Unverkalt :"Héréditaire"

 

Only missed this one by a week it's been on my radar, but jsut now catching up with Germany's Unverkalt. Setting the stage with a deceptive sense of melody before blasting into you. The melodic vocals are perhaps more intersting, but they work a delicate balance of playing to both sides of the band's dynamic range. Depressive more than it's blackened, the sonic weight of their songwriting impresses right from the first song, but can this band uphold the expectations set here?  

"Oath of Prometheus" finds the drums blasting in as the undercurrent trying to take control. The harsher vocals are more focused on chaos, as the sung vocals wander. I am obviously the audience these guys are looking for, but it also means I am more well versed in this sort of thing, so I can hear the influences a mile away on the second, but it still works well enough for me. The more they blast, the less impressed I am by the storm of sound, and I want to hear more melody. "Anae Lithi" finds the melodies winning out and giving this more depth than the more feral strains of black metal.

The sense of melody leans it away from black metal altogether on "A Lullabye for the Descent", but it's dark and moody enough to still win me over despite all the layers of vocals wrestling against one another. It makes me think of 90s bands like Crisis. There is a more black metal tension to "Prenumbrian Lament". One vocal color Dimitra often uses is a whisper little girl like voice. It's creepy enough to work. Often these are given a roaring death metal male counterpoint thanks to their guitarist Eli. 

With "Introjects," things begin to move in a more accessible metal direction, which carries over into "I, the Deciet," which features Sakis Tolis from Rotting Christ. "Death is Forever" finds some intersting sound layered in a more intense black metal manner, but without some of hte structure of the previous songs.  The last song works off more of an emotional atmosphere, which is more dramatic than depressive. Overall, this album is an impressive marriage of sound into well balaned songs I will give this a 9.5.Out on Season of Mist. 

pst91

Morrissey : "Make Up is a Lie"

 

There is a reason Morrissey has a fanatical cult following outside of the Smiths. He is one of my favorite singers, even as his croon has aged. It's been six years since "I am Not a Dog on a Chain." Even then, I will split the difference and not use the Smiths as the bar I judge him against in 2026 and use  2017's"Low In High School" as the bar. Granted, now 9 years later, Moz is almost 67 rather than the 58 years he was when he recorded that album. He keeps things at more of a reserved croon, which is pushed up further in the mix than the 2017 album, which sounded that more like he does live. 

When it comes to the percussion, there are more electronic elements in play, though the opener "You're Right It's Time" feels pretty organic with its casual, lounged-out croon. By the time we get to the lead single, Alain Whyte's guitar tone reminds me of the tones Stevie Ray Vaughn used on Bowie's "Let's Dance" album. He covers Roxy Music's 1973 penned"Amazona."  It was a quirky song for the band back then. Moz's version finds the guitar sounding brighter, and rather than go into the falsetto of Bryan Ferry, he shifts the dynamics of his voice to a softer tone to get the point across, showing he still possesses a fluid control of his voice. They even nail Phil Manzanera's solo. 

The tempo shifts for " Headache" that finds him writing with his former touring multi-instrumentalist Gustavo Manzur, which is odd considering Morrissey is supposed to be such a racist that half of his band is Hispanic. Manzur collapsed at a Colorado show and was replaced by Camila Gray, who also aided in writing for this album. While it sounds great, the song , is a ballad that drags a bit and is the first moment that feels like filler to me. "Boulevard" is also a ballad, but his voice does most of the heavy lifting as the accompaniment is sparse and takes time to come to a boil. Lyrically, it's more interesting than the previous song. 

Thi highlights that, lyrically, he is one of the heaviest writers in the game; he goes harder than most metal bands when it comes to the venom he infuses his sardonic poetry with. He also proves he can still belt it out to keep up with the dynamics. "Zoom Zoom the Little Boy" has a very 60s feel, which takes us back to the "California Son" album. Lyrically, he is back to saving animals. It almost sounds like he wrote it for "Yo, Gabba Gabba". Things get pretty fucking funky for " the Night Pop Dropped". 

"Kerching Kerching" finds Moz getting lyrically punchy even when casually crooning. It's a pretty intersting song with fun lyrics. "Lester Bangs" finds his pipes supple and a more lingering rock tone to the introspective nature of the song. His musing about a rock critic he grew up reading is endearing. "Many Icebergs" casts a darker reflection with its haunting folk feel. The kind of languid Brit pop Moz is known for closes things well with "the Monsters of Pig Alley." Overall, this album holds up his legacy in the manner expected. I will give it a 10. 

pst90

Fotocrime : "Security"

 

Things continue to evolve for Fotocrime. My first impression of the first couple of songs is that I get they are going for a more Killing Joke sound, but when it comes to Killing Joke, there are so many sides of that band it could mean anything. They have chosen the earlier, more punk side with a bit of rock n roll swagger. "Shockwave" works the best of the first three songs as it has more of a groove and room for the guitars to be more melodic and places for the vocals to sit in a more intersting fashion. "Unthinkable" to me sounds more like New Model Army, which is fine as it means a more organic sense of brooding melody, but with a bit of punk in its step. 

"Disharmonizer" carries a darker, more post-punk tension, which brings to mind something closer to what you expcet from Patterson. Granted, you have to consider my personal tastes, but I feel the moodier moments are the strongest. This is run through a more rock n roll filter for "Intimidation."But this also works for me as the intersection of where punk and goth meet is one of my favorite eras of music. I suppose you could draw similarities to Killing Joke's "Night Time" album in this regard, but this is far more rock-minded. 

"Dreamstate" has that weird right turn some punk bands took, which places it closer to Husker Du. "Cautious" carries a little more bounce thanks to the buoyant bass-line, but I prefer the more sullen musing of "Grifter," which might be the album's best song. There is a slight new-wave anxiety to the vocals. The title track that closes the album is not a ballad but works off a more introspective tension. It works for what they are doing this time around. Overall, I enjoyed the album it sounds likea last classic from the late 80s, so I will give it a 9.5. 

pst89

Relic : "Crown of Flies"

Whatever happened to Satanic death metal? I was pondering if, in 2026, it just became labelled "blackened death metal"? This Wisconsin band certainly seems to make an argument for this theory. There is a little chaos involved that could be thought of as a "black" element, but it could also be heard as grindcore. The second song, "Filth of Rebirth' is more like 90s death metal. Lyrically, things are much more vague than Deicide. The vocals are also lower and more gurgled, less articulated than the hymns to Satan that came out of Tampa in the 90s. 

