LA Witch : "DOGGOD"

 The post-punky trio is back, this time there is a more organic 90s feel that takes Cure-like guitar lines and sits them against a mood that reminds me of Hole. But this might be the toll that Los Angeles takes on you over time that makes you feel like a junkie in one way or another. The vocals feel indifferent in their street-wise depressive state. There is a more Sonic Youth-like feel to "Kiss Me Deep". The guitars are more jangling. The vocals are not very dynamic, but two songs into the album, and they still work for me. There are some darker passages on this song, but I would not say that is the overall mood of the album, two songs in. 

"777" has a more punk feel, and just kind of briskly shuffles past like early Cure. I like the way the vocals are produced for this one. "I Hunt You Prey" finds the bass holding things down with a creepy groove that brings out a different mood for these gals. The reverbed guitar sound is cool. The vocals are not selling me on their more spoken phrasing. A minute and a half into this one, I suspect they will draw this one out with some jamming. There is a slight reggae influence to the drumming, so if you are really high, this might be your favorite song on this album. They just drone on this groove without going anywhere with it. 

They return to the more grunge feel on "Eyes of Love' that finds them ambling about more. The vocals are more spoken in the verses, which limits the dynamic level of emotion in this one. "The Lines' is much more like the early Cure. Not the first time I have said this during this review, so there might be something to it. They even jam this one out a little, and it's only three minutes long. "Lost at Sea" has more of a Sonic Youth-like strum to the verses. The vocals take on the drugged-out slacker guise. The narrative works as it's another song that dynamically ambles on. The title track finds effects on her vocals, but she talks through it. There is a gothy synth line on the chorus that works well enough, despite the vocals being somewhat boring.

 '"Sos" proves to be the song that works best as the vocals have attitude, even though they are spoken, the guitars create a memorable backdrop,p while the chorus clicks more than they have up til this point in the album, it has pop smarts and a hook. While I am glad the break away from the droning jangle of the previous song here to focus on something catchier, I wish they had incorporated this sound into more of the album as a whole. As far as post-punk goes in 2025 so far, this album is a success, I'll give it an 8.5, not sure how much play it will get from me but if you are on the more indie-rock side of the genre it's worth a listen.

FLOATING : "Hesitating Lights"

Here is the kind of interesting blend of sounds that I am always looking for. Given the fact that bands like In Solitude come from Sweden, a death metal band that blends post-punk into their sound, it is not a huge surprise; I am more surprised by how well this is done. Less than 30 seconds in, they go from a Siouxsie and the Banshees-like riff to throwing in a blast beat, the growled vocals are layered over the guitars, splitting the difference between the two sounds. At times, this is a little chaotic, but it flows well more often than not. This is not to say they are not adverse to bringing in some brooding, angular sounds on "Grave Dog". It's cool how the sounds simmer, and they do not feel the need to rush things into your standard dense gain chugging. 

"Cough Choir" at times finds things converging back into a cool groove, though it is perhaps the most metallic song so far. The lyrics, more easily deciphered, find references to a place where witches were burned and corpses are piled, so not your normal gore fest. There is a more haunted feel to things. "Exit Bag Song' feels like a jam that kind of falls out of the previous song. In fact, I thought it was like a weird ending to "Cough Choir".  The title track lingers more like something the Cure might do in recent years. 'Dark Enough" grooves even harder. It's more metallic without depending on hyper aggression. 

"Wrong Body' finds them picking up the pace a bit and reminding me a little of old Tribulation. These guys have a beefier growl and are less progressive in the places they wander off to, though not far removed from Tribulation. Guess this comparison sticks around for the last song, which is a little more experimental, certainly more so than old Tribulation. I will give this one a 9.5 and see how it grows on me, they certainly have some cool sounds woven together, and are taking death metal in a different direction, it might not be as heavy as some but it's darker in places, and not the same old same old which goes a long way with me. This comes out July 11th on Transcending Obscurity. 

Celestial Sanctuary : "Visions of Stagnant Blood"

 It's always weird to me when a band sounds like they are drawing inspiration from post-Vincent Morbid Angel. It's done, but it uses a mechanical churning sound to angular riffs that feel more chugged from a technical place than still retaining the hook of thrash. There are also more riffs crammed into a tighter space with less of a verse-chorus arrangement. Of course, in their promo material, they cite every band but Morbid Angel as an influence, well, not everyone, just Carcass, Cannibal Corpse, and Dying Fetus, none of which I am hearing. 

Though I guess it depends on which era of those bands, not from their classic 90s days, the Carcass thing I can only hear if we are referring to when they double up the vocals. I think they find themselves a band al little more on the second song than the opening track. Given their name, you would think they would use more cosmic sounds or give more of a focus to atmosphere, but here they are grinding away pretty heavy. By the time we get to "Choking on Rotten Seed' which is a great song title, perhaps the influence of Cannibal Corpse only lies in the song titles, but we can tell here that their drummer is great, but you have to be to play death metal, we also get some dynamic shifts where they slow down to put a more deliberate spin on a song that started off pretty fast and feral. 

The last song, "Gavage of the Vile" is ten minutes, which brings the album up to a just a 22-minute run time, making this an EP, since the 28-minute mark of "Regin in Blood" is my barometer for what an album is here. They set a little more of a mood here, but chug into things with a pretty heavy intent, thought giving a creepier slant mood-wise to the otherwise more riff-minded aggression that has colored this album, Guitars begin to introduce single note melodies to what feels like the entire album's sonic climax, before doubling back down on the Morbid Angel grooves.  I think these guys are effective at what they are doing, even if it recalls a phase of Morbid Angel, that I was not as into as what came before "Formulas Fatal to the Flesh" , so I will give it an 8.5, as I am unsure how many extended listens I would give this one, but if you are into grinding death metal no shy on the riff fest technique these guys have you covered.  Out on Metal Blade Records

Dawn of Solace : "Affliction Vortex"

Finland is the country for dramatically melancholic music. It has quite a history with it as bands like HIM, The 69 Eyes, Nightwish Wish and The Man-Eating Tree all come to mind. Though those bands all have a different take on it. The same can be said for this band, which is more on the doom side of the tracks, but coming from a more Peacville place with the mournful vocals that make me think of Katatonia and My Dying Bride. The pace picks up a little for the second song, but the vocals are rightly even the center stage of this mix, as it keeps the tension underlying musically. Growled vocals, which I was not expecting, come in, which I was not expecting, though I should have been since they are now a staple of metal. 

