No Joy "Bugland"

 Just catching up with this album that came out in August from No Joy, the Canadian indie rock project helmed by Jasamine Gluz. She continues down a more experimental path that focuses tightly on songwriting, as things head in an electronic direction that reminds me of 90s dream pop by the time we get to the title track. There is a guitar woven in that holds even more heft at times than we have heard from her in the past, when this project has more of an organic, almost post-punk feel. Her voice sounds great and is used almost more like an instrument in how she layers it.

There is a denser atmosphere that absorbs "Bits" until she opens things open to create more room, but these are some great Cure-inspired guitar tones on this one. "Save the Lobsters" wanders in the ambiance a bit. She plays with sound rather than hooking you in here. If you told me "My Crud Princess" was Grimes, I would believe you. It is more upbeat, even if the vocals sit back in the music; it feels pretty effective to me. "Bather in the Blood Cell" dances around the mood created by her interesting sound, and has a cool selection of beats, but with little hook, yet it works for electronic music. 

"I hate I forgot What You Look Like" is also carried away on the cloud of sound that uses the bpm to keep things moving in a manner that does not make it apparent that it's the motion in the ocean moving you more than a distinct melody.  She continues to lead you down this opaque yet fanciful flight of sound on the last song, which owes even less to songwriting and more to her experimenting with weaving the web of sounds. Granted, over the course of this almost eight-minute exploration, thatre are dynamics, some of them heavier than expected. I will give this album a 9, overall the progression of what she is doing here finds the experimentation well balanced, though since she is dabbling in sounds from an era I enjoy I might be bias in this regard. 

pst532

VOWWS : "i'll Fill Your House With an Army"

 

This band has gained a bit of a buzz as they ride a 90s-inspired sound that, at one point, leaned into darkwave and post-punk. However, this time around, they have gained more of an edge, feeling closer to the nu-metal revival. Munky from Korn showing up on the album only gives more evidence in this regard. The album does grow on you. Songs that I had some doubts about the first time I listened to this album do a better job of convincing me that their formula works on the second pass through this album. The album was co-produced by Billy Howerdel of A Perfect Circle. His contributions draw a fair comparison of where this album is heading sonically.

The first three songs circle similar shades of the same mood, with "Silhouettes" being a little more upbeat; things then take a turn towards a more New Order-like pop on "Hurt You". Then move into an even more streamlined turn to the alternative radio sound of the 90s with the Elastica vibe of "The Animator". They get darker for "Casualty" but a couple of songs with darker undertones and creepy moments is not enough to call them a goth band. In fact, it has more in common with Korn when it builds up. 

"Harder to Pretend" is a little more depressive, but a little less focused than the album's strongest moments. This could also describe "I Never Left," which feels like a mash-up of Garbage and Depeche Mode. When things are stripped of the effect and given a more organic feel heading into "One Short," you can hear the grunge undercoating. The pieces fall together better on this one. The album ends with a more trip-hop urgency. Overall, what they are doing here works well and should catapult them to a more prominent place on larger stages I will give this album a 9.5, and see how it grows on me. 

pst531

Soulfly : "Chama"

 

Let's see if Max can bring it again. I really liked their last album, as it had an almost Slayer feel. The first track starts off with a darker apocalyptic drive, which I am also here for. This album carries a more industrial pound that is a mix of 'Roots' era Sepultura, though maybe less Korn in the grooves and more Code Orange. The first three songs are defiant in-your-face bangers, then on "No Pain = No Power," they blend a wider range of sound and include some melody and atmosphere that catches me by surprise. Some of these are thanks to Gabriel Franco from Unto Others who sings on it in places.,  This does not mean there were not some surprises on the first three songs as Todd Jones lends his voice to the track. 

I like how the vocals on this album are produced. Max's voice sounds strong. "Ghenna" gets the point home in under two minutes, but does not rush things like grindcore bands tend to."Black Hole Scum" has some interesting guitar sound layered and works well to continue the sonic mission statement of this album. There is almost more of a Ministry feel to the attack of "Dystopia". The Slayer influence rears back up when it finds its groove.  It also has plenty of space for the song to shift between crushing grooves. This occurs in other places in the album but feels more likea hardcore breakdown here.

Things get even more brooding with the lurking stomp to "Always Was, Always Will Be". This highlights what works so well for me with this album: it is darker than the previous one. The title track closes the album in a crushing manner that not only upholds this band's legacy but also upholds the Sepultura legacy. I will give this one a 10 as it delivers everythinig I want from this band in a darker, more 2025 way. 

pst530

Blut Aus Nord : "Ethereal Horizons"

 

The French Black Metal band's 16th album shows Blut Aus Nord never makes the same album twice, and they are embracing every side of the genre here while cloaking them all in their signature atmosphere. It is like listening to a smoke machine envelop a band rather than just seeing it on stage. The opening track finds atmospheric black metal being pushed in new directions, while the pained moaning of the clean vocals cuts through the thickness of sound, bringing' Mercyful Fate's earliest incarnations of black metal to mind. There is the needed cauldron of blast beats and tremolo-picked guitars needed to identify their blackened intent, but not sounding like everyone else in the process. 

