Yoth Iria : "Gone With the Devil"

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

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

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

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

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Wailin Storms : "the Arsonist"

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

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

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

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VOXTROT : "Dreamers in Exile"

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

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

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

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

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GODTHRYMM : "Projections"

 This band's last album cracked the top 5 doom albums of 2023. They have always been solid, so hopes are high for this one. It starts off with the kind of commanding chug you want from metal, with the vocals carrying both grit and brooding, while still capable of the more melodic soaring vocals that bands like Solitude Aeternus and Trouble have employed.  Two of these guys hail from My Dying Bride, yet they are not digging into that brand of dark sorrow and doing their own thing, putting more of an epic-metal foot forward.

"Truth In My Own" falls more along the lines of traditional than doom, though it's a darker take on traditional metal. The trade-off with the female vocals adds a chilling layer of atmosphere to the otherwise powerful, double-bass-driven charge. "The Sun Never Fell" is more along the lines of what you expect from doom, with its more mournful tone. The vocals are more melodic and solemn. It wanders into some sonic spaces that bring Palbearer to mind. The doomy vibes carry over into "Endure My Skin."This is coupled with a deeper sense of languid melody. The use of harsher vocals works well here as they are not expected.

"Jewels" is the most accessible thing I've heard from them, with a more rock n roll feel on the verses. This is contrasted with the heavier direction of the last song, which is still not so oppressive that the vocals don't have room to soar as needed. Her vocals are more hypnotic n this one to juxtapose the hammering intensity of the drums. All the pieces fell in line perfectly for them here, as it is well-balanced, making this the band's best effort to date. I will give it a 10. Out May 29th on Profound Lore.

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Steve Austin : "Marked Cards and Loaded Dice"

Steve Austin from Today is the Day is releasing a country album. Not what I would have expected, and even as I am listening while typing this have fully processed this weirdness, which in some ways reminds me of Ween's country album. His nasal tenor has enough tawng to come across as legitimate. There is a different boozy feel than what most country albums come to the table with, and lyrically, some of these songs are hard to take seriously if they were ever intended to be serious. 'Oh Lord, I'm Coming Home' is another one where certain elements are nailed solid, and others seem like they are winking at the camera.

'Am I Just Crazy' is a little darker around the edges, and vocally, he seems to be taking themselves more seriously.  He knows his limitations as a singer, but is making this work. "Long Way to Hell" is not as dark as the previous song, and using themes like running from the law that are more country stereotypes, he has already touched on a few in previous songs making it hard to tell if he is even taking this seriously. I think there are some elements from the more recernt Today is the Day albums that could have blended to make this feel less like a country parody.

"Lovin' to Do" has a more bluegrass feel. He sings about being drunk on this one, which leans into the earlier point I made about this being a country parody.  The music tends to check off all the boxes from what you expect from country, not unlike the lyrical concepts, but it's so straightforward that it feels like he is just trying on a cowboy hat rather than owning it. 'Crazy Dreams' feels a little more sincere. I know it takes a great deal of time and money to make an album, so I doubt this is all the punchline to the joke we haven't heard yet, but it's a shade of weird he has yet to paint in until now. 

'I Won't Make it Last' sounds more likea a country-influenced indie-rock band than legit country, but it's certainly a more believable perspective. Going into the title track, it also feels like it might be more earnest than some moments on this album. I'm not sure I would call this outlaw country, as it feels like it's a series of misdemeanors; there is none of the danger that Waylon Jennings carries in his songs.  I will give this an 8.5, as it sounds good, and the insturmentation is pulled off in a manner that adds some legitimacy to this. 

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Bad Stuff : "s/t"

Former members of True Widow are some of the founding members of this project, so it obviously has to be worth a listen. It opens with a creepy 1960's western tinged pysch-pop sunater that could have come from a David Lynch movie. The guitar rings each note out with a lonely, haunting reverb that is pristine. I'm sure someone will try to throw some kind of doom tag on this because it is slow and melancholy, something like "doom noir,"  but I am not hearing the sense of loss, and the darkness is there, but in light mysterious ocean-side haze.

Things pick up into a shuffle for "Grusome."  Some electronic elements weave themselves into what they are doing for "Summer Girls," which is more synth-heavy. If Lana Del Rey made a soundtrack for a horror movie, the results might be similar. This song does not get heavy but shifts in a more sonically dense manner. If you see this album on anyone's top 10 end-of-the-year metal lists, no longer believe anything they say, as this album is not metal, nor is it trying to be. "Invisible Man" finds low male vocals stepping up to the mic. In some ways, it's similar to Morphine. Not as jazzy, and almost more of a rock dynamic comes out here. 

"Creator" lurks with more of a groove than the vocals steer, as the drums create a hypnotic drone. "Hush" carries more of a "Desert Surf" feel as it's a more atmospheric ballad. Then "Nepenthe" is more like a heavier take on surf rock. They edge towards a dusty Americana-tinged version of post-punk on "Hush2." They continue on this path for "Human Crush" that finds a maringally more bluesy mood crossing over. The buzz saw guitars do not let up with "Commitment to Death.". None of the lyrics can be made out as they are being violently spewed with little articulation.  The last song is heavier on the ambiance with the lonely guitar emoting into the night as the vocals create more of a Nick Cave feel. I will give this album a 9.5, as it creates a unique mood with familiar sounds, and they captured what they intended here in a very endearing manner. You would expect this sort of thing from a label like the Flenser, but it is coming from Relapse Records 

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Pig's Blood : "Destroying the Spirit

 Going into this, I was expecting something more on the grind-core side of death metal than the black metal, but here we are, it is what it is. Described as being beastial, there is more attention to detail than just the crashing of teeth. Yes, they hit you with an intense bludgeoning, but also remember that they are writing songs in the midst of the angry storm they rain down on you. The title track is more in your face than the opener. The vocals are layered with a more blackened rasp, often coming to the forefront over the lower growl beneath, surfacing from time to time. There are a few slower, more grinding riffs on this one as the song progresses. 

