One Louder Magazine… RESURRECTED
Introduction
Album of the Week
Honorable Mentions
Missed The Cut
Addendum
On The List
Looking Forward To
Fine Print
About One Louder Magazine
I find it hard to believe, but yes, here we are again:
The Album of the Week blog!
As predicted, I am definitely feeling it. I start each day with a self-appointed “Make it a great day!”… and yeah, it kinda sorta works. For a bit. Solid days, getting shit done, listening to a lot of music (haha!). But by day’s end – and certainly by the time I get home after the commute – the gas tank is empty… literally and figuratively.
Don’t worry, I’m keeping track of my (literal) gas and can’t wait to share it. But here’s a sneak peek: Instead of gassing up every 2-3 weeks like I had previously, I have now fully gassed up nine days apart (both times at Costco Lake Stevens) – and THIS is only the second week of full-time in office:
03.16.2026 – $4.66/gal
03.25.2026 – $4.94/gal
I rarely go anywhere except to/from the office. A show (at the most) once a month or once every two months, band practice once a week (tops)… and that’s kind of it, really.
Anyway, enough complaining: “Make it a great day!” Some more people wrote in, and I thank you! That means that you’re reading this… more importantly, you’re responding. LOVE IT!! I do owe some people replies and apologize for the delayed response. I got you… soon. And thank you… again!
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I saw this headline the other day and holy shit, right?!?!
Man Pleads Guilty To Stealing $8 Million In Royalties From Streaming Platforms Using AI-Generated Listeners And Artists
I have A LOT of thoughts on Artificial Intelligence (good and bad), and want to share sometime… but now is not the time. But I had to share this story because that is f’n crazy – 8 MILLION DOLLARS!!! He has not been sentenced yet, but they say the max is up to five years.
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Yeah, so I wrote something, deleted it, rewrote it, deleted it, and so on and so forth, but the deadline hit, and I am still at a loss for words. In short, though, I am beyond disappointed and embarrassed. This is the guy who represents you, me, and every other United States citizen.
Y’all know that I lean left, but I do my very best to remain neutral on these weekly mailers – or better yet, not talk politics at all! Up until now, I have kept my lips tight about the Trump-Epstein files, the ballroom, Greenland/Venezuela/Cuba/etc, The Kennedy Center, blowing up boats in the middle of the ocean, Renne Nicole Good and Alex Pretti (and ICE overall), and a MILLION other things, but I can’t not show this post. It disgusts me.
At his advanced age, I have occasionally thought about his demise, but… while I have friends who are ready to “dance in the streets”, others with champagne, and more, I take a different stance. I am not “wishing” or “waiting” for his death – hell, dude might outlive us! – I just don’t want him holding the highest office in the land. You are a senior. Go do senior shit. These are your golden years, man. Do die, don’t die, just go the F away.
Speaking of which… anyone hitting the No Kings Rally on Saturday? I went to the first one, missed the second one, and am on the fence (likely out) for this one. I have an idea for a sign that I’d like to wear (different than last time, but, you know… life). Maybe next time… or maybe this Saturday. TBD, but leaning no. Send me pics if you go. Would love to see ’em!
Apologies for the rant, and thank you for letting me get it off my chest!
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A week or two ago I cried about no good movies and TV shows. That’s still true-ish, but I do have a few that I’d like to discuss. We’re talking Oscars time, baby!
Hey, y’all remember the milkshake scene in the movie Pulp Fiction (paraphrased, “that’s a pretty good shake! I don’t know if it’s a five-dollar shake, but it’s pretty good.”)? That’s how I felt about the movie Sinners. It was nominated for 18 Oscars. EIGHTEEN! I’m like, “Well, surely I’ve got to catch that, right?” My conclusion: It’s a pretty good movie, it’s solid… but what it ain’t is an 18-Oscar nominations worthy movie.
Continuing on, If I had Legs I’d Kick You. Again, tons of noms, and… I actually like Conan O’Brien in it, but the movie itself? <Shrug>.
Next multiple Oscar-nominated movie up on the chopping block? One Battle After Another. You know, I actually enjoyed this one except for one thing. There are several action scenes with no talking, and the music is jarring and dissonant. It’s meant to be like that to cause stress, so it’s necessary, but I feel like it could’ve been a touch lower in the mix and still made the same impact. Massive star power in this one: Leonardo DiCaprio, Sean Penn (who was f’n brilliant and 100% deserved the Best Supporting Actor Oscar!), Benicio del Toro, Regina Hall, and more. Long-ass movie, but I thought it was worth watching.
…and lastly, something that wasn’t nominated, nor will it be, but it is ABSOLUTELY worth watching if you like stand-up comedians who push the limit… find out where the line is and dip a toe across it: Mark Normand: None Too Pleased. Enjoy!
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We were lucky enough to be blessed with an AOTW each of the past two weeks, and several high-five Honorable Mentions the two weeks prior, but this week is a goose egg. Sure, there are some solid HMs, but nothing that was good enough to rise to the top of the heap. Perhaps next week.
The good news, though, is that with all of this commuting, I’m likely getting an extra TEN albums per week. But yeah, I’d rather be shorted ten albums and WFH, but I digress…
😁 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** – March 20th to March 26th, 2026:
None.
Honorable Mentions (in order by “popularity”*):
16,428,363 – Aerosmith – Aerosmith [Legendary Edition –1973] (3 CDs) – This is the legendary Boston-based band’s 1973 debut album remastered and expanded. Disc one is the original album remastered, disc two is the original album remixed, and disc three sees the band live at Paul’s Mall on March 20th, 1973, plus it contains half a dozen previously unreleased tracks. I love the blues-rock swagger that these guys deliver and have for ages! I much prefer their ’70s output (like this!) versus the band’s latter-years releases. While this self-titled release contains arguably the band’s biggest hit ever – ‘Dream On’ – and, frankly, I think it stands the test of time, it’s not my favorite release of theirs. I got into their follow-up (1974’s ‘Get Your Wings’) and TRULY with the next two: ‘Toys In The Attic’ (1975) and ‘Rocks’ (1976). Those last two albums listed are … Anyway, fun to hear their debut again with all of the extra goodies!
From amazon: “Aerosmith’s blistering eponymous debut showcases the legendary band’s high-energy riffs, powerful rhythm section, and soaring vocals, which would become their trademark sound for over 50 years. Meticulously crafted and overseen by the band, this expanded Legendary Edition features timeless classics like “Mama Kin,” “Movin’ Out” and “Make It,” plus the enduring anthem “Dream On” in a deluxe 3CD Digipak set. Featuring the original album remastered, brand new mixes from the original masters, previously unreleased studio tracks, live performance from Paul’s Mall in 1973, plus a 16-page booklet with previously unseen photos and more.”
