Bestial Mouths : "Dead Lines"

 

When it comes to post-90s goth artists, these guys are one of my favorites. They have appeared on both our yearly Top 10 Industrial Albums and 10 Top 10 Goth albums lists, always scoring in the top 5. This album seems to lean more in the darkwave direction, with Lynette's vocals creating lush, evocative melodies that flow over the sometimes more apocalyptic crunch of the beats . I can hear where this might be mistaken for industrial, but it's just aggressive darkwave. With the first hints of Halloween starting to show up on shelves, this is a welcome soundtrack.

The groove of "SILK" anchors the vocals, and it all balances perfectly. There is a hint of Siouxsie influence that merges in a more obvious manner than what I recall from their previous work. I have always preached that darkness is heavy, and this album might not prove that as well as their last album, but it is still relevant to the sonic scope that unfolds here. There is enough sklink to its stomp that might find forward-thinking goth DJs working these songs into their sets. One day I will drag my laptop to a club and make this point, so make some noise in the comments if that is something you would like to hear. 

"Deadening" opens with a sample that casts a more political shade on the theme. This is more on the industrial side of things, as politics is not something that defines goth, and industrial being too adjacent to goth also blurs the lines in this regard. This is also one of the more dance floor ready pulses of the album so far. "Garras" finds the vocals being used more as an instrument against the beat, which is an interesting approach. "Shuttered" has a darker ambiance to it. The slow burn lingers with the beat swelling its pulse until midway in. More of a hypnotic dirge than a dancefloor banger. "Choke" closes the album with more tension ebbing forward. I will give this album a 10 as all the songs pretty much instantly clicked for me andd it is what I wnat from dark music. Making this album a must for goth fans in 2026 This album comes out September 4th on Negative Grain.

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Purest Form : "Resistance"

While I like what this duo is doing with their aggressive approach to the more electronic side of industrial music, since I am such a big fan of Youth Code, it's hard not to draw comparisons, particularly when she is using her angrier vocal tone. The breakbeat in the second song helps break away from this a little longer when she uses the more purred vocal tone. They also have used more guitar on the first and third songs, respectively, than I have heard Youth Code employ in their entire discography. 

They start raving til dawn with a more techno feel to "MOVE". The vocals have a snotty punk attitude, and guitar surfaces midway into the song before she drops down into lower spoken vocal. This is more unique to what they do, and I think the more they experiment, the better, as if it solidifies their identity. I had to listen to "Bass Resistance" before it clicked enough for me to pay attention, and when it did it reminded me more of the Prodigy. Not as memorable as the first four songs.

A cover of Prodigy's "Breath" closes the album, which kind of clashes with my rule of not covering a band that is clearly one of our influences., They do nail it and add some of their own sonic touches while being true to the 90s sound. There is something unique to the synth sounds employed here. I guess there is a gap to be filled when it comes to this sort of thing, as they are not as heavy as Youth Code, so they might have a different audience. I will give this one a 9.5 andd see how it grows on me. It drops on Dias Records September 4th.

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Dreamwell : "Hymns For The Denial Of God"

 

Thi band beat out Sanguisugabogg in 2023 to claim the number one spot on the Top 10 Extreme Metal albums list, thus earning a spot on that year's Top 10 Metal Albums list, making expectations high for this album..Unless the title track is an anomaly, they are less extreme this time around, and leaning into the more screamo side of what they do. With grooving riffs and lyrics that are speculating about religion. There is a hint of nu-metal in the riffing, but that was always a thing in metalcore. "Sissy Haat Machine" is a little more straightforward.

A cool bass line leads the way into the darker "The Anti-Christ's Testimony". The riff is also more memorable than the previous song's. They have an angular style that balances melody with dissonance. Their drummer is pretty impressive, throwing in double bass in tasteful little spots rather than hitting you with a full-on assault and numbing you out. The screamo feel is dialed up for a "Crisis of Realization". The sung hook is even more emo than anything we have heard from them before. The proggy tension of "Apostates and Gentiles" works really well.

"Plath vs Kafka Vs Romance" is lyrically the intersting so far; the sung vocals are less 90s emo. There's a hardcore punch that puts them more in league with Dillenger Escape Plan. I like the more melodic moments of "I Dreamt I Survived an Extinction Event".The more screamed sections work as well, in this context. I am obviously not opposed to harsh vocals done right  'Carrion Birds on the Ark" has a great breakdown toward the end, but some moments are not as memorable. It balances out to be decent enough to not feel like filler. Aside from the opening track, they keep all the songs at a compact three-minute range, which is impressive considering what they pack into them,

They close the album with the marginally darker "Cherub Rock of Gibraltar". It has a cool creeping feel. Despite the slight shift in intensity that makes it more progressive screamo than the more intense feel of the previous album, the concept here is intriguing and will likely make me come back and dig into this one for deeper listens. Sure it's a little more accessible in some way, but more challenging lyrically, so I will give this a 9.5, putting it on par with the previous album. It drops August 28th on Prosthetic Records 

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Showing Teeth : " A Fate Worse Than Loneliness"

 This is a solo artist who works with session musicians. This would not be odd if it were a pop artist, but instead it's a commentary on where the genre is heading. She has a very specific vocals paproach that is not broken up with clean sining until the second song. Her clean vocals are the kind of smooth pop hook that we now expect from the pop-focused corner of the genre that is spreading the fastest; you can hear Spiritbox influence in this but without the same scope of songwriting. My first thought was this was being done by AI, as it takes a middle-of-the-road approach even at its angriest. 

"Make It Out" employs more groove. The pop vocals lead the way here; the chorus is not as explosive, and the song itself backs away from the metallic approach until midway in and then it feels predictable. She has a decent voice but is not Courtney.  Laplante has a more defined personality. Once we get to 'Rip," things take more ofa turn toward generic. There is a more technical aspect to the riffs bringing the chaos to this one that jerks you around a bit. 

"Shallow Grave" finds the screaming and chugging back in place.     It really does feel heavy or hooky at this time as it follows the formula KillSwitch Engage laid out over 20 years ago. "Paradigm' closes the album out. It's a ballad that finds you waiting for the other shoe to drop, because you know it will, as it's basically a power ballad. A pop beat comes in to keep it moving before the guitar comes in.  Like Nostradamus, my prophecy comes true, and the harsh vocals come in before the song ends. This drops on Spinefarm September  4th, and I am sure she will be hitting the big rock fest circuit stages. I will give ths album a 8.5, as it is effective at what it does. 