There is more of an early Deicide-like charge to the unrelenting. The vocal laying is less demonic-sounding than what Glen Benton used to do, but it still has a similar effect. The drumming is impressive on this album, while it's a given if you are playing death metal, you need to be a machine, this guy is more well-oiled than some machines out there doing this. The dense production lens it self to the claustrophobic feel of the mix, as if the instruments have closed in on you. Sometimes this blitz can become a bit of a blur, as heard on "Power to Stop it." "Rabid Dogs" is a fitting song title as it describes the nature of the assault upon your ears here. 

None of the songs ventures to the four-minute mark, leaving the blasts of brutality to keep their sting more vital, rather than just numbing you out. The most melodic moments so far can be found on "Satanic Hammer of Justice." There is a more intense blast of double bass that hits you when they hammer into "Aftermath".  The buzz saw guitars do not let up with "Commitment to Death.". None of the lyrics can be made out as they are being violently spewed with little articulation.  Then there are moments of just battery with less musical touchstones, such as 'Ravenous Hellslaught." The last song also follows a similar path. I will give this album an 8 as they do cash in on some pretty mean riffs that have a head-banging catchiness to them that more often than not balances out the more feral aspects of what they do here. 

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Scimitar : "Errare"

 

When was the last time I reviewed an actual goth album?  Oh, it was 12 days ago when I reviewed Requiem in White. Anyways, this band outta LA, is leaning on the more post-punk sidde of the equation half the time, but are not just ripping off Siouxsie. In fact, her vocals are more punk and aggressive in the militant chant of "Epitome" that carries an electronic throb, so they are shifting genres from song to song, but keeping things dark. The more typical post-punk bass line emerges on "Fade' as the guitar uses the reverb-heavy vibrations to create the creepy atmosphere. The vocals are more whispered without trying to be Boy Harsher, though they are pointed in that direction for this one, just more organic and instrument-driven. 

The problem with using the kind of drum machines they are using is how it limits your dynamic range, where a real drummer can switch it up. This leads to them riding the same groove throughout the song. There is a more new wave feel to "Consume." It is weird when they go into the more electronic parts; they are never really delving into dark wave. The vocals are more spoken than sung on these songs and are done in a manner that does not convey those emotions. I think "Astroturf" is about a machine lover, but I haven't been paying a ton of attention to the lyrics. 

"Zenith" flips things into a more 80s new wave style, though the vocals sit further back in the mix than something Blondie would have done. The song references being frozen in time, so perhaps this is a self-awareness of the 80s fixation. Though, to their credit, from a production standpoint it has a more modern lo-fi punk sound. The third act of this album does lean more heavily in a punk direction. It is felt ot a greater extent on "Algo Esta Pasando." In some ways, this is a kink in their creative armor, but it still works well enough here. The reverb returns for the guitars of the last song, which finds her coming closer to singing again. The mood of the song is one of the album's darker moments. I will give this album a 9; it takes a solid stab at doing its own thing and draws blood. 

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The Family Men : "Co/de/termination"

 

This band from Sweden mixes industrial with noise rock to create something interesting. The beats and sense of motion keep the opening track at a high energy intensity. The vocals are yelled with a harsher rasp from the tortured vocal cords. There is more groove going into "AOR". The vocals are declared with more contempt than they are yelled. The dynamics of it remind me a little of Fugazi. There is more of a Ministry feel to " Skull Theftt"; it starts chaotically, and they pull it together. 

As this album progresses, it becomes clearer that industrial music is the dominant vibe, even though it might be performed more organically than what most bands are doing today. Which is fine with me as I am a big fan of industrial music, and most of the elements that make that music effective, like the anger and drive, are in play here. Sometimes what they are doing just happens to be more chaotic and noisy than at other times when they pull it together into the kind of fun stomp you want from this sort of thing. 

A little more atmosphere creeps into "New Clear". The song does not catch its groove until mid-way in, but it works. "Scanner' is also another shift for these guys as the vocals are more rapped, following a similar droning industrial groove that many of these songs work off, which proves to be effective. "Luxury" falls along similar lines, though more aggressive vocally. The last song finds the hypnotic beats taking control while getting your heart rate going. The vocals are again somewhat rapped if not outright rapped. If you want industrial music with real instruments, experimenting rather than just grinding on the dance floor, then this album is worth your time. I give it a 9. 

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Who Not to Miss At Welcome to Rockville 2026 (a curated guide)

Lots of bands are playing throughout the weekend at Welcome to Rockville this year, with festival set times compressed, you need to make the most of your time, while still giving yourself time to rest, so you make it to Sunday. Here is a guide to getting the most from your money, with the bands that will give you your money's worth. Let's face it, tickets for the entire weekend are expensive, even on the payment plan. from. I am not suggesting the most popular bands, so if you want to avoid the crowded stages, this list is for you. Given that I hate most radio rock, we are going to avoid it and pick the most interesting artist who delivers consistently live. You can argue these picks all you want, but can the 10 million that read this blog be wrong? I think not, so let's jump into it.