877,344 – Exodus – Goliath – Thrash metal legends Exodus release a fully kick-ass, solid album of thrash metal, their first release with vocalist Rob Dukes since 2010. Oh man, this album was just shy of an hour long, but I wanted it to keep going… that’s a great sign. Fantastic album, great listen!
From Napalm Records: “Bay Area Thrash legends EXODUS unleash Goliath, marking the triumphant return of Rob Dukes.
Top-charting originators of thrash, EXODUS, have emerged hungrier than ever in 2026. Resurging at full force with their 12th studio album and Napalm Records debut, Goliath (out March 20, 2026), the band reinforces their eternal foothold at the top of thrash metal’s hierarchy with 10 of their most diverse, anthemic emissions to date. Further fueled by the widely embraced return of iconic late-era frontman Rob Dukes – first appearing on 2005’s Shovel Headed Kill Machine – the album boasts what the band describes as the performance of his life. Goliath is EXODUS’ most collaborative record in their four-decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby.
Goliath wastes no time proving as massive as its name, with a sinister introduction opening “3111” that strikes dissonant chords before careening into breakneck thrash intensity. Ode to owning one’s own volatility “Hostis Humani Generis” features a palpable lyrical delivery from Rob Dukes that cuts like crystal amid frenetic riffs, before rolling into “The Changing Me”. The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the cleans of guest Peter Tägtgren (Hypocrisy, Pain) together with Tom Hunting, and at the end, both Peter and Rob scream off the song. Harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. “Promise You This” incites mosh pit treachery with explosive energy, cyclonic riffs, and turbocharged soloing from Holt, prior to colossal title track “Goliath” simmering the tempo down with winding, malevolent leads, towering drums, and ominous string work from Katie Jacoby coupling with intricate guitars.
The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like “Beyond The Event Horizon” and “2 Minutes Hate” provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like “Violence Works”. The nearly eight-minute epic “Summon Of The God Unknown” turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power-packed closer “The Dirtiest Of The Dozen” wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity, and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery.
Produced by EXODUS, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint Bonded By Blood. 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition.”
499,132 – Tedeschi Trucks Band – Future Soul – One of the best – the best? – slide guitarists today [Derek Trucks] releases an album with his guitar-slingin’ wife, Susan Tedeschi, who also sings. It is a fantastic, bluesy, jammy album… just really good stuff on here! And they absolutely destroy live. Go see ’em if you can!
From amazon: “With Future Soul, Tedeschi Trucks Band push their sound forward while staying firmly rooted in the soul, blues, and rock that define them. Produced by the genre-fluid Mike Elizondo (21 Pilots, Turnstile), the album finds the 12-piece ensemble leaning into deeper grooves, bolder dynamics, and richer textures. The title track charges ahead with a muscular riff and blistering vocals, while “I Got You” confirms its status as a live-born fan favorite. “Crazy Cryin’” blends gospel-tinged emotion with blues grit, and “Who Am I” offers a reflective turn, balancing Susan Tedeschi’s soulful voice with Derek Trucks’ lyrical guitar. Lyrically focused on identity, resilience, and hope, Future Soul feels both renewed and resolute – a confident evolution from one of America’s most powerful bands.”
156,951 – Neurosis – An Undying Love For A Burning World – This is the band’s first album in a decade, featuring vocalist/guitarist Aaron Turner (formerly of Isis and Sumac), who replaces founding member Scott Kelly, who was kicked out of the band (due to domestic violence allegations, which were later confirmed). Ten years and a founding member replacement didn’t stop the band from creating a fully kick-ass sludge metal / post-metal album. Fuck yes, heavy as hell – yet still melodic – release from Neurosis who just keep getting better and better! Even at an hour-plus, the album ended with me still wanting more… that’s a good sign, for sure!
From Earsplit PR: “NEUROSIS returns with their first new album in a decade, An Undying Love For A Burning World, which is now streaming on all digital platforms and available for physical preorder through the band’s Neurot Recordings. The album sees the band joined by Aaron Turner on guitar and vocals. NEUROSIS will also make their return to the stage at Fire In The Mountains Festival in July.
“We are torn wide open”
Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from NEUROSIS in a decade, and a potent statement of intent and rebirth – one that marks the first new steps of resolve and resilience.
“We need this, perhaps more than ever, and we suspect we are not alone. The trials and tribulations in our personal lives and as a band, combined with simply trying to navigate the insanity of our society, with the stress, anxiety, and isolation that come with it, can be excruciating. Add to that the existential confusion and sorrow of the climate crisis and the sixth mass extinction. It is enough to cause you to completely lose your mind if you can’t find release or catharsis. This strange, emotionally-charged music has always been our method of trying to survive this, and this is what we’ve always been singing about. When you have spent a lifetime engaged with these energies and utilizing this form of expression to purge and purify, it feels detrimental to our well-being to let it sit idle and neglected. This was now or never.”
“We’ve forgotten how to live, so we suffer”
An Undying Love For A Burning World is an epic album of colossal hypnotism – beautiful, fearsome, and utterly compelling in a way that only NEUROSIS can be. Aaron Turner (Sumac, Isis) – a name whose legacy is intertwined with the band’s own and a true kindred spirit – joins the band on vocals and guitar, alongside vocalist/guitarist Steve Von Till, drummer Jason Roeder, bassist Dave Edwardson, and keyboard player Noah Landis.
“He came straight out of the gate contributing, writing, and presenting ideas,” the band states on Turner’s arrival. “His energy matches ours perfectly. It’s as if he was always meant to be there.”
Turner adds, “From the moment I first heard NEUROSIS over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now, after many years traveling along various musical paths of my own, the singular sound and spirit embodied by NEUROSIS continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music – but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.”
“We’ve forgotten how to struggle, so we suffer”
NEUROSIS has never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, NEUROSIS’ cacophony of noise, rhythm, and dissonance always resolves towards moments of beauty. The addition of Turner’s powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as NEUROSIS find themselves again at the mercy of evolution and expression.
“We’ve forgotten we are wild, so we suffer”
On every song in the band’s history, NEUROSIS shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other – a need rather than a choice. Indeed, the band insists that their return is, “not a reunion – we never broke up.”
An Undying Love For A Burning World was recorded by Scott Evans (Kowloon Walled City, Sumac, Great Falls) at Studio Litho in Seattle over three weekends this Winter and mixed in three days just six weeks before release at Evan’s Antisleep Audio in Oakland.
