July's Top 10 Albums

 

It's time for July'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; I am just linking the reviews. 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 inbox that are not coming out til August, 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 tends to be a dominant theme of post-punk, with some indie-folk and metalcore, so you may find your new favorite among them. Here are the Top 10 albums of July

10-ten56- "IO" 

Metal Core 

https://abysmalhymns.blogspot.com/2025/07/ten56-io.html

9-Imaginary People - "Alibi" 

Indie Rock

https://abysmalhymns.blogspot.com/2025/07/imaginary-people-alibi.html

7-Edna Frau "Slow, be gentle, I am virgin"

Post-punk 

https://abysmalhymns.blogspot.com/2025/07/edna-frau-slow-be-gentle-i-am-virgin.html

6-Scars on Broadway- "Addicted to Violence" 

Nu-metal 

https://abysmalhymns.blogspot.com/2025/07/daron-malakian-and-scars-on-broadway.html

5-The Discussion - "All the Pretty Flowers" 

Post-punk

https://abysmalhymns.blogspot.com/2025/07/the-discussion-all-pretty-flowers.html

4-lowheaven- "Ritual Decay" 

Screamo 

https://abysmalhymns.blogspot.com/2025/07/lowheaven-ritual-decay.html

3-Noah Cyrus - "I Want My Loved Ones to Go With Me" 

Alt-Country 

https://abysmalhymns.blogspot.com/2025/07/noah-cyrus-i-want-my-loved-ones-to-go.html

2-Lord Huron -"The Cosmic Selector Vol. 1 "

Indie Folk 

https://abysmalhymns.blogspot.com/2025/07/lord-huron-cosmic-selector-vol-1.html

1- Bush-I Beat Loneliness 

Grunge 

https://abysmalhymns.blogspot.com/2025/07/bush-i-beat-loneliness.html

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Gwar : "the Return of Gor Gor"

 

This ep is a bit of an odd release as it's 3 new songs and 4 live songs from various junctures in their careers. The mix on the first song is a little weird, as there are lots of odd synth effects, and the guitars feel a little on the mix. The title 'The Great Circus Train Disaster" seems outside of the normal Gwar mythology, which used to be the thread ever since 'Hell-o" and they have gradually strayed from this. "Lot Lizard" has more rock n roll in its veins. With big gang vocals chiming in. Just generally, tales of human depravement are on theme for the band. 

There are a ton of weird sounds on this album, which I am fine with. "Tyrant King" seems to be more of a metal song. It is also the first song to mention the title character. It is as inspired as their other post-Brockie songs, not really. They are staying on the road and playing a ton of festivals so I guess the money is there, and this is just part of the machine they have become. "Crack in the Egg" is the first live song. The guitars are on point. It still grooves like it once did. He is great at singing his own songs, but when it comes to taking over Oderus's songs, when I saw them open for Mudvayne a few years ago, they sounded better. 

"Founding Fathers" is a skit that needs to be seen more than it needs to be heard. The title track of "America Must Be Destroyed" is unexpected but reminds me to give that album another listen.  Though it's an interesting industrial-influenced instrumental, it is an odd choice for a live song.Unless they were killing time to chop somebody up on stage, which is better seen. 'Fish Fuck" is another choice, from a band that continues to lose their minds while maintaining a brutal tour schedule. I will give this one an 8.5, it's not their best, but certainly worth the time of Gwar fans who miss Oderus. 

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The Discussion : "All the Pretty Flowers"

 Not sure how this slipped under my radar, as it's Laura from Kylesa making a post-punk album. It is very moody with a hazy atmosphere over the tense bass lines that prowl the shadowy landscapes she has created here. There is a 1950s pop feel to how these songs move at times, but this is also set against electronic noise on " Fade Away". Then, to further push the bounds of dynamics, she goes off into a dancey song that would not be out of place if a DJ were spinning it at a goth night. 

"In the Mirror " has more of a new-wave thump to the bass, and Pleasants' vocals have a more Debbie Harry feel to them. "Without You" is more reflective; there is an 80s dream pop touch to it, though this is colored by a deep sense of loss, as the guitars convey this lurking gloom.  At some point in this album, I suspected there was a drum machine being used, but on "In Death and Life," there is no mistaking the pound of a real kit, giving the song more of a heavier rock drive. This also makes it one of the album's best songs so far. 

The brisk tempo of " Over the Edge' keeps things moving in a manner that hooks you into the momentum this album establishes. While her voice sits back in the mix, the lyrics that do cut through seem to deal with the mental health aspects of losing someone you care about and the pondering of mortality. "Desire' finds an interesting collision of sound in motion, all of them connected to the 80s. I think we are back to using a drum machine here, but it gets the job done. "She Said" has a very slinky goth bass line that coasts over the beat. The dynamic shift for the chorus gives it some punch and is a cool touch. There are great guitar tones on this album, and some very nuanced playing closes out the album on "Let it Go". It also features some of her best singing on this album as she continues to find her voice away from Kylesa. I will give this album a 10; it's great songwriting and covers a wide breadth of the shadows.  

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Die Sexual : "Desire "

 

This three-song EP comes from this Los Angeles-based duo, who are getting some buzz for their big techno-infused brand of dark wave, though their hyper sexualized branding does not hurt in getting you attention. Rather than trying to recreate a sound from the past. This is also reflected in the production that is modern and larger than life, like it should be pumping in an after-hours club where the latex and cocaine flow in equal proportion. 

Very driving but not dynamic, it is easy to understand how they have warmed themselves onto DJs' set lists as it has the kind of pulse you want to keep the dance floor moving. Her sensual and keeps the song's narrative going, but serves a similar purpose as the vocals in Boy Harsher; there is a sexy female narrative that keeps the moaning going, in order to establish the needed vibes. Some darker synths begin to work their way into this one, to give them the needed atmosphere to justifiably get called a goth band. Though she seems to be moaning about magic in the dice, so maybe this is where the two different kinds of Dungeon Masters meet. 

"Miss Behavior' finds more of a disco hi-hat sound sliding into the mix. The vocal phrasing reminds me a little of the song "Bringing Sexy Back". The beats are pretty all-consuming, with her vocals sitting back against them. She is taking on a bit of a dominatrix persona in this song. A little less convincing than "Justify My Love." Overall, it's effective at what they set out to do and a great deal of fun,I  would be interested to see how it plays out in the context of a full-length album, or maybe it's wiser for them to put out a few songs at a time. I will give it a 9. 

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You Can't Kill Rock n Roll- Ozzy Osbourne's "Bark at the Moon".

