Chat Pile : "Who Loves the Sun"

The first thing I notice about the opening track to their new album is how the vocals have improved. More sung sections, along with harsh counterpoint. I also appreciate the darker tension lurking in the mood. Not as sludge-flavored as 20024's "Cool World" album, which took the number two spot on that year's Top 10 Sludge albums. Creepier than the Jesus Lizard but with a similar vibe. You can hear this on "Deep Blue," which falls somewhere between noise rock and grunge. They have always been great at capturing the color of feeling unhinged, and this album continues that tradition. They hammer at you harder as "Deep Blue" progresses, though I am reluctant to call this a metal album; however, I am only two songs in. 

"Same Rules" is more introspective that what you might expect from them. I like the mood here, and just wnat good songs, as I am not invested in these guys being heavy; if this was the new Watain, then we might have a problem. They are growing at what they do here. "Pen is Mall" is more pounding, with the vocals stepping up into a more aggressive snarl. The thump of the bass brings back the ghost of nu-metal that has haunted this band before. The noise rock side can be heard in the angular, ugly nature of how they engage this anger. The theme of this album is how the decay of society is due to collective apathy, so this might be why it is less confrontational, though they roar pretty furiously on "Shrine". 

"Oddly," there is almost a funky groove to the jangle of "Intruder", which is contrasted by the more explosive sections of the song. I like the lyrics that someone told him this house needs haunting. "Christabel 26" moves off a bass line that reminds me of Rollins Band. The howl of the vocals also works with this influence. The moredetached spoken vocals hold more in common with King Missile. There is also a depressed Nirvana feel to this one. The ugly angular noise throb continues on "Influence"; there is a similar tension as "Bleach" era Nirvana. This collides against the Jesus Lizard-like tension. 

"Family Funeral" slows the pound down. There is a dissonance to it that falls much clsoer to the bounds of noise rock. A spoken vocal mutters under the burly bassline. The vocals build into a tortured question of where the fuck is he supposed to go. The last song has to sound creepy, as it is called "October All of the Time," which is how I feel this time of year.It is more of a grunge ballad. I will give this album a 10 as it deserves. If this is not the album that breaks them into an even larger audience, it might not be happening and they cango back to being indie darlings. Regardless, they are creepier and more melodic, showing a great deal of growth, making this their best effort yet.

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Spirit Mother : "Thistle"

 

Yeah, you are not crazy if you are circling back around to this review; the original one got deleted so I had to rewrite it as the previous version disappeared. But this allowed me to spend more time with this album, which gave me more perspective. Most of my reviews or reactions were on my first listen through. This is not to say my instincts were off base on my first listen. It'sa great album, and I just heard more of its nuances. It's an album that I wanted to give more of a listen to as I enjoyed it so much, but I am the sole writer for this blog, and I crank out almost 700 reviews a year, so there is not enough time to listen to every album as much as i might like.

They play post-grunge era, stoner rock in a way that blurs the line between where one begins and the other ends. They are not trying to get a retro sound; everything just clicks organically. a. “Violent Son” has a moodier swagger and syncopated riff that finds the guitars adding atmosphere that allows the vocals to coast between it all. The vocals here are in a mellow croon that is possibly drug-induced. The strength of the vocals is not in their range but how emotion is conveyed and where he puts his voice. 

“Coat of Arms finds the rock energy in a reflective melancholia. There is little in the way of studio sheen as they captured a very organic feel, like you are in their rehearsal space and they just pressed record, despite hte multi-layered guitar tracks that bring contrasting tones to life. A version of Jethro Tull’s “Locomotive Breath” that is one of the album’s hardest rocking moments. His vocal cords tensing into a scream to accent phrases. 

There is a more southern rock vibe to the guitars strolling through “Good Faith’ as the song unfurls in a cloud of pot smoke. This southern rock thing could also be a 70s rock vibe in general, though not referring to the radio version of that unless we are talking about their stint with Jethro Tull. Often when we talk about grunge we think about the radio staples that chased hair metal off the air rather than the more drug-influenced ambiance that bands like Screaming Trees brooded within, which serves as a fair point of comparison once you delve deeper into the album andd the songs become more jammed out. On a song like “Crux” they still maintain a maple rock backbone. The vocal melodies slowly latch into your subconscious without overt hooks in your face, but lines found in the refrains they build into. It is easy to hear how this narcotic-tinged malaise found in the vocals could be compared to Queens of the Stone Age in how it glides over the riffs. 

