Anthrax : "Cursum Perficio"

 It's been ten years since their last album was released, and while metal has changed a little since then, it hasn't changed as much as it has over their career, which reaches back to the 80s. They tried to shake the 80s from their sound to survie the 90s and did better than some bands in that regard.  Rather than expect them to sound likea band from 2020, what I am listening for here is how this measures up against the likes of "Among the Living," a top-tier album not just for thrash but metal as a whole. Even on "State of Euphoria" and "Persistence of Time," they had a hard time measuring up to that one. They open this album with "The Long Goodbye," which is what the band should be in 2026.

 At 65, Belladonna's voice has held up in a way that serves the band, as he retains a commanding tone, but it's unlikely he can still reach his upper register. In 2026, the falsetto yodels would point them in the direction of power metal. "It's For the Kids" feels like filler from the "State of Euphoria" album, almost trying too hard to be anthemic and not as focused as the previous song. They reach a better balance of hardcore punch with melodic 80s thrash sensibility on "Everybody's Got a Plan.". Scott Ian has called "Edge of Perfection" the best Anthrax song in the history of the band. It sounds like they are trying their hand at being Deafheaven until they lock into a groove for Joey to sing on. I will go ahead and say this song is nowhere near what they did on "I am the Law" or even "Keep it in the Family". Not sure why they need to use a blast beat to make themselves feel relevant. I like the effects they use on his voice midway into the song before the guitar solo. 

I will tell you that "Infectious" is a better song than "Edge of Perfection". It has more groove, and the vocals fit with more confidence. Sure, there is a little rock swagger to it, but a good song is a good song. Thanks to the ex-Shadows Fall guitarist Jonathan Donau, their guitar solos are less chaotic, and those sections flow more smoothly. "NYC 93" finds the band trying to convince themselves they are still a crossover band. They sound more like themselves on the title track. This does not mean it's a nostalgia fest but a more effective modern translation. 

'T.O.M.B" finds a meaner guitar tone crunching in, but the groove keeps things in the wheelhouse of what you want from these guys.I guess playing in Pantera has rubbed off on Charlie when it comes to this one.  "Watch it Go" works well and shows they can add a more modern approach to heaviness without compromising who they are. "My Victory" also finds the balance of flirting with hardcore aggression while still being who they are. I will give this album a 9.5 and see how it sits with me , there are songs that I am unsure of biut they are balanced out by strong moemtns that stand against their classic work, which is all I am asking for. 

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Zero Hour : "No Man's Land"

I've been into these guys for some time. They are one of the few progressive metal bands from the Queensrÿche school of thought that are not lost in the melodrama. Queensrÿche is one of my favorite metal bands from the 80s, but I don't need anyone else to sound like them or Fate's Warning, for that matter, which is the problem most bands in this genre run into. These guys are influenced by both of those bands but not defined by them. The melodic vocals are emotive and dramatic, but work with what is going on here. They are not just Journey fucking with odd time signatures and trying to cram a solo into every nook and cranny. 

Granted, this album is 2 thirteen-minute songs, and the instrumental versions of those songs. Add this to the fact  I am not a fan of long songs, but here we are. Things don't get heavy until five minutes into the first song. He even unleashes a little of the falsetto yodel. The syncopated riff that dominates the metal half of the song is effective. At the nine and a half minute mark, they begin to get somewhat chaotic with this as it drones on a bit and puts the weight on the vocals to carry the song. It is impressive playing no matter how you spin it , though some might think it's pretentious despite the very tasteful jazzy section.  At 56 the singer's voice has held up pretty well. 

The second song finds them kicking in with metal from the jump. They fight off the ghosts of the 80s that tend to haunt these kinds of bands, thanks to the clean production. They hold a tension with the main riff that flows through the song. The technical aspects of what they do are not pure masturbatory excess, as they find a groove amid this storm. Three minutes in andd it feels like the vocal melodies are not as catchy as what they did in the first song, as it's harder for them to lock in. When they are a more atmospheric texture, it works pretty well, as they have to ride the wave of riffage. When he reaches up for higher notes from his chest register, the age of his tenor shows more of it rough edges, but it is generally produced in a manner that smooths this over.

A piano line brings a more Dream Theater-like feel to things. Yet this is not as flowery a power-ballad tone as what those guys do, thanks in part to the more interesting drumming. I'm not sure about how rocking they started off and then let things lose its momentum; it would have made a better middle section than climax. It's one of the things that Dream Theater does that I hate, and while these guys are way better than Dream Theater, I will give this album an 8.5, since when there are only two 13-minute songs, every minute counts; still, this score makes it an admirable effort and, at the end of the day, still euals and album prog metal fans need to listen to. 

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Great Falls : "The Bite That Grows Up"

This band features members of Kiss It Goodbye, Undertow, and Playing Enemy. However, musically, this time around they are playing sludge with shouted noise rock vocals. Thi si not to say their hardcore pasts do not shine through as they do. The creepier, more melodic passages are some of the most interesting parts of the opening track, and it makes the build-up pack more punch when it comes. The vocals are emotional, but burlier than screamo, so a lot is going on here. They blast into the more punk "Pinned Against Time". It is as chaotic as you might like your power-violence, but without fitting the parameters of that genre. It is, however, not as well written as the first song. 

The bass player is going crazy on "Worse Than Sleep," but for the sake of their sonic oddity and confrontational collision, they sometimes sacrifice the finer points of songwriting for this sound. This is, however, a little better than the previous song, as it locks into a tense palm-muted groove of sorts. They can obviously play their instruments and are capable of delivering, but are possessed by a fetish for aural abrasion. So three songs in and they are obviously more of a noise-rock band. "Hailstone Numbers" is the most minimalist, with his howling the focal point until midway in, when they start bringing the wall of crunch down. The drummer is impressive here, but finding a groove might work better. They throw in some angular riffs to jerk you around and command your attention. At seven and a half minutes, this is the album's longest song. There is, however, some dynamic ebb and flow that fans of this sort of thing might appreciate. "Debt Ethics" finds the drummer approaching it more like free-form jazz, where they jam around. If King Missle were angrier, they might have done something like this. 

