Neurosis : "An Undying Love For a Burning World"

 

With the official start of World War 3 underway today, how could Neurosis not reconvene to drop a new album? Aaron Turner is replacing Scott Kelly. It's pretty seamless considering this. There is a hint of rock n' roll, but both Isis and Sumac are heavily influenced by Neurosis, so it seems like a natural fit and flows very organically. It's back to the dissonant sludge heaviness with an angular crunch moving the riffs. "First Red Rays" is very dark and ominous; at times, it feels as if they are looking back toward "Souls at Zero."  A low growl prevades, leading you into the desolate sonic space. 

They come on strong and don't simmer in a great deal of atmosphere until "Blind", this one moves with the kind of bong-laden apocalyptic sludge groove you expect from them, with and empahsis on the bong more than the aggression of when they were once crust punks. It veers off into more surreal places dynamically. Exeuted differently here to some extent, it is familiar enough to sit firmly in their wheelhouse.  Some what post-rock by definition, and certainly bearing some influence of Swans, yet firmly their own sound. 

There is more of a post-punk feel stirring from inside the density of "Seething and Scattered". There is a great deal of vocal trade-off that Turner blends well. They expand and recoil as a Neurosis song should. "Untethered" is sonically expansive without being overtly heavy. There is an organic, jammy feel to this. "In the Waiting Hours" is alot to take in but delivers what you want form a Neurosis song as it is pummelling when it needs to be but still takes you on a journey."The last song finds the arrangement sprawling out until it dissolves into ambiance. It winds its way around into dark folk sitting against a noisy undercoating. Things get trippy ten minutes into this. They wander off into a more tribal drone. I will give this one a 10 as I think it opens a new chapter that holds up well against their legacy even in the absence of Kelly. 

5

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Poison Ruin : "Hymns From the Hills"

 

Philly punks Poison Run continue to improve with each album. This one finds them settling into some of their catchiest and most melodic songwriting yet. This does not make them any less punk; in fact, it connects them more closely to the classic punk of the late 70s. The vocals show the most improvement. Despite theming the songs around the Middle Ages, there is an almsot more Western feel to the rambling title track. It is more straightforward and less nuanced than the opening track, but it works for what they are doing, though I hope there are more moments like the opening song.

Things embrace a more punk attack for "Eidolon" though the guitar parts are more intricate and ring out in more of a Brian May fashion, bringing a song like "Tie Your Mother Down" to mind. "Howls From the Citadel" is almsot a folkish ballad that feels more like an interlude. They carry a more Motorhead like charge with the commanding metal-tinged riffs of " Pilgrimage." Even a song like the more punk "Guts" is allowed a middle section where it gets to breathe a bit, showing the maturity of their songwriting this time around. 

They hit you with their older style of gritty punk with "Turn to Dust". He howls with a throatier tone. A punk tone rumbles into the more thoughtful chords of "Puzzle Box" which are given more dissonant accents, showcasing the level of songwriting on this album, you don't always hear from punk. Even with the vocals of "Serpent's Curse" more spoken for the verses, the song works well. 

"Sleeping Giant" is pretty majestic sounding, but it's more of an intro into the rowdy gallop of "Crescent Sun" which is likea rust punk version of Motorhead. Much of this is due to the big sound of the bass driving it. Despite the more blackened feel of the bombast leading into the last song, it's just your typical punk song leading into it, though a second listen shows the vocals are more subtle than you might expect, and once again they are writing songs rather than jsut bashing it out. Almost more like Social Distortion.  I will give this album a 10 as it' one of the best punk albums I've heard in some time, this is the album to beat this year for sure.Drops April 3rd on Relapse Records.  

pst109

Intoxicated : "the Dome"

Florida thrashers Intoxicated, despite being from Orlando, were influenced by the Tampa scene and about an hour and a half south of them, which of course leaned towards the more death metal side of the genre, and that can be heard even in 2026. They have been around since the mid-90s, but this is only the band's third full-length. They still retain their knack for writing hooky riffs. The vocals are in a raspy, almost spoken style, making them more articulated, which reminds me a little of Coroner. The title track has less groove than the previous song, as the double bass keeps it more in your face. 