Thursday

Inferno Stage

1:15 - Castle Rat 

 Fantasy rock that brings 70's Rainbow to mind, being belted out by a siren in a chainmail bikini 

 Octane Stage

 3:20- Behemoth

 Nergal's sognwrign continues to improve, and they are the hookiest band to blend black metal with death metal.

Inferno Stag 

4:15 - Death Angel 

Underrated thrash legends

Apex Stage

5:30 - Alice Cooper 

If you are thinking this is a tough choice, even Glen Benton would admit Alice puts on a better show

9;30-Guns N Roses

You can chill out for the rest of the evening to eat, and get hydrated, after Cradle of Filth are terrible live andd if you want to hear a bunch of shrieking, at least Slash will be on stage when Axl is doing it. 

Friday

Inferno Stage

12:30- Spiritworld 

The wild west's take on hardcore is fun. 

1:30- Cattle Decapitation

Their name is more intimidating than the thrashing blend of death metal and grindcore they have mastered

Octan Stage

2:35 -Failure 

This band influenced the likes of A Perfect Circle and Deftones 

Inferno Stage

4:45 - Carcass

A death metal classic that rips live

Apex Stage

6:05- Poppy 

Fun pop music with a little screaming sprinkled in

Inferno

7:30 - Suicidal Tendencies 

This crossover band was a huge influence on what we call nu-metal \

Octane 

8:55 -Turnstille 

Another fun pop band to decompress to, see what the hype is about

Saturday 

Vortex Stage 

11:50 - Framing Hanley 

Wake up to these one-hit wonders, crank out their "Lollipop" cover

Inferno Stage 

1:20- PsychoStick

Chances are, if you are here on Saturday, you are into this kind of stupid fun

Octane Stage 

2:30- Yelawolf

Is he going to be rapping or playing country? I guess find out

Inferno Stage 

4:40 - Devildriver 

The singer of Coal Chamber's heavier side 

5;55- Napalm Death

The Grind-fathers must be respected 

Octane Stage

6:55- Lamb of God

Sure, they are a Temu version of Pantera, but they are good at it.

Sunday

Inferno Stage

2:10- House of Protection

One of the weekend's most interesting bands, a nu-metal revival act that's not in for the nostalgia.

4:30- Make Them Suffer

These kids do metal-core in a little less predictable manner. 

Garage Stage

7:55 Coal Chamber

They need to be in a headline spot. These guys blew Mudvayne off stage  at the Mid-Florida Amphitheater 

Vortex Stage

10:20 Slaughter to Prevail 

Not the most devastating thing we are getting from Russia this year, but more fun than a nuclear bomb.

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A.A. Williams : "Solstice"

 I really loved 'Forever Blue', some of her other work was released under my radar, so glad to hear from her again. The opening track, "Poison," which is one of the lead singles, makes it clear that she is not just another haunted folk crooner, as it locks into a solid groove. There is a more depressive vibe to the second, which carries a more minimal arrangement and a slight drone to allow her room to lay the vocals over. The swell of the song has more in common with post-rock. There is more of a grooving motion to "Little By Little." Which, even with the synth darkening things in the background it is the most accessible song thus far. This comes from how the vocals interplay with the drums. The guitars slowly build to expand the dynamics. 

"Hold it Together" finds her vocals holding onto a fragile piano chord progression. This was one of the first three singles released for the album. It's a power ballad of sorts, as you are led to believe it's going to stay in the direction it was headed for the first half of the song until the guitar comes in. It pulls everything together and makes it make sense. There is a more pastoral post-rock feel to 'Outlines," which she once again slowly builds but with a slight country twang filling the empty spaces. The fact that she takes the songs into the places she does is half the appeal. There is a melancholy wandering to this album that is not overtly dark enough to be called goth.

She often gets called "death gospel," and I am not hearing it on this album. Of course, it can be premature to second-guess where she is going to take any of these songs. "I've Seen Enough" has more of a folk feel, with a slight touch of jazz underpinning the vocal phrashing. You have to allow yourself to get midway into her songs before you can be certain of what she is going for. This forces me to withhold judgment when calling something a ballad, as she could bust out with driving guitars at any moment, but that does not happen on "I've  Seen Enough." The drums stay pretty minimal. "The Veil" heads in a similar direction. In fact, it starts off even more minimal. It turns out that one actually a ballad. She does not need driving drums, but it is a lot cooler when she has them, as proven on "Just a Shadow". It almost feels like it could be an A Perfect Circle song. She also proves she can belt it out likea rock singer when called for. 

All the elements of "Breathe" keep it flowing, even before the drums come in. It rides the line between dark folk and indie rock. It is one of the album's darker songs. It is another where the guitar opens it up at the midway point. Even on the second-to-last song, this formual does not get old. 'The Gentle Harm" leans more on her vocals. She laments as much as she sings here, though, using enough breath in her voice to work. Guitars begin to emerge as the song crept to the midway point again, as a sorrowful piano line drifts in. Almsot right at the three-minute mark, it does as expected. I will give this album a 9.5, as it is a well produced and polished return for her that is emotionally powerful and beautifully sung. 

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Sevendust : "One"

 Atlanta metal groovers Sevendust took their 15th trip into the studio. The thing about this album is that it really depends on which album you lost interest in them on or if you stuck around. For me, “Home” was the last album I was invested in before it became clear it was time for the bu-metal bandwagon to roll on. But the very fact that the band has had a large enough audience to keep making over a dozen records in the new millennium means that they have enough fans who will find this to be a logical next step, as it retains the big riffs and soulful vocals that define the band. 

