Skald : "Ørlǫg"

 This album sounds great, but there is some weirdness going on as this is a French bandd playing Nordic music. If you know history, you might be aware that the French and what became Norway didn't have the best relations during the Viking years, so cosplaying Vikings is an odd choice, but ok. When it comes to songwriting for this sort of thing it can be a mixed bag the second song finds things clicking more, though there is a bit of frolicking going on. Once again this album sounds great, so from that angle they have everything covered, but we already have more legit acts doing thiss sort of thing, so they need to put some distance between themselves and those or this is going to sound like something I have already heard. 

The female vocals take the lead on "Ratatoskr". It is more atmospheric. It goes off in a more hypnotically droning direction that is a little darker. "Dokksalir" is both more solemn and has a little more dance in its boots. "Utgard" is also heavy on the ambiance, as the female vocals continue to be the main voice of this album. The male throat singing follows in and trades places, but not as a call-and-response as you might expect; instead, it transitions into what feels more like another song. It works well enough for what this is, but the songs are beginning to have a similar feel.

"Ek Skal Rida" carries a more ambient, ritualistic feel, with spoken-word vocals serving as the narrative. This would also make this feel more like an interlude, except for the fact that this track is six and a half minutes; they do chime in with a chanted vocal just before the midway point. Sometimes they build to a more rhythmic chant that creates more of a groove. It sounds good, but when it comes to songwriting just riding chanted drones is not much to work with. This does not build off of something that would set them apart as it's what they need.

Heiemo" is a little more haunting, with a primitive pulse to it. But it is also not doing anything new, which is the swamp these 'vikings" find themselves in. Sure, Heilung got huge for what they do, but that does not mean we need more of that. "Veit barni" finds the fiddle setting the tone; hell, they might even get a hurdy-gurdy in the mix. It's the darker ambiance at the periphery of the song that makes it interesting. But as a two-minute instrumental, there is only so much they can do. There is a more cinematic feel to the last song. There is some chanting and growled muttering as they keep a steady thump with their hand drums. I will give this album an 8. It works for what they are doing, but what they are doing has been done by more authentic sources. I guess Napalm Records felt the need to have a band like this on the roster, so here we are, as it's the band's first album for them and drops September 25th.

10/11

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Flotsam & Jetsam : "Rats in the Temple"

 

This seems like it is the same line-up from the last album so we are in for a solid ride. They are not trying to recreate "No Place For Disgrace" but are moving forward. Ken Mary, who played drums on the heaviest Alice Cooper album "Raise Your Fist and Yell," really propels the opening track. "Damnation' does have more of a traditional thrash riff, which brings back fond memories without hampering them from engaging in 2026. His sung vocals are pretty catchy, and of course there is the noted lack of falsetto wailing, which he has left to King Diamond years ago. 

"Absolution" charges forward with an aggressive chug. The formual seems to lie in how they set up the chorus, and the verses are varied levels of thrashing heaviness, which works for me. There is some tight chugging that is top-tier thrash here."Blame the Knife' is the hookiest song so far, though we are only four songs into the album but this is going to be the bar they set for themselves here. The "breakdown" section before hte solo is pretty awesome. The title track indulges in some melodrama for the intro. There is some interesting production choices in how the vocals are layered here. 

"The Ghost Behind My Door" displays how modern metal production can fuse with timeless thrash. At 61 years old, Eric's voice sounds great. This carries over into "First on the Spike:  His vocals are more aggressive on this one. Prodiuction wise it seems like the layers of vocals are more plentiful on this album. It is hard to argue with results I have not seen these guys live since the 90s so who knows if he can pull it off. He does always put his voice in the right place on this album. They slow things down a little going into "The Edge of Nowhere"  but build it back up to hyper thrashing speed on the verse. 

The bulk of the album, they have kept the double bass flowing so by the time we get to "Last Rites," I begin to wonder if they are going to shift the dynamics, and the answer is no. Things stay catchy enough to make it forgivable that they won't take their foot off the gas, and for thrash, I guess that is what some people want. The bass emerges to give "A Taste for War" a backbone and shift away from the more straightforward thrashing. This gives Eric more room to sing, as the drums drop the bass to a tribal pound on the verses. "Her Blood Your Pain" benefits from catchy vocals. The guitar harmonies are somewhat Iron Maiden-like. 

"Anthem For the Broken" has a more power metal-feeling chorus to contrast the grittier thrash of the verse. I would not call any of the songs filler but this one does not grab me as firmly as the others up to this point have. The last song might have the heaviest riff of the album driving it, which makes sense, though it is balanced with a more melodic passage for the verse. I will round this one up to a 10; it's as [perfect of an album as you could ask these guys for in 2026. It drops August 28th on NapalmRecords. 