Granted, how many of those bands were sincere? Trey might have taken too much acid while reading the "Necronomicon." Even Glen Benton has said something that led me to believe he was more about giving the middle finger to God than about that infernal life. "Scavenger's Daughter' blasts by in a manner that is almost too fast to really put an ear to what is going on, but it also tells me it was nothing that hooked me in with the initial listen. These guys are brutal as hell and are comprised of members of Jungle Rot, Emblazoned, and Slam Pig. You hear more of Slam Pig and Jungle Rot, even though it only accounts for the two guitarists. 

The last song, "Iron Sacrament," is more deliberate. The vocals have more purpose , in their snarled rasp and grunts, as the guitar allows for them the space to do that in rather than just forcing the vocals to be an afterthought. I appreciate the brutality, though I could use a little more darkness and dynamics, but it's great for what it is, so I will give this one an  8.5. 

pst88

Void of Light : "Asymmetries"

 

Scottish sludgesters Void of Light try to label themselves as being on the more post side of things, but the vocals betray them. The band's debut full-length finds the vocals being howled with a throaty anger that overpowers some of the more ambient underpinings. But it works well for them, creating a layered approach not unlike what latter-day Neurosis used to do, but with some more overt metal riffing. With three guitars involved, there are more layers than most bands can summon. I have always stood by the fact that sludge is what happens when punks try to play metal, and this album is not proving me wrong. For an almost 11-minute opening track, they just sprawl things out , so one might surmise that punks who started smoking weed more than they drank is what fueled this genre of music. 

Only two of the five songs are not 10-minutes long. With that said, "Silver Mask" is 9 minutes long. It is also driven by a pretty mean chug. Moving with more locomotion than doom, the momentum breeds tension, and they have the riffs ready for the payoff. Cleanly sung vocals fly up in the background, but the coarse bark is the narrative at the forefront. The softer vocals shift position midway through the song when it descends into a more melancholy atmosphere. "Ends" is a more aggressive shift to an in-your-face hardcore assault. Which tracks, as there is a great deal of crossover in the early sludge scene with hardcore bands.  Miway into the song, things ebb down into a more melodic brooding, before hurling into a more blackened section. 

"Still Night Skies" is darker, with the heavier sections being pretty catchy, though the song rides a stormy tension. The song touches on a great deal of different dynamic places over the course of its ten minutes, which I appreciate, as they at least use the time wisely if they are going to sprawl things out. The last song almost has a more Tool-like hypnotic slither that captures you with its serpentine groove. The vocals take on a more baritone croon midway through the song.This touches on the more progressive side of the band.I will give this one a 9.5, and see how it grows on me while it is a bit on the longwinded side when it comes to the songwriting style , there is enough going on to remain engaging, fans of sludge metal should make this a priority. Out April 3rd on Ripcord Records.

pst87

False Figure : "Incarnate"

 

This band made the top 5 of our top 10 Post-punk albums of 2022, so I am going into this album with high expectations. This time, there seems to be a somewhat less aggressive, more introspective vibe, so much so that I had to go back and listen to the previous album to make sure it was the same band. The mix is different, though a similar reverb-tinged haze lingers over both albums. It is a cleaner mix this time around, even when the vocals lie further back in the mix on "Favorite Game" as they subtly flirt with a more goth sound at times. Which is why I don't mind the changes. 

By the third song, I had to break it up and start giving the song a more careful listen to differentiate some moments. Some of this lies in the hazier fashion in which this album is recorded. There are some great guitar tones on this album. They obscure the vocala tad on a few songs; it's just a juggling act of compromises. Despite sounding like a different band, I like the more new wave vibes of "Flowers in Bloom". Which makes sense as that is where the actual bands from this era went, we were jsut discussing this on our podcast episode about Killing Joke. This sort of thing is not really riffy music like rock or metal. Yet the guitar parts are more defined for "Say Nothing." It does carry that more Killing Joke-like new wave edge post- "Night Time".

"Hand of Malice" has more punch to the bass line, almost recapturing the feel of the previous album, but the vocals are more shrouded in atmosphere and a more cautious croon. In this case, it creates a mood clsoer to the Smiths, so it's hard for me complain about it. "Fields of Woe" has a cool, melancholy sound, but not long enough of a sound to dynamically shift them. Their cover of Asylum Party's "Julia" works, but the vocals sit too far back in the mix. But it's cool to hear a more obscure cover like this. The last song has some cool 80s-sounding drums. There is a glum vibe to the song, not unlike early Cure. Though it's possessed by more layers of guitar to bury the vocals in. I will give this album a 9, as it really depends on how attached you were to the more punk side of the last album to embrace this one, but it's a logially step of growth for this band. 

pst86

February's Top 10 Albums

Another February is done, so let's get you abreast of new releases. This might help you, casual readers, with what you might have missed.  I am not doing little blurbs on them, just linking the reviews. This helps me organize my lists for the end of the year by listing the album's genre. This does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my in-box that are not coming out til 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 pagan folk pop to grind-core to black metal, so perhaps you will find your new favorite among them. Here are the Top 10 albums for February of 2026.

10-Mothica- "Somewhere In Between." 

Pop

https://abysmalhymns.blogspot.com/2026/02/mothica-somewhere-in-between.html

9-Final Gasp -"New Day Symptoms." 

Dark Hardcore 

https://abysmalhymns.blogspot.com/2026/02/final-gasp-new-day-symptoms.html

,

 8-KMFDM-"ENEMY" 

Electro / EBM

https://abysmalhymns.blogspot.com/2026/02/kmfdm-enemy.html

7-lights,-"A6EXTENDED" 

Pop

https://abysmalhymns.blogspot.com/2026/02/lights-a6extended.html

 6-Puscifer, -"Normal Isn't" 

Alternative Rock

https://abysmalhymns.blogspot.com/2026/02/puscifer-normal-isnt.html

5-Worm- "Necropalace"

 

Black Metal 

https://abysmalhymns.blogspot.com/2026/02/karnivool-in-verses.html

4-Joji-"Piss in the Wind" 

Pop

https://abysmalhymns.blogspot.com/2026/02/joji-piss-in-wind.html

3-Karnivool-"In Verses." 

Prog Rock

https://abysmalhymns.blogspot.com/2026/02/karnivool-in-verses.html

2-Converge-"We Were Never the Same." 

