Basement : "WIRED"

 

The band's new album brings a late 90s sound that blends indie rock, pop-tinged hooks, and some post-hardcore grit; the vocals add needed grit to belt it out. I like that you can still hear the punk that is in the DNA of this kind of music that originally merged in the 90s. It takes you back to a time when songwriting mattered, as things evolved from the grunge explosion and began to form their own identity. "Dead Weight" shuffles along with help from a driving bassline that keeps the more indifferent tone of the vocals moving. 

There is a more casual tone to "Broken By Design" that ambles along with less aggression, as the singer finds himself more reflective. They move at a brisk pace for "Pick Up the Pieces," which has a more explosive chorus. Things go in the direction of Failure's more introspective moments for "Embrace." If you want just high-energy songs, it is more of a slow burn, but worthwhile, and it stands as a credit to the band for creating a dynamic album.  Then "Sever" has a more rowdy grunge charge as angst comes to a head. The very raw organic quality of the production lends itself to this kind of rowdiness that they continue on with during "The Way I Feel". 

If you are old enough to remember when this kind of music first dropped on MTV'S "120 Minutes' show before grunge broke big, then it's clear the wheel is not being reinvented here. But you can also confirm that they got the mood right. "Satisfy' finds the hook of the vocal melody taking center stage. There is a more downtrodden sonic shade to "Head Alight." It's not quite a ballad, but something that would have been at home on College Radio in 1993.

They have certainly crafted some memorable songs with not much in the way of filler. "Longshot" comes closer to being a ballad. It has a lazy summer strum. Funny enough, the song about summer that closes the album, "Summer's End," is more of a grunge anthem for 2026's definition of the genre. I will give this album a 9.5 as it certainly captured a time period I am fond of, even if it is not one I revisit the most. Not only did they nail the sound, but they also remembered that songs were much better written back then and rose to the occasion. Being released May 8th on Run For Cover Records. 

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Gozu : "GOZU VI"

 This band's 2023 album made our top 10  Stoner Rock albums for 2023. There is less of a grunge haze this time around and more of a Queens of the Stone Age-like precision, which is not shocking considering the genre they find themselves in. There is a more deliberate metal chug in places on the opener that works well for the soulful vocals to belt it out over. "Midnight Express" carries a much more deliberate doomy stomp. The more Alice in Chains-like vocal returns on this song. I like that it is darker than the opening track. 

The guitars in "Killer Khan" are even more aggressive as the album continues to move in a heavier direction. Seems like there are some subtle and not-so-subtle references to wrestling, "Corner Lariat" being one of them. Funny enough, it's a more melodic, less aggressive song. It feels like what some of the metal bands were doing in the mid-90s as the grunge era waned. The more uptempo "Banacek" is the first song that feels more like filler to me. The vocal melodies feel more obligatory half the time. The one-half time riff is cool, but "cool riffs does not a song make" is the rule here. 

The more blues-glazed "They Did Know Karate" sounds more like what I want from these guys. There is a touch of doom to it without being Black Sabbath worship. That said, there is a slight hint of "Children of the Grave" to "Gimme the Lute", though it also shares some sonic space with Corrosion of Conformity." Corvette Summer" closes the album with a more blatant metal gallop. The verse riff reminds me of Mercyful Fate. This is a fun album, and these guys continue to perfect what they do. I will give it a 9.5 and see how it grows on me.Being released on Metal Blade Records May 15th.

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chokecherry : "Ripe Fruit Rots and Falls"

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

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

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

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Soul Blind : " Red Sky Mourning"

The band's sophomore release finds them leaning into the grunge side of things, with a powerful stomp that reflects the Alice In Chains side of the Seattle equation. They employ a taunt Helmet-like punch, and are not as drugged out and depressed in the mood created on the opening song. I appreciate the balls that the guitar is slinging at the groove-centered stomp that drives these songs. However, when they lock into the more Alice In Chains-centric vocals, the originality feels hampered by becoming a tribute band. 

Speaking, they also lean into a Turnstile meets Superheaven-like sonic space, which also feels too familiar on "Mistake to Wonder." This is tempered with an angry nu-metal vocal for "Billy.". The nu-grunge works better on "For Real" with the modern rock elements balancing out the grunge tendencies. The vocals are smoother on "Thru the Haze" and get the point across without ripping off Alice in Chains. 

