chokecherry : "Ripe Fruit Rots and Falls"

 I was a big fan of the band's 2024 EP "Messy Star." They are back with a marginally more shoegazing effort that is still rooted firmly in the sounds of the '90s. The jangling grunge drive provides the backbone. There is more punk energy in the second song. But the smooth croon of her vocals balances this out."Pretty Things" ambles along; it has more of a dreamy slacker attitude, perhaps not as intentional as the first two songs. 

"Secrets' finds them flirty with the woozy shoegaze tones in places, though the song flows around the melody really well, rather than hypnotizing you. The punchier chorus refrain grounded the song. This album is really well produced with some shimmering guitar tones. The vocals never get lost in the sound they are cranking out, no matter how dreamy things get. While all of this works well, it's when they commit to the power chords of "You Love it When," which finds them making their strongest song.

There is also more of an organic alternative rock feel to "Oblivion". Though the chorus is more subtle than the previous song.  "February" has more gas in the tank as the guitar carries more attack. The title track closes the album with a little more introspection. Overall, this album is great as it rocks out with all the passion of the 90s while employing effective atmospher.e I will give it a 9.5 out on Fearless Records/

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Love is Noise- "To Live a Different Way".

 

Midway into the year, and catching up with some albums I missed out on earlier. It goes to show that with mainstream metal media, even a broken clock is right twice a day, as I stumbled across these guys thanks to a Loudwire article. Produced like a shoegaze album, but it has Myspace emo vibes at its beating heart. This is most evident in the vocals. The vocals are almost pop-punk on "Soft Glow".  A more nu-metal vocal pops up to give it a little more edge. Cameron Humpry is the creative engine of this project, and he seems to have a knack for blending all the right elements at the right time. 

There is a more 90s  alt-pop feel to "Take One Minute" that puts them in line to start gunning for the throne Turnstile is occupying this year. They are about as much of a metal band as Turnstile is a hardcore band. 'But the kinda sound like Deftones! " you argue. Well, Deftones have not been a metal band in some time. These guys are aware of Deafheaven, but not as committed to heaviness as they are. Which is fine, it's the media that is trying to position these guys as metal, not me. Then, as I type this, they make a more nu-metal stab at things for "Jawbreaker". It's much more Deftones influenced for sure. 

"Evelyn" sounds more like a Jane's Addiction ballad if Dave Grohl were singing rather than Perry. It works better than that sounds.  I guess this would be best described as nu-gaze, as it's shoe-gazing nu-metal, which is kind of what Deftones turned into. These guys groove differently. At times, on a song like "It Hurts to Know You're There,"  they bring Dredg to mind. The title track is the song to play if you are asked to sum up this band in one song. "Sunshine" really doubles down on the more pop-oriented aspect of what was a more subtle undercurrent til this point. 

There is a more dream pop strum leading into "Anemoia". The song wanders in atmosphere. "Mist" kind of works off the mellower, more atmospheric vibes established in the previous song, with the songwriting feeling a little more dialed in, slightly more 90s Brit pop. I like the vocal production on the last song, though they do double down on the power ballad mood. They jam off the atmosphere, and allow it to boil to more of a climax. overall this might not be metal, but this album is a great deal of fun, sounds great and they have a fine ear for songwriting with memorable vocal lines which most shoe-gaze bands just use as a texture. I will give it a 9.5, out on Century Media.

10.7

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Viagra Boys : ""viagr aboys"

The Swedish punk band wastes no time making this work them up into more of a frenzy once they get to "the Bog Body."There are some melodic elements in the chaos that touch on a similar avant-garde pop style as Xiu Xiu.  They keep their hooky sarcasm cracking off lyrical observations in sharp humor that fuels the disco beat of "UNO II".  The topics that are subject to their lyrical scorn veer from the news to health care on "Pyramid of Health," which carries a bit of a country twang.  It recalls some of the alt-rock classics of the '90s. 

"Dirty Boyz" has a more Rolling Stones-like swagger. Midway into the song, it takes on a more manic electro groove that buzzes with orgiastic delight. "Medicine For Horses" finds them letting up on the rock intensity for more of an indie rock ballad. This is a noted shift in Sebastian Murphy's vocal style that finds him continuing to mature as a singer. While it works off a simple, sedate beat, it proves to be effective. "Water Boy' has a 90s Brit-pop like it could be a Blur song. 'Store Policy' brings more of a confrontational energy. The production begins to experiment and bring more sounds into the mix as the album progresses, taking them out of the realm of punk.  Once flutes arrive at the party, it's not punk is a good rule to follow. 