Hardcore

https://abysmalhymns.blogspot.com/2026/02/converge-love-is-not-enough.html

1-Rob Zombie- "The Great Satan." 

Industrial 

https://abysmalhymns.blogspot.com/2026/02/rob-zombie-great-satan.html

pst85

The Twilight Sad : "It's the Long Goodbye"

If there is any justice in the world, the 6th album from this Scottish band will find them getting the recognition they deserve. They have toured with the Cure multiple times, but also had some hardships in their daily lives, which led to their bass player and drummer being replaced with Arab Strap's drummer and Mogwai's bass player. Vocalist James Graham's distinct voice is centerstage, with guitarist Andy MacFarlane providing the needed backdrop. Graham's voice is as emotive and fluid as ever as he swings up into his falsetto on "Designed to Lose."  

This record has a more rock n roll mix, with a rawer guitar tone and not as much space for the vocals to fill. It is much clsoer to their live sound. The vocal lines are as catchy as any of their work, which makes for an engaging listen. Their dynamics are always emotionally powerful; this album is no exception. No wonder Robert Smith loves they are always consistent. Robert Smith adds guitars to "Waiting for the Phone Call". There is more of an electronic pulse to this. It rocks out pretty hard for post-punk coming out of the chorus.  I had to listen to "Ceiling Underground' three times to wrap my head around it for some reason. The vocals kind of fade, and it works off a similar formula as what they normally do, so not sure why there was a disconnect before it clicked, but it did. Think I just needed something more solid in mind before I commited an opinion to review. It's actually darker after closer listening. 

Robert Smith plays synths on "Dead Flowers" which finds them heading into the Cure-like sounds. Since Smith plays on it, they can have all the similarities to the Cure they want, but James ' voice sets them apart as their own identity. He's singing something about 'water off a duck's back, ' and it works as he always puts his voice in the best places. There is a more 80s feel to the guitar tone of "Inhosptiable/ Hospital." It's a pretty catchy song depsite it's bleak nature. In fact, it's one of the album's best songs. Oddly upbeat considering the subject matter.

There are some cool guitar tones on "Chestwound to the Chest". The verses are more strummed, with James singing out with his urgent plea that marks their earlier work. It has a little more rock drive to it. Robert Smith plays a 6-string bass on " Back to Fourteen."  Here, some of the lyrics become more entwined in mystery rather than the more introspective outbursts. James has said many of the lyrics deal with mental health struggles, so I can only guess this song is included in that. The last song finds the vocals opening the song at the back of the mix, and things slowly come more into focus. It's more experimental, but still possesses the urgency they are so adept at conveying.  I will give this album a 10. In some ways, it is more experimental and raw, but it holds up well against their legacy. Drops  March 26th. 

pst84

Black Metal History Month- Harms : "Rebirth of the Cold"

 

This band from Finland plays a hyper-aggressive blend of metal and hardcore that is in-your-face when it wants to be, without forsaking melody. When they kick back into things after wandering into more atmospheric places, they kick back in with full-on anthemic gang vocals. Then you begin to hear the touches of black metal perhaps in their DNA, jsut from the geography. Gratned there is also a great deal of goth metal in Finland, but darker music seems to be the vibe. It is more aggressive in a hard-core sense than a death metal one, so perhaps atmospheric blackened hard-core might be your best category for these guys, which at this point, we are making this shit up as we go. 

However, the first two songs kind of run together, so while they are dynamic, there is acertain uniformity to their songwriting which thankfully gets broken up with."Flowerless Grave", I suppose it could also fall within the bound of metal cocre, at least where it crosses over with what is going on here, as it hold more in common with traditional metal than Myspace derived hard-core. The romanticized darkness and grandeur they capture in the larger-than-life moments also feel more black metal, just not having much in common with Darkthrone, nor is that the genre's only defining sound. It is certainly closer to black metal in many ways than the new Bosse-de-Nage. 

Rather than build off breakdowns, they take gloomy riffs and kick them into more dynamic places for "A Lifetime Spent on Dying," which puts melancholy sonics to good use. "Rupture" splits the difference between hard-core and black metal for one of the most rabid moments yet. This comes with shimmering blast-beaten tremolo-picked guitar to appeal to the more hardened black metal fans who will find this album to be more produced than they like. The last two minutes of the song offer the first breakdown that is bathed in ambient sound.

There is more space created by the ringing atmosphere of the guitar leading into " Esscence of Sorrow". Perhaps the goal was to be dark, atmospheric, and hardcore, and it crossed over into depressive black metal?  There is a great dynamic call and response to "Apollonia" . They go back into a more black metal mood on the last song. I will give this album a 9 as it mixes hardcore with black metal atmosphere in a very organic fashion. 

pst83

Death By Love : " 444"

 

Here is the debut from this Polish electro goth project. It has a sharp-edged tension in the combative synths that open the album. These are contrasted by the sultry swagger of Inga. Peter, the other half of this duo, had a stint in the Electric Hellfire Club, so the industrial influence makes sense. Though they are also capable of dropping things down into a more 90s alt-pop groove on "Cosmic Power".  An almsot trip -hop f;avor lingers in the beat. The more Middle Eastern vocal passages begin to surface on "In Unity." Its more of an up-tempo dance floor churner. Layers of synths swirl around your ears on this one. 

There are some moments that sound like newer, more EDM minded KMFDM, with "I Don't" being one of these though it is perhap more n the industrial side. "Strong Inside" brings Lords of Acid to mind with its more sexualized pulse. "God" feels more like something Danny Elfman might do. "Lost and Found' would have been suited for mid 90s alternative radio. "Temros" is a more dramatic ballad, granted it's the symphonic mix. 

"Forest" has more of a dance groove to it that holds my attention better. Then they get more exotic for the Middle Eastern vibe that will bring Dead Can Dance to mind for most people. The album closes with a reprise or re-envisioning of the first song thugh it really sounds nothing like it as there is poken and wailing vocals in the background to create more of a mood, until more gothy music creeps in at the halfway point to create more of a Siouxsie feel. Overall, I enjoy the darker 90s vibes it gives a change from the normal retro 80s batcave goth. I will give this a 9. 

pst82

Monstrosity : "Screams From Beneath the Surface"

The 7th album from this long running Floridia death metal band finds a blend of brutality and technical prowess being balanced. They are not just looking for the best riffs to solo over, but care about the songs. The riffs areever shifting, but not so much that the hooks get lost in the shuffle. The vocal apporach is very simple, but articulated. They are not so technical that things get lost in the ever-changing time signature, but are beaten by an extensive riff arsenal. They know when to lock into a chug. The bass player is the secret weapon here as the bass lines are everflowing, but not rechnical for the sake of being so. 