 In the running for greatest opening tracks of all time, the title track from the 0zz-man's 1983 classic is in the top 5. One of the greatest songs written, though if you listen carefully, this is a very abstract werewolf, as much like Iron Man, he returns from death. This was the first Ozzy studio album I bought, "Speak of the Devil" being the first, even odd dark dreamy ballads like "You're No Different" have a place in my heart as he asks where he belongs in a sick society. This was at the height of Ozzy's controversy, when his myth was at its peak. 

He is back to rocking on "Now You See It" , but the guitar sits back in the mix."Rock N Roll Rebel" has a great vocal melody and driving guitars that create a perfect combination of what you want from him. It also features one of Jake E Lee's better guitar solos. This cassette was in my Walkman for the bulk of fourth grade.  "Centre of Eternity". It took my years before I realized the reason I related to the lyrics for 'So Tired" before I understood that it is actually about depression. 

"Slow Down" is another classic Ozzy rocker. I typically think of this song as more depressive power ballads, but it's about 50/50. Not my favorite chorus on the album. "Waiting For Darkness' might be my second favorite song on this album, as it has a dark tension and great vocal melody with a tangible desperation to his delivery, This album gets a 10. 

 

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Esses : "Pain at the Altar of Jest"

 

This Portland-based band plays a stormy version of goth-infused rock that carries some heft that sometimes feels like a cross between Switchblade Symphony and Swans. The hypnotic throb of the tribal drumming and taunt guitars provides the web over which Kelly Correl's voice crawls. There is plenty of dynamic ebb and flow, with witchy vibes swirling around the cauldron of brooding. "Low" is more simmering. Three songs in, it's pretty clear they have hit the sweet spot on two fronts; they are sonically heavy, and they are so dark that it equates to heaviness. The guitars and drums factor in with both of these qualities. 

There is more of a post-rock feel to the spacious wandering atmosphere that is "A Greene Heart". They hang on the chords and drums create a droning pound over them to create a more Swans-like effect.  They continue from a more song-oriented style to a more expansive focus on the dense bath of sound they are pouring over you that grows both darker and more abstract on "The Twelfth Thread".  Kelly's voice continues to belt it out, but in a less focused manner. It is more ritualistic.

"The Burrow" has a more post-rock drift to its ambiance, which employs a more minimalist use of the reluctant drumming, leaving it to a subdued patter compared to the churning stomp of the previous songs. The vocals do not seem to adhere to a traditional verse-chorus format. The guitar steps up to give more of a rock backbone to "Cavern of Souls". She wails over this in a more commanding fashion as the guitar swells. The last song, "Crackedlands" took a couple of listens to sink in. It opens with deep ambiance that washes over everything in a dark and droning manner. Her voice pleading out into this shroud of sound. Moody and sonically impressive I will give this album a 9 and see how it grows on me. 

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You Can't Kill Rock N Roll- Ozzy Osbourne's "Ultimate Sin"

This 1986 album was Ozzy's 4th solo album. He later said he did not care for it because the production created a uniform sound. This also contributes to making it his darkest and heaviest album to date, thanks to the "Cold War" fears creeping into the lyrics and the fear of nuclear war hanging over everything to create the mood. Despite the height of his hair at this time, it was not a glam metal album and set him apart from where metal was going at the time, putting him in the middle ground between the Motley Crues and the rising undercurrent of thrash bands. The title track carries a huge stomp. The fiery guitar work of Jake E Lee feels like it's more fully realized here than on "Bark at the Moon". Former Lita Ford drummer Randy Castillo plays on this album, as well as bassist Phil Soussan.

"Secret Loser" dives into some inner struggles lyrically, showing more depth than where metal was at in the mid-80s. "Never Know Why" is closer to Judas Priest than Def Leppard. More arena rocking than many of the songs on this album. "Thank God For The Bomb" sticks closer to the theme and offers some interesting riffs that allow the chords to ring out more. "Never" is familiar when I go back to listen to it, and it has a memorable hook or two, but I can understand Ozzy's point about this album not being as dynamic once we get to this song.  There is some great drumming on this song. 

The opening of "Lightning Strikes" calls back to "Crazy Train"; the chorus always felt a little too happy to me when it gets to the "I won't stop rocking all night" part. Is Jake E Lee and underrated guitars due to the two legends he is bookended between? Yes, but his solos are not a memorable as Rhodes or Wylde's either. "Killer of Giants" is both darker and more melodic than the bulk of this album; it is a power ballad of sorts, but a very well-written one that stands the test of time. It also sticks to the overarching lyrical theme of the album. 

"Fool Like You" is without the bomb references but otherwise sums up the tone of the album. Co-written by Phil Soussan, the lead single "Shot in the Dark" went on to become the album's most recognizable song. Ozzy's vocals are more normal than the range he normally sings in to create a darker quality. It is classic Ozzy, and when it came out did not feel like a total sellout. I will give it a 10. 

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PSYCHO-FRAME : "SALVATION LAUGHS IN THE FACE OF A GRIEVING MOTHER "

 

The debut from this death-core band finds them leaning into the more slamming side of the genre and taking a few more chances. The vocals do have plenty of the low gurgling, which switches to a higher scream. There is a grinding, spastic nature, along with some nu-metal in their DNA.  The opening track is heavy enough that it can stun you into awe, before you have the chance to ask if these guys can actually write a song. The bouncing stomp of "Inverted Spear of Heaven"  makes it harder to answer this question, as most of the time they are into playing at a more manic. 

"The Portal" opens up with a guitar solo that indicates they can play their instruments, but the songwriting questions still linger, as all the half-time riffs colliding with one another do not indicate a great deal of dynamics. The vocals do bear some of the blame when it comes to the one-dimensional nature the album's sonic scope begins to be limited to. There is a little more groove to "Black Wave 2". But once again, the vocals follow a similar pattern as previous songs, until they go into a hyper blast. There are more hard-core moments to their stompy sections. 

They lash out in a more feral, hard-core manner for " Endless Agonal Devotion". But there is nothing there that really hooks me into the song. "Apocalypse Through Lysergic Possession" is a cool song title, but the reality of the song is a more chaotic version of what they have been doing thus far. There are a few more deliberate riffs that give it a grounding stomp at times. The breakdowns are pretty slapping in this one, though the vocals have grown tedious. "I Won't Be There to Watch You Go" falls along the same lines as most metalcore that touches the bounds of death grind. 

"Filleted and Fucked" is another great song title wasted on an incomprehensible chug fest. There are chances for them to lock onto a groove that they let slip past them. They do find some breakdowns. "God is Busy" is another song that has potential, but they go into the more formulaic breakdown crunching. Yes, it is heavy, but it also becomes redundant. For the last two songs, I do not have a great deal of faith that there is going to be much that varies this album, from the one-dimensional mood cast of the brutality so far. The last song starts off with the kind of frenzy that has consumed the bulk of this album. There are a few more traces of atmosphere, but not enough to really create the kind of dynamics this album needs. While I do think Snaguissuggabogg is going to break more mainstream, it's because they understand the groove behind breakdowns; this band still has a lot to learn. I will give this album a 7.5, if you jsut want heavy, they have you covered. 