"You N33d Me" is lyrically crazy, though not the most dynamic moment of the album, as it settles into its noisy groove. "Best in Show Part IV" When a saxophone enters the chat, you know your song is turning into a jam. "River King" closes the album in a rather unexpected manner, as I would not have predicted a ballad. More brass colors the background, to give this a more hopeful feel than if they had taken a darker Tom Waits approach to things. Overall, this album continues to show growth and is a great deal of fun. I will give this album a 9.5. I have a feeling it will continue to grow on me with each listen.

 

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Pallbearer : "Mind Burns Alive"

 The fifth album by one of my favorite doom bands. Each album has been a gradual progression away from doom into what has culminated into the opening track of their new album "Mind Burns Alive". Campbell is using a great deal of restraint and taking a more vulnerable approach to his singing. It is not until the song's end that it gains any time of heavier dynamic. It took a couple of listens to this song before it finally clicked with me, as the first listen found me having to adjust to the change. 

Things get marginally more metallic going into the title track. A gray melancholy hangs over the song, but it feels more like doomy rock than doom metal. The verses are sung in a more hushed manner. He does belt it out a little more when things get louder. There is a more hopeful guitar melody that shines out of this before it does get metal in time for the guitar solo. The lyrics are darker than the music on this one. 

Campbell's voice sounds great on "Signals". But great in the sense that you are hearing another side of it. This shows growth as a singer. The song has a pleading introspection, building up for them to kick into a more rock dynamic. I am not sure I would call it metal.  Three songs in and it's clear the songs are excellent, but are they excellent Pallbearer songs? If it were not for the sprawling eight-minute arrangements, these songs could be played on mainstream alternative rock radio. 

An acoustic guitar opens "Endless Place", after a minute of reluctance they bring power chords that show they have not altogether forgotten who they are. it is more in their wheelhouse, though on the more melodic sides, with the drums leading the guitars into a lumbering labyrinth. Campell projects his voice in a manner that puts more guts into it. There is almost a post-Empire" Geoff Tate quality to his voice when it comes to the tonal placement. This song wanders off into a more progressive place that works well with the band's current direction. The saxophone works really well here, and not the instrument you would normally associate with them. They build this song well to reach more of a sonic climax. 

"Daybreak" finds Campell digging deeper into the vulnerability he has showcased earlier in the album. This time it is pushed perhaps as far as they could go, as it is not unlike the early emo bands like Mineral or Elliot. The fuzzed-out guitars do come, as Campbell puts his diaphragm back into it. It continues to carry more hope than despair, perhaps they are smoking less weed and taking medication? When they do go back to a more familiar sound on the last song, it is weird because they have already led you so far away from that. It is nice to hear the angular signature of the doom riffs, and more depressing qualities being emoted. This song is interesting as it unfolds, taking you into a dark place, before ending the album on a heavier note. I will round this up to a 10, it is pretty stunning, and while I would normally be more resistant to this kind of change it is hard to argue against something this effective.Dropping May 17th on Nuclear Blast.   

                                                                                                         

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Host : "IX"

 

Nick Holmes and Greg Mackintosh from Paradise Lost have ventured off to more melodic territory with this album. I heard dark wave getting thrown around in reference to this album, and that is not what I hear on the opening track. It is a more melodic and more electronic based effort in contrast to their other band , but not goth, as least on the first song. They y of come closer to that sort of thing on the second song, but but it's not much darker than the first song. The best is more dance oriented. It brings Porcupine Tree to mind more than Mission UK. There is more of a Depeche Mode feel to " Divine Emotion" which brings it closest to whatever you want to call goth these days.

On paper this should win me over with ease. It is a formula that should be destined to work. Two guys from a metal band I like venture out to make something in the zip-code of goth. But it lacks the hooks and darkness to persuade me. The beat and vocal syncopation improve on "A Troubled Mind" . The vocals fall where they should. It is not the darkest song, but it is headed in a right direction. While it's a pleasant listen " My Only Escape" makes me wonder why they did not do these songs with Paradise Lot. There are plenty of Paradise Lost songs that stroke me as being more goth than what goes down on this album. 

"Years of Suspicion" is a more confident step in the darker direction they were trying to wrestle toward. "Inquisition" sounds more like Gary Numan to me. The last song does not come together in the way you might expect. Instead it's brooding hesitates and ponders. I will still give this album a 9, as it is done and if I went into this with a better understanding , my expectations might have been more aligned. For what it is it works well, they are still solid song writers, this is not as dark as expected is the only problem I have, when I listen to it knowing what this is , it works just fine. 

