Heavy Maytal - Metal Church : "Dead to Rights"

The 14th album from the legendary thrash project helmed by Kurt Vanderhoof, who is the sole original member, now features an all-new line-up, including former Flotsam & Jetsam drummer Ken Mary, who also played on Alice Cooper's "Raise Your Fist and Yell" album, along with Megadeth bassist Dave Ellefson. For what they are doing, you can't ask for a better backbone to drive these songs. The opening track is pretty impressive and delivers what you want from them. This is the 6th album that guitarist Rick Van Zandt has played alongside Kurt, so he knows the deal. 

This leaves vocalist Brian Allen from Vicious Rumors having to step into the path previously tread by some great singers like David Wayne and Mike Howe. He kind of splits the difference between the two, which on the second song causes them to sound more like Exodus, though he does give an impressive, well-rounded dynamic performance on the title track. So far, it does not feel as dark as the early years; it does feel like they move in a Megadeth direction at times, perhaps due to Ellefson's involvement. The first time this comes to mind is on "Deep Cover Shakedown".While Allen goes into his higher register on this one and it is driven by a headbanging chug, it does not feel as catchy as the previous song, and the lyrics are not the best. 

"Feet to the Fire" is a workable balance between heavy drive and melody. The vocals juggle a raspy snarl with soaring croon. The best lyrics so far are on the thrashing "The Show". It's a fitting commentary on the world today. "Heaven Knows" is on the more Megadeth side of the thrash gallops with an Accept-tinged power metal flying over it. 'No Memory' goes over onto the more power metal side of things, which is not as effective as when they lock into a more Megadeth-like groove on 'Wasted Years".  They are touching on things like Big Pharma that more bands need to be doing. "My Wrath" feels less like Metal Church and more like Exodus jamming with Megadeth, so a hybrid thrash. Wayne and Howe are dead, so this sounds as muh like Metal Church as we are going to get, so they excelled at keeping it going. I will give this album a 9.5. 

9.6

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Heavy Maytal- Iron Maiden's "Dance of Death"

 

The band's 13th album is the one Bruce album I have spent the least amount of time with. It opens with a high-energy song with a rather dumb repetitive chorus. It makes me think of Van Halen. Not a terrible song, but I expect more from them when Bruce is around. There is a similar energy to "Rainmaker," but all the moving parts are higher functioning. The chorus works much better. "No More Lies" feels like something from "Fear of the Dark", which is wehre they started writing these types of darker songs. The guitar playing here is very nuanced. The vocal production on this album is way better than anything from the Blaze albums. It does build up until the thunderous chorus. With three guitarists, the solo sections have grown. 

"Montsegur" is heavier and an unrated Maiden song, I have never paid attention to til now, which is why I enjoy digging back into these albums I never gave enough of a chance. The title track is the kind of epic galloping frolic that is what this band is known for. So they are doing what you want from them. "Gates of Tomorrow" feels a little happy for my musical taste buds, but it's well-executed and sounds like them. "New Frontier" is more of what I want from them, as it has more of a metallic attack. "Paschendale " is Adrian Smith writing what he thought would be the typical Maiden epic, and he did a pretty good job of it, as it has a heavier stomp. 

There is a darker, more majestic feel to "Face in the Sand" that works well. The guitar riff to 'Age of Innocence' has a heavier chug than what you typically expect from them, but it works for where they were in 2003. This is juxtaposed by a poppier melody on the chorus, yet it all seems to gel. The odd choice of their first acoustic song to close the album is awkward, but you can't resent them for trying new things. But after listening to it several times, it never really hel my attention that well or felt memorable. Overall, this album works and recaptures what we love about the band more often than not so I will give it a 9.5. 

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Heavy Maytal - Tailgunner- "Midnight Blitz"

 When it comes to a new traditonal metal band with the most buzz, the band that comes to mind is Tailgunner. KK Downing produced their new album, giving these kids from the UK an edge on the competition, and they have the buzz to build the momentum. But none of this means anything if they are just delivering the idea of an era rather than songs that are relevant in 2026. They open with a somewhat aggressive track, considering the genre, at times making me think of a less flashy Dragonforce. The second song is more melodic, which I appreciate, but it also flirts with hair metal a bit, which I feel is an equal influence on what they do. 

Despite KK producing their album, they do not sound like Priest. They sound more like a speed metal version of the Scorpions. This fact is highlighted on "Follow Me in Death". There are lots of guitar solos racing around, so if that is your thing, you might be into this. Three songs in, and I am under the suspicion that these kids are not going to be dark or aggressive enough for me, which is a common problem I have with power metal. By the time we get to 'Dead Til Dark', I'm positive that if a song about vampires is too happy for me, there are going to be some stylistic differences that I might not be able to reconcile with these guys, despite them being good at what they are doing. It begins to become hard for me to even think of this as metal due to how upbeat they are.

"Barrens Land and Seas of Red" finds the rapid-fire pace being maintained. The vocal approach is very similar to what this guy has been doing for the bulk of the album, where a wider range of vocal colors would feel the dynamics of the album. "War In Heaven' features Ozzy/ Sabbath Keyboardist Adam Wakeman. It's more of a power ballad. You do finally get to hear more shades of the singer's voice. He is some hat you stereotypical power metal singer, but without any falsetto yodeling, so far everything has been sung from his tenor chest register. 

The drummer earns his place at the table on "Blood Sacrifice." Their singer tries to be a little more aggressive and goes up into his blended head register on the chorus. "Night Raids' is just as over the top as the bulk of this album has been, though they back off enough on the verses so the vocals have room. No new ground is broken on this song, and the fact that everything is similar in tempo makes the songs sound the same. "Eye of the Storm" at least finds the verses creating more space and tension. When it builds up, it feels more like a tribute to modern power metal. The last song opens with more fanfare to create the mood. Then, they race off into something not far removed from what we have already heard from these guys. The fact that they stick so closely to the rule book for this genre and do not bring anything new to the table is a bit off-putting, and it's too happy for my tastes, but they have the chops for this kind of thing, and it's well-produced I will give it an 8. 

 

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Heavy Maytal - Iron Maiden's "Virtual XI"

 

1998 was an odd transition period for metal, so it was easy to imagine how another Blae Bayley album might slip between the cracks. The mix is better than the previous Blaze album, with more of a classic Maiden sound coming from the guitar. Harris falls low in the mix, but the drum sound is better. "The Angel and the Gambler" makes me think of the Who.  There is more of a rock feel to it. It is a little too upbeat and happy in the execution for me. Keyboards are also taking a much larger role in this one. There is a cool melody breakdown on this one, but it might be part of the formula for this album, like the acoustic intros were for the previous one. It almost feels like they are jsut jamming, which I can appreciate. 

