One Louder Magazine… RESURRECTED!

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

Greetings all y’all rock ‘n rollers, ’tis Thursday once again, time for the weekly blog!

First things first – what in the what is happening with the blog? It looks… quite different from how it did previously. Yes, my astute readers, as stated previously, I’ve been playing around with different themes and such. This might be it, though. Big, easy-to-read text, black text on white background. Please let me know if you’d like me to continue playing around with themes or if this is a big weiner.

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My good friend Dan and I went to a show Saturday night that was, as my buddy Mike put it, “loose and groovy”. Mike is none other than Mike Inez, bassist of Alice In Chains. With the billions of friends that he has, I have no idea how he still recognizes me when we only see each other every couple of years, but alas…

Anyway, the show was called: Amplify Courage – A Concert For School Bullying Prevention. It was just a one-off, no tour or anything like that.

The lineup was headlined by Heart’s Nancy Wilson, with the following also on the bill: Brent & Zach of Shinedown fame, Chris Ballew (Presidents of the United States of America, Caspar Babypants, solo), Ayron Jones, and a handful more… Local comedian Craig Gass emceed the event.

The show was “loose and groovy” due to it being a one-off. Craig Gass came out, told a few jokes, and then introduced the first band. For the first half hour or so, it was like one band came out, played a song, then left. Someone from Stand For Courage –  “a nonprofit organization that empowers students to build a bystander culture that stops bullying” – would then come up, say a few words, and introduce the next artist. Like, seriously, the first 5-6 artists were all one-offs. One song, then done.

Everything was backlined and had a (mostly) house band (of bad-ass musicians, no doubt), but musicians would switch around depending on who the artist on stage was. That attributed to the “loose and groovy” feel, as well.

They finally got to local stud Ayron Jones, who is just lighting up the charts. I loved 2021’s ‘Child Of The State’ and 2023’s ‘Chronicles Of The Kid’ and was looking forward to his set. Well, that was a bummer. He got two songs.

Following Ayron Jones was another local stud in Chris Ballew. He was listed as “Caspar Adultpants,” which Chris said is “Caspar Babypants for drunk adults.” He played two Caspar Adultpants songs, the classic ‘Peaches’ by POT-USA, and a banger of a cover in Nirvana’s 1990 track, ‘Sliver’ (“grandma take me home, grandma take me home, grandma take me home, grandma take me home”)… so awesome! Four songs, up, down, you’re done.

Next up on the chopping block were Brent and Zach of Shinedown. Now, I know how big a deal Shinedown is. They are MASSIVE and have a wide appeal. You could even hear it in the crowd. Their fans are nuts! That said, they’re not my favorite band. They are hella talented, and dude’s voice is amazing, but I am just not into the songs. What I did like about their set, though, was that we were treated to something very special. About eight months ago, they headlined a sold-out Climate Pledge Arena (capacity roughly 17k-18k). Those fans were treated to the “rock ‘n roll” experience.

What Dan and I experienced, though, was a much more intimate experience in the roughly 1800-seat Moore Theatre. They came out on stage, acoustic guitar and two mics. They said that they didn’t have a “set list” (i.e., “loose and groovy”), so their fans just started shouting songs at them, hoping that their requests would not go ignored. We were treated to five songs by the band. Four of them by Shinedown, and the last one, a cover: Brent said that they would never, ever, ever think about doing this song live except that it was requested by one of the people who put the event together. That cover song? The inimitable ‘Unchained Melody’. No other Shinedown fan will get that experience.

Finally, the headliner: Nancy Wilson! Seven songs, mostly unfamiliar except for two absolute classic bangers that sounded savage live. I’m talking, of course, about Heart’s ‘Crazy On You’ (I literally just got goosebumps writing that – I LOVE that song!!) and ending the set (and show) with a rousing rendition of ‘Barracuda’.

What I especially loved about those two Heart classics is that they had vocalist Liv Warfield out singing them. Now, I first heard Liz when she covered Alice In Chains’ ‘Put You Down’ back in 2020 for AIC’s MoPOP Founders Award. If interested, check it out here. The lineup here is Ryan Waters, Jeff Fielder, Ben Smith, and Andy Stoller, all musicians who played at the Amplify Courage concert, as well.

So six years later, I get to hear Liz absolutely bang out two Heart classics… and she crushed it. I love her voice! So I just watched ‘Crazy On You’ from the other night. The recording leaves a little to be desired, but I believe you can hear how powerful a voice that Liv has. It looks like 72-years-young Nancy is having the time of her life, too! If interested, ‘Crazy On You’ from the other night. …and ‘Barracuda’. JFC, Liv’s voice just kills me, so good!! Fun fact: Liv sang with Prince and the New Power Generation (2009-2014).

After the set ended, Dan and I headed downstairs to attend the VIP After Party. Caught up with Inez for all of, maybe, two minutes. He said that he and his wife were headed back to the hotel. Regardless, it’s always good to see dude, whether it’s for two minutes or two hours. Hung out for a few more minutes, when my good friend, rock ‘n roll photographer, Neil Lim Sang, swung by. First thing he said, “Dude, this place cleared out FAST, there’s no one here!” …and he was right.

But get this… BONUS X2: the doors were at 6, the show at 7. That’s usually an hour later. Plus, it ended at 10, YES! Bonus number two: because it wasn’t “just all music”, the crowd sat for the entire thing except for a few standing ovations. Ahhhhh, my feet thank you!

Ok, fine, here’s another fun bonus to make it the trifecta: I was standing in line at the box office and felt a tap on my shoulder. Look over, and it’s my neighbor, Marius! She and her family live right across the street from us… an hour north of the city. Had I known, we could’ve carpooled, ha!