"Seculsion" finds them wandering more into the murkiness of night, which is scaled out into a bigger, more epic climax that shows them taking what many bands would have left as just a hypnotic drone and carrying it to greater heights. Cleaner vocals continue to hold purpose n the punchier, more metallic attack of "the Ordeal". There is hookier, more riff-oriented writing here than what you might expect from them. "The Fall Opens the Sky" begins by adhering more closely to the tropes of second-wave black metal before transitioning into minimalist ambiance, then building into a more shoegazing sound. 

"What Burns Now Listens" is a more hypnotic drone with vocals buried in the storm of atmosphere sweeping over you, thanks to the melodic chiming of guitars. There is an almost Nordic feel that reminds me more of older Enslaved on the last song. Though that is just the first four and a half minutes of what sprawl out into a 12 Minute epic. When it kicks back in after the minute of simmering, things are more grandiose and deliberate. It does wind its way into more metallic riffing that rings out and stomps in equal measure.  There is a more progressive feel to the throbbing layers it arrives at. For some bands, this album would be ambitious for these guys; it' business as usual. I will give it a 9.5, as it touches on most aspects you want from them. It drops on Debemur Morti Productions on November 28th.

pst529

October's Top 10 Albums

It's time for October's top 10 albums. Staying abreast of the month's highlights may help casual readers catch up on what they missed and explore these artists. I am not writing brief summaries of them; I am simply linking to 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 2026, 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 it ranges from big pop bangers to various shades of electronic goth darkness. Obviously, with Halloween upon us this only makes more sense after al,l I dedicate the entire month to covering goth, but perhaps you will find your new favorite among them. Here are the Top 10 albums of  October. 

10-Testament - " Para Bellum" 

Thrash 

https://abysmalhymns.blogspot.com/2025/10/testament-para-bellum.html

9-male// gaze - "Too Late Now" 

Shoe-gaze 

https://abysmalhymns.blogspot.com/2025/10/malegaze-too-late-now.html

8-Biohazard- "Divided We Fall" 

Hard-core 

https://abysmalhymns.blogspot.com/2025/10/biohazard-divided-we-fall.html

7-the Tear Garden - "Astral Elevator" 

Industrial 

https://abysmalhymns.blogspot.com/2025/10/gothtober-tear-garden-astral-elevator.html

 6-Perturbator-"Age Of Aquarius" 

https://abysmalhymns.blogspot.com/2025/10/gothtober-perturbator-age-of-aquarius.html

5-Black Cross Hotel - "Songs For Switches" 

Industrial Rock

https://abysmalhymns.blogspot.com/2025/10/gothtober-black-cross-hotel-songs-for.html

4-Spiritual Cramp-"Rude"

post-punk 

https://abysmalhymns.blogspot.com/2025/10/spiritual-cramp-rude.html

3-Cold In Berlin -"Wounds" 

Doom

https://abysmalhymns.blogspot.com/2025/10/gothtober-cold-in-berlin-wounds.html

2-Patriarchy - "Manual For Dying" 

Electronic

https://abysmalhymns.blogspot.com/2025/10/gothtober-patriarchy-manual-for-dying.html

1-Taylor Swift - "The Life of a Showgirl" 

Pop

https://abysmalhymns.blogspot.com/2025/10/taylor-swift-life-of-showgirl.html

pst528

Gothtober- The Top 10 Goth Albums of 2025

 

Having already started the End of the Year List season with the Top 10 Post-Punk Albums of 2025, it's time to move in a darker direction with the Top 10 Goth Albums of 2025. If this seems premature,  record labels have already sent me most of what this year has to offer. After I sort through sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of the year. 2025. Perhaps it was marginally better than the previous year, though, given the current climate of the world, we are progressing on a downward spiral, making dark music more important as a soundtrack for this.  The very fact that 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, and you look forward to listening to it again. Perhaps you can find your next favorite on this list, and I 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 Goth albums of 2025.

10-Ash Code-"Synthome" 

These guys have returned after 8  years for a very legit stab at darkwave, that carries the creepy elegance other acts lack, along with a backbone of tense driving songs. There are a few different vocal colors in the first two songs along ranging from a higher, more emotive plea to the hushed urgency is a suitable comeback album that the rest of the genre could stand to take notes from.  

https://abysmalhymns.blogspot.com/2025/10/gothtober-ash-code-synthome.html

 

-9-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. 

https://abysmalhymns.blogspot.com/2025/07/die-sexual-desire.html

        

8-Bella Eterna -"Fire" 

The project brings Spanish producer JG Outsider together with vocalist Gerd Van Geel of the Belgian band the Arch, to create an interesting take on dark wave that incorporates elements of post punk with the more traditional club beats of the genre. The most shadowy aspect I have encountered in the genre is its less dramatic expression of melancholy. Geel's vocals are not croaking out a vampiric baritone, but his voice carries a vulnerable tremble in his introspective upper register. I like that it is true to the genre without defaulting to the expected tropes.

