Welcome to Gothtober 2026

 I

f you bleed Halloween like I do, then your favorite month is upon us again. It's time to celebrate all music that falls under the banner of “Goth”. Granted, we cover a wider range of dark wave, post-punk, deathrock, and darker shades of metal than other sites, and do it more frequently than everyone aside from Post-punk.com, which, like its name suggests, just covers post-punk. The short attention span of the masses finds the mainstream popularity of goth as anything aside from a fashion fetish some stagnant, with fringe groups on Facebook gathering some steam to try to pass off clowns like Slipknot as goth, leaving a trip to Spirit Halloween as a better barometer as the Addams Family gets less of a push as they are replaced by Art the Clown and anime characters. .

 We are, however, still going to clear the air regarding what is goth and what is not, since there still seems to be some confusion about that in the mainstream press. Gatekeeping has become a dirty word in the minds of those who are so entitled that they believe anything can be anything they want it to be, with the petulant attitudes of Veruca Salt when she demands the everlasting gobstopper. As music journalists, we are actually professional Gatekeepers when it comes to curating music, and I bought my first “goth” cassette in 1987, when I purchased Jesus and the Mary Chain’s “Darklands” album, so with 39 years of history with this kind of music, you can take what I say here to the mother fucking bank. Many of the newer dark wave and post-punk bands have begun to fall into a uniform sound, like they are checking off boxes, so we will keep our ears open for that. 

I am going to bring a wide variety of different sub-genres to the table and put their dedication to creating sonic darkness to the forefront when I select bands to cover.I am also digging into the graves of the past and reviewing every Christian Death album from both eras Rozz and Valor in order. The month culminates in the start of the top ten lists for this year, so the top 10 post-punk, goth, and industrial lists for this year should drop by Halloween. Join us as we explore the tunes that go bump in the night.

Want to learn more about goth? Check out our podcast below

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September's Top 10 Albums

September is more memory than not; it fades into a blur, so you need to catch up on the month's best new releases. This might help you, casual readers, see what you missed.  I am not doing little blurbs on them, just linking the reviews. This helps me organize my end-of-year lists by including each album's genre. This does not mean these albums were released this month; it is a list of new or upcoming albums I have enjoyed most. I have albums in my in-box that won't come out until December, so I am normally way ahead of the curve in this regard. They are ranked in order of how much I have listened to them. This month, it runs the gamut from indie folk to black metal , so perhaps you will find your new favorite among them. Here are the Top 10 albums for September of 2026.

10-Bombstrap-"Big Enemy" 

Punk 

https://abysmalhymns.blogspot.com/2026/09/bombstrap-big-enemy.html

9-Überchriist : "Dæmonic Apotheosis"

Black Metal 

https://abysmalhymns.blogspot.com/2026/09/uberchriist-dmonic-apotheosis.html

8-Anthrax -"Cursum Perficio" 

Thrash 

https://abysmalhymns.blogspot.com/2026/09/anthrax-cursum-perficio.html

7-Junius-"Sotera"

Doom Gaze 

https://abysmalhymns.blogspot.com/2026/09/junius-sotera.html

6-Actors - "Our Love Will Live on Forever" 

Post-Punk

https://abysmalhymns.blogspot.com/2026/09/actors-our-love-will-live-forever.html

5-Brutalismus 3000- "Harmony" 

Hyper-pop/ Techno 

https://abysmalhymns.blogspot.com/2026/09/brutalismus-3000-harmony.html

 

4-ANAGNORISIS- "Caregriever" 

Black Metal 

https://abysmalhymns.blogspot.com/2026/09/anagnorisis-caregriever.html

3-Miley - "Bass Persuades"

Pop

https://abysmalhymns.blogspot.com/2026/09/miley-bass-persuades.html

2- Boy Harsher -"GET MEAN " 

New Wave

https://abysmalhymns.blogspot.com/2026/09/boy-harsher-get-mean.html

1-Emma Ruth Rundle - "These Killing Times"

Alt Folk Rock

https://abysmalhymns.blogspot.com/2026/09/emma-ruth-rundle-thee-killing-times.html

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Lustmord Lombardo : "The Pulse of Atoms"

 

Dave Lombardo is one of my favorite drummers. Lustmord is the other side of this equation, as someone I respect, since he has worked with some of my favorite artists. Granted, he has always added experimental ambiance to those collaborations. This one is no different in that regard. Post-Slayer, Lombardo has been more experimental, or he has played punk, too, at the extremes of sonics. This album lies at the fringe of experimentation. When the label sent me tis I told them not to expect a quick turnaround, as I knew it would be something I  would have to have a stoned rainy day to listen to. I knew it would push the limits of my sound vs. song rule, as this is all sound. The opening track finds Lombardo's contribution very limited. Not even like he is warming up. 

This is referred to as industrial music; it is in the Coil sense, though even more ambient and less song-focused than that. There are more percussive elements in the second track than the third, but not by a great deal. Is it enough to take up 9 minutes of time is the next question that begs to be asked here. The answer was not really, but it was better than the first track. I was watching Hammer Studios' "Frankenstein and the Monster From Hell" while this played in the background, and it helped the movie's mood greatly. Three tracks in, we get a burst of actual drumming from Lombardo. 