These guys are certainly on the heavier side of thrash. "War Club" is a little more mosh-inducing until it reaches a more death metal speed. Guitar solos fire out from the corners of the song, though not handled as gracefully as the last Coroner album. But more purpose to them than Slayer's guitar chaos. The songs are tight three-minute bursts of old school aggression. There is more ominous intent behind "Tighten Your Eyes". I like the effects they use on the vocals , which gives some kind of variance. alomng with the slower pacing. They do throw in a pretty mean riff to give it more dynamics, making it one of the album's best songs. 

"Unescaped" is more hammering. It's also a little straightforward in terms of dynamics and sonic colors. The same could be said for "It's Dead," which glides on a tauntly picked riff. You can hear a touch of death in the verses. Some riffs have a hookier punch than others. "Shifted Cross" finds the guitar twisting and turning over the double bass's flow, continuing to pour on the death metal influence. "Rake the Grate" has a more Slayer-esque riff, with its pummelling groove. The last song has more groove but feels like it is riding the momentum of the previous song. 

The Verdict

Since I listen to hundreds of new metal albums every year and have been listening to thrash like this since the 80s, it is clear they are good at what they do, but if feels like they are just maintaining their vigor, which is impressive considering how far they go back but not experimenting with the formula enough to break new ground. I will give thi album a 9, meaning it's at the top of the game when it comes to bringing what you want from thrash, but offers nothing new to put it in the top tier of all new metal coming out, but thrash fans will find this worth their time.

 It drops March 27th on Redefining Darkness

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TRAITRS : "POSSESSOR

The Canadian post-punks are back. They open their newest album with the lead single "Burn in Heaven," which is grooving and dark enough to be in regular rotation at goth clubs everywhere.  It bridges the organic guitar focus of post-punk with the slinking slither of dark-wave to fit nicely into the goth paradigm. Synths play a larger role in setting up." I Was Ill, You Were Wrong".  It falls back into a mood rather than a groove, like the previous song, though it grows on me with each listen. The hook is subtle when he announces it's a sea of sadness. 

On "Seven Fictions," the bass line steers the track toward a more Cure-like direction, with his emotive vocals adding a whine that only deepens this comparison. But it works well as a song, though I am not sure I want the album to only relentlessly pursue this kind of tribute moving forward. \"Cold Skin" is more of an atmospheric ballad, that finds the overwrought plea of the vocals the only thing anchoring them to Robert Smith's zipcode as it drifts toward shoegazing. 

It might be due to the fact I am such a huge fan of the Cure, but I hear "The Hanging Garden" a little too much in "Selfish Hunger". Things move in a more Cold Cave-like direction for "Prayertaker". It's more like older Cold Cave, which works well enough for me.  I can also hear a little Clan of Xymox in the overall mood at times. "Dream Drowning" fassked me out as the intro made it sound like they were going for something that sounded too much like "A Forest," but once the song kicks in, there is a dancier feel that reminds me of the early 2000s brand of post-punk revivalism that kept the dark flame burning, bringing us to where we are today. 

The last three songs ran together after a casual listen, forcing me to go back and listen with a clsoer ear to sort out what was going on. "Mourn" is more of a brief ballad. It carries a great deal of desperation in its plea, but is subtle in its minimalistic pout. The beat to "Japanese Picture Pony" picks up the pace ajnd add more dance in the step of the otherwise thickly introspective languishing the album does. "Crawl" is a depressive ballad that finds its joy in wallowing. I will give this album a 9.5, even for all its Cure worship and ballads halting the momentum, it sounds great, and there is a depth to the melodies that make you a believer in the moping going down here. 

 

pst107

Exodus : "Goliath"

I liked the band's 2021 album, but I have not given Rob Dukes much of a chance, despite having worn out the band's first three albums during high school. On the opening track, he is going for the higher snarl that is what helps defines this band's sound then on the second song, he begins to do his own thing a little more, and the song it self is not as inspired as the first track which was such ripping thrash that it caught be by surprised while raising the bar for this album. This is recaptured on "The Changing Me," which chugs along in a more compelling manner. 

Between the sometimes harsher vocals and the nature of the guitar harmonies, they have managed to gracefully update their sound for 2026. This is a little less carried over into "Promise You This," which has a more rock n roll feel. The title track works, but is not what I expect from these guys. It slows down to a doomier pace and has cascades of guitar arpeggios flowing over it. As a contrast, "Beyond the Event Horizon" is a more rapid fire thrashing, in fat it's the fastest song so far. Which I prefer more of a groove, but understand why some fans might seek this out. 

