EIHWAR : "Hugrheim"

 

The Nordic folk duo Eihwar is oddly from France. They have a somewhat poppier take on a style brought to larger audiences by the likes of Wardruna and Heilung. The first two songs carry a great deal of frolic in how the melodies move. For some reason, they are connecting this to electronic music/ dance music, and maybe the scene in France has changed, but a song like "Ein" feels like neo-folk music, just with more emphasis on the percussive elements. The vocals are also very polished and do not have the raw throat quality of singing heard in many of the more pagan minded folk music, with a more liberal use of overdubs. 

Some songs are more like interludes than actual songs, mainly building mood in a cinematic manner. For the purpose of this review, I am not going to count those. The title track has a more deliberate tribal drum, though the melody sounds almost more like Celtic folk. More droning and ritualistic than hooky. The song after this is catchier and works off a more pop-oriented formula, even with the more Viking pulse carried through the background.  "Heil Odinn" has a lighter touch to the melody to counterbalance the more pounding drums. 

"Omenotharena" is the first song that has anything close to a dance beat or electronics. The last song is a more ballad-like version of "Berserkr" which was used as a memorial, so it is more introspective and subdued. Overall, I like what is going on here as they do more service to songs than just getting all the ancient sounds right. I will give it a 9 and see how it grows on me. 

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The Top 10 Folk Albums of 2025

There is less country music on this list than in past years, though the influence lingers in many of these albums. 2025 finds neo-folk or the traditonal pagan music of northern Europe playing a much larger role, though not splitting the top ten down the middle, though all the albums are darker and more melancholy. These albums do not really give a damn about the Nashville status quo, even when it comes to the artists in the more commercial spotlight. These are not the coolest albums, but the best, fuck what other blogs say. 

 After I sort through the top 10 albums of all the respective genres, I use those lists to compile the top 20 albums of 2025 list. The very fact that these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album; there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day, what makes an album the best is that it makes you want more, and you look forward to listening to it again. Perhaps you can find your next favorite on this list. I've included links to reviews of these albums if you want to check out the audio on these guys. Anyway, here are the top 10 folk albums of 2025

10-Greet - "I Know How to Die." 

The heart of the album si often the mournful-sounding folk chant of the vocals. There are also elements of country/ gospel music in the mix. It almost sounds like bagpipes. The vocal melody feels earnest enough to make this work amid the pulse that rings out. Matthew Broadley is weaving this all together. There is a more Appalachian feel that touches on the early Irish roots of things like bluegrass. Often droning, this abum feels like the soundtrack to an A24 movie.

https://abysmalhymns.blogspot.com/2025/10/gothtober-greet-i-know-how-to-die.html

9-Marissa Nadler -"New Radiations." 

 Her 10th album finds Nadler stripping things down to a more minimalist yet cinematic feel. It feels spacious, yep, with an intimate yearning. Her vocals are produced in a similar reverb-heavy manner, but the layered harmonies feel more pronounced. It feels more like her earlier work than the past couple of albums in the overall sound. The kind f haunting ballads you want for Hot Ghost Summer. At times, the guitar takes things in a more folk direction with the pining twang of country ambiance coloring things with a longing ambiance.

https://abysmalhymns.blogspot.com/2025/07/marisa-nadler-new-radiations.html

8-Jason Isbell- "Foxes in the Snow"

This might be his 10th album, but it's his first solo acoustic album. This brings a more stripped-down take on what he does without the 400 Unit or an accompaniment that shows his rock influence. Instead, what we are getting is his voice and guitar. There is minimal production; it just sounds like this cut in one take with a mic in a room. This is a novel concept in a world of auto-tune and dozens of producers/songwriters on just one song. Lyrically, there is the kind of depth you expect from him. The kind of solemn reflection that haunts "Southeastern" can be felt here. 

https://abysmalhymns.blogspot.com/2025/03/jason-isbell-foxes-in-snow.html

7-Bloodyhammers -"The Acoustic Halloween Special." 

They released this collection of brooding ballads for Halloween that dips into dark country. I prefer their more driving metal output; this works for what it is. It makes sense they would need to take a breather for the sake of their creative juices and make this album to explore this side of the melodic spectrum. It works for what they do and is better than most murder ballad crooned this year. 

https://abysmalhymns.blogspot.com/2025/11/november-is-doom-bloody-hammers.html

 

6-Chimehours -"Underneath the Earth." 

This British project blends a tense urgency with ethereeal melodies and a folky organic feel. The singer has a Björk feel to her emotive singing style. Her fragile folkish vocal haunts things like a higher-pitched Lana Del Rey at times. The darker elements are subtle, an eerie layer in the background. Some songs are more dynamic than others. The folk strum of guitars  draped in a fairytale ambiance

https://abysmalhymns.blogspot.com/2025/10/gothtober-chimehours-underneath-earth.html

 

6-Sowulo-"NIHT"

This Norwegian project respects ye olde days, while writing actual songs that go somewhere. Yes, there is a very ritualistic feel to what they do, but it has verses and choruses you remember. Also, a dark tension broods under some of the passages, so it is not surprising these artists are often metal adjacent in their fan base. They are named after an old Germanic name for the sun, which reflects some of the elder pagan ideology behind the concepts of this album.  

 https://abysmalhymns.blogspot.com/2025/06/sowulo-niht.html

5-Allie -X- "Happiness is Goiung to Get You." 