The fourth track is most likea song thanks to the krautrock synths that come in. It saves it from being a formless void of sound." The Desolate Shore' is the most fitting song title on this album. In fact, it describes how most of the songs made me feel; Lombardo's drumming slowly appears on this one. Jazzy flourishes. It does find a syncopation that begins to establish more structure.  The "Emergence" portion of the Desolate Shore sags sounds like a foghorn is being blown as someone walks up stairs in the distance. Things crash, cymbals ring out; creepy sounds are made. Is there a reason for the last song, "the Abyssal Deep," to be drawn out for a ten-minute drone? Only for the sake of drone alone. Lombardo's cpntributions couldd have been boiled down into three three-minute songs; better EP than album I will give it a 7. 

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Überchriist : "Dæmonic Apotheosis"

 

Atlanta is not known for its black metal. This makes the band an anomaly outside of, perhaps, Cloak. They play it pretty safe. However, what they do get right is the mood and darkness black metal is meant to convey. The mix and production help the rather dry rasp of the vocals. The guitar harmonies are where they shine; the second song gains its footing but does not have as much of its own personality as the first song. Much of the presentation makes me wonder how serious they are about this, but "Vicissitude ov Fate" feels more earnest. 

When they resort to less mood and just resort to blast beats, then the results are less compelling. This is the case with "Tomb Creeper".  "Faith in Darkness" could be just dramatics for the sake of drama, as truth be told, I never met many Satanists in Atlanta. No, the Satanic Temple does not count. Lyrically andd sonically, it feels like they are trying to be Dissection here. But it works better than the previous song. "Black Void" is very deliberate, and it great, punchy compact songwriting where they go into "Subterranean Goat Transfiguration" with more death metal aggression and sprawl out into a moodier expanse. 

There is more of an old school metal gallop to "Everdark Calling' which makes sense given the song's title for it too take on a more Immortal-like cadence. "Awakening Ancient Power" has more groove until the verse kicks in. Then it feels like they are defaulting to the typical expectation of black metal, while leaving you waiting for the opening riff to kick back in . The last song opens with a darker more melodic atmosphre. It's a gradua;l build but they make more of an efofrt to maintain a melodic sense to this even if the vocals just snarl along.Even if the irony is lost on me andd this just playing dress up the songwriting works and they do not just blast beat their way through everything and make this a memorable listen which is more than can be siad of the hunddreds of truv raw black metal bands I delete from my inbox after being bored in the first song so I will give these guys a 9.5, they surprised me and are worth a listen.  

7.7

Wharflurch : "Mycodeath and Rebirth in the Outer Clusters'

 

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The second album from this death metal duo finds them continuing the storyline started on the previous album. Supposedly, this is a concept album, but the vocals are such a gurgle that they are left falling back against the drums, making any narrative of a story to be told irrelevant. When it comes to death metal, incomprehensible growls are not a deal breaker for me as the growled vocals are often just another abrasive texture. However, most death metal bands do not bestow upon themselves the pretense of being storytellers, so it's not as big of a deal. If I went into this thinking this was just another death metal album, then ignorance would have been bliss. The first song rules, and the second song is not as focused, but still works for what they are doing.

More atmospheric than Cannibal Corpse, but the way atmosphere is used makes me think of Nocturnus jamming with Cannibal Corpse; they were both from Tampa, so it could have happened. They come closer to finding more of a pounding groove with "Non- Zero Expanse". The cavernous mix is more apparent in this song. The creepy nuance and more focused riffs give the song what it needs. They continue to perfect this on "Headless God"; a solo rips through the murk, showing they are masters of their instruments. 

"Dimensional Parasite" is the best song so far; it is darker, with a cool riff at the center, and they weave around it melodically. "Heavenly Orbs" wanders more in the spacey atmosphere but finds some cool parts in this journey. "Revelation ov the Sporelord" is more atmospheric; it wrestles with its need to crunch into or hypnotize you. The title track that closes the album has a more soaring, almost doom-gaze feel to it. It is the album's most melodic moment. It drops this for a whispered narrative; this leaves the song hanging andd does not feel like the transition they need for the cool direction it was heading in. It just kind of drifts off. Despite this unfinished ending, I think they excel at what they are doing here , story aside. I will give this one a 9. 

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Bombstrap :"Big Enemy"

 We need more anarchy in punk, instead of bands feeling the need to pick the pre-packaged side. This band puts the facts as they see them in your face with an almost Plasmatics swagger. Three songs in, they start speeding things up into a more snarling assualt. It's when the bass line is more deliberate on a song like "Shrapnel" that they feel like they are in the sweet spot. This does not mean they are relenting, but giving everything space to coexist in the song without sounding rushed, which is a pitfall many punk bands fall into.

"Bakhmut" is a more thrashing burst of anger that lets it break down when the vocals come in, sounding almost like Venom. Another punk pitfall they avoid is allowing the songs to sound the same. "The Green Dress," for all the fanfare it indulges in before kicking the door in, sets a different tone than the previous songs. Eva Kah growls and shrieks, and helps the band have an identity where another dude barking might fail. "Welcome to Violence" is more of a speed fest. It meets the expectations of confrontational punk. 