 Dukes sings more than screams on "2 Minutes Hate". This adds to the overall dynamics and makes it the album's second-best song, with the opener still holding the lead for that title. They start "Violence Works" off with more groove. The one thing Gary Holty has brought over from Slayer is the need for a killer guitar tone. Given the Slayer connection, I am surprised they are not bigger than they are, even for a thrash band that was not big on compromise. The first album, they have refined their sound in a more accessible direction with each album until "Fabulous Diseaster".

"Summon of the God Unknown"  opens with the album's most Slayer-like track, resembling the early years very little. In fact, it reminds me more of Pantera, who are playing stadiums, so they obviously have an effective formula. But this is an Exodus album, so  I want things to sound like Exodus, which they have already shown me on this album that they are capable of doing. That is not to say the song is not full of killer riffs, but I listen to Exodus to hear killer Exodus riffs.It is impressive that Tom Hunting is bringing it like this after all these years. Dukes is a pretty good metal vocalist who gets the job done, I jsut wish he retained a more Exodus-like style. The last song finds them locked into a more rapid fire thrashing. Maybe what I am looking for is balance, as they do sound more like Exodus here. I will give this album a 9, as they are bringing it in a way that works in 2026, if you asked me if I thought I was going to get more mileage out of this album or the new Megadeth, the answer would be Megadeth, but if yo uare an Exodus fan this is going to bring you what you want even with the curve balls includes which at least prove it's not a total nostalgia fest. Dropping on Napalm Records. 

pst106

Lungburner : "Dogma"

 

This industrial-strength death metal band comes from Atlanta. They hammer into things with some thoughtful melodic layering of the guitars. The vocals are a little more of an afterthought as they are buried in the mix. The mix is weird on this album and plays as both a weakness and a strength. It leaves space for an atmospheric feel, but since it buries the vocals makes it less song-focused and more about their sound.

"The Sin of Defiance" leaves some room open for melody from the guitars to set the mood. This is more effective than when they are just hammering you, as it shows they care about the songs by creating dynamics. This is something it is easy to take for granted in the larger world of metal, though something I place great emphasis on here.  This is a guitar band, as they are first and foremost when it comes to where the spotlight falls. The vocals are a rather one-dimensional growl, so no big loss that they fall into the guitars. To their credit, they are articulate enough to discern a lyric here and there. 

"The Fall" basks in its own ambiance until they are ready to lay the smack down in a sludged-out manner.  "Apostasy" is more deliberate. The electronic sounds and samples seem to bookend the meat of the music and are not as large a factor as I expected them to be, with some just regular metal riffs dominating a song like "Misery." This could be your average death metal band with an ear for sludgey sounds. I think more variance from the vocals could be useful for them to consider in the future. 

The last song just kinda of feels like your average death doom band with a little more of a stomp to the riff. works for what it is , but is not blowing me away either or demanding me to headbang, perhaps it might if you like your death doom on the dense and dirty side. I really liked how the guitar melodies were layered on the first few songs so it raised my expectations. I will give this one an 8.5, as the melodies the guitar does employ show they care enough about songwriting to put them at the head of the pack when it comes to bands rising from the underground of the Atlanta Metal scene to the world stage, where they we be appreciated by metal heads with more bong-laden eardrums. Being released on Terminus Hate City.

pst105

Moodring : "death fetish"

Moodring is a one-man project that bridges the gap between metalcore and nu-metal. Granted, it is not a big gap given the poppy nature of most modern metalcore. He is a little more intentional in his pop hooks, and there are plenty of electronic flourishes to give things some depth. More emotionally nuanced than, say, Falling in Verse, but not as darkly atmospheric as the more recent Bad Omens, I could see these songs working well with the Welcome to Rockville crowd. 

"Masochistic Machine" is energetic, but the songwriting is less focused. "Gunplay" works a little in this regard, though it brings Korn to mind/ "Anywhere But Here" has a more Deftones feel. If you were to take a section from almsot every big nu-metal song and put them in the blender, the results would be like "STFA" which, thanks to a strong chorus, might be the album's best song. 