It’s hard to say this album is dark, but there are some more introspective moments of downtrodden gray that bubble up on songs like “Odetta” as it builds up into a hypnotic throb. “Strange You Are” also shuffles with a bleak tension. Both songs have excellent nuanced phrasing in their guitar part rather than just rocking off a riff.  Bass lines into the pulse of the title track that harkens back to a 90s grunge sound with twisted remnants of classic rock haunting the hook-tinged riffs and explosive swell of dynamics. What works the most about these guys is not shredding guitars or punishing playing but outstanding songwriting that tells heartfelt stories with enough surreal metaphor to leave you guessing. If you want rock music that does not sound like a beer commercial and casts a heady shadow over your bong, this album is a must.I will give it a 10.

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The Pretty Reckless : "Dear God"

 

Their last album 'Other Worlds' did not live up to the height they hit with their songwriting on "Death By Rock N Roll," which ight be why there is less fanfare with the release of this album. The opening track "For I Am Death," however, delivers pretty solidly with Taylor Momsen dialed in where she needs to be to carry this band. "When I Wake Up" might not be as hooky, but it works when it comes to straight-up rock n roll. There is a pretty heartfelt performance to "Love Me".The song s is pretty dynamic even if it brushes against some common tropes. 

The strum of "Dragonfire" has a more rootsy blues-based sound.  It opens things up for her to belt it out more easily, as the band is allowed to stretch out a bit. The title track is the darkest so far and has a bit of Alice Cooper influence in the guitar playing, so it is not surprising that it is my favorite song so far. The album is broken up by interludes called "Life Evermore". "About You" is more of a punk-influenced ditty that works for what it is. "Spell On You" is not the Screaming Jay Hawkins song, but it's an angsty grunge banger. They use the 90s production style but do not feel the need to check off the grunge boxes for"Rollercoaster of Life." While this works for the verses, the chorus is not the strongest as it's too happy. 

Taylor is at her best with some brooding introspection in the equation, which finds its balance on " Eye of the Storm". She tackles the introspective part from another angle on "Devil in Disguise."  This shows another side of her voice with its folky feel. She doesn't always have to rock out to keep me happy. I was not expecting what they do on "Dark Days," so that gets points for not following the most obvious paths and spreading things out dynamically.. I think this album is better than her last and touches on the kind of magic that worked so well on "Death By Rock n Roll," so I will give it a 9.5, out on Fearless Records.

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Armored Saint : "Emotion Factory Reset"

The last album I spent much time with by these guys was "Symbol of Salvation", but this album does not find the band straying too far from what they worked there. The album carries a great deal of momentum with some unconventional sounds opening up "Every Man Any-man," but once this album gets going, that momentum causes some of the tracks to run into one another; the space Bush gets on the verses is key to their success here. The first song where I can hear a trace of the more classic metal band they once were is " Not On Your Life."

 This is where one of their strengths this time around comes in, regarding the sound captured here, which is that they do not sound dated and feel vital in 2026, while still being true to the spirit of the band.In some ways, to a metal kid in 2026, this album might feel more rock n roll. "Hit a Moonshot" is a very high-energy take on rock, but has more in common with AC/DC than Slayer. "Buckeye" makes me think of Bruce Dickinson's solo work from the 90s. If he is being compared to Bruce, it means  Bush's voice has held up well for 62 years young.  "Compromise" has a more in-your-face metal groove while giving his vocals space. 

I like the darker grunge feel lurking in the chord progression to "It's a Buzzkill". This is one of the album's strongest songs. "Throwing Caution to the Wind" finds them back on the more rock n roll side of the fence. There are a few heavier riffs in it, and the solos on all the songs are pretty blazing if you are into the old metal shred. "Ladders and Slides" has some of the best drumming of the album; it's subtle and feels like rock. But there is an almsot Zeppelin feel. There is a really cool grooving breakdown in it. 

You can hear more Maiden influence in "Bottom Feeders." There is also a more traditional metal vibe to the last song. It works well enough even with some of the rock n roll excess, but I am not expecting them to be Radiohead, so that works for me. Overall, they prove to be vital in 2026, the album sounds great and not dated, John's voice shows little wear and tear, so I will give this album a 9.5 as it's all you can ask from them and they delivered. Out May 22nd on Metal Blade. 