"Hellengenblut" has more rock in its veins. The bass player of this band is a champ for sure. Eva continues to use different vocal colors to keep things varied despite the simplistic nature of punk. They take you back to when  hardcore was more closely linked to punk and not just streetwise metal. "God's Favorite' is not as focused as the other trakc but the momentum should keep most from noticing. "Poppy Seeds" closes the album out; it has a more sultry, bouncing groove. Lyrically, she is not spitting everything out in such a frantic fashion, so they stand out more. They slow things down and jam it out in an effective manner. Overall, I like what is going on here. I will see how it grows on me, but will give this one a 9.5, as they got everything pretty much right.  If you are looking for someone to take you back to old-school punk in a legit manner that is not licking the boot of the left or right wing, then this is the album for you. 

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Amon Amarth : "the Allfather Awakens"

 

The guys toured with some legit death metal bands, and when I saw them with Cannibal Corpse, Obituary, and Frozen Soul, it became clear they are not a death metal band, just a classic-sounding metal band with Viking window dressing. After being blown away by Cannibal Corpse, you might think they've taken a harder look in the mirror to see if they are keeping up with the times. But no, here we are with the same old, same old: "Eight Legs of Thunder" is effective, but it sounds like every other song I have heard from these guys.

Things change, and you begin to think perhaps they might have been taking notes as the growl shifts to a lower gurgle for "Kasir's Blood". Lyrically, it's the same old Norse mythology, which you gotta hand it to them for staying on brand. "We Rukle the Waves" has a more deliberate head-banging gallop. The drums speed up on the chorus. Played very loudly, it works best. "Upphaf" is more melodic and shows that side these guys could lean into more if they wanted to cross over into folk metal. Not groundbreaking, but they are expanding the dynamic of the album, which is a plus. 

"Die With a War Cry" finds them digging into the chug and coming acorss as being more serious about claiming the death metal label. "Raven God" is the kind of triumphant anthemic march you expect from these guys. Harmony guitar parts that create a more Iron Maiden-like sound, but it really only works for Iron Maiden and, upon occasion, Metallica. The fist-pumping chug of the title track is effective if not playing it safe. I seem to remember their earlier albums had more grit to them. The last two songs kinda run together; the last ong have more stomp of the two, though maybe not the catchiest riffs.If yo uare a fan of these guys, this is the album you want; they are bringing you a great sound amplified to grandiose fantasy proportions, but it does not always maintain its edge as it feels like they play it too safe, so I will give it an 8.5. 

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Johnny Marr : ""the Age of Everything"

 

The former guitarist for the Smiths has released a new solo album that puts songwriting front and center rather than just showcasing his guitar chops; not that he has ever been a showboat in that regard, but fans do have a certain expectation of him. Despite his tenures in other bands, He employs an urgent, hushed tone that fits neatly within the confines of today's Britpop. In some ways, he is only as good as his collaborators. While the haunting, clean jangle of guitar sounds great, much of "Beyond the Rain" breaks new ground and feels more entrenched in expectations of what Britpop should be, even if it is marginally moodier. 

Not hte first solo outing I have reviewed from him, he does put more effort into the structure of these songs. Sonically, it leans closer to the Stone Roses. He does borrow from his old band, as I cna hear echoes of "Girl Afraid " in the riff driving "How Come". Lyrically, he is no Morrissey, and this certainly debunks those who try to say the Smiths would have been better without Morrissey. There is his brighter signature chord progression on "Ophelia" that sounds like it could be on a Morrissey solo album. It's the best song so far. His last solo album was more experimental and electronic, where he drew from more 80s sounds; on this one, perhaps he learned to write for his demographic. 

"That Feeling" has a strong chorus but an awkward verse, but at least he is trying andd it's not the worst new music I've heard this week. There is a more on-brand heartbreaking drama that finds him pulling chords from his youth. When it comes to singing ballads, though, he should leave that to Morrissey, as she sounds like Noel Gallagher trying to cover the Smiths. He proves himself capable of summoning the post-punk energy of old for "Fire With Fire," which finds his vocals as the weak spot again, though better than other points on the album. The last song, "All in a Life,"  is a mixed bag with some great guitar parts in ,clunky arrangements. Just because you are a groundbreaking guitarist does not mean you diod not get by with a little help from your friends. I will give this an 8.5/

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ANAGNORISIS :"Caregriever"

 

This band's last abum took the number one spot on 2016's Top Ten Black Metal Albums list, so the bar is set high after their ten-year absence. They moved in a more organic, experimental direction. This album is a darker reflection, focusing on a more personal darkness. They do not hit you with a slew of blast beats and are more powerful for it. Things hit with more purpose on "Nothing Left to Give". There is some fast-and-furious playing that doesn't conform to the easy color-by-numbers blueprint for black metal. It does sonically remind me of Nachtmystium at times, another band that refused to play by the rules and paraded their personal anguish to give the music a raw, emotional heaviness. 

"Nothing Left to Take" builds into harrowing chaos. Electronic elements have a more defined prescence with "Death of Man" as a sample starting the narrative before more Skinny Puppy-like vocals come in. Industrial complements black metal enough for this to work. In fact, it's one of the album's strongest songs despite sticking to a droning groove. "Death of Men" is even darker and more tormented, which is luckily the direction this album heads. It finds the drummer getting his legs under things to get the song moving.  "A Living Grave" has the more shimmering Deafheaven-like sound. The use of sung vocals works well on this song. 