"Oxidized' finds them back with a taunt vocal melody for the verses, and a pretty solid groove. If this came out in the late 90s, it would have been next-level shit, and to think it used to take four meth heads at a time to come up with this sort of thing. Taking a nod from pop, the songs are all around the three-minute mark. "Bleed Enough?" is more typical of the metal of the genre despite the Deftones-like chorus. A similar thing can be said for "Sickfuck". 

"Die Slow"  finds the vocals doing most of the heavy lifting to elevate otherwise generic riffs, with a more thoughtful melodic space created in places; it all comes together to make the song work. The last song is poppier, but it is well-written. I will give this album a 9, and see how it grows on me, one of the better new school nu-metal albums I have heard this year. 

104

Jarboe : "Sightings"

Jarboe's solo work continues to reach out further into avant-garde sound, more abstract and ambient than her work in Swans. Percussionist Thor Harris from Swans joins her. Textures of strings aid in creating the waves of sound unfolding here. Both Jarbo and Gira have ventured out into sonic regions beyond the outskirts of conventional songwriting, which almost share more in common with free jazz. Here, there is even a more classical feel if we are talking about composers like Johan Adams or Philip Glass. "Francesa Sun" is haunted by a longing. Sparse droning arrangement floating as lightly as her voice carries its almost chanted melody. 

The eerie layering of sounds is not as depressive in its introspection as Swans, but there is a similar sound bath feel as "Soundtracks for the Blind" just achieved through different methods. "The Choir and the Nightfox" is a little darker. It is more of a trance-inducing pulse of sound wrapped into a simple droning melody. "Breathe" is highly meditative, but musically not much, as it consists of bells ringing over ambient synth sounds. This sprawls out for nine mintues. 

"Vireo Seranade" touches on the bird theme that provided the inspiration for this album. It feels like it might be an intro for a Swans song rather than the meat of it. The Sangha mix of the first song comes next, it feels a little more intense in its droning layers, almsot a post-rock vibe. I have enjoyed this album. I got a new puppy and it helps him relax when I put it on. It often reminds me more of what Swans did sonically than some of the Swans post-reunion work. But it is not song-oriented, so I will round it down to a 9, which is still better than what most albums get.

pst103

The Crosses : "Outlier"

 

Dan from Die Kruezen is back with this band, which started as a way to resurrect the songs of his classic band, before they began looking forward and making their own music. His voice has changed with age. The timbre is different from what it was with Die Kreuzen, but the spirit is there. It is more of an obvious scowl than what he was doing back in the day. Granted, he never sang the same on the Die Kruezen albums as he was allowing his voice to evolve with each album.

The first song, "Nails" might blend more with current metal, but I like it when things begin to get a little weird on "Hate Market'. "Nychthemeron" finds them thrashing into the chaos a little. Much like Die Kruzen, this music is hard to classify. I guess if Black Flag got called hardcore for albums like "Slide It In" then this would still qualify. This song is faster and more aggressive. They have always been kindred spirits with Voivod, and this is more pronounced on "Natronium." There is an angular swagger that works well, and I begin to understand the trick to this album is not to expect it to be Die Kreuzen.

With that said, they do cover Die Kreuzen's "Man in the Trees" from "The October File" album. The production quality is improved over the original version I have. He proves he can still hit the notes, though the raspier-screamed parts are different in places. The album closes with I'll Never Forget You." which is more punk. I am impressed he is not picking up where he left off on "Cement" but this feels more connected to his earlier work.  I will give this a 9 and see how it grows on me. It is a highly suggested listen for all Die Kreuzen fans as this is as close as we are going to get to new music from them. 

pst102

LOVE GHOST : "Anarchy and Ashes"

 

This project was produced by Tim Skold. The first song makes you think it is going to be an album of Marilyn Manson-style goth-flavored rock with industrial-style production. But they end up throwing a bunch of styles at you in an effort to find what elements of Myspace the kids are still into today. The second song is more pop-punk with metal guitars bookending the more Fall Out Boy aspects.

 The cover of "Rock Me, Amadeus" could go harder vocally. I think the quirky vocal of the original is a key aspect, and the vocals here are kind of bland in that they are less expressive. It does not come acorss as darker, and as someone who knows dark music, you can take that to the bank.The electronic elements of 'Silk Noose" are pretty effective, and the pop slant to the vocals works for me, as it touches on the Myspace elements I still like. 