There is a more nuanced style of pop songwriting that leans in a somewhat Lana Del Rey direction this time, with a 1950s California vibe. These more organic vibes increase as the album progresses into this folk direction, which might not be what you would expect considering her past releases. It's moody but not as dark as the last album. 

https://abysmalhymns.blogspot.com/2025/11/allie-x-happiness-is-going-to-get-you.html

 

4-Florence + the Machine-"Everybody Scream." 

A very brooding album with the centerpiece being the trembling vibrato of her rich alto is a key selling point, and she is capable of creating memorable hooks with it,t even though she wanders in a pondering circle much like Natalie Merchant at times. I can also hear the influence of the Cowboy Junkies lurking in the more organic moments, which grew on me with repeat listens. 

https://abysmalhymns.blogspot.com/2025/11/florence-machine-everybody-scream.html

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3-Wardruna- "Birna" 

Six albums into their career, Norway's primal folk bards are still bringing an increasingly cinematic conjuring of otherworldly eons past. It is weird how they are the biggest band making this kind of music. Also, even stranger is how they can headline festivals. It is very much a wintery sound as should be expected from the region where the music is being made. It feels like they are getting ready to be hit by the worst storm in over a hundred years and are invoking the ghosts of their ancestors

https://abysmalhymns.blogspot.com/2025/12/wardruna-birna.html

2-Noah Cyrus- "I Want My Loved Ones to Go With Me." 

Yep, this is Miley's sister. Regular readers here will know I am a fan of Miley, whom I talked about her before, saying she's never wanted her help or wanted to do anything similar to what Miley does, and you can hear that on this album. However, there is less of an indie feel on this one, with a more produced sound; however, she is not making pop country either. She has a good voice, but isn't a powerhouse like her sister. It is more melancholy and atmospheric than what Miley does. What they do have in common is that country music is just in their DNA. 

https://abysmalhymns.blogspot.com/2025/07/noah-cyrus-i-want-my-loved-ones-to-go.html

1-Lord Huron- "The Cosmic Selector Vol 1." 

This is the 5th album from this melancholy folk rock band, which employs a reflective atmosphere in its sound that feels honest in its soul-baring introspection. They're playing a more modern take on Americana, as the vocals gain more confidence in their narrative, thanks to the shuffling groove provided by the drums that keep them moving as country influences slide in . Pull out the bong for this album. 

https://abysmalhymns.blogspot.com/2025/07/lord-huron-cosmic-selector-vol-1.html

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Wardruna : "Birna"

Somehow, this album came out and got filed into the I need to hunt it down on the internet path for so long it was forgotten about til now. Six albums into their career, Norway's primal folk bards are still bringing an increasingly cinematic conjuring of otherworldly eons past. It is weird how they are the biggest band making this kind of music. Also, even stranger is how they can headline festivals. The title track is not as grandiose as how they open the album, and it feels more reflective, with the female vocals providing a more ethereal touch. It is very much a wintery sound as should be expected from the region where the music is being made. It feels like they are getting ready to be hit by the worst storm in over a hundred years and are invoking the ghosts of their ancestors.

There is a more celebratory tone to "Ljos til Jord".  Then drops down to a more solemn mood with the lonely horn blast leading into "Dvaledraumar" which incorporates some weird ambient sounds that feel less organic. So, for all the ancient instruments, you would be amiss to think there were not some studio tricks in play at times. It's a more minimalist arrangement that allows you to hear how Einar's voice has grown stronger over the years. The arrangement feels like it should be more of an interlude, yet they sprawl it out for over 15 minutes without the climax you expect. 

I suppose 'Jord Til Ljos" is the darker side counterpoint to "Ljos Til Jord it holds a steamier sizzle to how it undulates. By the time I get to "Himindotter" the songs are starting to fade into a background soundtrack, so I have to go back and give another listen. There is both an epic and a celebratory mood to how this one unfurls. The song after this is mroe stripped down. It feels more like a folk song.'Skuggehesten"  has the Viking gallop you want from these guys, that sounds like it is about to kick off a piece of historical fiction. There is a darker undercurrent to it, but things take a darker turn with 'Tretale' though it does progress into a more Celtic feeling frolic. They close the album with a more ritualistic piece. It works off a hypnotic chant. It takes you on a journey with varied dynamics while riding the same pulse. This album is impressive, and they have perfected what they do. I will give it a 

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Gothtober - Menace Ruine: 'the Color of the Grave is Green"

 

This Canadian project is the soundtrack to a surreal slow-motion nightmare. If David Lynch felt compelled to remake "The Wicker Man," the results might sound similar. Hold cold and dark, yet occupying the more desolate side of neo-folk, Dead Can Dance often toys with. "Once A Ghost" finds the celebratory folk croon of the vocals against a wavelength of more dissonant noise to create an odd juxtaposition of organic and cinematic sprawl.  

The guitars oddly sit in a more shoegaze-like place for "Through the Waterfall" while the vocals are much mroe forward in the mix to create an odd experimental feel, intentional or not. "Let it Flow" is more straightforward folk to set the stage for the more unsettling ache of "At the Moment of the Mid-nights Dividing". It carries an expansive post-rock sense of sonics. Six and a half minutes into this, it switches to a lighter folk croon, though even in her most hopeful pleas to nature, there is a longing that haunts you.