There is a little more punk in "Mounments in Ash"; it is less experimental than most of the previous song, bringing a more metal and potato-metal attack to your earspotato. "Death of Me" felt like it was an extension of the previous song, so a sonic uniformity emerges even amid the experimentation. Lyrically powerful as he sorts through misplaced resentment, rarely is black metal so self-aware in its scorn. I will give this album a 9.5, as it's top tier black metal for 2026 andd holds it'  own against their previous albums. One ofthe year's better balck metal albums for sure. 

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The Linda Lindas : "GOTTA GET OUT"

Power-pop is spreading through Los Angeles faster than COVID. Not only power-pop, but queer-coded, of course. It's intersting because this album starts off with a song that is poppier than the first song I caught by this band on YouTube, which was angrier. Perhaps we will get to that, or maybe I've been sonically catfished. The second song is catchier than the first, though I did not mind the first song; I have obviously kept listening. This could have been big on 90s alternative radio in the 90s. "Helado de Limon" is sung in someone's native tongue, but it also gets closer to the punk vibes I was getting the first time I heard them, so, moving in the right direction, but the Spanish makes the vocal phrashing awkward for this sort of thing. 

"Blood on Our Hands" is the song that brought me here; it is crust punk, which makes the first few songs a surprise for me, but it sits oddly after the poppier songs, though I like this sound best for them. I don't mind the super political lyrics since the music is good. They stay in this heavier direction with the palm-muted guitar, but the vocals go into a more sugary rock purr. On the previous song, they have already proven that, despite being girls, they can bring the balls so they raised the bar for my expectations in this regard. Apparently Haley Williams is on this track, but her voice just kinda blends in, though her style is pretty generic even in Paramore. 

"Nothing Left" is more angular and new wave. "High Horse" is not a Kacey Musgraves cover, but another pop-rock song that feels like they are writing from the same formula as the two previous songs and just mixed them together. "Break" is another punk song, though not as compelling as "Blood on Our Hands"; it works well enough, and this is the direction they need to lean into. In comparison, "I Could Be Wrong" feels almost too upbeat. "Everybody Told Me" has a slight hint of pop country in the first verse that disappears at the chorus, which goes into a slick 80s-inspired melody. Hints of this guitar creep up later in the song. 

The last two songs find the gas running out when it comes to creativity; one song is sort of punk, the other is an indie rock ballad way too sappy given the tone of the album up to this point. At the end of the day, it reminds me of the 90s and 2000's, not just sonically but when I would hear one song buy the CD and then be disappointed when the rest of the album was not like that. They are not ineffective at what they do; I just feel punk-fished so I will give this album an 8.5. Don't go into this thinking they are punk band. 

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Sea of Black Trees : "Cult of the Sun"

 

This album by these Australian rockers came out in May and fell under my radar, so this is somewhat of a music lull that gives me the chance to catch up with it. The songs drone with a slow burn that sprawls out into a jam that causes the first actual song to collide into the second. Some elements remind me of the band Ours. What sets the second song, "Servant of the Sun," apart is it builds into a more Opeth-like chug of metal, with growled vocals even surfacing to counterbalance the more dynamic soaring vocals. \It evolves into more Alice in Chains-like vocals drifting over a more serpentine proggy riff.

They seem to have a thing for atmospheric interludes to set the mood.. These often bleed into the actual songs. If they ever tell you they have never listened to the Doors, make sure to take a step back before lightning strikes. Continue to unfurl their brand of hypnotic grunge that is punctuated by bursts of death metal growls. In some ways in reminds me of the post-grunge band Insomniac, but a heavier, more metallic version of what they did/.The title track finds them leaning into the more atmospheric side of prog as the drummer continues to excel by stirring the pot with his winding meter. This elevates the song's dynamics. 

"Omen" is another case of where one song bleeds out of another; perhaps it's the mesmerizing vocal melodies that feel more like a texture, as it is all very fluid. The more power-chord crashes that pack a punch here bring Tool to mind. Granted, all of the bands they have drawn comparisons to are artists I like so this plays to their favor as it's familar without borrowing, though the vocals might be the exception to this rule as there is no way the producer did not comment on how they sound like Alice in Chains. I appreciate that they are willing to build things into a growl, but I am not sure is is necessary. 

"Eclipse" feels like the last song as the final track is more of an outro that hovers without the needed build into something solic. With that "Eclipse" is another song that builds with a psychedelic simmer. The vocals complement the ambiance created here. However the abstract manner in which the vocals drip into the songs is not something i would call hooky it is the sound of Alice in Chains, but not the hooks that put them on the radio. For this reason I will round this one down to a 9, which is still excellent msot of this is due to the dreamy narcotic mood they have woven here. 

 

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Rebecca Black : "Age of the Exhibitonist"

Not sure why this album has not broken through to the types of audiences that top-tier pop artists like Charli XCX have. I guess it has to do with industry push. Perhaps the production dollars are not as heavilly invested in this as they are in the new Charli XCX, but Ms. Black is bringing some sultry melodies and hyper-sexed lyrics to go with her new and improved vision of hyper pop. The first three songs are pretty flawless; sure, they are more fun than they are breaking any new musical ground, but she has convincing EDM sounds dialed in behind her.