Then on "Into the Light" things begin to take a turn away from doom into a more Opeth-inspired melodic progressive death metal direction, though the sung vocals are the dominant force in "Rival", finding the band going in a more accessible direction. Things climax with some impressive guitar prowess, as it continues to go further in a melodic death metal direction, as the growled vocals become the primary voice when the song really begins to build. Most of this begins to lies in the hands of the drummer, who allows moods to be established and never rushes things, but is also not about doing a bleak doom march either. 

"Dream" might be the album's best song as it just flows so well. Things are getting gloomier for "Pereniel," which finds the vocals shifting into the snarl for a more explosive chorus. This is the most effective use of this dynamic yet. They end on a doomier note going into the last song. At almost six and a half minutes long, it is the album's longest song, so they get credit as songwriters for not letting things sprawl out. Double bass comes in and things flow in a more uptempo direction, but it feels like it's more of a throb rather than jerking you out of the mood with it. I will give this album a 9, and see how it grows on me, one of the better efforts at pushing this sort of melodic metal from the 90s forward. 

The Man-Eating Tree : "Night Verses"

 

The video for the song "Seer'  was the first song I heard from this album. It seemed like a more streamlined version of what I recalled them doing, so I went back to listen to their first album to see if I was totally off base in this regard.  I have always enjoyed the songs I caught from this Finnish band in passing, but never dove into their albums, so never got the full picture of what they do. I assumed they were a darker version of what Katatonia used to do, as they were often labelled as goth-metal, giving them big hopes. Those assumptions were not far off from those. I am not hearing the goth thing, granted they are darker than say Opeth, but how high of a bar is that really? 

The guitar melody to "All Our Shadows" is closer to mainstream metal, with the vocals sometimes sounding like Woods of Ypres. This song wanders off into the atmosphere as they jam around the guitar solo, which is pretty tasty if you are into guitar solos.  "To the Sinking" sounds like it could be a Staind ballad. It has a more powerful climax than a band like Staind would do, so that is better for them. Though some of the brighter notes in this vocal melody lend themselves to that comparison. "Ruins of Insanity" finds the more grunge undertones of the vocals continuing, but it has a more flowing riff. This might be the album's best song. 

"Abandoned" carries a more aggressive pound and the snarling vocals. A minute in, things shift into a more reflective melodic verse. The album closes with "Reflections' which is like 00's alternative ballad, but with more strings. It does slowly build over the nine and a half minutes.  I was expecting this album to be a little darker than it is, I think they're playing and songwriting work, but it's produced too much like a mainstream rock record. If you wanted Katatonia, to sound more Killswitch Engage, then this album is for you. I will give it an 8.5, as it needed to be darker and less overproduced for my personal tastes, but these guys are great at what they are doing. 

Bon Iver : "SABLE fABLE"

 

This double album is really his EP "SABLE' last year that was only three songs, which focused more of his folk side, and then the nine new songs, which are the kind of lush experimental pop songs that made his 4th album such a stellar creative success. These songs are going to be the focus of this review. "Short Story" is a brief intro song that still works as it completes its dynamic thoughts, bringing the album shimmering to life, with his falsetto vocals, which were not featured on the EP the spotlight. A more focused pop beat moves "Everything is Peaceful Love," which feels like his time spent collaborating with Taylor Swift has influenced him. 

There is a more 90s pop feel to "Walk Home" . There are hints of country guitar tones haunting the periphery of the song, showing his skills as a songwriter able to blend sounds in a manner than proves pop doesn't have to be a bad word. However he is an elite songwriter. Jennifer Lynn Wasner lends her vocal to the gospel inflected "Day One".  "From" feels like Bruce Hornsby style of 80s pop, with Vernon's falsetto vocals rooting in this project's sound Danielle Haim lent a hand at the songwriting of "I'll Be There" and add her voice to "If Only I Could Wait" which infds his voice blending better with her's than his duets with Taylor Swift. 

"There's a Rythm" is like 80's pop but with more of the subtle country guitar coming up further in the mix to add a more melancholy layer of sound. The last song is more of an outro, but for the songs presented here, they are done so in a flawlwss manner so I am givng this album a 10.

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Song of the Week - Turnstile's "Never Enough"

 

The title track from the band's forthcoming album, which is due for a June 6th release, finds Turnstile taking this week's honors. The song seems to indicate another step away from their hard-core roots into a more atmospheric rock direction, as the song works off a droning groove and the melodic vocals form a sing-song chant to help hook you in. It invokes the crossroads some post-hardcore bands found themselves at with shoegaze in the 90s. However, they are certainly more uptempo than, say HUM. Whatever they are doing certainly works, despite finding them moving in a more accessible direction, which should find them poised to attract a larger audience; it's hard to complain when the song is so well written.

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Low Before the Breeze : "A Hole Beneath The Home We Shared"

 I like where this band from Atlanta is going with the experimental blend of grindcore-like explosions, which find the chaos tempered with atmosphere. That does not mean it's an easy listen, as it took me going back and giving it a second or third pass through before some of the songs clicked with me. The opening track is more possessed by spastic madness, as feed back squeals out over a collage of sampled sonics. It's very dissonant and moody, though more introspective in an odd way than dark. At times, the Locust might be a fair point of reference. "Night Wept" creates a more compelling mood that registers with me, more than the unhinged punk nature of the first song.  The drumming navigates the swirl of noise well, to hold things together. 

"Keep His Name Sacred and Pure" simmers in the glitch garden of sound. It reminds me a little of early Neurosis in this regard. However, it's more of an interlude than a song. 'Days Feel Rehearsed" builds in a slow swell. There is an apocalyptic agony to how it explodes to life. It feels like a mix of sludge and screamo. Granted, sludge seems to proliferate in Atlanta, so that is no surprise. It is more disconnected in its reluctance to recoil into something taunt and more metallic. "The Same Joke Twice" felt like it was an extension of the previous song, so it required another listen to discern the transition. "Cadaver Synod" opens with the wretched scream of the vocals. The spoken vocal creating a chant begins to remind me of King Missile, as the other vocal goes off the rails 

There is a similar transition into "Proverbs 7:22"; it bleeds over from the previous song, and I have to go back to catch up with where we are with things. Though as a stand-alone song, it is sculpted with more precision, and almost hooky. "Collected Messages of Abuse" creates a very effective mood as the samples are layered atop one another. "Faithful Dream" finds a punk energy being amped up, but with more experimental noise rock ambiance. The groove of the song takes a drunken lurch as it finds its footing. The drummer tries to hold the last song together, but there is too much going on for him to contain. It sounds like everyone is going in a different direction. The dynamic shift three minutes in, and it gives the song room to breathe, which is what they sometimes need more of, but I understand why they use tension they way they do, it is unsettling.I like the images painted here by these songs, I will see how it grows on me but is worth repeat listens, fans of more experimental grindcore will finds plenty to embrace here. I will give this album a 9. Out on May 30th .  