At this point, I am getting sick of the vocals. It does not seem like "Nicotine in the Spine" is going to change my mind in this regard. Sure, I don't mind when Henry Rollins does this sort of thing, just like I think Ian Curtis's voice works for Joy Division, but I don't need to hear other bands doing that. There is some darker dissoance I appreciate. Two mintues in and they get more aggressive. This builds up into a furious buzz; "Buildings Full of Rope" just feels like what they build the previous song into, though it ends with a more metallic riff. I like the contrast they pull off with the more deliberate drumming conrasting the more frantic clanging drone. They have potential; all capable players. Maybe next time they will settle down and write more songs and not just clang up something to scare your ears with. I will give this one an 8, it drops October 18th on Neurot Records. 

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Gore. : "...Then You Cannot Love Me"

 

I became aware of this band through the YouTube algorithm, as it was like, "Oh, you like pop oriented nu-metal with hot chick singers? have a look at the tits on this one." So I gave the video a watch. Well done, but following the formula currently being pushed. It was memorable enough for me to check out this album. I did, however, get on YouTube and watch the videos they have for this album first, as they are better to take in visually than just listening to or perhaps one complements the other. The first song I heard from this album was "Crucified," which made me think of the band Issues, though there was a more screamed section at the end. Then it was 'Lead Me to the Slaughter' which is the second song. It has an anthemic chorus. 

Their singer Haley has a decent pop voice; when she uses a harsher tone, she sounds like every other metal chick doing this sort of thing, so she needs to place the focus on her singing as she does some intersting things with her melodies. Is she in Courtney LaPlante's league? No. The album sounds good, and they have dialed things in when they went into the studio, for sure. The guitars touch on a little melody and dynamics rather than the more typical nu-metal bouncing chug on the first song. You also get to hear more of her range on this one than the singles. Is it predictable? Yes, but it's a fun listen; not everything has to have Chelsea Wolfe-level depth. 

"Bones in the Garden" has more of an electronic thump before the djent-gone nu-metal guitars come in. I like how her vocals are produced on the verse. It's more of an Amy Lee-style turn on the chorus. But their riffs are more intersting and there is less piano here.I already forgot what "Crucified" sounds like, and I just listened to it for songs ago, so that tells me something. I forgot the bass line had a groove to it; there is the thing about making deals with the devil, which comes back to me once it kicks in again.

"Walk on the Moon" is less experimental and more formulaic, which does not capitalize on their strengths thus far, but it doesn't suck either; it just feels very middle of the road. All the screaming won't make it any heavier either. This is where self-awareness goes a long way; I am unsure wha tthey think there is to prove if they are better at pop than trying to be metal.  In This Moment, who are better at this alreaddy put out an album this year.

 It lets you know Spiritbox is doing something right when you have bands trying to jump on their bandwagon with "Hallowed Ground". They almost pull it off. Starting to get bored with this one, but I only have one more song to get through. It starts off more like a power, then they throw an almost gospel clap into the chorus, which feels too hopeful for me. They do a melodic breakdown in the middle that adds to it though it does not have the same hooky bump as the other songs. Though I get that they need to have a range of dynamics. I will give this one an 8.5; they have potential. Let's just hope they find themselves before this trend washes over, as she could take her singing to the next level with the right songs. 

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Mother of Graves : "the Light That Keeps Us"

 

This death doom band continues to be consistent; in fact, they might have pulled out their hookiest batch of riffs yet for this album. This says something, as their 2022 album made the top 10 Doom Albums of the Year list, putting them in the top tier when it comes to this style.  Dan Swano on the first track should tell you where they're headed, and they are not satisfied with just sounding like melodic European death metal from the 90s; the gloom of the Peaceville bands is all over the first few songs.

 The title track is the first song that really builds momentum, andd even then it's pretty melodic. Though I had to give it another listen, as the first time through it just kind of drifted by. It grew on me with another listen, though it might not be as memorable as the first couple of songs. The guitar melodies stood out and hinted an Iron Maiden influence lurking in their past. They get heavier on "Even Tide Angel". The tight chug of guitars is more aggressively locked in, and it is a more dynamic song than the title track making it more memorable.

 "The Silent Weight of the Stars" highlights what great riff-crafters they are. The growled vocals are articulated and purposeful, showing they are serious about writing songs. Granted, if you are familar with their past work, this is not a surprise, but they are keeping the quality up for sure. The guitars are really well produced; I normally like them dirtier, but this works for what they are doing. "A Moonlit Tryst" is more death-focused in its intentions, reminding me of old Opeth. The guitars chugging, lurking behind the more melodic passage, is very effective. 

PThey pour on the most speed in the middle. The last song is doomy and dynamic; the vocals feel a little more obligatory, but it might need to grow on me. In fact, this album sounds better with additional listens that allow it to simmer and sink in. I will give this one a 9.5. Profound Lore should be very proud of these guys and give them as much of a push as they would give their biggest sellers.Drops October 16th  

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Embers of Dawn : "Infernal Culture"

 

Here's an industrial-tinged death metal band from Florida, though not the death-metal part of Florida. The guitars are locked into a tight chug when the album opens, with electronic flourishes accenting the riffs. "Infernal' has a more Static X-like hammering groove, and you guys have to hand it to them, as they care about songwriting. There is more of a gothy singing vocal on "Don't Wait to ie' but it feels like they are trying too hard to play Welcome to Rockville when it reaches the chorus. It is a big-sounding, well-produced record, though. 

"Shadow of Her Veil" seems like they are intent on keeping moving in this direction. It ends up sounding likea heavier version of The 69 Eyes. It works for me, and I am glad this sort of thing is making a comeback; it feels like we are back in the 90s. "Age of Corrosion' has more of a Ministry thing going on, but as the song progresses, they get more metal. "The Passing" is supposed to be about Peter Steele, but it sounds more like Korn. "Static Prayer' just sounds like most metal from the 90s crammed into one song.

The album ends with two remixes. I never heard their first versions of these, so I am going to count them for the purpose of this review. I can appreciate that they are also into Fields of the Nephilim, though; they speed things up into a frantic flurry of double-time and lose some of the mood. They remixed their cover of 'Wolf Moon,'  which is a little self-congratulatory; his Peter Steele is fairly limited, as it lacks all the nuance. He does go up into a higher belt, which works ok. I've heard worse covers of this song. He is a little pitchy on the chorus. Overall, they are riding a wave of nostalgia that I am here for, so I will give this one an 8.5

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GODFLESH : "Decay"

The 10th album from JustinBroadrick's crushing British industrial machine is a harrowing portrait that reflects the state of the world back to us sonically. The nightmarish opening track his a huge sound. As a song, it's more of a hypnotic, droning mood, andd a fitting soundtrack for the end of days in any case. This also marks the end of Godflesh and perhaps music for Broadrick due to health issues.  Vocals come in for the second song, "Living / Ending," which finds a powerful groove that throbs and captures the classic spirit of this project. The guitars carry a gargantuan chug that sounds like a monster stomping through Tokyo.