“We exist in isolation, so we suffer”
NEUROSIS will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire In The Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country. FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world and strengthening our ancestral roots as human beings – an aim which aligns directly with NEUROSIS’ deep-rooted power.
“I cannot think of a more appropriate environment for us to return to the stage,” comments Steve Von Till, who also serves on the board of Firekeeper Alliance. “Last year’s Fire In The Mountains festival was the most profound music event I have ever been a part of. The weekend took on a healing, cathartic ceremonial nature that is difficult to put into words. Using emotionally heavy music to build community and collectively stare darkness in the eye is something we have always believed in, but using it to directly address the heartbreaking reality of suicide, grief, loss, and trauma is taking it to another level.””
“The dissonance is deafening”
NEUROSIS:
Jason Roeder – drums
Aaron Turner – guitar, vocals
Steve Von Till – guitar, vocals
Dave Edwardson – bass, vocals
Noah Landis – synths, samples, vocals
147,444 – Hurray for the Riff Raff – Live Forever – Hurray for the… band playing folksy indie rock / Americana, led by bandleader Alynda Segarra. I’ve been luke cold with a few of their past releases, but found this one to be… “comforting”. The runtime is a little over an hour, but it could’ve kept going. The tunes are warm, and the pacing of the album is excellent. I enjoyed this live release!
From Nonesuch Records: “Hurray for the Riff Raff releases the digital edition of their first live album, Live Forever, today on Nonesuch Records. Captured over the course of two sold-out nights at the Old Town School of Folk Music in bandleader Alynda Segarra’s new home of Chicago, the collection comprises the entirety of Hurray for the Riff Raff’s 2024 opus, The Past Is Still Alive. Featuring 14 songs, the live album also includes a selection of show-stopping staples: the poetic, ICE-decrying “Precious Cargo” from LIFE ON EARTH; The Navigator’s anthemic, set-closing “Pa’lante”; the prescient digital age critique “Pyramid Scheme”; and a folk-rock rendition of LIFE ON EARTH’s “Rhododendron.” You can listen to Live Forever, and pre-order the physical album on CD and double LP, due May 8 here, and watch ice melt in a new video for “Pa’lante” (Live) below:
Live Forever coincides with the two-year anniversary of Hurray for the Riff Raff’s The Past Is Still Alive, named one of the Best Albums of the 2020s So Far by Pitchfork, and one of the Best Albums of 2024 by the New York Times, Atlantic, Associated Press, NPR Music, Rolling Stone, Billboard, OUT, Mojo, Uncut, and many others. On Monday, March 23, Alynda Segarra will follow the release with a special performance at NYC’s Riverside Church, celebrating Democracy Now!’s 30th Anniversary along with Angela Davis, Patti Smith, Michael Stipe, and more; you can stream the event live here.
“I moved to Chicago in September 2024, the year I released The Past Is Still Alive and hit the road with a new band,” said Alynda Segarra (they/them). “Since then, we’ve traveled the world together, becoming family, playing the best shows of my life. Chicago has become home for me, and I feel grateful for the welcome I’ve gotten into the best music scene in the country. I wanted to capture this time and this brilliant band, a moment that won’t last forever. This record is a love letter to the working-class musicians out there, we who slug it out on the road against all odds. We deserve so much more from an industry built to exploit us. It’s a thank you to all the fans supporting live music, you who believe songs made by human beings are a vital life force.”
Fronted by Alynda Segarra, Live Forever features the musicians from Hurray for the Riff Raff’s latest touring lineup—Parker Grogan (electric guitar, vocals), Nnamdi Ogbonnaya (bass, backing vocals), Marcus Drake (drums), and Sen Morimoto (saxophone, keyboards), produced by Johnny Wilson. In addition to hundreds of tour dates behind The Past Is Still Alive, they have played the stages of Jimmy Kimmel Live!, Austin City Limits, The Kelly Clarkson Show, CBS Saturday Morning, Newport Folk Festival, and beyond, recently sharing bills with everyone from Waxahatchee and MJ Lenderman to Ani DiFranco, Bright Eyes, Orville Peck, Soccer Mommy, and The Head and the Heart.”
144,145 – Axel Rudi Pell – Ghost Town – Metal dude/band who I’ve been listening to for forever and a day. As usual, there were parts I loved (totally rockin’, killer riffage, screaming solos) and parts I didn’t care so much for (cheesy shizz). ‘Tweener release leaning more on the ‘Hell yes!’ side of things. The song ‘Breaking Seals’ features vocalist Udo Dirkschneider.
From Axel’s bandcamp page: “”Ghost Town” is the new album by the German guitar wizard Axel Rudi Pell. It’s his 23rd studio album, and packed with his characteristic guitar riffs, Hard Rock anthems, and a sensational duet starring frontman Johnny Gioeli together with German Metal legend Udo Dirkschneider. Axel Rudi Pell produced the eleven songs on ‘Ghost Town’ himself, with Tommy Geiger (Blind Guardian, Helloween), who was also in charge of the mix, providing valuable engineering support during the recording sessions at the Blind Guardian Studios in Grefrath.”
97,626 – Incendiary – Product Of New York – Hellz yeah! Incendiary is a hardcore band that just absolutely brings it… really dig the crushing riffs. Roughly ~32 minutes of pure unadulterated mayhem. Beautiful!
Of note: this is not a new album, per se, but rather a collection of the band’s earliest recordings, but remastered (see ahead). All killer, no filler… including a RAD cover of Beastie Boys’ ‘Sabotage’!!
NOT NEW, READ AHEAD –> From Closed Casket Activities: “A document of origin, urgency, and identity, Product of New York traces the formative years of Incendiary with unfiltered clarity. Collecting the band’s earliest recordings—spanning split 7” releases, their debut Amongst The Filth EP, and previously unreleased material—this compilation is less a retrospective and more a reaffirmation of intent. These are the songs that built their foundation: raw, confrontational, and unmistakably rooted in grit.
Available in full now on all streaming platforms, with a vinyl pre-order shipping this May via Closed Casket Activities, Product of New York offers both longtime listeners and newer audiences a cohesive look at the band’s earliest chapter—one that continues to echo through their most recent record.
“Product of New York captures the complete early Incendiary output across multiple Split 7″s and our debut 7″, Amongst The Filth. We’re proud of the history of the band and wanted to compile the songs that defined this time period, many of which continue to be staples of our live sets. Hopefully, people more familiar with our later LPs have a chance to check out these tracks,” states frontman Brendan Garrone.