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Victim of Fire : "The Old Lie"

These guys have a very in-your-face thrashing take on crust. The guitar sound on this album is not as raw as some, and the energy keeps things moving, as the layered guitars seek harmony rather than dissonance. Metal-core at the time,s might be a fair enough reference point. The lyrics to the opening track deal with the realities of war. There is more hyper-aggression here than the kind of bleak apocalyptic feel I normally get from crust.  Funny enough, the second song is titled "Apocalyptic Inclination,n" but it runs off more of a thrashing rage than deliberate darkness. The vocals are snarled in time with the rapid-fire riffage, so you are lucky to discern a few words here and there. Mways into the songs, things take a more melodic turn to provide dynamics. 

"Wayward Light" works off a similar energy as the previous, so much so that I begin to listen for the dynamic nuance. There is a bit of black metal influence lurking in the storm of riffs unleashed here. "Nightmares of Ceasefire " opens with a clean guitar intro before meeting at the crossroads of thrash and punk. This does result in some what hookier riffing. The theme of the album seems to be war. I suppose they are raging against it. If they were Slayer or a death metal band, they would need to be celebrating it. The rabid speed they are playing has more in common with Slayer. Though I think the raw "Show No Mercy" era. They lock into a few powerful chugs. The guitar wanders off into a more melodic place to end the song. 

"Discordence" is more like old school hard-core in its chugged attack. The more melodic guitar parts that open "Barren Path" give way to straight-up metal guitars that might as well be on a Darkest Hour album. The scowling snarl of the vocals on "Front Towards Enemy". "Disharmonist" finds guitar melodies working their way into the chaos. This might be the most black metal moment on the album yet. They throw them into a more metal core, with a pretty powerful gallop. Speaking of Gallop, the last song is a cover of "Aces High". Iron Maiden is one of my favorite bands, so to cover them is to be heard under a more microscopic ear. This song is going to be hardest for their bassist. The guitar harmonies and played perhaps a little too fast as they thrash out the verses to compensate for the snarl of the vocals. Of course, the big hook at the chorus becomes a moot point. I'll give thi album an 8.5, I think it's best to think of it as a thrashing metal core album and less of a crusty album.  

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PANZERCHRIST : "Maleficium Part 2 "

The second part of the Danish band's "Maleficium" double album is even angrier. Lyrically, it continues to look at the history of witches. Sonically, it carries an attack that is not unlike what Marduk does. The opening track hits you full blast ahead, but everything works in this case, though I would not want to hear an entire album of that. The vocals have purpose, which certainly helps their case for going to such extremes. The drummer does not want to let up on the second song either. It does rage with a similar rapid-fire feral nature. 

"Harm Bidder" dials up the black metal undertones while not tempering much of the hyper aggression that powered the first song. They flirt with a melodic chord progression that is also dripping with an odd dissonance. The balance of death metal and black metal is done not unlike how Goatwhore blends the two genres; they have the aid of melodic guitar lines here and there, as the vocals keep the intense scowl going.  "Hex Maleficuum Pex" feels more like an incantation to invoke the end of the world, the black metal tension running in its veins. The lyrical narrative uses a creepier groove that progresses into solidifying the mood.  The vocal chant of 'the only good witch is a dead witch " is effective. 

After a minute of dramatic ambiance, they bust into "Suffer My Fury". They do add some melodic elements towards the end. "On Walpurgis Night" is more deliberate, with a more Morbid Angel-like double bass propelling the song. The story begins to unfold more in this song, not in as vivid a manner as the lyrical pictures King Diamond paints, but more so than what you expect from death metal. 

"Black Mirror" adds a few more sonic colors. This is what this album needs more of. Dynamically, this makes it one of the album's strongest songs. The last song carries a thrashing attack with the guitars driving it, as the vocals remain consistent. Their drummer anchors things by letting up on the double bass to provide more breathing room in places. I will give this album an 8.5 as it is a visceral listen that hooks you in with vocal incantations that serve as the narrative here. 

https://soundcloud.com/panzerchristofficial/harm-bidden?si=660313a1185e42c0912d25aa2ac883f6&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing pst347

You Can't Kill Rock N Roll- Ozzy Ozbourne's "No Rest For the Wicked"

 

This 1988 album saw the debut of young Zakk Wylde, who would go on to play with Ozzy off and on for the next 40 years. Still sitting solidly in mainstream metal, as thrash bands had begun to break really big, in fact, Anthrax opened for him when I saw Ozzy on this tour. Many of the '80s trappings still adorn this album, making it a more varied affair than "Ultimate Sin". The opening track, "Miracle Man," found  Ozzy at war with teleevangelists, which was on brand for him and the kind of energy we needed from him at the time. 

"Devil's Daughter" found him continuing to flirt with the kind of imagery that would earn him the reputation as the Prince of Darkness. I like the creepy feel of the vocals on this one. "Crazy Babies" is the first song that feels a little like filler and is bogged down in some 80s tropes. Mainly production-wise in how the vocals are layered.  "Breakin' All the Rules" might work off a riff that sounds like Dokken, but Ozzy's vocals work well, and it's not the 80s party vibe; it sounds like it could have been left over from "Ultimate Sin." 

"Bloodbath in Paradise' is one of the album's heaviest songs and my favorite as it is about Charles Manson. Might even be in my top 10 Ozzy songs."Fire in the Sky' might be the best power ballad from him that is not the title track to 'Diary of a Madman." "Tattooed Dancer" would be more expected from Motley Crue than Ozzy, but Zakk shines on the song. "Demon Alcohol" is only made heavier by the lyrics."Hero" is pretty powerful in its hopeful self-deprecating. This album gets a 10. 

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Stoned Jesus : "Songs to Sun"

 I liked their 2023 album "Father Light" and this one works off a more post-rock infused atmosphere, which creates dynamic contrast from when they exhale and step on the overdrive. The opening track finds them at a very balanced crossroads of sound, with enough metallic punch, yet more thoughtful vocal melodies that are almost another part of the instrumentation. Form and function in the arrangement, yet a feeling that they are jamming out certain sections and just going with the vibes in the moment. 

Not too adventurous that this feels like prog, but more intricate than just banging out some chords. "Shadowland" has a more Soundgarden-like groove. The vocals are a little lower, though not as brooding as the grunge-infused metal of the '90s. It is dark enough to keep me interested. 'Lost in the Rain"  finds more delicate guitar parts setting the stage for them to build up from. It is somewhat of a ballad with a pulse that throbbed out like a gathering storm cloud as it progressed. The time spent unpacking the tasteful guitar solo is well spent. 