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Wednesday 13 : "Mid Death Crisis'

 The two previous albums reviewed by these guys found their sound harkening back to 80s metal in a manner that won us over. The opening track of their new album moves like a Rob Zombie song, while the vocals are more like Alice Cooper. The determined chug to "When the Devil Commands" has more of a "Dr Feelgood" groove. Things are big and anthemic. This does recall this kind of thing when it found rock morphing in the 90s as it tried to find its identity. They make a good argument for becoming Alice Cooper's backing band here.

The vocals are less sneered and more sung on "Rotting Away". This brings WASP to mind, not the first comparison we have drawn between the two bands. "No Apologies" features Taime Downe from Faster Pussycat, who sings the second verse, and he pretty much sounds like he did back in the day. I would say for cock rock Faster Pussycat was one of the most under rated bands, and they clearly influenced these guys. They break out the hairspray for "Decapitation." Lyrically, it feels like it could have come from Alice Cooper's "Constrictor' album, which might not have aged well, but was one of my favorite albums as a kid. 

"In Misery" feels like it could have come off of Cooper's "Trash" album, though it rocks a little harder than he did back then. They race off in a more punk direction for "Blood Storm", but it's their more WASP-like moments where they shine, since WASP doesn't sound like that anymore.  "My Funeral" sounds like post- "Countdown" Megadeth. Dave Mustaine was influenced by Alice Cooper as well, so that tracks. The last song is not as inspired as some, but if you are looking for straightforward 90s-flavored metal, they have you covered.  I will give it a 9, as it's a solid sound that hits the right places down memory lane while still injecting some personality into them. No one does this very well these days , so these guys get credit for bringing the rock to the intersection of metal. 

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Secret Cutter : "/// "

This cult sludge band is back with more angry battering. The aggressive guitar hits you with a very deliberate wall of overdrive. For a three-piece, they always bring an intense density. This album upholds that tradition. I have always stuck to the fact that sludge is what happens when punks try to play doom. There is more anger than melancholy. These guys are obviously punks of the ore hard-core variety. The drummer is the one who seeks to push things more in that direction. The blunt force trauma they seek to inflict becomes more of a formula when the throb of the second song is not unlike that of the first. Then they break from this to prove by punk point with "Humanoid". There are grind-core tendencies with indications that they took notes from Eyehategod growing up. 

There is more groove to "Destined to Fail". The vocals can be a bit one-dimensional, but they work as an accent on this one. To their credit, they are more of a shriek and less of your typical gruff howling.  "Feeding the Gods" is another heavy grooving song that will win over fans of sludge with its seething intensity. "Charging Bull" is an adequate description of the assault that follows. It blasted with a grind-core frenzy, though it does lock into a half-time riff in a few places that works. With bands like this, it is impressive they cram so much into two minutes. "Siren Song" follows a similar blasting path. 

They allow for a more deliberate setting of the mood going into "Ghosts of Our Youth". Though the song really just hangs on to the one theme. They end with more blasting chaos. I can appreciate what they are going for here, but in terms of songwriting, it could be more dynamic as it feels like there is a lack of melody and it's all gnashing of teeth. I will give this album an 8 as it's not something I would listen to since when I am in the mood for this sort of thing would go for Full of Hell, but the band's fan base should be pleased which is why I am scoring it so high given the factors stated in this review, though it also falls in line with the score I gave them for the last album we reviewed by these guys, so they are consistent. 

 

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Abyssal Vacuum : "s/t"

 

This is the French band's debut album. They play a unique style of atmospheric death metal. There is a fair amount of blasting and rumbling, but monks chanting and weird space sounds decorate this cavernous mix. The vocals vary throughout the main narrative; on the opening track tends to be a low growl. They are not trying to pay tribute to death metal's golden years but are stirring a dissonant cauldron sound. They do employ some black metal influences. They are most often heard in the drumming. The second song finds things in more of a half-time swing. The guitars are playing along by employing some tremolo-picked melodies to add to the blackened glaze over things. 

The songs hint at occult intentions in their delivery and the mood created here, though the lyrics are obscured as the vocals sit in the back of the mix. This leaves the vocals as more of a frequency. The choir of monk also factor into the ritualistic feel. By the third song, it's evident that their attention to atmosphere and melody is their strength, along with actually writing songs. The songs flow well, and the more explosive outbursts from the drummer do not take things off the rails. However, they come close at the beginning of the fourth song. Oh, yeah, and none of the songs have titles, just coordinates. The fourth song ebbs back and forth from a more weeping cascade of guitar that feels more black metal to faster, almost rushed blasts. 

Five songs in and a hurricane of double bass brings in a devastating tide of straight-up death metal, that might provide the hammering that your average death metal fan has been waiting for if that is what they listen to music for. Not sure the sampling guy is making the most of his time as it just sounds like he left the water running in the bathroom sink here. They also end things with a bigger, more death metal sound. It sounds great, but is also more conforming to the standard death metal expectations, and while effective, it does not display their strengths as much as the first four songs did. I will give this album an 8.5, they are onto something cool here for their first effort out, and I hope the future finds them diving deeper to the darker atmosphere this album captures. This album drops on Signal Rex May 2nd. 

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BURNDY : "s/t"

 

This trio from Chicago has chosen to make music with an unorthodox combination of instruments. They are armed with bass guitar, bassoon, and ukulele. The first song is a minimalist noise piece that finds the bassoon holding down the dreary melody. The second song has a more industrial cadence, as vocals are intoned with a chanted drone. The songs begin to run together, yet the vocals to "Burn' " make it stand out with the sing-song hook of the vocal line, which still adheres to their avant-garde approach, which they are unwilling to compromise when it comes to their artistic vision. In truth, it reminds me of a more obtuse version of Rasputina, but with less dramatic vocals and the lack of cellos. 

The programmed beats on this album could stand to come up in the mix, as it might give a heavier backbone to things. They are less committed to songwriting and more committed to toying around with abstract poetry translanated to their unique blend of instruments on "Breathe".  I am not asking them to become Primus, but something can be said for groove. It allows for a song to flow with ease rather than being forced into place here. The arrangements are rather crude; they hang on whatever the theme of the song is and just drone on it rather than employing dynamic transitions  

I appreciate where they are trying to go, I think the execution needs some work, and they would benefit from having an actual drummer, as the bass player is not holding things down on her own here. It is almost hard to call "Cinder" a song, but this is how they choose to release the album, so I will judge it accordingly. The overdriven effects on the drums for "Mask" are the kind of studio magic they needed earlier in the album. The bass line plods a little, but overall works well enough. "Static' tries to just ride the bass line, but it is not substantial enough for it to really go anywhere. It does build into a more Killing Joke-like chaos in the song. This carries over into the more punk feel of the last song. I appreciate what they are doing, the execution needs work so I will give it a 7.