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Hey, how ’bout them astronauts on Artemis II, huh? How rad is it that we sent humans the furthest distance from Earth for the first time in history?! Dude, that is hella exciting! These are a couple of my favorite photos from the excursion.

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So this week’s AOTW came as a pleasant surprise to me. It’s Corrosion Of Conformity’s latest, a double album titled ‘Good God / Baad Man’. As stated by COC, “Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope.”

I mean, sure, I’ve always loved the band… I was confident that I would like it and that it would easily land in the Honorable Mentions pile… but AOTW?! I’ll need to spin it again – like a thousand times more – but I think it might be badass due to drummer Stanton Moore. Perhaps Inez said it best: “loose and groovy”. It really is. Killer album. Enjoy!

😁 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** – April 3rd to April 9th, 2026:

345,212 – Corrosion Of Conformity – Good God / Baad Man (2 CDs)

In a word, wow. I wasn’t sure anything would ever top 1994’s ‘Deliverance’, but this release gives it a run for its money. Six minutes over an hour, but it could’ve kept going. A mixture of metal, punk, and, why not, a touch of doom/sludge. COC has released excellent albums for decades, but, man, this one really sounded inspired and exciting. I might proffer that it could be due to new/old COC drummer, Stanton Moore. Stanton played on COC’s 2005 release ‘In The Arms Of God’ (replacing drummer Reed Mullin). Reed Mullin returned to the fold until his death in 2020. Twenty years later, and Stanton Moore is behind the kit once again… at least for the album if not the tour. He has a groove, a swing-type feel to his playing, which makes the latest release from COC sound fantastic! This is a winner. A big winner.

From Earsplit PR: “Much has gone down in the CORROSION OF CONFORMITY universe since their last album smacked us upside the head. Back in 2018, when No Cross No Crown dropped like a rock ‘n’ roll atom bomb, the tried-and-true CORROSION OF CONFORMITY lineup of Pepper Keenan (vocals, guitar), Woody Weatherman (guitar), Reed Mullin (drums), and Mike Dean (bass) was still going strong. Four brothers united in a decades-long history kicked off by a roving pack of teenage punks in Raleigh, North Carolina, circa 1982.

CORROSION OF CONFORMITY’s first four albums left a permanent mark on headbangers, longhairs, and street punks everywhere: Underground classics Eye For An Eye (1984) and Animosity (1985), followed by slightly more overground bangers Blind (1991) and Deliverance (1994). By the time CORROSION OF CONFORMITY carved off No Cross No Crown nearly a quarter century later, they were legends in their own time, revered by two generations of punk, metal, and rock fans.

Then tragedy struck: In January 2020, Reed Mullin left this earthly plane. It was a devastating blow, both personally and professionally. How do you replace a brother? You can’t. All you can do is soldier on in his memory. Which is what the rest of CORROSION OF CONFORMITY did – until COVID-19 shut down the globe. Then Mike Dean decided to go his own way. It was an amicable split, but it left Pepper and Woody to contemplate their next move. They hunkered down at Keenan’s place in Mississippi, listening to all the music they love. Discharge. ZZ Top. Motörhead. Neil Young. Black Sabbath. You know: The good stuff.

They started writing. They didn’t stop; not for a long time. In fact, they composed a massive double album. “As we went on, we had such a crazy plethora of songs, it was almost like two different directions,” Pepper says. “We knew we had to split it into two different albums. Then we came up with this concept.”

The concept happens to be the title of the record. It’s called Good God / Baad Man. “Our producer, Warren Riker, kept calling it Dark Side Of The Doom,” recalls Pepper. “In my head, it’s a weird love letter to all things rock ‘n’ roll. We used that for the freedom to go in different directions. Each album is its own tiny universe and has its own identity. Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”

They brought in drummer Stanton Moore, who played on CORROSION OF CONFORMITY’s 2005 album, In The Arms Of God. They brought in bassist Bobby “Rock” Landgraf, who did time with Pepper in New Orleans heavyweights Down when he wasn’t terrorizing the locals in his own band, Honky. “With a lot of these songs, we’re trying to make Reed Mullin proud,” Pepper says. “He was a badass, and a one-of-a-kind drummer. And the stakes were high.”

The band’s first preview of this mammoth offering comes in the form of lead single, “Gimme Some Moore.” The track features backing vocals from Ministry’s Al Jourgensen and Madonna guitarist Monte Pittman. The hook of the song is, “Struggle is worth the fight/Leather, chains, and spikes.” “Me and Woody wanted to write a song as if we were 17 years old again,” Pepper explains. “We even made a seven-inch for it.” Said seven-inch, released during their Mexico/South American tour last month, is an early ‘80s punk throwback, complete with a black and white photo collage and a Fear cover on the flipside. It’s a ripper. The video for “Gimme Some Moore” was filmed by Mike Holderbeast and directed by Pepper Keenan.”

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

4,013,235 – Bon Iver – Volumes: One Selections From Music Concerts 2019-2023 6 Piece Band

Bon Iver is the name of an indie folk band led by singer-songwriter Justin Vernon. I have been lukewarm with (many of his) previous releases, but this live album was excellent, and I look forward to hearing more.

From amazon: “VOLUMES: ONE, the first non-studio release from Bon Iver, captures 10 distinctive live performances, recorded between 2019 and 2023, showcasing Justin Vernon and his band at their most whole. There’s a warmth and exuberance across the album, as well as the sort of muscular sound you can really only get at a live show. For the uninitiated and die-hards alike, these recordings could well be the defining versions of the tracks, no doubt made possible through the essential live engineering of Xandy Whitesel and performances from bandmates Jenn Wasner, Sean Carey, Michael Lewis, Matthew McCaughan, and Andrew Fitzpatrick.