"Miss Delicious" pumps a little harder with its more festival-ready beat being banged. "Pistol" has a lighter, higher vocal apporach, though the beats are also more subtle. "Michael" has a more house-meets-disco feel. I get that she needs dynamics to break things up, but this song, while well-done for what it is, does not measure up against what she has already been doing. This leaves the song feeling more like filler. "Vision Again" is more effective at shifting the dynamic from the high-energy bangers. The vocals are more intersting than the previous song, but it does feel like 90s pop. I like when they switch it up in the breakdown. 

"Waschesalon" has a futuristic bass line that sets it in motion, while the vocal purr holds a steamy tension. It does build into the angry cheerleader chant that can be a staple of this genre. "Metamorphia" has almsot a more Britney Spears-like vibe, but it still works. "Speaker Phone" works pretty well for what it is not the album's strongest chorus. She is obviously going in a more Slayyyter-like direction for this album, and it works for her, so I will give this one a 9.5. 

 

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Azure Emote : "Cryptic Aura"

 Not my first rodeo with this death metal project, as I reviewed their 2020 album. They are on the more progressive side, highly technical and experimental, and not afraid to throw in sonic shades outside the bounds of death metal. I made it a point to listen to this album because Andy Larocque plays on it. He lends his fret skills alongside James Murphy; obviously, Andy's solo stands out more. A sax also appears on this song, helping it to stand out from your typical death metal. The second song finds a darker mood merging often sandwhiched between rapid-fire blast beats. 

Two songs in it's perhaps too soon to say, but it feels like the experimentation is more focused on this album, and they are not throwing as many styles at you but working things into a more cohesive sound. "Bleed With the Moon" is technical but still carries a darker groove that is more memorable than the chugging of "Aeons Adrift," which gets the job done but leaves less of an impression. Perhaps this is because the vocals on this one are also more memorable. "Defiance Infernus" makes me think of Dimmu Borgir, though less symphonic even with the solitary violin; "Disease of the Soul" varies from a Morbid Angel-like groove to a more chaotic, jazzy abstraction; the drummer is excellent but sometimes seems to be ringleading the chaos. 

"Return to the Unknown" is more on the progressive side of things, with the vocals of Anna Murphy helping to provide greater depth to the song's mood. "Writhing Lunacy" is more like the background noise at a haunted house, with a woman screaming and darker ambiance cast over it. Its more like an outro than a song, so I won't count it when scoring this album. This album improves over what this project has done before and feels more focused; I will give it a 9.5 , making it a top-tier death metal album to pay attention to. Out on Testimony Records.

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Tårfödd : "En Känsla Av Hopplöshet"

At this point, I've heard so much noise rock and metal core I will go back to black metal. I found some depressive black metal because, when it comes to this genre, it's what I want most. It tends to be the darkest and most melodic. This album starts with the lingering strum of acoustic guitars. It eventually does lead to a flurry of blast beats, but they have already given it more to contrast with. Like Shining, this band is Swedish, which to some extent plays into the dense guitar sound. The vocals are in a Gullom-like rasp.It is emotive enough to fit the bill, so that makes up for some of the more textbook blast beat dynamics. There are lots of layers to the guitars, 

The second song sounds like they are just modulating the riff from the first song. The blast beat that possesses it is a little more rabid. More double bass and a soaring gallop propel " A Dark Cloudy Dream"; it is more memorable than the previous song. It has a brighter, almost Deafheaven-like sound. I am impressed you can hear the bass player on this album. The blast beats work a little better than they might on your typical black metal album here, though a little goes a long way. They do kick into a more Marduk-like riff on the song after this, but it gets caught up in blast beats.

"Hajartesong" is more of a straight-up classic metal sound, with the scathing vocals the main element that keeps it rooted in black metal. Its deliberate riffs carry more of a stomp.It builds up effectively. "Never Goes Away" finds tremolo-picked guitars carrying the melody while the drums crash around it. Closing the album like it opened it with an almost ten-minute song that allows the acoustic guitars to sprawl out for the first half of the song. It transitions into clean singing that flows through the rest of the song even as it builds back up. I will give this album a 9, it's more postblack metal at times than depressive black metal, but they have solidified themselves here as a black metal band to watch. Coming out on Purity Through Fire

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Dummy : "do you love the color of the sky?"

 

Not sure how much indie rock I have covered this year; it feels like not enough, as every album turns out to be noise rock or metalcore these days, so here we go. It starts with a driving pop ditty with electronic drums dancing around it, then mellows out for the second song, which has the more indifferent male vocal tones you associate with indie rock. In some ways, it makes me think of a less depressed, more electronic version of Jesus and Mary Chain. The poppier opening trakc wa more unique.

 There are more 90s dream-pop things going on with "Full Spectrum Dominance" that did not match up with that song title. It's a good song, though. When it comes to the quirky Squeaky Wheel," the emphasis seems to be on the beat rather than vocals, going for more of a sound than songwriting. "Touch the Perfect Speed" finds the male vocals returning. It's more upbeat and closer to what you expect from this sort of thing. "Song of Mana" is moodier and more intersting than the previous song. It wanders out into re-mix like jam. "Omen Globe" is another dancey tune. It's more upbeat, like the Sugarcubes. 