"Fortunes Engraved in Blood" often reminds me of what a more refined Cannibal Corpse might sound like, in other words, Paths of Possession. Not as many melodic guitar harmonies and more empahssis place on the syncopation of the drummer. The influence of thrash on what they do is obvious; the riffing is very tightly chugged, and they are not hitting you with a blunt barrage of blast beats to get the point across. "Vapors" is almost anthemic in places. Their songs tend to fall along the three-minute mark, though they make the most of each minute. It makes sense why these guys are on Metal Blade. Half the album was recorded at Morrisound Studios; thus, the classic Tampa Death Metal feel is captured. 

There is a powerful march to "The Thorns." Lee Harrison's drumming is top-tier, though it has to be to play this caliber of death metal. "Blood Work" is the first high-speed, hyper-aggressive blast, though even then it is giving itself room to breathe in more melodic passages, and never is there just a mindless blur of sound passing you by in the name of brutality. Things get more deliberate for "the Dark Aura".  Harrison's double bass is played very tastefully to shift the dynamics and the guitar solos are approached similarly. The last song has some cool riffs, but conforms more closely to what you expect from Tampa death metal, which is still really well done. I will give this album a 9.5, and see how it grows on me.Dropss March 13th.  

pt81

Final Gasp : "New Day Symptoms"

 

I liked their last album a great deal, but was unsure why it was being called death rock when it was old school metallic hardcore that owed more to Die Kruzen. Sure, there is more of a hint of old AFI on this album. It's the more aggressive elements that have been refined with some more outright metal playing captured here. I had to go back and listen to "The Apparition" as it got swept away in the album's momentum. The verse riff is more melodic and finds the vocal croon working well. The riff in the chorus reminds me of Judas Priest,but still works.  "Gifted Shame" packs a heavier punch, and highlights the fact that the overall feel of the guitars this time around is more metal. 

Even though things have changed a bit on this album, they are still more of a hardcore band than Turnstile. "No Hand to Lead" is more melodic, but that does not make it "goth", it's just a moody stab at 90s radio rock from a hard-core band, which works for me. It is one of the album's best songs so far. "Prediction" has a similar feel to the previous song, but there is like an undercurrent of Dokken in the guitar playing. The emotive singing comes closer to what Unto Others tries to do; these guys are just less cheesy and more convincing. The songs are written in a very concise fashion, only occasionaly breaking the four-minute mark. 

"Burials of Birth" feels like the most AFI moment yet, a former hard-core band branching out into poppy post-punk. There are some intersting sounds on "Fractures", which is little more than an intro for that title track, which sound more like Killing Joke until the more scowling vocals take over. Jake Murphy's voice sounds best on the power-ballad of sorts that closes the album and finds him with the space to open up and really sing, which is impressive. I will give this album a 9.5 and see how it grows on me, the band has refined their  s ound and feels more confident in who they are.Being released on Relapse Records.  

pst80

The Bandit Queen of Sorrows : "the Magnolia Sessions"

 

After being neck deep in black metal for the bulk of the month, I needed a break, and this seems to be fitting for that. Anti- Corp Music's Magnolia Sessions series has always given me a chance to catch up with the more underground country scene, which often intersects with folk, and Leslie Fox-Humphreys certainly indulges in a thoughtful version of that mix. Vocally, her lilting voice lends itself more to folk music, as there is not a great deal of twang to it. She mixes the harmonica with the acoustic guitar in a Bob Dylan-like blend, but has a better voice, making this more melodic and thoughtful. 

I ask the same things from every genre of music: give me something dark and dynamic, with melody to it. By the second song, it is clear this is going to lean into more of the ballad side of things. Her vocal melody is placed more forward in the mic, and not as relaxed as in the previous song. She shows she is capable of reaching into her head register here, even if it is for a moment, the more vocal colors the better in my book. 

It is time to clear something up about the term dark folk. The song "Come Wander With Me" is darker than the first two songs, but I am not sure it meets the same definition we have here. I like the song; it's thoughtful and tells a story, but when we talk about dark folk here, we are normally referring to stuff like Death in June, Chelsea Wolfe, or even Amigo the Devil. Bridge City Sinners have even outgrown that definition. "The Lockman' has a similar mood but does not feel as dark lyrically. I like what she does with her voice on "Fear the Bhata."

The cello on the last song helps darken things up more to my liking. The fact that it is her take on a traditional Irish folk song makes sense, as those tend to have a more mournful quality to them. The music forms more of a drone beneath her. This is a solid introduction to what she does and has her on my radar as an artist to listen to in the future. I will give this album a 9. 

pst79

Black Metal History Month - EGREGORE : " It Echoes In The Wild"

This Canadian band gets it. They are bringing a blizzard of sound that is equally dark and heavy in its intensity when it hits your ears. The other strength Egregore find on this album is that the vocals should not be an afterthought, no matter how they are delivered. They draw from more than just black metal, with thrash hooks in the guitar riffs and the aggression of death metal in the way it hits. It almsot sounds like an album from the early 90s in this regard, and the production helps solidify this aspect. It's not underproduced like an old Mayhem album, but it sounds more organic than most of the stuff coming out these days. It is atmospheric without any post-anything. 

"Stair into the Votex" is not just a clever title; it is a ferocious attack that finds them connecting with Possessed-era metal. While it tries to bite your face off, what works is that it is different than the previous song. This makes the reckless element easier to digest, as they already gave you a dynamic contrast. "Craven Acts of Desperate Men" finds "Show No Mercy" era Slayer colliding with early Deicide. They are students of this era of metal and use this inspiration to form something that is convincing. There are some Mercyful Fate winks with the falsetto vocals not nailing the pitch that King Diamond does, but they are not trying to be the greatest singer here. 

They keep up the thrashing speed for "From the Yawning Cravasse." Wise enough to slow things down to create a hook where they chrosu would go if that was how they were approaching songwriting. Darker more melodic elements catch up with the razor riffs. At under two minutes, a mighty chug largely empowers "Cosairs of the Daath Gulf." The momentum begins to carry them away when it gets to "Nightmare Cartographer." This touches on death metal stylings and is propelled into "Six Door Guard the Original Knowledge," which has some pretty cool "Kill'em All" like riffs. 