Vernon began working on VOLUMES: ONE in 2020, and he spent a considerable amount of time combing through concerts to pull out the right songs to define Bon Iver. “This is what we became,” Vernon comments. “This is really us at our best. This is it.”

VOLUMES: ONE, as a result, is something greater than a compilation or live album. It’s entirely new but still familiar, offering a prismatic look at an old friend, seeing them for who they were and who they are, all the goodness of which they’re capable but maybe too shy to show at times. With VOLUMES: ONE, Vernon begins a new Bon Iver archival series that he’s modeled after Bob Dylan’s iconic Bootleg Series and the ever-delivering Neil Young Archives. The series will present the many eras and facets of Bon Iver, spanning live shows, demos, unreleased recordings, and more. “This particular 10 songs is like, here, if you’ve never heard Bon Iver, or you have and you didn’t like it, this might be for you,” he says. – Matthew Strauss”

2,189,921 – America – America Live At The London Palladium (2 CDs / DVD)

Oh man, America (the band) is fantastic! Starring original band members Dewey Bunnell (vocals, guitars, percussion) and Gerry Beckley (vocals, keyboards, guitar, bass, harmonica), their brand of soft rock is classic. Nearly 50 years as a band, they had never played the London Palladium… until now! They put on a fantastic live show, as well.

From Antone’s Records: “AMERICA Live At The London Palladium America, the band that is, will have been together for half a century next year. Their signature song, A Horse With No Name, in many ways sums up what the band are all about: close vocal harmonies, acoustic guitars, and – if I may misquote Pete Atkin – a journey through “mythical America” and a vaguely rural ethos.

A Horse With No Name was their first international hit, and was taken from their debut album, a self-titled record which came out on Warner Brothers in 1971. Since then, there have been over thirty more records, but the one that I want to talk about today is a very special live album, recorded on stage at one of London’s most iconic venues.

The combination of Beckley’s melodic pop-rock and Bunnell’s slinky Latin-leaning rhythms has proven that America’s sound can transcend borders with their uplifting music and positive message.”… and this release serves as an invaluable document of an extraordinarily transcendent evening of peerless music.”

321,004 – DIR EN GREY – MORTAL DOWNER

Japanese metal band that formed in the late 1990s releases another solid, kick-ass album with their trademark Japanese screams and killer guitar work throughout. I love this band, but they’re not for the faint of heart!

269,619 – Robin Trower – Robin Trower Live [50th Anniversary Edition – 1976]

My God, Robin Trower has to be considered one of the undisputed kings of blues-rock. Great tone, great phrasing, been listening to RT for quite some time now. Disc one is the original live album remixed and remastered, plus with ALL songs played at the show, not just the ones on the original 1976 live release. Disc two is the original 1976 album left as-is.

From Rough Trade Records: “Originally released in 1976, Robin Trower Live! captured the raw power and expressive artistry of the former Procol Harum guitarist in his golden period as a solo artist. Now, for the first time ever, fans can experience the complete concert as it was performed — newly mixed and restored from the original multi-track tapes for this definitive 50th Anniversary Edition.”

125,517 – Trey Anastasio – Live and Acoustic (2 CDs)

I’m not really a fan of Phish, but Phish guitarist/vocalist Trey Anastasio’s solo stuff is right up my alley. Dude is just a great songwriter, great musician, nice voice… I’d usually complement Trey on his rippin’ solos, too, but with this live release, he takes a step back, puts away the electrics, leaving just acoustic and voice (and occasional piano). Really nice!

From Trey’s website: “Trey’s new album, Live and Acoustic, is a new collection of stripped-down performances captured last year on Trey’s sold-out 2025 Spring Acoustic Tour. Produced by Vance Powell and featuring longtime collaborator Jeff Tanski on keyboard, Live and Acoustic arrives via Rubber Jungle Records on Friday, April 3, on digital platforms.

Live and Acoustic captures Anastasio in his most intimate and revealing form, drawing from across his four-decade career, including such beloved songs as “Stash,” “Waste,” “Divided Sky,” and “Pebbles and Marbles.” The 22-song collection highlights the depth of Anastasio’s songwriting and the emotional core of each composition, with select arrangements enhanced by Tanski’s piano. Live and Acoustic offers a rare, front-row perspective on Trey Anastasio’s ongoing body of work thus far – unfiltered, expressive, and deeply personal.”

84,936 – Cactus – Temple Of Blues II – All-Stars

Wow, Cactus. I didn’t know they were still releasing albums. So Cactus have been around since 1969 and were pretty big at the time doing their blues-prog-rock thing. This album sounds somewhat like the same thing, but “older”… you know, dudes who are 50+ years older now than they were then and playing similarly to how they did over five decades ago? It’s pretty good and STACKED with guest artists such as Eric Gales, Billy Sheehan, Ty Tabor, Pat Travers, dUg Pinnick, Bumblefoot, Steve Morse, Joe Lynn Turner, Derek Sherinian, Tony Franklin, Rudy Sarzo, Alex Skolnick, Dee Snider, Tracii Guns, Ted Nugent, Bob Daisley, and… MORE!

From amazon: “America’s Led Zeppelin returns with a thunderous sequel that expands the raw blues-rock vision of 2024’s Temple Of Blues with even more fire, swagger, and authority! Original Cactus drummer Carmine Appice anchors the album with his unmistakable power, groove, and feel, driving every track and reaffirming his status as one of the most influential drummers in rock history! Fan-favorite contributors to the original TOB are back as well, including Ted Nugent, Billy Sheehan, Bumblefoot, Dee Snider, and Pat Travers, joined by an all-new wave of heavy hitters, including Steve Morse, Eric Gales, Tracii Guns, Joe Lynn Turner, Rudy Sarzo, Alex Skolnick, and a whole lot more!”