Opening the compilation is “Not Your Prophet,” a previously unreleased track from the Change The Way You Think About Pain sessions. “It never quite seemed to fit the overall vibe and flow of the album, but this felt like the right opportunity to offer something new while compiling our older material.”
Across its twelve tracks, Product of New York moves through a patchwork of sessions and collaborators, each capturing a different facet of Incendiary’s early evolution. From recordings with Will Putney and Will Yip, to sessions at Dead Air Studios with Will Killingsworth and The Hobo House with Phil Douglas, the compilation reflects the band’s DIY ethos and relentless output during their formative years. Now fully remastered by Putney, these recordings carry a renewed weight—preserving their rawness while sharpening their impact.
Product of New York isn’t just a compilation—it’s a statement of roots. A reminder that before their later LPs and future live opportunities, there was a band forging its identity track by track, show by show, and release by release. These songs remain as vital now as they were then: immediate, aggressive, and grounded in the reality that shaped them.”
50,270 – Spafford – Flight Of Fall [Live] – What an incredibly fantastic find! They’ve been around since 2009, but I just got into them, oh, I dunno, around 2018-ish. Spafford just kills it in the jam band department, fusing elements of rock, funk, jazz, reggae, ska, electro-pop, and more, with tons of extended improv jams in their live sets… not to mention all of the cover songs that they have played throughout the years, including Soft Cell’s/Gloria Jones’ ‘Tainted Love’ on this one. When I first heard these guys, I said, “Gotta go catch these cats live sometime!” Well, I finally did in 2025 at Hidden Hall in Seattle (cap 300). I have not listened to it yet, but the band is streaming that set from their bandcamp page, as well: https://spaffordmusic.bandcamp.com/album/live-at-hidden-hall-10-21-25-seattle-wa
From their bandcamp page:
“Darkness Singularity” & “Tainted Love (Gloria Jones)” – performed on 11/7/25 at The Orpheum Theater in Flagstaff, AZ
“Ain’t That Wrong” – performed on 10/28/25 at The Alpine in Reno, NV
“Gotta Save Fred” – performed on 11/6/25 at The Venice West in Venice, CA
“Fake The Fate” – performed on 11/1/25 at Moe’s Alley in Santa Cruz, CA
“Duncan’s Uncle” – performed on 12/7/25 at Bell’s Eccentric Cafe in Kalamazoo, MI
“Frog Gossip” – performed on 10/23/25 at The Get Down in Portland, OR
49,904 – Ariel Posen – Bannatyne – Just great, solid songwriting from this Canuck by way of Winnipeg, Manitoba. Rocky, bluesy, tasty. Been listening to this guy’s releases for a few years now. Never disappoints.
16,445 – Kal-El – Astral Voyager Vol. II – Been following this rad psychedelic / stoner / doom metal – or as they call it, simply “cosmic space rock” – band for a while now… heavy (yet tasty) riffage, cool shit! And their album artwork? Otherworldly… so awesome, all their shit!
From their bandcamp page: “KAL-EL return with Astral Voyager Vol. 2, the sequel to the most critically-acclaimed and eminently listenable album in their catalog. An infectious blast of sci-fi metal and soaring desert anthems, Astral Voyager Vol. 2 is a record about the dangers of manipulation and struggling for individuality against the unseen powers who try to keep us compliant and controlled. On the heels of their first full US tour, KAL-EL welcome us back to the Astral Voyager universe with the second half of their epic riff-exploration to the farthest reaches of the galaxy!”
13,531 – Four Stroke Baron – King Radio Redux [2015] – This is not a new album, per se, but a reimagined re-recording (aka redux) of their debut, released in 2015, as the title indicates. I never did listen to the original, becoming a fan of the band later on, but at some point, I’d love to A/B them. Anyway, the album…?
I’m not typically a fan of bands / albums on the Prosthetic Records label, but this was a HIT! Fucking love it! They kinda have this prog rock meets prog metal meets new wave sound… and it totally works! It’s very Deftones-sounding. This was sweet!
Tyler’s band NOTT was direct support for FSB on a few of their shows in the PNW. How did they go, Tyler?!
I couldn’t find much information about the redux and asked ChatGPT for assistance. From ChatGPT: “How King Radio Redux differs from the original King Radio
- 🎤 Vocals: way more controlled and expressive
Original (2015):
Raw, chaotic, sometimes intentionally abrasive
Lo-fi edge — almost “unhinged” delivery
Redux:
Cleaner, more deliberate phrasing
Better pitch control and layering
Feels closer to how Kirk Witt performs on later albums
👉 The vibe shifts from scrappy DIY → confident and stylized
- 🎸 Production: from lo-fi chaos → polished weirdness
Original:
Gritty, compressed, almost garage-like
Instruments sometimes blur together
Redux:
Much clearer separation (guitars, bass, drums pop more)
Heavier low end, sharper highs
Still weird — but intentionally weird, not just rough
👉 Think: same songs, but with the sonic clarity of Classics/Planet Silver Screen
- 🥁 Arrangements: subtle but important tweaks
Not full rewrites, but:
tightened transitions
cleaner timing
occasional added layers or effects
Some parts that felt “messy” before now sound precisely off-kilter instead.
- 🎛️ Tone shift: irony vs intensity
Original King Radio:
Feels chaotic, sarcastic, almost troll-ish at times
Redux:
Still playful, but more intentional and musical
Leans slightly more into groove and melody - 🧠 Big-picture difference
This is the real takeaway:
Redux sounds like the band they became, playing songs they wrote when they were still figuring it out.
So instead of nostalgia, it’s more like:
“What if we made this album now, with our current skills and identity?”
⚖️ Which one should you listen to?
Want raw, chaotic, underground energy?
→ original King Radio
Want tight, polished, but still weird prog metal?
→ King Radio Redux
Most fans end up liking both for different reasons.”
6,329 – Filth Is Eternal – Impossible World – Filth Is Eternal is a Seattle-based punk/hardcore band that rips! I hadn’t heard of them before, but I am glad they crossed my desk now… better late than never. Tight, chunky, razor-blade riffage throughout; climb aboard!
From MNRK Records: “Today, Seattle rock band Filth Is Eternal release their new album Impossible World. Rooted in punk’s immediacy while fusing hardcore intensity with sharpened melody that reaches into grunge and alternative rock, the LP marks a sonic turning point for FIE. Frontperson Lis Di Angelo pushes their vocal delivery into new territory, weaving melody and harmony through moments of raw force and clean restraint. Collaborations on Impossible World highlight FIE’s adventurous spirit as the LP boasts features from Fall Out Boy’s Joe Trohman, Baroness’s Gina Gleason, and Blood Brothers’ Johnny Whitney.