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Black Spikes : "Ydos"

 

Here is the sophomore full-length from this Lithuanian metal band, which falls somewhere between a more atmospheric take on metalcore; some more mainstream elements in their grooves come closer to nu-metal. Most reviews are my first listen through an album; this is my second pass through, which was needed to give it my full attention, as there is a great deal going on here. The more atmospheric parts are likea less folky Myrkur. But the punch and crunch seem to be the main objective of this band, which for a metal band makes sense.

There is a great deal of bounce to "MELAS"; it is more intense than the first song. There are electronic elements in play, and at times, it makes me think what it might sound like if Yolandi sang for Spiritbox. The vocals are sometimes phrased in a more rapped fashion.One thing this means is that is very relevant to today's musical climate.  "Mara" finds this falling in a more staccato groove but still aligns with what I said previously. They are very consistent, and within a few songs we shall learn if this is due to being stuck in a formula, but at this point in the album it still works, though all the screams sound the same. There is a blast beat at one point in the song, so people will start referring to it as black metal since they wear makeup. Their drum is on point. 

By the time we get to "Zelvar," I've figured out they are singing in their native tongue. They have also established their sound and are flipping around the varied elements to switch up the songs; the sing-song atmospheric vocals contrast the djent-like crunch and screamed vocals. "Revana" finds the angular crunch leading into a hip-hop groove. The Spiritbox vibes are back again, at times more surreal. "Apatija" is where things start to run together and I have to go back once again and pay closer attention. The chanted choir-like vocals lead into the slower crunch of guitar that builds.. "Aurea" finds them really taking the dynamic shifts to extremes, but it works well.

"Senas Demonas" is one of the heavier riffs of the album and one of the more accessible songs to mainstream metal audiences. "Dulkes" is very intentional in it's heaviness.. This is balanced out with some groove. Overall I really enjoyed this album I will give it a 9.5 and see how it grows on me. It drops on Napalam Records.August 28th.,   

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Kamelot : "Dark Asylum"

The 14th album by the band finds them leaning further into conceptual grandiosity. With a bigger symphonic sound. Their last album The Awakening," was disappointing, as it was filled with melodramatic power ballads and only earned 7.5, which, considering what they have proven themselves capable of  is more of a letdown than that score might suggest. However, they are still at the top of the game for a genre that can get mired down in flowery layers of synths and orchestras.  The opening song "Ashen World  " is heavier. It features death metal vocalist Ignacia Fernandez, who created a bit of a buzz for winning Miss Chile. She is lower in the mix, so hard to get a grasp of her vocal power. The title track is too anthemic for its own good and the chord progressions feel too happy for my taste.  It compromises their brand and identity by sounding like everyone else.

In many ways, you can hear on "Sanctuary" how they are making many of the same mistakes Dream Theater did over the years by sounding more like something Andrew Lloyd Webber might have written, instead of making metal. Though this works better than the previous song. They redeem themselves a bit with "One Last Masquerade" . Tobias Sammet from Avantasia lends his voice; he sounds better than he has sounded on his band's albums, and these guys find more grit in the verse riffs. The chorus flirts with the kind of power metal cheese I am not a fan of, but overall the song balances out.  "Ivey, My Dear" finds them reverting to ballads; this one has almost more of a folk metal feel, emphasis on folk.It's ok for what it is but I can see this opening the door to the mistakes made on the last album. 

Then things begin to get hit or miss. Where "Godlike Alchemy " works with more grit, they seem to dial into their formula for the more predictable "The Sleeping Mind". Then we are back to metal with the chug of "Kaleidoscope", that recalls the "Ghost Opera" and "Black Halo" era of the band. I'm ok with some of the more melodic ballad songs if they are done right; "Enigma" serves as a good example of what works for them. While "Cassandra's Disease" is not a ballad, it lacks the aggression needed to give metal its balls. "The Puppet King" gains their footing until hitting some of the genre tropes in the chorus. I will give this album a 9, it's unlikely that I am not going to listen to one of their earlier albums over this when I am in the mood, but for their fans who do not need them to be at their heaviest and listen to symphonic power metal regularly, this will exceed expectations and is a much better direction for them than their last album. It drops on Napalm Records on August 28th

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Devildriver : "Strike and Kill"

 

Dez is surprisingly back with Devildriver, making new music in the wake of the Coal Chamber shows, which really surprised me as they blew Mudvayne off the stage when I saw them a couple of summers ago. He seems to have brought more of a nu-metal groove over with him on the opening track. Then, a more blasting thrash onslaught for "Dead In the Water". It is more pummelling, but his vocals retain purpose. Though the song itself might not be as original as the opener. Sonically, Slipknot is a fair comparison to what they are bringing, which is highlighted on "Sanctified In Scars". There are hooks even in the collision of ugliness. When the breakdown sections come, it's a little predictable, but still fun. 

There is a creepy mood underlying the title track that I enjoy. They are excelling at blending more aspects of what worked in Coal Chamber with the heavier sound that sets them apart from that band. There also seems to be more guitar solos than before. There is enough of a stomp to cross them over into younger metalcore audiences. There is a pretty mean riff in the middle of the title track that I hoped they would revisit. "In the Moonlight" starts off more melodic than I remember these guys getting through, they counterpoint it with racing spped infused thrash. I like it when it switches to the more sung vocal.