The title track finds the band going to the more shoegazing well, one too many times, as they begin to sound like everyone else who has already done this better. "New York Smoke" tries to pick up the intensity to a more Deftones-like level. I like the vocal melodies on this one. The purposeful riff also plays to their favor, but the chorus does not have a hook that really pops. "Closer to You" is a smooth shoe-gazing ballad that hangs in coke-stained bars til the sun comes up. I will give this album a 9, as they at least draw inspiration from legendary sources, so it conjures familiar sounds effectively. Out on Closed Casket Activities. 

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Miss Lava : "Under a Black Sun"

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

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

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

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

 

 

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SCOWL : "Are We All Angels"

 I watched all the videos leading up to this release, after the first one, I saw hooked me in as they have grown away from being a punk or hardcore band and making catchy 90's alternative music for 2025. First off Kat Moss only uses a harsher, hard-core flavored snarl as a point of accentuation. Her main style of delivery is a slacker croon that has more in common with Veruca Salt. The second song, "B.A.B.E," is more upbeat on the verses in a punk fashion with a more deliberate hooky chorus.  With bands like this, I have learned to steer clear of interviews. When I even get peeks of it, there is plenty of stupid pandering with tangents about hardcore being more inclusive, apparently so much so that it includes music that isn't hardcore at all, with songs like "Fantasy" that would have been all over the radio in 1994.

This feels like it is who this band really is, as their attempts at punk often felt like they were trying too hard in the past. Production-wise wise this album has the slick sound of Turnstile's last album, but without all the bells and whistles. The hooks stand up on their own and need little bolstering to make them effective.  All the songs are quick three-minute ditties. Some of the more quirky expansions of their sound can be heard on "Tonight (I'm Afraid)". It is about as punk as the Offspring, with Moss' voice sounding its best. "Fleshed Out' has a more angular groove that the vocals smooth out. Her voice is given a little more love in post-production, and it pays off as it is the centerpiece of this album. 

"Let You Drown" is the first song that kinda coasts along, and does not hook me in like the previous songs did, but at this point, we are six songs into the album so they have had a pretty solid winning streak. "Cellophane" has more of a grunge grit to the guitar. Her vocals glide over this with little aggression to them, but this contrast is what makes these songs work so well. The harder riffs that lead into these songs begin to find a formula in place as the verse, when the vocals come, find them on the loud-to-soft blueprint bands like Hole used. In fact, the riff to "Suffer the Fool" reminds me of Everclear. 

When you think of grunge, what stands out is that those bands came from a punk background, and they evolved into something with more moods to color their angst, which is this album's strength as well. "Haunted" is the second song that does not connect with me on my initial listen, and the second listen did not find me really warming up to it, though it feels like Weezer in how it gives a grunge chug to 50s pop. The growl of the bass rumbles its way into the last song, which is another more uptempo stab in the punk direction. I will give this album a 9.5, as it's an improvement in song writing that displays a commitment to melody, and takes the band in a more honest stylistic direction that makes for some great post-grunge. 

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Kazea : "I , Ancestral"

This unique trio from Sweden quickly held my attention once I was two songs into their new album. The vocals are somewhat Pink Floyd-like in their breathy execution. The first track was a more experimental, neo-folk intro piece, but they stomp on the distortion and start rocking with "Pale City Skin".  They go from a more sludge-influenced stomp to a folk-paced strum that is full of repressed melancholy that feels like they are speculating over in a manner that is detached from the darkness of their souls, causing it to cast an even more curious shadow over the sound. This gives it more in common with post-punk than post-rock. In turn, creating a very interesting atmosphere. 

There is a more introspective manner in which the chords are picked out to "Trenches" which gives it more of a 90s grunge feel. The vocals get stronger in the chorus. There is a great deal of thought put into the vocals rather than just being an obligatory element they half heartedly stepped up to the mic for, despite using them further back in the mix sometimes. This shows a great deal of depth in their songwriting. I was not expecting the harsher screamed vocals here. "the Whispering Hand" has more of a punk energy to it. There is a more ambling country-tinged mood in some sections. The grunge feel is also in some of the vocal melodies. Almost getting New Model Army vibes from it. "Strange Burial" is more like the intro piece the album opens with, as a guitar twangs over a sample. This leads into a doomier riff, but that's halfway into a two-minute song, so there is nowhere to go with it to make a song. 