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Taake : "En skog av nidstang"

 

This is the Norwegian project's 9th album. It finds Hoest continuing to perfect his take on the country bision of black metal with chilling riffing employed in a somewhat jarringly dissonant fashion on the opening track. I have not paid attention to the lyrics, which are normally screamed in a fairly incomprehensible manner. It seems to be nature based mytholgy draped in metaphor.  The second song has an equally intense static build of tremolo-picked guitars that plays it closer to the traditional expectations of the genre. The drums are largely buried in the mix. 

Drummer Rune has played with him for seven years, making him familar with the chaos this music tends to unfurl.  This one carries more drone than the opening track. The bu blurs into the background as the rabid picking falls into a wave of sound. More straightforward than what I expect from this project who has often thought out side the box to create more memorable black metal in the past. "Engler" finds more purpose in the drums slowing down and building a more epic nood. The drummer provides the space needed to do so. The scathing scowl of the vocals feels more uniform on this album. At the four-minute mark, I am surprised that I still have five minutes to go as I can not fathom how that is going to happen given what the song has become.The song deconstructs and builds back into some thing more tortured heading into the six minute mark.

The last song opens with a eeire guitar line before going into what I think of as the triumphant black metal gallop, though there is a darker slant this time around, This album feels like it carriesa rawer edge. production wise.With this comesa more traditional black metal feel.At two minutes in things break down for more melodic speculation to create more of the experimental feel.Certainly a better choice than more blast beats and adding more nuance to the album without backing down from it's confrontational nature. I will give this album a 9, it holds up against this porjects body of work and gives black metal fans what they want in a manner that's more than the status quo for the genre.

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Russian Circles : "Nine"

 As a singer, it's hard to sell me on instrumental bands, but there are a few exceptions, this band being one. Melodic guitar playing and a bit of a metallic drive make them more memorable. I think Pelican was the first band I was introduced to doing this sort of thing, though I was already a fan of Mogwai; those guys were more atmospheric drug music. Russian Circles blends both worlds. Some albums have been heavier than others; some found them almost wanting to lean in a black metal direction, when if they had a burly lumberjack barking in the background, they would be a sludge band. The hammering of the second song, "Empath," lends weight to this theory. The dense guitar sound creates a sonic wall that closes in on you.

At eight and a half minutes, 'Eluvial' leans more toward their atmospheric side, which is more typical of the post-rock genre. But it is kept balanced here and still makes for an effective listen that hooks you in without the benefit of vocal hooks. There is a similar vibe later on with "Meridian," though that one is a little more brooding and melancholic. 'E2" has some cool electronic sounds in its pulse, which finds the band mixing it enough to keep you interested. The only time they drone is on "Meridian" 

The last song ends with more of a heavy crunch; the only issue with this is that when I just left it playing, the stream started back on the first song, and I could not tell that it had changed songs which for me as a red flag that the songs sound the same; granted, when it comes to instrumental music, this is one of the more common problems, there were only a couple moments where I felt like they were doing something new, but when they do what they do they do it well, so fans might just have asound they want more than soungs, They are skilled at this and made the album they sought to make so I will give it a 9.5. Not sure how many times I will revisit this album, but post-rock fans should make it required listening.Drops August 28th on Sargent House. 

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Kulk : "Choosing to Die"

 

This British band thinks of itself as doom; well, perhaps their record label wants to market them as such, as they are on Church Records, but what I am hearing is noise rock. Noise rock is having its biggest moment yet, and I think the new Chat Pile will elevate it to larger stages, so this is not the time to try to jump off that bandwagon for one that has a more settled niche. Feedback squeals and the vocals are shouted as they continue to bang on their instruments into the third song, so the first three songs run together. Granted, the minute and a half "We're Worried About You " is the song that gets lost in the shuffle as the lines are blurred as to whether it is the outro for the opening or the intro for "Being Forgotten" .

I wonder what these recording sessions were like, as it seems like msot are trying to noisegate the feedback where these two want it erupting from every chord and corner of the song. This is carried to extremes on "Collapse".  The first darker, more melodic moment is on "For Blood" , though there are still some explosive riffs that take over. 'To Take Life" finds the grooving on a pound that meets somewhere between "Filth Pig" era Ministry and early Helmet. It's more deliberate, making it one of the album's best songs so far.

"The Saddest Holiday" is not far from what they were doing in the previous song. "Ache" is more like early Swans in its bleak pulse. The vocals are barked with a similar anger. It has a more droning nature to it than the other songs. The last track is just ambient noise. I will give this album an 8, now remaking the feel here, but they do have an interesting love of feedback; they get the job done. Sure, fans of heavier noise rock like Karp should find much to love here. This album drops August 28th.

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Unteachers : "Under Bright Sadness"

 The dark, sludgey crunch these guys open their album with sets the expectations high, andd aside from the sheer weight of what they are doing, I am not sure they can write a song yet. This is leading me to believe this album is going to have a very Ministry-like sound. The second song finds them letting up on the distortion and allowing a tense groove to flourish, with sung vocals chiming in. It brings Dredg to mind. They drone on this groove as the vocals keep things moving while the band holds static. In the upper register, the vocals are pitchy, and the chorus does not soar as intended. This makes me think they might be the msot popular band at the bar in their zipcode but I am not sure it's going to allow them to stand shoulder to shoulder with my bands like Tool or Opeth Which that level of professionalism in your respective genre is what I am looking for here.

They continue down a more Tool-like vision of prog for 'Housholds of a Cosmic War". Which might be too ambitious for them. The hooky chorus and production are where they seem to be struggling the most. The tenor vocals employed here do not carry the kind of aggression that would sell me on this. "Song of Seven Pillars" confirms a distinct lack of conceptual continuity, resulting a band that throws different things at the wall to see what sticks; this more punk attempt is not it. "Devils Blessed by the Rising Sun" does not help their case in this regard, though it is better than the previous song.

"Last Rites for Lesser Magick" has a much better riff empowering it. Though the vocals come in and ruin it, along with the drummer speeding up. 'The Orb was Only Dist" is less amateurish and flows better; this is the direction they need to lean into. I'm going to go ahead and say the last song does not need to be 11 minutes long, even though at the time I am typing this sentence I am only a minute in. I'm basing this on all the choices they have made leading up to this point. They drag the first part out for four minutes nad then build it into a heavier riff. I was right; it becomes ponderous. I will give this album a 6.5; they just need to keep refining what they do in a manner that clicks best for them, but to impress me with one or two songs is better than hundreds of bands do.