The blazing fast speed begins to get tiresome by "Ride or Die". I need more dynamics like they employed in the previous song, or it will all begin to sound the same to me. There are some well-assembled sounds gathered here, thanks to top-notch production, which helps "Headed For the Fall" establish more of its own personality despite the drummer being intent on going balls to the wall at all times. With the guitar solo, the breakdown formula is in place. There is a little more nu-metal to the groove of "Shut the Silence on," it's just tempered with some thrash riffs. Not the album's hookiest chorus. 

"Never Coming Home" should have held onto the opening groove rather than letting the drummer continue to rush things. It's the first song that feels like they are rushing things. There are some more melodic guitars for a few measures in the middle of the song. While I want them to be more melodic, I am not sure "Summoning Shadows" is the best manifestation of that. "Just a Ghost " works a little better in this regard as it's darker. It also works with the hammering metal thing they love to do."Oath of Iron" is more along the lines of Pantera, which is more familiar to their older work. 

"All Bets are Off" finds the vocals using almost a more rapped cadance which works well here. When they moved from this, it's back to the breakdown feel that dominated this album. They do throw a creepy part in before the breakdown, so they switch it up a little. I will give this album a 9, it's a more solid, balanced effort from them. Out July 11th on Napalm Records. 

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Moonspell : "Far From God"

The opening track to the Portuguese band's newest album finds them dropping the metal altogether with a more organic rock sound, and the sung baritone vocals being the dominant. That said, it's also a great song, so I am not complaining about it. There is a more Sisters of Mercy-like bass line to the title track. Though the vocals try to capture more of a Peter Steele-like resonance.  Then things shift to a more Pink Floyd-like atmosphere on "Biblical" that reminds me of what Tiamat used to. This progressive connection takes things in a mroe rock direction. More distorted power chords hit, at first they are not more metal, until the band continues to turn the dial and there is an even more aggressive vocal apporach. 

"The Great Wolf in the Sky" finds the bass digging into create the backbone.   While a haunted longing floats over this song, it's not the catchiest thing they have done so far. There are growled vocal accents that the song builds into. They get credit for not doing this most predictably. "Your Promise of Light" is even darker, with the vocals taking on a lower whisper. This is effective at building tension as long as it's not something they default to. The growled vocals returned, but it's still not heavy enough to make it into one of the death metal month posts. 

While they are not part of the Peaceville scene, this could have come from that era, as it is a dreary style of dark ambient hard rock, which bands like Katatonia evolved into. "For the Love of Mortals" works off the melancholy vocal melody that is one of the album's catchier moments. "Our Freedom to Fall" is a doomier pace brand of downtrodden rock with crooned vocals that feels stronger than past releases. The harsher vocals are delivered with a little more power here. Though the music is more emotionally heavy than it is heavy metal. The last song employs an aggressive vocal approach that reminds me more of Tom Warrior's vocal style in Celtic Frost, yet the guitars do not seek to replicate that band's overt metal riffage. Instead, they drone on a more sorrowful chord progression. I will give this album a 9.5. Fans of dark European rock should give it a spin. Out July 3rd on Napalm Records.

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Sevendust : "One"

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

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

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

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

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

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Exodus : "Goliath"

I liked the band's 2021 album, but I have not given Rob Dukes much of a chance, despite having worn out the band's first three albums during high school. On the opening track, he is going for the higher snarl that is what helps defines this band's sound then on the second song, he begins to do his own thing a little more, and the song it self is not as inspired as the first track which was such ripping thrash that it caught be by surprised while raising the bar for this album. This is recaptured on "The Changing Me," which chugs along in a more compelling manner. 

Between the sometimes harsher vocals and the nature of the guitar harmonies, they have managed to gracefully update their sound for 2026. This is a little less carried over into "Promise You This," which has a more rock n roll feel. The title track works, but is not what I expect from these guys. It slows down to a doomier pace and has cascades of guitar arpeggios flowing over it. As a contrast, "Beyond the Event Horizon" is a more rapid fire thrashing, in fat it's the fastest song so far. Which I prefer more of a groove, but understand why some fans might seek this out. 

 Dukes sings more than screams on "2 Minutes Hate". This adds to the overall dynamics and makes it the album's second-best song, with the opener still holding the lead for that title. They start "Violence Works" off with more groove. The one thing Gary Holty has brought over from Slayer is the need for a killer guitar tone. Given the Slayer connection, I am surprised they are not bigger than they are, even for a thrash band that was not big on compromise. The first album, they have refined their sound in a more accessible direction with each album until "Fabulous Diseaster".

