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

Hi peeps,

It is Thursday once again, time for another blog!

Outside of the absolute best days of the week (Saturday and Sunday, of course), I really love Thursday and Friday… and not for the reasons you might normally think. I mean, of course, we’re headed toward the weekend, so why wouldn’t I like them second-best, right?

Well, as I’ve mentioned before, new albums are (traditionally) released at 9pm on Thursday (since it’s midnight EST). The thought of a whole new slate of albums is like Christmas Eve to me (Thursday Eve), and Christmas Day (Friday Day) is when I start listening to them! I almost always start with bands I like/might like, and/or follow, so the juice hits immediately!

That’s all. It’s Thursday, so I’m getting jazzed about checking out a slab of new albums that’ll be released later tonight. Man, I can’t wait!

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Another movie recommendation, but this was a bit outside of my usual wheelhouse.

Not for the faint of heart – and frankly, I didn’t much care for it while watching it – but I couldn’t stop watching it. I had to see how it unfolded.

I’m talking about The Ugly Stepsister (Hulu).

There are so many reboots and remakes and on and on and on… boring, right? This was a remake of Cinderella, but turned upside down… like a total and complete 180˚. Actress Lea Myren (who plays the lead role of Elvira, Cinderella’s oldest stepsister) does a dynamite job, and I loved her acting ability in this flick.

I recommend it not necessarily for the movie itself, but rather, post-watch. Honestly, I couldn’t stop thinking about it for days after we watched it. There are so many underlying “issues,” and it is one of those few movies that has lived in my brain rent-free for days.

Fair warning to those who watch… and let me know what you thought/think of The Ugly Stepsister!

Oh, and BTW, it is in Norwegian, so ya either gotta read the subtitles or watch the English overdubbed version.

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I only spun it once, but I truly enjoyed the latest one from Michael Carrington “M.C.” Taylor and Hiss Golden Messenger. I’m looking forward to additional spins when time permits. Great stuff!

😁 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** – May 1st to May 7th, 2026:

97,799 – Hiss Golden Messenger – I’m People

Hiss Golden Messenger is led by singer-songwriter Michael Carrington “M.C.” Taylor. This was an awesome, folksy Americana album with fantastic songwriting and great vocals. I totally 100% dug this album! I have liked them for years. Always enjoyable! They will be at the Tractor Tavern on October 10th, 2026, if anyone is interested in seeing them.

From amazon: “I’m People is a vivid, deeply human album born from a period of rupture, renewal, and vast American wandering. Written across Bolinas, the North Carolina Piedmont, and a Santa Fe motel room, the record traces the artist’s search for clarity through landscapes both external and internal. These songs move through heartbreak, aging, fatherhood, desire, disillusionment, and the hard-won hope that remains after the spirit has been scraped bare.

Produced with Josh Kaufman at Dreamland, a decommissioned church outside Woodstock, the album carries the warmth of musicians playing live in a circle, stained-glass light filtering across guitars, drums, and upright bass. Contributions from Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes enrich a sound world that feels immediate, vulnerable, and fully alive. “I’m People is an intensely human record, and so one that needed to feel immediate, vulnerable, and fully dancing; something you could touch, sing along to, know about, recognize, relate with.

I know what the record is to me, and I bet it’s not so dissimilar from what it’s about to you, at least in the broad strokes: The heartbreak and exhilaration, the absolute black comedy of being a person on this razor’s edge that is America circa 2025. What other choice do we have than to be hopeful?” – MC Taylor on I’m People.

Hiss Golden Messenger is a Grammy-nominated artist based in North Carolina, with multiple Album Of The Year and Best Americana Album awards, reaching #2 in the Americana Charts and performances and tours across the world, including the UK and Europe + performances on US TV; Late Night With Seth Myers.”

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

4,171,420 – The Black Keys – Peaches!

I have had a love-hate relationship with duo The Black Keys since they first dropped on the scene. I gotta say, it’s been kinda dry lately with the band, but I dig the bluesy boogie chillin’ grooves on this all-covers release… oh, and that fucking nasty guitar tone, too, yes!

This all-covers release includes ‘When There’s Smoke, There’s Fire’ (Willie Griffin and Company), ‘Stop Arguing Over Me’ (Paul “Wine” Jones), ‘Who’s Been Follin’ You’ (Arthur Crudup), ‘It’s A Dream’ (Charles Fisher, Jr.), ‘Tomorrow Night’ (Sam Coslow, Wilhelm Grosz), ‘You Got To Lose’ (Earl Hooker), ‘Tell Me You Love Me’ (Jesse Mae Brooks), ‘She Does It Right’ (Wilko Johnson), ‘Fireman Ring The Bell’ (R.L. Burnside), and ‘Nobody But You Baby’ (Junior Kimbrough).