The electronic sounds grow more abrasive by the time the album winds around to "Mingled and One."This ebbs off into the more ambient folk side of what this project does.  "Cthonic Heart" finds the vocal melody more flowing to compensate for the static drone of the guitar behind it. It's during moments like this when it feels a little like weird post-rock karaoke. "Broken By Fate" feels more like a droning portrait of abstract sounds. I will give this album a 9, it's unique even when lingering in the smell of its own atmosphere. 

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Gothtober - Greet : "I Know How to Die"

There is a Swans-like swathe of ambiance that swells to life when this album opens. It is even more sound than song, so I am going to write it off as the intro. The drone carries over into the second song, but the vocals chime in with a mournful-sounding folk chant of sorts. There are also elements of country/ gospel music in the mix. It almost sounds like bagpipes. The vocal melody feels earnest enough to make this work amid the pulse that rings out. Matthew Broadley is weaving this all together. There is a more Appalachian feel to "Revelry" that touches on the early Irish roots of things like bluegrass. The drone ringing out in the background creates an eerie feel, like this is the soundtrack to an A24 movie.

'The Leather Knight" works off a similar pulse as the previous songs. There is more of a melancholic longing in the vocals, which is why it belongs being covered here, it's more "Midsommer" than "Dracula". This album and others like it often lean into this ritualistic, primitive version of early tribal folk music, causing it to run together with the other songs into one sprawling invocation of sound. "May" flows from a similar harmonium-driven vibration. "The Seer" feels more like a funeral march. 

"The Battle" keeps a similar solemn tone, with cinematic shadows cast over the notes that paint a picture of bodies laid out over the stark aftermath.  As an instrumental, it might capture a mood, but it is less interesting as a song. The last song, "Eulogy," casts an equally depressing spirit over things. It holds an ache in the notes. The vocals are the most focused of the album, though they do not make this more dynamic, but the hollow loneliness of the baritone croon feels real. I will give this album for the very authentic darkness that haunts it in a much different manner than the other albums I have reviewed this month. 

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SOWULO : "NIHT"

 

Often, these types of bands just create droning hymns to pay homage to their elder cultures, which carries a certain power depending on the egregore of the region, but not always something worth repeated listens. This is the case even with some of the bigger indigenous neo-folk acts of Europe. This project from Norway does respect ye olde days, while writing actual songs that go somewhere. Yes, there is a very ritualistic feel to what they do, but it has verses and choruses you remember. Also, a dark tension broods under some of the passages, so it is not surprising these artists are often metal adjacent in their fan base.

They are named after an old Germanic name for the sun, which reflects some of the elder pagan ideology behind the concepts of this album.  "Sol and Mani" has a heavier ambiance, which ebbs and flows, as is to be expected from an album that is already atmospheric by nature. There is more of a folk ballad quality to the vocals. It still manages to lull you into its own hypnotic throb. "Full Mona" finds the male throat singing coming more to the forefront. This creates a more tribal cadence, putting them closer to what Heilung does. They have a darker, more solemn sound than Heilung, and are not tied to using non-electronic instruments, which they are not afraid of using to create almost sensual beats. The trade-off between the male and female vocals sometimes gives things a more Dead Can Dance feel.

"Nihtegan" certainly sums up this assessment with the slithering belly dance sexuality dripping from the mysterious mood, yet dramatic atmosphere creating ritualistic theatrics. "Carnyx" is a horn being blown for a droning ambient effect, not sure if I consider this one a song, as it feels more like an interlude. But at almsot four minutes they are committed enough to consider it a song. They bring a beat to the droning strings of "Eald Mona" and pull things together compellingly. "Swefnian' work off a big, almost cinematic atmosphere that is dark enough, but the arrangement is a straightforward, almost drone. The last actual song is 'Heolstor Sceadu" which finds the throat singing more prominent, but the dark slinking grooves weaving around the song work well. I will give this one a 9.5; it's one of the better dark tribal neo-folk releases I have heard in some time. Drops August 29th. It

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Nechochwen-"spelewithiipi"

 This band's 2015 album "Heart of Akamon" was pretty much flawless when it comes to folky black metal, now they are just returning to their folk roots. Have not covered much neo-folk recently, so here we go. I like the darker, more ethereal mood that comes from the title track, which is the first full-length song following the more ambient opening track. Seeing that they are from West Virginia, they are capturing more indigenous sounds, lots of woodwind. "tpiwewe" which delves into the ancient Indian myth of the man who needed toilet paper for his wiwi, shows the metal lurking in their music with the subtle aggression in their guitar playing. 

This album continues to be a series of acoustic guitar pieces, that are impressive but less song oriented than if I was listening to the Gypsy Kings or Al Dimeola. Where they Gypsy Kings incorporate vocals to solidify songs, Dimeola does but uses compositions to do the story telling, where these instrumentals, are not given enough sonic layers to expand into a story and are more of an idea, than a fully fleshed out presentation. "Precipice of Stone' is dark enough in its introspection.  "Great Meadows Vista" has more movement to it and layers, perhaps the best of these compositions. 