The band teased the album with “Hellfire,” “Stay Melted,” and “Long Way,” which saw support from Stereogum, Alternative Press, Brooklyn Vegan, Revolver, New Noise, and others. Listen/purchase Impossible World here.
“a spirited riff-attack that sounds more like first-wave grunge than anything I’ve heard from this band in the past. The guitar solo moves into full-on metal territory”. Stereogum on “Hellfire”
“Guitarist Brian McClelland’s tonal experimentation has exploded – and it’s added more bite to the band’s new release, Impossible World,” Guitar World
“They keep the energy dialed to 11. No flickering flame here. Their forthcoming Impossible World LP could prove to be a pop-melted heater,” Revolver
“snarling over a driving beat” Alternative Press on “Stay Melted.”
“more melodic than ever in a way that kinda reminds me of Scowl” Brooklyn Vegan
Widely known for their intense live shows, Di Angelo’s explosive stage presence and blistering vocals electrify the room. Filth Is Eternal have confirmed their first tour in support of Impossible World. The run kicks off April 4 in Tacoma, WA and concludes in Tijuana, Mexico on April 11. Along the way, they will stop in San Francisco on April 8 and Los Angeles on April 9. All dates are listed below, with more still to be confirmed.
Filth is Eternal – Impossible World
Another day dawns in this impossible world. The world Seattle rock band Filth Is Eternal confront on Impossible World is no longer theoretical. Systems are breaking in real time, cruelty is policy, and collapse feels baked into the everyday. Rather than retreat, the band meets this moment head-on, channeling fury, resolve, and survival instinct into music built for resistance. These songs are about what it means to keep moving forward when the odds are stacked, when the impossible is no longer abstract but a daily reality. On their new album, Impossible World, FIE confront the questions dogging them at the start of a new year: What does it mean to live in this world, and what does it take to survive it?
Reborn in 2020, Filth is Eternal was inspired by the raw, impulsive ethos of punk. The band built a reputation for their frenetic live shows played in DIY venues across the country. FIE has always been about staying energized. “When everything looks stacked against us, that’s when we lean in, get louder, and find a way through,” vocalist Lis Di Angelo says. Joined by guitarist Brian McClelland, bassist Logan Miller, and drummer Josh Pehrson, FIE has opened for Finch, Blood Brothers, Baroness, and Botch, among others, all the while staying true to their steadfast commitment to staying a DIY project. “Community means everything to us. We love working with independent venues and supporting local bands. That’s the beautiful thing about punk, everyone jumps in to help each other out, and no matter where you are in the world, you can find your friends.”
Despite the changes Seattle has undergone since Brian and Lis arrived in the late 2000s, the city’s countercultural roots remain strong. On “Acetylene,” the band drew inspiration from pre-dawn walks through streets where new construction rises seemingly indifferent to the people around it. The song’s frenetic guitars and lyrics about friends making mistakes reflect that tension between personal experience and the city’s relentless transformation.
Impossible World ignites with lead single “Stay Melted,” a front-to-back banger capturing the urgency of our moment. Partly inspired by Dylan Thomas’s Do Not Go Gentle Into That Good Night, the track is a manifesto for refusing despair amid global crises – from ICE and Palestine to a world spinning under failed leadership. Lis belts out a rallying cry: “Die lit, stay melted,” a call to rage, resist, and stay fully alive even as the world feels like it’s collapsing. It’s some of Lis’ most incisive songwriting to date, pairing fiery lyrics with relentless, driving instrumentation.
In this respect, Impossible World feels like a record that could only emerge from our current moment. Reflecting on the rise of new technologies, Brian observes that “the future is here now, but it’s not evenly distributed.” The track “Total War” explores themes of class struggle and the idea of violence as a form of care, and on the song’s finale, Lis is joined by Blood Brothers’ Johnny Whitney for a striking, repeated refrain: “I just killed for you.”
Building on the album’s urgency, Impossible World also marks a turning point for FIE sonically. Lis pushes their vocal delivery into new territory, weaving melody and harmony through moments of raw intensity and clean restraint. The aggression remains intact, but it’s sharpened by a broader, more dynamic sonic palette than ever before. The band explored new textures on tracks like “Long Way,” written from a single riff and featuring Lauren Lavin on supporting harmonies. The song is the first they recorded using the FILTH EQ+, a pedal the band crafted that helped shape the album’s sonic landscape.
Other collaborations on Impossible World highlight FIE’s adventurous spirit. “So Below” features Fall Out Boy’s Joe Trohman, while Gina Gleason contributes to “Desire,” a call to step into your own power. “I needed you to believe / To believe in our thing / You and me / We’re past our low,” Lis and Gina harmonize on the chorus, creating one of the album’s most soaring, emotionally resonant moments. Across these tracks, the band balances intensity with expansiveness, proving that even in the heaviest material, light – and possibility – can break through.
That same equilibrium closes out Impossible World with “Skorpio,” where Lis’s crystalline vocal delivery cuts through a roiling sea of instrumentation, landing as some of the most potent moments on the record. It’s a desperate song, but a hopeful one too, featuring some of FIE’s most enduring lyrics. “All flowers in bloom / Under the interstate,” Lis sings, their voice piercing the melancholia like a beacon, illuminating what could be — a possible world. In hard times, the future can feel finite or unreal, but Impossible World proves that art has the radical power to energize us, sharpen our resolve, and push us forward through the darkest hours.”
…From Metal Injection: “It’s been three years since Filth Is Eternal (fka Fucked and Bound) have dropped a record, and their whole thing has shifted a lot in that time. They have some new faces in the mix and the songs aren’t has short has they have been. They’re still full of fury, but perhaps more melodies and atmosphere than before.”
6,198 – Temptress – hear – Solid sophomore follow-up! Temptress plays a blended medley of psychedelic doom metal and grungey hardcore. They’re at The Funhouse (Seattle) on May 3rd, 2026, and will likely leave a trail of destruction in their wake. Killer!
From their bandcamp page: “Bombastic yet delicate, crushing yet ethereal, driving yet dark, Temptress are a jigsaw of sonic touchstones with no audible seams. Fusing drone, doom, post-rock, grunge, and hardcore, the trio produce a molten blend that flows and obliterates like a liquid metal assassin.