"Low" is the most metallic song on this album so far. There is a "Children of the Grave' like gallop that keeps it moving. They balance this out by winding around into some riffs that are equally heavy in terms of their sonic depth as they are heavy metal. They jam out a little more with "See You on the Road." The last song, "Quicksand' is not a David Bowie cover, but a strummed jam that feels more like Monster Magnet. I will give this one a 9, which puts it on the same level as their previous album, showing they are not only consistent, but better than most bands trying to do this sort of thing. 

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You Can't Kill Rock N Roll- Ozzy Osbourne's "No More Tears"

Ozzy's 6th solo album dropped back in 1991 and is largely responsible for keeping him relevant for the next four years as music shifted. He ignored grunge and kept doing what he was doing, but refined it. Lyrically, "Mr Tinkertrain" would have gotten him cancelled and an invite to Epstein Island. Musically, it rocks. "I Don't Want to Change the World" is a little too upbeat for my tastes and not dark enough, but it is one of the songs that became endearing as it stood the test of time as a staple of his live shows to come.

"Momma I'm Coming Home" is one of my least favorite solo songs, but it has grown on me over time, and it is hard to deny Zakk's playing on this one. It kept his career alive, and perhaps Sharon wisely persuaded him to do more ballads, not sure she asked him to write one about her, but I would not put it past her. If you ask the average person to make a solo Ozzy song and they do not name "Crazy Train," this is the song they will remember.  There are not a great deal of harder rockers on this album, but "Desire'  comes closer to what you expect from him. 

The title track is the album's best song. If you don't know it, I am not sure why you are even reading this. "Won't Be Coming Home" is not the album's most memorable song, as I had forgotten about it until digging back into this album. It feels like it's left over from the "Ultimate Sin' sessions. I'm not even sure in 1991 that I considered "Hellraiser" a metal song; it is a good grooving rock song that is on brand for Ozzy.  "Time After Time" is not quite a power ballad, but not as in-your-face as what you expect from Ozzy; however, it is well-written, and Wylde's playing continues to push the song into greatness. 

It takes two minutes to build up into the marginally more metallic "Zombie Stomp," which would have been heavier with different production, but at times, the production of this album reminds me of "Dr. Feelgood". The more jammed-out feeling of this song is fun. "A.V.H" is the first song that feels like filler to me, but this might be because the other songs went on to become such a part of his identity in this phase of his career. "The Road to Nowhere" is a case in point, as it was another power-ballad that worked its way into being in regular rotation live.  Stellar guitar work and good writing a major causes of its success. 

"Don't Blame Me" has plenty of motion behind it, though it simmers in hard rock without packing the punch of what we think of Ozzy's brand of metal. "Party With the Animals' falling closer to the definition of metal that I want from Ozzy, perhaps this is due to the higher energy driving it. I will go ahead and round this one up to a 10 as it has stood the test of time. 

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Lord of the Lost : "OPVS NOIR Vol. 1"

These guys are back with their grandiose take on metal that feels like it's gotten bigger this time around, and midway into the opening track, you can hear how they are moving up the bill on European festivals with this album. This comes after opening slots for Iron Maiden, which made them step up their game. Though they are sticking to what they have been doing up until this point in their careers and not dumbing things down for an American audience, so you are either into this or you are not. Yes, the ahrsher vocals might appeal a little more to Western audiences, but they're only one aspect. 

I liked the darker, brooding verses of "My Sanctuary," which flirted with a gothier sound, but the chorus was too upbeat in its anthemic declaration, which feels like something the 69 Eyes might have done. Sharon den Adel from Within Temptation lends her voice to "Light Can Only in the Darkness," bringing a symphonic metal sound to the forefront, which is the dominant element of the overall sound. This album sounds very European, as heard on "I Will Die In It", which works, but things start to get a little for theatrical on "Moonstruck" 

"Damage" finds the symphonic elements colliding with the more industrial influence to feel like VNV Nation jamming with Dimmu Borgir. It works better than some of the more flowery flourishes of the other songs. "Ghosts' follows a very similar formula to the previous song. To his credit, Chris Harms is one of the better singers to rise in prominence in recent years. "Lords of Fyre" sounds like they wrote this with Andrew Loyd Weber for a folk metal musical. It does build into a heavier section, and this album feels more metal than most of what I've heard from them. 

Predictably from the title alone, "The Things We Do Love" starts off as more of a ballad. When the drums kick into the verse works much better, and Harms' vocal phrasing is interesting to redeem the song of its sappier elements. "The Sadness In Everything" touches too closely into the sonic neighborhood of Nightwish for me. It does not feel dark or heavy, but like something from a more aggressive Disney musical. There is a similar drama to the last song, but it is more balanced with darker moods. Overall, this is an ambitious album. I appreciate the emotive qualities, sometimes they are just done in a manner that is not my thing, but I can still hear how they made the album they set out to make, for their fan base that wants this sort of thing so for that reason I will give this a 9.  

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You Can't Kill Rock N Roll- Ozzy Osbourne's "Ozzmosis"

 

When it came out, this album took some time to grow on me. "Perry Mason" lyrically seemed really weird at the time, though now the song is an Ozzy classic. The album was also heavier on ballads, though some of those, like " I Just Want You' are some of his best ballads, and that song is dark enough to win me, I think seeing him play live so me on it. The weird thing is this trend continues on the third song, "Ghost Behind My Eyes," which is another anthemic power ballad. There is an interesting guitar tone, but it kind of feels like he was holding onto the '80s all the way into 1995, when music had taken a wild turn from this sort of thing, thanks to the rise of alternative, but Ozzy held strong and endured despite this. This is not Ozzy making a grunge album.

When this album first came out, 'Thunder Underground' was my favorite song, as it is the first song on this album that feels metal. It is still a banger to this day. Though when it comes to power ballads 'See You On the Other Side" is pretty timely, but has held up over the years thanks to the guitar tones that do not sound like they were conceived on a Def Leppard album. "Denial' has more balls to it but hovers around the creepy power ballad like sweet spot for him. Zakk's guitar solos are killing it for sure. 

"My Little Man" is about baby Jack; it has a Beatles-like vibe and some interesting tones. I guess it is intended to be a lullaby, but it sounds like they are putting him to sleep with a bong hit. "My Jekyll Doesn't Hide" is one of the other metal songs on this album. I think this is about his personality shift when he uses drugs. "Old L.A. Tonight" is a piano ballad that finds some soulful moments coming from Zakk, who finds some of his best playing on this album. It is weird thinking that Ozzy was only 46 for this album, so despite the wear and tear of the years, his voice was pretty prime here. 