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TETRAMORPHE IMPURE : "the Sunset of Being"

 Damien from Mortuary Drape is helming this project. If you don't know who Mortuary Drape are, then we have bigger problems than allowing you to delve into funeral doom. Do you know what funeral doom is? Think My Dying Bride, who, if you are still coming blank, this is the wrong blog for you. This opening track feels more like death doom thanks to the relentless hammering of double bass, though the guitar does allow things to breathe and create a sense of atmosphere. The vocals have a commanding growl, rather than being the kind of despair-filled gurgle that normally comes from funeral doom. Record labels are the last ones to know how to market a band and call their bands all sorts of things they think are buzz words. These guys are pretty heavy regardless of the genre and give a shit about the songs which is even better.

There is more melody to the guitar line that opens the second song. The drummer is pretty amped up to get things going in a more death metal direction, and that is where his playing sends the song. The more languid chords that would set the sorrowful doom mood are in play but not allowed to simmer for too long. What they are doing here works, but after the first song, there are fewer surprises here. "The Spirit of Gravity" is a more foreboding stomp. To the band's credit, they are not content with just pummelling you. There are some sparse sung vocals buried in things. 

The last song finds the band charging right in with death metal's hyper aggression, though once they settle into the verse, a more melancholic guitar tone comes in. The overall feel is death doom, as the double bass starts getting kicked up again midway into this song, which sprawls out at 1 minute. Though six minutes into the song, they seem to have touched on all the major themes you might expect. They end up going into a clean guitar melody that sounds like something Metallica might have played around with as an intro. I like what they are doing here, the transition into the swell of dynamics is pretty flowing, though, could they have reined this song into something more concise that was eight minutes max, yes. But over all this album is a success and they take the death doom genre away from its normal Peaceville roots into something more aggressive. I will give this album a 9, as it's a fun listen.  

 

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Black Country, New Road : "Forever Howlong"

 This is the third album from these British indie folksters who flirt with rock music less, and indulge in more woodwinds and jazz-tinged passages this time around. The vocals are what anchors them in indie rock, as the more folk notions lie in the poetic melodies that run the center course of their songs.  Most of it flows really well and seems like how things just progressed. There is a more Beatles-like tone to things on this album. It reminds me of the more quaint pastoral moments from the White Album. The vocal lines on "Socks" wander around a little more. The production quality is the most notable growth as the mix balances all the layers of strings and woodwinds. 

Kate Bush could also be an influence that peers through in some of the more odd vocal phrasings that dance around the instrumentation, think her "Lionheart" era here. If this album gets the proper push, it's already evident in the first three songs that this band could break into a bigger audience with this album, as this could be embraced at local coffee shops everywhere. The arrangements also show great maturity in how these songs evolve. "Salem Sister" does a more delicate dance against the harpsichord and strings. The lyrics feel a little more abstract this time around. I would not say these songs are all that hooky, though impressive in the scope of what is being accomplished. Dynamic in a manner that most indie rock is not. 

When things take a more balladesque turn on "Two Horses," there is a slight wink to Joni Mitchell. The bass line to this one creates a 70s groove. It does take you on a more unexpected adventure than what the beginning of the song suggests, with plenty of jazz infused into it in a very progressive rock manner. "Mary" is a more straightforward folk song. Guitars with a more rock intention creep into "Happy Birthday' to further the Beatles comparisons. 

They go back into a more folky feel with "For the Old Country".  Normally, any song over the five-minute mark on this album finds the band embarking on a wild excursion. This one proves to be dynamic, but it does not venture too far from the main theme.  "Nancy Tries to Take the Night" finds a more jazz embellished wandering being embarked upon with some great drumming to propel it. "Maxwell's Sliver Hammer" is the best point of reference for the direction it heads. The title track is a more subdued folk musing It almost makes me think of something Bjork might due in one of her less experimental moments. 'It's fitting that "Goodbye" should close the album. It's more of a romantic pining with a slight country element to it. It's a pretty solid song, less wandering and abstract, that has a clear narrative rather than elusive bits of abstraction.I will give this album a 9 and see how it grows on me, despite the brilliant compositions I did not rate it higher due to the stream of consciousness vocals that could have hooked me in a little more , but hard not to appreciate what they are doing here. 

10.3

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LEAVE : "The Cost of Compromise"

 

Germany has embraced metal-core, and the brand of Myspace spawned emo-metal mid-2000s, which found the rise in popularity. This band would be huge if they came from the UK or America. "Dead Dreams' is your typical nu-emo anthem, but the moodier verses to "When I'm Gone" prove to be more impressive dynamically. The nu part being dug into with the more hard-core riff they dig into as the song progresses. "Pull the Tooth" finds them continuing to use broad strokes of atmosphere and melody that play to the favor of their songwriting and sets the stage for their more pop punk choruses. It is hooky and well done, so there is something to be said for what they are doing. It might not be the most original thing I have heard in the bigger picture. It is impressive that the singer sounds like he is from California, and this is done in a manner where you might never suspect these guys are from Germany. 

"Perfect Trajedy" is more upbeat, and sounds like it came from the pop punk days of Myspace with its bigger arena rock guitar sound. Not my thing mood-wise, but they are doing a good job of creating it, and the vocals have more nuance to them. This nuance is a pop inflection that might be overdramatic for some, but it works for what they set out to accomplish here. It's around "I Just Feel Worse" that things begin to sound the same, causing the songs to run together and increasing the need to go back and give another listen to find the more standout elements. "I Just Feel Worse" starts off with a Sleep Token mood and ends up closer to Volbeat. On one hand, this means there is a big well well-produced quality, on the other hand, it's not that heavy and more accessible. 

Much of this has to do with the songwriting formula the band is invested in that offers more melodic possibilities leading into the song, then explodes into stadium-ready pop punk. I begin to notice a Post Malone-like tremble in the vocals during the more emotive sections. Some nu-metal-like riffs creep in. Despite the almost rapped-like cadence to the vocals on "Coma" things being to feel a little bland. "Phantom" starts off more like a ballad. Sleep Token comparisons could be drawn in this regard. The chorus vomits Lisa Frank all over the mood, and feels like they are conforming to a bigger picture. 'Am I Awake' is a nu-metal power ballad for Gen-Z. The song is poppier with programmed drums, and an emphasis on the vocals in the verse with a big chorus, which might have dynamics but also follows a formula to the letter. These guys are good at what they are doing, for my tastes as this album progresses, what they do grow further away from what I am into so I will give this album an 8. 

