One Louder Magazine… RESURRECTED!

One Louder Magazine… RESURRECTED

Introduction
Restaurant Suggestion
NFL Conference Championship Games
NFL AP Awards
Album of the Week
Honorable Mentions
Missed The Cut
Addendum
On The List
Looking Forward To
Fine Print

Hey fam, it’s Thursday! Let’s get going!

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I mostly hand out weekly music awards, but occasionally I’ll hook you up with a movie or TV series recommendation. However, I think this may be the first time ever (?) that I have suggested a restaurant to visit.

The band has always talked about going to this place, foregoing band practice, and just hanging out together… sans instruments. Anyway, this past Friday, we finally did it: Bucatini in Edmonds. The bassist and I had never been, but the drummer had. We had heard amazing things from several people, but good God, I didn’t know it would be that good!

If Bucatini sounds Italian, then you’d be right! The parking lot was absolutely slammed – not a spot in sight… except for right in front of the door! Rock star parking! I went hungry, knowing I’d want to have a salad and dessert in addition to a main course.

I started with the Insalata Caprese (whole leaf basil, tomato, fresh mozzarella, olive oil, balsamic vinegar), followed by one of the monthly specials (Gnocchi Al Forno – homemade meat ragu tossed with gnocchi, topped with cheese and breadcrumbs, and finished in the oven), followed by Zuppa Inglese (vanilla bean cheesecake with homemade berry sauce). To say it was “amazing!” would be to do it a disservice. It was better than that… Not to mention, my leftovers might have even been better the next day. Plus, hanging with the boys was great, too! Let’s do it again soon!
http://www.bucatiniedmonds.com/

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Y’all watched the NFL Conference Championship games this past Sunday, so I won’t go into them at great length. That said, there are a couple of things that I’d like to say about each one.

First, I didn’t mention it last week, but how incredibly wild is this fun factoid: The AFC game was HC Sean Payton (Denver Broncos), hosting HC Mike Vrabel (New England Patriots), while the NFC game was HC Mike Macdonald (Seattle Seahawks), hosting HC Sean McVay (Los Angeles Rams).

If you read that fast, you might’ve missed that the Head Coaches are named Sean and Mike in both matchups. Wild! Fun! And wouldn’t you know it, both Mikes won!

I won’t talk much about the first game (AFC) because it was a f’n snoozer of a game. The Pats ended up winning in a snow-filled, punt-heavy game, ending with a 10-7 win. FTR, when I say “punt-heavy game”, we’re talking 14 combined punts for a total of 612 yards <zzzzzzzzz>… I like to play armchair coach. If I’m the HC of the Broncos, I notice that I scored a TD in the first five minutes of the game while holding the Pats to three straight punts (all in the first quarter, two of them 3-and-outs).

At the start of the second quarter, the Broncos had an 11-play, 43-yard drive, taking six-and-a-half minutes off the clock. It was 4th and one at the Pats 14 yard line. HC Payton decided to go for it… with a backup QB. If I had QB Bo Nix there, I’d sure feel a helluva lot more confident. He has a big, bruising body, and probably could’ve just rushed straight ahead for the first. But QB Jarrett Stidham’s frame isn’t nearly as big, and the pass went incomplete. Turnover on downs. You’re already up 7-0 and could’ve taken a two-possession lead. There’s no way to know for sure if the kick would’ve been good, but FWIW, extra points are kicked from the 15-yard line. The Broncos were one yard closer… and it was still a clean, clear field at that point. The snow would start shortly thereafter, and the Pats took advantage, the lead, the win, and the AFC Champions trophy.

In the NFC Conference Championship, my beloved Seattle Seahawks (caw caw) beat their division rivals, the Los Angeles Rams, 31-27. As the HC of both teams, there are two plays that I’d like to magnify. First, Seahawks CB Riq Woolen made an incredible fourth-down stop, turning the ball back over to the Seahawks… until he had to race down the Rams sideline, taunting the players and coaches. That resulted in a 15-yard penalty, a first down for the Rams, and a 34-yard-TD on the very next play… against Riq Woolen. This kind of horseshit is what got WR DK Metcalf removed from the team. You are playing TO GO TO THE SUPER BOWL. Get your head right, make an awesome play, and celebrate with your teammates. I’m positive that HC Macdonald had a lengthy conversation with Riq – and the rest of the team – about the importance of keeping your head in the game. So, the armchair HC in me shows Riq and the team that particular play multiple times. Drill it into their heads that it’s about TEAM and not ME.

Ok, now I’m coaching the Rams. At the start of the 4th quarter, the score was Seahawks 31, Rams 27. The Rams had a 14-play, 84-yard drive that ended on the Seahawks’ 6-yard line. Turnover on downs. If I’m coaching, I know that both of these teams can light up the scoreboard, and I have full faith in (eventual) MVP, QB Matthew Stafford. What I mean is this: kick the easy FG, score is 31-30. If you don’t score the TD on 4th down there, you would HAVE TO on the next possession. Instead, now all you have to do is get in FG range again… and whaddya know? The Rams DID get the ball back… and they were in FG range when time ran out. Methinks they could’ve won 33-31. Oh well, their loss, haha!

The Super Bowl isn’t until next weekend, so I’ll do a write-up about it that will be available in next week’s blog.

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The NFL Awards will be handed out next Thursday, and wouldn’t you know it… I have some opinions, haha! These are the finalists for the eight AP NFL Awards (listed in alphabetical order):

Most Valuable Player:
Buffalo Bills QB Josh Allen – 3,668 passing yards, 25 passingTDs, 14 rushing TDs, 10 INTs, 102.2 passer rating, seven straight playoff appearances.

Jacksonville Jaguars QB Trevor Lawrence – 4,007 passing yards, 29 passing TDs, 9 rushing TDs, 12 INTs, 91.0 passer rating, wild-card playoff.

San Francisco 49ers RB Christian McCaffrey – 1,202 rushing yards, 10 rushing TDs, plus 102 receptions for 924 yards and 7 TDs.

New England Patriots QB Drake Maye – 4,394 passing yards, 31 passing TDs, 4 rushing TDs, 8 INTs, 113.5 passer rating (league leader), 72% completion percentage (league leader), led the team to the Super Bowl in only his second season.