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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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LAVISHER : "Aligned & Vital"

 

This band from Chicago follows similar sonic footsteps to post-hardcore pioneers Failure. There is more emphasis on the vocals and harmonies. So much so that it brightens things up because they are more hopeful than depressive. "Premptive Waltz" has a little more swagger to it. It kind of makes me think of Kings X. There is a burly bass tone that is overdrive better spent on guitars. If you think back to bands like Hum and Failure, they had killer guitar tones. The lighter touch of "Sultry" feels more authentic. I like the Stone Temple Pilots-like guitar hue that is thrown into this one. I think they are talented players who are punching above their weight class and need more guitar heft. Let's see if this rings true for the rest of the album. 

"Anicents" kind breezes by without riffs, carrying enough balls to anchor it. They tense up and dig into heavier stomps for "Way Too Much," which feels like a darker Foo Fighters. "Topped & Tailed" has a more atmospheric indie rock vibe that gradually becomes more grunge as it progresses.  "Charmer" finds the nuanced guitar parts again, helping them out. This is their second album, so they should have a good idea of what they are doing. The vocals on this one don't do wonders for the song. There is a cool jammy section in it. It should be no surprise that the song called "Gritty" would be heavier. Like a heavier Foo-Fighters. 

"Howl" is more of a ballad, which is fine as it feels more true to who they are. The melody flows better here. When they do step on the overdrive, it makes sense and is not just a formula. The title track also gives the vocals room to breathe. They bring hints of jazz, which is the more progressive energy I think they need to tap into with "Detached." The last song did not really grab me, but I will give this album an 8, as they are great musicians still trying to find who they are as songwriters, but hit more than not. 

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Die Spitz : "Something to Consume"

 

This Texas-based band is punk-infused grunge or grunge infused with punk, who knows, it falls somewhere between Hole and Sonic Youth with a less metallic L7 thrown in. The bass is mixed up to give things more balls. The alto vocals sometimes erupt into more of an angry scream; the band is trying to convey that they have issues. There is more of a rock n roll strum to the second song. I prefer the darker tone that opened the album, though they are effective at this sound as well. 

They do get heavier on "Throw Yourself on the Sword," which carries a metal gallop. Her vocals are more punk on this one. "American Porn" has them backing off into more of a Nirvana sound. There is a darker, more tense slither to the groove of "Sound to No One". It is not unlike the "Undertow" era Tool. "Go Get Dressed" is more of an experimental interlude. "Red40" is punkier along the line of L7. "Riding With My Girls" has more of a Motorhead drive to it. The vocals play it safely punk.

"Punishers" is back towards the more 90s alternative sound, but this works well for them. Any girl these days can scream, but one who can have the depressive croon off a Liz Phair album is more unique. The song has the first guitar solo of sorts that catches my ear. "Down on It' rides the line between what Nirvana did and punk. By Nirvana, in this instance, I am referring to "Bleach". They experiment and get a little darker on the last song. Not the most original thing I've heard, but they have a flair for doing this that sells me on them enough to give this album a 9.Oddly enough, it was released on Third Man Records. 

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Void of Sleep : "The Abyss Into Which We All Have to Stare"

It's been 2015 since we covered Void of Sleep. I remember the album being on the harder rock side of sludge, but let's see how they have evolved as a band in the past decade. The first actual song on this album feels more atmospheric than what I remember from them. The vocals fall in a manner not unlike Mastodon's more melodic moments. The vocals are belted in a more doom-like manner when things build dynamically. "Misfortune Teller" works along similar lines with a more syncopated Tool creep to it than the previous song. 

"Lullaby of Woe" is more moody and progressive, with the vocals just riding the riffs rather than being a hooky focus on the songwriting. The vocals sit back in the mix to make this more apparent, and a thick atmosphere hovers over the guitar. At almost 10 minutes, they milk the mood for as long as they can. It slowly builds up for a simmering breakdown. They jam off this for almost half the song. Around the 8-minute mark, a guitar solo creates the chance to build things.

 There is a similar shadowy pulse to "From an Unborn Mother," it gives the vocals more room for introspective crooning, though they still still back in the mix. The hypnotic brooding that weaves into form certainly shares some common groove with Tool in the almost Middle Eastern feel that slithers from it. A saxophone solo provdies a sonic change of pace that is preferred to just having another guitar solo, not that they are obsessed with shredding, but needed the change of sonic colors. 