"Lightning Strikes Twice" has an odd chorus refrain, but the guitar solo section is classic Maiden, though the bulk of the song is kind of clunky. I've heard Bruce sing The Clansman" before live andd then went to check out the original, so the only song from this album I am familiar with. It captures more of the classic Maiden sound as it slowly builds. It takes two minutes for the drums to come in, but it's pretty anthemic and a tough song for them to beat on this album. The middle section finds them returning to a more jammed feel. "When Two Worlds Collide" follows the formula of a more subdued atmospheric intro that they build. Here it's into a gallop that should work, but Bayley's vocals feel a little awkward to me. 

They get proggier on "the Educated Fool". It still works on the formula they seem to be using during the period. His vocals seem too dry; it feels like they should put some effects on them. It might have helped the overall vocal sound, as he is a decent singer, but he is not given much love in the studio. The guitar harmonies on this song work better than most on this album. "Don't Look in the Eyes of a Stranger' feels like it was a B-side from "Fear of the Dark." The creeping tempo helps with the shadowy tension. The breakdown into the ambient middle section is a little odd until they begin to build it up. They are back to the Blaze formula on the last song. It builds up well enough, and Blaze sounds fine; it's just not that memorable despite when they lock into their classic harmony parts. I will give this album a 9 as well, even though it's an improvement over the previous album, it feels like they were just punching the time clock in some respects. 

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Heavy Maytal- Darkthrone : "Pre-historic Metal"

 

It seems these guys are now transfixed on their Celtic Frost phase. They are still black metal if you are talking about how that genre was defined in the 80s. There is a rawer sound to this album than their previous one, but it does not hinder the head-banging, fist-pumping riffs. The vocals croaked with a Tom Warrior-like anguish, sitting back further into the guitars. You can still tell who this is as they have their ambiance abounding on the first song. The title track finds the tempo simmering to more of a Venom-like place. They built this to a more thrashing pace that is part  Mercyful Fate. There is just a hint of black metal, but it's done in such an old school way you can't tell except to notice the intensity shifts. 

"Siberean Thaw" is a weird one that wanders into oddly atmospheric places but sells itself with the killer riff the song ends on. "Deeply Rooted" finds the Mercyful Fate influence surfacing again. The snarl of the vocals does not contribute muh on this one, even though the guitars are pretty cool here. They could tell it was starting to drag when they wrote, as that point is when the riff shifts its groove. They try to go for a more Maiden-like gallop, which does not work as well. The sung vocals can be pitchy as usual. Though the sung vocals show great improvement on the most Mercyful Fate-like so far, "The Dry Wells of Hell," where he even goes up into a falsetto note.

While it is a bit of an odd bird, the more experimental atmosphere to "So I Marched to the Sunken Empire " was needed to break things up. It is the most interesting moment so far. Some proto thrashing goes down on "Eat Eat Eat Your Pride" that looks back a little into their older punk stuff. They do throw in a dynamic shift and slow it down. The more chugged riff is pretty powerful, so hard to complain about this song. 'Eon 4" closes the album with a more lumbering doom feel. The vocals feel like they were improvised on the first take. It shifts into a hookier, more Mercyful Fate-like riff, but vocally, there is no King Diamond.  I will give this one a 9 and see how it sits on me. When I want to hear Mercyful Fate, I will just play"Don't Break the Oath." But if that is what it takes to bring them out of the Celtic Frost phase it's a step in the right direction. 

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Heavy Maytal - Iron Maiden's "The X-Factor"

 I have never given the Blaze Bayley albums a chance. I have a few of these songs live when Bruce has sung them, so here we go. The opening track is "Sign of the Cross." It works well enough; it's obvious Blaze lacks Bruce's range, though his voice has a lower baritone grit that works for this song. I will find out how it holds up for the bulk of the album. It does sound like Nicko is just kind of dialing it in on this song. There is an interesting shift in the darker gallop this song goes to. But something is off even when i listen to just the instrumental sections, you can tell it's Iron Maiden, but it doesn't sound fully like them, this is due to the fact that Martin Birch is not behind the console. Nigel Green does seem like he is great with drum tones, though there is an interesting space in the mix created by how the guitars sit in different places. 

The beginning of "Lord of the Flies" makes me think of 80s Dire Straits. The new singer did give them the chance to experiment more. If they only got a better drum sound. Blaze's approach is more rock n roll on this one. His style of singing also makes the chorus not punch enough. It could almost be any bar band on a Saturday night playing originals, with the clever guitar interplay the most redeeming thing here. "Man on the Edge" is likea more rock n roll take on "Gangland." Things get darker on "Fortunes of War." the guitar parts also show improvement. The anthem power ballad "Look For the Truth" finds Blaze doing pretty well, and the whole song actually working. 

The clean guitar intro seems to be a pattern with this album. The Aftermath" finds its groove after one of these intros. "The Judgement of Heaven' finds the vocals sitting a little awkwardly atop everything. There are some tradmark guitar passages, but it sounds more likea band influenced by Iron Maiden than the actual band. "Blood on the World's Hands " has a suitable bass intro that leads to something that sounds more like the band with a lurking tension to it; it's one of the better songs so far. Blaze is inconsistent because he sounds good on this one.

It's not surprising that The Edge of Darkness" carries more sonic shadows. It reminds me of "Afraid to Shoot Strangers" but carries an epic gallop. This lineup is capable of pulling off good songs; I don't think the mix is doing them any favors. Another acoustic intro for "2AM", which gives Blaze enough room to really sing. He does not have Bruce's swagger, but works well on this one. Though not sure about how the drums are pushed forward for the guitar solo. "The Unbeliever" opens with some intersting guitar riffs, not sure about the interplay between the vocals and the drums though. Not the album's most focused song. 

"Justice of the Peace" is more like what you want from an Iron Maiden song, as it balances the bombast and melody with high-energy drive. "I Live My Way' seems pretty basic, but it works. They close the album with more of a rocker, picking up the pace for "Judgement Day," which feels like it's more obligatory than playing to Blaze's strengths. At the end of the day, aside from Blaze, these guys are Iron Maiden, so their chops alone make it more worthwhile than anticipated 

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Heavy Maytal - lIlwind : "the Unfolding at the End of Light"

 

This Peruvian doom band is not content sticking themselves in one sonic box, despite what you are led to believe going into the album with the more traditional doom feel of "Crimson Skies." The epic bellow of the sorrow-filled vocals is what anchors their place here, rather than if they were another growing funeral doom band or death doom band, sub-genres I enjoy when done right, but these guys are focusing on songwriting rather than checking off the expected boxes for what the cool kids in doom are doing these days, perhaps that is due to being from Peru, and having to live off 80s metal vinyl if they are in a region with no wi-fi. Whatever the case, they are rocking it here, even with the first song being over ten minutes as they are jamming out.  