Welcome back, boys, why don’t you kick off the shoes and stay awhile longer?! Side note: Drummer Patrick Carney seems like a real low-life douchnozzle, though. FTG.

From Rough Trade Records: “The Black Keys Peaches! is the Akron duo’s fourteenth studio album (their sixth since 2019), a visceral and raw 10-song collection described by singer Dan Auerbach as the band’s “most natural record” since their 2002 debut, The Big Come Up. In similar DIY spirit, the album was recorded with all musicians playing in the same room with few overdubs, and is the first record mixed entirely by the band themselves since 2006’s Magic Potion. The songs chosen reflect Auerbach and bandmate Patrick Carney’s obsessive record-collecting habit, which in recent years has escalated into an ongoing series of Record Hang DJ-set dance parties where they spin vintage 45s for packed, high-energy dancefloors in the coolest spots across the globe.

The cover art for Peaches! is based around an iconic image from Memphis-born photographer William Eggleston, and marks the return of Patrick’s brother, Michael Carney, overseeing the art direction.”

1,303,271 – Ziggy Marley – Brightside

Before the review, I gotta say this first: I was literally thinking to myself, “it feels like forever since I’ve been blessed with some reggae jams,” then, from seemingly out of nowhere… a new Ziggy Marley album drops! Anyway, yes, with a helping of more yes! Kick-ass reggae from one of Bob’s sons, and this new release confirms it. Fun fact: his real name is David Nesta Marley [there are varying accounts on where “Ziggy” comes from].

From RSD: “Brightside is Ziggy Marley’s stunning new studio album, his first in 8 years! An introspective record for Ziggy, he explores ideas of healing, compassion, and perspective. Recorded at 432Hz, the album fuses reggae, rock, funk, and blues in the way that only Ziggy can, and features friends Trombone Shorty, Sheila E., Nikka Costa, and Jake Shimabukuro.”

1,245,809 – Sevendust – One

Sevendust is a band that “brings it” every time… every album, every show. Metal band with super-cool grooves, plus they’re rad dudes to boot! Their music is somewhat cookie-cutter-ish, but they’re one of the few bands that I like that fall under that rock umbrella. Huzzah!

From Napalm Records: “Iconic Atlanta quintet SEVENDUST is back with its 15th studio album, ONE, set for release on May 8, 2026, via Napalm Records. The upcoming full-length LP forges ten simultaneously lean and gut-punching tracks out of gargantuan riffs, seismic grooves, and signature soul-stirring hooks, once again produced by Michael “Elvis” Baskette (Alter Bridge, Falling In Reverse, Mammoth).

The group, comprised of Lajon Witherspoon (vocals), Clint Lowery (lead guitar, backing vocals), John Connolly (lead guitar, backing vocals), Vince Hornsby (bass), and Morgan Rose (drums), busts down the door with the first single “Is This The Real You?”. Its swaggering fretwork alternately wallops and gallops in lockstep with a pummeling rhythm anchored by thunderous drums. The riff rolls and seethes, and the vocals swing from guttural growls into the embrace of a jazz-y chantable chorus. A hummable lead ties the bridge together.

Echoes of a tensely picked single-note set the tone for “Threshold.” Lajon’s delicate delivery gives way to a contentious distortion-boosted refrain. Then, there’s “Unbreakable,” which has all the makings of a clarion call for the collective and a future live staple. Strains of soft piano slip into the undertow of a towering hook punctuated by a promise, “We were meant to be unbreakable… even when we’re at our lowest lows. And if it gets too cold, I’ll never let you go.” The title track succinctly sums up the record as a whole. Bellowing out of a maelstrom of roaring distortion, Lajon’s voice reaches heavenly heights.

For over three decades, SEVENDUST have made countless fans feel a part of something special. The group’s community isn’t passive. Members of the “7D Army” make a very active commitment to being part of this family – as evinced by sold-out shows worldwide and innumerable tattoos of the band’s logo and lyrics. Since 1994, the band has quietly built a legacy without parallel, encompassing sales of nearly eight million albums, a GRAMMY® Award nomination for “Best Metal Performance,” three Top 15 entries on the Billboard 200, hundreds of millions of streams, and the fierce loyalty of millions of listeners in every corner of the globe.

Along the way, they’ve shined as an outlier equally comfortable on tracks with either members of Deftones, Creed, and Periphery or Xzibit and Daughtry. Speaking to their longevity, they notably notched their biggest radio success to date with “Everything” in 2024, netting a career-high entry on the Billboard Mainstream Rock Tracks chart. However, the guys really delivered with 2026’s ONE. Rallying together around a common goal as bandmates and brothers, SEVENDUST have crafted a body of work that both day-one devotees and new fans alike can hold onto forever. Or, as Maya Angelou once stated, “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.””