 Ben Green joins Broadrick in this farewall with his bass thumping as aggressively as ever. "Feral Colony" finds the momentum building even though his vocals are more of a distant chant over the collapsing world captured in the samples of this song.It shows that atmosphere is just as important to industrial music, as it brings balance. This carries over to some extent in " Fear of Man", It's less droning than the opening song, but not as song-focused as the rest of the previous songs.  

"Fodder' has a more malicious intent in its pounding...It varies just enough to create the illusion of having a verse and chorus section. Their version of dynamics is how many layers of sound are included in pounding your ears. "Consume Me " is the lat song on their last album, so that puts the pressure on. It is sonically heavy and rings out with dissonance. The vocals are a lower,\ snarled mutter as the song unfolds in a singular point of bleak expulsion. This sprawls out for almost 12 minutes. This does sum up who they are and what they do even if it is not their best batch of songs, it's better than many bands' best batches of songs. This band just raised the bar for themselves really high, but with that said, I will still give this one a 9.The end comes September 25th on Relapse Records.

 

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LACRIMAS PROFUNDERE : "Lay Me Down O Silent Fear"

This German band has been around for 25 years, so it goes to show that if you stay true to who you are, then the music cycle will spin around to give you another chance at mainstream relevance. While they claim to have adopted a more metal core sound, it feels like this is just a more polished and hooky version of what they were doing in the 90s. It's the most radio-ready I've heard this singer. The overall feel of a song like "Nevermore" is a cross between HIM and Stone Sour, which works well enough for the first two songs; for those, they are going to need more dynamics. 

At times, what they are going for reminds me of Sentenced. Which I can live with, as Sentenced was a band I gained more respect for over the years. They lean more heavily into the HIM side of their formula for "O Silent Fear". There are several times where the singer's cleaner tones remind me of Corey Taylor, particularly when he belts it out from his higher chest register.  "Agony"  is one of the most notable songs where this occurs. There is more of a death metal feel to the first verse of "Faceless" before we are tied back up in a Slipknot. It clicked more on my second pass through. 

The more syncopated nu-metal-like groove to "Arcane Promises" finds their sweet spot in 2026; sure, there are some Slipknot moments, but it works more often than not. They try to pick up where they left off with "A Sinful Desire", The chorus is too Shinedown for me. Then there is a nu-metal power ballad before going into the last song that finds them doubling down on the heaviness. This album sounds good and perhapoo thare are kids who have not heard anything from these guys or Slipknot, so this will be next-level shit to them or just not have had the time to train their ears to these things, perhaps there, so for that reason I will give this one an 8.5. 

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PLUME : "Saferooms & Healing Frequencies"

 

The opening track shows that their take on My Chemical Romance-flavored emo and post-MySpace pop can work together, with a tinge of synthwave saxophone thrown in at random. They ride the beat more aggressively, considering how aggressive someone this androgynous can get.  This is hooky and fun, not seriously considering this metal, but it is more complex than pop. They do have big, pop-pink choruses. These guys would have been huge if this hit in 2002. The Used is also a fair reference point. 

"Frankincense: is the first song where they begin to lose their impact with me. I guess the nostalgia wore off quick and I began to think about The Used. It is also when the album gets too happy and goes on a downhill turn, with it beginning to sound like AI could have written these songs. It should be darker to go with their look, but hey, poseurs are a dime a dozen these days, so why not add to the burn pile. It is more interesting when they are making pop music on "Angel Engine"

"Real Spirit Caught On Tape" is catchier, but still borderline too happy for me. I do think the vocal lines are pretty clever on this one. Lyrically, it is also better than most. 'My Cortisol Face" is a great song title, but the song itself was less memorable, as I had to go back and give another listen to hear what happened. IN going back the results were not much different. Time flies while you are being numb, so it's been two decades since this sort of thing was big so the nostalgia comeback makes it when this album gets lost in the anthemic formula that made this sort of thing big, but there is an audience for it, so for them I will give this album an 8.5 .

 

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The Ocean : "Solaris"

German progsters are back with a more solemn affair. It is very dramatic and well produced, with dense vocal layers. The first track seems to be connected to the second song, which is where things really kick in. It's a massive-sounding album with a great wall-of-guitar sound. There is some intricate groove thanks to the stellar drumming captured here. The female vocals step out of the shadows and closer to the spotlight on this one as well. "Light Pollution" works off a more subtle throb, slowly building its momentum. With smoothly crooned vocals leading the way. The drummer is straight killing it on this album. 

"Simulacra" is 17 minutes long. It opens with female vocals by Lane Shi. How much fat needs to be trimmed is the first thing. It kicks in after two and a half minutes. The vocals weave hypnotically through the groove as the saxophone bleats over everything. It has more of a post-grunge 90s prog metal feel. Five minutes in, things take a more modern rock turn. The song should have ended at the seven-and-a-half-minute mark as it drops out into a piano part. Sure, it gathers some symphonic majesty andd heads toward Dream Theater territory but without the cheese. At the 11 minute we are locked in a prog groove. Then Shi takes over.

"Belligerence' lives up to its name with screamed vocals leading the way into a more aggressive punch. The lock into a very Tool-like groove for this one. "Ultima Esperana" finds harsher vocals return to be counterbalanced by Shi again. "Milk of My Dreams ' is a more subdued elctronic track. They keep the beat going on the last song. Thematically, it is literally a jam off that song, even lyrically. So similar to what they did at the beginning of the album in this regard. I will give it a 9.5, as it sounds perfect, but they do am a bit and it's more of a hypnotic album than a hooky one. But where they excel is that this is progressive rock that actually progresses/ 

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Sea Sleeper : "Burden of Antler"

 

The opening track of this Portland-based band's second album has an oppressive quality. The vocals deviate from what you expect of black metal, and they seem more preoccupied with being heavy than with staying confined to the death metal label. Though they are marginally more death metal than they are metalcore. Though they would be more clearly melodic death metal if there were not a weird dissonance to what they do, which, as chaotic as it is, helps solidify their identity.Almost likea slower Cattle Decapitation at times. The second song winds around more, and I thought they had diverted off into a different song until I looked up at the computer. So focus is not that song's strength. 