By the time I get to "Servants of the Second Death," I am listening to things they have not already presented on this album. They close the album with the almost ten-minute title track. It winds around and finds guitar solos in more abundance. There are enough solid moments to keep it interesting. I will give it a 9 as I am normally a hard sell on this kind of retro affair since I was around to catch their influences on the first time around the block, but appreciate what is being done here and will see how it grows on me.Out on 20 Buck Spin March 20th.

pst78

Black Metal History Month- Bosse-De-Nage : "Hidden Fires Burn Hottest"

 

The band has a history of being Black Metal, though in recent years, a more hardcore energy infused their sound. It's a little more blackened at first, though working of a taunt syncopation. By the second song, they are experimenting with a more melodic tone and spoken work vocals that would not sound out of place coming from a Chat Pile album. Music is not made in a vacuum, so they could just be reading the room here or grow in a different direction. They hammer back into a heavier sound mid-way into the song, so it is not a total departure. The jerking you areound wit hthe time changes is more pronounced on this album. 

They go in a more sonic Swans inspired direction with the ringing clang of guitars guiding you into "In the Name of the Moth".  I am not going to complain about the post-punk direction this one goes into. "No Shrug" feels like it is finding the band once again crossing over into noise rock, though I do like the chord progression of the verse. It is not the most focused song we have heard from them this time around. The vocals have more of this coarse noise rock rasp that is yelled more than screamed even going into "Trinagular Dream," which is under two minutes more of an ambient noise interlude where the song is swallowed by interstellar chaos. 

There is a more defined riff to "Underwater". The vocals are still on the spoken sidde of unhinged. Not as dark and heavy as Chat Pile, but possessed by a more organic feel thanks to the production of the guitars. It's not wrong, just different. I think some of the indie rockers that are more punk-leaning will dig this album for sure. "Frensy" combines an undercurrent of blast beats, which eventually finds itself against a dirgey riff to create the album's most blast metal moment. Things go in a more post-rock direction for "Immortality Project" with spoken word over the thick ambiance. The last song also flirts with some of the black metal aggression, though it is angular, it is not that dark. It howls amid the stormy chaos which some black metal fans might appreciate. The main dynamic shift occurs later in the song when more melody is explored by the guitars. I will give this album an 8.5, not what I expected but good for what it is. If I were personally going to listen to noise rock, I would go with something darker, like this Jesus Lizard.It's the defining bandwagon of hipster metal, so it's obviously coming out on the Flenser March 6th

pst77

Black Metal History Month- Domhain : " In Perfect Stillness"

The shoe-gazing form of black metal might not be seen as problematic as the larger entity of the genre; perhaps it is due to the lyrics being more about getting into your feelings. Alcest certainly felt more like fairy music. This band from Belfast splits the difference between what Alcest does and Deafheaven. It is also very well proudced whic refines some of the sharper edges down to smoothly curved turns into the often dynamic passages that do not feel that dark, but perhaps some lingering melancholy.

"Footsteps" finds things heading in a more progressive direction; this reminds me more of Enslaved's later work, though not as dark or Nordic. They are great musicians, but I am not hearing any menace in what they do to make them feel heavy. Some tremolo-picked guitars come in to help hike up the intensity, but there is a difference between more intense and heavy. In truth, the title track is the first song that is actually black metal. The vocals get meaner, and some of the slick melodic sheen gets peeled back. Midway into the song, things progress to a moodier with almost too much of a silver lining, but it still works. 

The album closes with "My Tomb Beneath the Tide." The fall back into a more lingering prog tinged reflection, with very well done sung vocals establishing a mood in a more Katatonia-like manner. This is contrasted by a lower death metal snarl. An articulated snarl that allows the lyrics to come through. I will give this album a 9 as ot dark enough to be black metal, but great progressive post-metal, which is a rising niche market.

pst76

Black Metal History Month- Bizarrekult : "Alt Som Finnes"

I noticed today how some metal sites are beginning to steer away from black metal as it's and hateful for them, so I must pick up the slack and dig deeper.. Here is a project based in Norway that offers a rather dynamic take on the genres rooted in solid songwriting. The first song smurpose on the second while ending on where you are in the song. The vocals are a wrath-filled scowl. Though more singing appears the further into the album you travel. The drums are more deliberate than not. They lock into a dense throb for "Avmakt." It is more than just senseless blasting.

"Hap" is more atmospheric and finds them weaving a beautifully bleak shade into the sonic fabric of the song. There was a hint of the more depressive elements as an undercurrent, but I enjoy them coming to the surface here, making this my favorite song so far. They kick into a higher gear of intensity for "Drom". They shift through several dark and dynamic layers of anguished sound as the song unfolds. There is a more epic swagger, empowering gallop to the riff of "Verdens Verste". It brings Enslaved to mind.

"Aversjon" comes clsoer to what you might expect from black metal as it flows from a sweeping tremolo-picked riff. The drums drive the last song until it dips down into a more sparse melodic break. When they build back into the blast, there is a more Deafheaven feel. Overall, I like where they go with this album and the emotional range it is willing to venture into, so I will give it a 9.5. Out on Season of Mist.

pst75

Black Metal History Month- Into the Dark Castle of Dimmu Borgir's "Abrahadabra"

 

The bar was high for this album, as it meant this new incarnation of the band had to prove themselves after releasing the best album of the year, but without ICS Vortex, whose operatic vocal hooks were now a staple of their sound. They doubled down on the orchestrations with the drummer from Vader and Snowy Shaw on bass, who would also handle most of the clean vocals, though Agnete from Djerv also lent a hand most notably on the lead single "Gateways," which is one of the band's best songs. The opening track, "Born Treacherous," was hooky enough to work and prove they still had it. 

This album showcases Shagrath's best vocal performance, as he was forced to show up and carry more of the melodic weight. He is called to sing a couple of times throughout the album and does so in a low, gothic baritone.I love how crazed Agnete's vocals sound when she flies into "Gateways". The album's hookiest melody comes in as the song builds to its climax at the end. By the time we get to "Chess With the Abyss," it is clear the motto for this album is go big or go home. The orchestral elements are often the center of the songs, but things stay dark and anthemic, which is a unique balance. 

