Foreign Body : "Libertine"

The second album by these transgressive New Punka brings a furious chaos that recalls the Stooges "Funhouse" album thanks to the saxophone that adds to the mess. The vocals are angrier than those of your average noise rock band, and these guys lean more toward the punk side of the genre. Almost likea less metal version of Eyehategod.There is something darker about the vocals that keeps it from being solidly punk. They are more purposeful on the second song. "Passed Around" is more obnoxious as they take the temper tantrums past the point of their novelty.

 "Hind Legs" not only carries groove, but the vocals are given the space and articulation to let the lyrics stand out. It doesn't matter how good your howling is if they lyriucs are obscured by hate. They jam the riffs out for all it's worth. The momentum builds to a more explosive punch for "Trophy". The vocals are produced in an interesting manner than bring Today is the Day to mind."When Sex is Not Enough" is a great song title but more chaos than songwriting, and it comes acorss as ranting.

"Man Was Meant to Take Advantage" works off the same pounding drone, but it sounds cool. There are more punk bones to "Born For This". The riffs, however, are not as defined as what they do on the title track. The vocals are less howled and more spoken, like King Missile. They close the album with the more fuzzed-out throb of "Beauty is a Hammer"; much like the bulk of the album, they rock out this riff ofr all its worth without any changes to the arrangement. I will give this album an 8.5, despite its simplistic feral songwriting approach, as I appreciate the mood it creates. Out September 11th on Brutal Panda.

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Stoned Jesus : "Songs to Moon"

The Ukrainian band's 7th full length finds them leaning further into sludge with an atmospheric crunch that sits somewhere between the Melvins and Mastodon on the opening track of this album. There is ample post-grunge to the riffs as the vocals layer a more introspective melodic sense after the more burly bark the song started with. It feels like most sludge albums are going to get overshadowed by Neurosis this year, so it's a good thing these guys have a more rock side to fall back on and seperate them from keeping up with those Joneses.

"ZYX" has a more indie rock sound, and it is actually the most intersting of the first three songs. There is a cool groove, subdued vocals that provide a contrast, and nuanced guitar playing, so here's hoping they continue to explore this new direction. They jam a bit at the end of the song. There is more ofa progressive slant to this album. Keyboards play a larger role. Midway into the album, it is even more apparent that they have crossed over into prog. If it worked for Mastodon, these guys took notes. This leads to cleaner guitar tones becoming more abundant as a shift away from the fuzzed guitar tones that were a staple of where they came from. 'Jackal" is the first song where I pick up on any lyrical hints they live somewhere that is being obliterated. The song builds back up into a more dramatic, sweeping build of rocking out. 

The strummed 'Window in My Room' feels like a lost alt -rock ballad from the 90s. It ambles along with almost Nick Drake-like folk energy. The album closes with "One More Empty Day". The Nick Drake-like mood of the previous song carries over into this one. The album takes a turn from how it started, with the last two songs leaning into the softer side. Overall, it works I will give this album a 9 as I like some of the newer direction they head, even if the last two songs did not register for me; they are balanced out by superior moments.

6.6

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Archgoat : "Nightbringer, Lightbringer"

This band from Finland keeps getting heavier. What I like about them is the fact that the members are actual Satanists who are not playing around, rather than being posers who just think pentagrams and goats are the required metal imagery to appropriate. There is a Morbid Angel-like atmosphere haunting the background of the opening track, which shifts from grindcore to death metal by the end of the song. 

There is also a great deal of purpose in the very deliberate march of "The Dawn to Armageddon." They get very blasty on "Iconoclasm the Nazarene". This carries over in the onslaught of "Blood of Jesus Spilling Upon the Earth".  A minute and a half into this, they relent and allow a creepy, ritualistic atmosphere to take over. Some blasting is fine; they take things to the extreme in this regard, going into "Stygian Millennium". There are few sections with more purpose, but a great deal of the song locks into the more rushed death metal feel where the snare sounds stiff to me. The darker elements worked into "Key of Hell and of Death" set this up to be a darker song until they run off and blast death things, though they slow down for the vocals, which is more of a compromise.