There is a touh of Candlemass in what they do. "Wanderer" has more of a fuzzed-out stoner rumble to it. They know who both Electric Wizard and Pallbearer are in Peru, it seems. There is more dynamic ebb and flow here as the riffs expand and contract, rather than jsut jamming out into guitar solos like they did on the first song. "Portal" moves with more grace in its rumble to just feel like reverbed out classic metal. There is more of a rock progression here. They are not overt Sabbath worshippers whih is something I appreciate. The first hint of it lies in the blues-tinged rumble of " God of Sleep." I like what the vocals are doing, but it falls pretty solidly within the expected boundaries of doom. It is an almost nine-minute song, so it drags slightly. It builds into some haunting guitar melodies to create a more melancholic tapestry that makes you headbang to, but it's pretty effective. 

It takes a minute for them to get "Lucifer's Mule" going. It carries a more monolithic chug that drives it. They allow things to drift off into more atamosoere a few minutes in. The chug grounds this and is a good sonic weapon for their arsenal of sound. Five minutes in, things begin to shift. A bigger, more metal riff comes in to build it up. They modulate it from their into something with a more aggressive crunch. The emotive feeling to the vocals brings My Dying Bride to mind at times. The guitar solos flow out of the steady build with organic grace. 

They close the album with a sludged out cover of the Stooges' "I Wanna Be Your Dog' which seems like too obvious a choice. They do a good job with it andd I like how it's more deliberate to create a heavier tone. The vocals don't change their approach. I enjoyed this album; it was not predictable, though it did employ a few doom cliches, but was not chained to them. I will give it a 9. Dropping July 3rd on Personal Records

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Heavy Maytal - Iron Maiden's " Seventh Son of Seventh Son"

 

This album is where some old-school Maiden fans begin to cast doubt on how well it holds up with their classic material. I like it because it is a darker album. "Moonchild" is a great opening song; it's uptempo, and Bruce carries a balance of grit and operatic croon. Lyrically, this album is loosely based on Orson Scott Card's book "Seventh Son." It studies more mystical topics. "Moonchild" is more influenced by Crowley. Despite being a power-ballad of sorts, "Infinite Dreams" might be the album's best song. It finds Dickinson singing in a more nuanced lower register in the verses, and soaring back up on the chorus. 

Where a point of contention on this album is that this is where the band switched from using Roland GR-700s to actual keyboards. I think it's done tastefully, and it's not like they turned into Yes. However, I do remember thinking when this came out that  "Can I Play With Madness" was too happy-sounding with the being harmony vocals on the chorus, felt like a nod in a more commercial direction, but when you sit down and really pay attention to the lyrics, it's clearly not the case. I think if they were trying to stay relevant, they would have gone heavier, as that is where metal was heading in 1988 with bands like Slayer breaking big. Some of the album's most memorable guitar solos are also on this song. 

"The Evil That Men Do" is another great tone with a darker tone and Bruce finding more interesting places for his voice to go than the most predictable belting. Not sure how you think you can get a more epic gallop than what they do on the title track.  Everyone is on point here, though you expect no less from these guys. There is a cool atmospheric breakdown that builds tension well for the guitar solos to explode out of. In some ways, it reminds me of the middle section of "Hallowed Be Thy Name." They bring more bite and a refined take on their classic sound to "The Prophecy". You can hear how this influenced today's power-metal bands. 

"The Clairvoyant" works of a pretty powerful tension that, when coupled with Bruce's intense vocal performance here, works wonders. The guitar harmonies on this album seem to have their own cohesive personality that sticks to the mood of the album. Despite being warned that a demon is going to rape you in your bed at night , the chorus has an upbeat feel to it. This is the band finding a new pinnacle, and it also deserves an 11. Despite its naysayers, it stands toe to toe with the band's best work. 

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Heavy Maytal : Acid Reign : "Daze of the Week"

This long-running British thrash band Acid Reign is back with a ripping speed fest that finds the opening song still having purpose rather than jsut slapping you upside the head and running off. In some ways, their approach makes me think of a less punk Vio-Lence with the higher pitched Exodus styled vocals. The title track keeps the momentum going, though the vocals have a more deliberate punch to their staccato accents, and Howard Smith actually sings rather than just shouting at you on the chorus. 

These guys date all the way back to the 80s, so they obviously know what they are doing and come from a time when songwriting mattered more than just being heavy. "Not Truth" jsut kind of races past you while "King of Coniption" is catchier and has more purposeful songwriting. The emphasis on songwriting should always be at the forefront of critical thinking when it comes to music, no matter the genre. The solos are all pretty ripping if that is what you are into. With a song like "Alonely," they clearly understand this concept. 

Midway into "Blind Lies' things get more melodic, which helps create a stronger dynamic sense for the album. At just over six minutes, it's the album's longest song. "Sorrowsworn" finds them stepping on the gas, the drums keeping pace even as the chorus gets more melodic. "Young Old Man" has a more Megadeth-like rock swagger. The vocals bark out in a more hardcore fashion. "Fantastic Passion" kinda blew past me on this first listen to had to give it another try and pay more attention. It's pretty average thrash. The last song, however, might be the album's best as it's the most vocally melodic nad dyanmic. These guys came back and brought it right I will give this album an 8.5, as it is sure to be one of the better thrash releases this year.

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Heavy Maytal - Iron Maiden's "Powerslave"

One of the most amazing things about this band is how they released their most classic albums only a year apart, recording them in between tours. This was brought to its pinnacle as the most finely tuned musical machine imaginable with their most aggressive and epic album to date, "Powerslave". It rips open with the rapid fire of "Aces High," which has a chorus that takes flight in a manner not unlike the subject of the lyrics. The slow down to a more deliberate pace for "Two Minutes to Midnight". "Losfer Words' is the ironically named instrumental, which feels like it has a heavier drive than the previous instrumentals released by the band, though some of the stign was taken out by the melodic solos.

"Flash of the Blade" is about Dickinson's love of fencing. The verses follow a similar formula employed earlier in the album as they race along to build into an anthemic chorus. This album is much more high-energy, with none of the songs leaning towards a power-ballad direction. This high-energy tempo can also be heard in "The Duellists." I think this more aggressive style of writing was perfectly timed as it coincides with the rise of thrash.  They keep the momentum with "Back in the Village."  This song is the lyrical sequel to "the Prisoner". It is one of my favorites on this album.

Despite the album cover, the title track is the only Egyptian-themed song, and even then, it's a metaphor for how Bruce felt about being a rockstar. The most deliberate and powerful song on the album. The sprawling epic "The Rime of the Ancient Mariner." It speeds up into more of a gallop, which was mid-paced for them on this album, but to be a song that was such a grandiose prog metal sonic spectacle, the vocal melodies are all catchy as hell. They let things linger in the atmosphere midway through the song before building into a thundrrous climax.This album also goes up to an 11, so that is the score it gets reserved for only the rare upper tier albums, that are flawless classics.  