"Wailing Blood" is the lead single from this album that carries a more driven riff, more brooding in a wild western way than the grunge of the 90s but not far from that sonic neighborhood. The big hooky chorus seals the deal to lump it in a post-grunge. "the North Passage" takes a great shift when things go into a more roared vocal at the chorus. This brings the album to the intersection where sludge and grunge met which was a very real place in the 90s. That last song starts off with a more pondering tone. Breaking the seven-minute mark they give themselves plenty of time for the slow build. Rather than explode they take things in a more melodic direction that makes me think of Stone Roses, which is a part of the 90s I did not think we would be visiting here. I'll round this up to a 10 thanks to all the varied elements they blend to make this something different. This is being released by Suicide Records.

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Softcult : "Heaven"

 This is the kind of dream pop you might expect. But the vocals are well layered, and they care about songs more than just conjuring up these surreal sounds. The guitars ring out into the lonely sunsets of Canadian winters. "One of the Pack" brings the 90s alt-rock jangle into play, to ground the softly croon vocal sweetness. When they are in this sonic space they remind me of Veruca Salt. This is one of their strengths as it helps set them apart from all the other bands trying to give shoe-gaze a resurgence for the TikTok generation. With weeds in candy-flavored vapes these days it only makes sense that shoe-gaze should get another go. 

Obviously, if you are a regular reader here you know it's a genre we have been championing even before we were aware bands like Nothing were kicking it up from its grave"Spiralling Out" has even more of a solid strum of guitar cementing this into some more accessible. I can see fans of Boygenius transitioning to this band if exposed to them. This is dream pop with an emphasis on pop, though pop is a good word in this context. "9 Circles" drifts and almost gets washed away by the very ambiance it drips with. They do manage to tighten into a more focused sway as the song builds. 

"Shortest Fuse" has more of an experimental indie pop feel. The vocal melodies are very straightforward forward and the arrangements give them plenty of room to breathe., The title track that closes the album carries a dense album that aside from a cool guitar melody breezes the song off like a cloud of effects and fuzzed-out space sounds. I will give this album a 9.5, and see how it grows on me, the grunge spirit of things is this album's strength and cements its unique place in the genre. 

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Rid of Me : "Access to the Lonely"

The album opens with a grungy dirge that explodes with anger in the chorus. They get into their brand of punk with "I'm so Lonesome I Could Die" which works off a more 90s feel with the expansive vocal-oriented verses giving way once again to a screamed chorus. They added a second guitarist for this album and you can hear how it adds in the denser sonic layers. 'Cut" is heavier and punches with a more sludge-ridden sound. My first impression is this is a heavier album. Dissonant guitar passages cut through, along with more guitars on this album, to add a more firey rock n roll attack. 

She really proves herself as a singer on this album, still maintaining punk integrity. There a many dynamic vocal colors being introduced. "Pavement" could have been an indie rock jam from the 90s. "How You Say It Is" is a catchy song with a strong melody and cool driving arrangement that makes it the best song so far. "Gutted" has a grungy Hole-like feel that we have heard from them before, though the more wandering guitar parts are more interesting than anything Hole ever did. "Hell of It" has an angrier stomp to it not unlike the rowdier moments of riot grrrl. The guitar creates more of a noise rock atmosphere around the angular churning. 

There is an interesting mood established with "Paid in Prayers". It is a little darker and more introspective. The vocals are a forceful declaration in the face of this sonic pondering. Things contract around a more punk-inflected chant. "Libertarian Noise Rock" finds them digging into a more syncopated crunch that recalls "Bleach" era Nirvana. "Feel You" is driven by the burly bass tone, but also leaves the vocals room for memorable melodies. The last song is perhaps the most brooding, despite the more hopeful tone of the lighter and higher vocal delivery. "Weight of  Your World" is an easy-going strummed ballad of sorts that works for what it is, but the bar is pretty high on this album so it comes across like filler. I will round this up to a 10, to say it's one of the year's best punk albums, is understating things as it goes above and beyond what punk normally does, and is the band finding an expanded sense of songwriting excellence. 