59,327 – Nick Swardson – Toilet Head

I dig Nick Swardson’s style of stand-up comedy – storyteller. Funny guy! Mostly triples and homers, but there were a couple of lulls.

52,715 – Chris Tapp & The Cold Stares – Green

This is what I’ve said about previous releases from The Cold Stares: “Nothing fancy, just a solid rock ‘n roll album. They’ve been compared to “Led Zeppelin meets Free, Soundgarden meets The Black Crowes.” Yeah, I can get behind that comparison. Gonna continue to keep my eyes and ears peeled for future releases!”

Chris Tapp is the singer, songwriter, and frontman of The Cold Stares, and this is his first solo album. That said, it’s more subdued than The Cold Stares, with just vocals and guitar… but make no mistake. It’s still as solid as TCS. I hope Chris releases more solo albums!

32,397 – Green Carnation – A Dark Poem, Part II: Sanguis

It’s a Christmas Miracle… again! They play smokin’ prog-metal that is <chef’s kiss>. I have been looking forward to this release for some time and can’t wait to hear the third, and final, part! Caught these guys at a small club (Studio Seven, Seattle, RIP) on March 9th, 2006, with something like 30 people there. They delivered more than I thought they would… such an incredible band with incredible albums. Then the band promptly went on hiatus for 14 long years… but they’re back with the second part of a trilogy (although I sincerely hope that they stay around longer than just the trilogy).

From their bandcamp page: “Had GREEN CARNATION never returned from hiatus, the Norwegian bards would always be remembered for completing one of the most ambitious individual epics in metal’s historic archives. However, there was one tale — or three, to be exact — that eluded them for more than three decades. Now, after reaching crushing new highs during its opening chapter, they’re descending into deeper, darker, and more personal depths with part II of ‘A Dark Poem’.

If ‘The Shores of Melancholia’ set sail from a familiar place of melancholy, then ‘Sanguis’ opens with GREEN CARNATION far out at sea, fighting to stay afloat against the storm that’s raging in their minds. Over the course of nine minutes, the album’s epic title track vows to forgive and forget familial wreckage, washing away the bloody stains of the past with impassioned cleans and a chorus that radiates conviction — only for a traumatic memory to come flooding back during its doomy coda. The newfound heaviness from the first part of ‘A Dark Poem’ continues to age like a fine wine, balancing sweet, meaty riffs with an underlying bitterness. “I Am Time” demands immediate recognition with a guitar melody that winds like the winds of change. But part II reveals the band at their most raw, with ballads that unfold with the grace of a wilted flower.

“The end justifies the means, you’ll see”, Kjetil Nordhus sings with an eerily quiet confidence. As its final tale seeps beneath the moonlight, ‘Sanguis’ leaves fans hanging in suspense over where this trilogy will end.”

9,131 – Zachary Baker – Dark Horse

‘Unlikely Cowboy’ is right! Zachary Baker is “Zacky Vengeance”, the guitarist of rock band Avenged Sevenfold, and this is his first solo album. Instead of the fiery rock ‘n roll that he’s typically used to, Zachary heads into dark country meets Americana territory. As you well know, I’m typically not a fan of country – and I won’t be listening to this album again – but (1) I applaud his efforts for writing/recording in a genre that isn’t his day job, and (2) it’s actually much better than anticipated, as he adds a little rock ‘n roll to sizzle up some of these country-tinged barnburners.

From his website: ““The beauty is in the imperfections,” solemnly proclaims Zachary Baker, the unlikely storyteller better known around the world to fans as Zacky Vengeance, founding member and guitarist of the multi-platinum rock band Avenged Sevenfold.  Peel back the layers, and you will find the punk rock kid forged into a man by a million-mile journey: a tale that begins with a slightly out-of-tune guitar and a burning desire to voice his truth.  

Trading distortion for dust and grit, Baker carves out his own lane in the alt-country landscape. Driven by his restless spirit and the outlaw heroes that inspired him, you will find a raw sermon of honesty.  His upcoming solo debut, Dark Horse, blends poignant storytelling with Americana influences, signaling a striking evolution from his hard rock background into a songwriter stepping fully into his own.”

7,113 – Sun Don’t Shine – From Birth To Death

Said this about their 2025 debut, the ‘Coming Down’ EP: “Here’s another brand-new supergroup featuring vocalist/guitarist Kenny Hickey (Type O Negative, Silvertomb), guitarist/vocalist Kirk Windstein (Crowbar, Down), bassist Todd Strange (Crowbar, Down), and drummer Johnny Kelly (Type O Negative, Silvertomb). Only four songs and a run-time of 17:53, but I loved it! It sounded like a doomier/sludgier version of Alice In Chains. Can’t wait for the full-length to arrive in early 2026!”

Well, the full-length is here, and it is much appreciated! It’s the band’s 2025 EP debut… expanded to include several new songs! Doomy/sludgy AIC-heads unite!

From Revolver: “The debut full-length from Sun Dont Shine, featuring Kenny Hickey, Johnny Kelly, Kirk Windstein, and Todd Strange — members of Type O Negative, Crowbar, and Down. From Birth to Death delivers punishing riffs, bleak atmosphere, and unfiltered emotion, drawing from decades of influence across doom, sludge, and heavy metal. The album confronts themes of conflict, endurance, and the human condition with a sound that’s massive, deliberate, and uncompromising.”

6,508 – zakè & Ian Hawgood – Repetitioner Suite I & II

Super-minimal, ambient, soundscape-y drone. Really nice, beautiful, mellow stuff!

From the bandcamp page: “Debut collaboration between zakè (Past Inside the Present) and Ian Hawgood (Home Normal). ‘Repetitioneer Suite I & II’ contains two monolithic drone pieces sourced from mellotron and tape textures. Tape goo will keep us together.”