"Nemacolin's Path" is just a guitar that sounds like it would be playing in the background at a store that sells crystals and incense. I would say it sounds more like an interlude, but that is the whole album. There is more to the last song in terms of layers of instrumentation. At the end of the day, when it comes to neo-folk, my tastes are more along the lines of Wardruna or Death in June. Still, these guys made the album they set out to make, it's just not what I am personally into, but I can still acknowledge the artistry of it and give this album an 8. 

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Gothtober - The Keening :"Little Bird"

Rebecca Vernon's old band SubRosa singer did  flirt with darkness. This love affair is reignited with her new project the Keening, that finds her partnering with With Mountain drummer Nathan Carson. This album proves an exercise in minimalism and restraint for him, as the drums give most of the spotlight to the vocals and orchestrated folk elements that weave atmosphere around them. The first song flows pretty well and engages you. The second song finds the sun setting mood wise and the sounds lulling you into a more hypnotic state. The ethereal moan of the vocals becomes another instrument in a wall of sound tempting you further out to sea, rather than telling a story with a song and having more of a destination with the arrangement. The drums do kick things into place, but the way the vocals are recorded makes it feel you are riding more of a wavelength. 

This lulling ambiance, does still employ distorted guitar that is mixed in the background, making this less about neo folk haunting the mood, and a stormy doom influence bubbling under the surface, but never crossing over into a more metal dynamic. The title track leans onto piano to provide structure, as the vocals continue to hover around it.It might even be less tangible in the manner it floats like a gray cloud.  In some ways this reminds me of the new Myrkur album , though the egregore of this band's sound does not have a Nordic current to it. 

From there the album splits into "Hunter" the first part is a very nicely following folk ballad, that is given lush layers by the violin.It might even be the best song up to this point in the album. It goes to show they can balance the elegant sounds with songwriting that goes somewhere. The movements it progresses through carry their own dynamics.  The second part of "the Hunter" is heavier on the atmosphere with ghostly layers of vocals leading into a finger-picked acoustic guitar. While it has a nice flow to it there is just not as much to hook you in as there was in the first part.

The last song is a 17-minute sprawl, judging by the piano intro I can hear where some fat could have been trimmed as that goes on for the first minute and I half that would have dropped this down to 16 minutes. The vocals come in with the drums and the song begins to move. The result is something more dramatic than I was expected given the rest of this album, it does so in an almost Court of the Crimson King manner, which I am fine with, I just do not give 17-minute songs many repeat listens, but appreciate the journey. I will give this album a 9, I enjoy the mood, and the dark atmosphere it bathes you in. Just released on Relapse. 

Gothtober Ofdrykkja : "After the Storm"

 

During the Gothtober series I try to show a wide spectrum of sub-genres within the goth scene. Noe folk being one that is receiving lots of rise, given the success of Heilung , who keeps playing larger venues. Here is one from Sweden whose haunting sound is dark enough to belong here. The first track works off more ambiance, leaving the second piece to prove they can actually write songs and not just make the most of ancient sounds.  Leaning on the feel of folk melodies, this is not the hookiest of song, but if you are getting high and chilling it would make a nice backdrop. 

"the Mare" continues to find atmosphere and mood at the center of their focus. Spoken male vocals join the more ethereal female vocal to ground it a little. The first song that really resonates with me is the title track that finds them weaving a very memorable melody that flows well with the minimal folk instrumentation. Unlike Heilung, they are not going for an aggressive tribal feel. They flow really well on ""the Cleansing" as the vocal take on a lower goth croak. Everything is well layered and sounds great. The six track just sounds like a jammed-out extension of the previous song.  

The last song is more of a guided meditation outro piece. The sounds created work really well, but I wish there was more song focus on this album, since we they do chose to focus on songs the results are great. Hopefully future releases will find them growing into the song side of what they do as those were pretty impress and could place them as peers of bands like Wardruna. AS things stand now, a little more atmosphere and mood than song, so I will give this album a 7.5.  Fans of Neo-folk take not as it is not the most prolific sub-genre. 

Swans: "Is There Really a Mind? "

 This is not the first time Gira has released what amounts to demos for an upcoming album in order to fund said album. We heard this with the demos for "Leaving Meaning" which was titled "What is This?". Almost identical in its approach his vocals sit at the fore front with Gira also playing guitar. Lyrically the first two songs are about learning how to do life on the most basic level. I prefer the more baritone resonance of the second song. The mood is stark and consistent with the mood you want from this band. Syre in a stripped-down manner such as presented here there is almost a folk like manner if by folk, we are using Death in June as the definition. 

"Parasite" finds Gira take a more dynamic shift in the sonic progression of mood and melody. Things start darker and then come to a more relaxed and brighter place by the end of the song. Lyrically it seems to deal with some personal problems he was dealing with a few years ago when cancel culture in hipster New York found itself creating an environment where he could be attacked. At 68 he has still figured out how to make the most of his voice, with his emotive croon still sounding pretty strong. Some of these songs work better in their skeletal for than others. I can hear how "Los Angeles City of Death" might sound with a full band, which works better than the current form, which I appreciate lyrically. The stripped-down strum of "Ebbing" needs more fat to it in order to fully realize this idea of a song. With "Why Can't I have What I Want Anytime I Want" works off a droning strum that will become more interesting once this is fleshed out but in its current form, this commentary on today's society it pretty cutting even as is an almost heavy in this form as well.   