"Lunar Degenerates": I find the return of the sung vocals, which are more Alice in Chains-like here, as given more space. I like the creeepy feel it reminds me of Acid Bath. "Abysmal Trench" is a great title, of course, but it is also more chaotic than what they have been doing so far and clsoer to metalcore. The title track has more purpose, but it is also more metalcore, but that does not make the name of the genre a bad word as it's not working off the more mainstream, predictable side of it. There is some zaniness on "They Will Miss You " that sound like the Melvins jamming with At the Gates. 

"Coma" finds them back in a more crazed state as double bass hammers things into place. Perhaps it gets too crazed for its own good and loses the path of the song, amid mammoth chugging. "Husk" has some purpose to its pound thanks to the bass line; it is one of the album's heavier moments. It makes me think of something Karym Crisis would have been a part of. It grows on me with additional listens. The sung vocals work best on this song. I will give this album a 9 and see how it grows on me. There are some strong vibes but sometimes they get caught up in the chug. They rare progressive metal core is what I came up with. 

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Bloc Party : "Anatomy Of A Brief Romance"

 "Silent Alarm" might have been this band's calling card, but it was their subsequent albums that proved they were not just a band wanting to sound like Gang of Four. Some of this camke in the willingness to experiment with formula; some of it came with the vocals employing a more melodic cadance. Both those elements are in place here. Ths first track feels morel ike an intro, but they pull it all together for "Coming On Strong".  They have a more upbeat bounce on "Love Bombs" that finds electronic beats moving the song. At this point in time, Kele and Russell Lissack are the only original members. This is sure to play a part in the evolution of their sound.

The energetic motion of the music is not as explosive or urgent as their earlier work, but there is a great deal of finely tuned thought put into the songs, though there are moments where they get ahead of themselves, as the dub-tinged "Pigwig" is not as strong as the first two songs. Perhaps it is just too British for their own good. "Lagoon Blue" carries more atmosphere, which gives the vocals more space to wander. Allowing Kele to find more nuanced vocal colors.

"Muscleworks" is the first song that has any homoerotic lyrics, but they are done pretty tastefully. It's also one of the album's hookiest songs. "Clark Kent" continues the album's trend of electronic drums being the primary percussive force of this album.. The lyrics continue to improve as the album progresses. Where the post-punk earlier days were more driven, the mature pacing allows him to continue finding his voice, with this feeling closer to his final form.  

"Wort Birthday Ever" is not as focused as some of the other songs, but he touches on his more aggressive vocal apporach as the lyrics are spit out more forcefully. "Not the Problem" is more playful, though, dancing with a more bitchy queen energy. Synths set "Now We Can't Be Friends" into motion. Lyrically, he continues to sort through his drama. Not every moment is focused; some of the more balladic moment kill the momentum too much. It's when the electronics lean into a more tense, moodier groove, like on "Moving," that what they are doing works best, even with the minimalism.  They do not always feel as sure of themselves in today's musical landscape, as this one borrows from the Temper Trap's "Sweet Disposition". 'Eulogy" is pretty upbeat considering its title. I will give this one a 9, and see how it grows on me. 

 

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Vioflesh -"Melancolia"

 Here is the last "goth" album I am going to review before I start sabdbaggin them for next month's  "Gothtober." I really liked the "Nostalgia" album, but based on what I remember from that one, it feels like this time around things are more streamlined and sonically in line with your more typical darkwave sound. There was a murkier sound before that gave a dense atmosphere and gave this project its own sound.  But with any style of music that leans on technology to sustain the electronic elements, it is also subject to the new trends that come with such andd the upgrades that come along the way in the constant refinement of a sound. The drum programming has not advanced since then, and things move with a droning hypnosis. It does grow on me as the second song got better with another listen. 

There is a more synthwave feel to the keyboards here and a smoother, more future pop like beart, The only problem with this is that it is not as dark and feels more like the Pet Shop Boys. There is also more of a dancey feel to "Close to Me".  The vocals are more of a droning chant that is in time with the beat rather than anything hooky. The 80s vibes at times give them a TR/ST sound. This continues on " Tonight". "Chains" rides a similar groove, making it seem like this album is going to succumb to a uniform feel until it gets to "Sweet Poison," that benfits from increased atmosphere. 

"Abstraction" is more upbeat and dancey if that is the kind of thing you are into; I prefer a darker throb, but they have other ideas. It's not wrong, just different. "The Spell" gets darker and has a more haunting synth line, so I am not going to complain about that."Stormy Eyes" dives back into the 80s and puts the leg warmers on. They gather some momentum here.  At times, it brings Boy Harsher to mind in how the vocals are produced."Mistery" sounds like video game music. The vocals balance this out a little, and it is intersting to here the come up in the mix. "Drizzle" closes the album with a somewhat darker shift. Overall, they are still good at what they do, and it creates a solid vibe for this time of year, so I will give it a 9. 

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EMMA RUTH RUNDLE: "Thee Killing Times"

Even though she is now 6 albums into her career as a solo artist "Marked For Death" will always be the bar her work is measured against. She did not try to meet it head-on with "On Dark Horses," and it worked wonderfully. She is taking another side step, which pays off on the opening track, then deviates into introspection from an even sharper angle on "God's Picture". What is so different, you ask? Well, she is using different vocal colors and bringing different instrumentation into the mix, with piano being a more focal point. In the past, she has had a more 90s alternative sound, whereas this album finds her not as dark as the other folk-rock sirens of the day, yet still bearing her signature sound amid the changes. 

"Anvil" finds a strum can get the same things accomplished when it comes to the steamy grooves her music is prone to summon. She brings the emotion I want from her and keeps flexing her vocal cords, adding more nuanced colors as she blends her head register. She blends the strum of her acoustic with a more rock drive on "Catherine Wheel," which does not seem to be about the band. The more 90s feel is back on this one and elevates it to my favorite song so far; what can I say, I like what I like. I am going to guess that Gina Gleason is playing all the guitar solos.