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SCOWL : "Are We All Angels"

 I watched all the videos leading up to this release, after the first one, I saw hooked me in as they have grown away from being a punk or hardcore band and making catchy 90's alternative music for 2025. First off Kat Moss only uses a harsher, hard-core flavored snarl as a point of accentuation. Her main style of delivery is a slacker croon that has more in common with Veruca Salt. The second song, "B.A.B.E," is more upbeat on the verses in a punk fashion with a more deliberate hooky chorus.  With bands like this, I have learned to steer clear of interviews. When I even get peeks of it, there is plenty of stupid pandering with tangents about hardcore being more inclusive, apparently so much so that it includes music that isn't hardcore at all, with songs like "Fantasy" that would have been all over the radio in 1994.

This feels like it is who this band really is, as their attempts at punk often felt like they were trying too hard in the past. Production-wise wise this album has the slick sound of Turnstile's last album, but without all the bells and whistles. The hooks stand up on their own and need little bolstering to make them effective.  All the songs are quick three-minute ditties. Some of the more quirky expansions of their sound can be heard on "Tonight (I'm Afraid)". It is about as punk as the Offspring, with Moss' voice sounding its best. "Fleshed Out' has a more angular groove that the vocals smooth out. Her voice is given a little more love in post-production, and it pays off as it is the centerpiece of this album. 

"Let You Drown" is the first song that kinda coasts along, and does not hook me in like the previous songs did, but at this point, we are six songs into the album so they have had a pretty solid winning streak. "Cellophane" has more of a grunge grit to the guitar. Her vocals glide over this with little aggression to them, but this contrast is what makes these songs work so well. The harder riffs that lead into these songs begin to find a formula in place as the verse, when the vocals come, find them on the loud-to-soft blueprint bands like Hole used. In fact, the riff to "Suffer the Fool" reminds me of Everclear. 

When you think of grunge, what stands out is that those bands came from a punk background, and they evolved into something with more moods to color their angst, which is this album's strength as well. "Haunted" is the second song that does not connect with me on my initial listen, and the second listen did not find me really warming up to it, though it feels like Weezer in how it gives a grunge chug to 50s pop. The growl of the bass rumbles its way into the last song, which is another more uptempo stab in the punk direction. I will give this album a 9.5, as it's an improvement in song writing that displays a commitment to melody, and takes the band in a more honest stylistic direction that makes for some great post-grunge. 

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ButcherBird : "Drought / Deluge"

This hardcore band from London has a metallic groove to their feedback-squealing attack. The vocals are the most straightforward thing about the overall sound, as they are delivered with the kind of angry shout you expect from hardcore. They throw some breakdowns at you, but they come from less expected places, so they work. Despite the jerking whiplash of the mathy riffs, they are more straightforward in a more rock n roll manner than, say, Full of Hell. They are willing to give into the atmosphere, with unwieldy sections of choruses colliding at you in a manner that reminds me more of Rollins Band than Black Flag. Though the mood is more celebratory than "The End of Silence" was for the more sullen Henry. 

"Be the Rabbits " finds them balancing out songwriting with confrontational explosion. It does remind me that in the 90s, hardcore was much more willing to be experimental than it is now. Midway into this song, there is a little more brooding introspection that adds to the album's overall dynamic flair. Their vocalist actually sings here as well. 'Dead Cat Strategy' finds a burly bellowing set against the sinewy tension, as they wind their way around simmering resentment given catharsis here. "I've Walked in Space" finds more nuanced guitar expanding the album's emotional range. 

The last song is more high-energy energy in your face. Their drummer is certainly earning his pay on this one. There is more of a noise-rock temperament, set against urgent outpouring to spit these lyrics in your face at the high volume they can find. Lyrical, it's more experimental than the typical let's all unite and be tough together to get through this unfair world garbage, you get from your average hard-core band which I was never a fan of I always wanted hopeless depressed apocalyptic hard-core which is why bands like Bloodlet, Starkweather and Integrity always appealed to me but I can get down with what these guys are doing as well.  They do it so well that I'll give this album a 9.5, as I see how it grows on me, it will likely get a fair amount of rotation since I am not sure what I did with my old Rollins Band albums. 

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mclusky: "the world is still here and so are we"

 

The first album this trio has released in 20 years. They emerged from the 90s playing a noisy take on tongue-in-cheek punk. Vocally, they adhere less to punk and shout random thoughts. The comical tone is heavy on the first track. They employ dissonant guitar lines and churn an angular battering under it all. "way the exploding dickhead" works better than the first two songs when it comes to making things memorable, as the chant is infectious. There is more of a slacker vibe to the more deliberate "The Battle of Los Angelsea"; it brings Helmet to mind. 

"person person" feels like it is more pounding, a more emotional pulse. Though this does not mean that it has as many dynamic twists as some of the other songs. At times, these guys remind me of King Missle. "the Compotent horse thief" being one of those times. The pace picks up for "kafka-esque novelist franz kafka".  "the digger you deep" finds the band indulging in more clever wordplay, as the bass lends weight to the drone of the song. It's like Primus without the funk. This formula works better on some songs than others, as things begin to sound rather uniform by the time we get to "autofocus on the prime directive". 

They solve this problem by dialing things back for "not all steeplejacks". Then after this they are back to some times pounding out bouncy grooves , and at other times colliding powerchords against one another to vent frustrations. They veer more in the indie rock side of things for the last song. I'll round this down to an 8, not a hug fan of the vocals, but I get why people are into these guys as they are good at what they do so giving it an 8, as they made the album they set out to make and their fan base should be pleased by it. Ipecac is releasing this May 9th. 

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LIK : "Necro"

 When I hear the term Swedish Death Metal, I used to think of something more in line with At the Gates, but now it seems like the phrase is code for 'we love Entombed', and by the band's own admission, they wanted the opening track to sound like Entombed. They succeeded. I dig Entombed, not really a band I listen to as much now as I did in the 90s, but they have a distinct sound. Hopefully, the rest of this album finds this band showcasing their distinct sound and not becoming an Entombed tribute band. Though the guitar melodies seem to convey they are paying tribute to a wider range of Swedish death metal, as it is more At the Gates, in its aggressive delivery. Truth be told, I might like the first song better. Around the two-minute mark, a pretty killer riff comes in, but they just solo over it. Even then, the rule here is "cool riffs alone does not a good song make". 