Los Angeles Rams QB Matthew Stafford – 4,707 passing yards (league leader), 46 passing TDs (league leader), 8 INTs, 109.2 passer rating (second behind Maye), led his team to the NFC Championship game.

My vote: I’m not thrilled about it, but congratulations to QB Matthew Stafford, this year’s NFL MVP 🏆

Coach of the Year:
Jacksonville Jaguars HC Liam Coen – Led the team to a 13-4 record and a division title in his first season with the team.

Chicago Bears HC Ben Johnson – Led the team to an 11-5 record and a division title in his first season with the team. It was the team’s first division title in seven years.

Seattle Seahawks HC Mike Macdonald – Led the team to a 14-3 record, a division title, the number one seed in the NFC, AND Super Bowl in only his second season with the team.

San Francisco 49ers HC Kyle Shanahan – Led the team to a 12-5 record, a playoff spot (and win!!), all with a make-shift team, including season-ending injuries to a plethora of “rock star” players.

New England Patriots HC Mike Vrabel – Led the team to a 14-3 record and a division title in his first season with the team (worst to first!). This is the team’s first winning season since 2021 and first division title since 2019.

My vote: You’d think that I’d be a total homer and hand it over to Seahawks HC Mike Macdonald, but no, my vote goes to HC Mike Vrabel. The past two years, the Pats went 4-13 (HC Jerod Mayo, 2024, and HC Bill Belichick, 2023). If Mayo (or Belichick) were still coaching this team, there is a zero percent chance that the Pats are in the Super Bowl, much less the playoffs.

The Seahawks, on the other hand, were on the rise, with a winning 10-7 record last season (good for 2nd in the division). I feel like things were brewing in Seattle, while there was no pulse in New England. If Macdonald turned the Seahawks around from 4-13 to 14-3, then it’d be a tougher choice; this is why I think Vrabel deserves it. Congrats to the Pats on getting their guy. Vrabel was one of the guys I wanted Seattle to interview. Congrats to Mike Vrabel, my vote for this year’s NFL Coach of the Year 🏆

Assistant Coach of the Year:
Philadelphia Eagles Defensive Coordinator (DC) Vic Fangio
Minnesota Vikings Defensive Coordinator (DC) Brian Flores
Denver Broncos Defensive Coordinator (DC) Vance Joseph 🏆
Seattle Seahawks Offensive Coordinator (OC) Klint Kubiak
New England Patriots Offensive Coordinator (OC) Josh McDaniels

Comeback Player of the Year:
Jacksonville Jaguars QB Trevor Lawrence
San Francisco 49ers RB Christian McCaffrey 🏆
New England Patriots WR Stefon Diggs
Detroit Lions Edge Rusher Aidan Hutchinson
Dallas Cowboys QB Dak Prescott

Defensive Player of the Year:
Houston Texans Edge Rusher Will Anderson Jr.
Denver Broncos Edge Rusher Nik Bonitto
Cleveland Browns Edge Rusher Myles Garrett 🏆
Detroit Lions Edge Rusher Aidan Hutchinson
Green Bay Packers Edge Rusher Micah Parsons

Offensive Player of the Year:
New England Patriots QB Drake Maye
San Francisco 49ers RB Christian McCaffrey
Los Angeles Rams WR Puka Nacua
Atlanta Falcons RB Bijan Robinson
Seattle Seahawks WR Jaxon Smith-Njigba 🏆

Defensive Rookie of the Year:
New York Giants Edge Rusher Abdul Carter
Seattle Seahawks Defensive Back Nick Emmanwori 🏆
Atlanta Falcons Edge Rusher James Pearce Jr.
Cleveland Browns Linebacker Carson Schwesinger
Atlanta Falcons Safety Xavier Watts

Offensive Rookie of the Year:
New York Giants QB Jaxson Dart
Tampa Bay Buccaneers WR Emeka Egbuka
New England Patriots RB TreVeyon Henderson
Carolina Panthers WR Tetairoa McMillan 🏆
New Orleans Saints QB Tyler Shough

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It’s still Winter. While there are several good albums to get you through the week, there isn’t any album that stood head and shoulders above the rest… yup, even the new S/T Megadeth album doesn’t come close to the first four (for me). Perhaps next week there will be something. We can always hope!

😁 BE THE REASON SOMEONE SMILES 😁

Be sure to let me know what you agree / disagree with, etc… always fun to hear your opinions, too. Happy listening… and see you next week!

Cheers,

Troy

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Album(s) of the Week** – January 23rd, 2026:

None.

Honorable Mentions (in order by “popularity”*):

6,274,312 – Megadeth – Megadeth – Mustaine seems like a whiney little bitch, but I can’t argue with the tunes. I absolutely love(d) their early output, couldn’t stand the middle years, but believe they turned the corner for the better on the latter years’ output, including this, the band’s farewell, the band’s swan song. Fitting for it to be self-titled. Really good, beefy riffage, smokin’ guitar solos, and Mustaine’s trademark snarly lyrics and delivery. That said, it’s also very Megadeth-ish; in other words, predictable. The album ends with a cover of Metallica’s ‘Ride The Lightning’, which Dave Mustaine co-wrote 40-some-odd years ago.

From amazon: “Megadeth have announced their final, self-titled album, for release in 2026, via Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label.

The campaign is anchored by the first single, “Tipping Point,” and a farewell tour has been hinted at for 2026

“There are so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says. “Most of them don’t get to go out on their own terms on top, and that’s where I’m at in my life right now. I have traveled the world and have made millions upon millions of fans, and the hardest part of all of this is saying goodbye to them. We can’t wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it’s now.””

3,654,655 – Van Morrison – Somebody Tried To Sell Me A Bridge – I love his voice! I don’t know why, but it took me years to dig his stuff, but now I can’t get enough. His voice, the tunes… man, it’s so good! I tell you, I’ve seen a million shows, but never caught VM live. Perhaps he’ll swing through Seattle again…?! [Unfortunately, though, I’ve heard that he doesn’t play any of the classics anymore, even though that’s what everyone wants to hear, so I dunno…]. Here he covers a bunch of classic blues tunes.