"The Whole World's Falling Down" was a bonus track, but it should have been included, as that would have brought the total metal songs up to 3. "Aimee" is the other piano ballad, this one i about his estranged daughter. It sounds like it could have come from "Bark at the Moon", so that works for me. I will give this album a 10 it got better over time for me. 

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Marisa Nadler : "New Radiations"

 Her 10th album finds Nadler stripping things down to a more minimalist yet cinematic feel. It feels spacious, yep, with an intimate yearning. Her vocals are produced in a similar reverb-heavy manner, but the layered harmonies feel more pronounced. It feels more like her earlier work than the past couple of albums in the overall sound that drifts in from the opening track, so let's see where it goes from here. The answer is the kind of haunting ballads you want for Hot Ghost Summer, the same season she seems to be singing about on "Bad Dream Summer Time". There is a slight 1950s pop feel, to the otherwise lonesome western sound. The guitar takes things in a more folk direction for "You Called Her Camellia." Yet the more pining twang of country ambiance colors things with a longing ambiance.

The faint rumble of a low-end frequency anchors "Smoke Screen Selene". This gives the song a hypnotic drone that Nadler wanders around in. The guitars are more layered for the title track.   "It's an Illusion" might as well be from the soundtrack to a David Lynch movie; aside from its more pastoral depression, there is a mysterious quality to the surreal dreamy quality it invokes.  "Hatchet Man" was the only song I heard before giving this album a listen. The story it tells is not overdramatized. "Light Years" finds the vocal taking on an even lighter croon, as the song feels like clouds are descending from a starlit sky. Her breathy vocal delivery allows some of the lyrics to stand out in this song, they are "you used to be right there beside her. 

The song title 'Weightlessness Above the Water" is a fitting description of what the song sounds like, though the scene feels like it is set at night. Even more fragile is "To Be the Moon King." It feels more like a folk song. The mood is somewhat uniform on this album with subtle shifts in the stylistic change from song to song, but it is consistent in what she does. She brings emotions similar to longing and melancholy to life with the sound she uses. I will give this album a 9, as it captures the sound she has been perfecting for the past nine albums, no huge surprises if you are fluent in her music. 

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Alice Cooper : "the Revenge of Alice Cooper"

 The first album with the original Alice Cooper band since "Muscle of Love".  Bob Ezrin is also producing it. The first song, "Black Mamba" was the first single released from the album. Does it perfectly capture the fire enough that it picks up where they left off on "Muscle of Love"? Almost, it is pretty energetic for a band in their mid-70s who have not played together since the 70s. I like the first song better than "Wild Ones." This is because it is darker, and darker is what sets them apart from other bands on "Love It To Death". 

For 77, Neal Smith's drumming is solid, though "Up All Night"  feels more AC/DC  than what these guys used to do, and Cooper's vocals are way up front, and we have 77 year 77-year-old Alice singing about how he can keep it up all night. Um, ok.  'Kill the Flies ' finds things starting off with a creepier atmosphere before going into more 4 on floor rock n roll. Cooper's vocal does bring back a more theatrical feel. The chorus could be better. Just think of the songs this has to stand up against if you think I am being too critical. There are things like harmonies that sound like they have not aged. 

''One Night Stand' is darker, which is an improvement, and lyrically it's about a serial killer, which is better than him diving back into the "Poison" mood of his hair metal albums he went on to make without these guys. "Blood On the Sun" feels like a cross between a country song and the Doors, mixed with their more rock strut. Cooper's voice sounds amazing for his age. The arrangement might not be as progressive as their earlier work, but it takes some interesting twists and turns. "Crap That Gets in the Way of Your Dreams" makes fun of rock songs and struggling musicians with little self-awareness.  It is almsot as mean-spirited in its social commentary as Frank Zappa, but effective. 

"Famous Face" is another song that finds them grooving more than expected. It feels a little like early punk but with a more depressed attitude. This makes sense considering they came up playing with bands like the Stooges. His voice once again wins the day for "Money Screams."They pull from varied sides of what they once did with "What a Syd" sounding like it could have come from 'School's Out'. Then "Intergalactic Vagabond Blues" sounds more like a jam than a song, as it is not the most focused thing on the album. 

As for rocking out, they next another stab at straight-up rock n roll with "What Happened to You". He has been chasing more of a garage rock jam feel on some of his other, more recent albums, so things like this are not a surprise, but I prefer it when he takes a harder edge. He comes closer to this on "I Ain't Done Wrong," though there's more of a blues feel to the overall mood.  "See You On the Other Side" is more melodic than some of the rock jamming they were doing in the album's latter half. I will give this one a 9.5, so not at the level of his most classic work, but way better than other rockers close to his age are doing, it's closer to "Muscle of Love" than it is "Love it to Death" which might play into why I am not blown away by it, as it's not what I expected, but still congruent with what these guys used to do. 

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You Can't Kill Rock N Roll - Ozzy Osbourne's "Down to Earth"

The stomp of "Get's Me Through" kicks off Ozzy's 2001 album. Lyrically, it's pretty convincing as he apraises his reputation. Post the classic "Diary" line-up, this one featuring Wylde, Bordin, and Trujillo might be the strongest. "Facing Hell" packs an impressive punch. Three songs in feels a little soon for a ballad, but it worked on "Bark at the Moon" and "Dreamer" work for what Ozzy is doing. "No Easy Way Out" finds his vocals really well-produced. The chorus loses some momentum, but overall, it is a solid song that represents what he does well. 

The first song that feels somewhat like filler to me is "That I Never Had". Perhaps a different guitar mix might give it more urgency and make it click for me, but it does not feel like it is on the level of the first three songs. "Junkie' works and feels like some inward glances are going on lyrically. "Running Out of Time" works, it's not a ballad, but a Beatles-influenced rock song with creepy undertones that his voice flows well over.

"Black Illusion" is darker and heavier, making it more than likely the best song on the album. "Alive" is pretty crushing for an Ozzy song, though there are some more melodic moments in the verse. "Can You Hear Them" closes the album with a thunderous metal tension. Even the melodic breakdown in the middle of the song works really well. I will give this album a 10; it might be his most underrated solo work.

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You Can't Kill Rock N Roll- Ozzy Osbourne's "Under Cover"

 

When this album came out, I thought it was a bad idea. Jerry Cantrell lent his guitar skills to this session to make it a better idea. The opening track is a cover of Joe Walsh's "Rocky Mountain Way," which Ozzy's voice is suited for, and feels pretty effective. I am not sure I need him to cover the Beatles' "In My Life". I get that the Beatles were a huge influence on him, so he felt he needed to do this. In all fairness, he exceeds my expectations here, but I am sure this is a song he has been singing along to his entire career. 