1,626 – Fernando Perdomo – Clouds 4

I can’t get enough of Fernando, and that’s a good thing since dude is incredibly prolific. He released an album every month in 2025 called the “Wave” series. Now we’re onto 2026 and the “Clouds” series. As usual, it’s packed with tasty all-instrumental guitar shred… that’s mellow. Diggin’!

97 – Bronco Forte – Lightning Scars

Bronco Forte is a Los Angeles-based stoner/desert/fuzz rock band. They’re good – beefy riffs, decent vocals, et al – but they ain’t great. Definitely a band to keep my eyes on, but not get overexcited about… but hopefully they’ll grow on me in the future.

From Metal Injection: “After decades of desert doom retreads and overworked sludge aesthetics, Bronco Forte arrive with a clear-eyed reminder of what heavy rock was built on: driving riffs, unforgettable melodies, and songs that actually stick. The Los Angeles quartet’s debut full-length album, Lightning Scars, lands April 3, 2026, and it feels less like a nostalgic exercise than a necessary course correction.

Rooted in the stark power that once made bands like Kyuss, Alice In Chains, and Soundgarden generational touchstones, Bronco Forte strip heavy rock back to its essentials. The result is an album that’s thick with grit and groove but sharpened by pop-minded hooks, smart arrangements, and emotionally grounded songwriting.

After years of quiet preparation, Lightning Scars introduces Bronco Forte as a fully realized force. The record chronicles uncertain lives lived across California’s cities and open spaces, following ordinary people trying to hold onto their integrity as the world shifts beneath their feet. There’s a literary weight to the lyrics, but it’s balanced by kitchen-sink realism — stories that feel lived-in rather than mythologized.

Musically, the band thrives on contrast. The riffs are deep, dirty, and swing hard, locking into grooves that demand physical response. Song structures are thoughtful without ever feeling overwrought, and the band’s strategic use of vocal harmonies adds a striking melodic brightness that cuts through the album’s swampy low end. It’s heavy rock that knows when to hit hard — and when to let melody do the damage.

At the center is guitarist and vocalist Chris Klepac, whose focused songwriting and poignant delivery anchor the record. His approach meshes seamlessly with the energetic riff work of guitarist Sako Injaian (All Hail The Yeti), creating songs that feel both muscular and immediate.

The rhythm section — bassist Jen Glomboski (White Forest) and drummer Geoff Summers (Batillus, A Storm Of Light) — provides a rock-solid foundation, locking the band into a relentless forward drive that mirrors the endless concrete sprawl of Southern California itself.

Lightning Scars was tracked and mixed by Kevin McCombs (Linkin Park, Story Of The Year) at the legendary Steakhouse Studio in North Hollywood — the same room where Queens Of The Stone Age recorded Era Vulgaris. Mastering duties were handled by heavy rock specialist Nick Townsend (Alice In Chains, Frankie And The Witch Fingers), who cut the album to lacquer on his personal lathe, adding an analog weight that perfectly suits the material. Artwork from Kevin “fetusK” Bernier (Intronaut, Prosthetic Records) completes the album’s stark, tactile presentation.”

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

1,706,718 – Dermot Kennedy – The Weight of the Woods

Dermot is a wildly popular Irish singer-songwriter within the folk, soul, and pop world. I can totally hear why he’s amassed a wide fan base. Great voice, great, triumphant songs… yet something’s missing for me. I can’t put my finger on it, but it’s a pass for me.

1,608,398 – Thundercat – Distracted

Not bad, but not what I was hoping for… It’s listed as jazz, funk, soul, and R&B. I was thinking / hoping it would be that classic ’70s-era style– and it is-ish; sounds like he’s trying (hard) to sound like Stevie Wonder – but it’s more 21st century electronica versions of jazz, funk, soul, and R&B. It’s good, I suppose, but not great. Bad? No. Disappointed? Yeah, a little…

733,056 – Good Kid – Can We Hang Out Sometime?

This album contains a huge helping of hell no with a massive side of not today. They’re a Canadian-based indie pop/rock band… and amongst one of the worst ones I’ve ever heard. But, hey, they’re wildly popular. Go figure, ha! In the silver lining department, I only suffered for 25:39. But even that might’ve been too much.

657,190 – Arlo Parks – Ambiguous Desire

Anaïs Oluwatoyin Estelle Marinho (bka Alo Parks) is an English singer-songwriter rooted firmly in the R&B world. While it’s nothing I’ll spin again, I thought it was enjoyable. Certainly good enough for at least a single listen, if nothing else!

462,239 – Charley Crockett – Age Of The Ram

I am not a fan of country music, but I thought this release from Charley Crockett was pretty decent. It had some blues and soul mixed in that gave it a little flavor. Nothing I’ll reach for again, but I wasn’t as dismissive as I usually am with country albums.

419,021 – Bruce Hornsby – Indigo Park

Pianist-vocalist singer-songwriter Bruce Hornsby is great, has done a TON of things… this isn’t a “bad” album, per se, but rather one I won’t listen to again, which is why it’s here. While I may be lukewarm with his latest release, I do like the story behind the album (read ahead) and love that he’s 71 years young and still out there writing and releasing new albums!

From amazon: “Bruce Hornsby’s newest album, Indigo Park, is a concept album of sorts, an extended multi-dimensional inquiry into the nature of aging and memory, often with a lightness of tone – the ways certain scenes linger placidly while others balloon into imagined catastrophe, the ways we remember and the ways we forget. Throughout, Hornsby contemplates moments from his deep past, sometimes trying to “resolve” them, other times looking for clues about his present-day outlook.

“It’s just an old bastard looking back, while hopefully pushing forward to adventurous and new musical & lyrical areas,” Hornsby says of his new songs, with a smile of characteristic self-deprecation. “To be honest, I’ve found a way, a path to… grow old gracefully, with help from some newborn friends of mine.”