There is more of a dreamy Psychic Tv like drone to" the Memorious", that possesses more melodic depth than the stripped-down drone to "Michael is Done". The minimalism that abounds on the album is due to the nature of what Gira is going here, you can hear more form and function on the songs where his vocal melodies are more capable of carrying the weight of the song. Even a melody that is a bleakly simple as the one found on "Unforming". The last song is too straightforward, and not really what defines Swans, perhaps more of an Angles of Light thing. As things stand here, I will give this album of demos a 9, it is very relaxing and captures a more stripped downside to the drone, 

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Death In June : "Essence"

 Even thought Doug P said he was retiring last year, we have a new album from this legendary project. The first song "God a Pale Curse" is the kind of dark neo-folk that you would want from these guys. They stay at this kind of breezy mid paced strum on " the Trigger". Lyrically it seems to question religion and sense of self. The lazy strum of the guitar almost creates more of a drone making a song like "Snipers of the Maidan" just kind of fade into the background to the point that I had to give it a second listen to really take it in. It's not a bad song, just doesn't grab me like the first two.The pace picks up for the "Humble Brag" this song offers more layers of guitar. "Going Dark" seems like a dysfunctional reflection on a relationship spawned from on-line dating and is one of the more traditional song arrangements so far.


"The Dance of Life" has the needed shades of weirdness that makes this project what is is and darkens things up in a odd way.  For these guys "No Belief" sounds happy, the lyrics are a little more on the sardonic side. "What Will Become of Us" kind of carries the sort of strummed and chanted drone that is typical of these guy. It takes less chances and plays it straight. The album ends with the more spoken word like atmosphere of "My Florida Dawn". I get what they are doing here , but as far as not only songs go, but to weigh it against their other work, I would prefer another droning neo-folk piece than this, it's not terrible , but it is a shame they closed the album with this instead of going out on a more powerful note.


Doug and the boys play it pretty safe here so despite the current political unrest in the world today I think it's highly unlikely that this album would be banned like some of their others. I will round this album up to an 8, so it's what you expect, sometimes more inspired than others. It could be that their body of work has left the bar pretty high , to their credit they do not sound like tired old me, but it can go up against even their work from the 80s, though less industrial and angry, I think long term fans will be pleased. If we are talking about who did a better come back then Dead Can Dance would win hands down. If you are angry that I am not saying this is the greatest thing ever, then know I listening to these guys before most of you were born, and while this album largely works, I have heard them do better. If you are angry that I covered these guys in the first place, well why did you read this whole god damn review. No I am not a Nazi, but I love the fucking Hugo Boss ...don't kink shame.

Ancient VVisdom : "33"

This band's first three album's left me underwhelmed, and have struck me as Days of the New trying to be satanic. There is some distortion leading into the first single "Light of Lucifer". The vocals are lower and more ominous, but there is more of a camp fire rock feel than neo-folk.It never really feels like a fully conceptualized song, but like they were sitting around in the studio and said "Well, this could be a good idea for a song we should do something with it" and then forgot about it.  The beginning of "In the Name of Satan" sounds like the build up to "Fade to Black". The vocals begin to get more Ghost on this one. The formula to this album is clearly set the strum of an acoustic guitar against some pretty basic metal power chords. Sonically this works pretty well on "True Will", however the lyrics are almost offensive because they are throwing around Thelemic sentiment and using pedestrian Crowley quotes without knowing the proper context for them.

There is more of a late eighties punk chug to " the Infernal One". Lyrically much like Ghost these guys are juvenile posers when it comes to the occult. The chorus is also a little too happy though after a few listens it grows on me by a few degrees. "Summoning Fallen Angel" is more Judas Priest like , though it's just an interlude and feels like it should have been the intro to the more "Diary of a Madman" like "Rise Fallen Angel". The hook going into the chorus is more Danzig like. But this is the strongest thing I have heard from these guys yet, even if along the way they barrow a little from Rob Zombie and Metallica to get there. The eighth song sounds like they could be busting into hair metal at any point in time. Instead we get a less than inspired croon.

There is a more rambling rock tone to "the Great Beast". The lyrics are over the top, but as far as radio rock n roll goes this song is pretty solid. Fir what they are going for "Lux" is ridicously upbeat and might as well be on a Dashboard Confessional album. The vocals are also a little pitchy which doesn't help things. In giving this a 6 , it puts it ahead of the other bands out put and makes them better than Ghost for sure, to think these guys are awesome you have to be 16 or younger.

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Tear Garden "the Brown Acid Caveat"

Edward Ka-Spel of the Legendary Pink Dots and Cevin Key of Skinny Puppy have re-united after 8 years as Tear Garden. The album opens up more up beat than what I remember from them. Though over the span of their 31 years together they have covered a lot of dark and trippy ground, often wandering in the same sonic neighborhoods as Psychic Tv. I like how things get darker for "Stars on the Sidewalk" and when I hear this I think, I really hope these guys go on tour, so that's  a positive sign. "Amy's Personality" is more plodding in it's swirl of intangible mesmerism. A more electronic pulse is added to "Calling Time" . The more whispered English narrative of the vocals continues its chant like meandering on the more free form "On With the Show"  . I can hear Key's influence on the glitch filled atmosphere than I remember hearing on their previous albums that struck me as being more organic in its psychedelic pursuits.