Fewer riffs share common ground with Disturbed and Korn. Witherspoon's fluid vocal melodies help to guide the songs into avenues that side-step what your typical arena-rocking metal band is doing these days.  But this is not 1999 and 2026; someone who is a fan of bands like Frozen Soul and 200 Stab Wounds might not find this to be metal at all. This is a valid perspective as well, since a song like “Threshold”  certainly feels more like rock n roll that happens to have the guitar dialed in more like a metal band, but if they were 6-string Les Pauls plugged directly into Marshall amps, it might have more in common with their tourmates Alterbridge.

Speaking of production, knobs were dialed just right for what they do on “We Won”. It has a mix that gives the vocals ample room to create one of the album’s catchiest songs. This also goes to show that we typically think of pop music as being more contingent on a good producer, but one clearly helps more guitar-driven music as well. The guitar solo that soars out of this song works off melody more than shred, which is a respectable choice. “Construct” brings the focus back to a heavier feel that the kids of 2026 might more easily define as metal.  

Things ebb back toward the more melodic side of the spectrum on “Bright Side”. It’s what Lajon does with his voice on the verses that really serves as the key selling performance, as it’s both powerful and heartfelt in a manner that is hard to fake. It’s also impressive that his voice has held up so well during the past three decades.” The Drop.” works off a more syncopated riff that recalls their earlier work.  The chorus feels like it’s beginning to follow a formula.  Granted, this formula has kept their fans clicking play years later, so it is understandable why they would want to play it safe. 

Of course, a song called “Blood Price’ is bound to find the band digging in and bringing a heavier feel. But riffs and barked sections of vocals could just as easily be found on any Gojira album. Just because it works does not make it original, nor is the band really reinventing the wheel here, but they are writing some catchy-ass songs. “Misdirection’ ends the album on a more introspective and melodic note, with the focus placed on vocal harmonies, almost like something Stone Sour would do. This is certainly the album the band set out to make. After having fourteen previous trips into the studio, these guys have it down to a science, and they continue to sound relevant rather than jumping on the nostalgia train of a nu-metal revival. After all these years, Sevendust continues to do Sevendust perfectly, so for that I will give this album a 9, but the chances are slim I will feel the need to listen to this album again, but I wouldn't call myself a Sevendust fan either.Dropping on Napalm Records.

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TERROR : "Still Suffer"

 

This is the 10th album from this long-running hardcore band whose origins trace back to Buried Alive from the late 90s. They deliver what you expect from this brand of hardcore. They are in your face and more on the metallic side, which makes plenty of sense considering their origins and influences. Even with the metallic elements the guitar riffs embrace, the dominant presence of gang vocals and attitude of the lead vocal are clearly hardcore, in fact, more hardcore than most bands these days. The title track" sets the tone with a more groove-driven riff than the opening track. You can hear this in the safety of your home and know this would be a brutal pit. 

The songs are concise one-two punches. They rarely venture over three minutes. They race ahead of themselves with the rapid-fire anger that comes at you in" Promised Only Lies," which hits peak form when it hits a powerful gallop."Destruction of My Soul" shows plenty of thrash influence, you have to guess the most notable one would be Slayer, though some "Master of Puppets" like chugging can also be heard. An impressive bass line leads the way into "Fear the Panic." It has more of a Cro-Mags feel. This works for me since the Cro-Mags are one of my favorite classic hardcore bands. 

The faster punk undercurrent of hardcore takes over on the song "Death of Hope". It does finds it's way into one cool riff, but cool riffs alone does not a good song make, is our mantra here. Things take an odd hip-hop turn for the intro of "The Beauty in the Losses." Jay Peta from Mindforce lends his voice to this one. "A Deeper Struggle" lives more off the increased tempo until the breakdown riff, which is a little true to the formula for the genre. The same can be said for " To Hurt the Most". The last song finds the vocalists from God's Hate and King Nine chiming in. Overall, while they typically play it pretty straight up by the book hardcore, they do it well and care about songwriting as most of the songs have their own identity, and is what you want from a hardcore album, so I will give this a 9.5

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Basement : "WIRED"

 

The band's new album brings a late 90s sound that blends indie rock, pop-tinged hooks, and some post-hardcore grit; the vocals add needed grit to belt it out. I like that you can still hear the punk that is in the DNA of this kind of music that originally merged in the 90s. It takes you back to a time when songwriting mattered, as things evolved from the grunge explosion and began to form their own identity. "Dead Weight" shuffles along with help from a driving bassline that keeps the more indifferent tone of the vocals moving. 

There is a more casual tone to "Broken By Design" that ambles along with less aggression, as the singer finds himself more reflective. They move at a brisk pace for "Pick Up the Pieces," which has a more explosive chorus. Things go in the direction of Failure's more introspective moments for "Embrace." If you want just high-energy songs, it is more of a slow burn, but worthwhile, and it stands as a credit to the band for creating a dynamic album.  Then "Sever" has a more rowdy grunge charge as angst comes to a head. The very raw organic quality of the production lends itself to this kind of rowdiness that they continue on with during "The Way I Feel". 

If you are old enough to remember when this kind of music first dropped on MTV'S "120 Minutes' show before grunge broke big, then it's clear the wheel is not being reinvented here. But you can also confirm that they got the mood right. "Satisfy' finds the hook of the vocal melody taking center stage. There is a more downtrodden sonic shade to "Head Alight." It's not quite a ballad, but something that would have been at home on College Radio in 1993.