"Violene Wears Makeup" combines all the elements of the varied genres they dabble in into one song. This means emo vocals against industrial drums. The results should sound like peak AFI, but the vocals keep it from being that dark. Overall, this album might not be as dark as what I normally go for, but I appreciate the fun sound they have and the fact that they care about songwriting, so I will give this one an 8.5, it comes out on Metropolis Records. 

pst101

Lamb Of God : "Into Oblivion"

 Lamb of God is one of the biggest bands in metal today. Yet they have never scored higher than an 8.5 here. What does that even mean, you ask? They get the job done without being original enough to make me give their albums more than a few spins while I am reviewing them. If I am in the mood for this type of thing, I either listen to Pantera or Slayer. I did like their "Sacrament" album, which I listened to quite a bit, but after that, everything started sounding the same. Production-wise, they follow the trends. Previous albums have taken notes from Slipknot; this one finds their producer taking cues from how Gojira and Behemoth dial in their sound. 

Randy Blythe has a bigger personality off stage than on. He is rail thin so it's hard to take a scrawy dude barking at you like bad ass. "Parasoial Crisis" is better than the title that opens the album, as it sounds overproduced and generic. "Sepsis" is even better, in fact, the most memorable of the first three songs. The first has a more spoken thing going on that complements the groove. "The Killing Floor" is more of a thrashing groove, which is what works best for them. There are some pretty mean riffs on it. 

"El Vacio" is more melodic and shows that despite his miserable performance at the Ozzy farewell show, Randy's singing voice has improved, though it does prove my point regarding how they have taken notes from Slipknot. "St Catherine's Wheel" is pretty much on point for them as it is well done for what it is, but what it is does not resonate with me as it sounds like everything else.  I prefer the groove of "Blunt Force Blues" which goes to show I might as well jsut listen to Pantera. 

"Bully" is a generic modern metal battery to your ear drums where "A Thousand Years" has more of a hook to it, making it more memorable. "Devise/ Destroy" might as well be a Slipknot cover. Much like their other albums, this one gets an 8.5, it sounds great and is well done, made for the dull masses who do not care if music is original or not. I blame alcohol intake for this numbing of musical sensibilities. 

pst100

Throat : "Beyond the Devil's Shroud"

 

One of my pet peeves is having multiple bands with the same name. Yet here we are. This Throat is from Poland, not Finland. They play a dark and grimy version of black metal rather than a burlier take on post-punk. They are equally dark. This album opens with a murky, clanging take on the genre, a cauldron of chaos bubbling with spewed vocals gasping and choking. The guitar is deliberate, and the production is rather raw, leaving the instrumentation to fend for itself in this mix. The drums suffer the most under these conditions. But they use blast beats sparingly and focus on fiendish moods that create the charm.

"Cain's Mark" is rowdier and more upbeat, whih will appeal to fans ot the early second wave of black metal that are looking for something with the punkish attitude of the cvlt charm. It slows down into a more deliberate stomp that is more song-oriented. The track after this is more of an interlude, and jsut creates a droning ritualistic atmosphere. "Corrupted Flesh" finds the vocals dropping down into a more death metal growl with a more sinister intent. They linger on a more brooding doom feel here. 

The last song ' the Pact " is a more feral explosion of wrathful aggression that bands away with a reckless punk abandon, not unlike Darrkthrone. I like the vibes that paint the mood they are creating here, even if there is not much that we have not heard before going on. If you want something that is raw with a murky darkness but not just blasting and tremolo-picked guitars, then this album might be for you I will give it an 8, out on Primitive Reaction. 

pst98

Temple of the Void : " the Crawl"

 

Temple of the Void's album "Summong the Slayer" made the 4 spot of our Top 10 Death Metal albums of 2022. Four years later, we are seeing if the band can still bring it like that against the death metal competition of 2026, which is still awaiting releases from Frozen Soul and 200 Stab Wounds. The kick things off with guitar solos blazing. It moves fast when called for to get your attention, but they are not about to sacrifice the song for the sake of speed. They no longer feel the need to prove who they are. The vocals are growled in a purposeful manner that is articulated enough to get the point across. 