From Townsend Music: “Somebody Tried To Sell Me A Bridge, marks a confident return to the sounds and traditions that shaped much of his musical identity, paying homage to the legends who defined the blues genre with fresh interpretations of classics by B.B. King, Buddy Guy, Lead Belly, and more. Morrison is joined by some of the most respected figures in modern blues, including Taj Mahal, Buddy Guy, Elvin Bishop, and long-time musical collaborator John Allair.”

901,370 – City And Colour – Covers, Pt. 4 EP – I can’t believe I haven’t heard of him / them before 2018’s ‘Guide Me Back Home’ live album… that’s multiple full-length studio releases I hadn’t heard yet, including a truckload of other live albums and EPs. Here he covers two songs by Alice in Chains: ‘Rain When I Die’ and ‘Nutshell’. I saw CAC open for AIC, so it makes sense. Absolute banger covers. Great voice, great tunes! Will need to check out the back catalog. City and Colour is Dallas Green’s singer-songwriter project, along with his other project, post-hardcore band Alexisonfire (as vocalist/guitarist).

282,524 – Lucinda Williams – World’s Gone Wrong – Kind of a bluesy country/Americana album, and it is excellent! The guitar tone is unmatched; I love the pace of the songs (and the album itself). The songs are very well-written, and I really dug this release! She is 73 years young and still out there crushing it! World’s Gone Wrong indeed… Note to self (and you): check out her memoir, titled: ‘Don’t Tell Anyone the Secrets I Told You: A Memoir’.

From Rough Trade Records: “Throughout her long career, Lucinda Williams has never shied away from writing about difficult but real things. If you think about it, you could call “Change The Locks” a topical song ahead of its time. There were several biting and brave songs on her Good Souls Better Angels album, as well as the post-COVID masterpiece Stories From A Rock N Roll Heart. With World’s Gone Wrong, Lucinda ups the ante on topical songs. It is a pure reflection of our very turbulent times, intense and musically powerful.” 

135,787 – Kashus Culpepper – Act I – This was an excellent singer-songwriter album that lasted a little over an hour… but it was all killer, no filler. There are moments of blues, folk, rock, soul, R&B, and, heck, even a touch of country. This is his debut, and I believe, a start to a bright future!

From amazon: “The 18-song collection from acclaimed Southern crooner Kashus Culpepper, recorded in Muscle Shoals, channels all the Alabama-native’s layered influences of country, folk, rock, blues, and soul into a cohesive debut project for the ages. Featuring GRAMMY Award-winning collaborators Sierra Ferrell (“Broken Wing Bird”) and Marcus King (“Southern Man”), Act I includes career-defining lyrical masterworks like “After Me?,” “Cherry Rose,” and “Alabama Beauty Queen.” Culpepper’s husky, sandpaper growl bellows like a freight train over his self-penned stories that are as raw and real as they are haunting.”

125,481 – Pelican – Ascending EP – Bad fucking ass instrumental (save for one song) EP from this great Chicago-area band. It’s got that sludgy post-metal goodness, but it’s not all doom ‘n gloom – these guys can play! It contains mostly new-ish songs on this 4-track 22:25-minute EP (see ahead).

From Run For Cover Records: “Pelican has always been a band that’s not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican’s foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. With Schroeder-Lebec returning to the band following Dallas Thomas’ departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with their 2025 LP, Flickering Resonance.

With multiple legs of touring in the US and Europe supporting the record, Flickering Resonance has reinvigorated and injected new life into the band. The album is already on its 3rd vinyl pressing. New fans and old fans alike are digging back into the Pelican catalog, which has also resulted in additional represses and reissues of their most beloved titles.

Pelican has now repackaged an EP of 4 Flickering Resonance era tracks as a new 12” EP – Ascending. Pelican fans will recognize the last two tracks, “Adrift” and “Tending the Embers,” which were self-released digitally in 2024 and were only available physically on a limited number of cassette tapes. This 12” also features a vocal version of Flickering Resonance’s lead single “Cascading Crescent” featuring Geoff Rickly of Thursday. This version of the track was previously only available on a limited number of 7”s, so this is the first time that it will be released digitally, as well as being made widely available on a physical format.

The EP’s title track, “Ascending,” is a track that was recorded around the same time as Flickering Resonance, but was left off of the album as it felt more like its own distinct entity. Bringing these 4 tracks together onto one EP further cements the idea that Pelican’s rule-free approach is at the core of what makes Pelican a mainstay across all of the genres they explore.” 

111,989 – Helix – Scrap Metal – Ah yes, some classic ’80s butt rock for all you hair metal fans out there! I mean, heck, the opening track is titled ‘Stuck in the ’80s’. As you’d expect, it’s nothing groundbreaking; it’s just a straight-up, old-school rock album. Didn’t love it, but I liked it. Half of the ten tracks are brand-new, and the other half are classic Helix tracks.

From amazon: “The official worldwide release for the Helix “Scrap Metal” CD is January 23rd, 2026. This will be the 14th Helix release on Perris Records. Helix just finished touring with Nazareth, supporting the “Bending The Rules” tour, Nazareth’s farewell tour in Canada. The “Scrap Metal” release features 5 unreleased tracks that retain the “classic” 80’s Helix sound. The remaining 5 tracks are a collection of classic Helix songs from other releases such as “Old School”, “Half–Alive” & “B-Sides. The first single, “Stuck In The 80s,” features Sean Kelly (Gilby Clarke, Coney Hatch, Lee Aaron) on guitar. Most iconic 80’s bands only tour on their back catalog. NOT Helix, they continually record new music, staying true to their 80s rock roots and maintaining a legendary status.

Tom Mathers, President of Perris Records, has had a long-time relationship with the band Helix. Vocalist Brian Vollmer recorded lead vocals on all the tracks for Tom Mathers’ band Cherry St. “Buster Cherry” CD, along with Jason McMaster (Dangerous Toys) on backup vocals in 1999. Since then, Perris Records has worked with vocalist Brian Vollmer to take Helix to the next level to become the number one best seller in the label’s history.”

79,935 – Textures – Genotype – In what felt like an eternity, Textures finally forgoes their hiatus and return with a brand-new album, their first in six years. Pretty killer riffing going on here. Super-proggy/metal goodness. Vocals leave a little to be desired, but musically it was prog-heaven! Welcome back, boys, now kick off the shoes and stay awhile!