The album is produced by Tony Berg, Will Maclellan, and Bruce Hornsby with contributions from friends including Bob Weir, Ezra Koenig of Vampire Weekend, Bonnie Raitt, Blake Mills & more. Two of the album’s ten songs were co-written with the late Grateful Dead lyricist Robert Hunter.”

212,897 – Paul Cauthen – Book Of Paul

Paul sings outlaw country, and as a non-country music fan, it was a swing-and-a-miss. I will add that he has a drawl that made him sound almost Elvis Presley-ish at times. Made for an interesting, unique listen, if nothing else.

185,092 – SUNN O))) – SUNN O)))

SUNN O))) is hit-or-miss for me, and this album is a massive swing and a miss… I’m into the whole drone thing, occasionally, but this was just plain DUMB! An hour and 20 mins of all-instrumental drone metal. Pass. But what the hey, I’ll toss ’em a bone for being a local (Seattle) band – or rather, duo – for nearly 30 years! I’ll also add – don’t listen to me. This album has been gobbled up by fans and critics alike, receiving lots of praise.

135,997 – Angine de Poitrine – Vol. II

There was a LOT of hype around this Canadian experimental band because of their live performance on KEXP back in February 2026.

As is the case with a lot of hyped stuff, it’s not always up to snuff. That was the case here, as well. I mean, they are wildly popular, having sold all of their vinyl and tour, but it did less than nothing for me. Angine de Poitrine is an all-instrumental duo whose faces are covered to mask their identities. Cool, fun, and unique, right? Sure, I guess. But if the music ain’t all that, who gives a shit how you look or what you dress like?

Addendum: I just HAD to share the live KEXP performance with the fellas in the band and… they LOVED it, hahaha! It is pretty cool, and the band is insanely talented, looping bass and guitar, switching back and forth. But in the end, I LISTEN to music, and what I HEAR is a bunch of crazy-ass noises and shit. Sure, it looks wild and cool, but musically it is so not in my realm…

134,199 – Kronos Quartet – Glorious Mahalia

Kronos Quartet is a San Francisco-based string quartet / chamber ensemble with a rotating cast of musicians since its inception (in Seattle!!) in 1973. I dig the idea behind this album (see ahead), but to me it sounded like this – you know how when you arrive at a play/musical at the theatre, and the orchestra is tuning/warming up in the pit before the event starts? That’s kind of what the music sounded like to me, with spoken-word / beat poetry over the music. A bit outside for my taste, but the historical perspective is coolio…

From amazon: “Midway through Martin Luther King, Jr.’s historic speech at the 1963 March on Washington, a voice rang out from behind him: “Tell them about the dream, Martin!” That voice belonged to Mahalia Jackson, King’s close friend and one of the most revered gospel singers of the 20th century.

Glorious Mahalia, a visionary tribute to Jackson’s life by the internationally renowned Kronos Quartet, uses that moment as a springboard to explore the depth of Jackson’s musical craft and its impact on the Civil Rights Movement, including her relationship with Clarence Jones and Studs Terkel, other luminaries of the time.

Featuring compositions by Stacy Garrop and Zachary James Watkins, a new arrangement of Jackson’s astonishing version of the Antonio Haskell composition “God Shall Wipe All Tears Away,” and archival audio of Jackson’s voice, the album illuminates Jackson’s historic artistry and advocacy.”

116,615 – A Place To Bury Strangers – Rare And Deadly

Awful. APTBS is a NYC-based experimental noise rock trio that throws in a little shoegaze and garage rock for good measure. This is not a new album, per se, but rather a compilation of unreleased material. It felt like my ears were bleeding. Ok, not really, but this was a painful album to get through… terrible. But, hey, I suppose ‘Rare and Deadly’ is better than ‘Silent but Deadly’, heh…

115,419 – Nervosa – Slave Machine

Nervosa is an all-female death/thrash metal band from Brazil. They’re a far cry from the worst death/thrash band I’ve ever heard, but by the same token, I’ve also heard much better bands/albums out there.

62,571 – Lantlôs – Nowhere in Between Forever

Wow, how the mighty have fallen. Nowhere in Between Forever (aka ‘NIB4E’) is a far cry from their previous two releases, where I’ve lauded their efforts: “Pretty incredible multi-genre album with elements of post-metal peppered in with shoegaze, post rock, and even a lil touch of black metal. This is stunning, beautiful, and most excellent!”

Fast-forward five years to 2026’s ‘NIB4E’, and WTF happened? Well, frontman Markus Siegenhort apparently wanted to do an homage to the ’90s, aiming for alternative rock and electronic territory, drawing influence from Smashing Pumpkins and Deftones. I’d say that they achieved that with the last two songs on the album, but by then it was too late. Listen to their last two albums, then come back to this… if at all.

30,745 – Michael Sweet – The Master Plan

The vocalist/guitarist of Stryper goes solo (again, first time in seven years) and… oh, I dunno. It’s not bad, but it ain’t great, either. Will I listen to it again? Definitely not.

19,762 – Poison Ruïn – Hymns From The Hills

This was a pretty forgettable “spooky” punk album. Pass.

19,420 – Vanir – Wyrd

I’m not a fan of most death metal bands out there, but I thought this release was a bit better than most. Certainly more melodic than most, but at the end of the day, it’s still a DM album with growly Cookie Monster vox and more. Fun fact (via Encyclopaedia Metallum: “The Vanir are, according to both the Prose, the Poetic Edda and the Heimskingla, the members of a family of gods including Freyr, Freyja and Njörðr.”)