The title track features melodic guitar colors mixed into the grind of a more traditional death metal sound, moving with purpose rather than a feral blast. 'A Dead Issue " shows the most impressive display of songwriting so far. It features hooky riffs and a groove that keeps your head moving while offering space in the arrangement to let the ambiance settle in with a darker creep. This is the best song on the album as "Thy Mountain Eternal" has some melodic nuance but does not hook you in tightly.

They return to the hookier songwriting on "Soulburn.",  The verse riff is really solid on the last song "The Twin Stranger," as it has an Entombed-like punch to it. There are some strong riffs on this album, but I feel like " A Dead Issue" set the bar really high, and while they have matured by streamlining somethings, this album does not grab me like the previous one, though it is still a great album so I will give it a 9, setting them firmly in the top tier death metal releases this year so far. But perhaps not bringing it like Monstrosity. Out on Relapse Records.

pst97

A$AP ROCKY : "Don't Be Dumb"

 When it comes to this guy, musically is a little more experimental than most mainstream rappers. The second song has a little more interesting thump than the opening song. The overall sonic backdrop on the opening track is more sonically diverse. 'STOLE YA FLOW'  finds the stage set by furutistic synths. It finds an effective groove that compensates for the lack of lyrical depth. He does remind you that Rhianna i his baby momma, which is worth something. 

His vocal accents on "Stay Here 4 Life." feel more like warmed-up Snoop Dogg from the 90s with a Weeknd wanna-be bringing the vocal hook. Lyrially it is more of a vapid pop love song. When it comes to "PLAYA" the problem with this more streamlined r&b approach is it lacks any of the staples that make him unique as a rapper and sound like everyone else on the radio, right down to the beat.  "Stop Snitching " breaks the more bland hip-hop trend that the previous song "No Tresspassing" had not been convincing enough to break from. 

Then the album gets the creative breakthrough it needs with two solid songs "STFU" and "Punk Rocky" , the latter has a more rock feel, but "STFU' is aggressive neough to open new doors sonically and break from the middle-of-the-road feel the album was getting stuck in. "Air Force" experiments, but is not all that focused or hooky. The Gorillaz appear on "Whiskey". There is a dreamier haze over the backing track. I am just going to write off "Robbery" as a skit/ interlude. 

The title is more of a neo-soul track. It works well enough and is the product of heavy THC use. The last song is darker but more fitting subject matter. I will give this album an 8.5. There are a few strong songs, but he is caught in a tug of war of what the record label wants him to do, what it takes to be on the limited diversity of "urban radio", and what he wants to do creatively, so it is the sound of compromise, which is why I rounded it down to an 8.5 as hip-hop should not compromise or it becomes pop music. 

pst96

Twin Serpent : "True Norwegian Blackgrass"

 

It was hard to know what to expect from Norway's Twin Serpent; the first song felt more like punk rock. This explosion of rowdiness came after they dubbed themselves blackened bluegrass. Then on the second song, it feels more like punk-inlfuenced indie rock. The kind of hobocrust-punk take on bluegrass does not come into the picture until "Stellar Suicide". The dual vocals have a more punk feel, even when given more space for melody, with the female half more willing to relax. 

"Freak Flag" feels more like a rambling marriage of folk with punk attitude. "Ain't Home No More" is more nuanced and leans into the blue grass sidde of folk more. Having a pretty solid history of this sort of thing with Amigo the Devil, Bridge City Sinners, and the Dead South, the novelty of it alone is not enough to capture my ear. I appreciate their willingness to blend the varied elements from diametrically opposed genres. "Tussen Takk" casta smokey haze with its more blues-based musing. 

They give "Radiophobia" more of a rock kick. While this is different from what we expect coming out of Norway, if these guys were from Texas, this sort of thing would be less surprising. "Fortventninger" is more of what you would expect from this sort of thing, going into the more barroom style of folk. "Holy Ghost" is more melodic and finds the elements they have in play working at the highest level of effectiveness to make this the album's best song.