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Ceremony : "Tell Me Your Dream"

 The two released after "Zoo" only received an 8.5 from here, as they veered off too far in a post-punk direction and lacked the punk side of that equation. Two songs into their new album, and it feels like they have returned to a more punk side of their past, which is a welcome return. They have never played it safe by being a by-the-books punk band, but punk is one genre that should throw whatever books are defining it out the window, making it more about the attitude. That said, they are done experimenting, as there is a funky groove and synths in "Madness" which still manges to retain its attitude and is a well-written song.I suppose it's done in a similar context as what Gang of Four used to do. 

There is more of a rough jangle to "Dark Summer". The vocals are more melodic, but feel true to who they are. "Deep Down Where I Belong" has a punk heart to it but the sound gathered to convey this has an earlier New York post-punk feel. It is the most experimental song thus far. They still manage to keep up their momentum. 'Antenna" benefits from a great bass tone. "Justify' feels like they are comfortably occupying the space that Fugazi used to occupy. It's a space that needs feeling, so I certainly don't mind

"Death Destruction Mayhem" works off renewed punk energy that complements the tension of the palm-muted guitar.'10 Planets" finds them back grooving in a clanging Fugazi-like place that carries the needed urgency. Oddly, they close the album with one of the most melodic moments as "Paradise" finds the vocals pulling most of the weight. For a riff to send a song hypnotically drifting is an oddity for punk bands who are not the Cure. Overall everythinig falls right into place this time around and they pick up where they left off with "Zoo" making this one of the years bet punk album's so far .Iwill give it a 10 This album drops August 7th on Relapse Records.

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Brocarde : "GOOD ATTENDANCE AT SUNDAY SCHOOL"

 

The first song leads you to believe this is going to be a concept album about her life, starting from birth in the opening track. This is a very theatrical presentation, and while it holds similar sonic elements to the gothier side of nu-metal, what she is doing is surprisingly original. She shrieks and squeaks, along with uttering a convincing, harsher scream. Perhaps if Raptuina were a black metal band that gave up their cellos for guitars, the result might be similar. "Feed My Soul" features Korn drummer Ray Luzier, who bangs on the kit in a manner true to who he is. This song follows closer to the nu-metal playbook.

While I get where she is going lyrically, the phrashing at times in "Last Supper" feels a little forced when it comes to the vocals smoothly blending with the riffs. With a title like "Haunted' you would think the song would feel more haunting, but instead it follows a variation of the formula that unravelled in the previous song, and we continue to encounter awkward vocal phrashing like she is trying to cram too many lyrics into the verses. "Pandora's Box' is color-by-numbers nu-metal. "Seven Sins" flows better than the bulk of the album despite the temper tantrum going into the chorus. It does show the potential that is here, and how she is capable of getting the vocals dialed in. 

The chorus to "FEMINIST" is ok, but the riffs are straight out of the late 90s radio rock slush pile. It is, however, better than the last song, 'Blank Pages, ' which sounds like it's out of a Disney musical. Sure, it builds up likea power ballad at the end, but the power chords are not a huge improvement. She does prove she can actually sing, but writing a song is hit or miss here, though the concept and vision are better than msot so I will give this a 7. 

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Kacey Musgraves : " Middle of Nowhere"

 

She opens the album with a two-step back into country and further from pop. I've heard the singles leading up to this album, so I know it's not going to be a straight-up country album, nor would I want it to be. Though if you have not seen her covering "Coalminer's Daughter" at the Country Music Awards, you should if there are any doubts as to her being a legit country artist. Speaking of singles on "Dry Spell she uses pop smarts in the vocal arrangements while sticking clsoer to country; lyrically, some of her smartest innuendos flourish in this song. 

"Back on the Wagon" has a Conway Twitty-like introspective feel, as she makes apologies for an alcoholic in the lyrics.  "I Believe in Ghosts" is the first song that really feels it could have been on the last album, though it does carry a comfortable level of organic twang."Abilene" has more groove to it; it's pop only if you mean the pre-disco pop of the early 70s.  The production of this album is immaculate. "Coyote" finds Gregory Isakov of "Big Black Car' fame lending his voice. The song works but does not grab me as hard as the first five.

"Lonelist Girl" sort of crosses over in the minimal beat that keeps things moving. Billy Strings joins her for "Everybody Wants to be a Cowboy". It's more of a melancholic sound than what I expect from him, and the guitar solo he plays is rather subtle. "Horses and Divorces" finds Miranda Lambert dueting with her, wehre the other singers have been relegated back to harmony vocals. It's an old school country drinking song.   "Uncertain Tx' works not as original as "Rhinestoned," but I am sure she has always wanted Willie Nelson on an album nad at 83 his appearance is understated and low in the mix. 

I have already heard 'Mexico Honey" and seen the video where she is shaking it in the pink shorts she sings about here. This is everything you could want from her as she brings the smarts of pop hooks combining with legit country instrumentation. This song has dreamy ebb and flow to it. 'Hell On Me" closes the album. It's a more introspective ballad. She takes the melody in less obvious places. I will go ahead and round this up to a 10. At this rate, I might have to rate a seperate country end-of-year list, as I am curious how this album would stack up against the new Chelsea Wolfe. Regardless Kacey has created a smart sexy country album that stands on it's own. 

Thanks for reading, give a listen to the song below, and  please "like" and share on social media to give music a voice 

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Charli XCX : "Music, Fashion, Film"

She is wise not to take her Brat Girl Summer head-on. She eluded it on the "Wuthering Heights" soundtrack. Now she knows it's time to step up and see where it goes. Of course there have to be guitars on a song called " Rock Music". It feels like she is pivoting from hyper-pop and has an eye on what Oliva Rodrigo is doing. She knows what she is doing, and the stakes could not be higher for her. The first two songs have not been a Brat-sized banger, but are solid songs, more of a bop, as the kids would say. Then things get weird.