872,173 – Tori Amos – In Times Of Dragons

Pianist singer-songwriter Myra Ellen Amos (bka Tori Amos) has never really done much for me, but you know what? I liked this album. Great tunes, great songwriting, beautiful voice. It did not feel bloated, even at an hour and 18 minutes. It has been very well-received by others, as well. Bravo, Tori!

From Rough Trade Records: “In Times of Dragons is the 18th album in Amos’ illustrious 36-year career, which has celebrated over 12 million records sold, thousands of concerts, eight Grammy nominations, and numerous awards.

“In Times of Dragons is a metaphorical story about the fight for Democracy over Tyranny, reflecting the current abhorrent non-accidental burning down of democracy in real time by the ‘Dictator believing Lizard Demons’ in their usurpation of America.”” – Tori Amos

755,658 – Maya Hawke – MAITREYA CORSO

Really enjoyable singer-songwriter album. She has a great voice and the tunes are nice, too. Wonderful! Fun fact: Maya Hawke is the daughter of actors Ethan Hawke and Uma Thurman.

From RSD: “Recorded in New York between Reservoir Studios in New York City and Dreamland in upstate New York, the album was co-produced by Christian Lee Hutson and Jonathan Low. It stands as an ode to Maya’s musical community, created alongside close friends and collaborators Benjamin Lazar Davis, Will Graefe, Michael Riddleberger, and Odessa Jorgensen. The album’s packaging draws from Maya’s own watercolor paintings, developed in collaboration with Shane Gelinas.”

400,776 – Marcus King – No Room For Blue

Marcus King’s last album, ‘Darling Blue’, was released in 2025. This release, ‘No Room For Blue’, contains bonus tracks and B-sides from those ‘Darling Blue’ sessions, including covers of The Allman Brothers classic ‘Ramblin’ Man’ and Jeff Buckley’s (via James Shelton) ‘Lilac Wine’. If you dig the blues a la Warren Haynes, Derek Trucks, et al, then there’s a good chance that you’ll dig this, as well. Great stuff on this release!

From RSD: “No Room For Blue features bonus tracks from Grammy-nominated Marcus King and the Marcus King Band’s latest album, Darling Blue – a soundtrack through the peaks and valleys of his mind and an ode to his beloved home, the Blue Ridge Mountains.”

351,190 – HEALTH – ADDENDUM EP

HEALTH has always been a ‘tweener band leaning no for me, but I think they’ve crossed the threshold to the other side. So they are now a ‘tweener band leaning yes! They have this dark industrial / goth delivery. Will keep my eyes and ears peeled for future releases… the band is growing on me. This release is the final chapter of the band’s ‘RAT WARS / CONFLICT DLC’ cycle. The song ‘Free To Die’ features Filter, ‘Mean’ features Chelsea Wolfe, and ‘The Drain’ features Bad Omens and SWARM.

251,654 – Taj Mahal & the Phantom Blues Band – Time

Henry St. Claire Fredericks Jr. (bka Taj Mahal) is still singing and playing the blues at 83-years-young, good for him! Dude is an absolute legend, and I love that he’s still out there crankin’! This album was fantastic!

From amazon: “When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers, and somehow still hungry. They are an internationally renowned Two-Time Grammy Award-winning group.

Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson, and the Phantoms carry it with honor to the Griot. Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms – Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet, bring the orchestration into the full view of this genre.

This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record, they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young.

‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting, inspiring, and aspiring music together.”

166,695 – The Claypool Lennon Delirium – The Great Parrot-Ox And The Golden Egg Of Empathy

As the band name suggests, it features Les Claypool and Sean Lennon…and it sounds almost exactly like you think it would. It sounds like Primus playing the psychedelic side of The Beatles or vice-versa. This release is kinda tasty! A lot of cool shit that could be heard on repeated listens… good stuff!

From Rough Trade Records: “The 3rd collaborative album between Les Claypool & Sean Lennon (the previous sold over 150,000 combined) is an elaborate concept record reflecting on morality, the warnings of A.I., and the slippery slope of optimization without empathy.

Told across 14 songs – which ooze with classic psychedelic / progressive rock stylings – and the accompanying comic book by Rich Ragsdale, The Great Parrot-Ox and The Golden Egg of Empathy is a peak for both The Claypool-Lennon Delirium and rock music at large.”

64,921 – Crobot – Supermoon

Been listening to Crobot for years. Just solid, groovy, rock ‘n f’n roll! I’d say that the vocalist channels Chris Cornell meets Myles Kennedy at points, too. Pretty good shit right here!

51,524 – The Cold Stares – Texas

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 those comparisons. Gonna continue to keep my eyes and ears peeled for future releases!