"Mississippi Queen" makes more sense. Leslie West plays the guitar solo on this, which makes even more sense. His cover of "Go Now" is a take on the Moody Blues version. It has more movement. The more metallic guitar helps to give it its own identity, and Ozzy is not changing his vocal approach for any of these songs. John Lennon's "Woman" sounds like "So Tired" from "Bark at the Moon" in Ozzy's hand. The first song from a band whose original I am really invested in would be King Crimson's "21st Century Schizoid Man," which I think Voivod did a better version of, and I expected them to at least nail the staccato verses, but the original is heavier. 

If you need proof of who is a better singer between Ozzy and Bowie, just um give this a listen. Bowie's vocal is ballsier and I think better than the Mott the Hoople original, sure Ian Hunter shows up too here. He does rock out to "For What It's Worth" by Buffalo Springfield, which is an odd choice, though most of these songs are odd choices. He sounds like Fozzy Bear on "Good Times" by the Animals, which does not really click for me. "Sunshine of Your Love' makes sense on paper. The guitar tones could be better, and Ozzy sounds fine; most of the problems feel production-related, as the guitar is lower in the mix than Ozzy. Arthur Brown's "Fire" works better than expected. 

John Lennon is obviously Ozzy's favorite Beatle, as he also covers "Working Class Hero". This one is darker and works better for what Ozzy does. "Sympathy For the Devil " feels a little too upbeat, as coming from Ozzy it should be darker than the Rolling Stones version, but that is not what is happening here. I will round this one down to a 9, not the best song choice, but Ozzy's voice is his personality that he brings to the songs, to make them his more often than not.

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You Can't Kill Rock n Roll - Ozzy Osbourne's "Black Rain"

 

His 2007 album features one of his strongest band's thanks to Zakk Wylde returning on guitar and Mike Bordin from Faith No More behind the kit. It starts off with two stadium bangers with "I Don't Want to Stop' forcing its way into Ozzy's regular setlist, and getting more of the promotional push when this album was released. The title track simmers and is very timely in 2025. "Lay Your World On Me" sounds like it was a leftover track from the "No More Tears" sessions and is on the more sentimental side of power balladry. 

The Bass line in "The Almighty Dollar' finds the instrument adding more groove than what you expect from an Ozzy song."11 Silver" moves more like a Queens of the Stone Age song. Perhaps this shift is what makes it feel like less than a perfect fit for him. This goes to show it's more about the songs and less about the band backing him. The punchy "Civilize the Universe" feels like it flows better with Ozzy's personality than the previous song. They roll out the piano for "Here For You," which is another stab in the direction of "Momma I'm Coming Home". 

I don't have to have Ozzy at his heaviest, but I'll take a riff like the one that is the pulse of "Countdown's Begun." He can balance it out with his signature arena anthem chorus. It's another apocalyptic theme, which is something Ozzy had been obsessed with since the Sabbath days.  "Trap Door" has a more metallic aggression moving that works well, making it one of the album's best songs. "I Can't Save You" works off a manic energy before the album closes with the more deliberate "Nightmare" that feels like it blends a "Ultimate Sin" mood with "Ozzmosis" production.  I will give this one a 9.5, it's not his best album but , still great and better what most were doing in 2007.

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You Can't Kill Rock n Roll- Ozzy Obsbourne's "Scream"

 

Going back and reviewing all of Ozzy's solo albums that I have not already reviewed, so his last two are out of the running, leaving me to start with "Scream", which is a surprisingly modern sounding album that quite a few metal heads have slept on. It is Ozzy going his thing over a more Rob Zombie-like industrial crunch. The title track is pretty anthemic, and if you've seen him since the album's release, chances are you've heard it. I think it aligns well with his legacy and is heavier than the last few Sabbath albums he recorded with Geezer and the boys. 

It is not until four songs in that he veers into a power ballad of sorts. It is more of a dynamic ebb and flow than a true power ballad like "Momma I'm Comin' home" . His voice sounds great on this, though it is also really polished. Gus G is not my favorite Ozzy guitarist, but what he does here works well, and his solos are tasteful. "Digging Me Down" finds Gis displaying ample Rhodes influence as it's pretty nuanced and classically tinged until going into the darker metallic crunch of the verse. This has to be one of the heaviest Ozzy albums.

"Crucifry" is the first song that has the post-"No Rest For the Wicked" anthem feel, which became a formula for him over the years, but here does not feel as inspired as the rest of the album. "Fearless" has a more convincing groove. For 2010, it's pretty much what you want from an Ozzy song. I guess after "Momma I'm Coming Home," you can expect a few ballads on an Ozzy album, "Time" at least moves thanks to the drums. Though Ozzy's history with ballads goes back to "Goodbye to Romance". Things get darker for "Latimer's Mercy" which carries a cyncopated stomp. 

Rather than being the sentimental ballad that you expect "I Love You All" to be, it is more of an interlude setting up "Hand of the Enemy," which is driven by a riff that feels like A Perfect Circle. It highlights the fact that, given Ozzy's unique voice, aggression is delivered differently than most metal bands. Here, it makes the guitars feel heavier. A burly bass line helps get "One More Time" to where it needs to be sonically. The arrangement gives Ozzy room to be heard. "Jump the Moon' has a more late-90s industrial feel, with the guitars very forward in the mix. This album rocks pretty hard, so I will round it up to a 10. 

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RIP- Ozzy Osbourne

 It was July 7th that I wrote the words …” A lot has been said about Ozzy in recent days. It feels like we are bracing to give an eulogy.”

It was for a piece I wrote entitled “Ozzy & Me,”  where I reflected on the impact of his music and his persona on my life. The link for that is here

https://abysmalhymns.blogspot.com/2025/07/ozzy-me.html

I am not going to repeat myself, but reflect on the inevitable departure of one of rock music’s greatest singers and one of the co-architects of Heavy Metal. This moment in time gives us the chance to celebrate an artist whose artistry was in the minds of some, overshadowed by his mythic nature. If you grew up in the 80s then you heard all the stories spawned from his actual larger than life offstage antics, that involves biting the heads off doves and bats, pissing on the Alamo and snorting a line of ants with Nikki Sixx among other infamous endevors, this turned into folklore about him drinking buckets of bodily fluids collected from the audience and other ridiculous yarns that if were not attributed to him, very credited to Alice Cooper or Gene Simmons, and later passed down to Marilyn Manson, then the idea of debaucherous rock stars died during the Myspace years, as a puritanical witch hunt spread across social media. Ozzy was not made for this time, yet he endured. 