From their bandcamp page: “DUTCH PROGRESSIVE GIANTS TEXTURES ARRIVE ON KSCOPE WITH THEIR FIRST NEW ALBUM IN SIX YEARS.

When TEXTURES announced their disbandment in 2018, it marked the end of an era for progressive metal. Their absence was felt across the world – by fans, by peers, and by a scene they helped define. Now, six years later, the Dutch innovators return with Genotype – a monumental resurgence to the forefront of modern progressive music and a powerful reaffirmation of everything that made them a force in the first place.

Serving as the conceptual counterpart to 2016’s acclaimed Phenotype, Genotype is not a continuation but a rebirth. For nearly a decade, fans speculated about its existence, but what arrives now is not a relic of unfinished ideas – it’s something entirely new, written from scratch and self-produced. Genotype distils the essence of TEXTURES’ DNA into eight new songs, mixed by Forrester Savell (Karnivool, Dead Letter Circus). Lyrically, the album speaks to the unheard – introverts, outsiders, and those navigating internal worlds that often go unseen, standing as an ode to authenticity and resilience.

Featuring the singles Closer To The Unknown, At The Edge of Winter (featuring Charlotte Wessels), and Vanishing Twin, the record balances technical precision with powerful songwriting – the hallmarks that have made TEXTURES one of progressive metal’s most respected names over their 20+ year career.

TEXTURES have built a passionate global following over this time. In India, they rose to headline festivals and perform for thousands of devoted fans. In Europe, they became a staple at major events such as Hellfest, Wacken Open Air, Graspop Metal Meeting, and Brutal Assault. Their electrifying performances cemented their reputation as one of progressive metal’s most unmissable live acts – and now, they are set to reclaim that stage on the upcoming European Tour supporting Jinjer, that runs from January till March 2026.

With Genotype, TEXTURES join the ranks of the legendary progressive label Kscope, home to some of the most innovative and influential artists in modern progressive music, such as TesseracT, The Pineapple Thief, Tangerine Dream, and Gong.”

15,350 – Manimal – Live At The Theater – Other than a terrible band name and being listed as “power metal”, this live album is the tits! Reminds me a little of the Judas Priest ‘Painkiller’ era. Forget the ballads, this live album is packed with ragers! Good chunky riffage, strong songwriting skills, good vocals, production, etc… very pleasantly surprised!

From Season Of Mist: “Recorded in the heart of their hometown, Kungsbacka in Sweden, Manimal delivers a raw, electrifying live album that captures the band at their absolute peak. Celebrating 20 years of relentless heavy metal, this release is more than just a concert; it’s a milestone in the band’s journey. With soaring vocals, razor-sharp riffs, and thunderous rhythms, Manimal proves why they have endured and thrived for two decades. Fans of melodic yet powerful metal will find themselves immersed in a performance that is both epic and intimate, a true celebration of Manimal’s legacy and spirit.” 

11,640 – Kyle Gass Band – Live In Palmdale – 1/2 of the Tenacious D duo goes solo….and I dig it! Like the D, the KGB also has humorous lyrics… and the music is pretty rockin’; surprisingly so! Is it an album I’ll listen to a lot? Eh, probably not, but it is one I will listen to again from time to time…

From aspecialthing records: “Led by Tenacious D’s Kyle Gass, along with The D’s John Konesky (electric guitar), Mike Bray (guitar/vocals), Jason Keene (bass), and Tim Spier (drums), the KGB’s newest album is 12 rippin’ tracks which were recorded live in Palmdale, CA, capturing all the party energy of the audience and the rockin’ energy of the band.”

9,010 – Sammy Brue – The Journals – I was listening to this folksy singer-songwriter album, thinking, “this kid’s going somewhere.” Little did I know (until now) that “this kid” is a kid. He’s 23 years old! Really great stuff here!

From his bandcamp page: “A 21st-century troubadour who spins layered story songs that deal with the sunlight and shadows of the human condition, Sammy Brue follows in the authentic outlaw songwriter lineage of Guy Clark, Townes Van Zandt, Rodney Crowell, and Justin Townes Earle.

Brue’s new album, The Journals, pays tribute to his mentor by writing, finishing, or re-imagining never-before-recorded songs taken directly from Earle’s journals, entrusted to Sammy by Justin’s widow. Some of the songs on the album are based on lyric sheets Brue found. Others are co-writes or songs Brue wrote based on compilations of ideas and little paragraphs Earle wrote.

Sammy Brue showcases his lyrical ingenuity, his musical versatility, his innovative songwriting style, and his ringing vocal style on his new album. Like a poet, he commands attention with a vibrant opening chord and a vivid lyric; Brue pulls listeners into his story world, and they’re transfixed by his sometimes playful, always perceptive readings of the human heart.

Fans of Justin Towne Earle will be grateful to Brue for this lovingly crafted album and will become more familiar again with a singer and songwriter dedicated to bringing the beauty of folk to the world.

2,269 – Sky Valley Mistress – Luna Mausoleum – Tasty stoner rock ‘n roll album from this UK-based dual-drumming duo! Not totally my favorite band / album ever, but definitely keeping my eyes and ears peeled for future releases…

From their bandcamp page: “Pilot Kayley “Hell Kitten” Davies and Commander Max “Leather Messiah” Newsome don’t just play music — they launch you into the Sonic Stratosphere with a record that doesn’t ask for permission, doesn’t wait for approval, and doesn’t give a damn about your genre boundaries.

This is Sky Valley Mistress at full throttle.

Fueled by the ghost of ‘70s hard rock, driven off-road into some strange new terrain where desert grooves meet mountainous riffs, and the whole thing is stitched together with Kayley’s voice — smoked, soulful, and soaring like a banshee with a broken heart and a flamethrower.

There are organs. There’s a real orchestra. There’s a children’s choir.

It’s like Portishead got lost in the Mojave, stumbled into a Black Sabbath séance, and came out swinging with gospel choruses the size of cathedrals.

This isn’t homage. It’s alchemy.

A record that twists its influences into something unholy and beautiful — Queens of the Stone Age, Spiritualized, Sabbath, all fed through a fuzz pedal and spat out as something entirely their own.

Luna Mausoleum isn’t just an album. It’s a statement.