Snowy's voice sometimes almost sounds like Agnete's. "The Ritualist" is a case in point, and fitting that Snowy is on the track since he used to play for King Diamond, and the song reminds me a little of King Diamond. "The Demiurge Molecule" is a great display of songwriting. Darker than it is heavy, and the symphony haunting it does not detract from the tone by romanticizing it. The first song on this album that finds them embracing a more intense speed is "A Jewel Traced Through Coal". They, however, double down with the more aggressive "Renewal," which even then is balanced out by melody and shifts on the verse. The last song finds Snowy Shaw offering his best epic metal vocal to fill the gap left by Vortex, and it works.  While I like both of the covers on this album, they were bonus tracks, so for the purpose of this review not digging into them, but will go ahead and give this one a 10 as they overcame and proved themselves once again. It's underrated and if you like their earlier work is worth a listen. 

pst74

Carpenter Brut : "Leather Temple"

 

Technically, this is the French Synth wave purveyor's 3rd full-length since the first album wa a compilation of the eps. The opening track delivers what you expect, and the title track is hooky with its syncopated punch. They keep the momentum going, though the songs begin to run together for me about three songs in, as the uptempo drive of "She Rules the Ruins' sounds like video game music. I am not huge into instrumental music but have a surious respect for this genre and appreciate the aggressive nature of this music with its use of synths occupying the space guitars would normally occupy. 

"Start Your Engines" continues to use the dance beat that the synth melodies bob over in a lighter fashion than some of the previous songs that sound more like an anime soundtrack. "Neon Requiem" indulges the more 80s-inspired side of the genres main stream tendcies and includes a saxophone dipping in for a minute. There is a marginally heavier pulse to "Iron Sanctuary". 

There is more of a break beat to "The Misfits the Rebels," which hits with a more in-your-face energy when it kicks in, but ebbs back down to the more electronic shuffle. Artists like this can struggle with the balance of sound vs a song, since the entire genre is built on capturing this sound. But there are enough dynamics in play to prove he cares about songs. Funny enough to be called "Speed or Perish," the song is not the album's fastest and works off a pretty solid mid-paced groove. 

Speaking of groove, the last songs find and almsot Nine Inch Nails-like groove. It's on the slower, more introspective side. Think "Fragile", not "Downward Spiral". In fact, this album is not all that dark or heavy, though perhaps heavier than some of the Miami Vice soundtrack styled synth wave bands, but aside from the title track and maybe two other songs, this album is less metal adjacent in its heavier leaning. I will give it an 8.5. If you are into this sort of thing in the broader scope, it is going to deliver the soundtrack to the dystopian future you fantasize about that is not as dark as the one I have in mind. 

pst73

Black Metal History Month- Misotheist : "De Pinte"

Yes, there is still new Black Metal coming out of Norway, though four albums into their career, Misotheist are still new if you are comparing them to Mayhem and Burzum. There is also a fair amount of death metal aggression buried inthe cavernous darkness of their aggressive sound. The vocals bellow with a lower throaty growl. On the rawer more early second wave side of the classic equation, they balance this out with the sheer heft of their sound. To their credit, they are also not just dependent on blast beats. They can still summon a swirl of sound with this. I enjoy the opening track, so let's see if the rest of the album can hold up. 

The second song, "Blinded and Revealed," hits with a more intense punch that harnesses a more chaotic anger. It reminds me of Marduk in the straightforward manner they hit you head-on with the sonic hammering; it is not until later in the song that an eerie melody rings out within the layers of guitar. "Kjetterdom" slows things down to a more icy tension, which helps the overall dynamics of the album and gives your ears the needed break. 

The title track that closes the album is 21 minutes, and I can not think of any reason that a song needs to be that long. A great deal of the fat that needs to be trimmed is in the intro. It takes three minutes for the vocals to come in. The song moves at a slower pace that might warrant an 11 minutes if they are taking us to the intersection of funeral doom and depressive black metal. But it turns into a cavernous death metal closer to Incantation until the end of the song, when things take on a more intense darkness, cool sounds, but no reason for over twenty minutes of them. I will give this album an 8.5; it solidly puts them on my map, I wish they would focus more on songwriting, but if you want some black metal that takes from the Scandinavian roots and adds a more modern sonci intensity, this is worth your time. 

3.7

1

pst72

Black Metal History Month - Into the Dark Castle of Dimmu Borgir's "In Sorte Diaboli"

 

Sometimes there are albums like this one that jsut hit the perfect place in time. It almost feels silly to review something this perfect. Hellhammer's playing solidifies his place as black metal's best drummer. It is the last Dimmu Borgir album we are going to hear ICS Vortex's voice on, which hurts them on albums to come. When everything falls into place like this, your dodn't want to mess with this chemistry. But the show had to go on, and the album after this is really great, but I think they set the bar so high for themselves it is intimidating to them to go back into the studio. 

It is an aggressive album. But there are tremendous riffs that pull it all together. The production is stellar. The mix had to be rough as there is so much going on at the same time at great speeds. While I think Shagrath's performance reaches his peak level on the next album, it's clear the production is dialed in, and he covers a great deal of dyanmic vocal colorswith the limited range he has to work with, making him one of the best black metal vocalists. The lyrics are even more pronounced on this album. This is highlighted on "Sacralicious Scorn". Vortex's vocal hook is one of his strongest performances ever. The epitome of hooky black metal. 

 "The Sinister Awakening." find Hellhammer playing like a machine as the tension flows in a manner that makes the riffs more effective when they do punch. There is a harder-hitting syncopation to "the Fundamental Alienation." They are consistently packing the most dynamics and sonic layers into this five-minute format. One thing I like about digging back into older albums is the chance to rediscover songs I might have overlooked on previous listens, which is the case with the last song, which is pretty dark for a band that deals in a darker form of metal, but is a more cartoonish super villain manner to some extent no matter the amount of pentagram used. I will give this album a 10, it's almost an 11, more than likely would be in my top 40 metal albums of all time. 

pst71

Qveen Herby : "Isle of Qveen"

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This is the pop artist's second full-length. She combines a catchy blend of rapping and singing. The wheel is not being re-invented, but what she doe ha a smart streak of creativity and perhaps more attitude now than when I first heard her. For someone from Nebraska, her approach is rather racially ambiguous, which plays to her favor when it comes to the more hip-hop elements. Her approach to rapping is fresh as she has plenty of hooks and an effective voice and lyrics that are almsot equal parts ghetto and whimsical. One of the lead singles, "The Fool"  features Thot Squad, which helped pique my interest, though this is not the first time she has been reviewed here. 