https://abysmalhymns.blogspot.com/2025/10/gothtober-bella-eterna-fire.html

7-Corlyx -"Purple Pain" 

Boldly delivering a double album, they have more than enough songs to showcase their strength of embracing both the past of traditional dark wave and still not shying away from paying tribute to this era, with new sounds, like vibrant synth-wave keyboard lines, and pop-inflected hooks. Overall, her growth as a singer is evident in these songs. She is certainly now in the upper tiers of female vocalists in modern goth. This is an ambitious outpouring of songs that shows their melding of all the varied sub-genres of goth into something familiar without becoming a tribute band, as their own unique vision is the lifeblood of these odes to darkness, in all of its shades and seasons

https://abysmalhymns.blogspot.com/2025/02/corlyx-purple-pain.html

6-IN COVERT- "Bleak Machinery" 

Right from the start, this album is draped in reverb to create a thick atmosphere , blending the rough edges of industrial pulses with death-rock's elegant romance with depression turned outward. It's not the first time we have heard this kind of thing from Los Angeles, but they are good at what they are doing and bringing a more metal-minded aggression to it. The vocals go into an emotive scream rather than the harshness of a hardcore band, and find their way into pulsing beats that could be danced to, though the dense sonics might perplex your average 'goth nite' patron. 

https://abysmalhymns.blogspot.com/2025/08/in-covert-bleak-machinery.html

5-Peter Murphy - "Silver Shade" 

At 67, Murphy looks older than he sounds.  Some of these songs would not have been out of place on his 89 classic "Deep". It carries the new wave bounce, though not as dark as Bauhaus; it is true to the era. Perhaps he is paying a great deal of service to his fan base, which is wise. His pipes stay fluid even when going up into the wavering vibrato of his upper register. It's impressive that he found his way back to this place and delivered in this manner, way more impressive than Billy Idol's new one. 

 

https://abysmalhymns.blogspot.com/2025/05/peter-murphy-silver-shade.html

4-Bootblacks -"Paradise" 

 Brooklyn-based band BOOTBLACKS is dancing in a more dark wave direction with their new album "Paradise", with songs driven by synth pulses. The reverb-slathered guitar sits back in the mix, content haunting the backdrop. Which works for me. This is one of the best albums this year to delve into this intersection of dark-wave and more 80s-aligned dark pop sounds. Their brand of brooding is backlit with neon to showcase another facet of dark music.

https://abysmalhymns.blogspot.com/2025/05/bootblacks-paradise.html

3-Altar De Fey- "Under a Waxing Moon" 

. A great deal of credit goes to the passionate lamentations of Jake Hout are the trembling heart of the album, as the guitar weaves the sonic cobwebs for Hout's stellar croon to crawl upon. "They balance the hypnotic elegance that gives death rock its creepy grace with a more post-punk tension.Poseurs who just want to play dress up and dance at the club might not catch onto what is going on here, as there are actual instruments, plugged into drawing from a canvas that celebrates actual darkness and not just the pagentry of it. Their knack for compelling songwriting continues to not only endure but aging like wine with each release, perfecting what they do a little more,

https://abysmalhymns.blogspot.com/2025/09/altar-de-fey-under-waxing-moon.html

- 

 2-Street Sex - "Full Color Eclipse"

The biggest difference between what they are doing here and as Street Sects, lies in the new wave approach to synths, and there is none of the harsh screaming vocals. I would not say they sound like Depeche Mode, but sonically it's more in the direction of "Music For the Masses" than it is "Too Dark Park". I do like some of the experimentation with how the vocals are produced, and this is heavier than New Wave, due to the emotional intensity that has more in common with "Pretty Hate Machine".

https://abysmalhymns.blogspot.com/2025/08/street-sex-full-color-eclipse.html

1-Heartworms - "Glutton For Punishment"

Why is this album taking the top spot, you ask?  There are organic qualities blended with a chamber-pop sound that brings Dresden Dolls to mind in equal doses as Rasputina .. Helmed by Jojo Orme, this project is mroe organic and capable of rocking out than your average darkwave band, with songs like "Jacked' falling on the more post-punk side of the equation. The guitars are capable of delivering the needed jagged tension. The album spends a great deal of time juggling the more electronic elements against a jangle of guitar that leans left of center into a moodier indie rock. 

 https://abysmalhymns.blogspot.com/2025/10/gothtober-heartworms-glutton-for.html

 

pst527

Gothtober - Wil's 11th Annual Halloween Playlist

Here is my 11th annual Halloween Playlist. The world holds as many distractions and diversions as it has in previous years. I am making a more concerted and intentional effort to focus on the celebrations of the Halloween season around me, as my soundtrack pretty much remains constant year after year. I believe if we forget the things that brought us joy as children, we will become miserable adults buried in anxiety over bills and the stock market. This makes a proper soundtrack dedicated to darkness even more needed to capture the magical excitement of Halloween. Perhaps these songs might bring some sonic horror to your ears and carry Halloween into the rest of the year for you. 