They have certainly crafted some memorable songs with not much in the way of filler. "Longshot" comes closer to being a ballad. It has a lazy summer strum. Funny enough, the song about summer that closes the album, "Summer's End," is more of a grunge anthem for 2026's definition of the genre. I will give this album a 9.5 as it certainly captured a time period I am fond of, even if it is not one I revisit the most. Not only did they nail the sound, but they also remembered that songs were much better written back then and rose to the occasion. Being released May 8th on Run For Cover Records. 

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CARNIVORE AD : "Transmutation"

 

I am not sure what is going on here. To be an original member of Carnivore, you have to have been in the band before 2010, when Peter Steele died.  That is even being generous to me, the band was Steele, Piovanetti, and Beato since they played on "Retaliation," which was my favorite album. Even then, I am not counting Keith Alexander. These guys played in bands like Sheer Terror, Crumbsuckers and Whiplash, though at one point in time Beato was connected to this project. These guys captured the feel, and even included some of the goth elements that Steele would later fully embrace in the band we know him for. 

The title track that opens this EP shows these guys understood the assignment. They blends hardcore punk with thrashing. Baron nails the vocals for what Peter was doing during this time, though his bass playing does not match Peter's, yet they get the point across enough for me. While I am not as invested in Carnivore as I am Type O-Negative. I did like Carnivore back in the day, but they just did not age as well. Baron also captures the low spoken vocal feel in his best Peter impersonation. There is more of the melodic side coming out in the guitar on "I Stand Alone" with Baron continuing to pull off the sung vocals well, though that was not as big of a thing as it is being implied here.  In the more hardcore punk blitz of "Social Decomposition," there was a more dominant side of what the band did. 

"Mine is the Hand" shows a pretty accurate blend of the sonic colors the band once employed. It kind of fills the gap from where Peter left off with Carnivore and where he went on "Slow Deep and Hard" though production-wise it is more polished. There seem to be more guitar solos than needed, but it is not a deal breaker. I will give this a 9 and see how it grows on. Baron has to have put himself on the map for the reunion shows Kenny Hickey was talking about. If you are a fan of Carnivore, it will convincingly stratch the itch. 

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Monolord : "Neverending"

Sweden's doom merchants rumble out of the gates with a bigger sound this time around. Though each album has found them progressing into a more melodic direction, "You Bastard" finds the rumble picking up into a more sinewy groove. The tenor vocals similarly drift over things as Ozzy once did without being a flagrant influence. They jam out a bit on the guitar solo, which works well. Things do not get darker until "Inside a Collider," which does have a more mournful doom feel. These guys have, in the past, skated the lines between sludge, doom, and stoner metal, and at times, you could point your finger in all three of those directions on the first three songs. It jsut feels likea more intentional step in a doomier direction here. 

"Crystal Bridge" is more melodic; it's moody with a melancholic edge, but it works for me. 'Oozing Wound' is more of a sludgy, fuzzed-out jam. The smooth, haunting flow of the vocals is what keeps it from falling solidly in the sludge direction. In fact, when they come in, things get moodier. This is excellent songwriting, some of the band's best. It's the wandering guitar solo that takes things in the jam-ward way." The Masque is the first song that has a more classic metal feel. This is also coupled with a more rock n roll chorus. More Blue Oyster Cult than Black Sabbath. 

This is also the first album where I have really heard the Sabbath influence that dominates so many stoner/ doom bands come out in these guys. More traditional doom unfolds with "Invisible". The last song finds things taking a dramatic change as Entombed bassist Jorgen Sandstrom takes over on vocals to create more of a death doom sound, which is not what you expect stepping into one of this band's albums. Though they do not go the traditional way with this, at eight and a half minutes, there are plenty of twists and turns. Overall, I like the direction they were heading on this album; the last song is a little out of character, but it retains enough of their sound. I will give it a 9.5. Dropping May 29th on Relapse Records. 

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Julez and the Rollerz : " Dirty Little Rock N Roller"

 

Yes, this is the band with the super-hot drummer. They also happen to write decent songs and are more rock than expected. Going into this, I expected something more like the Beaches. It's more power-pop than the shake your booty kinda of pop you hear on the radio. First off, these gals are playing real instruments and are more like a less punk version of the Runaways. If you think that means the Donnas, less 80s than them. There is also an angular quirkiness that you can hear in songs like "Phaser."They are also more upbeat than most punk. They do not hang onthe same chords nor try to overpower you with an anthemic bop. One of their strengths is that they pretty much just sound like themselves. 

"I Don't Know You" is pretty hooky without being today's definition of pop. Very melodic and memorable guitar playing. Their singer has control of her voice and employs very nuanced phrashing. "Call Me Up" has more swagger in its step. Similar vocal approach to the previous song. There is a slight 70s glam feel to how it struts. It is obvious they invested a great deal of time listening to rock radio growing up, as they capture the larger-than-life feel of it. "Bring it On" is the first song that comes clsoe to hard rock, and then it's balanced out by the synths. 

Things go in a more melodic direction for "Always Hard 4 U" which finds their singer really belting out in spots. I guess this one brings Veruca Salt to mind when all the elements are taken into consideration. I would not call any of their music dark, but the moodiest song is "Take it Back" which closes the album. I will give this album a 9 and see how it grows on me, it's a solid preformance and writing from these girls, look forward to hearing where they go from here. Fans of anthemic rock from the late 70s, early 80s will dig this for sure. 