With 200+ shows played in their relatively short tenure, Temptress’ endless ideas and nuances slide perfectly into place thanks to its members’ vast live experience. The new album churns with searing hooks and dissonant grooves in an irresistible confluence of ideas, and fans of Heavy Temple, The Well, Sasquatch, and Hippie Death Cult should prepare to be lured by what Temptress has in store.”
1,866 – Stonus – Space To Dive – Stonus is a rad stoner rock band outta Nicosia, Cyprus! The band formed nearly a decade ago, yet my introduction to them was with their last release, 2024’s ‘Live in Zen’. Gonna have to dig into the back catalog to hear more tasty riffage!
From their bandcamp page: “This album is a transcendental journey – an esoteric dive into the space within, undertaken in an effort to redefine who we are. It explores inner space as both a personal and universal dimension: a place where intuition and transformation converge.
At the core of this lies the torus field – the visual representation of sound, energy, and atomic vibration – the language of the universe and the source itself. To us, it symbolises the infinite flow between the inner and outer worlds – a structure that could even resemble the face of God. This is the space that we chose to dive into – a realm of potential, transcendence, and meaning, with sound serving as the bridge between consciousness and creation.
Through this inward journey, Space to Dive gave us the opportunity to confront ourselves and push our intuition far beyond our comfort zones. We allowed the music to guide us towards a more instinctive, vulnerable, and personal form of expression this time – less calculated and more honest. Each track acts as a fragment of this exploration, capturing moments of doubt, revelation, and awakening.
The intensive collaboration with Johnny S.A., and the opportunity to record at Wreck It Sound Studios in Corinth, gave us the right environment, tools, and expertise to perform to the maximum of our capabilities. An exceptionally rare opportunity followed, where we worked with legendary mastering engineer Howie Weinberg, whose legacy includes Nirvana, Queens of the Stone Age, Red Hot Chili Peppers, Metallica, and many others. His contribution adds not only depth and clarity to the sonic result, but also a distinctive sense of prestige and finality to the album.
The visual identity of the album was crafted by Kamil Czapiga of Cosmodernism, whose deep understanding and manipulation of cymatics – the science of visualising sound and vibration – perfectly complements the album’s conceptual core. By translating invisible sonic forces into tangible and visual language, his work positions him as a true modern-day alchemist.
This album did not come without struggle. With the band members spread across three different countries, balancing the demands of touring alongside the reality of full-time careers, we faced constant logistical and personal challenges. Yet every difficulty we encountered reinforced the importance of the concept and the necessity of seeing it through. In the end, realising our vision proved to be more than worth the effort.”
1,795 – Stonetrip – The Fight EP – Other than the short playtime (17:36), I liked this 5-song EP. It sounds super familiar, and I couldn’t quite put my tongue on it, but I think it’s Tesla. So, yeah, if you dig that heavy blues-rock swagger of Tesla, then I’d say give this a spin. BTW, with a band name like “Stonetrip”, I totally thought I was going to get a stoner rock EP. Not disappointed, just something I noticed.
From Eonian Records: “Melbourne hard rock outfit STONETRIP return with The Fight, an electrifying EP packed with gritty riffs, driving rhythms, and powerhouse vocals. Channeling the raw spirit of classic rock while pushing forward with a sharp modern edge, the band delivers songs fueled by tension, resilience, and the determination to rise when the odds are stacked high. Renowned for their high-energy sound and unapologetic rock attitude, STONETRIP continues to build momentum with commanding performances and powerful songwriting.
The Fight captures the band at full throttle, blending thunderous instrumentation with memorable hooks and anthemic intensity. With pounding grooves and a defiant spirit, the EP stands as a rallying cry for anyone facing adversity, proving once again that STONETRIP are a force in today’s rock landscape.”
445 – Gnarwhal – Lucid Machines – Yeah, alright… I can get behind these guys! This band is from deep Canada. Head north and keep heading north into the Northwest Territories (specifically, Yellowknife). They’ve got nothing better to do than bang out fuzzy stoner rock cuts, and I can dig that!
From the band’s website: “Gnarwhal is a heavy alternative fuzz rock band from Yellowknife, Canada, carving out a distinct voice in Canada’s heavy underground. Since forming in 2022, they’ve been crafting a sound that fuses doom, grunge, and progressive metal — gritty, dynamic, and built on massive riffs and raw energy.
Their 2023 self-titled debut album earned a Western Canadian Music Award nomination and helped launch the band beyond the North. In 2024, they followed it up with Altered States, a more experimental EP that pushed their sound into spacier, weirder territory without losing the low-end punch and emotional weight that defines their music.
DIY to the core but driven in their ambition, Gnarwhal has toured across Canada, turning basements, bars, and proper stages into sweat-soaked sonic assaults. Their live shows are loud, cathartic, and rooted in a deep connection between the band and their audience — no frills, no posturing, just riffs and release.
Their second LP, Lucid Machines (March 2026), sees the band sharpen their edge and expand their scope, delivering something both immediate and immersive. From the subarctic to stages nationwide, Gnarwhal are carving their own lane—heavy, hypnotic, and impossible to ignore.”
Missed the Cut (in order by “popularity”*):
82,247,750 – BTS – ARIRANG – BTS is an INSANELY popular South Korean boy band (aka K-pop). As popular as they are, this is my first album of theirs that I’ve listened to, their TENTH! Yeah, I’m not into the whole K-pop scene myself, but I’m glad that I dove headfirst into what all the fuss was about. While I didn’t much care for the album, it was very well-received.
Crazy fact: it’s their first release in nearly four years because… the band went on hiatus so the members could complete their military service. [“…the conscription is defined and acted by the “Military Service Act” (병역법). According to the “Military Service Act” Article 3, “Every male citizen of the Republic of Korea shall faithfully perform mandatory military service, as prescribed by the Constitution of the Republic of Korea and this Act.”]
13,978,770 – Luke Combs – The Way I Am – Well color me surprised! No, not that I liked this country album. That was a total miss… and a bit too long at ~1 hr, 13 mins. The surprising part is that this is his sixth full-length album, yet my introduction to him. Not sure I missed anything, though. Kinda sorta sounds like every other country album to my ears …
318,339 – Ladytron – Paradises – Ladytron is an English electronic / synth-pop band… not my thang, really. Like, at all. Plus, it’s an hour and 11 minutes long. Ooph. Pass. But hey, don’t listen to me. Critics and fans are lovin’ it. Go figure.
165,673 – The Dear Hunter – Sunya – Ooph. This prog-rock band has been hit-or-miss for me throughout the years, but then I really started liking them more and more. However, these last FOUR releases have been dogs. Guess I can take them off my radar now… drats.