They continue to stay in a jammy midset for "Phantoms of Nihil". The vocals do not come until the two-minute mark, and while they are more forward in the mix, they are not as nuanced as what we heard earlier in the album, though they do build into a more aggressive tone. It feels a little awkward at times. It does not feel like they have spent the last decade working to perfect this element of their sound. The breakdown at the five-minute mark was well timed, though it offers nothing new from them when they jam over it. 

The last song is the darkest and heaviest mood of the album. The vocal harmonies create more of a grunge vibe. I will give this album an 8, which is what their last album received, meaning that these guys are consistent. If you like grunge and progressive rock and wish the two were married more often, then this album will be worth checking out. It drops on Aural Music October 17th, so fans of the band have something to look forward to. 

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Insomniac : "Om Moksha Ritam"

This band from Atlanta is releasing its debut on Blues Funeral. They combine a brooding Alice In Chains-like vocals with big atmospheric sludge-tinged riffs that sometimes build in a more Mastodon-like manner on songs like "Mountain"; this bridges the big epic rock riffage with hypnotic pulses. Deceased drummer Amos Rikin puts enough gas in the songs to keep them moving with locomotive power. Harsher growls accent the punches left open by the more subtle baritone croon of the vocals.

There is a more abstract arrangement to the more swirling ambiance of "Snow and Ice" that might bring to mind the darker moments of Queens of the Stone Age or the lighter moments of Acid Bath. This song is more of a free-form jam out than the first two tracks. It does build into a harder grunge climax by the end. "Forest" is a trippy power ballad. At four and a half minutes, it's much more economical in its arrangement.  There is more of a blues swagger to "Sea". This brings them back to Josh Homme's sonic zip code. 

While it had to be advised that picking up acoustic guitars on "Desert" would only bring further comparison to 90s grunge, they followed their artistic vision, and the result was as predicted. However, I like all the bands that they draw comparisons to, so that plays to their favor. My only issue with this song is how the drums feel further back in the mix. A bigger drum sound could have given more of a back bone, instead it wanders a bit, until the dynamics build up from the drone. They shift into a more Screaming Trees-like mood on "Awakening". The guitars carry a more hypnotic simmer. It does build up into a hard-rocking climax as they seem to be prone to doing on this album. I will give this album a 9 and see how it grows on me. Sadly, their guitarist, Mike Morris, passed away after the recording of this album was complete, leaving this as a bittersweet celebration of sound. They have vowed to press on in his honor, and if you are a fan of the earlier, more experimental days of grunge before it took over the radio, then you will be a fan of these guys as well. Drops September 1st on Blues Funeral Recordings

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Fleshwater : "2000: In Search of the Endless Sky"

 

I had to go back and give "We're Not Here to Be Loved" another listen before I realized there is a girl singer in this band, I though her voice was just harmonizing on a couple of songs and they had more of a Circa Surive thing going on at the time, Now that I realize Marisa Shirar is their lead vocalist, is something I am accepting as I move forward with this review. The mix of this album is more radio-friendly with the vocals out front, as the guitar swirls around them. Shirar's singing style is more rock-oriented on this album as she belts it out more with the guitar sitting back in the mix. I prefer "Jet Pack" over "Green Street," and the more atmospheric opener is my favorite. The shoegazing is certainly dialed back as the album progresses. 

In some ways, the production of the guitars on this album reminds me of Far. "Last Escape" finds the pace picking up and the guitars going into more of a jangle. The chorus is lighter and poppier. While her voice sounds stronger on this album, I think it takes away from the more atmospheric side that makes them more unique, thrusting them to compete with the Paramores of the world. This pop-punk take on emo is more in your face this time around. "Be Your Best" has some more experimental elements in play, which is something this band needs to lean into more. The drummer from These Pianos Are Teeth plays on this album and makes some interesting choices in how the drums were recorded to give her the room to sit back and sing with more feeling but less forced intensity.

"Jerome Town" gets into a harder rocking with its staccato riffing. Anthony Dido's vocals lead off this song, and his relaxed approach is what the song needed. At the beginning of "Sundown" I thought I pressed play on Ethel Cain by mistake, then things kick in a little more to give a more 90s alternative feel. It's a good song, but it sounds nothing like the band that caught my attention with their previous album. "Raging Storm" follows a similar 90s formula, but has a more punk-infused drive. "Silverine" is more of an interlude than a song that stands on its own two feet. "Endless Sky" finds Anthony's vocals leading off. It finds a balance of heft bass lines providing a backbone, against 90s emo melodies. I will give this a 9, as some great songs just need to grow on me since I liked late 90s emo, which is the dominant sonic factor even more than the slight nods to nu-metal or shoegaze. 