Placebo : "Never Let Me Go"

 2006's "Meds" was the last album I was into by this British glam band. By into I mean listened to every moment of the day as these guys were once numbered among my favorite bands. "Battle for the Sun" let me down in such a way that they feel off my radar. I think the key to Brian's success as a songwriter lies in his ability convey the struggle of his anger, darkness, metal health and addiction. It is in that struggle where their music has found its fire. Moloko succeeds in recapturing that moodiness on their new album. I think it is important that Stefan is still working with Brian as that duo is clearly Placebo and not just Brian Moloko solo album. There is none of the kinetic punk tension that colored their early work. It works off smooth grooves and melodies, with sonic layers of guitar embellish the dynamics.  

"The Prodigal" is the first song that makes me nervous as it touches on lighter happier tones. There are synth strings flowing in the background as it bounces along a spring road in England the lyrics ' you'll see that sorrow can set you free" is a pretty solid tone to set. At 49 he has beat the odds as a depressive rock star who did drugs up until 2006. So, 16 years of sobriety is nothing to sneeze at. It is also interesting that while he still carried the baggage gathered over the years, how it affected the albums that followed. But that song is the bar I want to set for the sonic joy conveyed for the band and do not want to hear anything brighter than that. They obliger this on "Surrounded by Spies ".  broods with a cinematic flare as it observes the post- Covid world around them. I like how they lock into a hypnotic repetition at times which is something they have used in the past.          

There is a straightforward rock to the amble of "Try Better Next Time". I do not think this song plays to what they do best and reminds me more of the moods from the ill-fated "Battle for the Sun", The first song that doesn't connect with me still makes this an improvement over their last couple albums. From the more dancey moments to the tense reflections on his "monkey mind being possessed by demons" all gives me what I want from them.  I really like the guitar tone on "Chemtrails" . The song could have come from "Blackmarket Music". The "Without You I'm Nothing" like ballad " This is What You Wanted" works without the band barrowing from themselves. While at times more along the lines of say Depeche Mode the album stays strong in it's moody shadows and gives me what I want from the band. I will give this album a 10 and see how it grows on me but as it stands now I am thrilled to have a band I love back.     

Quicksand : " Distant Populations"

Was not expecting a new one from these guys, but I will take it. They pretty much pick up where they left off though not as aggressive. They do try to hit you with grooves that are just as solid. I like the second song more than the opener as it gives the vocals more room. The same can also be said for "Colossus" . Their vocals are one of their strengths for they set the band apart from their peers. Walter has such a distinct voice that you always know who it is when he sets up to the mic. His voice has held up over the years. They approach groove differently on "Brushed" which feels more like something Janes Addiction would have done. It's odd but works. According to their Wiki, Capone is still absent from the band meaning they are doing all this as a 3 piece.  This could also be why songs like "Katakana' do not have the edge the band once did.

"Missile Command" is really well written, there is a reason it was one of the singles the band led with before the album's release. It is catchy enough but far from selling out.. "Phase 90" gives even more breathing room for the vocals to be more of a focal point. Later in the album "Rodan' reminds me how Walter's voice has always seemed soothing to me. Take into consideration that I have been listening to these guys since the 90s , so there is a sense of nostalgia to when they hit certain sweet spots, but as this song shows there is still room for new adjacent sounds to be included.  They hit a smooth yet more driven melody on "the Philosopher" that does not sound tied down to any musical era, which is more than you can say for the bulk of their peers.   

They return to the kind of sinewy palm muted grooves that once found them not far removed from the sonic zip code of "Undertow" era Tool on "EMDR".  This kind of grooving thankfully carries over into the last song as well, though the vocals help out a little more on "Rodan". I will go ahead and round this one up to a 10 because it has already grown on me and there is little in the way of filler, they might not have the urgency of youth in their veins , but they are far more consistent and inspired than the majority of bands from the 90s are today.  

Corlyx: "In2 The Skin"

This Los Angeles duo drinks deeply of the industrial influence Alt-pop from the 90s. The production is more complex with more layers sitting in interesting places. The guitar has similar intent as that of mid-period Nine Inch Nails- though not as aggressive or dense. Vocalist Caitlin Starks has a tongue that drips with sex and slathers her melodies in it. Riding the line between organic elements and electronic propulsion.The second song is darker , though not as dark as what would be considered dark wave. They are more into getting laid than being melodramatic about it.  "Self Mutilation" has a weird groove with synths that have futuristic plastic sound to them. "Can't Get Enough" finds this project blending the elements that make them work into a solid hook.

Things darken nicely for "Dream Girl". It almost has a trip-hop feel. "Guys Like You" has a more driving groove. This is one of the album's strengths that is has a wide dynamic range. I like the vocals on "Twist Like An Animal" she is still keeping the sexy alto , but putting it in interesting emotional places. This song is also another darker one so that always wins me over. "One of the Used" reminds of  Lana Del Ray if she was guesting on a Depeche Mode album. "Hot Sex" would be great to listen to while meditating on the the album cover with a jar of Vaseline at hand. Where that song is a more primal expression of erotica, there is a smoother more sensual tone to "Deform". There is a well balanced bleed to the throbbing pulse.