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𝗧𝗿𝗮𝗶𝗻𝗳𝗮𝗻𝘁𝗼𝗺𝗲 : "𝘾𝙤𝙣𝙨𝙩𝙖𝙣𝙩 𝙁𝙖𝙧𝙚𝙬𝙚𝙡𝙡𝙨"

 

This band from France plays a 90s-influenced take on burly indie rock. Sonically,, it finds its place between shoegaze acts like the Catherine Wheel, and post-hardcore/alternative acts along the lines of Failure and Hum. Plaintive vocal weave over the fuzzed-out bass lines, and angular guitar jangle that intersects on the opening track "Avoider". I went into this knowing nothing about the band, but the first song works well enough for me to stick around and listen to more. "Desire Path" has a more Cure-like path, and vocals are sung with a breathy emotion behind them. The moodier vibes work for me here. Almost predictably,, they stomp on their distortion pedals. They have both dynamics and melody in play,, so that is half the battle. 

The woozy guitar effects you expect from shoe-gaze surface going into "Here the Mermaids Play". There are more nuanced guitar licks than what you normally get from this sort of thing, which helps set them apart. "Rituals" has more momentum as the drums give it more drive. There is also an underlying aggression to the riff's attack. Things begin to find a more grungy jangle on "Silhouettes". There is a more morose mood here that works for me more than even the previous song. The vocals are oddly dry for a great deal of the album,, though the production tricks on them here work well. There is more of a slacker strum to "Red Herring". The vocals come in softer, electronic elements ate introduced, as you might begin to suspect the sessions for this album might not have been as organic as the albums from the 90s. It's a weird turn for the album.

"Skins Make One" is another turn in a more shoegazing direction. The almost whispered vocals slowly drift to the front of the mix.  The guitar tones that create the wall of sound lead you into an impressive. It works off a similar formula to what Deftones use these days. "Bleeding at the Door' has more of  indie rock feel, but coming from a more post-hardcore place. They ebb back down into sheogaze for "Origami", and by this point I am beginning to feel like their ppst-hardcore leaning songs are more original as this is a little more in Deftones zip-code again. The last song 'My Lips Taste Like the Ocean" rides the line between the two genre's , Overall this album is an impressive display of these 90s sounds being fused into songs that would have worked then and still resonate today. I will give this a 9.5.

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DOODSWENS : "S/T"

 

The reason I do what I do is that you can not trust the mainstream metal press. They pander to record labels, which are often subsidiaries of larger media conglomerates with agendas to which they are beholden.  Svart Records is just owned by two Finnish dudes, so they are not suspects. But they can see where certain trends in music are heading and would want to flow with the current. This Dutch "band" is helmed by a girl who calls herself I. She represents in many ways what the press wants for the problematic genre of black metal. To dull the masculine aggression by diluting it, so they are hailing this as a masterpiece. Which is where I come in to answer the question of whether it is or not? 

The first track sounds well-produced, so they are not going for a raw feel here. But it's not all that original it could be someone covering newer Mayhem, well maybe not their most recent album, but their output from the past ten years. The second song is more rabid, also nothing that original. I don't really get interested until some of the songwriting nuance to "The Black Flame" catches my ear with its darker throb. Her vocal apporach remains pretty one-dimensional; not only is she the vocalist, but she also plays drums, which would be a challenge live. Perhaps that is why there are not many shifts of direction once they lock in, allowing things to drone on/. When dragged out for six minutes, it can begin to lose me. 

While I like Myrkur, this is more legit black metal than what she does, as her strength lies in other areas. I also appreciate that this is dark enough to convince me she is coming from a real place, even if the wheel is not being reinvented here. The throb of "These Wounds Never Heal" is more intentional. Her articulation is inconsistent, and the lyrics emerge more clearly in some songs than others.  While things vary from song to so far the first half of the album is dynamically flat. Though there are not a ton of blast beats, the tremolo-picked guitars are pretty color-by-numbers. The first thing they do to switch it up is to give a little more atmosphere going into "She Carries the Curse". The drumming slows things down, and the vocals are more muffled in the mix.  It just sounds like random screaming following the path the guitar left for it. 

"Devils Stone" sounds like if you ordered Watain from Temu. It borrows the feel of their dramatic march. The album looses it's steam in the third act for sure as the last song feels like an extension of the previous song with a little more chaos in the mix. I will give this album an 8, so there are lots of black metal band bands putting out garbage that this is better than. But while well executed it's not the most original thing I've heard. If you want gritty black metal that still sounds good then this is worth your time.

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Nine Inch Noize : "s/t"

 

Nine Inch Noize is a collaborative album between producer Alex Ridha, aka Boys Noize, and Nine Inch Nails, which is now basically just Reznor and Atticus Ross.  If you are looking for big arena-rock riffs, that is not happening, as the songs reimagined here are strictly electronic. That's not to say the synths don't have heft, and Reznor's voice roots it in the sound you expect from him. The track listing replicates their Coachella set list. 

 Mariqueen Maandig, who sings for How to Destroy Angels, also lends her voice to this project, which is first heard on "She's Gone Away". The shake the booty of "Heresy" from "the Downward Spiral". This makes it have more in common with the songs from "Pretty Hate Machine", an album they leave untouched here. It would be kind of redundant, so that is understandable. They also rework."Parasite" by How to Destroy Angels, not a cover since Maandig is involved in this project. It gets a hyper-synth wave injection, giving it more amped up drive.

"Copy of a " from "Hesitation Marks' is a dance remix that works well for what it is. This also proves the point that a good song is going to be a good song no matter what context it is presented in. "Me, I'm Not" starts off with what you think is a live recording, but it's not, though the live sounds crop up throughout the album; it's about as live as the fourth side of "Kiss Alive 2." The pumping beats continue to flow through "Me I'm Not". They continue to lean heavily on "Year Zero", which works for me as I thought it was an underrated album, and the dystopian themes are more timely. 