 

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Stoned Jesus : "Songs to Sun"

 I liked their 2023 album "Father Light" and this one works off a more post-rock infused atmosphere, which creates dynamic contrast from when they exhale and step on the overdrive. The opening track finds them at a very balanced crossroads of sound, with enough metallic punch, yet more thoughtful vocal melodies that are almost another part of the instrumentation. Form and function in the arrangement, yet a feeling that they are jamming out certain sections and just going with the vibes in the moment. 

Not too adventurous that this feels like prog, but more intricate than just banging out some chords. "Shadowland" has a more Soundgarden-like groove. The vocals are a little lower, though not as brooding as the grunge-infused metal of the '90s. It is dark enough to keep me interested. 'Lost in the Rain"  finds more delicate guitar parts setting the stage for them to build up from. It is somewhat of a ballad with a pulse that throbbed out like a gathering storm cloud as it progressed. The time spent unpacking the tasteful guitar solo is well spent. 

"Low" is the most metallic song on this album so far. There is a "Children of the Grave' like gallop that keeps it moving. They balance this out by winding around into some riffs that are equally heavy in terms of their sonic depth as they are heavy metal. They jam out a little more with "See You on the Road." The last song, "Quicksand' is not a David Bowie cover, but a strummed jam that feels more like Monster Magnet. I will give this one a 9, which puts it on the same level as their previous album, showing they are not only consistent, but better than most bands trying to do this sort of thing. 

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Bush : " I Beat Loneliness"

 

The band's 2022 "The Art of Survival" was the number 1 hard-rock album of the year, as it was pretty close to perfect, so the bar is high here. Who would think Gavin Rossdale would be bringing it this hard this late into his career? He is apparently modern rock's most underrated songwriter, as this album starts off with a song, though it brings a rock crunch, it's more atmosphere than what they hit you with at the onset of the previous album. The title track packs a massive punch. It's a brooding as you would want him to be, but with a kick ass riff driving the song. It's the band's 10th album, so they clearly know what they are doing. 

The darker, conflicted emotional undercurrent that gave their early work such a convincing feel is in play on "The Land of Milk and Honey," but this time given more muscle thanks to the more metallic riffing. There is a more electronic groove on "We're All the Same on the Inside". The band continues to crush it with some very powerful songwriting and great lyrics. To say they don't make music like this anymore might be an overstatement, but Rossdale still knows what works. "I am Here to Save Your Life" does what worked on the last album, but with better lyrics. 

"60 Ways to Forget People" is more reflective but still packs a punch. It grew on me even more with repeat listens, as it is very nuanced. The chorus to "Love Me Til the Pain Fades" is the closest thing to pop hooks I have heard so far. There is more of an odd shoegazing feel to the riff that opens "We Are of This Earth" that turns into a surreal ballad of sorts. "Everyone is Broken" might need to grow on me, but it feels too ambient for its own good as he is writing another anthemic ballad; however, this wanders a bit. 

'Don't Be Afraid' has the bass line and the drums that the previous song needed, and Gavin reaches up into the dusty confines of his upper chest register on the chorus. It's more interesting than your average mainstream rock song. "Footsteps in the Sand"  opens with more electronic elements that provide an effective dynamic to contrast when things kick in. He has retained the same band that played on the last, which explains a great deal of the creative cohesion. They close the album with more of a ballad. It highlights the fact that this album is more nuanced than the last one, but does not have the same rock muscle doing the more aggressive attack. I will give this one a 9.5, and see how it grows on me, the last album certainly did but the more metallic moments grabbed me harder.  

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Dwellers : "Corrupt Translation Machine"

 

We can call a band progressive blues or simply just say "grunge". In the 90s, grunge did not mean just simply sounding like Pearl Jam or Soundgarden; there were bands like Screaming Trees and Stone Temple Pilots who brought other, sometimes more rock-flavored elements to it. The vocal layering is more Alice in Chains here. The guitar is contemplating rather than chugging in a metallic manner. This is given more of a spotlight in the second song. I appreciate that the guitar solo leads into a more jammed section of the song. 

"Old Ways" does not feel as focused as the first two songs, as it relaxes into the more ambling contemplation of the chord progression. "The Beast" follows a similar path, but it's darker, and the drummer feels more confident in the backbone they are laying down. They need to lay into more of the darker grooves that the band works off of for "Inside Infinity."  It gives the vocals some places to go that are not as Layne Staley-like. "The Maze" attempts, but the vocals and wandering around as the drums do not give them as much guidance. This does give the guitar more room to play around. 