Weird in the best way for "Card Declined," that comes across like some oddball indie rock from the late 90s. This album is really well produced, but it is not big and in your face like her last two. There is more of an indie rock strum to "Camera' that works off a jangle that is remixed. These are good songs; they are just not going to be what you expect or knew you wanted from her. It feels like a change she had to make to not recycle herself creatively. '2007" is another weird one that grows on me, with its danced-out jangle.

"I'm Afraid" and "Yeah" feel like companion pieces, working off the energy in a subtle way that underlines the genius of this album. "Wink Wink" feels like a more organic 90s inspired version of what you might expect from her. "Persona" has an overdriven bass line and woozy shoegaze-like guitars. It's got more pop hooks than the bulk of the record. "Magic Metal Montana" is experimental but works in the context presented well. It is fitting that David Croenberg's voice is used on the last song, as this sums up what kind of pop album this is. If it is a pop album, you could just as easily call this one an indie rock album. I hope Taylor Swift doesn't try to release an album this year, as it's hard to compete with this. 

Thanks for reading, give a listen to the song below, and  please "like" and share on social media to give music a voice 

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Mimi Banks : "Dreamstate of Fear"

This artist claims she created "doom trap". Which is weird to say nu-metal, but ok. Perhaps she is not making such claims today; while she is effective at what she is doing here, there is not a great difference between what she and Poppy do upon occasion.  The well-produced vocal hooks in the chorus of the opening track sit her on the more nu-metal side of the equation. I am not sure what is doom about this or would make someone try parallels, but that is why I do what I do to clarify these kinds of glaring errors. 

I guess if you were a pop singer who grew up on a steady diet of Slipknot, something like "Jericho" is the next logical place to go. "Power dutch Verrat" finds the German working almost better for her, as it creates a more original vibe. 'Butterfly In Chains' is almost too clsoe to mainstream radio rock for me. The sung vocals come across as happy in places. The rapped parts break up enough to work. 

The outros and the interlude on this album I am not counting for the sake of this review. Overall, this was way better than I expected. While it is not my thing, I think it does a great deal that kids who are into this sort of thing will love, and can recognize the effort that went into the songwriting and production; only one song leans in the filler direction o I will give it a 9 

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Patriarchy : "Appendices EP"

 I loved their last album, so when I opened my email today and found this surprise waiting, I could not wait ti jump into it. The first single, "Lilylicker" approaches what they did on the last album from a different angle, less industiral more electro-trash. It also makes less of an attempt to find its place in today's pop landscape and instead goes back to a place that reminds me more of Lords of Acid. Things get darker on "Bite Marks". The vibe is still sex forward, as this song is more of a rough sex anthem. There is some dynamic ebb and flow to it, and the produiction is both dirty and more refined at the same time.

"Serville" features Witch Club Satan who I assume is adding the guitars to the equation or the gang vocals. It's dynamic , but this more whispered approach that seems to be dominant in this song and carrying over into "Ode" makes me think of Madonna's "Justify My Love". In many ways, that is the vibe of the album, as it's on brand for them.  After listening to the album all the way through, I had to listen to the last three songs again to gather my thoughts.

The second time around, "Serville" clicked for me. The second time around, "Ode" hit me more with the lyrics. It is not as sexual a song, and it's more like Lords of Acid. Then there is a weird disco hook in it. "Hate Fuck" is the odd ball out after the second listen. It almost sounds more like something Yolandi Visser would do if she were making a ballad with Grimes. I will give this one a 9.5 and see how it grows on me, less industrial and more in the electronic slant for sure. Out August 7th.

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Inkubus Sukkubus : "Eternal Monsters"

 

This band is legit. They have been around since 1989. The challenge for them will not be whether they are goth enough, but whether they are keeping things fresh and relevant. Not sure how updated the drum machines are, but they have a great deal of layers to their sound, and this sounds like it could have come from the 90s. "Fall to Darkness" is a power ballad which seems a little early in the album, but oh well. "Give to Me the Fire of the Night"  seems to indicate this album is moving in a direction that feels like a rock version of the Cowboy Junkies. The plus side of this is that things sound more organic. 

Of course, even if by lyrical default things get more goth for "Vampires of the Sea". Things continue to move in a more rock direction, the lyrics being the darkest thing about the music. The title track is marginally darker; perhaps some of the problem lies in the production; it could use more ambiance. They try harder on "She Has Fallen"; the guitar sits further back, and the synths come up in the mix. They build things up with these synths, then go into something that could be 10000 Maniacs."Harvest Time" is a ballad; I don't think this album needs to gain momentum. 

"Dragged Away by Vampires of the Night" is obviously more goth, though they still retain some of the organic rock feel. It is hard not to assume "In the Field of the Living Dead" won't be as well. To this, they say Hold our beer, and pull out acoustic guitars. "Lovers & Monsters" rights this wrong.In fact, it might be the album's most goth song. The close things out with a synth outro piece.Not the corner of the 90s I was expecting this album to come from but fans who have stuck with this band should find it rewarding I will give it an 8.  

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Magic Knives : "s/t"

 

Here is a band that might not be Halloween-ready, but they do darker post-punk in a very organic manner that marries Concrete Blonde to Siouxsie without being too over about the latter, setting them apart from the competition. There is a 60s garage rock flavor that reminds me of earlier Death Valley Girls. There is a haunting quality to what they do rather than an overt darkness, but as a song like "The Runner" proves, they are not afraid to rock out and throw guitar solos in. "Sanctum" is rather hypnotic, though the main vocals are more of a chant. 

In many ways, this album is for goths who smoke a good deal of pot. The psychedelic elements in goth have always been a thing since the Doors were a big influence on the genre." Me vs You" has a more rambling riff that unfolds gracefully. Her smoky alto floats easily over this one with some great vocal hooks that might make this the album's best song. They pick up the pace for "Andromeda" / "A Haunting," which unfolds pretty gracefully, but carries a stormy, more intense dynamic that unfurls. 

There is a more indie rock shuffle to "The Obelisk," and her stark alot approach lays out similar vocal passages to set the atmosphere again. While there are different guitar sounds, the vocals are center here and do something we have heard before on this album, though it is not a deal breaker. "Some Night" is more of a creepy psychedelic jam. That grows on me with additional listens. "Infernal" closes the album, though there are two remixes on the album but I am not counting them for the purpose of this review. It's almost a surf rock instrumental but the vocals hold a textural place in the background, I will give this album a 9.5, it impressed me with it's organic flow and touched on sounds I like while doing their own thing. 