"Summon of the God Unknown"  opens with the album's most Slayer-like track, resembling the early years very little. In fact, it reminds me more of Pantera, who are playing stadiums, so they obviously have an effective formula. But this is an Exodus album, so  I want things to sound like Exodus, which they have already shown me on this album that they are capable of doing. That is not to say the song is not full of killer riffs, but I listen to Exodus to hear killer Exodus riffs.It is impressive that Tom Hunting is bringing it like this after all these years. Dukes is a pretty good metal vocalist who gets the job done, I jsut wish he retained a more Exodus-like style. The last song finds them locked into a more rapid fire thrashing. Maybe what I am looking for is balance, as they do sound more like Exodus here. I will give this album a 9, as they are bringing it in a way that works in 2026, if you asked me if I thought I was going to get more mileage out of this album or the new Megadeth, the answer would be Megadeth, but if yo uare an Exodus fan this is going to bring you what you want even with the curve balls includes which at least prove it's not a total nostalgia fest. Dropping on Napalm Records. 

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1914 :""Viribus Unitis"

This Ukrainian band is branded as blackened Death-doom, so let's see where the album falls. It is the band's fourth, the second since their country was invaded by Russia. That conflict, which can really be called a war, is what is the inspiration for this album. The opening track is more black metal, while the band drops into a more deliberate crunch for the second song. "1915" finds them going along more of a black metal path again, but here is where the more melodic doom elements also begin to creep in. A chorus of chanted vocals joins in when things pick up back into a blast beat. 

Considering the circumstance in which it was recorded, this album sounds great; surprisingly, they were able to take this kind of time to dial an album in these days, but that is what happened. "1916" is another fast tremolo-picked blast fest that ebbs into more of a purposeful groove to show they also took their time with the songwriting. In many ways, what is happening here brings Behemoth to mind. The use of the backing vocals cheering them on, works really well to establish a sense of identity. They maintain the racing tension of their aggressive momentum on '1917"with the snarl of the vocals establishing its intentional command. The vocal anchors the song amid the waves of icy dissonance to provide purpose, not a common thing in black metal. 

There is a more rousing anthemic feel to the mroe pagan inspired stomp to "1918".Not as blasting, it is a welcome departure that allows them to bask in a more dynamic sonic space. Thought midway into this song, even with the churning riffs shifting into the context of the song, all the moving part seem to feel ike they are being creativly recylced. Aaron from My Dying Bride lends his voice to a song that is well written and carries a great deal of purpose, called " '1918  PT 3 ADE..' There are some more mournful melodies, but it is not a doom song. The lyrics are telling a story throughout the album, here it is jsut a more pronounced fact. Jerome from Rome lends his voice to "1919" which features a haunting paino line. This gloomy ballad is a shift from what they have been doing, but I would not call it doom. The is a traditonal Ukrainian song that ends the album as an outro. I will give this one a 9.5, as it is really well done, and makes for a black metal album that cares about songs more than just a wall of blast beats so that is appreciated.Released n Napalm Records  

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Gothtober - Frayle : "Heretics & Lullabies"

 

This doom band is dark and ethereal enough to cross over into this month's coverage. A great deal of this lies in the performance of frontwoman Gywn Strang. The band refers to themselves as witch doom, and this is conveyed in her purred vocal performance that seldom rises above a whisper.. They are taking on a more ImThis Moment-like image, in the theatrics they are now indulging in with an increasing budget.  It is fitting that their cover of Lana Del Rey's "Summertime Sadness" as Strang's almost timid vocal style encapsulates the vibes Lana gives off, though comparatively she makes Lana seem likea she belts it out. 

"Boo" has enough of a groove that it carries the coo of her faint vocals like a layered texture of ambiance. Harsher male vocals chime in to take over the chorus. There are some impressive things about this band, like how they carry themselves like they are a bigger band than they are; this conveys over into the production of this album.. You rarely hear a doom band that is so slickly produced and has such an arena-ready sound.  Granted, this compensates for her voice being just a texture by the time we get to "Souveiners of Your Betrayal," which begins to find the novelty wearing off.  

It is when they manage to write around her voice, like on the brooding "Glass Blown Heart," that things click for them. "Hymn For the Living" finds the drums continuing to pound out the same stormy pattern they played on the previous song, making it hazy where one song begins and the other ends."Run" kinda works off the same mood as the last two songs, despite the change in a more minimalistic drumming. Her vocal cadence shifts a little with "Heretic," and the more aggressive male vocals chime in to switch things up. The last song does not do anything to really switch it up/. I will give this album an 8.5, as they work around the limitations of their singer's voice,  which makes it a slicker version of what they have done in the past. Dropping on Napalm Records.  

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Unleashed : "Fire Upon Your Lands"

 

I saw this Swedish death metal band back in 1991 opening up for Morbid Angel. I tracked down " Where No Life Dwells' within the week, and wore that tape out as it was a darker, more dense sound than other death metal albums I owned at the time. Since those days, they have evolved into something more like Pagan metal as they have become more Viking-focused. They are quick to take you to Valhalla on the second song, though the album opens with a grittier death metal sound. Either way, it is clear they care about songwriting as conveyed in the powerful stomp of "The Road to Haifa Pier". Lyrically things feel like they are almost too thematic, but I guess everyone has their thing. 