This year all songs are new releases, and hopefully not repeating artists from previous years, though not holding myself to this as I am not meticously combing over past years playlists, as I made this while I'm moving, so a little bit of a time crunch, as things like changing internet providers come into play, ya know pesky real life stuff. . Goth and all its various sub-genres are the most obvious tombs to plunder. I am including a few artists that lean in a more rock or metal direction. Lyrically, the songs are at least metaphors for things that go bump in the night or are related to the season. This year’s theme seems to be death. As the veil between the living and the dead thins, may you be happily haunted and continue to play this loudly in dark places!

Hangman's Chair- 'To Know the Night" 

Patriarchy- "A New Way" 
 

Scorpion Milk -"She Wolf of London" 

 

Street Sex- "Turn Blue"

 

Heartworms - "Extraordinary Wings" 

 Black Cross Hotel- "The House That God Doesn't Visit" 

 

  Dax Riggs- "Graveyard Soul" 

Deathbyromny -"Corpse Kiss" 

Messa- "Thicker Blood" 

Paradise Lost- "This Stark Town 

pst526

Gothtober- the Top 10 Post-Punk Albums of 2025

 

 It's that time of year again. It may seem early to begin sorting through the year's best post-punk albums, but record labels have already sent me most of what this year has to offer. After sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of the year. In 2025, it was marginally better than the previous year, though given the current climate of the world, we are progressing on a downward spiral, making dark music more important as a soundtrack for this.   As far as 2025goes for post-punk, there were strong albums, especially those in the top 5, though the influx of new material from the genre is beginning to slow.  The very fact that 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, and you look forward to listening to it again. You might find your next favorite album on this list, and I have included links to reviews of these albums if you want to check out the audio on these albums. Anyway, here are the top 10 post-punk albums of 2025.

10-FACS-"Wish Defense" 

The post-punkers from Chicago are leaning into the darker times of today, which thankfully bring with them more shadow and tension this time around.. The guitar rings out with a trembling melody, setting the stage for the brooding monotone of the vocals. Less punk and more thoughtful than Joy Division.  In the collision of noise and atmosphere, you can hear how this was one of the albums Steve Albini worked on.

https://abysmalhymns.blogspot.com/2025/10/gothtober-facs-wish-defense.html

-

9-Lathe of Heaven- "Aurora" 

This Brooklyn-based second album is rather unique in the sounds it combines, as it balances an airy, ringing, atmospheric guitar tone with driving post-punk drumming, and an emotive new wave croon flows over it. They are not one-trick ponies, as they sometimes find a Smiths-like flow to it. The touch on what Vision Video once did in their more inspired earlier work, and give it a more poetic grace. 

https://abysmalhymns.blogspot.com/2025/10/gothtober-lathe-of-heaven-aurora.html

 

8-Isolated Youth - "Miserere Mei" 

Stumbled across this band from Sweden, who offer an interesting take on the darker side of 90s alternative rock. There is some post-punk influence, but bands like Ours and Placebo seem just as crucial to these guys' DNA. The vocals go down a more sullen self-loathing, but still in the warbling tenor that introduced their sound from the start. 

https://abysmalhymns.blogspot.com/2025/07/isolated-youth-miserere-mei.html

 

7-Nyx Division -"Midnight Lights" 

I really liked their 2022 album "Dark Star," is made the year's Top 10 Post-punk albums, and this one is heading in the right direction as they grow as a band, allowing room for the atmosphere to set the mood. This album stands shoulder to shoulder with their last in terms of songwriting quality, though this one has more fiery energy to it.  

https://abysmalhymns.blogspot.com/2025/09/nyx-division-midnight-lights.html

 

 6-Bambara-"Birthmarks" 

 In the past five years, Bambara have improved a great deal since I last listened to them. They have leaned into their darker side, and their singer is more comfortable in his own skin. If this were the '90s, this album would be a huge hit. 

https://abysmalhymns.blogspot.com/2025/10/gothtober-bambara-birthmarks.html

5-Spiritual Cramp-"Rude"

This album is lyrically catchy, with enough of a punk attitude to keep it legit, though it is hooky as hell. They are as playful as Vigara Boys, but with a more new wave-like sheen to the melodies. It might not be as explosive as their last album, but the songwriting has matured. 

https://abysmalhymns.blogspot.com/2025/10/spiritual-cramp-rude.html

4-Imaginary People- 'Alibi" 

Here's another band to file under the...there is some really weird post-punk adjacent music coming out lately. The delicate, anxious nature of Dylan Von Wagner's vocals. The songwriting does not hold the typical tension of post-punk, blending elements of indie rock into the more expansive sound created here. it's a pretty interesting and impactful listen, very honest in its aspirations and fueled by an original sonic vision. 

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

 

3-Crippling Alcoholism-"Camgirl" 

 I became obsessed with this band's album 'With Love From a Padded Room" to the point that it not only was the number one post-punk album of 2024, but also took fourth place in the overall best of list, behind my favorite artists the Cure, Glassing, and Taylor Swift, putting them in the top tier of songwriters. This means expectations are high. Rather than conform to expectations on their new album, the band has taken a left turn. It still sounds like them, but rather than the smoky blues noir that set the tone of the last album, there are more synths at the forefront. This is not blindsiding you as they did similar on songs like "Lipstick With No Lips" on the last album; it just takes things a step further in that direction.

https://abysmalhymns.blogspot.com/2025/08/crippling-alcoholism-camgirl.html

   

2-the Discussion-"All the Pretty Flowers" 

This band is  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. It's great songwriting and covers a wide breadth of the shadows.  