Some just know him as a reality TV star, and then even more stupid generations that followed thought it was so nice for Post Malone to give Ozzy his big break. Those people are now posting on Facebook how much they loved him with little clue who he is. Even worse was a post I saw by some stupid bitch who said she always hated his music, but loved who he was as a personality. It’s an odd way to say you have terrible taste in music, but oh well. 

You will also get people who are going to talk about how Randy Rhodes made them want to pick up a guitar, but not mention it was Ozzy’s voice that gave those songs their emotional depth. If you want to know who loves Ozzy, ask them what's their favorite song is off “Black Rain” or “No Rest For the Wicked.” I will get around to giving those albums and all the albums in his solo discography the power respect they deserve. While Black Sabbath was great, his solo career lasted many decades longer, and the majority of it stands shoulder to shoulder with his work from Sabbath.

Ozzy is a lot of things to lots of people, but most importantly, he is someone who poured his soul out into every song he stepped into the vocal booth for. Sure, he surrounded himself with great musicians to help lay the groundwork, but when he opened his mouth, his personality came out. It’s a man who shares your pain and sorrow, teetering on the brink of madness, too weird and wonderful of a freak to be anyone but who he is. But it was ok, because once he stepped on stage he told us we were all going to go fucking crazy. He wanted to see us do that, because only then could we be where he was and immerse ourselves in these myths made flesh. I will continue to celebrate this as it’s his voice that tells me he understands and we should celebrate it.

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Tar Pit : "Scrying the Angel Gate"

This is the sophomore album from this Portland doom band. Thematically, there is a darker Lovecraftian theme going on, though balanced out but an almost jammy feel as the opening track unfolds with organ haunting the lurching riff that serves a the plodding backbone of the song. They do lock in a more metallic sound before the howling croon of vocals comes in. Vocalist Don Gonzalo, belts it out well. He is not as blatant an Ozzy disciple as what we have heard from other bands. In fact, it sounds like he might be more influenced by Wino in some respects, though he has more power in his pained declarations. 

At three and a half minutes, "Covern Vespers" is a more restrained rock that packs a compact punch rather than sprawling out. I think even in doom, it is important for a band to be able to rein it in and just write a song. The vocals sit further back into the guitars on this one. "Jubilee" is less jubilant than the boogie of the previous song and carries a darker blues creep. The guitar player impresses me on this one. There is more Sabbath influence in this one than in the previous songs. "Blue Light Cemetery" might be about cell phones. The vocals work best when he belts it out. There are some uncertain moments in the more introspective phrasing at the beginning of the song. Midway into the song, it wanders off into a jam. They lock back in with the stomp of a heavier before the song's end. 

"Blessed King of Longing" conforms closer to the expectations of traditional doom. The drummer leans into his Bill Ward influence, which is not a bad thing to bring to the table. There is more of a "Vol 4" feel to the title track that closes the album; the vocals cry out from behind the guitars. Midway into the song, things die down into a more atmospheric darkness.  I will give this album a 9, as it carries the torch for Sabbath in a different way that does not make these guys a tribute band, but brings their sound to the table. More bong-centric doom fans should rejoice. 

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LVTHN : "The Devil's Bridge"

 Have not checked out anything by this Belgian Black Metal band since their 2016 album. This one carries a more refined throb and finds them having grown as songwriters. Perhaps I just needed to give them time to grow into themselves. There is a bit of crazed howling on the second song that is not as focused as the opening song, but it makes sense why they do what they are doing. This does not mean I will excuse excessive blast beats if that is what we run into on this album, though they are showing some restraint in this regard on the first two songs. 

They are possessed by a more rabid frenzy going into "Cacodaemon". There are some atmospheric sonic swathes, but this song rages with reckless abandon until the creepy breakdowns. Things continue down a more feral path for "Sum Quod Eris." The drums are buried in the guitars as the vocals snarl and shriek. It is effective as an emotional outburst, as a song; there is nothing to hook into this frenzied attack. It almsot feels like it devolves into screaming for the sake of screaming.  "Grim Vengeance" finds the drums blasting off before the guitars find their footing. The vocals continue their animalistic rant. 

There is a more thrashing buzz to "Mother of Abominations". This is coupled with the rawer production values, which are only balanced out by the more intentional riffing that gets over-taken here and there by blasting. This also creates a more melodic drone. Yes, there is a creepy darkness to what they do. This is often eclipsed by the storm they churn up with their chaotic blizzard of tremolo picking. The last song is not an exception to this. I will round this down to an 8. The last album I reviewed by these guys earned a 6, so that is a great deal of growth. If you want some chaotic black metal, these guys have what you want. It drops on Amor Fati September 6th.

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Raekwon : "the Emperor's New Clothes"

 

After being so impressed by the last Wu-Tang album, I figured it would be safe to check out Raekwon's solo album. The opening track is hooky and works as a song rather than just sounds and rhymes. "Pornogranite" finds him continuing to groove, while not relying on nostalgia, while it is not unlike what the Wu-Tang does, it's not totally in debt to that sound. Inspectah Deck does appear on the second song, which is not a surprise; in fact, it would be more surprising if there were no Wu-Tang cameos. 

Benny the Butcher shows up for " Wild Corsicans." It has a sufficent groove, but not sure if it feels as urgent as the first two songs.  "1 Life" works thanks to backing off with the more aggressive hip-hop approach and blending in some pop hooks. There are some skits in between songs, but I am skipping over those for the purpose of this review and just focusing on the music. Tommy Nova does not help with the form and function of "Open Doors," which feels more like random chanting than a song. 

"600 School" features both Method Man and Ghostface Killah, so needless to say, it feels more like a Wu-Tang song. Swizz Beats also contributes to the production. This is where this album deviates from a Wu-Tang album, as there are more varied producers, whereas Wu-Tang albums tend to have a more singular vibe. "Da Heavies" has a more jazz-inflected sound. This reminds me of 90s New York hipster rap. Speaking of that era, Nas appears on "The Omerta". It also occupies a more 90s mood, though without getting too mired down in nostalgia.  

"Get Outta Here" lays back into the more smooth 90s grooves, which allows him more time to spit about more impressive bits of vocabulary.  Ghostace Killah returns for this one as well and adds a little more aggression. This is the biggest difference in his solo work vs Wu-Tang is that it is less aggressive.  Marsha Ambrosius lends her voice to "Debra Night Wine' which leans too far into R&B. The last song finds Ghostface back, and it makes me think perhaps these songs are leftovers from the Wu album. I will give this one a 9, as it's well done, and if I listened to hip-hop more often, it might have more replay value for m,e but when I am in the mood for this sort of things, I will listen to Wu-Tang's new one instead as it had a more vibrant energy to it. Not to take away from the fact that this album is better than most commercial hip-hop today. 