17, 362 – Roomful of Teeth & Gabriel Kahane – Elevator Songs

Uh, what? Experimental / Avant-garde folksy classical music, I suppose? Or what they call it works, too: “Contemporary Broadway meets emotive singer-songwriter elements, and New York Minimalist influences on this unique offering.” Bending the rules of genres, but regardless of what you want to call it, it is definitely not an album I cared for, nor will I reach for it again. Passola on crapola…

9,710 – Nick Oliveri – N.O. Hits At All – Vol. 10

Ex-Kyuss / QOTSA bassist goes solo (again) and eh… other than two or three absolute scorching bangers, this is a pretty forgettable album. I really enjoy his pedigree, but his solo stuff sounds like a rougher, rawer, punkier Motörhead meets a punkabilly band in a rough part of town. Make of that what you will…

8,535 – The Bevis Frond – Horrorful Heights (2 CDs)

The Bevis Frond is the stage name for songwriter Nick Saloman. His music is firmly planted in the neo-psychedelic rock tree, but has multiple tentacles, including prog-rock, alt-country, pop, jam band, singer-songwriter, alternative rock, and more. It was actually a quite enjoyable album… for the most part. At just shy of an hour and a half, it felt a bit too long. I personally think this could’ve been a single album. Dump the duds, and you’ve got a solid album’s worth of material at ~45-60 minutes. Gonna keep my eyes on Nick Saloman and The Bevis Frond!

4,206 – Wendy Eisenberg – Wendy Eisenberg

Wendy is a Brooklyn-based folk-leaning singer-songwriter. Big fan of a lot of singer-songwriters, but here I don’t care for the music or Wendy’s voice. Perhaps just a touch too avant-garde for my taste.

3,618 – Exhumation + Funeral Giant – Sacred Oath: Temple Of Death Split

This is a seven-track death metal split between two death metal bands. Tough one to get through… but I did!

2,684 – No Terror In The Bang – Existence EP

Another album that sounded interesting on paper (see ahead), but ends up just being a boring ‘ol metal album. Think In This Moment, Stolen Babies, et al… But, hey, five songs and under 20 minutes I can handle with ease.

From Season Of Mist: “NO TERROR IN THE BANG crafts a cinematic progressive metal where fragility and fury intertwine in a soundscape filled with tension. Driven by Sofia’s versatile vocals, the band delivers an intense emotional dynamic that oscillates between clean singing and screams. Their new EP “Existence” delves into the collapse of humanity: cosmos, body, society, planet, death. Each track embodies a level of downfall while questioning human destiny and self-destruction. With a blend of power, dark atmospheres, and narrative depth, “Existence” continues the band’s immersive signature.

For fans of DEFTONES, JAZMIN BEAN, POPPY, SYSTEM OF A DOWN, KORN, SKUNK ANANSIE, RAGE AGAINST THE MACHINE.”

From Metal Injection: “In 2024, I became aware of this band because of their incredible album Heal. This EP is a follow-up that continues their unique blend of nu metal, groove metal, and progressive modern metal. It’s a shame that it’s only five tracks, but I’ll take anything they have to offer.”

2,523 – Joe Pernice – Sunny, I Was Wrong

Joe Pernice is a folksy singer-songwriter with Americana leanings. Decent album, but unlikely one that I will reach for again…

1,689 – Ten East / SoftSun – Turned to Stone: Chapter 10: Ten East / Softsun

Ah man… Before spinning, I thought to myself, “I am 1000% gonna buy this record.” The reason why? The first two songs on the album are by Ten East… but with guitarist Isiah Mitchell (of Earthless fame) joining them. I have mad love for Isiah Mitchell and Earthless. Everything he touches turns to gold. Then the music played, and the love quickly swirled down the drain.

The next three songs are by a band named SoftSun. Here is what I said about their 2025 release, ‘Eternal Sunrise’, as it applies to these three ditties, as well: “Ugh, this was awful. It sounds like a psychedelic-stoner rock band trying to play shoegaze. The Heavy Psych Sounds record label should be a haven for me, but their releases are 50-50. Pass on this one.” [Note: this was released via Ripple Music and they’re more in the 75-25 / 80-20 in the ‘like’ category… but not here.]

Bad news: crappy split. Good news: I get to save ~$ 30-ish bucks by not buying this record. Boooooooooo.

1,496 – Michael Giles – Shadows / Solo (2 CDs)

I’m not so sure that this double-album needed to be released other than maybe for the die-hard fans. Michael Giles was a co-founder of the legendary prog-rock band King Crimson, but these releases are comprised of unreleased recordings. Mostly just drums alone, but sometimes other instrumentation, as well. He played on KC’s first two releases, 1969’s ‘In The Court Of The Crimson King’ and 1970’s ‘In The Wake Of Poseidon’, among a host of other recordings, as well. He’s 84 years young and chillin’ in England. Fun fact: A LOT of drummers cite former RUSH drummer Neil Peart (RIP) as one of their influences/heroes. Neil Peart cited Michael Giles as one of his.

From Burning Shed: “Shadows / Solo is a landmark double CD of unheard recordings from one of the most innovative drummers of all time, Michael Giles (best known as the co-founder of King Crimson). Drawing from more than three decades of previously unheard recordings, Shadows / Solo spans multiple eras and stylistic phases. The collection contains unissued compositions, experiments, and fully realised pieces that have remained hidden until now.”

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

18,647 – Cowboys & Aliens – FINIS TEMPORUM – [March 13th, 2026]

According to their bandcamp page, “Cowboys & Aliens is a four-piece stoner rock band from Bruges, Belgium. Formed in 1996, they released 4 full studio albums before falling into hiatus in 2006. The band reunited with the original lineup in 2011…” As badass as they are, how have they never crossed my table? Well, better late than never. This was a banger… and way too short at 32:27. Thanks for turning me onto these guys, BS!