There is a more subdued feel to the strum of "Don't Delay Heaven". It's more of a ballad, but needed to give dynamic range to the album and flows really well. Based on the lyrics, "Enough" is sort of the title track; it weaves with the melody in a manner not unlike what we like about her past work. It builds into a chaotic swell while the main theme of the song churns under it. "Human Kindness" wanders a bit, making it more about the mood it gathers to build into a soaring climax.

"Oceans of Time" finds Lukas Frank joining her as he layers his voice with hers, and Marissa Nadler also chimes in, making this album an intersection for all the Millennial Alternative sirens, as Chelsea Wolfe's drummer Jess also plays on this album, but it is more of an outro. Overall, I will round this one up to a 10 as she gets the done done and maintains her level of artistry; it is good to have her back in this context, now let's see how this album is going to grow on me. There is a little from all of her varied sides, though not big on the heaviness yet; there is a little of that here and there.Being released on her own imprint Errant Child Records.

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Skald : "Ørlǫg"

 This album sounds great, but there is some weirdness going on as this is a French bandd playing Nordic music. If you know history, you might be aware that the French and what became Norway didn't have the best relations during the Viking years, so cosplaying Vikings is an odd choice, but ok. When it comes to songwriting for this sort of thing it can be a mixed bag the second song finds things clicking more, though there is a bit of frolicking going on. Once again this album sounds great, so from that angle they have everything covered, but we already have more legit acts doing thiss sort of thing, so they need to put some distance between themselves and those or this is going to sound like something I have already heard. 

The female vocals take the lead on "Ratatoskr". It is more atmospheric. It goes off in a more hypnotically droning direction that is a little darker. "Dokksalir" is both more solemn and has a little more dance in its boots. "Utgard" is also heavy on the ambiance, as the female vocals continue to be the main voice of this album. The male throat singing follows in and trades places, but not as a call-and-response as you might expect; instead, it transitions into what feels more like another song. It works well enough for what this is, but the songs are beginning to have a similar feel.

"Ek Skal Rida" carries a more ambient, ritualistic feel, with spoken-word vocals serving as the narrative. This would also make this feel more like an interlude, except for the fact that this track is six and a half minutes; they do chime in with a chanted vocal just before the midway point. Sometimes they build to a more rhythmic chant that creates more of a groove. It sounds good, but when it comes to songwriting just riding chanted drones is not much to work with. This does not build off of something that would set them apart as it's what they need.

Heiemo" is a little more haunting, with a primitive pulse to it. But it is also not doing anything new, which is the swamp these 'vikings" find themselves in. Sure, Heilung got huge for what they do, but that does not mean we need more of that. "Veit barni" finds the fiddle setting the tone; hell, they might even get a hurdy-gurdy in the mix. It's the darker ambiance at the periphery of the song that makes it interesting. But as a two-minute instrumental, there is only so much they can do. There is a more cinematic feel to the last song. There is some chanting and growled muttering as they keep a steady thump with their hand drums. I will give this album an 8. It works for what they are doing, but what they are doing has been done by more authentic sources. I guess Napalm Records felt the need to have a band like this on the roster, so here we are, as it's the band's first album for them and drops September 25th.

10/11

pst421

Actors : "Our Love Will Live Forever"

This Canadian band is poised to be one of the biggest goth-adjacent acts of 2026 as they have been top-billed at many festivals already.  times around things work off a bigger throb that carries the weight of synthwave and festival edm. There is more of their familiar style of post-punk on "Youth". Rather than stark tension it works off a more danceable energy.  On "Stimulation" this is almost taken to the furthest end of the spectrum before becoming pop music. There is a little more urgency thanks to the more organic bass line of "Left on Read". The vocals stick to a similar desperate tone. To their credit, they are not trying to be Interpol; sometimes there is a more serious baritone inflection, but they are not as dark or unsettled. If this had come out twenty years ago, it would have put them alongside acts like the Killers. 

"Dead Inside" is the first song that leans into the shadow to wink at the goth segment of their fan base. It starts a little more like "Bela Lugosi's Dead, " but things get more upbeat once we get to the chorus, and it is an improvement of mood, which was beginning to feel to carefree despite this being a collection of melodramatic break songs. There is a denser electronic pulse to "Object of Desire," and darker synths emerge in places. "In Real Life" is more introspective and melodic, expanding the overall dynamics of the album. Then they get another darker moment for "I'm Not Here" 

There is a cold wave feel to the detached mood of "Exploded View."  The last song 'Bad Boys," has a Gary Numan vibe to it. The guitar rings out but feels like it sits distant in the mix. The robotic mood is what they were going for, so I guess that it works for what it is, but Gary Numan does this better. I will give this album a 9.5, and see how it grows on me, as it sounds great andd puts them where they need to be as artists, but it will be interesting to watch how this album connects with their expected demographic, as it falls between the cracks: not dark or tense enough to really be goth or post-punk, but not hooky enough to be pop. In ome ways, I think what they are doing here has more in common with a bandd like the Faint. Their current fan base should be into it, so we can see where they go from here. Being released on Artoffact Records who I don’t see doing a major marketing campaign for them.; In fact I had to hunt this one down myself, but as art it's a needed step of maturity for this band.

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DESOLAT : "People As Idiots & Idiots As Leaders"

 

They must worship Black Flag in Austria, as the first song strikes me as a more metal version of Black Flag; the vocals are howled in a Rollins fashion for sure. But let's face Black Flag is not  Black Flag these days, and the Rollins Band is retired, so someone needs to scratch that itch. There is a good amount of sludge mixed in when it comes to the big riffs. The vocals also switch to a snarl midway into the song, which furthers this comparison. The riffs shift to a darker place I enjoy. "Pig Race to the Apocalypse" sounds like they just left the tape rolling and jammed out of the first song. They switch up the riffs in a more metal-than-punk manner, making me reasonably sure this is a sludge bandd with black Flag influence.

On "This Sadness Makes Me Rage," It feels like the vocals are balancing out the more melodic direction the guitars are going by being more abrasive. The song wanders into Jarboe doing a spoken-word section that sounds like his therapist giving him a pep talk, which works for me and makes it the most interesting song thus far. Both groove and chaos are colliding for "No Depression When Dead" as it devolves into a jazz-like din. There is a similar but more nuanced riff paving the way for "Wannabe VIP," which finds a girl taking over the mic. This is the band's third album so they clearly know what they want to do here.  