Their line-up has stayed intact for decadeswhich can be heard in how tight everything is as the work like a singular metal machine. The gallop of "War Comes Again" feels like the timeless nature of ancient warrior culture is even more relevant as war boils from every corner of the globe, and is the natural ebb and flow of mankind. His scowl is more of a declaration than a growl most of the time. I like the half-time groove the song drops into. The verse riff of the title track comes the closest so far to what they did on "Where No Life Dwells". There is impressive guitar playing on every corner of this album. The dizzying riff that opens "Loyal to the End" is one of them, as they grind into a grimmer crunch. 

"Midjardarhaf" carries another powerful chug, as even when they dig into grooves, they do not lose momentum. "Hail the Varangians" lyrically displays the fact that they know their history and can incorporate elements not romanticized by Western culture into what they do is respectable. "To My Only Son" carries more of a thrashing cadence.  "Hold Your Hammers High" finds them using the formula that defines what they do in a more anthemic way. It is not until you get into the album's third act that this is most noticeable, but it works. It feels that by the last song, they have just gone to this well too many times, but it still works for what it is they do. I will give it a 9.5, and see how it grows on me. This album is being dropped on Napalm Records. 

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Lord of the Lost : "OPVS NOIR Vol. 1"

These guys are back with their grandiose take on metal that feels like it's gotten bigger this time around, and midway into the opening track, you can hear how they are moving up the bill on European festivals with this album. This comes after opening slots for Iron Maiden, which made them step up their game. Though they are sticking to what they have been doing up until this point in their careers and not dumbing things down for an American audience, so you are either into this or you are not. Yes, the ahrsher vocals might appeal a little more to Western audiences, but they're only one aspect. 

I liked the darker, brooding verses of "My Sanctuary," which flirted with a gothier sound, but the chorus was too upbeat in its anthemic declaration, which feels like something the 69 Eyes might have done. Sharon den Adel from Within Temptation lends her voice to "Light Can Only in the Darkness," bringing a symphonic metal sound to the forefront, which is the dominant element of the overall sound. This album sounds very European, as heard on "I Will Die In It", which works, but things start to get a little for theatrical on "Moonstruck" 

"Damage" finds the symphonic elements colliding with the more industrial influence to feel like VNV Nation jamming with Dimmu Borgir. It works better than some of the more flowery flourishes of the other songs. "Ghosts' follows a very similar formula to the previous song. To his credit, Chris Harms is one of the better singers to rise in prominence in recent years. "Lords of Fyre" sounds like they wrote this with Andrew Loyd Weber for a folk metal musical. It does build into a heavier section, and this album feels more metal than most of what I've heard from them. 

Predictably from the title alone, "The Things We Do Love" starts off as more of a ballad. When the drums kick into the verse works much better, and Harms' vocal phrasing is interesting to redeem the song of its sappier elements. "The Sadness In Everything" touches too closely into the sonic neighborhood of Nightwish for me. It does not feel dark or heavy, but like something from a more aggressive Disney musical. There is a similar drama to the last song, but it is more balanced with darker moods. Overall, this is an ambitious album. I appreciate the emotive qualities, sometimes they are just done in a manner that is not my thing, but I can still hear how they made the album they set out to make, for their fan base that wants this sort of thing so for that reason I will give this a 9.  

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Katatonia : "Nightmares as Extensions of the Waking State"

Here we are, three albums in, without Anders. Jonas continues to steer the ship into darker progressive waters of melancholy. There is a formula in place, and the new guitarists navigate it well, unafraid to bust out guitar solos wherever. The drums anchor "Wind of No Change."His lyrics remain just as sharp as the earlier work on this one. "Lilac" finds the drums laying down a solid foundation for the song to groove over, before they drop everything to ebb back and forth from ambiance.  Jonas's voice is fragile and honest, or at least maintains a consistent persona. 

As with most Katatonia, is production is dialed in perfectly. The textured layers of the guitar are all very nuanced. The guitar holds enough grit to at least maintain their place as a hard rock band. They play with the arrangement enough to maintain their place as a progressive band.Not sure if there are steps forward yet, but standing firmly in place for the brand Jonas created. Nothing that would have made Anders want to stay. "Temporal" is a little more anthemic. Highly melodic, sticking to the formula for dynamics, they have been working since at least "Viva Emptiness".  The chorus hits just right to prove they can still bring just what you are waiting for. 