"Kiou Kivi" is more chanted over a free-form jam. The last is a loose blues-based excursion into country-inflected musings. I appreciate where they are going and the willingness to try new things, as well as the punk energy they bring to them. This album could use a little more focus, they know the sounds they want to use, but all the pieces sometimes get lost in the shuffle, it works mroe often than not as it gets playt off as just being punks fucking around, so I will give this album an 8.5. If you wanna hear moddy punks with banjos, they have ya. Out May 8th on Svart Records. 

pst96

Kallohonka : "Lazer Blood"

This band claims to be slug metal. Slug metal is nothing like sludge metal. In fact, it is more of a punk metal hybrid. The vocals are yelled more like punk. There is a hint of rust to what they are doing here, and only judging by the first track makes it hard to predict where it is going from here. I do appreciate the psychedelic trappings on the edges of the song. Granted, Gwar started off as more of a punk band, but these kids are more spazzed-out punk with very little metal. More of a metal influence on drug punk. They have heard a few Iron Miaden album atry to write galloping guitar harmonies that get overtaken by the sonic oddness. 

"DMT" is darker and does lend some weight to my claims that they are a drug band. The freaked-out scowl of the vocals is endearing, but it begins to cast a uniform shadow over the overall feel of these songs by the third track. Metal works better on drugs than punk rock, despite punks drug ridden history. But compare the Sex Pistols to Black Sabbath, and it's no contest. The garage rock element to their playing limits what they have the prowess to accomplish. The guitar shows the most capacity for melody; the drumming is a little sloppy. 

Most of ht song circles the drain at the three-minute mark, which works. "Heaven's Gate" finds a more deliberate stomp, but it is hard to ignore that some earlier sections of the song are a total mess. This is also the first song that finds the sluig crossing into sludge. The vocals improve on 'Pyschic Surgery." Though the riffs are angular and wonky. "Leeches" is another mess that finds its reach exceeding its grasp. They are going for more of a 70s boogie on the last song. They are one of the oddest stoner punk bands I have heard in some time, which is endearing unto itself. I will give this album a 7, if you smoke lots of weeds and lsiten to punk you will get the joke.

pst95

Lost Hollywood : "s/t"

 

Theres guys play a pop infused brand of Myspace metal that takes you back to 2004. Vocally, there is some depth despite the emo grooves not being the most original thing you have ever heard, but they pull it off in an anthemic enough manner to at least make the opening song work. Who knows, they could have blown their wad on the first song. This is the kind of music Pierce the Veil and Bad Omens emerged from, perhaps to a lesser extent, Sleep Token. There is a formula already in place by the time we get to "Pretty Skin". In some ways, it';s like if a dude fronted Spiritbox, as when they try to go more metalcore, they dig into a djent like stomp. Courtney has more balls to her harsher vocals than this guy. 

The groove to 'Pieces" works. If almsot feels like I am listening to one of the Punk Goes Pop albums. "Like A River' features a collaboration with Of Virtue, who I have not heard either to who know which part is which . it is more of a pop song, and that feels like the direction their heart is really in. Metal is like funk; you can't fake it. There needs to be an inner darkness and aggression that is released, and I am not feeling it here. This song is well done, Myspace era Emo. Pop artist Phillip Strand joins them to really flex their pop vaginas on "Love us Dying". It is color by numbers, and if you told me AI wrote this, I would believe you. 

By the time we get to "Ghost in the Water," it begins to feel like I have heard it all before. The tempo picking up only makes it seem more like pop punk. The harsher vocals are never going to convince we they are hard; they sound like they are coming from someone who struggles to bucnh 135lbs. "Can You Feel Pain" has a little more potential, and works more often than not. I like how it is produced; it's a good pop song. Some of these sounds feel like they are from a K-pop soundtrack, then when they try too hard to get heavy, it falls flat on "the Art of Being Torn in Half"

I like "Chasing Dreams," which sounds like it is about how Justin Bieber likes rough sex. I think this is how he processes trauma from Diddy baby oiling him up. 'the Fire" is the kind of slow jam I wanted from them all along. and why I kept listening. Fans of Sleep Token can also masturbate to this one. I will give this album a 7.5, based on the fact it is really well produced and there is some decent pop songs in the mix here, they jsut need to come out ot hte closet and try not to jsut metal as the beard for their pop desirres as I do not believe it. 

pst94

Cobrah : "Torn"

 Some artists blend their image with their music in a way that maximizes entertainment value. Cobrah is one of those. The Swedish understands what she has to work with and makes the most of her physical gifts from her vocal cords to her curvy figure and fairytale blond locks. Before a feminist jumps in the comments and says

"If this were a male singer, you would not be talking about his looks; you are objectifying her and sexualizing her."