The tense, muted riff driving "Good People Keep Their Mouths Shut..."  carries a sinewy Jesus Lizard-ish mood. There is indeed a dash of noise rock in the burly mix of sounds as well. The most punk moment is "the Art of Shit," but even then some sludgy riffs crash in. It is, however, more Stooges than Black Flag, which I appreciate. Even though experimenting with samples gives it a twist, they stay pretty punk on "Cyberdyne Employment Application". This is still tempered with an almost Slayer-like riff. The vocals twist into an Eyehategod-like sneer on the last time; this is not the first time it's happened on this album, but the most prominent. I like what they are doing on this album I will give it a 9.

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>

pst419

PIG : "Dirt Box"

 

Raymond Watts has been particularly prolific these days. After releasing "Hurt People Hurt People," he is releasing this EP. It opens up with the very guitar-driven "An American Ideal of Beauty". If it reminds you of KMFDM, it's probably because Gunter Schulz is laying down the metallic riffs on it. There is almost a more 90s industrial metal feel to "Your Reptillian Overlord Presents" that is not unlike the kind of thing Rob Zombie was doing on his most recent album, though a bit darker and more nuanced industrial vocals than the roar Zombie normally delivers. But the crunch and groove are present and working well here. 

"Infidel" carries more atmospheric fear in the more lurking tension of its verses than the anthemic chorus. The vocals drop down into a lower, more dramatic register before building up in the more arena-ready Rob ombie manner. Yes. I am well aware of the fact KMFDM was making this kind of music long before Rob Zombie, or at least back when he was making crusty sludge punk that was trying to be the Stooges. However, since then he has perfected a formula that keeps him headlining stages, so it must be working.  Watts is certainly drawing inspiration from artists that came after him, as there is a Marilyn Manson feel to "Butterfly", another artist whose beginnings were different than where they are today, but has developed a formula that has a proven track record. Here Watts perhaps winks too heavilly in that direction. 

This ends the original song format, and the rest of the album is remixes. The thing about remixes, when presented in this fashion, almost makes me think if the remixed version is better than the original, then why did they just not make the remixed version the original and release an album of the best vision of these songs? With "Your Reptillian Overlord Presents," the breakbeats give a more original soung but the mix lays the vocals bare and makes them sound more like Marilyn Manson, so it's a mixed bag. "An American Ideal of Beauty" is remixed by Stabbing Westward, who brough a more 90s sound to things. It takes the heavier guitars out of the equation until the chorus. Which works well enough, and I can hear a "goth night " DJ  spinning this version rather than the original.

Combichrist's re-mix of "Butterfly" sounds more likea cover with Andy's vocals added to it. It is softened by the synth sounds. , however it all works well. Rabbit Junk's take on "Infidel" is heavy but from a different anglee as it's more industrial and less metal. If you do not know what that means, then why are you reading this review?  Anyway they capture a solid groove.Despite leaning into a more modern sound what his does here works great I will give it a 9 and see how it grows on me . Drops on Metropolis Records

pst418

MASSTERON : "Second in the Spheres"

This Polish black metal band carries a raw punk aggression in their violent attack on your ears while writing riffs rather than just defaulting to the standard tremolo-picked guitars. More rabid than msot it makes me think of a less epic for feral version of Immortal. "True Midnight" is powered by a pretty killer riff that cuts through the other instruments and takes control of the chaotic mix. They remind me of the early days of 80s metal, when the term black metal was just referring to a more satanic thrash or death metal band on the song "Achronon".  This makes even more sense considering there is a slight hint of a Deicide vibe going on in terms of the hateful aggression being vented. 

Then things go wild on "Strife Eternal,"  with the beginning of the song feeling like it is more deliberate, as a "Show No Mercy" era Slayer influence cuts through. Though they are pretty steeped in metal tropes that I have been hearing since the 80s, when not caught up in a whirlwind of blast beats, that shines a light on the lo-fi drum sound that guitars have distracted me from up to this point. The Slayer vibes continue on "Sidereal Chaoskamp," but they begin to feel like a more obligatory layer of sound. Sometimes they play too fast for their own good when a more deliberate tempo might come across as both darker and heavier. I can hear where they are trying to go on the last song, but the arrangement could use some tightening in order to make sense of where they are trying to go . Once again, their need for speed gets the best of them. That said, they do care about songwriting when lost in the frenzied blur of their own riffs, and it captures an era of metal I think fondly upon. I will give this one an 8.5  . This album drops on  ATMF September 24th. 

PST417

Uncle Acid & the Deadbeats : "Shapes of Midnight"

 2018's 'Wasteland" was the last album I checked out from these guys; granted, they only put out one release between that and this album. But things have changed somewhat, with a smoother 70s groove on the opening track. They go into proggier jams; amid some of the Sabbath-inspired boogies, the subtle shift in vocal production does not go unnoticed by me, as it is very clean and compressed, not unlike Ghost, whose producer has been taking notes from them, which makes sense because Ghost is headlining arenas and these guys are not.  Not that that is the bar for how good music is, as these guys, even in their more relaxed, pot-smoking haze, have twice the balls of Ghost. However, this is the music business, and you have to know your audience. 

The title track is a little more upbeat. These guys have never claimed to be metal, though they certainly have toured with metal bands. This album is more Blue Öyster Cult than Thin Lizzy for sure. Some of the twin guitar lines do recall early Iron Maiden in places as well. Some of the more extended jams take some of the focus from the song. "When Evil Wakes" has a pretty solid groove and vocal melody to ride it, which is all I want from these guys. "Don't Let It Control You" has more of a 70s punk feel where the rock n roll is firmly planted at its driving core. 

"Pyscho on the Loose" has a cool, deliberate groove to it that is slightly darker around the edges, as it should be given the subject matter. They go into a more late-70s Sabbath groove on "I Won't Sleep". A random saxophone solo also joins the party. There is a more proto-metal palm-muted chug to "The Other Side of the Sky" that works well. The last song is more blues-based, which is still on brand for them but at the edge of their wheelhouse.I will give this a 9.5, and see if it grows on me, but very solid songwriting and slick production works great here, in maturing their sound.  