Is this all very calculated? More than likely, but the band's mystique holds the suspension of disbelief. "Departure Trails" feels like a wandering atmospheric jam that creeps from the previous song. His vocals are tentative, but work for what they are doing here. "The Warden" is their more typical blend of melancholy pondering and rock bombast as the dynamic to emerge from the gloom. The more nuanced  "The Light Which I Bleed' is a better song, and is not just the band going through familiar motions and checking off the expected sonic boxes 

Breaking things down to a piano ballad might not be checking off a box you expect from these guys, and it really depends on how atmospheric you want these guys to be. There is some interesting vocal production on the track, but I want more rocking out. Though the song does build in an interesting electronic manner. The drums offer more of a beat for the last song, but drift into their moody ambient and only build for the chorus. I am going to have high expectations for these guys; some of their post-"Night is the New Day" albums have disappointed me, but I think this one just needs to grow on me, so I'll give it a 9.5 as some songs hit really hard emotionally, not metal. Dropping on Napalm Records.  

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Alien Weaponry : "Te Rā"

I really liked their last album, so hoping this one holds up. The first track feels like it's going in a more mainstream, Mastodon-like direction. Though we do get touches of their more native New Zealand feel. Less of a nu-metal feel here, the closest it gets to nu-metal would be Sevendust. "Mau Moko" is marginally more tribal, but "1000 Friends "is much more inspired regarding the vocal arrangement. The other instruments fall in line with that. 

They play it safer on "Hanging By a Thread", before mixing their heritage in a way that recalls "Roots" with the percussive elements that propel "Tama-nui-te-ra" which proves to be more interesting.  "Myself to Blame" finds them leaving room in the song to play to the strength of the soulful vocals. "Tani Wha" features Randy Blythe, for a heavier take on things that is still consistent with modern metal's expectations. "Blackened Sky' finds the pace energetic as they race along melodic grooves. Then things get even more thrashing for "Te Riri..." which lends itself to the dynamics of the more melodic chorus. The guitar solo even goes in a melodic direction that serves the theme of the song. 

I like the vocals to "Ponturi" which makes it one of the album's best songs, even if compromises some of the heaviness, it's more dynamic and effective songwriting. These guys are not trying to be the heaviest band on their island, they are just writing songs they feel which is hard to complain about. At two minutes the last song is almost more of an outro, but there is a pretty focused theme to it.  I will give this album a 9, as I feel their previous album was catchier, this one might have a bigger more polished and might even be heavier, so it might be a matter of taste, but they are true to who they are as a band here. This album drops on Napalm Records. 

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Katla : "Scandinavian Pain"

The grit and the grime of this band have more in common with sludge than doom. There is a hint of black metal, but they are of the same venomous ilk as, say, Fistula. Not expecting this sort of thing to crawl out of Denmark, but here we are. Their overdriven lumber is a great deal of fun. They have a nasty attitude, which is where a lot of their charm comes from. The album opens with a self-help piece before busting into the song proper with a bust of grindcore called" Eating Grapes With Kevin Sharp, which is more of an interlude than a song., The vocals are more of a blackened howl. The bassist who provides this tortured shriek is new to the band. Shit is heavy as hell but they still care about songs and keep things moving in their headbanging throbbing. 

"Taurus" finds them oddly blending black metal with what they do after a weird transition from the ambiance, but then they turn around and crush it with the heaviest riff yet. Some raw gritty guitar tones are coated in odd effects at times. It brings to the table a more interesting sound than if they just plugged in and banged this out. "Ha-nub-Ku" is a story being told over clean guitar playing as an interlude. "White Knife" is a more ear-ravaging display of black metalish riffing. "Grim Jesus" embraces their true sludge sleeves as they cry out they are worthless. 

The last song "Castle of Purity"  moves with a weight throb. This builds into a more hypnotic sonic chant taking sludge into some places it did know it wanted to go, though parallels could be drawn to early Neurosis at times. This record gets weirder than you expect it to, and they experiment more than you would think some crusty sludge dudes would I will give this album a 9.5, as it occupies a unique place, and see how it grows on me. It drops March 21 on Napalm Records. 

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Cradle of Filth : " the Screaming of the Valkyries"

 These guys are one of the biggest black metal bands, and Dimmu Borgir can headline larger venues depending on where in Europe they are. This band has not fared well here as past reviews have ranged from an 8 at the highest, which is not something I would listen to, but well made and what their fans want so an effective product but not stellar, to a 4.5, which is not worth listening to really anything under a 6 is a failure..  Two other albums fell in the 7's, so once again skilled musicians doing what they do for a living well, but not that inspired, This one is off to a pretty good start and I think most of its success depends on what Dani is doing. I know he has had problems with his throat, to the point of even having to go on a special diet to save his voice. So less shrieking and more purpose. The strings fall in the background as the guitarists step up more. 

This is the band's 14th album so there is no doubt they know what they are doing. What that is seems to be leaning in the direction of their more thrashy influence, forcing Filth to take a more punchy role with his vocal accents, making the choruses stand out more. Filth is the sole original member so this is basically just his solo show at this point. Perhaps that is why the songwriter feels more focused because he is narrowing things down to what his vision as a songwriter is. Things do not take on the more romantic goth drama until "Non Ominis Monar"  This is not the band's most inspired take on this sort of Hammer Horror anthem, but it works for what it is.  They can never deny that King Diamond was a huge influence on them. 