 I was not sure what to expect going into this. I was pleasantly surprised, if I was making a songs to fuck to compilation, which is not out of the question, I would put one of these songs on it for sure.  I like the unified concept of the lyrics and the nature of what they explore, rather than a bunch of evocative metaphor that goes no where. I will give this album a 9 as I like the mood it creates and can see my self getting many more spins from this album./>think fans of Curve and Lord of Acid would really be into this.  This album is releases on the 16th of August.

Failure : "In the Future Your Body Will Be the Furthest Thing From Your Mind"

The first song is an odd indie rock ditty that also most dancey and has little of their classic sound. This problem is solved on the second song" Paralytic Flow" which is true to form for the band. The driving bass line of "No One Left " is more convincing than the dreamy laze of "Pennies" that falls before it. There is a decent groove to "Solar Eyes" which is consistent with what the band normally does. "What Makes It Easy" almost sounds more like Pinback to me. Despite the mellower mood, it's a decently written song, that makes me want to listen to Pinback. "Found a Way" is not as innovative as it sounds like straight ahead Foo-fighters like grunge.

They work best with the bass line taking charge. There is a more detached almost Gary Numan like feel to "Distorted Fields". The groove to this song works really well. They do get some interesting guitar tones on this album. I had to listen to "Heavy and Blind " twice to really get the feel of it. It leans more towards the more introspective indie rock side of what they do. "Another Post Human Dream" sounds like the title , but it also bores me. "Apocalypse Blooms" is not a grooving rocker, but it still works . "Forced Fed Rainbow" has more sonic heft to it.

There is more of a Beatles feel to "Pineal Electoral". It stars off just piano and bass. While it's not a " Nurse Who Loved Me" and pseudo political , the song it self is well done as far a Beatle influenced rock goes, though that is not the first thing I want when I think of these guys . I'll give this album a 7 as it feels their personality which made them Failure is compromised to some extent. 

Looking Back in Anger at Tool's "Opiate"

With a supposed new album coming out this year. It begs the questions like...does anyone care? ...are they even relevant in today's musical climate, leading to ask "How well have those albums held up in the first place?" Now that is precisely the kind of thing I answer in the Looking Back in Anger column, so I am taking their first ep off it's pedestal to give it a critical listen. When this came out it was heavier at the time than it is now. I could tell that on "Sweat" the first song that bore the ghosts from the 90s in it's production. The picture the lyrics paint were strong enough to compensate for any elements that struggled to drag it out of the 90s. "Hush" is much less interesting on a lyrical level , though more aggressive. The bass playing on this song stands out more, though I do not feel it's as strong of song as "Sweat".

There is a stiffer militant anger to "Part of Me". The tightly chugged riff is a prophetic glance at what was to come on "Undertow". Danny Carey's drumming was not as nuanced as it would become on "Undertow". The taunt guitars are actually the song's strong suit, as Maynard's vocals hand really close to the riff. He does display a strong sense of dynamics, and though it's not his best performance on this album , it is more nuanced than the first two songs. Then comes the two live songs. "Cold & Ugly" reminds me of what my high-school girl friend said to me when she brought this album home from the radio station she worked at. "You'll like these guys they are like a more metal version of Soundgarden. I can hear the grunged out sinew pulsing on this song. Of the two songs "Jerk Off" is more like the sound they would further cultivate. Maynard's vocals are more melodic. Danny Carey also begins to really step up his playing on this as well. Not sure how a lyric like "maybe I should play god/ and shoot you myself" would sit with the p/c police.

Of all the songs the title track holds up the best against the band's current body of work. The vocals are the most melodically sung, and lyrically the stab at religion is well done. The production is a little dated in a few places earlier on in the album so I will give this one a 9.5 , it's more straight forward on a metallic manner which sometimes gives it more of a stiffness than the serpentine groove to come on future albums.

Warrior Soul : "Back On the Lash"

When I was in high school I went to go see Soundgarden direct support for Danzig. While Soundgarden who was touring for "Louder than Love" was awesome the band before them was Warrior Soul. They seemed to be a bridge from glam metal into something more cerebral. I went out and bought "Last Decade Dead Century" the next day. So I want Warrior Soul to sound just as incredible as they did then. We go way back. I am aware Kory Clarke has drug the name around from various incarnations of this band and none of the members that played on the classic first three album still remain. But at the very least I expect them to be within the same sonic range as they were in 1990. Granted they were ahead of their time. They even played with the former Killing Joke drummer at first so when this album opens with the same style of punk infused metal as Killing Joke, this makes sense. Kory's vocals are more aggressive here not unlike something Jaz Coleman would do.