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PST416

BESOTTEN : "Eye of the Monolithicrypt"

 

Portland keeps churning out the metal. Here is the debut album from the hipster capital. I like that it is dark, dense, and somewhat cavernous. The mix carries a more in-your-face, raw compression than the reverb of a cave, like the bands that were once called Occult Death Metal. The spewed growls carry some feindish personality to them. The main concerns once we get to the ten-minute song. The guys have a sound that works, but the problem is I could not tell where the first song ended and the second song began due to the uniform nature of what they are doing here 

We are three minutes into the econd song before it lets everything drop out to try to establish its own identity. The vocals become more bile-coated. The riff lingers behind the sparse drumming. It begins to make you feel like you are sinking into a throbbing pit of despair. The creepier melodic turn this song takes is something they need to lean into more. "Cruentation" is driven by a more crushing riff that is very deliberate until they speed things up into more of a blast beat. They want to go into the faster, more feral death metal style as they race into "Storming the Cosmic Citadel". It almsot gets too blasty for the song's own good. They did a great job of capturing the uncanny sonic scope of the genre.

The last song already has the stage set for it. I like when the desolate mood takes over and is coasted out on the flow of double bass. Chaotic guitar solos and more grooving riffs break things up a bit, but for an 11-minute song it does not feel like the course has been charted out. I can appreciate the more funeral doom vibes that begin to emerge at the midway point. The mood feels more like black metal in its unsettling ambiance than death metal in hte second half of this dirge. Heading towards the eight-minute mark, the momentum builds before things ebb back down into the more mournful procession that glides out into a melodic outro fade-out. I will give this album an 8; it puts them solidly on your radar as it's their first trip into the studio, so where they go from here should be interesting. It is being released November 6th on Transcending Obscurity. 

pst415

Junius : "Sotera"

 

The last album I reviewed by these guys was in 2017. I liked it; there's an if Interpol played a post-metal vibe. This time around, the metal is dialed, and the post-punk elements are more dramatic, giving it a goth tinge. The melodies are catchier than I remember from them before, and the baritone croon makes me think a bit of Grave Plasures. This is a heavier album than what I heard from them before, but it is done in a very balanced fashion. It's heavy in a doomy My Dying Bride manner. In fact, if they are replacing Aaron, they should think about using this guy. There are some harsher vocals, but they're more accents than the primary narrative voice. 

The doom is dialed up a bit on "Summon Her". It drops down to a bass line carrying the verses. The vocals are lighter and higher at times, giving a more Coil tone, with the baritone belting it out when the dynamic shifts. The album begins to shift in a more metallic direction with palm-muted chugs, though there is also a Killing Joke-like element in motion here. In some ways, they show you what a band like Dead Register could have evolved into with bigger production. I guess this might be considered doom-gaze in some circles. This can be heard amid the brooding atmosphere of 'Dark Water". The more Interpol-like vocal approach of their earlier work enters the chat here. But there is greater emotional nuance. It explodes in metal midway through this one. They find the sonically heavy sweet spot with the layers of guitar. 

The drums get things moving in a more Katatonia-like direction on "Serpent". The bass is pretty prominent in the mix, which helps the overall sound. This one builds up into a stormier brand of aggression. There is a more Bauhaus-like guitar tone on "Lucifera," though the vocals sound more like Michael Gira from Swans at the beginning of the first verse before finding a lighter emotional current to flow with. I like how this album explores darkness and carries the balls when needed to take the dynamic extremes. The last song takes things back to the gothy My Dying Bride-like doom, but with more groove to it. The synth layers bring the dynamics up to more grandiose levels. This album is pretty immaculate in the mood it creates with these morose melodies, which are up my alley, so I will give this album a 10, as it is pretty close to flawless. Out on Prosthetic Records. .

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pst414

-PRESIDENT : "Blood of Your Empire"

I like the brand of pop music these guys craft. This is their full-length, so fans, or "citizens, " as the band refers to them in their universe, might be curious to see how they pull off a full 10 songs. They open this album with the lead single "Angel Wings," which plays it pretty safe.  And "Doom Loop" incorporates more electronic elements and builds things into a more nu-metal-tinged, loud dynamic. I wouldn't call this aggressive, as I am not feeling that kind of energy from them. There is a more metallic crunch leading into "dark heaven" but this is quickly offset by trap elements. The hook is pretty strong in this one.It does carry that anthemic Myspace feel.

They try to get a little rowdier on"Pink Noise," but their electronic pop side feels more authentic rather than than they are trying to live up to their marketing scheme. At times it makes me think of 30 Seconds to Mars, "Mercy" was apparently another single from this album, but I never heard any of these songs before listening to the album as a whole; it kind of feels like a Deftones power ballad. There is a raspier tone in his singing voice in places on this album. You can tell he takes influence from a few different singers from the 90s. This song is pretty well written, and they sell me on it. I think if this album were darker, it would not lean so heavilly in the pop direction.

"Sleepwalker" is more of a mainstream, middle-of-the-road, radio-ready pop-rock song that kinda bores me. The drumming helps to shift the groove and modulate it in places and salavages the song from being too bland..Production-wise, there is more of a djent sound than where they go sonically. "Dionysus" could be Post Malone when it comes to the first verse; the chorus is more Breaking Benjamin. But at least it's hooky. They go pop ballad on "This Will Divide Us". The vocals are layered more like Sleep Token. Of course the band calls these comparisons lazy, but it's not as lazy as sounding like another band.

"Hate Figure" features Ando San helping them out. This makes things sound much more nu-metal with the hip-hop elements dialed up. "White Devil" closes the album. It is another pop song, with intersting keyboards. This album sounds great, even though it might be more accessible than the previous EP, I think they pull off the full length well by showing a balanced picture of who they are, and the songs grew on me even though I went skeptical. I will give it a 9.5. 

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HKSPK : "“Heimkehr”

 This is the second album from the German blackened metallers. The scowl of the vocals is what you would expect from most blast metal bands, with the drumming more deliberate. This is obviously a must for me, as regular readers should know how I feel about blast beats. The first song is under two minutes and does not establish the album's mission statement in the same manner as the more powerful "White Secretions' does, though this song has a denser, more death metal-like aggression to it. The chug is pretty powerful, and the growls are more guttural. The riffs are hookier and win me over. 