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Dance With the Dead : "Molombra:

 

2022's Drive to  Madness scored a 9, which found this project holding fast in the upper tier of the synthwave genre, evne though they do not have the more mainstream aspirations as acts like Gunship. They are paying attention to the kind of aggression Perturbator channels into their synths, as it has a very riff-oriented feel. The variations of this sort of thing are becoming a formula, and it feels like this form of instrumental music is going to have a hard time refreshing album after album without expanding the songwriting approach. Here they are changing the shade by a few degrees here and there with synth melodies nad accents, but not a huge dynamic shift. 

This is why by the time it rolls around to 'Chao Theory," only three songs in everything are beginning to sound the same. They do take a shift from them by going in a heavier rock direction for the syncopated groove of "The Burial".They seem to alternate between bouncier upbeat songs that sound like they could be on the soundtrack to a modern anime vs the more aggressive riff-oriented songs where the synths are emulating what a guitar would be doing.  'Ghost Party" is more melodic and feels like an 80s anthem. 

The last three songs kind of run together, sometimes taking on more drive, but largely working within the framw work that we are now familiar with, not just when it comes to these guys but the genre as a whole. When you leave this album just playing in the background, it runs together. While some songs are more defined. It certainly maintains the sound that you might be into if you are already a fan of this projet as it delivers what they do, but in a manner that maintains that rather than allows it to grow. For that reason, I will round this down to an 8.5, meaning it is well done and better than most, just nothing new

9.4

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the Blind Philosopher : "Innergazer"

 

This album came recommended by Dead Air at the Pulpit, who is already calling this their album of the year. A pretty bold statement. Given the tastes of that site, I am expecting this to be crusty, but it sounds more like old Mastodon. Proggy but sludgey in its grooving take on melodic death metal that has no shortage of guitar solos. The coarse howls of the vocal another element of sludge in play. The production is not as raw as I would expect from this either. There are some catchy riffs, and they are good at what they do. A tension comes out of the ambiance used to introduce  "As the Sirens Sing", while this is well-done atmospheric death metal, I am not convinced this is an album of the year quality quality when it comes to the songwriting. Descending into blast beats is not helping that argument. Though to their credit, they find riffs with purpose on this one as well. 

"Burn" feels like an extension of the previous song as it builds into furious double bass. But is it better than what we heard Neurosis crank out earlier this year? You will now hear the cries of saying music is not a competition, but this is not true; it is competing for your time, and what you give your time to is what you value most. There are only twenty-four hours in a day, and you are going to sleep at the very least for four of them, six of them in my case, so that leaves 20- to 18 waking hours a day to listen to music. So, prioritizing that time is a battle. "Downpour" continues the sludgey drone that hsi driven by impressive drumming, but when it comes to the songwriting, you have three songs in a row working off a similar sound and mood. 

"Sand of Seas' thankfully breaks this up. But it is an interlude rather than a song. Once again, the drummer takes the spotlight going into " Into the Redness of the Sun," which is a rather frantic assualt that ebbs back down. I can see where someone might be impressed by this and a bit blinded by how similar the riffs on this album are.  Some more Mastodon-like tricks creep in here. The eight-minute title track closes the album. There is a Meshuggah-like tone to the guitar that rumbles up from the beginning. It carries a more deliberate stomp. The drummer is impressive, and they have created an album that sounds great, but I am going to give this album an 8.5, as it's not the most original thing I've heard and they tend to be a bit of a one-trick pony when it comes to their brand of throbbing death sludge, but perhaps that is what you want if so they are good at it, but this is far from album of the year material when you take into consideration the more daring albums delivered by the likes of Portrayal of Guilt, Deathgrave, Show Me the Body and Neurosis alreaddy this year. 

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pst335

Illegal Funeral : " Scold's Bridle"

Once again, I continue to celebrate my glee for Halloween moving closer. You don't hear many death rock bands that want to be 45 Grave these days, so I am not complaining about this German band. I am curious to hear what else they can do. There is almsot more of a punk feel to the opener." In the Ashes." does not let up on this energy; in fact, they take it to a faster disco beat to add more bounce. It is not as impressive as the opening track but works for what they are going for; a whole album of this might prove tedious."Medici" takes a more Christian Death feel to the riff, but her vocals stay the same. 

"Waiting for the Cursed' is true to the Christian Death wave of death rock, almost to a fault. The chorus is the only place where it doesn't sound like "Spiritual Cramp," and I might be generous in that statement."Heirs of Bastet" is much better and carries a groove that feels more like they are doing their own thing, which is something they should lean into. It's the best song so far."In Cotard's Hell" is more on the punk side of what they do.

Things get doomier and darker for "Relic," which is another sound they should continue to dig deeper into. I had to go back and give another listen to "Vanishing From the Insidey ear the first time. A second listen finds it playing too closely to the death rock rule book and not making it their own, which they have already shown me they are capable of. The title track closes the album. The bass line carries more thump and the vocals are marginally catchier, which is all I am really asking for from these baby bats. I will give this one an 8.5; if you are looking for a nuts-and-bolts entry to death rock, this will suffice nicely. They have a great deal of potential; looking forward to hearing more from them as this album earned the ma place on my radar.

PST334

Show Me the Body : "Alone Together"

 

They are pretty straightforward when they kick into things after an odd horn-heavy intro. They are like a rawer, more primitive Fugazi in some ways, with a burlier bass sound and less subtle. But I like it. "No God" finds a more staccato groove. : Good Time" finds them doing their own thing with an odd take on punk that is relevant in this post-Turnstile world we live in today, but they are not selling out. Often employing more of a metal approach and have dense sludge-tinted tones. Production is raw but clean, with a great deal of love put into this mix to give everything space.

"Dance in the USA" is a weird song; I can hear some Bad Brains influence tossed in here. There is a more downtrodden mood to "Do What's Right" that brings Iceage to mind. It sounds like he is pulling the banjo out again for "See You Again" . I appreciate the willingness to explore this dynamic, but with this minimalist drone, it puts the brakes on the momentum built. "Mileage" comes out of this with more of a driving rumble. "New Line" finds its blunt force groove in time. Though it is a little less focused than what they have done up to this point here. 