A refusal to wait. A demand to be monumental.

The band said it best: “greater and beyond all reason.”

Now it’s in your hands.

Don’t drop it.”

487 – New Miserable Experience – Gild The Lily – Yo, this is pretty rad! It’s an album of death and black metal musicians from a variety of bands… but they got together to play synth-pop songs (according to the band). It is ethereal, space-y, and beautiful. Reminds me (a little) of Deftones. Good stuff, and I hope they continue to collaborate more.

From Pelagic Records: “NEW MISERABLE EXPERIENCE are a Philadelphia-rooted collective that reshapes heavy-music rigour into expansive, melody-forward songs through alternative synth-rock. What started as a file-trading collaboration between vocalist/bassist David Grossman (ex- ROSETTA) and multi-instrumentalist Joshua Mahesh Kost expanded into a full band that now includes ROSETTA drummer Bruce “B.J.” McMurtrie Jr., technical-metal bassist Brett Bamberger (REVOCATION), and guitarist Brody Uttley (RIVERS OF NIHIL). The group forgoes technical exhibitionism in favour of mood and melody, composing introspective songs designed to reward close listening.

Across the twelve tightly arranged tracks of the 3rd album, “Gild The Lily”, the band pares its palette to essential elements: clear melodies, precise dynamics, and richly textured production. The album trades overt bombast for craft, building emotional weight through small gestures and patient arrangements rather than moments of spectacle.

“We started saying ‘infinite sadness’ as a bit of a catch phrase with the last album. I think that sums up the vibe of the album and project overall. We are very much in the ‘sadboi’ world with Jeff Buckley, Puma Blue, Radiohead, Deftones, and The Black Queen”, says Grossman.

Sonically, ‘Gild the Lily’ combines alternative synth rock with chorus-tinted guitars, and a rhythm section that alternates between taut propulsion and roomy, reverb-soaked space. The arrangements, both electronic and instrumental, negotiate smooth and slick danceability alongside sinister edges.

It is notable that there are no real drums or percussion on the album. ”Everything is programmed or sampled”, explains Grossman. “I think that artists like The Black Queen, Depeche Mode, Telefon Telaviv, Bjork, and Massive Attack have always been brilliant at using percussion as a texture in itself. These are definitely things we are thinking about with our own material.”

Bass-lines provide melodic counterpoint as often as foundational support, and vocals are treated with restraint — dry enough to convey intimacy, but placed within atmospheric treatments that allow the words to hover. Lyric is delivered with a delicate, sombre intensity. “Endure loneliness with Grace, Build walls to hide the disgrace, I’m afraid of being of afraid” (In the House of Denial)

Thematically, the album examines the tension between surface and substance. The title, ‘Gild the Lily’, gestures at the impulse to embellish what is already whole, to lacquer over flaws until the original beauty becomes obscured.

“The songs cover a range of topics, but the idea of “Gild the Lily” is trying to improve what is already beautiful or excellent. I took that as generally being a negative thing. Humanity messes with things that are already excellent, beautiful, perfect, etc and we ruin them. The song ‘Perfect Things’ touches on this topic the most”, Grossman elaborates.

Songs in the record’s sequence consider different kinds of pain and hypocrisy — emotional varnish, social facades, and the turmoil that plagues our individual and collective experience. Rather than dramatize trauma or spectacle, the album focuses on a sophisticated expression of these cruelties.

However, as well as the personal, there is also the undeniable physical conflicts that haunt the realms of consciousness, the overwhelming futility of witnessing horror and injustice.

“’Payback from God’ is a reaction to reading the book ‘One day, everyone will have always been against this’, explains Grossman. The book is actually about what’s happening in Palestine as well as the song. ‘Ordinary People’ and ‘Running the Fear of it Dry’ are the two songs that are a reaction to rich and powerful men trying to convince us that they are ordinary people and that empathy is a toxic trait.”

Each member of New Miserable Experience contributes a distinctive sonic fingerprint. The vocals act as the emotional centre, delivering lines that feel confessional and immediate; synths and guitars are constructed with shimmering arpeggios and decisive motifs; percussion and production choices blend groove and tension within electronic nuance; and bass work often functions as a countermelody, lifting refrains and anchoring transitions. Together, the five players emphasise careful craft over spectacle, shaping songs that reward patient listening.

True to the project’s collaboration of post-rock giants, ‘Gild the Lily’ also features Eric Nyffler (Jenny Haniver) on bass on the tracks ‘Infinite Sadness’ and ‘Running the fear of it Dry’, as well as Chris Alfano (East of the Wall and The Postman Syndrome) playing bass on ‘The Devil We Know’ and ‘Perfect Things’. There is also the contribution to samples and electronics on ‘Yours to Bury’, created by Mike Armine (Rosetta). And once more, Andrew Schneider (Julie Christmas, Ken Mode, Blue Man Group, Cave In, Unsane) mixed the record. “I believe that Andrew is one of the best in the world at engineering and mixing. He always elevates the songs to another level,” comments Grossman.

‘Gild the Lily’ feels seeded from compact ideas and fully realised emotions, layered by hand and refined through repeated listening until arrangements felt inevitable. The record has a lived-in quality, drenched in internal depth, yet accessible and relatable.

“I honestly wanted really badly to write some positive songs for this album, but it felt insincere when I did. I don’t think that I’m overly sad or depressed, but I seem to be drawn to sad and angry music. Not only from a creative perspective but also with my own listening tastes.” (David Grossman)

The band’s aesthetic is one of deliberate economy: textures are chosen to serve mood and narrative rather than technical exhibitionism, and arrangements reveal their depth across repeated listens. Slick, sorrowful, and cinematic in atmosphere, ‘Gild the Lily’ is an eclectic collection that can not only groove in vibe and inspire movement, but also pierce to the nerve in ethereal lamentation.”

FOR FANS OF:
Crosses * Black Queen * Ulver * Vowws * Rosetta * Revocation * Rivers of Nihil

344 – Gavial – Thanks, I Hate It. – I got turned onto this German psychedelic blues-rock band in 2023 with their debut release, ‘VOR’. Now they return with the follow-up, and… they’ve nailed the sound. If you envision the ’70s, bell-bottoms, hippies, free love, and all that, then you might like this album, as well. Ends with a slowed-down, reverb-drenched version of Chris Isaak’s ‘Wicked Game’. Definitely going to continue to keep my eyes on them!