The only actual live track might be "Closer." It deviates less from the original than most of the songs here. The only major change is less crunch when they dig into the chorus. In fact, it feels like guitars have been intentionally removed from this album. I had to give a second listen to this version of "The Warning " to connect with me. I think I prefer the original. The only real cover here is their take on Soft Cell's "Memorabilia." This was originally a B-side to the "Closer" single. It was not the best song to begin with, but what they do works well enough here. 

"Came Back Haunted" has more grit to the bass line in this version. It drones more on the verses as the sonic throbbing pulses. Here is a song that was born for this kind of treatment. This is actually the first time I have given the song "Alive as You Need Me to Be" a solid listen, as I pretty much disregarded the Tron Ares Soundtrack. Here, it has more of a live sound until the vocals come in. It's a pretty solid song. The fact that they did not re-work a Boys Noize song tells me everything I need to know, and I'm guessing he was just twiddling knods alongside everyone else, as they are only credited with production and mixing. But as a remix album, this works. I will give it a 9.5  

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Gozu : "GOZU VI"

 This band's 2023 album made our top 10  Stoner Rock albums for 2023. There is less of a grunge haze this time around and more of a Queens of the Stone Age-like precision, which is not shocking considering the genre they find themselves in. There is a more deliberate metal chug in places on the opener that works well for the soulful vocals to belt it out over. "Midnight Express" carries a much more deliberate doomy stomp. The more Alice in Chains-like vocal returns on this song. I like that it is darker than the opening track. 

The guitars in "Killer Khan" are even more aggressive as the album continues to move in a heavier direction. Seems like there are some subtle and not-so-subtle references to wrestling, "Corner Lariat" being one of them. Funny enough, it's a more melodic, less aggressive song. It feels like what some of the metal bands were doing in the mid-90s as the grunge era waned. The more uptempo "Banacek" is the first song that feels more like filler to me. The vocal melodies feel more obligatory half the time. The one-half time riff is cool, but "cool riffs does not a song make" is the rule here. 

The more blues-glazed "They Did Know Karate" sounds more like what I want from these guys. There is a touch of doom to it without being Black Sabbath worship. That said, there is a slight hint of "Children of the Grave" to "Gimme the Lute", though it also shares some sonic space with Corrosion of Conformity." Corvette Summer" closes the album with a more blatant metal gallop. The verse riff reminds me of Mercyful Fate. This is a fun album, and these guys continue to perfect what they do. I will give it a 9.5 and see how it grows on me.Being released on Metal Blade Records May 15th.

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The Last Ten Seconds of Life : " the Dead Ones"

 

I am very picky when it comes to deathcore. This band hooked me in after the first three songs with their knack for groove, and the vocals have amore of a purpose than just random gurgling.  One thing I like about this album is that it is fucking dark. There is a great creep to the riff of "Freak Reflection". Some vocals that are almost sung. At times, there have been some parts that were not far removed from Slipknot's heavier moments. I can see where this might turn off someone just looking for the heaviest shit ever, but these guys are taking heaviness to the limit while making music that still has memorable songs and hooks, which is key over just capturing a heavy sound. 

There is more of a death metal feel to "1-800-Do You Want to Die." It's the breakdown accents that bring the hardcore part of the equation. It's impressive that for something this heavy, it's still catchy. The flourishes of double bass are impressive. "Stiletto" is more deliberate with more of a Morbid Angel crunch that is contrasted by the almost rapped cadance of the vocals in places. "Stereo" finds a more Pantera-like riff, bringing the momentum, until the vocals come in. The vocals are articulated enough to understand the lyrics. The chorus of this song is almost sun, showing they use a dynamic approach to even this style of vocal. The more melodic break two minutes in is also unexpected.

"Dollar to Dime" carries more attitude in its energy. Though I'm not sure this song is as solid as what we have heard up to this point, or perhaps I am now getting used to it, as most of the same elements are in play. Vocally, the toy with the pig squeal gurgle a bit, as well as some bellowing singing. It makes sense that they would kick "CorruptConcerto" off with some guitar shredding. It is not as catchy as the rest of the album. Guess this is more for the kids to karate kick to. The last song is more deliberate with a steady chug setting the stage. Lyrically, they are talking about the world being their's and something about pussy boys.Overall this album is excellent I am giving it a 9.5, and seeing how it grows on me if you like nu-metal on the heavier side or death-core then this album is a must. Released on Metal Blade.

9.8

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Slipknot : " Look Outside Your Window"

 This is Slipknot, so I am not going to call it anything else. It was recorded during the sessions for "All Hope is Gone," and the band is finally giving it a proper release, even though they are trying to distance it from their discography in this odd manner, because well... it's not metal. The first song is Corey Taylor in a soft, emotive mutter over a more ambient industrial drone; things don't get into solid song territory until "Moth," which is like a 90s alt rock ballad that borders on being trip-hop. It's much more experimental than what they normally do.

 I think they should have worked these songs into what they did on "All Hope is Gone." It would have made for a more interesting album. Corey finally belts it out on this one. Darker than what he does with Stone Sour, it does allow him to open up and sing more. "Dirge" is more industrial, but the Filter/ Godlivesunderwater side of the genre. I can also hear some Faith No More in the verses. "Is Real" is more aggressive, but in a rock fashion rather than metal. It takes a few turns and works well. "Away" is not far removed from it, though compositionally more straightforward, but with a weirder mix. "In Reverse" benefits from a strong chorus, which pushes it over despite the verses being less focused. Then  "Toad" is more of a ballad with some strong vocal harmonies. 