At first, I thought "White Hellebore" was just a transition the previous song, had made, which shows how the uniformity of their sound affects the dynamic range of their songwriting. To this band's credit, they do offer more songwriting and melody than most Black Metal bands who are just preoccupied with blast beats and tremolo picking though these guys might benefit from a bit of balance a more hints of those elements. "You Are My Nautilus" finds the twin guitar attack leading a more harmony-based charge when it kicks in amid the more grim storytelling. They are incorporating dynamic themes that go back to their ill-fated cover of  "Hallowed By Thy Name" here. The lack of spoken word narratives helps things. 

The gothy elements play to their favor on "Malignant Perfection" as I can imagine goblins waltzing around to it. Rather than write a concept album all sorts of things that go bump in the night is heralded here. "Ex Sanguine Draculae" is about vampires so it is surprising that it's not more goth and basically a blackened thrash song. The keyboards sit further back in the mix on this album. But they do have much crunchier riffs, so perhaps this was to shift the mood and make way for them, "When Misery Was a Stranger" closes the album in a manner that feels like it is marginally truer to who they are as a band, though the fact that none of the original guitarists are involved does stand to reason why they have shifted in less of a black metal direction with Dani the last man standing. They are playing fast, but it's thrashing fast and not the buzz or even gallop of black metal. I will give this album a 9, as, despite the fact I will not likely listen to it again, they have managed to write songs that are more enjoyable for me than what I have heard from them in the past, though it is not as dark as their previous work, and more in line with mainstream metal. Napalm Records is releasing this March 21st.  

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Black Metal History Month- Grima : "Nightside"

 

This Russian band's 2021 album "Rotten Garden" ended up in the top 10 Black Metal albums for that year, so expectations are high for them to either meet or exceed their previous success. The first song feels like there is more overt aggression coming from them than I remember from their last album.  There is almost a more Dissection-like layering to the guitar here. The vocals are more anguished with the black metal shriek doubled by a lower death metal growl.  The production is great, it's a stellar mix with nothing buried. For some black metal purists, this might be too much of a sell-out, despite the fact we should be well past that point of contention by now.  But we should thin the herd now because if that is too produced then the atmosphere that seeps into the second song will be a deal breaker for cvltists as well. 

The theme of this album is to honor Taiga, the spirit of the Siberian forest. If these guys are from Siberia, I can only wonder what it's like getting to band practice as it's pretty harsh there. This is their 6th album, so they have been doing this awhile, and it's apparent in how things flow in their playing. "Skull Gatherers" finds things growing darker and colder with the more melodic elements bleeding into the song's attack in a very effective manner. The vocals fall against the guitars more purposefully than you average black metal bands that find the vocals as an obligatory scream that is more of a layer of human hatred expelled than the nuance occurring here. 

"Impending Death Premonition" is more straightforward black metal, with sung vocals chiming in at the end to help break things up sonically. There is a marginally darker touch to the more deliberate throb of the title track that follows which holds more emotional weight. It was "Where We Are Lost' that my attention got lost and I had to go back to give another listen to decipher for the purpose of this review. This one makes me think of what Cradle of Filth might sound like without all the symphonic cheesiness. A dark melodic throb broken up with accents with great purpose. "Curse of the Void" finds a melodic ambiance setting the stage for another dose of very deliberate black metal, which I will take any day over being blast-beaten numb. Even the sung vocals work well here. There is more of a pagan metal feel which works considering the subject matter. They do employ varied folk instruments throughout the album which factor in prominently here. 

The last song "Mist and Fog" is one of the moodier more melodic moments, I would not say this is accessible to non-black metal listeners but it points them in that direction. Six albums in I do not hear them making any drastic changes as far as that goes, but each album feels like the next step intended. The dynamics of 'Mist and Fog" display this. The folk instruments step forward in the mix, making this song more of a summary of where they are heading. I'll give this album a 9.5, it's another step forward for the band and a stunning listen. Drops of Napalm Records. 

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MUSHROOMHEAD : "Call the Devil"

The band's 8th album finds them following a similar direction to their last, they continue to evolve away from nu-metal since this time around they have more in common with White Zombie than Korn, though they use breakdowns and various electronics. There is a more modern take on thrash with double bass driving "Fall in Line". The song benefits from strong melodic vocals in a hooky call and response.  The production is stellar thanks to Matt Wallace.  It's fitting that Faith No More's producer worked on this album as that band is also a big influence on songs like "Emptiness" which reaches into a funkier place with a more Mike Patton-like croon dominating the music. It's impressive, but at the same time I could go listen to "Last Cup of Sorrow". The guitar is more nuanced with jazz phrasing so that alone is impressive from what amounts to a nu-metal band. 