From Earsplit PR: “Nearly three years have passed since GAVIAL – formerly known as Tourette Boys – released their VOR LP with an updated lineup. Since then, the band – guitarist/vocalist Benjamin Butter, drummer Conrad Brod, bassist Paul Kollascheck, and guitarist Paul-Willy Stoyan – has been operating from the Berlin–Dresden–Leipzig triangle. While most songs on VOR were already written by the time Kollascheck joined the band, the focus afterward shifted: writing together as a four-piece and allowing the bass to become a more active force in shaping the music.

The results of this intense creative period can now be heard on GAVIAL’s new album, Thanks, I Hate It. Here, the band stretches its fingers in many different directions. The opener, “Control,” takes a minimalist approach, concentrating on fusing diverse soundscapes. With “Koru Mindset,” the band ventures into up-tempo territory for the first time, driven by beat and rhythm at its core. In contrast, “Grow” taps into a more classic blues feel, while “Pretender” and “Leviathan” dive into long, sprawling psychedelic jams. The track “Wandern” offers a reinterpretation of an older band song — a piece that further highlights how seamlessly the quartet now works together. The album closes with a cover of Chris Isaak’s “Wicked Game.”

As with VOR, the new material is deeply shaped by the cultural, social, and political realities of our time. The album title itself captures the band’s pointed response: Thanks, I Hate It. A reaction to a world burning; societies fueled by hate; technologies drifting away from serving humanity; militarism rising once again; human rights ignored or unrealized; institutions riddled with corruption; and individuals claiming the wealth of all for themselves.

Recorded by GAVIAL in their band rehearsal space, Thanks, I Hate It was mixed by the band’s Benjamin Butter – who also created the cover art and videos for the record – and was mastered by Bernard Camillieri at Xekillton Studios, Malta.

With the video for the lead single and opening track, “Control,” Benjamin Butter writes, “The video for ‘Control’ starts in a classic way: the four musicians of the band GAVIAL are playing music in their rehearsal room. The video deliberately avoids a complex story and focuses on the stylistic design. Right at the beginning, the camera’s view is forced through night vision goggles, which, from then on, determine the stylistic direction with their striking green coloring. The focus shifts from a single perspective to a multitude of perspectives running in parallel, allowing the eye to jump from one focal point to another across the screen. The video thus turns the viewer into a restless observer who seems to be looking through the lenses of various surveillance cameras.

“With the resurgence of militarism in Europe, images documenting the killing on the battlefields of our planet from the perspective of drones have become increasingly common. From a seemingly safe distance, the horrors of war are transmitted almost live to thousands of screens.

“The video increasingly disrupts this aesthetic with visual artifacts. In the last third, ‘the broadcast’ is interrupted by a visually stunning collage that more and more transforms into an eye looking back at the viewer. The observer is now, in a sense, being ‘monitored’ in an allegory for the dwindling autonomy in our increasingly digitized society.

“In the end, ‘the broadcast’ is restored. However, all the people have turned into shadows and ghosts. What happened to the musicians in this iconoclasm remains unclear. The video ends with a sense of uncertainty that is so palpable when we look at our reality now: are you still observing or are you right in the middle of this video?”

The video makes its worldwide premiere via Everything Is Noise, who writes how the song, “…shows the band leaning into a bass-driven groove with a steady drum beat, and guitars that flirt with the blues. Guitarist/vocalist Benjamin Butter delivers clear, melodious lyrics as the song progresses that echo my sentiments. ‘Control’ gradually builds in krautrock fashion, revealing psych-rock crescendos with guitars swirling into the song’s gnarly climax. Butter also directed the video, which shows glimpses of the band playing along with found footage behind night vision greens and blues during the build-up before bursting into a Technicolor visual collage that morphs into an eye watching the viewer back, a fitting and trippy visual accompaniment to ‘Control’ that ends with the band as ghostly shadows.””

299 – Sacri Suoni – Time to Harvest – This is an album that I knew I’d like. It’s an all-instrumental stoner-doom metal album [check] released via the Electric Valley Records label [check], and that album cover tells you all you need to know about what you’re about to hear [check]. That said, as much as I enjoyed it, I didn’t like it as much as I thought I would. Pretty killer, for sure – and they’re on my radar now – but there are bands out there doing the same thing… but better.

From Electric Valley Records: “With “Time to Harvest”, Sacri Suoni invite listeners into an experience that goes beyond sound. Four instrumental compositions unfold as sonic currents: granite-heavy, incisive guitars carve the ground, while reverbs and delays open vast atmospheric spaces. Synthesizers breathe within them, expanding and shaping waves that do not merely fill the air but press against the skin, reverberating through the body.

The title, “Time to Harvest,” is a metaphor for a long process of sonic exploration and research, the moment when what has been planted becomes nourishment. Not a harvest of crops, but a harvest of frequencies, tensions, harmonics, and silences: a musical feast taking place within a natural setting, suspended between ritual and primal vitality.

The album thrives on contrasts: sounds that are immense and powerful, crushing and overwhelming, coexist with passages that are as light as feathers, suspended, intimate, almost fragile. It is within this polarity that “Time to Harvest” finds its strength: not as a story told with words, but as a physical, bodily, and meditative experience. Between weight and lightness, intensity and suspension, cosmic doom transforms into living matter, ready to be inhaled, traversed, and fully lived with every last vibration.”

284 – Solomon Hicks – How Did I Ever Get This Blue? – Tasty old-school blues. Nothing fancy, just your standard 12-bar I-IV-V blues. Groove!

From amazon: “I want to shock people,” says Solomon Hicks with a megawatt smile. And whether you were there at his barely legal teenage club shows, caught on for 2020’s breakout debut, Harlem, or are hearing him for the first time on new album How Did I Ever Get This Blue – the rebel energy of this acclaimed New York singer-songwriter always moves the needle. His new songs race from earworm originals, past pop covers torn up with electronica and punky riffs, to reignited blues standards that prove how potent this genre still is in the right hands. “With this new record,” reflects Hicks, “I wanted to showcase where my ear, my head, and my guitar playing are at right now.”