James and the Cold Gun : "s/t"

 This band from South Wales might be named after a Kate Bush song, but they are banging out the brand of rock n roll that has more in common with Queens of the Stoneage. They fall back into a more angular syncopation on "Something to Say" , though they hold onto the momentum established with a punk fervor. "All the Wrong Places" does not work as well as "Bittersweet" as they do not allow more than the same level of dynamics and try to keep things going off the raw power of their energy alone.  When they lean into the moody nuance things have a wider range of sonic color to draw from. The album is really well produced, there is a huge drum sound, while the guitars are a little garage rock at times, as they clang out as if just plugged in at the rehearsal studio. It's on "Bittersweet" where effects are added to give more depth. 

"Headlights" carries a more angular post-punk tension, that gives way to a more aggressive attack. They are once again racing at a more party punk pace. The vocals help to keep things structured and purposeful .Not poppy but not a reckless explosion either. They do have moments of wilder abandon on "My Silhouette". The bass line holds everything together here. If this is punk the emphasis is on the rock side of the equation. Things shift the most drastically with the strum of acoustic guitar going into "Grey Through the Same Lens". There is more blues inflected guitar crying in the background. "Saccharine" is another in your face rubber burning number that comes close to being punk. More punk than most of the pop bands who pretend they are punk.

"Alone Again" is another foot on the gas chord jangler. It draws a great deal of influence from Queens of the Stoneage, right down to the quick toss in an odd falsetto note from the vocals. Not that Queens has this kind of get up and go now. "Cheating on the Sun" slows down a bit, but is pretty deliberate with the drive of guitar. It is however enough of a melodic twist to sell me on it. They no not throw themselves back into the punk pacing for the last song. Instead they give the vocals room to breathe and let the guitar build the tension. This album has a great energy and many moments where the band steps away from the momentum they have built to show you who they are. They care about songwriting and have written some damn catchy ones that straight-up rock the fuck out so I will give this album a 9.5 and see how it grows on me. 

Fleshwater : "We're Not Here to be Loved"

 

This post-grunge bands features members of Vein.Fm. It is a place where shoe gaze meets harder hitting post -hardcore, putting it in the neighborhood sonically of older Deftones. The groove on the opening track recalls the early days of Deftones' nu-metal path. The higher pitched crooned vocals, have the sleepy emoting of early Smashing Pumpkins.  You can hear traces of bands like Failure and Quicksand, in the winding sinew of the riffs that snake around the crash of dynamic punches. By the times we get to "Woohoo" many of the sounds are being to blend into one churning wall of fuzzed out riffage. Here they are played faster with more kick to them. I think from this point on with the album I am going to need more dynamics. Though if you were wanting them to lean more into the side of hard core it is the most aggressive moment so far.  

"Linda Claire" is more deliberate with the almost plodding lumber of the guitars. The lyrics are pretty clever here. Most of the vocals on this album are just for texture rather than trying to set up big catchy hooks. At under a minute and a half "Kiss the Ladder" for all rights should be less of a song, and more of an idea, but they squeeze a great deal into it. The dense distorted bass that hammers into "Enjoy", but the jerks you back with a more thoughtful vocal and a keen sense of dynamics in order to pulls something like this song off.  The vocals have room to breathe in all the right places. 

Even amid the stormy dissonance they throw against melody the vocals still find their place to float around. At two minutes they do not develop this one like they did that previous ditty which was under the two-minute mark. The last song is heavier, with harsher vocals snarling out from the twisting riffs. The addition of a female vocal cuts through the din pretty well. This additional vocal is hookier than the main vocal. I will give this album a 9, I really enjoyed it even when the songs were not at their most focus the sonic cloud, they are sailed in on still works well. This drops November 11th on Closed Casket Activities. 

 

8.3

Nothing : "Dance on the Blacktop"

I found "Tired of Tomorrow" to be too happy and was underwhelmed. While this album might not be full return to the grunge tinged "Guilty of Everything" it does make shoe-gaze great again with more balls behind it than the previous album. Opening with the strong dreamy fuzz of "Zero Day" . This mood is maintained with "Blue Line Baby" that keeps the surreal step back into the 90s going . There are authentic guitar tones and the songs builds into a hooky melody at the end. The new element being introduced on this album is the kind of vintage slacker rock that bands like Dinosaur Jr and Sebadoh used to crank out. This first surfaces on "You Wind Me Up". Having listened to a great deal of this back in the day it feels pretty spot on and is a good song on it's own two feet not totally dependent on the nostalgia.