"N of 1" has more of that 90s breakbeat. Her vocals balance it out. She is, in fact, not ready for another one of those block rocking beats. She is singing about the anti-Christ, which is intersting. "Heavens What You Make of It" sounds like it came from the more stoned side of 90s alternative radio. I like what they are doing here; I'm unsure how much I will listen to this one, as I am loaded down with dream pop, but I appreciate the thoughts. Enough, in fact, to give it a 9, putting it in the upper tiers of this year's indie rock so far. 

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Sicksense : "Funerals"

 This had been on my to-do list for a second, but it is going to be the last nu-metal-to-metalcore album I review for a while unless something really wows.  Canada jsut loves this shit; it has all the elements from this era of the 90s that you could want: rap and female pseudo-goth drama. The first song works for the novelty of what they are doing, but I'd like to see different sonic colors. 

"Newsflash' starts off more like 311. It is almost too upbeat when left to its own devices before the crunch kicks in with its detuned weight. It is not as effective as what they do on the first song, but doesn't suck either."Sellers Remorse" feels like it's a continuation of the previous song, as they really have two major dynamics to employ, then things begin to sound the same. The riffing is generic and carries the typical nu-metal bounce even if it is a well-produced take on the genre.

The last song is a power ballad of sorts that no one really needed. It drags on for little reason and feels like an interlude in a Disney musical even when the drums kick in.I will give this an 8, as they are good at what they do, the chick has a decent voice, and it kinda hot. The rapping works most of the time, theey could stand to be a little darker, but oh well, I am sure some kid will like this.  

 

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Violent Omen : "Locomotive of Chaos"

 This is the 4th full-length by the Ukrainian thrash band that is as technical as they are aggressive, creating something that sounds likea cross between Kreator and Possessed at times. Some ripping guitar abounds, but this attacks your ear with more of a crazed frenzy than the kind of hooky riffs that landed thrash on Headbangers Ball. They do move closer to that direction at times on "The 24 Faces of Lunacy' which at times sounds more like if the Mothers of Invention were a thrash band

"Killdozer Rampage" finds them racing off at a rapid rate but still remembering they are writing songs and not just shredding. "Path of Illumination" finds the crazed snarl of vocals screaming out over some of the most nuanced and melodic playing yet on this album, not unlike 'Master of Puppets' era Metallica to some extent.  "Shared Sky" had more groove but also the kind of mathy twists and turns Coroner uses. 

There is a more Carcass vibe to "Unit 731' that finds some of the guitar showboating taken to extremes in a few sections. Granted, an audience of young would-be shredders might appreciate this. I certainly put much more stock in this as a kid. If you did not get enough prog-infected thrash they are dialing up both the prog andd the thrash for the last song "Telling Lies"; I will give this speed fest a 9, as it balances its fury andd chops well. If you like technical thrash, then these guys have you covered. 

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Beaten to Death : "Vntrve"

 

At first you might think this band from  Norway has clearly outgrown grindcore. They are too groovy on the opening track, though they get back to the insane screaming andd blasting on the second song. I enjpyed their previous album 'Sunrise Over Rigor Mortis," so I was excited to check this one out. It feels a little more organic than the last album, like they just stuck a mic in the jam space and started recording, which, for what they do, is not a band sound. The bass gets a nu-metal thumping at times. When they lock into some of the more blast parts, it feels more death metal than not. The vocals are tormented but less angry this time around. 

"The Tolerator" has a thrashier riff that meets the more chaotic choices of the drummer.  You can hear some of the hardcore influence buried in here. Most of the songs now have them venturing out past the two-minute mark. There is even a touch of rock n roll at times. 'Scroll On Homeboy" starts with a mean riff that deserves the title; they return to it, and it seems like it's obviously a jab at Pantera, given they use their song titles and lyrics in the song.  Granted, these guys would exist without Pantera, so the joke is on them. "Sunburnt Satanist" has a laugh at black metal, which, given where they are from, makes sense.

"Fuck the Moon" is chaotic, with another touch of black metal about it, which is something I did not hear much on the previous album. "Du er ug Mod" is darker and more punk, but works for what it is. It is only moderately spastic. It feels like a more deliberate song structure.  "My Dying Little Pony" races around a syncopated shuffle. "Momento Sugo" is too brief to establish it as more than an idea. "Satan Spawn the K-pop Demon" jabs at Deicide. The title track closes the album with a more straightforward pounding. The riffs are pretty mean. I will give this one a 9.5 and see if it grows on me, if you are looking for fun chaos here you go.

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BRYMIR : "What We Leave Behind"

Here's a death metal band from Finland that embraces a racing thrash style of the genre that is very grandiose, with layers of Viking choruses in the background, but better than what Amon Amarth is doing. This is due to the aggression they hit these songs with. The first actual song is pretty fast, which works for an introduction that kicks the door in, but hopefully they won't try to maintain this speed for the duration of the album. Not the most original take, but they are throwing themselves into this with a great deal of conviction. 