Missed the Cut (in order by “popularity”*):

7,082,973 – Louis Tomlinson – How Did I Get Here? – Louis is a former member of the boy band One Direction. Therefore, I have avoided his solo releases, but you know what? It’s not bad! It’s a poppy singer-songwriter album that’s pretty solid. Will I listen to it again? Hardly. But color me pleasantly surprised!

1,742,076 – Poppy – Empty Hands – Moriah Rose Pereira (aka Poppy) returns with another album. Previous releases were a little too weird for me where she would sing alt-pop all the way to super heavy industrial metal. This one is right in the same vein, but seems more cohesive. That said, I’ve never really gotten into her music, and this new release doesn’t change my mind… even if more “palatable” than previous releases. But, hey, don’t listen to me. Fans and critics alike are eating this album up.

From amazon: “Metal and avant-pop artist Poppy returns with 13 bold new tracks on her seventh full-length, Empty Hands. Produced by Jordan Fish (Bring Me the Horizon), Poppy follows up her previous album, Negative Spaces, with a daring set of songs that blurs the lines between heavy and hypnotic, cementing her status as a rising visionary within the rock genre.”

422,860 – The Damned – Not Like Everybody Else – The Damned are British-based iconic goth-punk legends, beloved by many. They’ve never done much for me, but I can certainly appreciate them. Fans of the band should definitely listen to this to make their own judgment. For me, though, it just kinda came and went, leaving little to no impression. That said, I love the story behind this all-covers release, see below.

From amazon: “The Damned return with a personal and celebratory record, “Not Like Everybody Else”, a tribute to the band’s late guitarist Brian James, who passed away in March 2025.

The album includes 10 brand new recordings of covers by some of the artists that influenced Brian on his musical journey and inspired the rest of the band. Kicking off with R. Dean Taylor’s “There’s A Ghost In My House” and moving through classics like Pink Floyd’s “See Emily Play” and The Animals’ “When I Was Young”. The album closes with “The Last Time,” a moving track featuring Brian James himself, pieced together from original live performances and remixed for this release, cementing the record as both a tribute and a farewell.”

There’s A Ghost In My House (R. Dean Taylor)
Summer In The City (The Lovin’ Spoonful)
Making Time (The Creation)
Gimme Danger (Iggy & The Stooges)
See Emily Play (Pink Floyd)
I’m Not Like Everybody Else (The Kinks)
Heart Full Of Soul (The Yardbirds)
You Must Be A Witch (The Lollipop Shoppe)
When I Was Young (The Animals)
The Last Time (The Rolling Stones)

226,292 – Crystal Lake – The Weight Of Sound – Well, wouldn’t ya know it… metalcore sounds like crap from anywhere, including from this Tokyo, Japanese-based band. Pass.

99,613 – The Format – Boycott Heaven – The Format returns with their first new album in nearly 20 years. There were 2-3 banger tracks, but as a whole, their brand of indie-pop/rock isn’t for me. But, hey, welcome back!

49,688 – DJ Harrison – ElectroSoul – DJ Harrison is a member of Butcher Brown. Here he goes solo again to play a selection of soulful, funky, alternative R&B tracks. I don’t totally love it, but I do like it… and I like the story behind the album (read ahead).

From amazon: “ElectroSoul is the most collaborative and personal record yet from two-time GRAMMY Award-nominated producer, songwriter, and multi-instrumentalist DJ Harrison.

Sparked by a sudden health scare in 2024, the album brought the Richmond, VA, native’s close-knit creative community into the studio. The result is a genre-melding testament to healing, recovery, rejuvenation, and making the most of the present. Grounded in his Richmond roots and inspired by family, ElectroSoul moves with warmth, purpose, and groove.

Featured artists include Yazmin Lacey, Yaya Bey, Fly Anakin, Pink Siifu, Stones Throw labelmate Kiefer, Angélica Garcia, Miguel Atwood-Ferguson, and many more.”

34,961 – Artio – Soul Rot – Four English Gen Z-ers mix and mesh alt-rock, electronic, and nu metal. I think it’s safe to say that this album should be avoided.

32,140 – Alkaloid – Bach Out Of Bounds – I love the story behind the album (see ahead), but I just can’t get behind it. It’s an Interesting mix of death metal, djent, prog metal, and a few other genres. There are parts that are absolutely amazing and parts that are absolutely awful (and everything in between). I’d listen to future releases, but I’d probably be ok not hearing this again.

From Season Of Mist: “ALKALOID know no bounds. Consisting of current and former members of Obscura, Triptykon and Dark Fortress, this supergroup have rearranged the very composition of progressive death metal by experimenting with worldly polyrhythms, sci-fi concepts and brutally catchy choruses. But during the summer of 2024, the quintet conducted a genre-defying performance that, once and for all, proved their mastery.

Recorded live in the Netherlands, Bach Out of Bounds brings the revered composer in conversation with the heaviest of underground arts. Across three separate performances – at the Bachfestival in Dordrecht, Paard van Troje in The Hague, and on November Music in Den Bosch – Alkaloid present three faithful renditions of Bach classics alongside an award-winning ensemble. Heavenly vocals grace the sacred aria “Agnus Dei”. Even the hellacious guitar solo on “Allegro” achieves perfect harmony with softly shredding strings.

Of course, being metal’s mad scientists, Alkaloid also unveil some fresh creations by reimagining songs from their own acclaimed catalogue in Bach’s image. As if summoned by a siren’s call, “Beneath the Sea” is revealed as a speaker-shaking precursor to the band’s monster hit “Cthulhu”. New song “Haunter of the Void” goes where no metalhead has gone before: following a digitized brain into deep space’s crushing void.

“These will change everything”, Morean growls as “The Fungi from Yuggoth” spawns into a headbanging symphonic mutation.

With Bach Out of Bounds, Alkaloid deliver a classically innovative performance as only a true maestro can.”

30,345 – Callum Beattie – INDI – Callum is a Scottish singer-songwriter. His songs sounded very much in the vein of Coldplay / U2. I like both bands and like this album, as well. That said, I don’t envision myself reaching for it again. I will, however, continue to keep my eyes and ears peeled for future releases, as he might catch on with me.