They need to hand the mic over to Jackie LaPonza, as she is a show stealer who helps set them apart from Slipknot comparisons. "UIOP' finds a darker carnival atmosphere emerging from the Faith No More fetish that still lingers.  "Prepackaged" is more hammering which places them back closer to Sliknot's current zip code. "Decomposition" moves with more of a swagger but still finds the vocals following a Patton-like path,. They continue paying tribute to Faith No More on "Grand Gesture", but then allow you to hear a more fully realized version of who Mushroom Head is as songwriters on "Hallelucination". It's one of the album's strongest songs, as it presents all their strength in symmetrical balance. "Hideous' crunches back in a more nu-metal direction. 

They hit with harder thrashing aggression with "Torn in Two" . "Gloom Goose" is more of an outri making the ballad "Shame in a Basket" the last song, which is a good enough note to end things on. For fans this stacks up solidly against their last album, so if you like that one this is a better-produced version of that, so you should like it, I am going to give it a 9, and see how it grows on me. Being released on "Napalm Records" 

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Kissin Dynamite : "Back With a Bang"

These German rockers are grabbing the hair spray and heading out to a place where the 80s are still alive. The opening track is a little too happy for me, but I will give them a chance. It does take you back to a time when this kind of rock was packing arenas and ruling the airwaves. 'Monster" reminds me of "Corey Hart's "Sunglasses at Night" making it superior to the opening track,. There is more of a Bon Jovi mood to "Raise Your Glass". Once again too happy for my personal tastes, but well produced and performed. 

"Queen of the Night" feels like a cross between Bon Jovi and Journey. It's anthemic but lacks the finesse that "the Devil is a Woman". They still play it safe and work within what the expectations were in the late 80s for this kind of thing. There has not been a straight-up power ballad yet, so I am not surprised when "The Best is Yet to Come" kicks off.  The chorus is overly happy and terrible. Lyrically it's an anthem for anyone who wants to quit their job. They are more committed to power ballads. They lay the Velveeta on pretty thick.  'More is More' is a return to Bon Jovi, though there is room to breathe in the verses. The chorus goes big and just happens to work well enough over it. 

"Iconic" plays to all kinds of tropes, but the execution works pretty well. The chorus goes too big once again, which is now their formula. The guitar on this album typically leans more in a Def Leppard direction. "Learn to Fly"  tires too hard though there are some decent parts on it. The guitar solos get their own dedicated spot on these songs, but none of them really wow me. 'When the Lights Go Out" is way too happy for its own good. I think that is the sticking point for me because of the hair metal I was into back in the day... Faster Pussycat, Skid Row, LA Guns, Guns N Roses, and even Motley Crie were all on enough drugs to find the darkness of those addictions seeping through their pores. These guys need to get addicted to drugs. I anticipated "Not a Wise Man" being a ballad, and I guessed right. It's more of an 'Every Rose Has Its Thorn". I will give this album an 8, it's well done it just captures a mood that is not for me. This album oddly dropped on Napalm Records. 

                                          

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Evergrey : "Theories of Emptiness"

When I picked up a promo copy of the band's 2004 album "The Inner Circle" I opened it up to see a hilarious picture of the band in frilly elf-looking shirts that I showed to my friends and told him 'These guys look like they are about to declare .. Tonight We ride to Isengard". Inside they sounded like a power metal band who took notes from Deep Purple. Now twenty years later and two new members later the Swedes have stepped up their game and changed with the times.  They do not sound as firmly rooted in 80s metal on the opening. Sure the hints are there when it gets to the anthemic chorus. The second song is perhaps too anthemic for my tastes.  Some of their grittier moments like those heard on "To Become Someone Else", remind me of Symphony X. This is still an improvement over the early elf years. 

"Say' is another one that is anthemic though in more of a Kamelot fashion. These guys are now shoulder-to-shoulder with their peers. The chorus is catchy enough and the keyboards are not overbearing. It feels more like modern rock music to me than metal. The vocals are not rooted in big hair yodeling which is a plus so shedding some of the metal tropes is not a bad thing. The dramatic power ballad formula is another one that I wish they left behind but with "Ghost of My Hero' here we are. The vocal performance is soulful enough and works.  It feels like you can hear who these guys truly are as a band on the song "We Are the North". Not that this is the best song, but it is the clearest indication of what the sum of their parts actually is. The only element that does not feel as prominent is the synths that fall behind the other instruments to paint the background ambiance. 

They rock out harder on "One Heart". The big chorus falls along the lines of traditional metal. If I heard this and you told me it was Saxon, I might believe it.  I am not sure what they are going for with "The Night Within" It might make more sense for radio pandering if this was the late 80s. "Cold Dreams' is well written and the vocal melody is highly effective, though not sure where this falls in the bigger picture of the album. It does get pretty heavy for what these guys are doing.  "Our Way Through Silence" is driven by a more hopeful mood than what I normally like, it almost reminds me of Christian rock.  I will give this album a 9, though it is not something I am likely to get much replay value from, however, I am not going to deny how well-crafted this album is and it is one of the better albums I have heard doing this sort of thing in some time. It drops June 7th on Napalm Records. 

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