song also highlights the fact, that headphones work better for this album than computer speakers, as the guitar got lost.

They close the album with a darker tone that works well. The stormy tension of "the Great Disolver' how never reaches a resolution they just establish the pulse, but since this is a three-minute song it feels like rather than being given the time to jam on it, they just bring it to a premature end. I'll give this album a 9, it is fun, paints the picture your THC addled mind wants from this sort of thing, and even though many of these ideas just serve as a thesis for their jam it works when given the room to grow. 

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