"They" is more deliberate and marginally darker. It hits a pretty solid "Wolverine Blues" era groove. It might be the best song so far. This is the band's fourth album, so they know what they are doing production-wise and have a sound dialed in, even if it is not the world's most original sound. One thing that plays to the band's favor is their economic songwriting that finds them keeping things around the three to four minute mark. With a song like the rapid fire "Worms Inside" they got straight for the throat and leave little time to fuck around and let things sprawl out. Their formula at this point seems to be to throw the best riff in at the two-minute mark to switch it up. The growl of the bass leads the way into the grind of "Morgue Rat". It's a darker, more throbbing song, which is a sound I prefer over feeling like things are being rushed by momentum.  Granted, this drags things out into the five-minute mark, but it's time well spent, and not a droning jam. 

They pour on the speed for "Shred into Pieces".  In doing so, it pretty much turns into a rumble that sounds like everything else in this vein. Their drummer is a beast, but you have to be to play death metal. They cast a doomy shadow on things with "In Ruins", though step on the gas once they are into the verse. Nik Holmes from Paradise Lost lends his voice to the song. But he is pretty much buried in the layering of vocals, until they break things down enough for him to give a goth mumble over it. The overall vocal performance on this song seems more intentional than most. The rushed thrashing of "the Stockholm Massacre" finds interesting lyrics lost in the frantic delivery. 

"Fields of Death" is another speed fest, that at this point is getting dynamically tiring, as it feels like you are being hit with the same blunt force straight to your eardrums. There are some who are going to be a fans of this sort of thing. The last song is doomier, and works better to establish a mood than the thrashing ultra violence they kept hitting us with. For this reason I will round this down to an 8, they are skilled at what they do which is a specific flavor of death metal that is not always my thing. This drops on Metal Blade. 

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Fractured Fairytales :" Parasomina"

 

This band reminds me so much of Lollipop Lust Kill that I had to click around online to see if there was any connection. There was no connection to Narcotic Wastlands, if you are into bands in the "Where Are They Now?" files. These guys meet at that weird intersection of the 90s where nu-metal and death metal met. The song is reasonably catchy with the vocals mainly barked with a nu-metal pseudo goth vocal sometimes chanting around the bark. This might appeal to Jauggaloos, as the vocals are sometimes almost rapped. I am a fan of the fact that it is not upbeat or trying to bring the party, but making a feel-bad album. 

"Hate is All You Need" finds the songwriting not as hooky or nuanced, making it the first song to lean more in the direction of filler. Maybe it's a flux?  "Shadow in Hell" has more of a groove to offer redemption, as the vocal goes from rapped to more of a Marilyn Manson-like croon. I am not sure if this album is going to be something I need in regular rotation as I own a great deal that already meets these needs, but it's entertaining, and I am glad there are bands out there doing this sort of thing. Though I think pouring on the speed is not something that plays to the benefit of what is being done here, and it's the creepy grooves that work best. 

This can be heard on the very deliberate riff that drives the verse of 'Snow Angel". There are varied vocal approaches and guitar melodies that show the willingness to dig into songwriting that have to be respected. Just being heavy is not good enough for this album; there have to be things to hook you in, which it excels at, even if it is not the most original assemblage of sounds, it works for what is going on here. "the Unmaker" perhaps leans to heavily on the Marilyn Manson influence. It harkens back to the "Portrait of an American Family" era that was more rooted in rock guitar riffs. "Somewhere Else" is the first song where it begins to become apparent that there is a formula taking shape with an industrial march accompanied by a multitracked chorus of monster-like vocals chanting in mean-spirited unison. 

"A Reflection' takes this formula in a heavier direction. "Wither Psalm". "All Fall" uses the drone of guitar to lock into the chant of "live to die another day," which is catchy enough to work. I will give this album a 9, since it does pay tribute to 90s goth rock pretty heavily, but they make an effort to write catchy songs which makes for a fun listen. If you like goth-infused nu-metal, then you are their target audience and will like this album.  

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KARDASHEV - "Alunea"

The last album I reviewed by these guys, and there were some Dream Theater-like elements I did not like about it, so going into this one, I am hoping those elements are toned down. They blast into things here with a more blackened aggression. The sun vocals come at the chorus to tone things down in a bad cop/ good cop manner. The vocal melody is not very Myspace, making it more tolerable. The harder vocals vary from a more black metal snarl to a lower growl. The clean vocal they continue to shift into over more fragile and a little less dramatic than the last album, though they begin to head in that direction for "Seed of Night". 

Still, the dynamics technically offer some range, in terms of melodic qualities, the formula they are working off of finds the songs beginning to run together. The moving parts of 'Speak Silence" flow smoother, and it sets itself apart more as its own song. Then the album begins to get a little bogged down, as if it wants to be Opeth, but unsure of what era, though the songs continue to ebb and flow from the most intense to least intense, when just some grooving or memorable riff might work better. 

"We Could Fold the Stars" starts off like your average blackened death metal band, before dying down to the counter tenor vocals. It's more original than what we have heard from them, but not that hooky. The last song is more of the same, though sticking closer to their heavier side. I will give this an 8.5, well done, but not really my thing, though fans of progressive death metal who also like Sleep Toekn will dig this for sure. This comes out April 25th on Metal Blade. 

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March's Top 10 Albums

 It's time for March'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 June, so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month, there is a wide variety from Crust Punk to Prog Rock, so you may find your new favorite among them. Here are the Top 10 albums of  March 

10-Staticlone- "Better Living Through Static Vision" 

Crust Punk 

https://abysmalhymns.blogspot.com/2025/03/staticlone-better-living-through-static.html

9-Jason Isbell -"Foxes in the Snow' 

Folk 

https://abysmalhymns.blogspot.com/2025/03/jason-isbell-foxes-in-snow.html

8-Gaahls Wyrd- " Braiding the Stories" 

Goth Metal 

https://abysmalhymns.blogspot.com/2025/03/gaahls-wyrd-braiding-stories.html

7-Spiritworld -"Helldorado" 

Thrash 

https://abysmalhymns.blogspot.com/2025/03/spiritworld-helldorado.html

6-Ancient Death- "Ego Dissolution" 

Progressive Death Metal 

https://abysmalhymns.blogspot.com/2025/03/ancient-death-ego-dissolution.html

5-Idle Heirs - "Life is Violence" 

Post-hardcore 

https://abysmalhymns.blogspot.com/2025/03/idle-heirs-life-is-violence.html

4-Messa - "the Spin"

 

Prog Rock 

https://abysmalhymns.blogspot.com/2025/03/messa-spin.html

3- Kazea- "I, Ancestral" 