 It's when they begin to sound more like Faster Pussycat on "I Get Fucked Up" that I begin to question the direction they are now in. Though is this more passable than what happens on the song that follows. It's the title track that dashes my hopes as Kory's voice sounds fucking awful. I am not sure what kind of fucking producer let that fly. His sounds like god damn Lemmy jamming with the Cult. It sounds like he was losing his voice in the recording booth. "Thrill Seeker " is marginally better with a little more balls to the guitar. The riff to "Goin Broke Getting High" is heavier and makes more of an attempt to rekindle their former glory. The rust on Kory's raspy pipes, flakes off a little, but this is far from "Drugs God and the New Republic". The riffs continue to fall somewhere between AC/DC and the Cult on "Black Out". The vocals are more spoken here. The bass really drives this one. 

The very straight forward manner they constructed these songs, feel like there is little trace of the acid fueled sense of space age surreal sonics that colored there older work, with the chorus of "I 've Got the Rock" sounding like a Motorhead b-side. The lyrics are even less inspired so Kory has to take some of the blame for this. When he tries to go up into his higher register it's almost painful though the makes a more successful attempt on "Further Decay". "That's How We Roll" sounds more like the type of rock these guys were becoming an alternative to back in the day. It pains me to have to give this album a 6.5, but even then I feel I am being generous.It id inspire me to go back and revisit all the old albums to hear when this band ruled.


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The Used : "the Canyon"

"Lies For the Liars" was the last album I bought by these guys. I did catch them live last year and they played the entire first album. Bert and the bass player are the only two original members. It opens on more of the emo side with an acoustic ballad that is not as good as their more ballad like moments from the first album. There is a more of a funky groove to "Cold War Telescreen" than what I am used to hearing from these guys. The hook in the chorus works and makes this song pretty listenable. There is a more 80's rock n roll feel to the palm muted chug of "Broken Windows". If Bert's quirky voice wasn't on this it could be a Bon Jovi b-side when it comes to the arena-rock chorus. However much like Bon Jovi it is pretty damn catchy.

What I used to like about the Used that I felt made them stand out from the other Myspace metal bands their ability to sound unhinged then rein it end for a catchy melody. The key to this unhinged sound was that it sounded like it came from a very honest place. They come close to remembering this place on "Rise Up Lights" but something about sounds like a version more refined with radio aspirations. There is a more mainstream alt rock feel to the more Muse like groove of "Vertigo Cave". The song is decent , but certainly falls short of standing next to the band's best songs. There is more urgency to "Pretty Picture". It tends to fall along the lines of every other modern rock radio band with it's soft to loud shift in dynamics, but it works for what it is. This is when I realize there are 17 fucking songs on this album and I bet if they really focused on ten this could have been killer instead of settling for what everyone else is doing.

The bass lays down a more David Bowie like groove on "Funeral Post", but is that what Bert is best working with ? The more Faith No More like moments on this album are questionable and certainly steps away from what is in the best interest of what this band is really about. Where this song builds up and goes off into is pretty cool, though questionable in regards to the sound of who the Used is. They heavily effected jangle seems to be one of the devices this album defaults to. The chorus to "Upper Falls" works well , but I am unsure about the rest of the song. There is too much twang in the guitar that sounds like it belongs on a Dave Matthews album. The bass player has certainly been listening to more David Bowie, which you can't fault him for however Bert is far from  Bowie and his vocals might be better suited following other melodies.

There is a more grit in the riff to "Selfies From Aleppo". The chorus to this one doesn't work as well as some of the other choruses on this album that were supported by much less cooler riffs than the one on this song. There is a party soundtrack vibe to "Moving the Mountain". The chorus helps smooth this one out and make it tolerable. The chemistry on "Over and Over Again " is not as fortunate and comes across as being too happy for my tastes. Then there is the bass solo..take one , which is cool, but doesn't make or break a song. "the Quiet War" would make a pretty great Coheed & Cambria song, but not really what I want from the Used, though it doesn't suck. Though the rap at the certainly does. Is "Moon Dream" supposed to be their "Eleanor Rigby" ?  Why else would they have a string section in one of their songs ? Bert's voice sounds good, though like Claudio from Coheed.

They bring back the crunch of guitar on "the Nexus". But that is all in vain by the end as the song gets too happy. It makes me wonder if this is all due to Bert's sobriety. Not every one can make the change with their creative juice intact, just ask Dave Mustaine. There is a little more inspiration in "About You...". "The Mouth of the Canyon" covers a lot of ground and is a sprawling piece of music that touches on more rock n roll moments than I am used to hearing them tackle but it some how works. I'll give this a 7.5, it is not bad , but it doesn't really capture what I want from them. If you have stuck with them past the first three albums then perhaps this is less of a shock to you and might work more for you than it does me.