There is a dark electronic throb to "Sinister Science".  Strings come in to give it a lusher sense of melodrama despite the continued understated vocal. "Lola's Rock" is more of a narration that makes me think of one of the interludes on Bowie's "Outside" album. Guitar returns on 'Kiss Don't Tell" to give a more organic feel, along with the sing song vocal that goes into a more Syd Barrett like cadence. There is a Stranger Things like vibe to the eerie moving the mood of "A Private Parade". This finds the song taking on a drone until it breaks down at the midway point and jumps back into the same droning groove. The synth melody wavers into weirdness toward the end so the song goes somewhere.

It sounds like more organic instruments are introduced once more on "Seven Veils". The vocals occupy a more conventional spot and finds them once again in the zip code of early Pink Floyd. This is prime real estate if you are psychedelic so it means they are doing something right for this comparison to be drawn. "Object" comes close to being a neo-folk ditty. Which is fine by me. Then some near Kraut rock weirdness with the closing "the Sound of Space Escaping". It's clear this requires more drugs than Pink Floyd was on for "Obscured By Clouds". While the first few songs are the best before the drugged lethargy sets in over this album I have no problem rounding it up to an 8.5 . I am sure would have scored higher if I still did drugs.

You can check out videos they made on their crowd funding page ....thanks Pledgers!, Here's a little video treat for you http://www.pledgemusic.com/projects/theteargarden/updates/72374?utm_campaign=project13527 via @pledgemusic

Tusmörke : "Hinsides"

What is happening here ? This is my first thought upon hearing the opening track from the Norwegian band's new album. There is a flute and they are singing in our native tongue here, but the wacky has been dialed way past 11. There are some electronic sounds in play from the keyboards that are way up in the mix making this sound like Kraftwerk with a side of folk. It is unique and not bad though, not dark enough for me and a little more on the upbeat side than what I would typically want to hear from them. The synth heavy version of the band does lead them into a proggier place. After reading their promo package the band has admitted this is going to be a less gloomy affair and feels like groove is in the heart of darkness.

"I Feel Like Midnight" reminds me of new wave Alice Cooper, so that's an easy sell and goes to prove just because you are pulling out all the key boards it doesn't have to be happy. "Rykende  Ruin" or "Steaming Ruin" is big grandiose prog, that doesn't pull me in until the big "In the Flesh" like ending. "Lyssky Drom" gets off to more of a flower child like start as it floats on a cloud  smoky folk. The bass line begins to guide the song into more brooding shadows. I am unsure of the kazoos that end the song, but oh well.

The album ends with the 24 minute epic "Sankt Sebastian's Alter" which celebrates the 666th anniversary of the Black Death hitting Norway. The drummer gets to flex his chops on this song.  Three minutes in and they are taking a break for a folk break down, so this is going to be a long and winding road. 24 minutes always seems excessive for me and I am generally opposed to any song being longer than the "Rhyme of the Ancient Mariner". There are some darker undertones introduced to the song around the four minute mark . Things really darken in a more dramatic fashion at the seven minute mark. This does make me wonder where can they go from here and pulls me back in. There is more of a building simmer that feels like they could get heavy if they wanted. Instead they go in more of a psychedelic jammy direction. I suppose if I was tripping I would not mind being taken on this journey.  At 12: 44 it does happen and they do get into a heavier stomp. Live this would be a lot of fun and the overall song length is what keep this song from really winning me over 100%.

I'll round this up to a 9, as managed to pretty much win me over with the changes in direction. Some elements are more of my thing than others , but none of it steps on the toes of the other parts that are in motions which is impressive considering how much is in play here.


4.3

Isenordal : "Shores of Mourning"

This album takes a few listens to really let sink in. There is a lot going on and while in some ways the dark folk is blended with black in a manner like Agalloch these guys have their own sound. Seattle is not the first place I would have thought these guys came from. The title track opens their full length debut. One thing this band has going for them is they are very dark. There drummer is good, but some times rushes them into faster sections and clearly wants them to lean more into the black metal when I think they could milk some more doom out of these songs. There is a piano intro to "Of Winged Fire and Crawling Shadow".  This atmospheric beginning lends itself to some really nice guitar passages.When the metal does kick in it's black. The vocals has the hateful nasty rasp to them. The more galloped trash inspired riffs are pretty bad ass. and in the guitar harmonies you can hear where their chops are.


There is more of a an Agalloch quality to the whispered rasp of the vocals against the acoustic strum of "Pyres at Nightfall". It is more darkly romantic where Agalloch has a more hipster folk thing going. The doom part of the equation doesn't really kick in until "Tear the Veil of Dreams" Thew first few minutes of the song find the black metal vocal laying onto of a bleakly lush arrangement that is not really metal at all . When the lower growled vocals and distorted chords ring out then we are deeper into metal waters. Female vocals haunt the background of  the song in when the double bass kicks in and things speed up into blast beats. "A Gallows Prayer" is another sprawling 11 minute song

The album closes with the woeful "Cleansing Rites" which marries black metal vocals to and almost My Dying Bride brand of dramatic metal. The violins really add a lot of texture and along with the keyboards things get gothic it works well with what these guys do. It's their drummer who seems to tempted them back into stepping on the gas and launching these songs into black metal. I like how the vocals are layered midway into the song before things slow back down. Overall this album sucks me in enough for repeat listens to earn being rounded up to a 9. I might grow on me further certainy at some of my lower points today it resonated with me.