It is a very cleanly produced album, as the solos all stand out and you are never lost in a wall of dense sound barreling at you. You are going to hear this year. They are technically proficient and armed with the drive to do this, but in two songs it seems to be littlei nth way of dynamics, as they never take their foot off the gas. The title track eases into it rather than starting out at hyper speed from the jump, but they do kick in when the verse is off to the races. It comes across as too happy for my tastes despite the anger of the main vocal snarling with conviction. "True Darkness' takes away all the flowery symphonic atmosphere to hit more likea post-Vincent Morbid Angel blast fest.

"Buried Legion" has an almost Dimmu Borgir-like feel.  There is not a great deal that I am hearing to set these guys apart. Sure, they can play their instruments, but at the end of the day, it boils down to what sets these guys apart from other death metal albums I own that makes me want to listen to this rather than Frozen Soul or At the Gates? For someone like me who has already reviewed 450 albums so far this year, there is not a great deal of time to waster when it comes to listening to music on my own time, so to move to the head of the pack you have to stand out and have songs that hook me in. With the rise of AI this is more important, as there is not much here to separate them from AI songs doing something similar with sweeping harmony parts. 

This album is also not that dark, and some of the big anthemic chorus sections sweeping in brighten it up further, which is odd considering how most music from Finland is dark given the prevelence of alcoholism in that country. The album cover is way darker than the music inside. 'The Roaring Kind' is a chug away from sounding like an anime opening theme. The abundance of guitar solos and synths plays into this. Just fast playing does not equate to heavy; the more purposeful riffs employed here are stifled by major keys, the same problem power metal has: "How Much is the Fish"  almsot sounds like a joke; there is too much folk metal in it.  I will give this album a 7. If death metal is too dark and intense for you then this is a good entry point.Out on Napalm Records.  

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ARMS "I Wish You Were Down Here With Me"

The album opens with a raw, frenetic brand of core screamed hardcore, not unlike The Locust or Converge in it's chaotic intentions. They kept the intensity up with the more double-bass-propelled assault for "In A Glass Cage' as the use of effects on the vocals feels more like early Today is the Day, but with more of a metallic energy. "Call My Fucking Name" finds the moan Deftones-like vocal coming in; this song is more experimental but also less focused. They continue this vibe in a more pummeling fashion for "Say I  For Me".  Dynamically, this song works a little better than the previous song, but the frantic riff shifting can be alot to keep up with if you are not ready for it. 

"Ero Guro" finds them converting over to the more nu-metal groove that leans into this Deftones/ Glassjaw vibe, with a more atmospheric haze haunting the song with a sensual slither. Normally I am not down with bands borrowing this heavilly from a band I already like, but it works well enough here. "Placebo Fuck" sounds like neither Placebo nor fucking. It is very chaotic and in your face, so more like jackhammer on meth fucking. They do go into a more Jesus Lizard tension with a riff it breaks down into. Some actual singing comes in midway through the song, but it sits way back in the mix. 

"Nubile Contagion" carries more of a rock n roll groove. It makes for a more crazed syncopation, and it goes into the kinda crazed borderline nu-metal/powerviolence-inflected math-core that is this album's lifeblood. At two minutes, "I Wish" is a more finely coiled punch. "You Were Down" is more effective as it's heavier and more deliberate. It feels more harrowing. At almost 7 minutes long, "Here With Me"  feels almost more like Dillinger Escape Plan in how it weaves and bobs through the labyrinth of angry riffs. The sung vocals return, and a guitar solo surfaces as well. 

"Salo" opens with an electronic thump that helps to break things up. The main riff sounds like it could be from a Rob Zombie song. I also enjoy the darker mood created on "Pass Away" as it's doomy and thus more foreboding. This makes the parts where they come in with the screaming andd temper tantrums more effective.. Overall, this Orlando-based band takes familiar elements and makes them their own. I will give this album a 9,5, and see how often i return to it, but if you are into chaotic metalcore that understands the assignment when it comes to the hardcore side of the equation, then this might be your bag of tricks. The album doesn't drop until December 4th, so hopefully the track below can keep you statisfied til then. 

pst439

Slothrust : "What They Grow in the Garden"

I am not sure I am as current on all their most recent releases, as it looks like some might have slipped between the cracks. This album, however, finds them returning to a more rock sound after some interesting flirtations with experimental pop. In some ways, it makes me think of Forget Cassettes. The drumming is a little more prog, with weird timing that keeps you guessing. "Smile" finds a Muse-like tension lurking in the song's pulse. Her voice accentuates this well. The chorus is heavier than what you expect from them. Lyrically, there seem to be some intersting lyrical themes regarding mental health. 

The more aggressive rock brooding still laces "Ring the Bell," which has a 90s alternative feel.  It's intersting that they are on Equal Vision this time around, as it was once a hardcore label. There is a more post-hardcore feel to "Twusted Paradise," though her vocals smooth this out. "Hearst Castle" has more of a reggae feel to the guitar, as she narrates a story with a Tom Waits-like cadence. Though not adopt a gravelly vocal tone. Not what I expected from them, but they are known for switching it up dramatically. "00101001" is more of a ballad until the shift in the chorus to a more alt-rock crunch. Once again, you can draw comparisons to Muse here. 