I guess you can say "Trust' is a ballad of sorts; it feels like sullen indie rock. It strums off in its own direction and does not grab me while it is headed that way. If this were DEHD, I would not even shrug at this. I can't complain about a punk band wanting to do more than just yell and bang around at high speeds. The anger on this album si tempered by the reflection of maturity. The title track closes the album with the return of the banjo. They were like fuck it, if Turnstile does not have to be bound by the definition of things like punk and hardcore, then neither do we, but let's not come across liek pussies while we are at it. I will give this album a 9.5, as it took me by surprise in more ways than one, while still packing a punch. 

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pst333

LOWSUNDAY : "Black ep"

Perhaps not as dark as some of the albums I have been digging into lately as I get ready for  Halloween, but still a form of post-punk. I would not have guessed these guys were from America, so they have successfully fooled my ears, which, given the glut of albums I listen to daily, is a feat. They capture a sound that is in a similar ZIP code to what A Place to Bury Strangers used to occupy between shoe-gaze and post-punk, but these guys have more of the mellower elements of shoegaze, where A Place to Bury Strangers was more on the noisy My Bloody Valentine side of the genre's more end. 

The lead single that opens the EP works well, as it's catchy and the vocals are more forward than some of the murk they fall into by the time they get to "Someone to Talk," which falls more closely in the direction of early Cure. There is more of a Brit-pop mood to "Shattered' which is not the Rolling Stones, but an effective song on its own right. "This is Not Heaven" drifts through the haze of its reverb-heavy guitars, with the whispered vocals falling into the back of the mix and being swallowed by the haze of dusk. 

The last song drifts by in more of a haze while I appreciate the sounds; the vocals become a moot point as they drown in the effects this album is bathed in. I generally feel like how this album is produced works more often than not, but I feel the vocals could have gotten more love, which at the end of the day would have elevated the songs; they made the choices they made for the reasons they had at the time. You never know until you hear what the raw tracks they had to work with were like.  Still is a surprisingly enjoyable album; I will give a 9 as it takes the genres they blended in different directions

pst332

JEHOVAH ON DEATH : " Lágrimas de Oro"

This band might be branded as occult rock, which is typically focused on a more retro sound than some of these denser, more modern sounds this Greek band employs. They are very dynamic and work acoustic elements into the songs, not trying to sound like Black Sabbath. The female vocals are rather haunting, though on the opening track sit back as an alto chant. You could almsot think of this as prog rock. Though at just under six minutes, the opening song is the longest, so they do not sprawl things out, which is fine with me. The second song has an almsot 80s metal feel. Though they deviate from this one in the chorus. Lyrically darker than the music; they still have more shadow than your average rock band

For the purpose of this review, I am not counting the guitar interlude before "Catherine Wheel" as a song. It's almost like a Pat Benetar covering "Stranglehold". The multitrack vocals on the chorus are a little over the top and not likely to be replicated live. Though I can hear some Brian May influence on this one. "Suspiria" finds the chorus being more memorable than the verses, which are not dark enough for my liking, but I can hear where the Blue Öyster Cult influence is intended to be. "Blood Madonna" finds them a few notes shy of ripping off "Don't Fear the Reaper," but the song still works even with the anthemic guitar.

"Ride On Ye Furious Host" has a heavier drive to it that flirts with proto-metal. They throw in a decent gallop to throw a guitar solo over. With the title "Lord Let Me Be Your Instrument of Pain," you would think the last song would be heavier. I do like the vocal melody of it, so that balances things out. I will give this album a 9.5. I am glad it is not trying to be Ghost on the Blue Öyster Cult side of the equation. This is the occult rock revival you are looking for. Out on I Void Hanger Records. 

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pst331

DEATHGRAVE : "Hell is Evil"

 I gave 2023's "It's Only Midnight" an 8, but I have been listening to more grindcore since then, so I might have more of an appreciation when they veer off the death metal grooves into chaos. The title track that opens the album certainly falls into place better than what they did last time around, with a more polished sound in the studio. It is also three minutes, so they give themselves more time here to develop the song rather than just dealing in angry bursts. "Hard to Swallow" finds even a very dark, deliberate, doomy riff arising to lumber over things. Some of the members of Graves at Sea are in this band, so that should not be surprising. Some of the vocals sound like they could be from a Carnivore album they way they are shouted. 

"I am Here" takes death metal fury and runs it through a grindcore filter but with thrash attitude. Three songs in and it is very clear song writing has been made more of a priority. The vocals are more varied; there are the shrill blackened shriek and low death gurgle, but other variations on that snarled spectrum. "Born From Death " is the first song where brutality is allowed to reign over all else. With a dissonant punk riff clanging in the background at times ot break it up. "Smaller and Smaller" is darker and more harrowing as it takes things in a more sludge-ridden direction. The first five songs are already more dynamic than the last album, and this is with them even descending into blast beats on "Smaller and Smaller," which at almost four minutes is one of the album's longest songs. 

"It's Only Midnight" finds the vocals serving more purpose in the chorus to make it work and a large dose of thrash riding the song. "Yaws 3D" finds them playing a punk-tinged death metal which, in some ways, is the definition of grindcore. "You Pain is Ready" is a more extreme beating to your ears. They rip into "I Won't See You in Heaven" before the bass takes over. The dense bass tone brings things down into the doomy crush of the lingering tempo. It's darker and heavier like this than when they are spazzing out. Many moments on this album remind me of Goatwhore; when they speed up on this song, it is one of them. The last song finds them launching into rough-edged death metal but with the vocals varying in levels of coarseness, so kinda like Entombed. I will give this album a 9.5 and see how it grows on me, but here is what happens when grindcore grows up. Out on Tank Crimes August 21st.  

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pst330

Sallow Moth : "Hydrophilous Brood"

 

For some reason, it was in my head that this duo was doomed, but after pressing play, I realized how mistaken I was. The reason for this being doomed might be easier to pull off with only two people; what does work here is an experimental form of high-velocity death metal that requires many overdubs. Most of the song hangs around the four- to five-minute mark, but they are cramming a great deal of chaos into that time frame. The second song really sounds no different than the first aside from a few weird jazzy breaks that sound like if Cynic smoked DMT. 

The grinding riffage they favor descended from the Morbid Angel school with slight hints of Carcass, though shifting in the riff more than either. More blast than both as well. This need for rabid speed can take away from the song, as things just become a blur. To the point that it begins to bore me in place. I like how brutal they are and the fact it's not just one long blast beat, but the songwriting is lacking; they confused arrangements with writing songs worth listening to again with memorable vocal hooks that bands like Morbid Angel and  Carcass both apply. So it is not like I am asking them to become pop music. Memorable songs should be the goal regardless of genre. 