38,849 – Robert Jon & The Wreck – Wreckage, Vol. 3

I was lukewarm with the band in the beginning, and I have no idea why! Each new release from these guys simply tops the albums that came before it. Incredible… and fun! They’re basically a bluesy Southern rock jam band that peppers in just a touch of country. Don’t sleep on RJ&TW!

31,062 – Pimps Of Joytime – Magic Moves

POJ isn’t my favorite funk band, but they’re still pretty damn groovy! Gots some stank to it!

From Pimps Of Joytime: “For nearly two decades, Pimps of Joytime have operated less as a fixed lineup and more as a living musical collective—an extended family rooted in groove, guided by songwriter, producer, and multi-instrumentalist Brian J. Formed in Brooklyn in the mid-2000s and now deeply embedded in New Orleans, Pimps of Joytime have steadily built a formidable, joy-forward catalog in modern funk.

Rather than chase trends, Brian J has remained focused on deep rhythms, melodic soul, and songs built from the inside out. Years of relentless touring helped solidify the project’s reputation as a road-tested live force, sharing stages across the funk, soul, and jam spectrum while cultivating a devoted fan base.

After relocating to New Orleans, the music absorbed new DNA. Second-line rhythms, rawer arrangements, and a deeper emphasis on collective groove reshaped the project’s center of gravity. That evolution comes fully into focus on the new album Magic Moves, out May 1, with a record release show in New Orleans on May 2. The album marks a deliberate return to funk—not as nostalgia, but as a living, breathing practice.

Magic Moves taps directly into the extended Pimps of Joytime family, functioning as both a snapshot and a celebration of the collective spirit that has always defined the project. The album features an all-star cast from New Orleans and beyond, including Garrett “Startchild Jr” Shider, Aurélien Barnes, Eric Bolivar, Carol C, Edward Lee, Chauncey Yearwood, Assaf Spector, and longtime musical allies. Each contributor brings personality without overpowering the core: songs that feel played, not programmed; groovy, not busy; soulful without unnecessary polish.

At its heart, Magic Moves is about connection—between musicians, between rhythms, and between people on the dance floor. The record leans into what Pimps of Joytime do best: uplifting funk rooted in real musicianship, built for movement, unity, and momentum.

With Magic Moves, Pimps of Joytime reaffirm their place as a collective with something distinct to add to the funk idiom—committed to rhythm as ritual, joy as resistance, and the enduring power of a musical family that knows exactly when to play and when to leave space for some magic moves.”

13,831 – –(16)– – – Forgeries – Volume I: 1972-1984

This is a sludge metal meets punk metal album. Man, if you love old-school Corrosion of Conformity, this sounds kinda like that raw, fugly disaster… and I mean that with all the love in the world, ha! COC are one of the kings of sludge-punk, but –(16)– packs a heavy punch. But what makes this release even cooler is that they’re all covers… mostly classic metal tunes, but sludged the F out!

This all-covers release includes ‘Can’t Get Enough’ (Scorpions), ‘Nausea’ (X), ‘Cities On Flame With Rock And Roll’ (Blue Öyster Cult), ‘Rotten To The Core’ (Rudimentary Peni), ‘Mother Mary’ (UFO), ‘Tragedy’ (Bee Gees), ‘Bloodstains’ (Agent Orange), ‘Beat My Head Against The Wall’ (Black Flag), ‘St. Vitus Dance’ (Black Sabbath), and ‘Rocket Ride’ (KISS).

From their bandcamp page: “There comes a point in every band’s life when originality stops being a virtue and honesty takes the wheel.

On their 11th long-playing record: Forgeries (72-84), -(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artwork, rendered by the ever-amazing Marald, completes the ritual, iconic, unsettling, and unafraid.

We’ve always believed that a great cover is not mimicry but revelation. It’s finding a song that’s already lived inside you since youth and letting it crawl out, bruised and changed. From the early ’90s onward, -(16)- have treated covers as translations rather than as replicas, acts of tribute and emulation, filtered through distortion, fatigue, and lived experience. These are songs that taught us how to stand, how to fall, and how to keep going.

In our collective head, this album exists because these songs demanded it. Because they screamed copy me, and we listened. In the end, Forgeries (72–84) stands as both a thank you note and a theft, a reminder that all music worth a damn is borrowed, broken, and passed on between friends.

The selections on Forgeries 72–84 span eras and attitudes, unified not by genre but by necessity. Each track is a document of obsession, of influence absorbed and re-expressed without permission.”

12,821 – zakè, Ossa, & ASC – Microliths And Momentary Drifts

zakè is Zach Frizzell, Ossa is Kaiton Slusher, and ASC is James Clements. They play super-minimal, ambient, soundscape-y drone. Really nice, beautiful, mellow stuff!