126,001 – Poison The Well – Peace In Place – These metalcore legends have returned with their first release in 17 years. I’m not particularly a fan of metalcore – and overall this release doesn’t change my mind – but yeah, there were a couple of happenin’ riffs and tasty musical interludes. That said, I don’t see myself reaching for this album again.
92,826 – Gaerea – Loss – Gaerea is a black metal band all the way from Porto, Portugal. They’re only a decade old, having formed in 2016, but have five albums (and an EP) under their belt already. What did I think of the album? Meh. Kinda sorta sounded like other black metal bands to me.
47,742 – Tyketto – Closer To The Sun – Classic NYC-based hard rock band Tyketto releases their first studio full-length album in a decade. It’s pretty standard (“blandard”) ’80s hard rock, but updated for the aughts. Meh…
15,446 – Jane McDonald – Living The Dream – Jane is an English singer-songwriter, and this is her “ode to country”. While it has that country tinge, it remains firmly planted with pop roots. It’s an album packed with originals and covers. She has a fantastic voice, and it was a great listen. That said, it is not an album I’ll reach for again, nor do I need to follow her for future releases. If they cross my desk, then sure, I’ll give it a spin. Solid for a spin… and great voice!
2,655 – Gutvoid – Liminal Shrines – Canadian death metal band from the great white north, eh. Did not move the needle for me… at all. What’s next on the chopping block?
1,959 – The Silver – Looking Glass Hymnal Blue – Every once in a blue moon, there might be a black / death metal band / album that turns my ear, but for the most part, these releases sound like dog shit to me. This release… has moments. But they’re too few and far between.
528 – Cloud Catcher – Those Were The Daze [2014] – I like Cloud Catcher, but this… was not great. But there’s a reason why! It’s a compilation of tracks from 2013’s ‘Colossus’ EP and 2014’s ‘Rehearsal Demos’, before releasing their full-length album debut in 2015’s ‘Enlightened Beyond Existence’. Catch the band’s latter-year releases, not this rough-around-the-edges pile ‘o garbage.
From their bandcamp page: “Recorded May 2014 in the basement of Seventh Circle Music Collective. This was the OG Cloud Catcher lineup getting stoned immaculate and rehearsing for our first album “Enlightened Beyond Existence” [2015].
Included in this compilation is an unreleased song called “Silverback,” in which some parts would be turned into the songs “Wield The Blade” and “Gemini’s Ascent” from our 2023 album “Return From The Cauldron”.
The recording quality is surprisingly decent given that I just set up a ZOOM H1 Handy Recorder in the room…
Anyway, enjoy this brief snapshot of a time in our lives when we were young… things were carefree, fresh, and hazy as fuck.”
467 – Egregore – It Echoes In The Wild – Here we have another death/black metal band, this time from the dark dankness of Pittsburgh, PA. Needless to say, I’m still not a fan of (most) dm/bm bands, so I gotta pass.
290 – Radian – Subterfuge – Doomy sludge metal release that’s pretty solid… but it’s also an album that I won’t reach for again. Perhaps I’ll keep one eye on them… they might grow on me.
Addendum (in order by “popularity”*) – Albums that were released earlier in the year (or previous years) that I missed, but are worth mentioning, anyhow:
2,258,969 – Pet Shop Boys – Dreamworld – The Greatest Hits Live (2 CDs / Blu-ray) – [February 27th, 2026] – PSB are dance-y synth-pop legends! That said, as big as they were (and still are), I’ve never been much of a fan of the band. During the set, the band mentioned that this was literally a GH tour, and the only songs they played were singles that the band had released throughout the years.
While the album ran for close to two hours, I (sadly) only recognized four songs: ‘West End Girls’ (of course!!), ‘Opportunities (Let’s Make Lots Of Money)’, and two covers (which they did release as singles) – the double-whammy of ‘Where The Streets Have No Name’ (U2) which segues into ‘I Can’t Take My Eyes Off You’ (Franki Valli), and ‘Always On My Mind’ (I thought it was Elvis Presley/Willie Nelson, but the songwriters are Wayne Carson, Johnny Christopher, and Mark James, with the song first recorded by Brenda Lee (1971), released by Gwen McCrae (1972), followed up quickly by Elvis (1972), Willie Nelson (1982), and then the Pet Shop Boys (1987)).
I did enjoy the in-between song banter, describing how some of the songs came about, and I also enjoyed listening to the album… but it shan’t be anything I reach for again. PSB’s ‘Dreamworld – The Greatest Hits Live’ tour ran for four years, consisted of eight legs and 110 shows across five continents. MASSIVE!
550,546 – Sodom – Get What You Deserve [Expanded Deluxe Edition – 1994] (4 CDs) – [February 27th, 2026] – Sodom is a classic (since 1982!) German thrash / speed metal band that’s hit-or-miss for me. This release, unfortunately, sees the band swinging at a ball that landed in the dirt about 15-20 feet from the plate… ooph.
Nearly THREE hours of their 1994 album (their sixth full-length by that time!). The recording leaves A LOT to be desired, but especially by the time you get around to the live tracks. Rough, raw, ugly as sin… but hey, again, these guys do have some real barnburner albums out there. This ain’t one of ’em.
Disc one is the original 1984 album remastered, disc two is the original album remixed, disc three contains the ‘Aber Bitte Mit Sahne!’ EP (remixed and remastered), and disc four sees the band live in Frischborn, Germany, 1993.
30,696 – E L U C I D – I Guess U Had To Be There – [March 13th, 2026] – Rap album that didn’t do much for me. There were a few tunes that were your standard rap fare, but several tracks were more in the experimental rap category. Some weird, wild shit. But overall, meh…
3,028 – cootie catcher – Something We All Got – [February 27th, 2026] – cootie catcher? C’mon, man, hahaha! This Canadian lo-fi indie/twee-pop band formed over COVID-19, but methinks the world would be better off if they didn’t. This album is in contention for worst release of the year. Yes, it is THAT bad!
1,085 – The Legal Matters – Lost at Sea – [February 27th, 2026] – What a delightful album! I dunno why, but I was 1000% thinking it was going to be hot trash. They’re a Michigan-based indie power pop trio whose voices melt together as one unifying voice… and it’s brilliant and beautiful. New band to add to the roster!
From their bandcamp page: “Big Stir Records is delighted to announce the release date for the new album from Michigan indie pop all-stars THE LEGAL MATTERS. The band’s fourth full-length record (and their first for BSR), LOST AT SEA, will see worldwide release on Vinyl, CD, and streaming on February 27. Already previewed by the indie hit single “Everybody Knows” with “The Message” soon to follow, the album is a triumph of sharp hooks, songwriting, and performances, even by the high standards set by the band on their acclaimed previous albums.