8.9

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Child of Night : "Conspiracy"

I had to take a break from metal and dig into something different. This album certainly provides a respite from angry power chords, as it's a catchy, quirky take on electro-pop. This is the project's second album. There is more of a bouncy cold-wave feel to "Complacent" that finds vocalist Niabi uttering a simultaneously urgent and detached plea. There is a more mechanical and starker take on what they do with the song "Controlled Burn". They lay down a more dance floor-moving groove with the dense synth bass of "It's Cold In Here." Comparisons could be drawn to Boy Harsher, though she does not employ the same low breathy whisper here. 

The synths sound a bit lo-fi, but not trying to overtly pay tribute to the 80s. "Quiet' does remind me of early Depeche Mode, so almost leaning in a new wave direction, but some darker synths serving as an undercurrent. The vocals are a little more emotive here. Things begin to turn towards a more modern electronic sound, while still using organic synths with "Compromised " and the second part of "Controlled Burn." Things get a little darker for "Bloom" though the synths bring other sonic colors, leaving her moaning vocal to occupy the shadow. 

Things get a little more experimental when it comes to " Incapacitated." Her vocals are drab and indifferent. But it works for what they are going for. The last song is a little more upbeat but is not as catchy as the previous song. I like where they take on you this album, it's interesting, and while it holds some similarites to other indie dark electronic artists, nothing is redundant in that regard. I will give this one a 9 and see how it grows on me. 

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Heavy Maytal - Gus G : "STEEL BURNER"

If it were not for the fact that I am dedicating this month to more traditional metal, I might have let Gus's new solo album fly under my radar. But that would have been a shame because he is obviously metal as fuck, having played with Ozzy and Firewind. He brings in some guest vocalists like Doro Pesch, who is a legend, but they have only added more grit to her pipes. Unlike one of my favorite metal singers who lends his pipes to the track 'Dancing With Death", the motherfucking incredible Matt Barlow.  Who sounds awesome, and this is going to be a tough song for them to beat. It sounds like he just stepped out to the goddamn "Darksaga" sessions to lay these vocals down, unbelievable. 

Then it's back to the instrumentals. I braced myself for the shredding, which is not normally my thing, but he used a manner of restraint on "Advent." His playing is pretty melodic here. If you are a guitarist under 40, chances are you are going to be all up in this. "What If" moves a more synth-wave-like groove before succumbing to the need for shredding. He brings on Ronnie Romero for "Frenemy". Which works well enough, it has a rock shuffle to it, and Romero's voice sounds rooted more deeply in the 80s. 

Dino Jelusick from Whitesnake tackles the vocals on "No One Has to Know." It is easy to understand why he is doing backing vocals for Whitesnake, as he sounds just like Coverdale. I imagine he sounds better than Coverdale does these days. 'Confession" is the obligatory blues instrumental, which is very tasteful and works well. It does build up into a more metallic solo, but remains pretty melodic. "My Premonition" finds Ronnie back to tackle a more Tony Martin-era Sabbath power ballad. "Closure is the kind of instrumental you expect from him, but very well done and not as over the top as I feared. I will give this album a 9.5, as when it comes to shredding metal, he does a great job of it.

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Heavy Maytal- Iron Maiden's "Piece of Mind"

The band's fourth album and first with drummer Nicko McBrain, finds the band getting into even more melodic and progressive territory. It also features some of the most popular anthems from the band, "The Trooper" being the most obvious. On "Number of the Beast," it was conceivable that Paul DiAnno could have at least attempted to sing them; on this album, Bruce's soaring tenor belts them out with operatic power, further widening the divide. The first song, "Where Eagles Dare," is the only one I can imagine Paul even attempting. There is great guitar phrashing and harmony on the song. 

"Revelations" is one of the few songs that is not about a movie or book, but more of a lyrical tapestry teasing some of Bruce's spiritual beliefs, with Thelema being the most glaring.  Musically listening to it now, it brings to mind early Rush. "Flight of Icarus" is one of the album's more anthemic tracks, with a big hooky chorus. The verses give Bruce a great deal of room to sing and just enough gallop to remind you who this is. Bruce hits a rare falsetto when he lets his voice break on the climactic b flat 5,  but belts out a5's on the chorus. 

It has always felt to me like "Die With Your Boots On" belonged on "Powerslave," but no, it was just foreshadowing that album. As previously mentioned, "The Trooper" is their calling card. If you don't know this song why are you even reading this review? It's the anthem of anthems for this band. Their gallop might be best epitomized here. "Still Life" is likely my favorite song on this album, as it's the darkest and most melodic. Compared to the other high-energy songs on this album, it's almost a power ballad. 

"Quest For Fire" is early power metal; there is some cool interplay with the drums, but it's pretty much a straightforward Maiden song, not filler. The chorus to "Sun & Steel" is hookier than the chorus to the previous song, making it more memorable. For the sake of this review, I am just reviewing the album songs and not the bonus tracks. Despite there being a great Jethro Tull cover out there, they should jsut release all the B-sides that are not album tracks on an album. The Dune tribute 'To Tame a Land" was originally supposed to be called "Dune," but when they asked for permission, Herbert sent them a letter to them saying he did not like heavy rock bands like Iron Maiden. Weird way to come out of the closet, dude, but ok. Anyways, the song's pretty damn good, besides being nerdy prog metal. It's safe for me to go ahead and round this one up to a rare 11 as well. 

 

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Jungle Rot : "Cruel Face of War".

Dave Matrise is the sole original member from this 90s death metal act. He has put together a denser, more modern-sounding band that still gets what he was doing in the band's earlier days. His growl still carries heft and resonance. He also benefits from excellent production, with effects and layering that fall in all the right places. The opening track carries the right kind of energy that you want from these guys, so can the rest of the album hold up?  Well, the title track has a more manic, thrashing feel. Lyrical, he seems to be barking out your typical metal mish-mash. But they are snarled in a manner articulated well enough to cut through the din of distortion around them.

"Maniacal" is stomped with enough purpose to create catchy headbanging vibes before the vocals even come in, and back off to give them room when they do. "Suffer in Silence" has a strong enough chorus to balance out the more speed-obsessed riffs that race by your ears. "Radicalized" has more groove in its weighty accents that pound with a more syncopated refinement. "Blade of Betrayal" is more typical in its rapid-fire death metal approach, which will appeal to fans of that era of the genre, but does not benefit as much from their songwriting skills as the previous songs.