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

1-Scorpion Milk- "Slime of the Times

 Mat Mcnerney from Beastmilk is taking things in a more apocalyptic direction with this album. Joining him is the drummer from the Viagra Boys and Nate Newton from Converge on bass. The elements that differed from what I expected, due to the rough punk edges, grew on me, and it became an album I could just keep playing all afternoon. 

https://abysmalhymns.blogspot.com/2025/08/scorpion-milk-slime-of-times.html

pst525

Avatar : "Don't Go in the Forest'

These guys have always struck me more as a mix of power metal and thrash, than the kind of prog metal the press and their fan base tries to paint them as. The opening track finds theis leaning even further in the power-metal direction with a more rock n roll vibe in the guitar solo. Despite their image they do not sound all that dark. There is a more aggressive snarl to the second song, with a recycled Slipknot riff powering it and a bright pwoer-metal chorus to jerk the wheel hard left. 

Perhaps it is because they are from Sweden, but moments like "Captain Goat" even feel like they are dipping into folk metal, though it is less frollicking than some. It makes you feel like they should be cosplaying vikings rather than clowns. The title track tries to be darker, but I am not really convinced and it feels more like filler to be that a centerpiece of the album. I find the more carnival like mood of "Death and Glitz to be more entertaining. The sung vocals are a little over produced and too double tracked, to the point of it almost sounding like something AI would write. 

They are not as dynamic as most pwoer ballad on "Howling at the Waves". This lack of inspiration feels like it carries over into the marginally more interesting "Dead and Gone and Back Again' which is a stupid title that almost sounds worst when sung on the chorus. "Take This Heart and Burn" finds them getting heavier with harsher vocals but the harmonized guitar attack and power metal chorus takes some of the burn out. There are some sonically intersting moments on the last song but it is not as focused as the strongest songs here. I will give this album an 8, as they continue to capture what they do in a manner than should please their fans, it jsut feels like they know their days of riding the hype are numbered and trying to prolong it in the only way they know how, repeating what worked in the past. 

pst524

Clipse : "Let God Sort Em Out"

 The fourth album from hip-hop duo Clipse, finds Pusha T and Malice back together. The first song is well written and has a more 90s feels that I can appreciate. They are joined by Kendrick Lamar on the second song, which features a more urgent in-your-face production style that finds them up close on the mic. Guests abound on this album as Tyler Creator jumps in for the groove of: "POV. Lyircally they prove themselves dominant over the none on the radio. There is no need for auto-tune or a hundred producers on each track.  

While not devoid of coke slinging metaphor, they do have a little more to say this time around."So Be It' was the first song that I heard from this album, and it inspired me to check the rest of the album out, as it is driven by Middle Eastern beats and a more unique production style than the rest of the rap game that is rolling off the same assembly lines.  "Ace Trumpets" works a beat that reminds me of what the Weeknd used to do. The song is not as hooky as the previous songs. Pharell Williams does lend a heavy hand to "All Things Considered" but this creates a cool futuristic vibe. 

"MTBTTF" follows a more expected beat, as it returns to more of the drug dealing fantasy world sommon in rap. You can hear how sonically this project navigates the similar sphere as what Kayne and Kendrick does. As the album prgresses it continues further in this more mainstream direction. "Inglorious Bastards" works for what it is, but it's a more throughful and commerical version of trap rap dressed up like being conscious. Pharell hels use melody to elevate " So Far Ahead" above this. There are some nice sonic touches but the lyrical flow feels liek it is back in a comfortable place. 

The title track features NAS who does not really bring a ton to the table that we have not already heard from him. There is a more 80s beat to the last song that also finds Pharell helping out. I will give this album a 9, it's better than most but devolves in the second to be less thoughftful and more dialed in, but does offer more songwriting than most rap these days. 

pst523

Spiritual Cramp : "Rude"

The second album from Spiritual Cramp finds them doing the most punk thing possibly and making fun of anarchy on the opening track whihc is more of an intro piece, before they get serious with "Go Back Home" which carries more of a Ramones like feel. Different than what they did last time, and it has to be an obvious tribute to the Ramones, given the backing vocals on this. This leaves "At My Funeral" as the first banger that shows you who this band really is. Lyrically catchy, with enough of a punk attitude to keep it legit, though it is hooky as hell. 

They are as playful as Vigara Boys, but more melodic with a more new wave like sheen to the melody of "Automatic". "You've Got My Number" is a duet with Sharon Von Etten. It works off a more post-punk mood. Her vocals work well as a counterpoint." I Hate the Way"  is more punk, despite the album's best efforts for me to pin it down to a genre, that is way it seems to leaning. "Violence in the Supermarket" has more of a dub-feel.  The groove works well. The jangle their way into a more 90s feel with "True Love". They split the difference on "Crazy" and his croon takes them closer to the more arena rocking sounds of "indie" like the Killers. But this still proves effective. 