From the bandcamp page: “Microliths and Momentary Drifts is the first full-length collaboration from the trio of zakè (Zach Frizzell), Ossa (Kaiton Slusher), and ASC (James Clements), where rolling analog synth lines, chest-rattling bass, and otherworldly atmospherics evoke and build on the timeless qualities of peak-era 90s ambient. Each artist has released solo and collaborative works for Zakè Drone Recordings and Past Inside The Present over the last half-decade, but in this combination, Slusher’s stratospheric fugues take center stage, guided by Frizzell’s compositional hand and the soft power of Clements’ low-end rumble.

Each of the eight “Microlith” tracks is a miniature melodic theme or textured vignette, alternating in sequence with the seven longer and more journeylike “Momentary Drift” pieces. The resulting structure bears a filmic pace that rewards the experience of focused listening in a single sitting, in the tradition of avowed touchstones like Selected Ambient Works Volume II or Global Communication’s 76:14. These spectral sounds exist between the murky shadows of the past and the telescopic gaze of the future, where melancholy, guarded optimism is transmitted by imperfect machines.

The shimmering keys of the opening track, “Microlith 1”, pour across the stereo field like warm rainfall, setting a vivid scene and demonstrating how much the trio can convey in the span of only a few breaths. “Momentary Drift 1” follows with overlapping, kinetic melodies and a backdrop of dense reverb that eases in like a fog across an airfield, while Clements’ bass tones provide subwoofer-friendly ballast deep below the surface.

Across the first half of the album, there is a divide between place and placelessness: forlorn, alien signals arrive from a million light-years away (“Microlith 2”), vaporous harmonies echo through liminal spaces (“Momentary Drift 3”), and dappled dayglow emerges through tape-saturated mist (“Momentary Drift 5”). Core to many of these pieces is a tonality akin to the fabled “secret weapon” synths found on Boards of Canada’s most iconic beatless recordings, imbuing a similarly eerie nostalgia.

“Every collaboration takes me outside myself in a different way,” Slusher notes, “and this one tells a complete story that developed naturally as we bounced ideas between one another; I really feel as though we shared a genuine connection in what we were aiming to achieve.” Frizzell elaborates, “Only the three of us, working in this balance and contributing our own authentic pieces of the puzzle, could have brought this record into being.” Throughout the set, we hear the distinct hallmarks of each artist – Ossa’s warbling melodicism, zakè’s tape treatments and classically-informed arrangements, and ASC’s phosphorescent radiance – yet the result is uniquely more than the sum of those parts.

The exemplary “Momentary Drift 6” is centered on a solemn choral grace that summons a vision of the afterlife in half-light and obscured faces; as the longest piece here, it allows its loops to breathe and wash over, all edges disappearing into charcoal dust. “Momentary Drift 7” adds the distinctive guitar treatments of legendary Twine co-founder Chad Mossholder, whose gritty bursts of processed static create an essential atmospheric contrast as the album nears its conclusion. The brief sunlight of the closing piece, “Microlith 8”, fades into a muted crackle, leaving a suitably ambiguous impression of the future in line with that of our forebears, defined by dreams of better worlds but forever tethered to terrestrial reality.”

Written, recorded, and produced by zakè, Ossa, and ASC. Additional guitar and textures on ‘Momentary Drift 7’ by Chad Mossholder from Twine. Mixed by zakè at KTS. Mastered by James Bernard at Ambient Mountain House. Photography by Benoît Pioulard on Polaroid SX-70 film. Layout and design by zakè. Marketing, distribution, and phonographic copyright: Zakè Drone Recordings. Pressed, manufactured, and assembled in Ontario, Canada. ©℗ 2026 Zakè Drone Recordings. This is ZD-045. All rights reserved. zakedronerecordings.com / zakedrone.com / pitp.us / pastinsidethepresent.com.

7,554 – Spell – Wretched Heart

Great album! Has that NWOBHM meets occult rock sound and reminds me a little of Ghost, as well. Ghost formed in 2006, and Spell in 2013. I wouldn’t be surprised to find that they’re one of their inspirations. I like these dudes’ music!

From Metal Blade Records: “”Music is magic, and Spell is a spell. Fundamentally, it is a forum to make our dreams come true” – Cam Mesmer

Vancouver-based hypnotic heavy metal outfit Spell will release its new LP, ‘Wretched Heart’, on May 1 via Bad Omen Records. A shadow-drenched journey through desperation, passion, and defiance, ‘Wretched Heart’ sees Spell transform heavy metal into something urgent and human – gothic, cinematic, and hypnotic. Not only Spell’s strongest record to date, but also a thunderous celebration of eccentricity which stalks its nocturnal realm with both savage finesse and beguiling charm. ‘Wretched Heart’ is the follow-up to Spell’s 2022 LP, ‘Tragic Magic’, an album hailed as a celebration of “the mystique and darkness within hard rock and heavy metal”.