The verse of "When the Elders Rise" is empowered by the album's most commanding, not as effective when they pour the speed into the double bass, but overall, the song works. Dave Ingram of Benediction joins them for "Horrors Vile" that takes off in a faster direction that finds them pressing further to the gas once the vocals come in. They find a better balance of tempo and intensity with " Legacy of the Damned."  At under two minutes," Rot Riffs." does not try to cram too much into that time frame, mainly working off the one riff. "Hollow Husk" is pretty punishing, though pretty straight-up death metal. The vocals just roar along, though on my second listen, I put on headphones, and it became clear how powerful this guitar tone is, excellent production. I will give this album a 9.5, it delivers 90s death metal in a more meaningful way than even the new Six Feet Under.Dropping on Unique Leader Records May 15th

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Heavy Maytal -Venom : "Into Oblivion"

The 16th album in the career of this project, which now counts Cronos as the sole original member. Things have not changed a great deal thanks to Cronos's voice that finds him belting it out with the same throaty zeal that drove their earlier. In fact, this album is more metal and less punk than what people would call Venom's most classic work. There is more of a thrashing feel to "Lay Down Your Soul".  They hammer at you with the intensity of a Motorhead song. It's catchy enough even at this amped up speed. There is more of a gallop to "Nevermore" which works well; in fact, it's the best of the first three songs. 

There is a more overt metal sense to the riffing that was not in the band's classic work, but it's pretty effective and sounds relevant in 2026. "Man & Beast" should please most headbangers, but the punk rock side of their older fan base is not going to be into this, but oh well, it sounds fucking good to me. Though "Death the Leveller" is closer to their more punk side, as a whole, this album reclaims their place in the classic metal hall of fame. 

"As Bove So Below" gallops into darker regions draped in their pseudo Satanic musings whih are entertaining but not something I am going to stake a seriously as I did as a teenager. There is a faster thrashing to "Kicked out of Hell" that is not as effective as what they did on the previous song. "Legend" is darker and more epic, with a more deliberate stomp that brings Celtic Frost to mind. "Live Loud" works of a similar but more driving chug. The drummer proves himself to me on this song. You can't ignore the palm-muted chug to "Metal Bloody Metal" at the very least carries echoes of White Zombie. But it still works. The drumming on "Dogs of War" helps to seal the deal. 

"Deathwitch" is pretty powerful and heavy enough to punch above its weight class. These guys were once considered to be on the heavier side of the genre when they came on the scne but now, as times have changed, their earlier albums are more middle of the road, so this album shows where they stand in today's metal world. There is a creepier atmosphere, thanks to the subtle use of synths on the last song, which helps to create a more sinister mood.  I will round this album up to a 10 as it makes me a fan again, and Cronos is bringing the legacy of this band back to where it needs to be. Fans of metal should give this album a shot, it's impressive. and exceeding my expectations. Dropping on Noise Records.      

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Heavy Maytal- Iron Maiden's "Number of the Beast"

The big change happened here, and listening back to the album time and time again, it's clear what Bruce brings to solidify their sound. Bruce came on strong with an in-your-face ripper, and an underrated Miaden song, as this song does not get as much love as the other live staples from this album. It's one of my favorite songs from this album. The dark power ballad "Children of the Damned" finds a new snese of melody and dynamic being embraced in a way that only Bruce could have made possible, despite the band having already ventured in this direction with Paul. Beuce brought the intensity we now know as being metal into the song. 

I have always loved the syncopation of the drums leading into "The Prisoner," it's one of the album's best grooves. This song also shines a spotlight on the fact that when it comes to metal guitar solos, Miaden does it right by not just wanking off with shredding but using it to build on the melodic themes of their songs. Part 2 of the Charlotte saga continues on "22 Arcaia Ave ". This is darker than what they did on the "Killers." Then there is the title track, which is one of the best songs of all time, and has some tricky timing in the verses. 

What do I need to say about "Run to the Hills" aside from the fact that it's an iconic metal anthem? If you have heard any Maiden song, it has to have been that one. "Gangland" is my least favorite song on this album, but it still holds its own against their legacy. "Hallowed By Thy Name" closes the album in the most perfect manner possible. They took the epic songwriting formula they had been fine-tuning on the previous albums and made it bigger and darker. This is beyond being just a perfect album and hit a place that changed the shape of metal. I will give it the rare 11, setting it alongside the best albums ever made.

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Heavy Maytal -Sins of Shadows : "the Last Frontier"

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This band from France is, in some ways, like a more high-speed Kamelot. The vocals are the kind of dramatic yodelling that some times allwos it's over the top delivery to sacrfice the hooks in favor of vibrato and power, which might be why I do not give new musicc like this much of a chance and tend to stick to the classics who were not influenced by other metal bands but rock or prog bands so they jsut added the metal to the equation rather than trying to emmulaqte it. I guess Helloween is the first band that I noticed was trying to be like another metal band in this regard. The Iron Maiden influence was obvious, though now listening back, I can hear some Scorpions. With these, Queensryche and Iron Maiden are the big ones, but their gallop needs to be dialed up to fully capture the epic quality. 

These guys are releasing this album themselves so there are some budget constraints in the production, though the layers of vocals were given some love as they still manage a very larger-than-life sound until it gets to things like guitar solos that are sometimes sitting back in the mix rather than stepping into the spotlight. 'Walls of Past" is the first song where it feels like the barrage gets chaotic until the layers of guitars settle in. Less is more when it comes to this sort of thing, and when they give the vocals room to not have to yodel over things, it works best. Maybe 10 bpms slower would have benefited them and made it have more purpose. It feels like they are all over the place here.

"Tell Me Why" has a similar energy as the previous song, but a little more purpose, and the vocals benefit from this. Though another problem is revealed in the chorus, as it sounds too bright and is not dark enough for me. The lyrics are not that great either. If you want a band that will dedicate a section of a song to a guitar solo, these guys are for you. There is a more Iron Maiden-like sound to "Rise Again," but it brings that Helloween feel to mind. Sure, this guy can hit high notes, but I  would be more impressed by hearing some low ones as well; it's not range if that is all you do. 

"As Darkness Falls" should certainly feel darker, but will it ?" Well marginally. The vocals are grandiose but not catchy like something Maiden would do that gets stuck in your head, though this is an improvement, and perhaps the best song so far. A beefier guitar tone would also benefit these guys, though I know they like this one for the shredding. 'The End of the Road" finds them slowing it down enough to gain more purpose. This makes it another one of the album's strongest songs, as they are approaching things with more wisdom as the slower build creates the dynamic Overall they did a good job of making the album they wanted to make on the budget they had, so for that I will give this album an 8 as they are formidible musicians. . 

6.2

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Heavy Maytal : Iron Maiden's "Killers"

This is an important album for the band as it featured Adrian Smith, as well as being the first to be produced by Martin Birch. After the instrumental intro "Ides of March' they start kicking as with "Wrathchild", which might be the best of the Paul era songs. Paul's voice has more command here. The bass line also carries more grit. "Murders in the Rue Morgue" is more grandiose. At just over four minutes, they pack a bunch into this song. The verses are almost more punk-paced, where the chorus has a more signature Iron Maiden hook. Harris' bass playing is the obvious backbone that sets the stage for what was to come here. 