"Sonnenjaeger" is more of a death metal song, with little in the way of black metal ambiance to offset the in-your-face aggression. Very song-focused riffing compensates for it not really reinventing the wheel when it comes to this brand of post-90s death metal. "Kill the Weak" has a more punk feel to how the guitars almost jangle with a more rock feel than a chugged attack. In this way, it owes more to black metal, as black metal has more solid ties to punk. The very compact style of songwriting also nods in this direction. 

Based on the song title, I assumed "Rot in Despair" was just going to be death metal. While this is true, it is also darker and more melodic than the earlier demonstrations of death metal they released on you. It has more sonic depth and a somewhat depressive quality to it. This song does venture over the three minute makr but it is time used wisely to create more dynamics. "Rain in the Face" carries a more blackened scowl, but they used plenty of restraint until it's time for them to step on the gas. But they find a balance of ferocity with steady grooves. 

The title track opens with clean guitar tones and synth melodies flowing to bring an almost neo-folk ambiance before the blast into the buzzing din of more European-feeling Black Metal. It locks into a more triumphant gallop before hammering back again. They ebb down into a more melodic guitar sound. This song does manage to break the five-minute mark, but it is time well spent. I will give this album a 9.5; they are certainly one of the best black metal-ish bands to come out of Germany in some time. If you are looking for black metal that puts songwriting at the forefront, check these guys out. 

6.8

pst412

Green Carnation : "A Dark Poem, Part III: The Messiah Complex"

 

Norway's prog rockers Green Carnation are bringing their most recent trilogy to a close with this album. Hearing the first two parts of this is not a requirement, as it opens much like any band that plays this style of darker  Scandinavian hard rock. They have been at this for so long that the definition of what metal is has changed, even though this band was formed by Emperor bassist Tchort. This shares more common ground with the prog era of Opeth than it does black metal. The guitar playing is very nuanced, with some great tones captured on this album. 

There is some great reverb-ringing guitar on the title track that finds the vocals floating with a more graceful croon. In some ways it's not unlike Ulver in this regard. They jam this song out with a wandering atmosphere. The more metallic riff this one builds into is impressive. Lyrically, they have some pretty accurate social commentary with "Broken Souls". It finds a balance of graceful playing and metallic dynamics that packs a punch in place. The guitar playing is outstanding on this album. These guys are unsung guitar heroes with a great range of styles. The story becomes clear on this song with a spoken-word section. 

The last song is "Bad Poem," which is a sixteen-minute orchestral suite. I think this would have worked better as an overture as the first track. It loses its impact as the last track and feels like, while it works for what it is dynamically, it has less impact. Musically, it feels like something from Bizet's "Pearl Fishers"; it works for what it is, but its placement on the album is the main problem. For this reason, I will give this albuma 9; the rock songs are great with outstanding guitar playing. 

2

pst411

Movements : "Happiner Now "

The fourth album from this band strikes me as the next evolutionary step from the days of Myspace 'emo". The pop-punk elements are more layered with atmosphere and jangling guitars that create a bigger, arena-sized sound. They are less reflective and more upbeat on the second song. Melodies are at the forefront of what they are doing here. Not the most original sound, but it is more organic than some of the overly produced albums of this type, giving it more authenticity. I am having to listen to this through the lens of someone who is into this kind of thing, as it's too happy for me in the more spirited mometned. I prefer the slight touch of introspective brooding on "Everything is Fine". The vocals are belted with greater power on the chorus here, but I would not call it aggressive or heavy.

That title track emotes with admirable restraint; the bass tone shifts to give it more backbone here, as the vocal cadance dances over it. The pop elements are hard to deny, and certainly take the edge off it, but there is place for this sort of thing. The first screamed vocals that appear are mixed into the background. They pick up the pace for "Flowerbed"; it is clear the bass player is the only one with a taste for heavier music. He is itching for a breakdown. The element of this that calls back strongest to the early 2000s is how emo has been cleaned up for accessibility here. The sub-genre has now been around for 20 years, showing it has staying power. 

"Back in my Ways" is the first song where the formula they have been using starts to feel dull, despite trying to dig into the chorus with more grit. "Ill at Ease" has more drive to it. But it also sounds more like everyone else. "Live By the Sword" carries an interesting tension. The brighter mood of "Everyone I've Ever Been" does not work as well for me. The palm-muted guitar leading the way into "Fragile Hands' sets a better tone for my ears. There is a similar stormy tension to the last song. This is really done; I'll give this album a 9, though there are only so many hours in a day and so much music to listen to. I am unsure if it is an album I will return to much, but if you want new emo-revival music, these guys are doing it well.  Out on Fearless Records

10.6

pst410

St Digue : "Secret Language"

 This album reminds us that, for better or worse, "darkwave" is changing. It's evident this Danish artist takes more inspiration from Drab Majesty and The Black Queen than from VNV Nation or Sisters of Mercy. Though there is a fair amount of industrial leaning, which helps justify this to some extent. The drum programming is the main hindrance I hear on the first couple of songs. You can also draw conclusions that he is influenced by the "Pretty Hate Machine" era of Nine Inch Nails. "Down Below" hints that he might be able to sing better than the first two songs suggested. 

The beats improve for " I Told You So," though the vocals take a step backwards from the previous song. Theuptempo shifft helps increase the overall dynamics of the album. Even though "Relapse" builds into something with high energy over all it'schaoticand not focused, and he sounds like ChuckMosely from Faith No More here. Pitchy, but making that work for what he is doing the best he can. 'Amen" is darker and more melodic, which is worth mentioning; as for a "darkwave" project, this album has not felt all that dark to me. This might be due to the fact that the newer "darkwave" that has come from indie electronica is more hazy and less dark. Angry does not always equate to dark, but he gets props for being willing to be angrier, which is what a great deal of the new industrial-tinged music does not get. 

The strongest song on the album might be 'If You Don't Get it Now, You Never Will" has all the elements I have been on the fence about, like the vocals and drum programming, hit their mark and show what this project needs to be tapped into to excel. They work off an angular groove for "Meltdown" that proves effective when they break down for the verse. Then bring a sax in for the 80s synthwave nostalgia. The title track that closes the album is not the most focused song. I will give this album an 8.5. With the right producer, this could be something, but more supervision is needed in this form; however, if you like the indie-"darkwave" sound mixed with 90s industrial rock liek God Lives Underwater. This is for you. Drops October 8 

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