From their bandcamp page: “FINIS TEMPORUM — “the end of times” — is the title Cowboys & Aliens chose for their seventh album and their 30th anniversary release. It’s a bold statement, but one this band has earned.

The album opens with Life Tree and Rabbit Hole before delivering Vengeance Of The Weird, a track that had already been released as a standalone single back in June 2024 — long before a new record was even on the horizon. Lead single Icy Grip followed in 2025: a post-grungy stoner track with a killer chorus and a dark, heavy production, written in the shadow of personal loss. Lyrics loaded with symbolism about grief and hope, wrapped in the unmistakable Cowboys & Aliens sound. Ordinary Bliss rounds out the new material before the album closes with a full reimagining of Asteroid Blast — originally recorded for A Trip To The Stonehenge Colony back in 2000, now rerecorded, remixed, and remastered. A nod to where it all began, and a quiet full circle moment on a record that feels like one.

FINIS TEMPORUM is not an album born out of obligation or commercial calculation. It’s the sound of a band that still had something to say — and said it.”

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…

7,349,875 – Various Artists – Black America Sings Stevie Wonder

Soul, R&B, Pop, Funk, Gospel. From amazon: “A stellar cast of soul stars from the 60s, 70s and 80s performing songs written by the one and only Stevie Wonder comprise this terrific 2026 volume in Ace Records’ “Black America Sings…” series.

When the Jackson 5 left Motown in 1975, middle brother Jermaine quit the group to pursue a solo career on the label. After a string of underwhelming releases, he called on Wonder to assist with his sixth album. The LP was co-produced by Wonder, who had writing and performance credits on three of its tracks, including the punchy funk of ‘Let’s Get Serious’, the title song. Wonder’s fingerprints are all over the track, from Jackson’s vocal inflections to the unmistakable sound of its co-writer’s backing vocals, drums, piano, guitar, and synth. That opening track is a sign that Wonder did not necessarily keep his best songs for himself.

Moreover, this collection also features ‘Tell Me Something Good’ by Rufus featuring Chaka Khan; Marvin Gaye’s minor key gem ‘You’re The One For Me’; Margie Joseph’s version of ‘To Know You Is To Love You’, a song first recorded by Syreeta; ‘Open Up Your Heart’ by LaBelle; the great ‘Bad Weather’ by the early 70s era Supremes; Randy Crawford’s delicious recording of ‘We Had A Long So Strong’, originally a Smokey Robinson & the Miracles album track; ‘What Are You Going To Do With It’ by Betty Wright, who co-wrote the song; and the Four Tops’ ‘What Else Is There To Do (But Think About You)’ – of which all are further examples of great Stevie Wonder songs with no known recording by the man himself.

Other highlights here include Aretha Franklin’s 1973 smash hit ‘Until You Come Back To Me (That’s What I’m Gonna Do)’; Quincy Jones’ killer version of ‘Superstition’, with Wonder among the backing vocalists; the Bar-Kays’ blistering treatment of ‘I Was Made To Love Her’; and disco star Sylvester’s fervent electro-gospel take on ‘Living For The City’, Wonder’s scathing examination of racial injustice, class and migration. Lou Rawls’ 1972 long-player, “A Man Of Value,” ended – as does this compilation – with his breathtaking interpretation of ‘Evil’, also the closing track on Wonder’s “Music Of My Mind” album.”

222,337 – The Michael Schenker Group – Live & Ready: 1980-1984 (5 CDs / DVD)

Hard Rock. From amazon: “Experience the raw power and precision of one of rock’s greatest guitarists with this ultimate live anthology spanning the formative years of the Michael Schenker Group. This 6-disc box set features four complete, career-defining performances:

Manchester Apollo – 1980: The explosive debut tour featuring early classics

Nippon Budokan, Tokyo – 1981: A legendary show captured at the height of MSG’s powers

Hammersmith Odeon – 1983: Recorded at London’s Hammersmith Odeon with special guests including Rudolf Schenker and Klaus Meine of Scorpions, available in its entirety for the very first time.

Seibu Stadium, Tokyo – 1984: A powerhouse festival set showcasing MSG’s melodic metal mastery, previously only available on laserdisc in Japan.

With an additional DVD including the full visual concerts of Hammersmith Odeon – 1983 and Seibu Stadium, Tokyo – 1984.

The set is accompanied by a booklet featuring exclusive liner notes by acclaimed rock journalist Martin Popoff and a brand-new interview with Michael Schenker himself, offering personal insights into the era, the band, and these legendary performances. The booklet also includes previously unreleased photographs.

Housed in a premium two-part rigid box, this release is designed not only for fans of Michael Schenker and MSG, but also for serious collectors of classic rock and heavy metal history. With its wealth of unreleased material and expertly curated content, this box set serves as both a stunning time capsule and an essential addition to any rock archive.

The Michael Schenker Group – Live & Ready: 1980 – 1983: 5CD/1DVD Box Set two-piece slipcase box set: Extensive collection, remastered at AIR Mastering. Booklet featuring extensive liner notes by Martin Popoff featuring an interview with Michael and rare photographs.”

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

460,825 – Melvins with Napalm Death – Savage Imperial Death March

247,648 – Metal Church – Dead to Rights

197,885 – Archspire – Too Fast To Die

145,077 – Truckfighters – Masterflow

85,562 – UADA – Interwoven

83,141 – Long Distance Calling – The Phantom Void

68,555 – Tigercub – Nets To Catch The Wind

33,069 – Anthony Phillips – Gemini – Pieces For Piano

13,384 – Richard Barbieri – Hauntings

9,290 – The Lords Of Altamont – Forever Loaded

4,372 – Poly-Math – Something Deeply Hidden

3,472 – Witch Ripper – Through The Hourglass

1,934 – Masheena – Let The Spiders In

289 – Stepmothers – Absurdus Manifestus

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

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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