The first track released from ‘Wretched Heart’ is “Lilac”, Spell’s most addictive and bittersweet moment to date, and a song that channels both stadium-sized passion and wistful longing. Featuring a guest guitar solo by former Spirit Adrift, Carcass, and Angel Witch man, Tom Draper, “Lilac” dances with harmony-laden metal and synth-driven gothic chills. In the song, the titular flower forms an overarching metaphor for the ephemeral and transient forms of both nature and love.

“There are many things in life that disappear so quickly and will be gone immediately if we get preoccupied and forget to enjoy them and care for them,” elaborates Spell vocalist/bassist Cam Mesmer before noting, “This song isn’t really about a flower”.

‘Wretched Heart’, in all its gory glory, embodies a very vital paradox – a record made by true believers who yearn for catharsis beyond. The oxymoron of anthems forged from steel, yet with a very human heart. Even the most cynical bystander will likely struggle not to be bewitched.

Spell is Cam Mesmer (vocals, bass, rhythm guitar, synthesizers), Al Lester (vocals, lead guitar, rhythm guitar, drums), Jeff Black (lead guitar, backing vocals), and Gabriel Tenebrae (lead guitar, synthesizers). Follow Spell on Facebook and Instagram.”

“Tipping their caps to a range of classic hard rock influences like Pink Floyd, Black Sabbath, Blue Oyster Cult, Rush, and even old-school Mercyful Fate, Spell captures a dreary, overcast, and lo-fi vibe” – Exclaim!

“If this band was a van, they would be the raddest, most pimped-out airbrushed ’70s van with plush interior and a BOOMING system. SPELL is a perfect name for them, because their songs are jamming heavy metal magic.” – Cvlt Nation

“If you like your throwback metal loaded with 70s occult magic, this may cast a spell over you.” – Angry Metal Guy

5,325 – Robot God – Onto The Afterlife

Bad-fucking-ass Australian psych/space/stoner (mostly) instrumental rock trio… that album artwork is pretty stellar, too! Killer shit here!

From Glory Or Death Records: “Since emerging from Sydney’s heavy underground in 2019, Robot God have steadily carved out their own corner of the modern psychedelic stoner landscape. The trio operates with the instinct of seasoned players, channeling decades of heavy rock lineage into something that feels immediate, expansive, and alive.

Built on a foundation of deep-running Sabbath weight, Hendrix-soaked psychedelia, and the open-ended exploration of classic space rock, Robot God approach songwriting as a journey rather than a formula. Riffs stretch into cosmic jams, melodies drift through thick waves of fuzz, and the rhythm section keeps everything grounded with a hypnotic pulse. The result is music that moves between heavy groove, meditative drift, and towering walls of sound.

Their reputation has grown largely through the live circuit, sharing stages with acts such as YOB, Greenleaf, Sasquatch, and Brant Bjork while building a following among listeners drawn to the heavier and more exploratory side of psychedelic rock.

With “Onto The Afterlife”, Robot God push their sound further into the unknown. The album expands the band’s cosmic language — heavier, deeper, and more atmospheric — while keeping the raw, organic chemistry that defines the trio. It’s a record built on momentum and immersion: riffs that spiral outward, rhythms that lock in for the long haul, and moments where the music seems to lift off entirely.

For those tuned into the outer edges of modern heavy psychedelia, “Onto The Afterlife” marks the next step in the evolving journey of Robot God.

Fuelled by relentless creativity, Robot God will also unleash a second album titled “Curse Of The Driven”, in the second half of 2026. Two new albums, one year, Robot God are firing on all cylinders.”

2,939 – Mother Iron Horse – Mother Iron Horse

Man, some of these riffs are so delicious, beefy AF!! Mother Iron Horse is a sludgy/doomy stoner metal band. I’m not thrilled with the vox, but the music is pretty happenin’!!

1,626 – Fernando Perdomo – Clouds 5

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’!

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

3,863,655 – Godsmack – Live At Mohegan Sun

This live show – not the tour, THIS show – was the band’s last ever. They’ve taken their final bows and sailed off into the sunset. So major congrats to the band on such a lengthy and storied career! Now, the band, and specifically this live album. I’ve always enjoyed their songs when I heard them on the radio, but when I hear full albums from them, they’ve never done much for me. Other than the hella rad ‘Battle Of The Drums’, every song sounded similar… too much cookie-cutter / paint-by-numbers rawk. Heck, I’ve even seen them live (opening for the almighty Metallica) and was bored with Godsmack’s (roughly) ~45-minute set. Congrats to the guys on nearly THREE decades of rock ‘n f’n roll, though. Well deserved!