"What a Night" opens with a more atmospheric piano line before it gradually gains momentum. Her voice glides over it in a higher, lighter fashion. Then a burly Muse-like bass line collides with it to bring things to a crescendo for a few measures of this slow burn with moments of release. I like Muse's new album and see them as a prog band packaged for pop, which can also be said of how the band is evolving, though they started with a grungey sound. "Absoulte Power" has a somewhat more roots-blues-based backbone. It remidns me of something you might hear in a New Orleans dive bar. There are several layers of instrumentation sitting at the back of the mix. 

"Keep Us Thirsty" expands and contracts with more rock tension. The drumming on this album is pretty great. "The Lake" is a more typical rocker, though with syncopated interplay. "Dystopian Cemetery" closes the album. It builds like a boozy showtime power ballad. Lyrically, it's pretty intersting. I will give this album a 9.5 and see how it grows on me. They continue to be ambitious even if they are falling into a more accessible rock side of alternative rather than the grunged-out rock they once were, but such is the nature of growth. 

psat438

Boy Harsher - 'GET MEAN'

 

This album came as a result of the band breaking up, not creatively but romantically, as the duo of Matthews &Muller, were in a relationship up until 2024.  For a break up album, there is a hopeful vibe running through this album. I can only imagine how awkward the studio sessions were, but perhaps it was healing. There is a new wave feel to these songs rather than darkwave, which is fine, as they had taken what they were doing with the reverbed, cavernous pulse of synths and breathy vocals as far as they could without switching gears. 

Jae has to hit the road and get some perspective so that influenced how she delivers these thoughtful lyrics that are not marred by the kind of cynical venom you expect from a breakup.She does drop down into the more familar purr on "Break Me" which is the darkest of the first three songs. "Tough Luck" is sonically more upbeat, musically reminding me of some of the Cure's early radio hits. The pick up the tempo on "Faulty". Lyrically, this album is heavier, and the music seems to be a counterbalance to that. The first song that feels more like a moody post-punk ballad is " Coming Home' which has a more retro synth feel. 

A dancey thump possesses "Hard Beat." Cellphone voice notes punctuate the album's lyrical narrative. "Ice Pick" is like a more organic post-punk take on their past sound.. She croons a little more on this one, and overall her performance on this album is more nuanced.  The downtime gave this project the needed creative refresh. "Jay's Spiral" is an intersting confessional interlude that paves the way for "Pray 4 Me". It's a smooth New Romantic groover. The drum program begins to take on their more signature formula in the album's third act, which should win over long-time fans, as thi is a staple of their sound. Her vocals also lean back toward her more deadpan moan.

 "Bleed" closes the album with a pretty minimalist approach, sparse hi-hats keeping time over the lethargy of her vocal lines. Dynamics are never what they are known for, but establishing a sensual, shadowy mood; yet this album finds them expanding from that, making it their most accessible and well written relased yet. Heartbreak is good for the creative spirit. I will give it a 9.5 and see how it grows on me.  

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pst437

MILEY :"Bass Persuades"

 

Her first album as MILEY, in all caps for dramatic effect. Similar to when  Prince changed his name to a symbol, the fundamental sound of what she does did not change with this new persona. We are now 10 albums in so she knows what she is doing.  It opens with the title track that was also the lead single, an 80s synth wave groover. She continues to keep her sound fresh and willing to experiment, as heard on "Different Religion," where she is joined by Model / Actriz, who is also opening for her on the sparse live dates she has booked. It's a little darker than the first track, and more of a steamy and darker. Rather than belt it out at full chest register, she is using more dynamic vocal nuance. 

"Let's Get Married" is a little more like the kind of pop ballads on her previous album in its reflective nature, but it sounds like there is an actual bass player rather than workstation bass samples. There is a hint of dream pop to this one."Orbit" is another ballad, not as vital as the previous song, as this could be anyone except for the fact she has a more distinct voice than even Taylor Swift when it comes to pop music; pound for pound, she has a better voice than Swift is just a songwriting ninja.  

The more atmospheric elements of "Aftermath" are balanced out by the EDM beat. She can read the room when it comes to where pop music is heading. Another difference between her and Swift who makes the market come to her. "Redlight" works as a low-key funky groove that merges many sounds from varied sonic corners, even country music, which is the remote undercurrent she can't escape no matter what name she goes by.

One of the singers from Mike Snow joins her for "Neon Signs," which is extra gay sounding thanks to him. If this is her stab at taking Dolly's place as a gay icon, her application is certainly being considered by the council of queens. This is further hinted at as she implies she's a lesbian on "Innocent Ways," which is a pretty thumping song. "Snow" is carried by a more indie pop groove it's almost more of a ballad until the beat kicks in at the chorus. I like how she twists her phrashing around the programmed drums. The remix of the first song that it ends with is a gay enough house remix to make everyone happy. I will round this one up to a 10 and see how it grows on me, much like all of her albums; chances are it will; 

pst436

Anthrax : "Cursum Perficio"

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

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

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

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

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Zero Hour : "No Man's Land"

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

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

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

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

pst434

Great Falls : "The Bite That Grows Up"

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

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

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

pst433

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

 

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

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

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

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

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

pst432

Mother of Graves : "the Light That Keeps Us"

 

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

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

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

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

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pst431

Embers of Dawn : "Infernal Culture"

 

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

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

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

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