The more sexual elements do not feel like she is exploiting it any more than any other female rapper. But image-wise, she is not flaunting it, and her look is fairly conservative for rap. Almost more of a refined Lady GaGa thing going on. Why am I talking about her look rather than her music, ok go ahead and complain how if it wa a male artist, I wouldn ot do the same thing, which I would then refer you to reviews of bands like Ghost, Sleep Token, and President, who are selling image in equal proportion. 

By the time we get to "High Priestess," it feels like the formula is well in place, even though it leans in a more melodic direction. "Medicine Woman" feels more like a song Shanin Blake would do. "Hacky Sack" is more in her wheelhouse, but this syncopated style of singing she employs is less varied than the first half of the album, so it kind of sounds like something we have heard from her already. I will give this a 9 as she understood the assignment and made a fun pop album that grooveswith enough hooks. 

pst 70

Black Metal History Month - GAEREA :"Loss"

Portugal's GAEREA have been fairly consistent in their previous sonic assaults despite confusing pedestrians with their Sleep Token garb. This album is less black metal than the first two, as things slow into epic, sung choruses with more anthemic ambition. Even with these changes, it's hard to complain about them, as what they have captured here is very well done and sounds great. "Submerged" finds them leaning back into some of the more atmospheric dynamics to contrast the more hammering sections. It evolves into one of the more deliberate sections yet. 

"Hellbound" is a more overt pounding with the melodic elements in the periphery. By the time we get to "UNCONTROLLED," there is some tremolo-picked guitar that flirts with their more black-metal-leaning sound, but the blunt-force Behemoth-style bludgeoning begins to fidns the songs running together a bit when we get into the meat of the album. It is the vocal hook in "Phoenix" that makes me pay more attention. "Cyclone" finds both the atmosphere and melody being dialed up. When the more forceful vocals come in, they are on the more mainstream side of metal, but overall, the song works. 

This more mainstream approach to modern metal haunts the last two songs. "Nomad' carrying a more pummelling attack. The hook of the chorus does not snag me as strongly as moments earlier in the album. Technicallyu the last song is a modern metal power ballad, though more progressive in feel than say Sleep Token. Well produced and sounds good, it's a little blander than average, so I will give it an 8.5. This is consistent with their previous albums. 

pst69

Black Metal History Month- Into the Dark Castle -Dimmu Borgir's "Death Cult Armageddon"

 The band's 6th album actually hit the Billboard charts, which opened doors for the genre. Much to the chagrin of cvltists. This pushed black metal into more mainstream audiences and grew beyond the confines of the genre, earning disdain from purists, but here we are. I like the fact that there are industrial sounds creeping into things right from the opening track. The line-up from the previous returns, and there is a more tangible chemistry that plays into how everything flows so well, though Shagrath has a heavier hand in the songwriting. His vocals, being more articulated than those of your average black metal band, also aided them. 

Listening back to this album now yopu can hear how the melodic nature of ICS Vortex's bass playing is also a key factor. Despite Shagrath being a more consistent songwriter this time around, it is Mustis, who penned the biggest song on this album, "Progenies of the Great Apocalypse," that is driven by a catchy gallop. For black metal, it is one of the best vocal production mixes ever. Much of the criticism exists regarding the increased use of symphonic elements, which is misguided, as they are used in a manner that makes things catchier. "Lepers Among Us" is one of my favorite songs from the album, thanks to the hooky guitar groove. This offsets the blast beat to come. They prove you don't have to throw out the blast beats, just don't rely on them. 

There are a couple of songs like "Vredesbyrd' that check off the sonic boxes but do not grab me as strongly as other songs. "For the World to Dictate Our Death" has more purpose than the previous song, with the vocal carrying greater intent. "Blood Hunger Doctrine" collects creepy sounds and uses them wisely. While not offering symphonic grandiosity, 'Catacylsm Children" is one of the album's more dynamic songs. Thought the orchestra fires back up for "Eradication Instincts Defined". It is a song best played loudly that throws a great deal at your ears in the long and winding arrangement. 

Epic is a word that gets tossed around a great deal with metal, but the last couple of songs capture a cinematic quality that is deserving of that description. They even refine what they are doing here in a tighter manner on their next album,  but what happens here is stunning enough and impressive for a black metal band to achieve that. This album deserves a 10. 

pst68

Black Metal History Month - Melechesh : "Sentinels Of Shamash"

 

It's been over ten years since their last album. Now we are getting a three-song EP, which is something. They pick up where they left off with the rapid-fire thrash-influenced riffing that still puts hooks at the forefront, balanced out with aggression. The hateful sneer of the vocals is the most black metal part of their sound, though at times they remind me of Children of Bodom. Thankfully, there is less wanking than that band. In fact, musical excess is not indulged in here in any flavor. 

"In Shadows In Light" finds a more rock n roll element possessing the heart of the song, as the vocal lashes out again, it's almost more like a feral version of Accept. The vocals have purpose and are not just a cathartic outpouring of hate as the screams are articulated in a manner that the lyrics can be deciphered. Lower sung vocals also surface in this song and offer a dynamic respite from jsut being screamed at. 

If these guys came out in the 80s, they would have been a speed metal band, as that is the sonic weapon they hit you with on "Raptors of Anzu," the third and final song on this ep. Lyrically, it seems this is where the concept of this album really comes together. It is hard to sell the idea of a concept album when it's a three song ep, but maybe this is what was needed to get the band back in motion. I will give this an 8.5, it's good to have this project back on the scene, and hopeful to hear more from them, this will give their fans the taste they have been waiting for. 

pst67

Karnivool : "In Verses"

Austrailia's Karnivool have been around for almost 30 years, but this is their fourth album, meaning they are very calculated and meticulous when writing and producing music. Which can be heard on this album. They are not prog in the sense that there is a ton of guitar solos, but subtly shifting arrangements with djent like times changes bubbling up under anthemic rock songs that are also very moody and melodic. The second song has a little more groove. They are obviously influenced by Tool to some extent, and thankfully not trying to be Dream Theater. 

The nuanced tenor of their vocalist is supple and slides gracefully up into its higher register on the chorus. The guitars carry enough punch to appeal to metal fans, but I would not call these guys a metal band unless something takes a dramatic shift midway into the album. They seem less metal-adjacent than Porcupine Tree, who had the Opeth connection to draw on. There are some formulas in place when it comes to their songwriting, but it works well, so I won't complain about them. "Animation" is the catchiest song thus far, which says alot as they write in a very hooky fashion for a prog band. "Conversations " blends pop vocals with what A Perfect Circle does in an effective manner.