Smith and Murray's guitar harmonies are more fluid on this album than on the debut, with Dennis. "Another Life" finds Clive Burr's playing more confident. Riff-wise, these themes would get a more aggressive re-exploration with the feel of the "Powerslave" album that would come about years later."Genghis Khan" finds them locked in what we now think of as a variation of the Iron Maiden gallop. It's a compact instrumental under four minutes. Despite the opening bass line, "Innocent Exile" is more of a rock song. Di'Anno brings more of a swagger here. 

The title track is a little darker. It is also the only song Paul is credited with co-writing with Harris. Some of the album's best lyrics are featured here. "Prodigal Son" is more of a ballad, which finds strummed guitars rather prominent and some of the album's best guitar solos. It is one of Paul's best vocal performances. "Purgatory" is one of the album's faster songs, with a frantic bass line moving it. "Drifter" is another more rock-oriented song, but it works with the mood of this album, which did not find the band in a total metal prog direction yet. 

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Heavy Maytal - Chariots Overdrive : "The End Of Antiquity"

Some Asian kids based in Atlanta are trying to crank out metla that is rooted in the 80s. The vocals make me concerned about how easy it is going to be for me to make it through this album. They are this band's weak link. The guitar harmonies are their strength, though I like the raw Combat Records feel to the sound captured here that strikes me as being legit. There is a more Judas Priest-like sound for the guitars on "Marching Maniacs". Lyrically, it's terrible, and the guitars are really the only thing keeping me invested. The vocals are even grittier than the previous song, though it is clear this guy can't actually sing, as it is more spoken with a mock attitude. 

The drums could stand to come up in the mix and add some heft to their sound. There is a more thrash feel to the taunt riff that keeps " A Talkonautic Alchemist' moving. The vocals go up higher and sound not only strained but also very pitchy. When the vocals attempt to harmonize, it makes it even more apparent just how out of key they are. It almsot sounds like Elmer Fudd doing Iron Maiden karaoke. The guitar solos are the best part, but not something you can hang a whole song from. The only similarity to Iron Maiden is the fact that they, too, have an eponymous song. The vocals are more snarled here as they move in a thrashing direction. The melodious section of the song would have worked better with real vocals. 

"Nomadic Warfare" brings a more aggressive hug to life. I am cautious to get excited for anything, as it can anticipate the vocals coming in to ruin things. They wait for a minute and a half to do that, but they are pretty god-awful. There is a more melodic tension to the title track. The taunt palm muted riffs work well. If these guys were smart, they would have leaned more into the harsher vocal sound, as nothing is saving this singer. Midway through this song, there is a cool riff that feels like it belongs on a Dio album. They close the album with the twelve-minute-long."Bizarre Pilgrimage to the Cubik Mansion" Three and a half minutes into it, they go in a weirder, darker direction. It reminds me of Celtic Frost, which should also give you a glimpse into how the vocals on this album work, because often they sound like Tom Warrior trying to cover Judas Priest. They have potential as a band; they just need to get an actual singer and find a producer willing to work with them and help dial these sounds in.  I will give this one a 7.

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Astari Nite : "Medications in Bloom"

 

The Miami-based goth project continues their journey away from their death rock beginnings into somewhere new yet not far removed from the more new wave sound they expanded upon with  2024's "Resolution of Happiness."  On the lead single for this EP, "Dry Shampoo X," there is more of an explosive rock element to contrast how the album opens with a more kaleidoscopic new wave sound that pulls from different corners of the 80s without being pinned down to any of them. 

The first darker moment does not come until "Lemon Yellow Tangerine," which carries a creepy more ethereal glaze, while the verses carry more open space for the vocals to wander, then plead longingly at the chorus, making this the best song thus far. Not that I did not enjoy the previous two songs, but this is just more of what I want from this band. The reverbed ring of the guitar adds to the cold goth ache. If you miss their earlier goth days, then it delivers what you want it to. 

They included a revamped version of the "Unisex Games" single released last year, so it's good to have that song included here. I like this song more in this format than when it was released as a single last year. "Miss Rain On My Parade" is more up-to-date and is another single that was released last year, being released on this album, which is good to have for the collection. It's upbeat, but not as hooky as "Unisex Games". The last song, "I Lack Nutrition," finds the band going back toward the more 80s sounded synth driven sounds. I like how his vocals are produced here, they mix the guitar further in the back so it's more of a texture, and his vocals feel more likea Gary Numan thing is going on, which is not the first time this has come to mind since it first arose on the last album.  I will give this album a 9.5, putting it toward the top of the heap when it comes to goth so far this year. I like that overall the mood is darker and more melancholy than the previous album. 

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Heavy Maytal : Iron Maiden's "Iron Maiden" debut album

 

This 1980 classic redefined Heavy Metal with a sound that carried an even more punkish aggression than Judas Priest, but also the songwriting smarts of progressive. Steve Harris and Dave Murray, the only original members who played on this, are also in the current incarnation of the band. Drummer Clive Burr had a raw, energetic style that would evolve, with Harris' bass playing the most nuanced element in a song like "Sanctuary." The twin harmony parts that we now think of when it comes to this band were not at the forefront.

Paul Di'Anno's vocal style is grittier than Dickinson's more operatic belting, but he worked well for what the band was doing at the time, which was not far removed from bands like Thin Lizzy. Murray's playing feels more dominant than Dennis Stratton's. The yare both following the wandering path Harris leads them down on the power ballad "Remember Tomorrow," which also shows that Paul can actually sing really well when he puts his mind to it, though his voice breaks into falsetto way before Bruce's. Midway into the song, they are the gallop we know them for. 

The more upbeat "Running Free" follows the formula for what would become their anthemic arena rousing side. It remained one of their live staples. "Phantom of the Opera" is more overtly progressive than the other songs up to this point.  The guitar solo on this is clearly a Murray, as it showcases his melodic phrashing. Dennis is handling the higher background vocals, a role Adrian Smith would later take on. The instrumental "Transylvania" was written by Steve Harris for his previous band Smiler. It has faster riffs that would go on to inspire thrash bands to come. "Strange World" is another strong ballad that Paul shines on. Perhaps even more than "Remember Tomorrow".  There are more interesting guitar tones and phrases on this one as well. 

The more in your face "Charlotte the Harlot" is the first of four songs Dave Murray would write about this prostitute that he claims is based on a true story. I like the melodic middle section of this one. The album closes with the eponymous theme song, which they still play live. I will give this album a 10; it's one of the strongest debuts from a metal band. I would rank above the debuts of Priest, Slayer, and Metallica. 

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Welcome to Heavy Maytal

For a while I have been brainstorming ways to dedicate a month to heavy metal in the more traditional sense and being that May is my birth month it only makes sense that it should be dedicated to Heavy Metal, since it was the first genre of music I was into as a kid as my earliest beginnings as a music fant started with Kiss, Alice Cooper, Ozzy, Iron Maiden and Motely Crue. Yeah, I think it's fair to count the first two Motley Crue albums as metal. Granted, over the years, the definition of metal has changed from the 80s to now. 