She is objectifying herself and using it to her benefit, which is reflected in the sensual throb of the beats pulsing under her breathy voice. If you combined the otherworldly alien nature of Poppy and mixed it with the hyper sex of Slayyyter, the results would be similar. Musically close to Poppy, with the electronic throb keeping the songs together. This is also an apt description of the title track that opens this album. On the second song, which is about Instagram is seductively lures you to check out her Instagram. There is a bit of a Charli XCX attitude involved in what goes down here as well. 

From a porduction stand point, this album sounds great through headphones. "Platinum" finds dance grooves flexing their basslines, as she chants over it in her sultry style."Hush" was the first video I saw from her, where she is basically some kind of aline stripper, and it drew me in, so it's pretty effective. 'Charming " is a down-tempo ballad, which could use more of a beat to create the dynamic contrast neededto keep my attention. "Dpg' might be the album's best track as the beat goes so hard it is almost industrial.

The songs are all around the three-minute mark or less, so she knows how long she has your attention for. "Hit Girl" finds the beats percolating around the purr of her vocals. "Excusez Moi"  works really well, for it does as the beat keeps things moving in the right direction for the mood. Variations of horny and speculating her self-worth seem to be the dominant moods explored on this album. "Snow White" is more ambient, but the beat keeps things in motion, allowing hte ambiance more balance. The last song, " Really Hard," is not about an erection but how she wants to be hit by your car. Even with her vocal limitations, she makes this work, so I will give this album a 9.5 and see how it grows on me., 

pst93

Poison the Well : "Peace in Place"

 

When these guys came out, I appreciated what they did, but I just listened to other bands. I was very aware of what they were doing as they blended clean singing with hard-core, though certainly not the first to do this. They, however, influenced much of the Myspace metal to come, and their influence can still be felt on metalcore. The legit organic nature of their hardcore roots colors the opening track. "Primal Bloom" continues further down the more hardcore side of what they did. When it drops into the sung voals it does not occur at the most predictable time, not making it an anthem. 

There is a more nuanced lead into "Thoroughbreds". The sung vocals are less pronounced as they continue down a more punk path. The thump of the bass line and the vocal melody put "Everything Hurts" at the head of the pack when it comes to the best songs so far. "Weeping Tones" finds the sung vocals produced in a way that bridges them to modern metalcore; I don't remember being present in their earlier work. There are some cool chugged riffs in "A Wake of Vultures" which feel a little more like Bihohazrd than I recall from them.

"Bad Bodies" continues to flirt with its more hardcore side. At times, the more melodic moments feel like Code Orange. They share a love for syncopated breakdown riffs, going where there is no breakdown. "Drifting Without End" has a more Deftones-like feel. I think this is pushed even further in that direction with the shift in production, which is less organic than their old material. "Melted" works off a more familiar hardcore stomp."Plague With the Most" works off a more metallic chug. The production on this album certainly introduces them to the kids of today who might not know their music history in an effective manner. I will give this one a 9. 

pst92

Unverkalt :"Héréditaire"

 

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

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

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

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

pst91

Morrissey : "Make Up is a Lie"

 

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

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

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

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

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

pst90

Fotocrime : "Security"

 

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

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

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

pst89

Relic : "Crown of Flies"

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

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

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

pst88

Void of Light : "Asymmetries"

 

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

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

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

pst87

False Figure : "Incarnate"

 

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

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

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

pst86

February's Top 10 Albums

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

10-Mothica- "Somewhere In Between." 

Pop

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

9-Final Gasp -"New Day Symptoms." 

Dark Hardcore 

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

,

 8-KMFDM-"ENEMY" 

Electro / EBM

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

7-lights,-"A6EXTENDED" 

Pop

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

 6-Puscifer, -"Normal Isn't" 

Alternative Rock

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

5-Worm- "Necropalace"

 

Black Metal 

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

4-Joji-"Piss in the Wind" 

Pop

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

3-Karnivool-"In Verses." 

Prog Rock

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

2-Converge-"We Were Never the Same." 

Hardcore

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

1-Rob Zombie- "The Great Satan." 

Industrial 

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

pst85