1,752,723 – Young the Giant – Victory Garden

Ha! I feel exactly the same about this release as I do the last release of theirs I listened to: “Not the worst indie rock band/album I’ve ever heard, but far from the best, too… nothing I’ll listen to again.”

1,655,983 – Kacey Musgraves – Middle Of Nowhere

What a disappointing album off the heels of her last release, 2024’s ‘Deeper Well’, which I raved about! Kacey is wildly, wildly popular, and her voice and the production are stellar, but the tunes just ain’t doing it for me. She went full country on this release, although she’s played more in the poppy singer-songwriter vein in the past, as well. Don’t listen to me, though; it was very well received by fans and critics alike.

600,697 – Venom – Into Oblivion

Venom is a classic British black metal band, having been around a long, long, loooooong time (formed in 1978), but this trio has never done much for me throughout the years. They’re probably the best of the bunch, the most palatable, yet don’t whet my appetite.

502,504 – American Football – American Football (LP4)

American Football is a popular band that delivers a mash-up of post-rock, indie rock, and emo… with perhaps a touch of shoegaze for good measure. They are a wildly popular band, and while the album isn’t bad, per se, it didn’t really work for me, either.

489,456 – KNEECAP – FENIAN

KNEECAP is an Irish-based hip-hop trio. Guitarist Tom Morello has praised the band, hailing them as the next Rage Against The Machine, but I found it to be a bit underwhelming. Meh.

372,798 – Melanie C – SWEAT

Melanie C is “Mel C” (aka “Sporty Spice”) from The Spice Girls. Just like The Spice Girls, Melanie C’s solo albums are packed with dance-infused pop numbers. How can I just sit here and work when all I wanna do is dance, hahaha?! Yeah, feel free to pass on this.

134,758 – Haste The Day – Dissenter

This is the metalcore band’s first release in a decade-plus after a successful appearance at the sold-out 2023 Furnace Fest [Alabama]. The band reconvened and wrote a new album. This one. I am not particularly fond of most metalcore bands, and this release does not change my mind. Pass.

98,848 – Bonner Kramer & Thurston Moore – They Came Like Swallows: Seven Requiems for the Children of Gaza

Bonner Kramer (formerly just Kramer) was the producer of all Galaxie 500 albums, in addition to several other high-profile artists, while Thurston Moore did time in Sonic Youth as their guitarist/vocalist. Both artists live almost exclusively in the experimental / avant-garde genres, which are typically just a bit outside my wheelhouse. Their experimental-alt rock is just a little too out there for my taste, gotta pass. The album ends with a cover of Joy Division’s ‘Insight’.

51,800 – The Boo Radleys – In Spite Of Everything

After a lengthy 24 years between studio albums, The Boo Radleys returned in 2022 with ‘Keep on with Falling’, then immediately followed that up with 2023’s ‘Eight’, their… you guessed it, eighth studio release, and now this, their latest. Unfortunately, I was never much of a fan of their style of indie rock meets alternative pop at a dream pop/shoegaze show, and this new release does not change my mind. Congrats on the return, though…? The lyrics are pretty heavy, though, with bassist/keyboardist Tim Brown losing his oldest son.

From Townsend Music: “‘In Spite of Everything’ is a record that was crafted following the tragic loss of Tim Brown’s eldest son. The album’s new single, ‘Living Is Easy’, hones in on that all-encompassing grief and the sense of helplessness that comes with it. And yet even in the depths of grief, there often remain fleeting reminders that life and its myriad wonders is still worthwhile. This dichotomy is particularly familiar to Sice in his professional capacity as a psychologist: the pain and suffering experienced by his clients needs to be addressed, but so too does the hope of a brighter future.”

29,489 – Emily Nenni – Movin’ Shoes

This album was released via New West Records, a label I follow because they release some amazing albums in the genres of Americana, roots-rock, alt-country, singer-songwriter, folk, and the like. Unfortunately, “and the like” also includes straight-up country. That’s what this release is, and it is a complete pass for me.

12,270 – Lip Critic – Theft World

The band is listed as “electronic punk,” so I just knew I had to hear it. Big mistake. I bit the bullet so you don’t have to. This was hot fucking garbage top to bottom. Pass.

9,091 – Cage Fight – Exuvia

Cage Fight is the side project of TesseracT guitarist James Monteith to play some old school hardcore / thrash. I did not care for the female growly Cookie Monster vox – think Arch Enemy – but there are definitely some sikk breakdowns throughout musically.

5,418 – Lair Of The Minotaur – I HAIL I

This is the trio’s first album in 16 years, but methinks they should’ve stayed in hiatus. Crusty, raw death metal with elements of sludge/doom (and even thrash) metal peppered in.