So for the first annual Maytal Month, I'm going to review every single Iron Maiden album that I have not yet reviewed here. Might not be as long a list as you think, since I have already reviewed these

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidens-fear-of-dark.html

https://abysmalhymns.blogspot.com/2015/08/iron-maiden-book-of-souls.html

https://abysmalhymns.blogspot.com/2021/09/iron-maiden-senjutsu.html

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidenssome-where-in.html

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidens-no-prayer.html

https://abysmalhymns.blogspot.com/2019/07/maiden-voyage-iron-maidensbrave-new.html

So that is 6 of their 17 albums, and Hell, I might just throw somebody like Dio in as well, along with more traditional metal bands, which might include things more along the lines of thrash and power metal, which spawned from the New Wave of British Heavy Metal, Not saying that I am not going to continue my coverage of the more extreme sub-genres, I'm just not placing more focus on death metal, black metal and doom, since those all have their own month dedciated to them. I feel like there is a great deal of more traditional metal out there that gets overlooked since the focus seems to fall on those or the related sub-genres like sludge, which gets covered during our doom month in November. So I'm not just going to focus on the classics, but new music that falls into this more epic and melodic point from which the genre is rooted in. 

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Frozen Soul : "A Place of No Warmth"

Frozen Soul's new album starts off with a bigger, and marginally darker though things are mixed in a manner that does not convey the cavernous cold of the last album, but you can't fault them for growing, and they are not making the same album twice, which is more than you can say for most. Oddly Gerad Way from My Chemical Romance guest on this song. However, he is not bringing whiny emo vocals, but a more black metal rasp. So it's not that invasive of what they normally do. This album has several guest spots on it. The second song features Rob Flynn from Machine Head, who contributes his bark to this more deliberate stomp. It's a big, powerful guitar sound that works well.

"Absolute Zero" is a minute of big chug that speeds up into a blast of sorts. "Dreadnought" finds Devin from Sanguisugabogg joining them. There is a mean bass tone for this song, and it grinds into things with a more Bolt Thrower-like feel. The melodic guitar solos bring this out more. An impressive flow of double bass drives "Chaos Will Reign," which is also the first song with the kind of thrashing groove that empowered "Glacial Domination." This is the band at their most effective, commanding headbanging. 

They step on the gas for "Eyes of Despair". But know how to temper the need for speed with grooving riffage. "Ethereal Dreams" makes me think of early Unleashed. The bulk of the album up until that point has been more deliberately paced, and they still manage to retain balance in a more Slayer-like fashion here. The songwriting here is some of the album's most dynamic. "Skinned by the Wind" is really a solid minute of mean riff, but it works for what it is. "Deathweaver" allows for more build-up. It also has one of the most melodic guitar lines on the album, but digging into the pummelling. "Frost Forged' finds the chug still moving your guts in the best way possible/ 

There is more of an Entombed to the rumble of the last song. The double bass speeds the song up, but they find their groove, and pretty quickly, the epitome of not letting your momentum take your feet out from under you. I will go ahead and round this up to a 10, as I think it will grow on me, and their fanbase will get another dose of the heavy slabs of sound that have been refined by staying on the road. This album drops on May 8th on Century Media. 

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Armored Saint : "Emotion Factory Reset"

The last album I spent much time with by these guys was "Symbol of Salvation", but this album does not find the band straying too far from what they worked there. The album carries a great deal of momentum with some unconventional sounds opening up "Every Man Any-man," but once this album gets going, that momentum causes some of the tracks to run into one another; the space Bush gets on the verses is key to their success here. The first song where I can hear a trace of the more classic metal band they once were is " Not On Your Life."

 This is where one of their strengths this time around comes in, regarding the sound captured here, which is that they do not sound dated and feel vital in 2026, while still being true to the spirit of the band.In some ways, to a metal kid in 2026, this album might feel more rock n roll. "Hit a Moonshot" is a very high-energy take on rock, but has more in common with AC/DC than Slayer. "Buckeye" makes me think of Bruce Dickinson's solo work from the 90s. If he is being compared to Bruce, it means  Bush's voice has held up well for 62 years young.  "Compromise" has a more in-your-face metal groove while giving his vocals space. 

I like the darker grunge feel lurking in the chord progression to "It's a Buzzkill". This is one of the album's strongest songs. "Throwing Caution to the Wind" finds them back on the more rock n roll side of the fence. There are a few heavier riffs in it, and the solos on all the songs are pretty blazing if you are into the old metal shred. "Ladders and Slides" has some of the best drumming of the album; it's subtle and feels like rock. But there is an almsot Zeppelin feel. There is a really cool grooving breakdown in it. 

You can hear more Maiden influence in "Bottom Feeders." There is also a more traditional metal vibe to the last song. It works well enough even with some of the rock n roll excess, but I am not expecting them to be Radiohead, so that works for me. Overall, they prove to be vital in 2026, the album sounds great and not dated, John's voice shows little wear and tear, so I will give this album a 9.5 as it's all you can ask from them and they delivered. Out May 22nd on Metal Blade. 

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April's Top 10 Albums

April has breezed by already, 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 won't come out until June, so I am normally way ahead of the curve in this regard. They are ranked in order of how much I have listened to them. This month, leaned more on heavy stuff ranging from Hardcore to Doom, so perhaps you will find your new favorite among them. Here are the Top 10 albums for April of 2026.

10-Nine Inch Noize- "S/t" 

 

Electronic

 

https://abysmalhymns.blogspot.com/2026/04/nine-inch-noize-st.html

9-Bad Stuff-"s/t" 

Doom- Lounge 

https://abysmalhymns.blogspot.com/2026/04/bad-stuff-st.html

8-GODTHRYMM - "Projections" 

Doom

https://abysmalhymns.blogspot.com/2026/04/godthrymm-projections.html

7-Last ten seconds of life -"The Dead Ones." 

Death-Core

https://abysmalhymns.blogspot.com/2026/04/the-last-ten-seconds-of-life-dead-ones.html

6-Sun Don't Shine -"From Birth to Death." 

Grunge

https://abysmalhymns.blogspot.com/2026/04/sun-dont-shine-from-birth-to-death.html

5-Monolord- "Neverending" 

Doom 

https://abysmalhymns.blogspot.com/2026/04/monolord-neverending.html

4-A, A Williams - "Solstice." 

Post-Pop

https://abysmalhymns.blogspot.com/2026/04/aa-williams-solstice.html

 3-Restless Spirit- "s/t." 

Stoner Metal 

 

https://abysmalhymns.blogspot.com/2026/04/restless-spirit-st.html

2-Terror - "Still Suffer." 

Hardcore 

https://abysmalhymns.blogspot.com/2026/04/terror-still-suffer.html

 1-Portrayal of Guilt- "...Beginning of the End."