Sludge

https://abysmalhymns.blogspot.com/2025/03/kazea-i-ancestral.html

2-Deafheaven _ "Lonely People With Power" 

Black Gaze 

https://abysmalhymns.blogspot.com/2025/03/deafheaven-lonely-people-with-power.html

 1-Spiritbox-"Tsunami Sea" 

Progressive Metal 

https://abysmalhymns.blogspot.com/2025/03/spiritbox-tsunami-sea.html

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PALINDRONES : "'Chapter 2: The Slender Blade"

This morning I perused the line-ups of this year's " goth festivals," and while I can understand the old school headliners like Frontline Assembly, what I do not get is the younger artists they book who do not have current albums they are touring in support of. It seems like a waste when other artists could use the exposure and are working harder to grind away at their songwriting craft. One of these would be that this  British duo is crafting some emotive electro pop with call and response vocal lines that recall some of the more moody moments in 80s pop. The first song is a banger, so that sets expectations high for the remainder of the album. 

Where the first song flirted more with new wave. The songs that follow are more like atmospheric techno. The female vocals become more of the dominant narrative of the songs.  She shifts through a range of emotions in her presentation, so this works. "The Dark Forest" is more of a synth interlude that blankets you in immersive ambiance. It's counterpoint "the Light Forest". It is more of a grooving synth wave pop hybrid.  It grooves in a manner that brings Underworld to mind with more of a pulse than a black rocking beat. 

"Suli Nan Diathan" is a swathe of synth ambiance that is ghostly and minimal.   It materializes into an actual song around the two-minute mark. There is some dynamic ebb and flow, but it feels more like an interlude to me. "Animus" uses more of a vocal interplay that offers a similar dynamic to what they did on the opening track. The beat is possessed by a little more drive here. "Resonance Factor" closes the album. It goes back into more of an atmospheric techno mode of songwriting with the vocals taking on a brighter tone. I will give this album a 9.5, as I enjoyed it , would not call this darkwave, but it recalls the electronic acts of the 90s who are adjacent enough to keep my interest.Much more song focused than the festival brand of EDM.  

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Twin Shadow - "Georgie"

 

This marks the indie pop singer's 6th album. It's the third we have reviewed here. 'Eclipse" has been my favorite. This album finds another step away from the 80s sounds that made that album great. "Good Times" could almost be any pop artist on the radio, if they go serious, stepped away from hip-hop influenced beats, and used actual instruments. Here lies the problem for an artist who creates a perfect album like "Eclipse". The expectations are set higher since you have shown me you are capable of being more. Perhaps you might have the same level of inspiration or want to be shackled to making the same album twice, which is not what I am asking here. 

In fact, I am pretty content with the minimalist instrumentation to "As Soon As You Can' as the vocal lines work well enough. But I know he can write more breathtaking hooks. He has made more compelling grooves as well. Is it more experimental than his past work? Sure, but that is not playing to his strengths. There is more feeling invested in the vocals of 'Funny Games'. The title track feels like an experimental idea of a song that was never fleshed out. The stripped-down nature of "You Already Know" makes it almost feel more like a demo, though the emotion he invests in the song is what makes it work.

  "Maybe It's Time" is another ballad that seems to be the dominant mood of this album. The song does gain some movement. There is a twang to the guitar on this song that brings the hint of an influence I heard earlier in the album more into the spotlight. "Emily" finds him back in a very similar sonic place, highlighting the fact that this album could use a greater range of dynamics, as he is keeping everything in the same mood/. He is using the ghost of auto-tune as an effect rather than relying on it to stay in key, as we already know he can sing. 

"Permanent Feeling' hovers around the established sonic boundaries he has set for himself on this album. In a different context, it might make a song like this stand out more than being on an album where everything is lingering in this mood. He did not need to do a great deal to switch it up at this point; even dropping a beat would have worked. Meeting at the intersection of gospel and country music is an interesting place for him, but he keeps approaching the songs from the same angle. I'll have to round this one down to an 8.5, as it's dynamically flat, but sung with a great deal of heart. 

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clipping : "Dead Channel Sky"

This hip-hop project breaks away from the more conventional to follow the trail blazed by the likes of Aesop Rock. Not really sure why they have been booked on a darkwave festival, but their grooves are lo-fi and interesting.  "Change the Channel' wants to be "Firestarter" before going into Super Mario Brothers-inspired 8-bit glee. "Run It' comes closer to the status quo of underground hip-hop. The vintage synths will be the key selling point to some, while I am listening to this album to see if the songwriting holds up to the hype. Unlike most hip-hop artists these days, they do not have a team of producers and songwriters to supplement the lack of talent. 

After a few interludes, "Code"  comes back with a more interesting groove. The sci-fi theme works well, as the album has a slight dystopian vibe, though not to the point of being industrial. There is a glitchy, noisy sound coloring the edges of the atmosphere as the pace picks up for " Dodger." The fact that the lyrics are spit with a quickness rather than in a slurred auto-tuned mumble gives these guys an edge over most. Nels Cline adds some guitar to one interlude, but it is not really a song. "Scams" is more like traditional hip-hop, with a minimalist beat. With this comes a more vapid lyrical content. "Keep Pushing" finds a more interesting synth sound powering things, but the lyrical flow is less interesting. 

The album continues to be littered with interludes and soundscapes that toy with a collage of pseudo-futuristic noise. "Mood Organ" is more experimental than, and while there is a stream of consciousness rap to it, things ride the border of being a song, though I think they intend it to be one. "Polaroids" finds the more spoken word feel of the vocals continue to degrade the album's integrity, which is disappointing as the first handful of songs had so much promise. "Madcap" finds some interesting production choices that create a more unique feel. 