"The Light Behind the Horns" find's it's blackened punk side balanced out with riffs holding more purpose and punch. There is a rawer thrashing to "The Reaper of Christianity". The vocals are at a low, croaked growl. The song keeps building momentum.  It does not slow down until they hit the guitar solo, then it's a more purposeful shift of gears. They are certainly dedicated to brutality, and there is certainly an audience that just wants their ears battered like this. Two minutes in, they find their groove. I will give this album a 9 as it accomplishes what they set out to do and has a knack of pulloing yopu backc in after the blast beats have numbed you out with is better than most bands taking things to these kinds of extremes.Their celebration of destruction is dropping on September 11th. 

7.4

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The Night Eternal : '"Cold Velvet"

 The third album from this German band finds them perfecting their darker take on heavy metal. When you take the brighter, anthemic feel, it sounds less like power metal. Not unlike what Unto Others tries to do, these guys actually nail it with more balls. The powerful vocal performance helps with this. They balance the darker chords they let ring out on the second song with metallic drive. The bellowing croon of the vocals takes command of the song. The guitar solos are pretty tasteful rather than just masturbatory shredding. 

There is more of a Dio-gallop to "Caught in a Spell". Production-wise, this song is as stunning as it captures a legit 80s sound while not turning their backs on a more modern mix rather than just trying to pay tribute to years past. "When the Last Candle Dies" has a strong chorus melody, but the verse feels like a continuation of the previous song, and I had to go back and give it another listen. This vibe carries over into "The Veins of Time", though there is more of a Judas Priest feel to the riff of this one. There is a darker, more deliberate feel to "The Watcher of the Burning Veil". It eventually speeds up into the epic proto-thrash gallop they prefer.

"Shape of Sorrow" is more focused than the previous, which gives the chorus more impact. It only wanders off into a side quest around the guitar solo.. "Dance on Crimson Ground" is a trippy power ballad of sorts, as it ebbs back and forth rather than following the typical formula for that sort of thing. I will give this album a 9.5, as it's one of the strongest traditional heavy metal albums by a relatively new band that I have heard in some time.Blade Drops August 21st on Metal  

7.7

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Infected Mushroom : "IM30"

This album came out earlier in the year, and I am catching up to it. To celebrate the project's 30th anniversary, they are releasing a new album. I was not aware they had been around since 94, but here we are. They moved from Israel to the States in 2004, which seemed more like their inception to me. While I like the darker side of electronic music, I don't seem to cover much of it, so here we go. The opening track works as it uses the sounds they are known for and arranges them with dynamic purpose. There is a trippy creep to "New World Order". Two minutes in, the vocals chime in. They are never the focal point of the song, but add a more human touch. This song is more about moving bodies on the dance floor. Even then, they do better than most in terms of dynamics.

The songs that don't grab me as much on this album are the ones that are more conforming to mainstream dance music and just focus on the grooving beat, as there is more sound vs song in motion, but that is an issue I have with this kind of music in general, and these guys are catering to the Festival side of their fan base. The more dub-step like sounds on "Lightweight" are more interesting to me as they blend a bit of dub along with the oddly effected vocals. At nine and a half minutes, this is the album's longest song, and midway in there is some fat that could have been trimmed. But overall it works for me, though the last two minutes feel more 90s techno to me. 

"LA Beast" is one of the album's most interesting songs thanks to the vocals and guitar that are worked that give the song more bones to hang from. There are some retro synth wave sounds, so all the sonic bases are covered here. "No More Happy Endings" uses the vocals as a more pop-minded accent. The dirty beat it transitions into balances this out. When it finds its groove, there is more of an old-school techno pulse lurking underneath. Strummed guitar is even layered in as the song builds. "Mesumpelet"  is more dance- and sound-focused and holds less surprise than the previous song.