"Young Offenders" has a more upbeat skip in it's step. "New Religion" feels more original. It's a little more sullen The last song  "People Don't Change" is introspective lyrically. It jangles on a similar path as what we have heard from this on this album. Overall it's more polished from a songwriting perspective and perhaps less explosive than their last album, but it's a fun listen that hooks you in rivalling the Viagra Boys I will give this a 9.5 and see how it sits with me. 

pst522

Gothtober-Creeper : "Sanguivore II: Mistress Of Death"

 

The British goth wannabes Creeper have learned from many of the mistakes that plagued the previous album, though some of the anthemic glam rock feel is there, the opening track of their new album makes an effort ot be heavier. The chorus of falsetto vocals that open "Blood Magick" feels more like the Dakness, but they divert back into a more 69 Eyes feel for the verse. "Headstone" is like a more aggressive version of Unto Others on the verses before taking off into European power metal for the chorus. There are so many layers of vocals that I can not tell if he has improved as a singer or not. 

I get a clearer picture that the execution is gettting closer to hitting the mark on "Prey For the Night" that sounds like H.I,M on the verses and Cheap Trick on the chorus. The more metallic intentions are diminished on this one. Then the same formula seems to be in motion on perhaps the more 70-s anthemic 'Daydreaming in the Dark " which finds the vocal sounding like Devin Townsend produced them. It's not as effective as the previous song. When they stick closer to the goth rock conventiuons things go better, I don't think this is justs due to my personal preferences I think this is what works best within their range of execution as "Parasite" is the best song so far even if it does wink in the direction of "Feed My Frankenstein".

The dramatic flare of "Razor Wire' finds female vocals belting things out with suitable conviction, and creating a cabret style Concrete Blonde feel which works well enough ." the Black House" fidns them trying to sound like Sisters of Mercy, which feels like they captured the sound of it but not the heart. The bright 70s arena rock moments feels like they were once a Darkness cover band that decided gettting creepy was what the kids these days really wanted, so they are dressing up for Halloween. This theory is given more weight on "the Crimson Bride". He does a better vampire impersonation in places, but it feels like acting. The last song really shits the bed it sounds like a Meatloaf power ballad. While there are some improvements some of things they do on this album go the wrong direction, and move away from what they are trying to do so I will give it a 7, if you like H.I.M and Meatloaf then this is your new favorite band I only like one half of that equation and you alreqady know which one. 

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Smoking Popes : "Lovely Stuff"

 

I first gave this band a shot because Morrissey said Smoking Popes was one of his favorite bands. Given the vocal quality of their singing and lyrical depth, I bought their 1995 album 'Born to Quit', for which they are most known.  The opening track of this album is not produced in a manner that suggests they are trying to take you back to the 90s. The guitar does have a punk jangle to it. "Fox River Dream" is not interesting sonically and it feels like they clocked in to write it. I prefer the plan muted guitar to "Racine". It works off a pretty simple formula when the chorus kicks in. Nothing special it just all clicks into place. 

"Never Gonna Break" is not the most original thing you have ever heard, the chord progressions are more expansive than say Weezer, but things are kept simple more often than not, and rocking out more than your typical indie rock of today. Josh's pips sound youthful at 52. Lyrically things are back to the earlier times, and there is not any focus on fighting his personal demons. By the time it gets to 'Madison," things begin to have a formulaic uniformity, so maybe cocaine was better for his music? "Young and Dumb" is at least an improvement over the previous song. 

The more post-grunge strain of indie rock from the mid-90s can be heard on "When the Sun Goes Down". They have a skip in their step when it comes to the chorus, but this almost 1950s pop feel works well. He breaks things down to the strum of an acoustic guitar on the more rambling folk of "You Will Always Have My Heart".  It does break them out of the formula they were in. "Over the Rainbow" is yes a Judy Garland cover. Not sure if they are going for gay-friendly here despite his excursions into Christianity or if he just loves  "the Wizard of Oz", which is also a hidden allegory about Hollywood's gay other life that has existed since its inception. I'll give this album a 9, not sure how much play I will get out of it but they are still good at what they do and it's apparent here even decades later. 

live version of a new song below

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Biohazard : "Divided We Fall"

 

When Biohazard came out, they felt like they were the New York Hard Core scene's answer to what would become the precursor to nu-metal. I was more into Life Agony, who gave me darker melodies in this regard, but I am surprised by how what they do works in 2025, even with the occasional rapped verse. They were some of the forerunners of the kind of gang, vocal jump up and down, get stupid in the pit kind of break downs. 'Eyes on Six' has more groove tempered with the hardcore tempos that stay in your face. It is true to who they were in the 90s, but produced in a way that makes it relevant. 