I only knew the song had changed to "Biohybrid Virulence" due to the fact I looked up at my computer, but the guitar player gets the point I was trying to make about catchy songs, as they at least make that much of an effort.I just left this album on as I typed up my review of the new Evil Dead movie, and it faded into the background, becoming a blur of winding riffs. "Polymorphic Gnaw' is more memorable as it swirls with cosmic atmosphere and the bass wanders off into a jazzy jam while a Frank Zappa inspired riffs fughts for its life against the blast beats. This might make it the best song on the album. 

Death metal drums are supposed to be balls to the wall, but this guy needs to anchor things more than he does on the bulk of the album, being too quick to default to a blast beat when the guitars are doing something more interesting. The title track is not too memorable. The last song trips over its blast-beaten chaos at times. The deliberate punchy riff in it is not played enough. The jazz section is a nice touch but almost too little too late. I will give this album an 8, as it's not my thing, but I at least appreciate the intensity and chops they have; fans of extreme tech death might find it to their liking. Coming out on Willotip Records. 

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pst329

VEILBURNER : "All That Glimmer is Gloam"

 Not what you would expect from American Black Metal unless you were factoring a band like Worm into the equation, as they are darker and more experimental, owing more to Mayhem, with their angular creep. They do throw blast beats into the first song, but it is already after it has been contrasted with more deliberate drumming. There is a cool unhinged element to what they do. "Oblivion is Yours to Labyrinth" finds the ghastly grumbling of the vocals sounding like their vocalist is losing his mind in the vocal booth. They pick up speed but without going into blast beats here. They flirt with prog a bit here. This can be heard in the chaos that unfolds here. This album is much more experimental than I remember them being. 

Is this album black metal? Well, it is dark so that steers them in that direction. The key here is that the songs are so interesting it does not really matter what direction they lean in genre-wise." Vitriolic  Hiss" has the dissonant riff grooving with syncopated accents. Two mintues in and they have already covered a great deal of ground. Guitar solos are more accents than showcased shredding. The vocals continue to shift through growls and moans. The vocals are really well produced, with effects making the most of the crazed sounds coming from him. It makes the album like a ride through a hsunted house.

You are four songs in before they hit you with blast beats. The vocals are so feral at this point it makes sense. But it's the weakest of the first four songs. In the last minute, things come together thanks to some cool riffs. Then they come at you from the other end of the spectrum with some dark melodic vibes that are more sung over, but the vocals sit back in reverb. Odd electronics also color things to make "Dis Obedient Woe" perhaps the album's best song.They take a more thrashing turn for "Goslave and Blood Mortar". It is ne of the more straight-up metal moments. "A Seance to Specter" works off a more atmospheric weirdness, creating it's throb. This transitions into a more furious burst of black metal and then ebbs back and forth between the two dynamics. 

They are less kind to your ears on"Golgothic Holocaust". They double down on the blast mcnasty here, midway in the drop, down to more of a half time groove that feels darker and heavier. The demonic declarations continue, forming an effective narrative for this album. The title track closes things out. It is more riff-oriented and deliberate, with vocals not sung but holding more purpose in the darker shadow the song casts. I will give this album a 9 and see how it grows on me; it is one of the more original metal albums I've heard in a minute. This drops October 16th on Transcending Obscurity Records. 

pst328

Attic Frost : "...And Some Will Meet Their Shadow"

 

Not our first dance with this German project, as we reviewed their 2023 album "A heart is the deepest dungeon", I was less impressed by that one, as it scored a 7 due to being plagued with production issues and the songs just bored me. They have more energy and emotion invested this time around that add urgency to "Partytime", which is not the 45 Grave song. The synths do still tend to creep up and obscure things in the mix. 'The Void Inside Her Head" uses atmospheric guitar, but the synths are the backbone of this album. They mope on this one, and the beat drags with a more depressive flavor. The pace picks up when the more sardonic post-punk vocals come in. One of the improvements with this album is that three songs in, it is evident they are trying to cover a broader range. There is a murky mi here, but it gives some charater.

"Further Down" sounds liek they might have even brought in a drummer, or the programming has improved. The bass line gives things some balls. The bass line also leads "Trust" in a more melancholy direction like "Faith" era Cure. The vocals fall into the mix in a manner that echoes from the back of the stage rather than fronting the band; the tempo shift in this one feel arbitary. Though I understand why they are building things sonically here, "An Outry" moves at more of a punk pace. They needed this most organic touch they did not have before, so this works even if it is not the most original thing.

"Promise Me" guides you back to the intersection when post-punk gave way to its darker emotions to create goth. This will once again bring the Cure to mind. There are some good creepy chords in this one. I liek the darker almsot deathg rock slant to "When the Night Calls".  "A Familar Sound" is aptly titled as it is a return to the more morose early Cure sound. The mix here is too murky for their own good. The drumming takes an odd turn midway in as well. "Fading Echo" closes the album with a little more of a new wave-ish touch. The more depressive ure influence returning. This album is a hug improvement over the lat album I checked out so I will give it a 9. 

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pst327

Sunswarm :Those Who Do Not Build Must Burn"

 

To say this is an experimental industrial project would be a gross overstatement, as industrial music should be rooted in confrontational exploration. It's the very roots of the genre; bands like Nine Inch Nails have just packaged this in a more user-friendly sheen over the years. This project marries the genre to post-rock in the spacious sonic sprawl unfurled here with more than enough atmosphere. The opening track "Erasure" carries enough of the apocalyptic crunch to be convincing even if this is employed in a more unorthodox manner. The vocals are screamed with a more metallci angst than most. Slathered in effects to balance the aggression with the futuristic nature of the desolate landscape captured here. They are capable of delivering a harsher pound than even Godflesh.

The eponymous second song carries more of the Nine Inch Nails type of machine march into a bleak sunset. The caustic howl of the vocals takes it in a darker direction than what Trent Reznor does even at his most angst-ridden. "Inside the Torn Apart" ebbs from a more subtle ambiance to in-your-face hammering. It takes just over a minute of ambaince to set "With Your Beautiful Mind..." in some semblance of motion, but evne then it lingers over samples before kicking you head in with blunt force trauma that recalls the heyday of Ministry. This song is more abrasive than the first three. 