4.5

King Dude : "Sex"

He is back this time with an album more focused on the subject it's titled with. This album so finds things continuing to change as there is often a great deal more drive due to the fact bass plays a much more prominent role in the songs. A new instrument to  Cowgill he bangs on it with the raw power of punk rock. There is a dark and decidedly more goth like feel to  "Who Taught You How to Love". The guitar tone on this song is awesome and the cadaverous croon summoned to tell this story is equally brilliant. The result is a raw Nick Cave like blues to his declaration that he wants to put himself between both of your legs on "I Wanna Die at 69". There is more of a neo-folk feel to "Our Love Will Carry On".

The biggest shift is into the harsher snarl of the vocals on "Sex Dungeon USA" which sounds like it could be from one of the Darkthrone albums during their black n roll punk period. The more post-punk like tension rolls in like a dark cloud over "Conflict & Climax" which turns out to be more of an instrumental interlude before the seedy carnival pulse of "the Leather One". If Tom Waits wrote a song while in a German leather bar the results might be similar. The return to garage punk takes place on "Swedish Boys Drum". This ode to Swedish boys is odd lyrically, and the song is at it's best when it takes on a more angular throb. The weirdness keeps gaining traction on "Prisoners". With ghostly female vocals floating in after a rapid almost rapped verse. It reminds me of  90's alternative so it works for me in the most bizarre manner possible.

There is a another weird take on 60's Pop with "the Girls". With sampled clapping interjected to make it sound like he is on the Ed Sullivan show. Here the weirdness finds a perfect balance with song writing when he are enveloped into the song. The vocal tone he takes reminds me a little of Psychic TV. The album ends with the wilting piano ballad "Shine Your Light". He might be mocking the traditional love song or he might be earnest, the lines are pretty blurred, though it feels like it's tongue and cheek done with a very straight face. Whatever the case it is not the albums strongest song and comes the closest to being filler. Over all this album has some strong enough moments for me to round this up to a 9.5. I think when he is sticking his black boots into the gothier waters the songs are at their peak and lose some of their focus when delving to far into the weirdness with the exception being "the Girls". Fans will finds something to love quite easily. This album comes out October 28th.

Wovenhand : "Star Treatment"

 This past weekend was spent at Dragon-Con, so I was only able to catch fleeting listens of this album while in transit. So now I can give it my full attention. Being a big fan of Eugene Edwards, expectations were high, but  I can say I ever doubted his ability to deliver as he has been very consistent over the years. It opens with a pounding rock gallop that pretty much picks up where "Refractory Obdurate" left off. Things take a turn for the weird on "Swaying Reed" that sounds like the acid kicked in at the same time the Holy Ghost descended upon them in the studio. This does capture the same abstract tone the Doors touched upon, but strikes me as more of an interlude than an actual song. "the Hired Hand" struts in with a ghostly western feel. Edwards' resonant baritone is commanding as it is emotive. What different this time around is more trippy space like sounds zoom out of the corners of the song. A more deliberate rock inspired stomp haunts "Crystal Palace" though the intervals of the melody in the back hearkens back to tribal music of the American Indians.  This album is certainly more atmospheric, though it's reined in to serve the songs. This is displayed on the exotic chord progression of "Crook and Flail" which finds keyboards playing a much larger role on this album. This opens a door to fans of progressive rock and psychedelic. Edwards elegantly weaves his voice around this song.

Speaking of psychedelic, the album gets a dynamic shift on "The Quiver". The vocal melody gets more breathing room on this song. There is also a very relaxed drifting Pink Floyd like feel to this one. There is a more surreal spell binding throb to "All Your Waves". This invokes a similar hypnotic feeling as the Holy Ghost inspired jamming on "Swaying Reed" the difference being, the vocals are more focused and it sounds like this is a song rather than Edwards just being poised at the threshold of another dimension where he might break out into tongues at any moment. The tribal influence of American Indians can once again be felt here. There is a lighter mood to "Golden Blossom". This is a more accessible ballad that touches on neo-folk, but has a more emotive soaring to it. It's a testament to Edwards ever expanding skills as a song writer, as this is just good music without the bounds of genres to confine it.

From this point on the song writing displayed stays pretty stellar.  Not that the songs on the first half are filler, it's just that these find Edwards at the peak of his prowess. There is a Neil Young or maybe even Johnny Cash like saunter to the tempo of "Go Ye Light", but Edwards being the superior singer gives this song the authority of an Old Testament prophet. There is much beauty to be found in the layers of "Five By Five".  Edwards backs off from the mic to get a little more introspective. Contrasting sounds color this song, the guitar might not be out of place on a Peter Murphy album, though there are lighter keyboard melodies trickling over this. The drums foreshadow a shift in intensity. This build in sonic intensity is very well played. This album only flirts with the darkness, but it is still satisfying. Maybe it's not as heavy as the previous album, "Star Treatment" is as powerful in other regards as Edwards other work.In certain places it's more accessible, but far from selling out by any means. I can easily round this one up to a 10 as I can hear it already growing on me with each listen.