Solstafir : " Berdreyminn"

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I like some of the more bizarre artistic turns my favorite bands have gone in. I am a big fan of Disco era Kiss and New Wave era Alice Cooper. I like even the glam rock days of Celtic Frost. So the turn this band has taken might not phase me like their long time fans. Though I am not as emotionally invested into their path as i am Kiss or Alice Copper.  like this fact it sounds album is a weird shift for the Icelandic band  like a cross between the Cure and Neurosis colliding . The song is upbeat despite it's crusty edges. The production is a little weird The guitar shifts in where it sits in the mix, the drums almost sound like they are programmed, but this could be the fact they are playing almost a dance beat to create this illusion. They blend pop hooks with the some kind of prog inflections that Muse uses , but the vocals are less Queen like and a emotive yet gruff baritone that seeks to reach beyond it's range. "Hula" finds the atmospherics becoming much thicker and darker more sonic shadow cast over the song before it relaxes down into dreamy reverb filled guitar line that has almost more of a shoe gaze edge to it before the vocals come in. The vocals hold a firmer melody than someone like their country men in Sigur Rios. Distorted chord ring out in the background, but it would be hard pressed to call this rock much less metal.

It's not until "Naros" that something chugs into place that ties this band to their metal roots.It reminds me of where many metal bands found themselves when trying to find their identity when alternative music got big. The song that follows is some what of a power ballad as it starts with a more delicate piano piece and works it's way up gathering intensity as it progresses. They lay it on thick with the keyboards going into "Dyrafjorour" then bring in a very Pink Floyd guitar solo. David Gilmore is one of my favorite guitarists so if you can bring him to mind that is saying something. Though their guitar tone is far from being as immaculate as his. The vocals are sung in Icelandic which doesn't translate well to the melody they are trying to employ. So this puts the song's fate in the hands of a guitar melody that brings us back to our rule here ....cool riffs alone do not make a good song. The "Us & Them" ambiance is cool and all, but doesn't knock a home run.

They are back in a more Floydian direction on "Ambatt" which finds the softer vocal touch working form  better than some of the more rock tinged moments. There is a slight jammy tone to how this song unfolds. When the over driven guitar melody slides in they have hit one of the album's stronger dynamic places. "Blafjall" has a more aggressive pulse that eventually turns into a more metallic chug, but aside from the heaviness, it doesn't connect as soundly with me as some of the albums other songs. The final two minutes of this song find the band taking off in a way that might remind you of their earlier days, but it's almost too little too late in that regard.At the end of the day it depends on how much you embrace the changes this band has under gone over the years, if you have been along for the ride up until this point it will seem like a very natural progression to this point. In any case I'll give this album an 8.5.

Cherry Glazerr : "Apocalipstick"

Here is a wacky indie rock band that works best off best clever, though they can build into a more punk infused punch on the opener "Told You I'd Be With the Guys".

Black Foxxes "I'm Not Well"

This band is interesting as it's hard to imagine that they did not come from the late the 90s. While middle of the road when it comes to how hard the they do or do not rock,  I can appreciate the role the vocals play in their sound. As the opener builds there is more of  an early Pearl Jam like angst to the grit added in the vocals. They lock into a more traditional rock role on "Husk". When they ease their foot off the gas it offers a more dynamic glimpse at the band , but flirts with a more emo side than I am not sure I was ready to see yet on "Whatever Let's You Cope" .  There is an androgynous quality to their sound that doesn't glam it out like Placebo, but is there.

They skillfully slide the vocal melodies around slinky grooves on "How We Rust".  "River" brings them floating into the more emo place, with a better guitar tone. They are almost like a more glam tinged version Brand New on this one. I like when they fake you out on the explosive build up. There are some cool guitar passages accompanied by equally compelling vocals. They start to shift over into a more Ours like sound with the alt-power ballad "Bronte".  They are back to the more grunge like sound on "Waking Up". The angry fey vocals provide a nice dynamic and work better than if their singer was an Eddie Vedder clone. The Brand New / Neil Young like chord structure of "Home" keeps it from being a ballad. I would not say these guys are dark, they prove on the build up to this song they can get heavy, they are very moody and introspective lyrically.

"Slow Jams Forever" is not a slow jam.  It reminds me a little of Chevelle or Injected. "Pines" is more subdued. This could be an acoustic out take from My Chemical Romance.Overall if you are playing rock music that come this close to being main stream , but manage to draw me in them you are doing something right. There is plenty that sounds familiar enough here, but with a sound that is their own. So this is how you do it kids. It boils down to the songs and passion behind them. I'll round this up to a 10.