"The Sermon" works best as a brooding storm of introspection, with the guitar taking prominence in a manner that reminds me of earlier Pink Floyd. Particularly when the chords ring out in a manner that accents the drums. "Marigold" is more of a ballad.  As an 11-minute song, it is, of course, jammed out around the five-minute mark. "Made" is a more atmospheric reflection, with interesting guitar playing. tI will give this album a 9, as I like the darker organic nature of what they are doing here, and the songs wind in some thoughtful directions. 

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Miss Lava : "Under a Black Sun"

You never know where your next favorite new band might be hiding, so I try to check out at least one track from every band in my inbox, so give fate a chance. The "Under a Black Sun" track hooked me in the first few minutes, so I decided to check this one out. Melodic vocals that carry a trippy drone as they ride the bass line are a staple of their sound. The chorus kicks into a fuzzed-out stoner rock rumble with some Sabbath infused weight behind it. This makes me think of bands in the 90s that came out after grunge who struck big, who might have been on the more metallic side of things, so they merged doom with the loud-to-soft formula that Nirvana made popular. The Portuguese band finds itself in good company in this approach. 

The throb of "Neon Gods" is catchy and sets the stage for the groove that possesses the verse for the vocals to drip Alice In Chains-like harmonies over. The vocals belt out more aggressively for the chorus to make the most of the dynamics. "Eye Evil Eye of a Witch" finds the vocals beginning to create a uniform feel to this album, and putting the band in a position where they need to switch things up a bit in this regard to keep my attention. Granted, you could argue there are bands such as HEALTH or REZN, who have one made of vocalist that defines their sound as well, but I think the vocals for those bands are more of an atmospheric layer that provides perhaps more of a hook. In other words, it's not what you do but how you do it. 

The minute and fifteen seconds of "Chaos Strain" is a more punk moment, but when a band veers greatly from their sound into something like this that feels out of character, it always makes me wonder what the point was. It seems that the drummer wanted the momentum to carry over into "Woe Warrior". This song, however, has more going on than flows from the whole of what they do. "The Bends" is not a Radiohead cover, but a song that is more like a grunge version of Queens of the Stone Age. You think that would be Kyuss, but this comes across differently. The darker, palm-muted tension of 'Fear in Overdrive" makes it one of the album's best songs.

The Alice In Chains comparisons grow stronger on "I Drown". The album is also produced in a way that captures more of a '90s sound. "Blue Sky in Mars" moves a little differently, and the guitar melody is not your typical Alice in Chains minor key ambiance. It feels more like "Load" era Metallica to me. 'Elara" is more of a song than an interlude, even though it features female vocals and is only a minute and a half. Then we know the title track that closes this album is a banger, as it's the reason I decided to check out this album in the first place. I will give this album a 9, it's a solid grunge grunge-tinged album that would be great for long sessions of bong worship. 

 

 

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Superheaven : "s/t"

 

The third album by this band which built a buzz with their first two albums. They have a 90s sound that occupies the middle road between grunge and shoegaze, recalling "Gish" era Smashing Pumpkins, but with a less androgynous vocal approach. In fact, the vocals owe a bit more to Helmet in how they occupy space. This space is created by the grooves of their drummer. They do not allow the atmosphere to bog them down as the songs retain their smooth momentum. They have released four singles leading up to this album's release, but I did not check out any of them, so going in fresh, though I have listened to this band before, so I am familiar with what they do. 

"Cruel Times" has some heavier accents, but these guys are in no way metal. If you think just using distorted guitar makes something metal, then you don't know anything, and we are just going to ignore you and get on with the rest of this review. Often, more shoegaze bands tend to allow the vocals just to be a texture, but these guys use the vocals as a focal point of the songs. Palm muted chugs sometimes shift the dynamics, and they never really take the songs in the most expected places. There is more Nirvana in the influences of " Sounds of Goodbyes", which is a great deal of catchy fun. 

The thing about what they are doing is that the pieces of sound they have collected to work with are derivative, but it's the spirit in which they have assembled them that carries enough personality to make them their own. "Long Gone' digs into a more stadium-ready vision of grunge. "Hothead' feels more like the Foo Fighters. It is the first moment where things do not feel equally inspired, but I guess they felt they needed an uptempo song like this. I am guessing it was the drummer's idea, as he sounded like he was having the most fun.I prefer the reverb-heavy melancholy of "Conflicted Mood" that sets up "Star at the Void".  "Next Time" sulks around with hopeful melodies arising from the brooding. The last song reminds me of Failure, which works for me. I will give this album a 9.5, as it gives you what you want from this sort of 90s gaze rock. 