Volur : "Disir"

This trio from Canada, replaces guitar with distorted violin.They are darker and somewhat leaning towards being a doom band even though the opening song is more mid-tempo. The vocals split the difference between the ales bassist and the female violinist. They do have a unique sound, though I did space out a little during the violin solo of the first song. Which when I tuned back in had to give credit to her a using the instrument to replicate a guitar tone to the point of me thinking for a second it was a guitar solo I was tuning out. I am unsure why they released this album back in June and I am just now starting to hear a tiny bit of buzz about it.


 They keep the atmosphere thick going into the long and winding "the Deep Minded". The bass mainly drives this one. The violin solo on this one sounds more like a violin solo. I am however confused as to why people are saying they blend elements of classical music into their sound. So to set the record straight, just because you have violin it doesn't mean you are playing classical music.Even the more scenic interlude "White Phantom" is not classical music, post-rock or slo-core played with a violin. The fourteen minute closer is good background music. It feels like Dead Can Dance being merged with east European folk music. It's hard not to drone out to it. I'll give this album an 8.5, though if you are really into instrumentals you might round it up to a 9. I look forward to hearing more from them in the future, I would like to hear them in a heavier and more song focused mood, but I totally appreciate this for what it is. If I still did drugs I would get a lot more play time out of this.

SubRosa : "For this We Fought the Battle of Ages"

I have been looking forward to this album and while I am not the biggest fan these days of songs tipping the scales at over ten minutes, they make the most with the powerfully dynamic opener. The violins weep against the slabs of sludged out distortion. The vocals are generally pretty delicate. A thick bass line leads you into "Wound of the Warden". There is more motion in the ocean on this one . Not quite metal in the way it builds up in the first couple of minutes, while riding a similar groove. The growled vocals arrive before the five minute mark. This is followed by a much softer vocal harmony, so they are not running the same old good cop/ bad cop thing with predictable vocal trade offs. The sludge does get hammered down onto by the midway point, with the violins acting as the salve.

Though it gets off to a softer start "Black Majesty" carried a more weighty drone. This makes the melodic trade off at the four and a half minute mark that much more effective. It goes hand in hand with what I always say about being just being heavy all the time and how that numbs you out unless you are given something to contrast that with. It does seem like at 15 minutes this song could have had the fat trimmed here in there , but nothing that makes it too ponderous. There is a more depressive doom like pacing to "Killing Rapture". The vocals are mixed back against the guitars with the violins weaving their mournful melodies in the back ground. The drums churn up omimnous storm clouds.

The strength of the closing song "Trouble Cells"  is the darkness that surrounds it's otherwise surreal take on folk. Vocally it's not the best song on the album, but they do weave together a pretty good mood, setting it apart from the bulk of the album.  I'll give this one a 9.5 and see how it sits with me.

Private Pact : " Purity"

Mass Media just released this band from Copenhagen's album "Purity". On their Bandcamp there was something suggesting this had been around since 2014, but the record label was just now putting it out of vinyl, but for the sake of this blog we will consider it released this year instead of wasting any more of my afternoon trying to track down those stats about this obscure band. on the more neo-folk side of post-punk, but there are swathes of many dark sub-genres at work here. The baritone vocals are hesitant and delivered like the singer isn't too sure of himself. There is more of an industrial stomp under the heavily effected vocals which work better than the vocals on the first song. More minimalist than Ministry and not as abrasive as Skinny Puppy, I think of the two songs I have heard thus far from the band this is their strongest side. The title track finds the industrial taking a more dark wave turn as the singer does his best Riff Raff impersonation. This one drones on the same groove the whole time.  "God's Secret Army" finds the vocals more spoken than sung as this song marches on.

"The Wall" find the band dying back in June, there is a somewhat militant march to the weird parade through this dark forest. The vocals continue to be more spoken than not here."Bound By Blood" brings back the synths and a stiff dark wave beat. The tentative vocals go back to a melodramatic goth croon. He just needs to commit to belting it out. When he does go a little more Bela Lugosi with it his voice sounds stronger. The drums build in with more of a tribal dance while the guitars feel more western on "Natural Father".  The elegant ambiance that is needed to earn the title goth floats in on "Everything".   It drops down to a more minimal pulse when the vocals come in. Some impressive guitar textures are layered over this. the vocals even attempt to become more engaging without forsaking their cold detachment. There is a Current 93 feel to "Creature". It has an industrial clanging , but a heavy Brit narrative.

 There is more melodic engagement on the closing "Violence" when the vocals are layered they work really well. The odd punches on the chorus are a nice touch too.I'll give this a 7.5. It has a ton of potential. I think if the singer steps up his game they will be there, because the arrangements don't really allow for the vocal to not handle all the heavy lifting when it comes to the story telling. I suppose if the instrumentation rocked it out more it might put them closer to say Cult of Youth, but where they are at current is a good start and another name in my data base of projects to keep an ear open for.