 

 Power Violence 

https://abysmalhymns.blogspot.com/2026/04/portrayal-of-guilt-beginning-of-end.html

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Yoth Iria : "Gone With the Devil"

 For me, this Greek black metal band needs to prove that all black metal bands from Greece do not just want to be Rotting Christ. While in and of itself, there is nothing wrong with taking inspiration from Rotting Christ, as they are a great band, but when you are from Greece, it's a little on the nose. They have taken some notes on the opening track with has a hug pagan infused sound, not the kind of blasting black metal that is more typical of the genre, finding themselves between a rock and a hard place, to not follow the path by their sucessful country men or sound like everyone else, so let's see if they can strike a balance here. 

What helps seperate them is the rasp of the vocals. When the sung vocals come in, they are employed in a more Dimmu Borgir-like manner. The folk-inspired melodies in the layers of sound on "Woven Spells of a Demon"  create a similar feel to the opening track and brightens things a little too much for my liking, but it still works for what they are doing. They are staying true to who they want to be and not resorting to blast beats, but they would sound more black metal if they were darker. The female vocals that lead into" The Blind Eye of the Antichrist" cast a more flowery shade of atmosphere over things when they need to be more ominous. 

"I Totem" looms with more of a slow-building menace. It frolics a little but is certainly darker than the previous song. They hammer into you with the double bass, which is welcome as more aggression is needed. They do employ a similar song structure to Rotting Christ, with things building and ebbing in intensity rather than having bridges with time changes. "3am" has a more grooving throb and more melodic vocals on the chorus, making it one of the more accessible songs so far. The only thing black metal about "Give'em My Beautiful Hell" is the vocals. Everything else gallops along a larger-than-life traditional metal path. 

There is a more orchestrated elegance to "Once in a Blue Moon" that reminds me of 90s Swedish metal. They break from their pattern by pounding out the accents of the song's second act. There is a somewhat more traditional black-metal feel to "Blessed Be He Who Enters", though when the vocals kick in, they set up the verse for more groove, which is fine by me, but it has more in common with Crematory than Mayhem. They hit more of a middle-of-the-road black metal feel for "End of the Known Civilization." The last song ends the album with a steady throb. There is almost a more Behemoth feel to the layers of vocals.This might not be the most black metal album you ahve heard but it cares about songs which goes a long way in my book I will give it an 8.5, amd see if it grows on me. If you like more emlodic black metal leanin g metal and not cvlt shit give this a try.  

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Wailin Storms : "the Arsonist"

 Here is a project that has improved over the past decade. Each album has been a little more impressive as it has morphed from a noisy cow-punk band to something more focused and serving songs, rather than working on a sound. The opening track is pretty bleak and powerful, making this point clear. Then there is a shift into something more akin to 16 Horsepower for "Heart of Mine." They return to a darker clanging out that holds more in common with noise rock for "You Never Answered." 

The title track is darker and minimalist as the urgent plea of the vocals goes out into the empty space until the rest of the band slowly swells to life." Never Rest" carries a heavier stomp with some angular clamour creating a grungy atmosphere. It lurks with the collected chaos that the forerunners of grunge carried, harkening to the genre's punk roots.  "Saved" is darker but a little less focused despite the haunting manner it rumbles, feels more likea jam than a song written to hook you in. The first song that feels post-punk is "Patient Night." Then "the Wind," which feels more like a Wovenhand song, works pretty well with it's dark, stormy intensity. 

The last song is rather somber; it could be described as a ballad, as it drones off a piano part with more fragile, introspective vocals. It is worth noting that the vocals on this project have continued to improve, and at one point on the first couple of albums were more of a sticking point for me. Now they are really effect and it feels like the missing piece to their sound has fallen solidly in place. Showing something many bands could learn from, which is that vocals are an essential element and not just an obligatory touch, but the vocal point of a good song. They have moved into the right direction, and this album si a testament to that will give it a 9.5 and see how it grows on meI would not call it goth but it is dark enough to appeal to fans of post-punk who work more of the kind of brooding summoned here.Beings released on Season of Mist. 

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VOXTROT : "Dreamers in Exile"

The impetus for checking out this album came after reading these guys listed as a band who were picking up where the Smiths left off. That might be a bold claim. I can hear where this comparison might be made when it comes to how they use guitars, but that's where it ends. There is no darker underbelly or scathing lyrics draped in humor and self-loathing. Which is fine, they are doing their own thing. I am more curious when these comparisons are made, as I don't actually want another Smiths since I am always going to prefer the Morrissey-helmed band.

"Fighting Back" is the first song with a more biting commentary. But that doesn't mean it's time to pull out your copy of "Meat is Murder" and listen for where the dots connect, because they don't. Sure, the guitars ring out similarly to what Marr does on his former band's more straightforward moments. The synth melody in the background sounds more like it was lifted from one of the Cure's radio moments. Lead singer Ramesh's vocals anchor this in a more conventional pop vibe. He is emotive but plays it safe, and lacks the depth of a Morrissey or Robert Smith. This is what leads to a song like "New World Romance" to carry an overly safe middle-of-the-road feel. This is what keeps them from being a post-punk band aside from the fact their nothing punk about what they are doing sonically, where a band like the Smith's had an energy and attitude that punk despite the fact they were strumming chords and using bouncy bass lines. Nothing that conveys tension is here. 

This album is, however, more organic pop music than, say, The 1975. The title track from this album has more in common with the Cars' poppier moments than what is the current tone of the radio, with a subtle emo tinge.  These are well-written songs, perhaps too perfect in how put together they are, and the saccharine mix doesn't help as the bass couldd come forward and add some heft.  "The Times" finds them relaxing down to a lazier strum that makes me think of the Drums' more beach-oriented moments. The reverb-heavy might help to offset the brightness of what they are doing. It would be intersting to hear the previous songs mixed like this. This is the point of the album where they are experimenting a little more confidently; they knocked out the required radio pop songs. With a song like "Espirit de Coeur." the first song where Ramesh's sexuality comes out, but the guitar tones are pretty cool and set them apart from other middle of the road pop rock bands in 2026.

They dip into balladry with "Quiet Noise," which blends old Motown with country. It is the most organic song so far, and gives the vocals plenty of space to be more convincing. "Quiet Noise" is upbeat and not as focused, also too happy for my taste. The chorus to "Change" is also too happy, though the verses work pretty well, and the lyrics are some of the more intersting ones to be found on this album. "Rock & Roll Jesus" is not convincing as a rock song and falls flat. "Babylone" is an urgent ballad that sounds like something R.E.M. might have done. It's one of the album's better songs. I will give this album a 9 as it's well done for what it is. not something that suits my tastes, but I think I have given all the reasons why I prefer the Smiths vs what is happening here, but it is more organic andd better than most pop acts on the radio. 

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