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Bleeth : "Marionette"

The opening track from this Miami trio finds noise rock meeting darker sludge grit. The vocals are a sluggish moan, leaving the entire sound to feel like it was lost in the 90s. Cvlt Nation compared them to Kylesa and I did not hear that until the second song when the vocals of guitarist Lauren Palma took over the mic. The dynamic it is contrasted by on the chorus is not as heavy as Kylesa and feels more like grunge to me, think L7 or Veruca Salt here. I do prefer this over the opening track. 'Medusa" stumbled forward with a woozy blur before the male vocals barked back on "Devils Advocate". This more aggressive stance finds the band falling on the heavier end of noise rock.

There is a heavier stomp on "Break Free' that carries more of a Helmet-like syncopation to power it. The pounding lumber of "Placebo" has a darker Jesus Lizard creep that wins me over and I like how the howl of the vocals works with the swaggering groove making it one of the album's strongest songs. "Snake Eyes" is possessed by a punk recklessness, that might put its message before its sense of dynamics. "Pro-Choice" is better than the previous song as there is more thought placed on how the vocals fall over the music, though it is not the album's best song. 

I like what they are doing on "Reflections" though I am not sure what they are doing is enough to warrant a song, it felt like I was just listening to them jam while waiting for the actual song to kick in but, the direction they were heading felt solid. They are back on the more grunge vibes for the last song. I like where they end up going with it as the heavier groove works well. I will give this album a 9, it's solid, if you want something in the sludge meets grunge vein not unlike what bands like Torche used to do, or the Melvins might be another fair point of comparison at times. This album drops on Seeing Red Records on April 1st. 

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Year of the Cobra : "S/T"

 

The first obvious thing about this duo's 3rd album is that Amy's voice has come a long way. Her performance on the opening track has more nuance. They lumber into a darker depth of doom than I recall from their first two albums. It seems that her time in the Doom Slayer tribute Slower, allowed her to hone her pipes further.  She creates a witchier vibe at times here. There is more of a rock groove to "War Drop". The harmonized vocals are such a part of this song I am having a hard time imagining how this is going to sound live. But I am not going to worry about it too much and enjoy this one. The third song finds them locked into the rock vibes, with a more uptempo energy to it. Though she takes on a brighter almost poppier tone to her voice that almost makes me think of the Runaways. 

The drummer is working overtime on this album to keep things flowing. "Alone" finds the bass line wandering into a more progressive place with its creeping melody. Her vocals fall back into a more introspective soulful mood. This serves as a great example of how she has grown as a singer. The songwriting also holds a wider breadth of dynamics. This might take them further from the doom label but is effective nonetheless. "7 Years" sounds like a lost 90s grunge classic. There is more brooding depth to the aptly titled "The Darkness".  Her vocals provide a counterpoint to the gloom. Amy's bass playing is less about heavy fuzzed-out tones and takes on a more melodic approach that opens up their songwriting on this album. 

"Sleep" is the song that most closely resembles their previous work with a turn back toward the doomier sound they once relied upon. I would say it's a little catchier vocally than their previous Doom releases.  The last song finds them backing off from the heavy again to go into a dreamier melody. This song is more like a ballad than anything I can recall them doing before. It might not be the album's best song but I understand why they are doing it. I will round this one up to a 10 as the songwriting has transcended genres to find them making grooving tunes that could have come from the 90s.   

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Jerry Cantrell : "I Want Blood'

I owned "Boggy Depot", but haven't checked out his solo stuff since. I love his guitar playing but often feel with most artists' solo work, it is energy that would have been better invested in their main band. The first song sounds like Alice In Chains so it's hard to complain. There is a who's who of rock royalty on the album Robert Trujillo plays on the second song. The riff to this song sounds like it should be on a solo Ozzy album, making me surprised Ozzy has not tapped Cantrell for solo stuff. If this was all supposed to be on the next Alice In Chains album I would not be surprised. 