14,438 – Melissa Bonny – Cherry Red Apocalypse – Melissa Bonny founded AD IИFINITUM, a Swiss symphonic metal band, which she still fronts. Here she goes solo with her first full-length, and… she has an incredible voice, but who cares if the tunes themselves are sub-par? Here she sings a variety of pop and metal originals.

669 – New Mexican Doom Cult – Zaggurat – Completely forgettable stoner-doom metal album from this Swedish four-piece. I was so looking forward to hearing this and was let down immensely. Drats.

From their bandcamp page: “Gather your strength because New Mexican Doom Cult have returned from the frost-bitten outskirts of Gävle with Ziggurat, and it’s easily their heaviest, darkest, and most myth-soaked work to date.”

255 – Colossal Rains – Feral Sorrow – Post-hardcore band outta Philly, PA. It’s quite forgettable, coming and going without any interest from moi.

186 – Ritual Arcana – Ritual Arcana – Ritual Arcana is a new band spearheaded by one of the godfathers of doom metal in guitarist Scott ‘Wino’ Weinrich (The Obsessed, Saint Vitus, Spirit Caravan, etc). Scotty has some pretty beefy riffage going on throughout, but I just cannot get past the (female) singer’s voice. It’s not bad, per se, but for me, it’s distracting from what could otherwise be a pretty decent doom metal album. I’ll keep my eyes on ’em, but keep my expectations tempered. This is the band’s debut.

0 – Backengrillen – Backengrillen – Um, ok. They are an avant-garde free-jazz band that incorporates noise and experimental hardcore punk. This was one of the weirdest albums I have ever experienced in my lifetime. Needless to say, we did not connect at any level. Pass.

Addendum (in order by “popularity”*) – Albums that were released earlier in the year (or previous years) that I missed, but are worth mentioning, anyhow:

1,372 – David Huckfelt – I Was Born But… – [January 16th, 2026] – David is a singer-songwriter, and this is an all-covers release. It’s decent-ish enough – even if some of the tunes lean a little too country for my taste – but I also wasn’t overly wowed. It mostly came and went, leaving little to no impression. Meh. Covers tracklist ahead.

From amazon: “David Huckfelt is a singer/ lyricist /folk-activist whose poetic sensibilities and songs of no-spiritual-surrender have earned him a cult following in the darker hollows far off the beaten path of the music business’s rushing roar.

An Iowa native and former theology student, Huckfelt attended the prestigious Iowa Writers Workshop before dropping hold of academic and theoretical pursuits and turning his attention to songwriting and performing. With improvisational mastery and a stubborn insistence of remaining in the moment with his audience, Huckfelt’s folk shows have earned him a devoted following from small-town opera houses & theaters to national festival stages like Hardly Strictly Bluegrass, Edmonton and Calgary Folk Fests, and the legendary First Avenue mainroom.

Sharing stages with artists as diverse as Mavis Staples, Bon Iver, Emmylou Harris, Arcade Fire, Calexico, Gregory Alan Isakov, Iris Dement & more, Huckfelt’s roots run deep as a folk singer steeped in the tradition of performing other artists’ songs. An early encounter and collaboration with legendary Native American poet John Trudell introduced Huckfelt as friend & ally to an array of Indigenous artists & activists, including Keith Secola, Louise Erdrich, Winona LaDuke, Quiltman & more. He also served as musical director and performer at “Water Is Life” Music + Resistance Festival in Duluth, MN, and his songs appear in the new AMC TV series “Dark Winds” produced by Robert Redford & George R.R. Martin.

A founding frontman of Minneapolis indie-folk cult favorites The Pines, with roots in the same Midwestern soil that produced legendary folk singers like John Prine and Greg Brown, David’s new solo work preserves a rugged optimism that blasts through layers of darkness in real time with songs that speak volumes, soft & clear.”

Who Do You Love? (Bo Diddley)
Changing of the Guards (Bob Dylan)
Anything (Adrianne Lenker)
Any Way the Wind Blows (J.J. Cale)
I’m Alive (Jackson Browne)
Raft To Freedom (Dan Reeder)
Two Gunslingers (Tom Petty)
NDN Kars (Keith Secola)
The Race Is On (George Jones)
Yours No More (Malcomb Holcomb)

On the List (in order by “popularity”*) – Albums that I didn’t get to (yet) for one reason or another. Will (hopefully) get to them at a later date:

Only listing ones that made me take notice, not everything…

None.

Looking forward to (in order by “popularity”*) – These albums will be released this week and should be in next week’s AOTW newsletter:

269,915 – Joyce Manor – I Used To Go To This Bar

257,058 – Kula Shaker – Wormslayer

72,476 – Eric Bibb – One Mississippi

51,986 – MØL – DREAMCRUSH

49,494 – Hällas – Panorama

9,711 – Big Sleep – Holy Show

1,451 – Lord Elephant – Ultra Soul

566 – Summer Of Hate – Blood & Honey

88 – Jagged City – There Are More of Us, Always EP

…and several others. Some that I am looking forward to and others not so much.

———————————————————————————————

Small print that’s normal size print:

*These albums are listed in order by “popularity”. Wait, what? How? By no means is it a measured calculation. They’re listed in order by number of ‘followers’ on Spotify. While it is listed by Spotify ‘followers’, the order would (most likely) be similar if looking at the number of ‘likes and/or followers’ on each band’s social media pages. Speaking of “popularity”, there is a bolded red number. This number (more or less) represents the number of Spotify ‘followers’ at the time of review.

**Album of the Week. No promises, but I will do my best to NOT include Greatest Hits, Best Of, Live releases, re-releases, etc. Even if these “new” releases include a ton of bonus goodies, multiple unreleased tracks, demo versions, etc, I’ll still (try to) hold off.

All albums are listened to IN FULL unless stated otherwise.

Some artists are quite controversial. My goal is to review the album on its own merits, not based on the history, beliefs (political or otherwise), police records, and/or anything else that could be considered “unsavory” of the artist(s).

(Almost) all albums are hyperlinked. I link in order by Bandcamp first, YouTube next, then Spotify last. This is so you can check out (AND PURCHASE) the album, if interested. I do and hope you do, as well!

Do you have any friends or family who might be interested in this weekly blog? If so, send ’em this way!

Until next week…

Cheers,

Troy