"Death of Me" has a little more melody and more metallic execution. It is pretty catchy and goes through some interesting shifts in riffage. 'Word to the Wise' is more on the punk side of the equation, though it gets on a deliberate footing midway into thing. One thing about the more rapped sections is that they typically groove harder; they switch back to a more thrashing streetwise style of 90s hardcore on "Fight to Be Free".  When they lean into their ability to lay down crushing grooves, the songs are at their strongest as heard on "War Inside Me". 

"S.I.T.F.O.A" has a more '90s feel in how the vocals are delivered, while the guitar riff feels more Helmet. It stands for strength in the face of adversity, which sums up all the lyrics so far. The more thrashing riff that hooks you into "Tear Down the Walls" offers another one of the album's strongest moments. "I Will Overcome" sounds like if you asked AI to make a Bihazard song, as it falls so safely in their sweet spot. "Warriors' does not close the album by taking more chances but thrashes with more conviction. I will give this one a 9.5, it surprised me by exceeding my expectations.  

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Graveripper : "From Welkin to Tundra"

A darker, more aggressive form of thrash flows through the veins of Graveripper. You can hear traces of bands like Sodom, who came before bands were really being called black metal, despite how in league with Satan they were. These guys are increasingly aggressive with each song, so that by the time you are at the blazing fast razor sharp barrage that is "Hexenhammer," the assault is racing past you faster than you can absorb what is going on. I can hear how this would appeal to fans of bands like Destroyer 666, which take a more old-school approach to black metal.  

They do not relent with the fury that is "Death's Cold Embrace". By the time we get to "Sanctioned Slaughter," it is clear that the speed thing has pretty much numbed your ears out, and I am going to need some hooky riffs from them for them to keep my attention. There is a cool riff buried in "Hounds From Hell," but it is lost in the onslaught of speed."New Gods New Masters" finds the vocals more intentional, which goes a long way to help songwriting, and it does not force them to compromise their need for speed. 

"And Now It's Dark" breaks things down to the driving bass line that also helps, though it touches on a more punk energy. The rest of the album begins to race by in such a way that it does not demand my attention, and it feels like they are more concerned with maintaining the intensity of a sound than writing songs. I will give this an 8, which is generous enough. Out on Wise Blood Records. 

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Denial of Life "Witness the Power"

 

This Washington-based thrash band does not dye their hard-core roots blood red, but marches this brand of aggression out proudly. The title track that opens the album is largely instrumental, with the vocalist, Brenna Gowin, only shrieking out the title in one exclamation point. It is the second song where the band finds its groove, and she unleashes her lyrics in a very staccato, hardcore fashion. This comes with moshing breakdowns and deliberate riffing, which serves the well. This is executed in a fashion not like what we heard from the crossover bands in the late 80s. 

I like the darker, more melodic touches leading into "Circle the Drain". While I can hear moments where "Wolverine Blues" era Entombed might be made, this is not the primary vehicle of their attack. I do hear some grooving Slayer-inspired riffing, and if we are being honest, Slayer was certainly an inspiration for Entombed as well. Their only weak spot seems to be the fairly limited vocal approach that Gowin employs, so we will have to see if the riffs can compensate for this.It seems to be on "Sword of Fire".She is really the icing on the cake, not a key ingredient, which is not making the argument for girls in metal that some music journalists want to push. 

By the time it reaches "Love Sting," it feels like something needs to change to offer more dynamic colors, and thankfully, the band becomes more melodic. This works even if it is an intro. There is more of a Judas Priest feel to some of the riffs here. Vocally, she returns to doing the same old thing and forces the band to carry the song.She makes no attempt at a more melodic delivery. "Not the One" charges ahead with more punk energy. Overall, they balance out the one-dimensional vocal approach, and make this album fun for what it is, to postion themselves as one of the better new bands doing this sort of thing.Out on Creator Destructor Records.

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RIP- Ace Frehley

 

I’ve listened to Kiss since I was a kid; they were the first band that I got into. I was more of a Paul Stanley fan. But the four original members of Kiss work magic together, and much like the Beatles, each member brings a vital personality to their songs. Ace is, without a doubt, an underrated guitarist. If you don’t believe me, ask other iconic metal guitarists who inspired them to play, be it Tom Morello or Dimebag. The Space Man’s light-up guitar and hug boots that kept him grounded might have overshadowed what his fingers were doing, but anyone who listened to the Kiss solo album series knows that, no matter who you are a fan of that Ace’s was the best, as he was the most capable on his own. 

Having seen him with both Kiss and his solo band, Frehley’s Comet, I can attest to the fact that he held up well on his own. Sure, after those first two Frehley’s Comet albums, my interest was largely limited to his work with Kiss. You can check out the Abysmal Hymns podcast episode on classic rock, where the debate about the greatness of Kiss that I was defending went into another 30-minute episode, as I brought up the point of Ace’s influence on the next generation of players, who he ignited an excitement in. He made being a guitarist look like being a superhero without getting caught up in shredding. Ace’s solos are always melodic, always serve the song, and are always memorable enough for you to hum.