"Reanimation" feels like the aftermath of " Animation", more nuanced with room to show off the singer's voice to a greater extent.  There is a grittier groove that drives "All it Takes". In many ways, these guys also remind me of Pain of Salvation. But on a song like "Remote Self Control," you can hear the Rush influence. Lyrically, there seems to be a similar theme of self-control, mental health, and perhaps a struggle with addiction that is revisited on the ballad "Opal." The last song finds the bass line getting it moving. These guys are making this kind of prog mental relevant in a thoughtful manner that doesn't rely on shred. I will round it up to a 10.

pst66

Black Metal History Month - MISERERE LUMINIS : "Sidera"

This Canadian band proves you do not have to jsut be an intense blast of blasting to be black metal. They flirt with the shoe-gazing zip-codes that their genre finds itself being built against without conforming to any of the tropes. The vocals are anguished to the point of placing them closer to depressive black metal, while the atmosphere created is organic and kind of jams along. The second song unloads a cavernous chaos in a less structured fashion until the breakdown comes and adds melody three minutes into this 11-minute song. Maybe this is where the song should have opened to begin with.

"Aux bras..." drops everything down to a haunting piano line. Their vocalist makes it clear that he has no intentions of cheering up and is going to bathe in anguish; this time, he does it over a more cinematic post-rock sound. The range of dynamics is a cathartic explosion for the mental breakdown that is being heard on a level that might remind you of Sweden's Shining, before they added cock rock to their depressive cocktail. The 14-minute "À la douleur..." is more deliberate when it comes out of the gates with its grim heaviness. There is a great deal of effective dynamic ebb and flow to the song. A compelling song, not a catchy one. They do release a more metallic aggression here, which some might be a fan of. 

The last thing finds things changing, namely the vocals coming out of the swirl of sound as a low, death metal-like growl. It's more of an echoing bellow than the type of punchy accents most bands of this kind use. It is interesting how such a shift of vocals can change the tone. As a song, it becomes more of a raging swathe of sound. I will give this a 9, as it sounds great and takes things in a new and original manner while being true to the genre or at least one corner of it.Out Marach 6th on Debemur Morti Productions.  

pst65

Charli XCX : "Wuthering Heights"

Not a typical Charli XCX album, as she is making a soundtrack for the movie 'Wurthering Heights". It is more experimental than you might expect from John Cale on the first song, which was also a lead single from the album. It feels more like an intro than a song, so for the purpose of this review, I am using "Wall of Sound" as the first song. It's more atmospheric for sure, and the club classics don't kick in until "Dyning For You." String sounds are coloring the sounds to stick with the tone of the movie. 

"Always Everywhere" is a light ballad that just floats off without the benefits of experimentation and dynamics like 'Chains of Love" which pits 80s sounds against a modern approach to pop. You are also reminded that she can actually sing. "Out of Myself" sounds the most like what we are used to from her. 

"Seeing Things" is more likea quirky ballad that gives a different slant to what we have heard from her before. "Altars" is another ballad that has a dramatic build. Some of the vocal colors she employs here have more of a rock edge to them. Sky Ferreira joins her for "Eyes of the World". Her lower indie rock indifference provides a fitting contrast. "My Reminder" has an urgency that recalls the more new wave-minded pop of the 80s. The last song is "Funny Mouth," which is almost like an ambient Björk-style ballad. I will give this a 9.5 for taking chances and being what it is. Her voice sounds great, so that is a bonus. 

pst64

Hoaxed : "Death Knocks"

 

This album makes no attempt at draping things in goth window dressing, and we get to see who Hoaxed are: a grunge band. The riffs are more arena-rocking, even when they add tension to a song like "Kill Switch", which at times finds them beginning to drift toward the more straight-up rock n' roll side of grunge. Sonically, they hold a great deal of common ground with the Pretty Reckless, though with more of a penchant for minor ket melodies. At times it casts a somewhat witchy shadow n things when it comes to "Promised to Me ", but this album is nowhere near as dark as the previous one. 

I like how they vocal are produced as they have the right amount of effects on them and are not too forward in the mix. There is more melancholy; this is best heard on "The Fallen." They go into a more streamlined commercial approach with "Dead Ringer."  If this were the 90s, you might argue that the upbeat "Wretched" was also more radio-friendly. Though it does build into a heavier stomp. There are screamed vocals throughout the album that find themselves echoing out from the edge of the mix, which I am just mentioning here as an attempt to be more metal.

 They occupy a similar sonic space as Freeze the Fall when we get deeper into the album, and melodies become a little more ethereal against the hard rock punches. The vocals to the last are a little hookier and work for me. I will go ahead and give this album a 9.5, as they feel more in touch with who they are as a band, which sells me more on the songs. The hookier moments on this album are pretty awesome; it might take some time to grow on me, but fans of anthemic brooding rock from the 90s will dig this. 

pst63

Rob Zombie : "The Great Satan"

 It has taken me a decade to resign myself to the fact their is little difference between where Rob left off with White Zombie and his solo work, which is almost as good. It seems he is eager to recapture his more classic sound, as this album opens with a heavier edge. "Tarantula' blends the two with a more aggressive guitar sound, grooves keeping this industrial thump moving even in the face of Rob's more rock n roll vocal stylings. He has never been a great singer, relying on effects and a keen sense of where to put the clever lyrics he spits out. 

"Rock n Roller' almost feels more like My Life With the Thrill Kill Kult. His declaration of being both an alligator and a space invader makes it sound like he is from Florida. "Heathen Days ' is heavier and more driving, making him sound just as vital in 2026. 'Black Rat Coffin" sounds like it came out after "Astro-creep", which is what you want from him. The groove to "Sir Lord Acid Wolfman" is cool, but no clue what the lyrics are about. "Punks and Demons" hits like 90s Ministry, "The Devilman" is very deliberate as an arena-shaking anthem. 

"Revolution Motherfuckers" rides a rumbling bass line with a rowdy march. "Unclean Animals" demonstrates what I said earlier about the effects on his voice being almost an instrument unto themselves, which really helps set the mood here and makes any vocal limitations forgivable. "Grave Discontent" closes the album, which is more of an instrumental outro. Overall, this album is fucking fantastic, and shows that just because you came out in the 90s it does not mean you have to forsake your sound when you can just perfect itI give it a 10.. 

  

pst62