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Shock Narcotic : "My Flesh Is Afraid But I Am Not"

 

Grindcore has now been brought to arenas thanks to Pantera picking bands like King Parrot and these guys on the road with them. They cram a great deal of riffage into two minutes, sometimes allowing for more chaos than other moments. "Wound Absentina" is the first song on this album that I feel would appeal to fans of Pantera, as there is more groove. The opening track is a little more death metal, would would also cater to a certain percentage of their fan base. This is going to be on the heavier and more confrontational end of their audience's tastes. 

"Trash For the Pile" has a more punk feel. It feels like the Dead Kennedys jamming with Eyehategod. "We Are the Enemy" has more of a metal attitude about things. There is a thrashing tension that never feels like it gets the explosion of the release it was due. However, it does clear up any confusion in rgards to if grindcore bands can actually play their instruments. "Oblivion Licker" is more deliberate, where they allow themselves to fall back into a more feral rawness with the more punk-tinged "Standard Issue Apathy." "Slurring Delirum" follows a similar path. Perhaps with even a marginally less intentional take on the songwriting. 

"A Mass Suicide in Progress" is unhinged in the best way. On other songs, they sometimes compromise the dynamic for the sheer intensity of their attack, which is part of their punk roots. "Cling to the Familiar' is one of the better songs as it has a groove that hooks you in. They close the album with an over of Meathook Seed's " A Furred Grave A Furred Grave". It works for what it is. Given their career trajectory, this album brings grindcore to the masses in a more refined manner, so I will give it a 9. If they are touring with Pantera, it's also because this is dropping on Housecore Records.  

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Interview- Ken Sorceron of Abigail Williams

 

Originally written for my friends over at No Clean Singing, but for those of youwho don't venture over there ( you whould if you like death metal, as I do not havfe a chance to cover everything here) here is the words I exchanged with Abigail Williams mainman Ken Sorceron. 

Q: “A Void Within Existence” marks the 6th album for Abigail Williams. What lessons have you learned since the first album that helped shape this one?
A: The biggest lesson is to stop trying to please anyone but yourself. Early on, I was always half aware of how a record would be received, but now I don’t care. That kind of freedom opened the door to something more honest and more extreme. Over time, I’ve learned to fully trust my instinct. I don’t second-guess the darkness, the stillness, or the chaos. If something feels real, I follow it—even if it leads somewhere uncomfortable.

Q: How have the different geographic locations you’ve lived in, from Phoenix to Olympia, shaped your music?
A: Environments leave scars. Phoenix was desolate and exposed. There’s something violent and isolating about that landscape. Olympia had this dense, suffocating forest energy. You don’t feel watched—you feel absorbed. That shift added a more atmospheric, ritualistic layer to the music written while I was living there. Honestly, I moved from Olympia years ago, but I'm still in the Pacific Northwest, so I haven’t bothered updating our location. Each city kind of acts like an egregore, yeah—you tune into a different current depending on where you are, and that current bleeds into the sound.

Q: There’s a much bigger sound on this album. Is that due to the new drummer or changes in how you approached the guitars?
A: It’s both. Mike Heller is a monster. His drumming isn’t just technically impressive; it has this mechanical elegance that raises the tension in the music. That said, he also played on the last album, so he’s not exactly new. But I recorded the guitars differently this time with more layers, more texture, more low-end power, without losing clarity. I used an 8-string guitar for most of the album. I wanted everything to feel like it was breathing, not just stacked for the sake of being heavy. The biggest factor, though, would be Dave Otero’s mix. He pulled it all together.

Q: You use blast beats more selectively than most black metal bands. Was that influenced by other artists, or something that evolved naturally?
A: It evolved naturally. I love blast beats, but if you use them constantly, they lose their impact. I like tension and space. Let the blast be the blade, not the whole weapon. I’ve always been drawn to artists who understand dynamics, Ulver, Emperor, and even Neurosis. It’s about making the chaos hit harder by knowing when not to unleash it.

Q: The clean vocals on the final track stand out. What inspired that decision?
A: The album needed contrast. After all the dissonance and punishment, I wanted to pull the listener into something that felt almost beautiful but still broken. The sung vocals aren’t there to soothe. They make the weight of the harsh ones feel even heavier. That trade-off felt like a conversation between clarity and collapse. It was a risk, but it ended up being one of the most honest moments on the record.

Q: This album is darker and more atmospheric than ever. How important is sonic heaviness compared to traditional metal heaviness?
A: Sonic heaviness is everything. You can be the loudest band on Earth and still sound flat emotionally. Real heaviness comes from space, texture, repetition, and decay. I’m more interested in creating gravity than aggression. I want the sound to pull people under. not just hit them over the head.

Q: How do you think black metal has changed since Abigail Williams first emerged?
A: I haven’t thought about it much, and I’m not an authority on modern black metal. I stopped listening to most of it around ten years ago. That said, black metal has expanded and fractured in a good way. It’s not locked into a template anymore. People are taking risks, adding new emotions, and breaking rules. Some of it probably wouldn’t even be considered black metal anymore, and honestly, I don’t care. I don’t even really consider us black metal at this point. We use the tag for convenience. Of course, there’s still purism and nostalgia, but there’s also this open space now where black metal bleeds into ambient, industrial, doom, noise... That freedom keeps it alive. It keeps it dangerous.

Q: What do you do to recharge your creative energy?
A: Isolation. Nature. I tend to disappear when I’m not working on a record. I read, I walk—especially in dense forests where it’s quiet. I don’t listen to much music when I’m in that space. I try to let everything drain out so that when I come back to writing, it’s not from memory, it’s from instinct. I also like to drive a lot. Whether it’s my car or a motorcycle, I’m usually out cruising the back roads of the Pacific Northwest.

Q: Black metal often channels dark spirituality. How has that relationship evolved in your writing?
A: In the beginning, I thought about that a lot more, especially the darker side of it. Over time, I’ve lost interest in obsessively exploring that particular angle. It’ll always be there in some form because it’s been a part of me for so long, but now it’s more about disintegration, breaking down false versions of the self. I don’t write to glorify darkness. I write to understand it. To get closer to the truth that lives beneath all the noise. That’s a spiritual act, even if it’s not connected to any specific belief system.

Q: Any favorite black metal releases so far in 2025?
A: Honestly, I haven’t kept up. I haven’t checked out any new black metal albums this year. I tend not to listen to much black metal or extreme metal anymore. I focus more on making my own and listening to other styles of music. That said, there are always a few artists I’m curious to check out when the time’s right.

Q: Any touring plans for A Void Within Existence?
A: Yeah, there will be shows. We’re putting together something that reflects the atmosphere of the record. I don’t want it just to be a “setlist.” I want the performance to feel like stepping into the void we built with this album. More details soon.

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