"AI Therapist" bubbles to life with the sound of liquid dripping and then the synths steer it in a more synth wave direction. The vocals are hypnotic and work well to balance things out. Lyrically, it is the only song that is allowed to tell a story. 

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Wisborg : "Phantomschmerz"

 Getting caught up with things that passed under my radar andd this band was suggested to me on Facebook. This came out way back at the first of the year. The German band singing in their native tongue. The chorus is more crooned, and the verse's muttered tension. It works for what it is, but hopefully they do not just stick to this formula, or I am going to get bored after four songs. I know enough German to get the gist of where they are coming from. Maybe four songs was too optimistic, as thigns get kind of cheesy on the second song. This translates to way too happy for goth. 

"Melancholia" reminds me more of H.I.M.; it does not surprise me that there is a scne for this in Germany. At times the cadance of the vocals brings Merchandise to mind. This is my favorite song so far. They balance hard rock guitars with electronic production choices for "Moloch" . It finds a more muttered vocal on the verse than building upon the chorus, which is predictable, but the bass and drums have enough drive to make me overlook this. Some of the riffs on this album remind me of Post-"How the Gods Kill" Danzig. In terms of heaviness, they are middle of the road, but that doesn't seem to be the point of what they are doing.

"Midbight" translated)  finds the verses more restrained. It follows a more 90s-leaning formula. It works pretty well, and I have not gotten tired of it yet." Norman Bates" has a more nu-metal feel leading into it./Then the dynamic drops way down. Almost likea German version of Deftones. This song has what is likely the album's best riff. "Adeiu" is only missing Ville Valo. Tou hears a little of the singer's higher register. The title track is more dramatic than it is brooding. The palm-muted riff keeps the song moving. They roll out the baby grand again for the last song. It's more of a ballad than not. I will give this album a 9.5 and see how it grows on me. 

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July's Top 10 Albums

July is in our rearveiw, so let's get you abreast of new releases. This might help you, casual readers, with what you might have missed.  I am not doing little blurbs on them, just linking the reviews. This helps me organize my end-of-year lists by including each album's genre. This does not mean these albums were released this month; it is a list of new or upcoming albums I have enjoyed most. I have albums in my in-box that won't come out until October, so I am normally way ahead of the curve in this regard. They are ranked in order of how much I have listened to them. This month, leaned more on heavy stuff ranging from Nu-metal to Indie Pop, so perhaps you will find your new favorite among them. Here are the Top 10 albums for July of 2026.

10- Pretty Reckless,-"Dear God" 

Rock

https://abysmalhymns.blogspot.com/2026/07/the-pretty-reckless-dear-god.html

9-Taylor Bickett- "Nothing I Can't Undo" 

Indie Folk

https://abysmalhymns.blogspot.com/2026/07/taylor-bickett-nothing-i-cant-undo.html

8-DIE ANTWOORD- "ZAMA ZAMA"

Experimental hip-hop

https://abysmalhymns.blogspot.com/2026/07/die-antwoord-zama-zama.html

7-Dead Pony-"Eat My Dust" 

nu-metal

https://abysmalhymns.blogspot.com/2026/07/dead-pony-eat-my-dust.html

6-Eartheater- "Heavenly Body" 

Pop

https://abysmalhymns.blogspot.com/2026/07/eartheater-heavenly-body-if-im-bottle.html

5-Deathgrave- "Hell is Evil" 

Death-grind

https://abysmalhymns.blogspot.com/2026/07/deathgrave-hell-is-evil.html

4-Show Me The Body- "Alone Together"

3-Kacey Musgraves- "Middle of Nowhere" 

Country 

https://abysmalhymns.blogspot.com/2026/07/kacey-musgraves-middle-of-nowhere.html

2-Ceremony- "Tell Me Your Dream" 

Punk

https://abysmalhymns.blogspot.com/2026/07/ceremony-tell-me-your-dream.html

1-Charli XCX - "Music Fashion Film" 

Pop

https://abysmalhymns.blogspot.com/2026/07/charli-xcx-music-fashion-film.html

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