It’s become traditional to refer to THE LEGAL MATTERS as a “midwestern power pop supergroup,” but they’ve long since transcended that label. It’s true that when the band formed in 2013, KEITH KLINGENSMITH, ANDY REED, and CHRIS RICHARDS were already key players on the Michigan scene, with a combined pedigree encompassing beloved bands like The Phenomenal Cats, An American Underdog, and Richards’ ongoing solo career with The Subtractions. But they’ve undeniably become a force of their own, and more than the sum of their parts, over the course of releasing three of the most celebrated indie pop albums of recent decades: their self-titled 2014 debut, 2016’s CONRAD (one of the few albums by emerging artists to be backed by reissue powerhouse Omnivore Recordings), and 2021’s CHAPTER THREE. All three garnered critical praise and berths on Year’s Best Albums list across the indie pop world from Popdose and MusicTAP to the UK’s I Don’t Hear A Single and beyond, and the list of classic artists artists referenced in those glowing notices – Big Star, Badfinger, Teenage Fanclub, Fountains Of Wayne, Crowded House – does provide some idea of what to expect. What sets THE LEGAL MATTERS apart, though, is the magic of their chemistry as songwriters, harmonizing vocalists, and players.
If the spark of three world-class creators pushing each other to ever greater heights is what’s fueled the band’s ascent, fans can expect an even deeper level of collaboration to shine on LOST AT SEA. The title, to be clear, is what RICHARDS calls “a fitting comment about our current political state” rather than a self-assessment of the band, who are, if anything, more on course and full-steam-ahead than ever before. In fact, a more communal creative approach was part of the goal for the writing and recording sessions that yielded the ten glorious tracks that make up the album. “We wanted to approach this one in a different way,” says RICHARDS. “The idea was that each of us would bring in an idea, riff, concept, or lyrical hook and build the song together as a group, as opposed to demoing fully realized songs. As a result, Lost at Sea is easily the most collaborative record in the Legal Matters canon.”
Fans have already heard one sterling example of the strategy on the lush, heartfelt lead single “Everybody Knows,” which also serves as LOST AT SEA’s opening track. With its yearning lyrical and instrumental nods to the music that inspires and unites the trio (Badfinger being a key touchstone), it just might be the quintessential LEGAL MATTERS song, but they’re just getting started. “The Message,” next in both the track sequence and on the singles release schedule, ratchets up the tension and addresses some of the cultural unease alluded to by the album title. Also slated to hit the airwaves and streaming services in advance of the album is “It Doesn’t Matter,” which Reed calls “our rockiest tune” and Richards labels “one of the more anthemic tracks we’ve ever gone for.” Combining a Spoon-inspired riff cooked up by Reed with a chorus from Richards and lyrics primarily crafted by Klingensmith and ultimately evoking Split Enz at their best, it’s emblematic of the alchemy the band have achieved on LOST AT SEA.
Those tracks are just the tip of the album’s iceberg (to extend the nautical metaphor of the title). The band’s renowned harmonies have never sounded better, and with the remarkably versatile Donny Brown returning from the Chapter Three sessions to handle all the drumming, there seem to be no limits on THE LEGAL MATTERS’ collective ambitions. “Shake This Feeling” finds them in cinematic, Jimmy Webb/Glen Campbell territory, while “Temporary Thing” melds touches of rootsy country to classic pop with just a touch of noirish mystery. Future single “Let Me Explain” goes full-on Abbey Road to jaw-dropping effect, while the pitch-perfect pop of “Stuck With Me” is front-to-back harmonies, inspired in equal parts by The Kinks and XTC (but pure Legal Matters in execution).
LOST AT SEA closes with a trio of tracks that continue to reveal both its depth and diversity of musical textures. “Marching On” takes another eagle-eyed look at the needlessly fragmented cultural landscape of today, its ever-shifting arrangement and surging tempo building a tension that matches the urgency of its subject matter. The controlled chaos of its climax dovetails into the stripped-down beauty of “Slow Down,” a ballad that evokes the most tender moments of Big Star. And the record concludes with “The Exit Signs,” an ornately arranged retro-pop masterpiece and prime example of the band’s unique modular approach to writing on the album. “It has all of our influences in one track. It’s a great way to wrap up the LP,” says Reed, while Klingensmith cites it as his favorite of the new tunes.
Those who have followed THE LEGAL MATTERS since the beginning will find everything they love about the band on LOST AT SEA, while recognizing it as a major leap forward on their collaborative journey. For lovers of the hooks and harmonies that define the classic pop and power pop sounds who’ve somehow missed the band until now, it’s an introduction to one of the finest practitioners on the modern indie rock landscape. The songs of the record tap into the whole of pop-rock history, add keen observations that speak to life in the present day, and add up to a work that genuinely deserves to be considered timeless. Big Stir Records is proud to welcome THE LEGAL MATTERS aboard as they continue to push that legacy forward.”
398 – Cemetery Reign – Confined To Time – [February 27th, 2026] – Cemetery Reign is a death metal solo project headed by David McMaster. Rough, raw, and ugly. What more could ya want?!
244 – Deeper Graves – Pull Me Toward Dark – [February 27th, 2026] – Sort of a mixed bag of experimental, ambient, and shoegaze. I enjoyed it more than I did more than their last release, 2022’s ‘The Colossal Sleep’, but it’s still a miss.
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:
25,666,304 – Charlie Puth – Whatever’s Clever!
22,468,478 – Melanie Martinez – Hades
3,358,545 – RAYE – This Music May Contain Hope
1,870,146 – Black Label Society – Engines Of Demolition
1,706,718 – Dermot Kennedy – The Weight of the Woods
1,245,545 – José González – Against The Dying Of The Light
1,106,123 – Seafret – Fear Of Emotion
904,229 – Robyn – Sexistential
495,184 – Suzi Quatro – Freedom
265,377 – Don Broco – Nightmare Tripping
212,461 – The New Pornographers – The Former Site Of
105,402 – Flea – Honora
73,014 – Hellripper – Coronach
25,586 – Saint Agnes – Your God Fearing Days Are About To Begin
3,622 – Godsticks – VOiD
2,280 – Butler, Blake & Grant – Murmurs
1,825 – Yelena Eckemoff – Rosendals Garden
1,783 – Monsternaut – Approaching Doom
23 – Carnivore A.D. – Transmutation 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 purple 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
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