Red Fang : "Only Ghosts"

This is my first time really given these guys a shot . In the past when I heard them I thought they were a little derivative of Kyuss. While they are not re-inventing the wheel here, and are arguably taking more inspiration from the more hooky direction Torche went in back in 2008 on "Meanderthal", the songs are well written and by the time the vocals switch over into the hook, I am enjoying myself.  The riff to "Cut It Short " owes more to Devo's "Girl You Want" or Kiss' "Rocket Ride" than any Black Sabbath song. Ross Robinson did a good job here. I like the production on the vocals and there is a great bass tone this album. I am not sure this is what I would call metal as is rocks about as hard as the Foo- Fighters or Queens of the Stone-age. I do know my wife will more than likely dig this album due to that fact. So this is going to open some doors for the band. I'm not familiar enough with their older material to scream sell-out. Some of their fans who latched onto the band for their Sargent House debut, might think recording with Korn's producer is selling out.

The more husky vocals to "No Air" bring a more muscular attack to their sound with their barbaric bellow. The band locks in behind them and the drummer's playing is particularly impressive on this song. It's still more stoner rock and not what I would call sludge or doom. While it's driving "Shadows" doesn't feel like it's focus is as tightly wound as the previous songs. Midway into the song it veers off into some angular math before locking back in.  The song's are all tightly compressed to the three minute mark. I like the taunter groove of  "Not For You" that reminds me more of Quicksand or Helmet. The first song that comes close to being metal is  "the Smell of the Sound" which carries a weighty stomp.  The energetic "the Deep" roars ahead with a lot of momentum, but to me doesn't feel like it works off the same strengths that have made this album shine and feels more like filler.

There is a burly roar summoned to "I Am a Ghost", but despite having a more groove than "the Deep" doesn't strike me as being as inspired as the other songs on this album. The don't take their feet off the gas for "Living in Lye" which sticks to the more roaring vocals. I'll around this up to a 9, not sure if I need the last three songs on my iPod the strong song are really strong, when the album picks up steam it loses some in the songwriting department by trying to go with a more Motorhead formula that doesn't work as solidly for them. If you are already a fan of this band I'm sure you still be on board for this one and the first half of the album is good enough to hook new listeners in.

Astral Tide : "How Far, Are You Out There?"

I like the balance of power and melancholy that this album cruises the shadows with. The bass tone is monstrous. By the time you get into "Mercy Release" it's clear these guys are not a doom band. The croon of the vocals feels more post-punk to me. They are certainly odd birds as they explode in manner than reminds me of band's from the 90s like the Catherine Wheel. The whole loud to soft dynamic formula is the bread and butter of their sound. There are screamed vocals thrown in and almost progressive rock guitar work that is bathed in enough effects for it to not hit you like Dream Theater. The vocals take a lighter shift on the more angular rocker "Living off Air" that owes more to Dinosaur Jr than Black Sabbath.

They continue to accelerate into "Cold Dark" and while it's showcases some impressive bass playing I don't think this really plays to their strengths as a band.It does go into a slower build to get heavier , but the song would have been better at that pace all along. "Out of Orbit" works within the bounds of the wall of sound these guys make the best use of.  They stomp along similar lines but with their foot press harder to the gas on "Blissful Agony". It took me a few listens for this one to sink in with me as it felt like a lot was being thrown at me at once.

While in places the vocals might use a little fine tuning and the band could learn to use restraint here and there and allow you to get hypnotized by their more sonic side, this album was a pleasant surprise. These guys have a lot going for them. Hard to pin into any one genre, they bring 90's alternative to a harder place and stare into the trapping of shoe gaze with out getting distracted from the songs at hand. I'll give this album a 8.5. It is certainly worth your time.

Ayahausca : "Yin"

When grunge was coming out in the 90s it was understood that Black Sabbath was an influence and some of that doom could be felt in some of it's more brooding moments. The opening track of this album high lights that fact. The harmonized vocals only further bring Alice In Chains comparisons. It's when I hear other things in the singers that the vocals work best for me. The shift of tempo on the second song doesn't play to the band's strengths. There is a more unique angular dissonance on the title track. The vocals continue to worship at Layne Staley's altar. They get a few degrees heavier and the more proggy groove of "Dark Matter God" that allows me to hear more of this Voivod influence their press release claimed they have. This is one of the stronger songs. I can hear some of the odd phrasing in the guitar that gives this band more of a proggy edge. "Dinosaurs" is not as focused, even with all the minor key harmony vocals. The is more of a Soundgarden feel colliding with the perpetual Alice in Chains saunter they maintain on "Mange". Like Muse sultry swagger adds a more lavish color to the mood. There is a more melodic touch to "Carbon". The switch to harsher vocals works well to set them apart from the grunge bandwagon. Feedback leads them into "Left Skull Prison". This song is darker and harder than the bulk of the album.