I met Ace once at a horror convention. It was 13 years ago, and he looked like he might die at any moment then, or it was cold gin time again. If you have not seen any of the interviews where Ace speaks up then you are missing rock n roll gold and need to jump on YouTube right now.   I am not surprised that he was the first of the original four to go play with Eric Carr. However, I would never go see a version of Kiss with someone dressed up as Ace. At least Vinne Vincent came up with another character, though I always felt like he should have been wrapped up more like a mummy. Ace was an icon; he took his final rocket ride back into the cosmos

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Soul Blind : " Red Sky Mourning"

The band's sophomore release finds them leaning into the grunge side of things, with a powerful stomp that reflects the Alice In Chains side of the Seattle equation. They employ a taunt Helmet-like punch, and are not as drugged out and depressed in the mood created on the opening song. I appreciate the balls that the guitar is slinging at the groove-centered stomp that drives these songs. However, when they lock into the more Alice In Chains-centric vocals, the originality feels hampered by becoming a tribute band. 

Speaking, they also lean into a Turnstile meets Superheaven-like sonic space, which also feels too familiar on "Mistake to Wonder.". This is tempered with an angry nu-metal vocal for "Billy.". The nu-grunge works better on "For Real" with the modern rock elements balancing out the grunge tendencies. The vocals are smoother on "Thru the Haze" and get the point across without ripping off Alice in Chains. 

The title track finds the band going to the more shoegazing well, one too many times, as they begin to sound like everyone else who has already done this better. "New York Smoke" tries to pick up the intensity to a more Deftones-like level. I like the vocal melodies on this one. The purposeful riff also plays to their favor, but the chorus does not have a hook that really pops. "Closer to You" is a smooth shoe-gazing ballad that hangs in coke-stained bars til the sun comes up. I will give this album a 9, as they at least draw inspiration from legendary sources, so it conjures familiar sounds effectively. Out on Closed Casket Activities. 

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Gothtober - Chimehours : "Underneath the Earth"

 

This British project blends a tense urgency with ethereeal melodies and a folky organic feel. The singer has a Björk feel to her emotive singing style. As the album progresses, you hear a wider expanse of sound, yet her fragile folkish vocal continues to haunt things like a higher-pitched Lana Del Rey at times. The darker elements are subtle, an eerie layer in the background. Some songs are more dynamic than others, though the first two tracks really do not escalate things beyond the moods established in the verses. 

The folk strum is draped in a fairytale ambiance, and gains a more haunting melody that is not unlike Blonde Redhead on "Toothwort Took Him," which finds the vocals as more of a melodic layer for the pulse of the song. "Greentree" works off a fragile ghost of melancholy, as the trembling heart of the song floats off into the night. "Making a Mountain" is another delicate ballad. There is a hint of country introspective to the wide expanse of sound conjured here. "Dead Poppa a Toothwort" is a folk instrumental that has a focused melody to keep it from being more abstract.

"Bowerbird" is a more hushed and shadowy take on folk with a more ambient mood, which is not unlike Rasputina to some extent. Midway into the song, it provides a more expansive backdrop for the vocals to unfold over. "Run' finds more electronic elements introduced. The album takes on a renewed urgency to make one of the album's best songs.  "Look For Me" reverts back to the more eerie pulse of atmosphere they have touched on before here. "Can't Find Your Way" has a creepy fey touch that feels like you are being led into the woods at dusk. There is a dreamier haze cast over "We Follow". Almsot too abstract for its own good. But this album is highly effective at making the moods it wants to make, so I will give it a 9. 

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Gothtober - Cold In Berlin : "Wounds"

Cold in Berlin is a band from London that is one of my favorites when it comes to newer bands blending goth with more aggressive forms of music. Their last full-length crossed over into doom, and here they are circling similar sonic places. The opening track of their new album blurs the lines even further, carrying a darker, more pulsating beat. Maya continues to belt things out with the expected intensity. The hypnotic pulse of "12 Crosses" shares some common ground with grunge from the '90s, while also employing more exotic flourishes of atmosphere. 

"Messiah Crawling' aligns itself more closely to doom with its deliberate rumble that leaves plenty of room for Maya to express herself as the bass line lurks. "They Reign" is likea more forboding take on Concrete Blonde, a blues storm brewing with the tension. "The Stranger" finds synths setting the stage to create a more Siouxsie and the Banshees-like vibe. The more metallic undertow of the song pulls you for the more rock-focused chorus.  

The first song that carries a more bong-laden boogie is at the opening of "We Fall," which finds the verse taking it into a more psychedelic, introspective direction that recalls late 60s bands. Unlike some doomy bands that do not get mired in having their songs all have the same, nor is there much in the way of a Black Sabbath influence that haunts what they do. I have noticed more of a 60s psych sound cropping up in places. By the time we get to "I Will Wait," it's the fact that the more Jefferson Airplane vibes take precedence, and there is little of the post-punk tension, as the bigger dynamics carry more of a metal punch to them, even if it is not overt. Even when things build to a more frantic pace. The last song simmers in speculation, More of a thoughtful spoken word over the drone of the guitar., This moment might be more post-punk, but the overall feel of this album is doom, though dark enough for more goth-leaning listeners.I will give this album a 9.5 

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