Duff Mckagan also joins him on "Afterglow", which feels like an Ozzy solo ballad run through the filter of Alice In Chains. The way the chords ring out could have been found in the band's later work. However, the chorus is not as strong as the previous songs. Duff is also back on the more rock n roll title track that feels more in line with Queens of the Stoneage, though I guess on "Facelift" there is some of this on the b-side. Marilyn Manson's drummer Gil Sharone, plays on this album though Mike Bordin plays on the title track. Still, it does not feel like the best use of his talents. It's basic rock n roll. 

Greg Puciato lends backing vocals to "Echoes of Laughter". It's a darker song, that tempers the brooding with soulful melody. The vocals on this album are really well produced. This might be the album's best guitar solo. "Throw Me a Line" is rock but with a slithering groove that works really well. It goes to show his songwriting ability has not faded since Alice in Chains. "Let it Lie" oddly has Bordin just playing the drum parts on the chorus, which I'm not sure they cut it that way, maybe he just got the best take. I like that it is darker which does give it more of the classic Alice In Chains feel, it could have been an outtake from 'Dirt". 

"Held Your Tongue" is more rock n roll, though is still doused in the nostalgia for Alice in Chains. At this point, it's clear, that Cantrell was carrying Alice in Chains, as he proves by making an Alice in Chains record by himself. It's weird because if this was an Alice In Chains album I would have been less hesitant to check it, going to show you how powerful the branding of a band is. "It Comes' is another Alice in Chains-like ballad, but I enjoy the mood it creates. I'll give this a 9.5, as it is the best Alice In Chains album that they did not make as a band. 

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November is Doom : Fatima : "Eerie"

This French band immediately impressed me with the first song. The urgent vocals and ominous ambiance, all worked perfectly. The guitar carries the needed metallic punch to drive the point home as the bass anchors this down, with a unique songwriting approach. It's pretty haunting and sets high expectations for the rest of the album. Some 90s elements are lurking under the surface here, and perhaps this is the icing on the cake for me. They bring plenty of power to the overdriven wall of fuzz that leads into the second song.

At this point in the album, I begin to hear how they are following the path created by countrymen Hangman's Chair. This is finds since those guys are one of my favorite bands. There is a little more of a Soundgarden feel going into the trippier "Miracle of the Sun" which finds a warmer sense of melody creeping into things. There is a lighter vocal employed on this as well. The bass keeps "Portuguese Man O War" moving as the vocals are locked in a more hypnotic chant. The lumber of the riffs retains the established heaviness. "Cyclops Cave" has a sludged-out grunge drive as the pace picks up into a palm-muted chug. More in common with the Melvins than Nirvana. 

Speaking of influences I appreciate the Cure-like feel of "Hypericum". The bass brings the slinky groove, while they bring more melancholic tones to the chorus. This album likes taking you through exotic Middle Eastern chord progressions, while "Three Eyed Enoch" flirts with this, it commits to the gloomy more doom-ridden stomp. It shifts into a more grunge jangle at times, but the thread of doom remains tied to the song as a whole. The album ends with a moodier post-grunge power ballad. I'll round this up to a 10 this falls along similar lines as Hangman's Chair or O Zorn ! as it's dark heavy and downtrodden and might not be an actual doom album, but moody enough to appeal to both fans of doom and grunge.

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choke cherry : "Messy Star'

This band carries a raw grunge edge to their otherwise trippy take on "dream pop' that leans into the pop hooks. The opening song rocks out more and the dense guitar riffs pack more of a punch. One-half of the songwriting duo fronted a hard-core band so the value of laying the smackdown as needed is preserved in her. They might not go into screaming breakdowns, but they know what being heavy is worth. The title track works off some subtle hooks that are highly effective. The loud-to-soft formula is very 90s but cements their songs as being authentic to that era which they pay homage to. 

The jangled strum of "I Know You" sets the stage for the thoughtful verses. The chorus is not as big and radio-ready as the previous songs but still works well for what they are doing here, as here vocal is the guidepost. The guitar phrasing on this one is very clever. Dynamically there are no surprises with this one but it is a well-thought-out idea that works as a song. They kick in a get rowdier, but when you accept grunge as part of who they are it is a logical progression. 

"Mirror Mirror" rocks out in a harder fashion, with the vocals taking on a more aggressive shouted cadence. Some of the more nuanced vocal colors work really well for me here. It bounces more than it stomps, but they are not trying to be a metal band, so that does not factor in as much. The palm-muted crunch in the climax of the song is pretty effective. I will give this one a 9.5, and see how it grows on me. It drops on October 25th on Fearless Records. 

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