I think I had to listen to "Plastic Migraine" four times before I plugged in and connected to the song. Some of this is due to the highly floating atmosphere the song is thick with. Upon a more focused listen the vocal melody was found hiding behind the guitar. Granted as I write this I am listening to it with only one ear bud in my right ear , but it seems to be capturing everything enough for me to get the point and last night I listened to this with both working for the stereo effect. "Us / We / Are " feels more like earlier Radiohead. The vocals have really improved on this album. The sense of dynamics is also more polished and proves they can play are more conventional radio rock if they want and are not hiding behind all the effects.

"Hail on Palace Pier" has a more fragile atmosphere as it is stripped down to vocals, bass and drums. This gives it a more post-punk feel. Not surprising since some of these guys are also in Death of Lovers. This song is the closest these two projects have come to having a middle ground. It does build into a more guitar driven style of alternative rock. There more grungey side is indulged on "I Hate the Flowers". While it is not pure Nirvana worship it is easy to hear these influences. "the Carpenters Son" embarks on a more delicate drift into the clouds. Compared to the more compact punch of what they have done earlier in the album this might be pleasant but not as compelling. There bass player is so good until any song where he is not at the center is not among their best work, but for what this is it works. "Hope is Just Another Word With a Hole in It" is a balance of rock drive and ambiance from the surreal guitar tones. It kinda of floats around without solidly hooking me into, but is still pretty decent and spot on for what they do . I'll give this album a 9.5 as it is a pretty solid return for them and was highly enjoyed even if it floats away at the end.

Emma Ruth Rundle : "Marked For Death"

In some ways there is not much difference between Emma Ruth Rundle's  second solo album and the last Marriages album, which is a good thing. If you were expecting just her and an acoustic guitar then think again. Perhaps the punches are not as rock and the songs are less jarring in their dynamic shifts, there is a very stormy mood that brews in the first songs. There is a more uplifting shade of gray to "Medusa" which falls somewhere between a ballad and a pop song. Rundle's keen ear for melodies keeps getting sharper as shown on the powerful "Hand of God" that has more of a acoustic folk feel, but still remaining slathered in rock brooding. I can hear hint of country influence on the ballad "Heaven". This is the first song I'm not a hundred percent sold on in the first listen. I think some of the hesitance in the melody and the more minimal arrangement doesn't full fill the promise of the first handful of songs. Though it does improve when the dynamics shift and it builds.

The album returns to the dark grungy tension it excels in on "So Come" . This one benefits from some interesting productions as there is a low frequency that is a gurgling undercurrent. Things turn to a dark indie folk not unlike the kind of creepy corners Chelsea Wolfe hides in on the song "Furious Angel", though it flows very lyrically rather than drags with any kind of doom like under side. The song find it's wing as it progresses and the subtle melodies proves very effective. The lyrics are actually pretty metal in their imagery. "Real Big Sky" closes the album. The guitar has a much rawer production value and creates a juxtaposition to her clear vocal line. This sounds like it could have come off of an album from any of the 90's alt-rock Lilillth Fair divas . It's as hooky as anything Alanis Morrisette might have one at this tempo. While "Heaven" didn't really connect as strongly with me I think the other songs make up for it so I'll give this one a 10 as Rundle continues to shine.



Comes out September 30th on Sargent House.

Hellhorse : "s/t:

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


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

O' Brother : "Endless Light"

Are a melodic rock band from the ATL. They a moody enough with a slight dark streak, dark enough to appeal to me. When it comes to heaviness...they are more middle of the road along the lines Vast, Ours or 30 Seconds to Mars. The drummer is pretty creative and they give the vocals plenty of room to breath. Calling them a post-rock band or even progressive, might be an exaggeration of those terms I suppose Dredg is the closest they come to prog. The arrangements are interesting, but not challenging. There playing serves the song rather than getting adventurous and wandering out into something sprawling and cinematic. The first song really grabbed me the first few listen the second and third didn't have that big of an impact. They are easy on the ears and it's not until "Complicated End Times" that another song really grabs me. The vocals are very relaxed falling somewhere in-between crooning and all the other Jeff Buckley worship that haunted the early 2000s. Lyrically they paint some unique pictures with their prose.