"Juliaette" feels more like an A Perfect Circle song, as it builds tension more gradually. This album has allowed you to not only hear them in a more melodic place but breaking from their normal songwriting formula. Corey Taylor has always said Layne Staley was a huge influence on him, and "U Can't Stop This" is the first song where I hear this. Overall, I think I have let my thoughts be known on this album. I think it's different than what fans expect, but not a drastic departure, just lacking the bombastic drumming and metal guitar tones. I appreciate that they are capable of this and these are decent songs in their own right. I will give this one a 9.5. 

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The Cruel Intentions : "All Hail Hypocrisy"

 

The Vains of Jenna helped lead the Scandinavian hair-metal revival. Lizzy DeVine continues what he started there with this band. It's not my first rodeo with these guys. Their previous album, "Venomous Anonymous," scored a 9, which earned them a spot on our Top 10 Rock Albums of 2022. This time around, they have continued to refine their hair-raising brand of arena rock. With big choruses, but not totally weighed down by nostalgia for the 80s. Some riffs hold a more modern rock heft, and there is even a touch of pop on the title track. The one thing the songs seem to have in common is that they are well-written.

I like the more nuanced strum of "Wasteland". Lizzy's rasp is less AC/DC these days. In some ways, it still reminds me a little of Taime Downe from Faster Pussycat. To be titled "When Eden Burns," it sounds pretty happy. Lyrically, it's alright though. There is amore of a metal feel going into "Pseudo Genius." Despite the drums providing more drive, the mood is too anthemic and upbeat for my personal tastes in this sort of thing. They maintain a high-energy attack on "Bad Addiction," but it's marginally darker, which is enough to win me over. I'm pretty easy to please, even with the big chorus. 

"Porridge Head" is more melodic, and while it works it seems like they are following more of a formula on this album, which brings a more pop-punk feel to the choruses. Though I am sure bands like Cheap Trick played into the early influence of pop punk. They nail the 80s feel to the guitar solos if that is what you are itching for. "Whatcha Gonna Do" has a more aggressive attitude, which the album needs. Though it does ebb back down to give the vocals room on the verses, that works. The chorus is not as happy as the previous song, so that works for me. There is a little more tension in the guitar to "Cashed Out," which closes the album. I will give this album a 9.5, as it bridges pop-punk with hair-metal in a way that brings more relevance to both genres; it's a great-sounding album, and nobody else is doing this sort of thing this well these days. Drops May 29th. 

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Elder : "Through Zero"

 This band's progression has seen them move from being an indie stoner rock band that increased the levels of psychedelia, until they wandered away from anything resembling the Black Sabbath-worshipping genre they came from. If you see this album being referred to as anything but prog, do not trust the source. The vocal production got the most attention to detail this time around, and it paid off. There are guitar solos that sweep into what is an otherwise mesmerizing throb. Though there is nothing doom-related to it. So, here is hoping their fan base grew with them. 

The second song finds them indulging in more Rush-like acrobatics. Synths and effects color the ambiance of the song. This feels a little more along the line of what you expect from a prog band in 2026, where the opening track held a little more of their signature sound, even if it was further down the evolutionary chain. There is more rock to the winding riffs of "Through Zero." The dynamic ebb and flow of the verses works well, as do the effects on the vocals that create a vibe that brings Yes to mind. They bring more of a chill indie rock vibe going into "Strata."  The vocals also reflect this with more of a subtle indifference rather than belting it out. The more powerful dynamic shift feels more along the lines of Porcupine Tree here. Despite really digging the riff they lock into at the eight-minute mark, some of the rock elements feel predictable. 

The instrumental "Sight Unseen" cruises over a space-age groove. More electronic in the synth sounds than the "Obscured By Clouds" era Pink Floyd, but that is the album it brings to mind. While it feels like a sprawling labyrinth of turning synth sounds, it's under nine minutes long. On the last song, they are back to a more mellow brand of indie rock, with some tension drifting under the surface.  The production of this album is the most mainstream yet, but they don't have the same kind of "Tom Sawyer" hooks that made Rush a household name, so it's not a sellout from their fans' perspective. I will give it a 9, as it's well done for what it is.Out May 29th  

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Requiem in White : "the Visible Heaven"

 This duo is picking up where they left off. According to Doc Hammer, the intention of going into the studio to make the album they wanted to make back in 1994 was very intentional. This time, they are getting it right, with well-layered vocals that recreate a more grandiose sound than they once attempted with fewer tools at their disposal. It seems to pay off for them. While it is easier for musicians to hear past rough recordings to hear the song's potential, it is fitting for them to bring their sound into 2026, as goth is more visible online. 

"Cold or Divine" grips my ears the tightest as the bass line gives it more groove while balancing out the ethereal vocal layers. "Missa Brevis" finds the operatic layers of vocals creating a more grandiose feel, with the guitar punches managing to balance it out. "Solus Sum" is darker with a more brooding bass line helping to get them there. The vocal colors are bright on this album, leaving the instrumentation to hold down the shadowy end of things. The chorus pops with a more nathemic melody to counter this. But it is dynamic songwriting that works for me. 

The more exotic chord progression to "Suffer and Sleep" creates a more Siouxsie and the Banshees-like feel in the more belly dancing writhing of the tempo. The bass line drones while adding more rock heft. I had to listen to the last song a second time in order for it to connect with me. It works off the mood created in the previous song with a vocal melody that is more syncopated in the verses. I will give this album a 9, and see how it grows on me as it could be a tad darker for my tastes, but I respect what they came back to do here, and fans of ethereal goth should check this one out for sure. 

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