The minor key harmonies still keep these men in a box.It is odd to me that they are not more self aware in regards to their sound that they would think playing at the pace of "Collapse of a Life Long Lie" would work. The song is very different, but doesn't stray from the band's strengths so wildly. "Mountain of Snakes" find the pace picking up into unwieldy math rock. The vocals fight to find their place on this song. "White Ship ' also sits very oddly on this album even though I appreciate how it expands the sonic scope, though it feels like this is just a hat they are trying on rather than a multi-faceted band like Faith no More who could glide back and forth from varied genres yet still maintained the core of who they were. I'll give this album a 7.5. If you want prog infused grunge these are your guys.

Dinosaur Jr : " Give a Glimpse of What You're Not"

I have had a respect for this band , but I am stuck on the one afternoon, I went to Criminal Records too high to be in public and J Mascis was playing an it  was just to much for me. They come back strong and rocking out of the gate. It sounds like a slacker version of the Foo-fighters holding no aspirations of gaining radio play and more power to them for this attitude. They surprised me on the first song, but will they be able to hold the momentum is what I wonder during the jangle of the second song. They let up on the attack in favor of a more garage like sound, that still holds hints of the more sonic barrage of alternative rock this band is known for. I'm o.k with them letting up off the gas for the more introspective "Be a Part". Both J Mascis' voice and guitar playing sound great on this song. There is a grunge like ramble that fights against the twang of "I Told Every One" . I can hear where these guys might have influenced Ryan Adams.

Mascis is not the world's greatest singer... He knows this. He works well with what he has and there is an endearing honesty to it. I suppose that is Lou Barlow taking over the vocals on "Love is..." which has more of a 60s strum to it. "Good to Know" taps into some of the energy they hit you with on the first song. There is a heavier lumber to "I Walk For Miles". It's easy to hear how these guys hail from the same era as Nirvana.  The more country twang returns on "Lost All Day". He lets his voice crack into a falsetto on this song. The tighter rock chugs that drive the song coming out of the chorus are the high light of this one. They relax back into " Knocked Around" that recalls the 90s, when pop music didn't seem like it sucked as bad. The lyric "give a glimpse of what you're not" hides out in this song.The build up on this song is pretty awesome. The production on this album is generally on point, lets face it these guys are old pros so they are not going to let that slip. The guitar tones is great and Mascis really cements his place as one of modern rock's best guitarists on "Mirror". The song carries enough a groove to create the illusion it's not as melancholy as it. The last song is pretty dynamic, while also being some what laid back in it's solid groove. I'll give this a 9.5, it's my first pass through it so it has yet to have a chance to grow on me, if you are already a fan then this will be on endless repeat.

Hellhorse : "s/t:

This band recalls the drug summer's of the late nineties in their take on post-grunge stoner metal. Vocally there is more rock to the singer's roar, while the band pounds behind him with a power that calls Soundgarden's and the Melvins more muscular moments. The only thing I don't like about this band is the fact they have two singers, and my theory is just have one singer who can do both. But if I try to block that out then this is a pretty fun ride. Production wise this album was meant to be played loud at it over powers my computers speakers with it's overdriven grit. I don't fee like the second song really holds up to the kind of power thrown around in the opener. I like the more blues baked dynamics to the melodies of "Fortune Favors the Bold". Which ever singer they chose to sing "Blood Boiler" is the one that needs to go. I do like the singer who sings more than the guy who does the punk yelling. It could be this song just doesn't play to the band's strengths even when they go for a more Clutch like thing.


 The alt-metal of "Hell of A Ride" has a better groove, but could use a stronger melody. The hooks just don't grab me as hard as this band is capable of doing. There is more of a metal gallop to "Raise the Black Flag" that justifies the bellow of the throaty vocals. There is a little more melody put into the melody of riff to "Hell Haven". The vocals set the baritone croon the yelled vocal, which can be a little awkward at times. They are heavier on the closing "No Fucks Given" which builds into a more southern gospel section, lyrically it's a little silly with the lines about joining the circus. I'll give this one an 8, it falls a little short of being something I need in my iPod for daily listening, but there are some really good songs, the first and the 3rd song being the most impressive. It's a little more middle of the road than where my tastes normally go and when I am in the mood to listen to this sort of thing I would listen to Clutch instead. But if you want so hard rock with a punk edge then this band from Denmark is worth your time.