"Mirror Shades" makes me think of Madonna's "Justify My Love," which is covered by Cardi B. My comparison to Aesop Rock pays off, as he makes an appearance on "Welcome Home Warrior," which seems to be about video games. His verse pretty much saves the song. The last song finds aimless rapping over ambiance, as if they have no clue as to what worked earlier in the album. A beat does not come in til halfway into the song, and then it does not groove. I'll round this down to an 8, as the album started strong, and it does take more chances than most hip-hop, though that is a pretty low bar. This is out  on Sub-Pop Records 

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Song of the Week - SWARM6IX : "$OCIAL VIOLENCE feat. KUBRICK"

Mixing pop music with metal either works well or falls limp. It seems like the pop elements are played down and the marketing of the artist tries to place more emphasis on the metal part of the equation, even if it is not dominant. Perhaps it's the hype that makes me pass the most judgment, as I went into checking this song with zero knowledge about the artists involved, and it works for me. Granted, aside from the chorus, these guys are a great deal darker than their peers. I get why these guys are called "trap-metal," but I think it is really well-done revitalization of nu-metal. The chorus works for me despite being one of the more formulaic elements, as it's given proper contrast with the verses. I look forward to hearing how this works in the context of a full-length album 

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Born Ruffians : "Beauty's Pride"

 

This Canadian band plays a poppy take on post-punk flavored indie rock. Their album opens with the upbeat single "Meantime' which is dancey and anthemic. It feels like a cross between Arcade Fire and Underworld.  "Too Be Seen" finds the guitars stepping forward in the mix. The vocals have a Brit-pop wanderlust to them. Rather than the bleak baritone, he has a bright tenor. I prefer the groove of the opening track, as this one has a more rambling Ryan Adams feel. Lyrically, it's a little more interesting. 'What a Ride' is a little moodier, though the chorus finds things getting weird and going sideways. They are not as garage rock as the Black Lips, but there is a similar punk meets the Beatles feel. 

Things are a little more laid back, despite the radio-friendly beat to "Let You Down". The chorus is too happy for my personal tastes. The chorus works better than the previous song's. In some ways, they are not unlike DEHD, but that band is catchier in the vocal lines. The guitar placement is inconsistent, but that adds some charm to things. "All My Life" benefits from interestingly auto-tuned production on the vocals that feels more futuristic. This would sound great if you were on drugs. There is an 80s feel to "Athena" , like a slower version of "Turning Japanese". I can also hear how the Talking Heads are a likely influence on this band. 

The more psychedelic touches resurface on the lazy river flow of "Can We Go Now". Maddy Wilde sings on this one, which offers a different narrative voice to switch things up. "Supersonic Man" by the band's admission is their musing on being a baby sent to earth like Ka-El. It's your typical indie rock ballad with a folk guitar strum. "Do" is a better song; it works in bursts of rock guitar, as for this to be indie rock, it does not have much rock to it as a general rule. Without this, it causes things to meander rather than be anchored. "HI" also works similarly, playing in their favor. There is a Beatles influence that becomes more prominent here. "In the Meantime" is a more relaxed Decemberists-like vibe. The last song is less focused; it's not until the final minute that it catches a Shins-like groove. This album works for what they are doing little to upbeat for my tastes, will give it an 8.5, 

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Deafheaven : "Lonely People With Power"

The first song finds the band balancing out the varied elements of their discography, right down to the deliberate chug the song transitions into. Having made their way onto the rock festival circuit, you had to wonder how much playing with big mainstream bands would influence them. Truth be told, when I saw them at Rockville, there was little compromise on their part to win anybody over. 6 albums into their career, I think it is safe to say if they were going to sell out, they would have by now. "Magnolia" is one of the songs I heard before the album's release, and it fits well within the context of the bigger picture here. The more deliberate head-banging riffs are cool. 

"the Garden Route" follows more closely to the "Sunbather" formula, where they take a more sheogazing track, and George snarls over it. There is a great range of guitar tones on this album, and the production is not too different from what we have heard in the past, though the vocals feel like they are sitting further back in the mix at times. "Heathen' finds George's singing voice continuing to improve. It's a more breezy indie rock song that skirts along the dusk, before exploding into the black metal dynamic. "Amethyst" unfolds more like a shimmering post-rock lullaby. At over eight minutes, it's the album's longest song, giving them time to lull you into a trance before the screaming starts two minutes into things. The guitars are well layered to add intensity without having to dig into the bag of metal chugs. They are sonically dense in a very graceful manner here.

They hurtle in a more traditional take on black metal with "Revelator". There is still a distinct sonic edge. The main riff is pretty hooky. The last two minutes take an unexpected turn, which the resistance to formulas might be one of this album's most endearing strengths, alongside the dynamics they delve into.  The most interesting song might be "Body Behavior," which grooves with a post-punk tension, and his vocals are snarled but in a more punk fashion. Their experimentation with sounds really pays off on this one. It does build up into more of a blasting storm than you might expect from them. Of the three "Incidental" interludes the second one with Jae Matthews from Boy Harsher is the most like a song, and the best of the three, which might surprise some of you since Paul Banks of Interpol is on the third one, but it's more of a spoken word over ambience. 

This sets you up for "Winona," that is another song which finds their more experimental nature in the studio paying off again. This entire album sounds great, but some moments are more stunning than others. When this song kicks in it sounds fucking hug, and if you are not already a believer of Daniel Tracy his drumming on this song will make you one. They take you back closer to a more "Sunbather' sound midway into things here. The last song serves as a fitting summary of what they are about on this album, with the sung vocals being used in a less formulaic manner than how most bands employ them these days.I will give this album a 10 might be their most diverse and adventurous album yet.  

 

6

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Tribunal : "In Penitence And Ruin"

 This Canadian band offers a symphonic take on doom with plenty of melodrama. The vocals switch from a dramatic female vocal to a snarled, harsher vocal. The drums could come up in the mix. They make an honest attempt to sound dark enough. Still, after the first song, for this album to win me over, they will have to dig down to even darker places, as it sounds like they are just dressing up for Halloween here; I need to hear some real emotional connection to despair.  

The second song makes me think the singer might just be putting on a performance more than evoking the sense of mourning doom should have. The guitars certainly get this as they are carrying everything here so far. I appreciate the effort of not just going with the growled vocal as that would have gotten old as well. When her vocals sit back in the mix, it improves the overall feel. She has a strong voice, it's not always where she puts it, but the emotion she is or is not invoking to get it there that still finds me on the fence with her.

The songs begin to run together as the formula shifts into more of a call and response between the harsh vocal and the main sung vocal. The riffs to "Armoured in Shadow" have a more depressive mood. The vocals do not contribute much and continue to croon in the same manner they have for the bulk of the album. Even when the growled vocals come in to add more menace, it just sounds like a hundred doom bands I have already heard. 

The last song has more groove thanks to the drums setting things in motion. While I like it better than many of the album's songs, my overall feel for this album is that it does not grab me personally, even though I am normally a fan of their brand of doom. Perhaps this is where the problem lies as these kids are very derivative of other bands that most doom fans should be fluent in, so unless you are really young and just getting into metal and do not know shit about shit, then you might think this is very original. If you are a long-time fan of doom, you more than likely are already into My Dying Bride and Candlemass and do not need an imitation of those bands. Or maybe you just like to masturbate to the idea of girls playing instruments. I am not out to kink shame here, so if that is the case, you might round this up from the 7 I am giving this album. 

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