While aggressive, the first song I can think of dancing to would be "Sour" if that is the reason you ingest industrial music. There is a groove to the stomp of the song that would lend itself to that. "Rneded" closes the album. It is a return to the more post-rock side of the band. The gradual build-up from the electronic buzz. The beat sounds like a bomb going off. The eerie ringing of guitar chords offers a respite to breathe rather than being met head-on. It almsot feels like it should have been the opener. It works very hypnotically. I will give this album a 10, they excelled at reminding us what industrial music should be about. 

pst326

Thin Eater : "Incisor"

 

Perhaps it's the mood being set by the first trickle of Halloween things into stores that has me on a goth kick, but that is where we are at bringing me to this Swedish project The first track is a more abstract intro to set the mood, but I like that it blends a few different dark sounds; the first actual song, "Infernal Motions," is more of the typical sound you would expect from a dark wave band. The beat is up-tempo, and synths drive it while low baritone vocals croak likea vampire with a sense of drama. "Half of a Double Giving Birth" is an odd song title. The beat has some movement to it that is effective, even if the drum programming sounds a little dated; perhaps that is the point. The vocals are well produced.

I like the lbend of futuristic industiral sounds used over the post-punk songwriting template thansk to the emotive vocals; at times this sounds like Gary Numan."Blood On My Face" returns to the more conventional take on the genre, but there is a slight Pet Shop Boys vibe haunting it.  Some of the brighter synth notes make it not as effective as the previous songs. I can imagine "Draconian Pulse" getting a dance floor churning with its pulse-racing tempo. 

The beat to "Nex Animae" feels like it could have been created by AI as it's cinematic yet color-by-numbers."Meglomania" finds the beat starting to lack dynamic contrast, leaving the vocals to carry the weight. "Into the Whispering Sun" is a little darker, but it's hard for me to shake the AI thing once I hear it. The last song is more of an ambient outro. I will give this album a 9. I like the elements it combines.  

pst325

Sex Virgin Killer : "Angel"

Japanese goth is not something you see every day, but here we are. Not the best production, the beat is pretty faint with the voals sitting against an opaque wall of reverbed out guitar, but the energy is there. In some cases, this might be thought of as the sound of cultural appropriation. The singer is kind of hot, so at least they have that going for them. I am also sure that the novelty of being an Asian goth band will gain them point into come circles, this blog not being one of them. They pick up the pace for the second song. For all practical purposes, this is just a Japanese Siouxsie tribute with a few more synths in the mix.

A good rule of thumb for this album is that if you can make it half way throuhg one of their songs, then you have heard the whole thing, as the arrangements are very basica and hold few surprises. They shift the mode a bit for "The Lights Will Fall" it always lulls me to sleep with its drone. They pick up the pace a little more on "Saturate My Soul". I found this band on YouTube thanks to a goth influencer, By Candlelight but the fact that this was in his top 10 makes me question his taste, as it's become a struggle to get through this album. "Parasite on You" has potential but is poorly produced, and the drum programming is rough.

"The Arrow" tries to play off the more punk side of the genre, but sounds too happy. The vocals are a little pitchy here. "A Stranger" does not find things improving. The song after this is more atmospheric and droning, with synths playing a more dominant role. The last song does not find them turning any new corners of sound that might change my opinion of what is going on here. The pitchy vocals go on my nerves os I will give this one a 6

pst324

SINE : " La Modre"

 Darkwave has shifted with technology, which can be said of most genres of music where electronics play a larger role in their assembly. This project churns the dance floor in a manner that shows intent toward darkness, separating it from just being future pop or EDM.  Even when they drop into a more atmospheric mood, bringing the rap in on the second song, it feels more like trip-hop, a goth-adjacent genre.  "Succumb to Me: beats carry a more sexual steam that carries the song vibe-wise, as the beats are more minimal. Almost a Lords of Acid feel.

"2 Die 4" is also more minimal, with a slow burn of sounds creeping in as the song progresses. You can hear where it intersects with the more current Boy Harsher trend of darkwave. They follwos a similar sound, but with a heavier synth atmosphere on "Trauma Bondage". The vocals are more chanted, and the song drones on. "Bodies' hovers on the ambiance without building into an actual song. There is more of a dance-inducing throb to "Blood and Wine". It is one of the album's better grooves, compensating for the breathy pant of the vocals. 

Thankfully, the vocals are more prominent on "Immortal Dane." This complements the slinky groove and goes to show they can write a damn song when they put their dark hearts to it. "Criel" feels more like Lords of Acid, which is the second time they have sparked this comparison. "Hypnophobia" closes the album, sonicallt it takesa step sideways in another direction while droning on the atmosphere that has been the album's theme. I will give this album an 8, its captures a mood that would work well in a got set for sure, even if not as song-focused.

pst323

Eartheater : " Heavenly Body: If I'm The Bottle You’re The Message'

 

The sixth album by the once experimental singer who now finds herself matured by the birth of her first child. This album starts off heavily atmospheric with ethereal vocals drifting without as much direction as "Practical Amnesia," whih almost feels more like Lana Del Rey than what we have heard from her before which is more transgressive pop music that is industrial adjacent. More electronic elements begin to bubble up in a more recognizable fashion for 'Crown Jewel". It also finds her lyrics almost as abstract as the music behind her light, flowing voice. Thi is even catchier than the previous song whih is a trend I hope this album follows.

'Wasp in the Fig" finds a less whimsical tone taking over. It almost feels like chamber music to some extent. Thankfully, a beat came in to anchor it. Her creative approach reminds me of Bjork. She uses her voice like an instrument as well.  "Glowing Guts" benefits from her vocals, taking one on a more moving cadence. It gives the vocal melody a droning but catchy flow. The best is more minimal than some of the songs, but it is enough to keep things grounded. "Hers Before Hers" is almsot more like Imogen Heap, whih works for me. The music is a little more minimalist, but enough to give her melodies something to work with. 

"Don't Look Back" flirts with 80s sounds, creating a more dream pop vibe. "Favorite" takes its time dancing to life, but is effective once it gets moving. "Fast Asleep" is more of a lullaby, which makes sense given the theme of this album. "Nova" closes the album; it is more of a ballad. Despite this album not being as beat-driven, you can hear how she has matured as a songwriter, so I will give this one a   9.5 and see how it grows on me.

pst322