 "Burn" finds the band digging into their more brooding side with the bass leading the way. The candles are all lit at the altar of Jeff Buckley on this one. What at first seemed like the drummers creative streak is now settling into a formula being employed on a few songs where he keeps the groove on the toms, it's not a tribal shuffle, but similar in feel."Bloodlines" find the atmosphere making it drift and taking some of the balls out of their attempts to hammering into the build up. The indulge in a slower atmospheric power ballad on "Endless Light". Vocally this song is well preformed, but is very dramatic by way of Muse, though with out  all the Queen like layers of harmonies. "Black Hole" drifts are the more concrete melody of the vocals. The tempo of the drumming underneath gives it a sense of movement, but it doesn't go far.

The go for a more over driven guitar tone at the onset of " I Am ( become death) " but it doesn't feel like metal. The vocals return to the spotlight. This leaves the rest o the band to just hold the groove down and establish a baseline for the dynamic swell that they go for on the choruses. They do finds a more powerful dynamic to build into after breaking down into a more Radiohead like middle section. Here is another review where the names of other bands are being thrown around, rather than expanding upon what this band does on their own accord, but the truth is it's no body's fault, but their own as the influences are worn on their sleeves at times and I' m trying to listen through the cracks to hear where they stand on their own two feet. By definition "Realm of the Physical" lends itself to be labelled a power ballad, but this not gone about in the arena rock manner.

I think they do capture some excellent guitar tones. The album is well produced and even the moodier sound have a warmth to them. I'll give this an 8, because they do what they do well and this album hits more than it misses. It might not be the most ground breaking album of the year, but it's ear candy that goes down pretty easy.

Serial Hawk : "Searching For Light"

With the heavy legacy of grunge haunting their homestead, this Seattle takes an approach more akin to the Melvins and Tad than any of their flannel clad forefathers. The vocals are forced out in a throaty shout, with the guitars being the focus of more melody. The bass and drums work together as a punishing unit with machine like precision. They are oppressive like sludge rather than invoking the morbid sense of loss of doom. The pace lumbers with the liberate stomp of a juggernaut. They are heavy, but not weighed down with the typical trappings of metal. The chords are driven home rather than chugged. The vocals drop down into a hushed baritone that is almost at a whisper for "Lying in Wait" before locking in with the guitar for a Helmet like bark.While their sound has a similar blood line to many of the more forward thinking bands in the later half of the 90s who were thinking man's metal like Helmet, Neurosis, Unsane and Fudge Tunnel, they very much have their own thing going on that fits in with the current musical climate.

"Of Decay" starts off as a more pounding bull-dozer of post-hardcore angst hammered at you for the first couple of minutes before they relax and let the song breathe. The vocals bellow out a little while longer before the aggression yields to the shift in guitar tone. It is moments like these where the band shines, I noticed this on the first song when they uses cleaner and more effected guitar tones that still held and organic warmth to the atmosphere. The album closes with a sprawling 17 minute title track. I have kind of had it with the whole over ten minute thing, so these guys are going to have to bring their a- game to win me over. Hesitant clean guitar tones ebb through the first three minutes before the drums come in. The vocals come in first at a low whisper before building into the more shouted delivery. He allows his voice to crack into a coarse tone , but I would not call it growling or screaming. They coast on a throbbing groove with the vocals offering somewhat of a call and response as the guitar melody builds off slow picked distorted solo. Its almost nine minutes in until I click over to see how far along we are into this. So they distracted me for more than half way through this winding epic. The guitar is still pretty interesting at this point as every thing breaks down for this clean toned almost jazz like guitar interlude. There is a slight jammy quality here and I bet these guys can have some fun with these kind of moments on stage. The song is barely held together by the bass and then they bust back in with syncopated punches.

 I'll round this one up to a 9, the longer song did manage to hold my attention, the drill Sargent cadence to the vocals is not always my favorite approach , but over all I think these guys captured what they do best in the studio and look forward to hearing where they go from here. These guys are just as good as anything else along these lines I have heard from bands backed by records labels so someone is really losing out on a ton of potential until these guys are picked up, I guess for what ever a record label is worth these days if anything.