2,547 – Bosko Baker – The Magnolia Sessions

Bosko Baker “…is a roots musician, blending American music — country blues, ragtime, folk, swing — into what he calls “street swing” or “bozo blues.”” I enjoy the idea of these ‘The Magnolia Sessions’ releases, yet I haven’t really caught on with them, unfortunately.

From Earsplit PR: “The Magnolia Sessions showcases bluegrass, dark country, and folk singer/songwriter acts, recorded live in an intimate outdoor setting by a large magnolia tree at the Anti-Corp/Black Matter Mastering headquarters in Nashville, Tennessee, by owner Dan Emery.

717 – Stefano Panunzi – Caravaggio (2 CDs)

This high-brow prog rock album is a ‘tweener release for me. I get some real Steven Wilson/Porcupine Tree vibes here (who I love immensely!!), but my issue, really, is the nearly 2.5-hour run time. I can listen to an album for that long, but I gotta dig it… or at least most of it. This felt a bit bloated, perhaps left it in the oven too long…

402 – Detach The Islands – Concrete Jungle EP

This mathcore meets hardcore compilation EP is comprised of six tracks and a run time of 22:18. Two songs are previously unreleased from the ‘A Highly Magnified History’ sessions [2024], two songs are covers – Poison The Well’s ‘Nerdy’ and Death Grips’ ‘Takyon’ – and the other two are new mixes from ‘The Burden To Become Fact’ album [2019]. Oooooh boy, this was a swing and a miss.

281 – Brüle – Beltane

This was a bit of a frustrating listen. They concoct a beautiful blend of genres I typically enjoy (stoner rock, psychedelic rock, doom metal, etc.), yet I found myself a bit underwhelmed… as a whole. There are some beastly, gargantuan riffs that just f’n rule, but there are more lulls than horns in the air. I’ll keep my eyes on ’em ’cause there is a chance that they take flight, but as of now, they stay here.

From their bandcamp page: “BRÜLE is a French occult stoner band from Perpignan. English and French tracks evoking the occult corners of existence or the Faustian pacts that everyone seals to save their soul.”

212 – Eveale – Enter The Woodland Realm

This is the black metal band’s debut album, and like most BM albums, it’s a bit of a miss, BUT… Fun fact: how ’bout them rad band member names:
Monarch of the Hillside – Vocals and lyrics, bongo, Tibetan singing bowl, field recordings on “The Beckoning”
North East Wizard Tyrant – Electric guitars, bass, acoustic guitars, falsetto backing vocals on “Our Flame”
Basher at Things – Drums
Eurasian Blackbird and Common Wood-Pigeon handled guest vocals on “The Beckoning.”

The drummer’s name is Basher at Things?! Hahaha, awesome!

37 – Steve Austin – Marked Cards And Loaded Dice

Steve Austin is the lead vocalist and guitarist of experimental, artsy fartsy, avant-garde, psychedelic noise rock band Today Is The Day. Here he forgoes all that, goes solo, and releases an album packed with outlaw country tunes. I love the ability to do a complete switcheroo – kudos to him – but I am not a fan.

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

None.

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…

660,243 – UFO – The Wild, The Willing, And The Innocent [Deluxe Edition – 1981] (2 CDs)

Hard rock. From amazon: “Continuing the acclaimed series of UFO reissues, The Wild, The Willing & The Innocent returns in a stunning 2026 remastered deluxe edition.

Originally released in 1981, this pivotal album captures the band at a creative high point, blending soaring melodies, powerful performances, and Phil Mogg’s unmistakable voice.

Newly remastered from the original tape transfers, the album now sounds more dynamic and detailed than ever, reaffirming its place as one of UFO’s most accomplished works.

This deluxe edition also includes a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on 29th January 1981, by Brian Kehew, offering an electrifying snapshot of UFO’s energy on stage. Original 7″ edits of the two singles released with this album are included, as well as an alternative mix of album standout “It’s Killing Me”.

The set is rounded out with newly written liner notes by Michael Hann, featuring fresh interviews with Phil Mogg and Andy Parker, alongside a collection of previously unseen photographs from the era – making it an essential addition for fans and collectors alike.

The Wild, The Willing & The Innocent [2026 Remaster – Deluxe Edition]: 2CD digipak with O-Card with liner notes by Michael Hann featuring interviews with Phil Mogg and Andy Parker. Remastered and cut at AIR Mastering with Live at Hammersmith Odeon, London, 29th January 1981 concert newly mixed by Brian Kehew.”

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

3,384,386 – Neil Diamond – Wild At Heart

2,130,554 – Black Veil Brides – Vindicate

1,062,445 – Josh Groban – Cinematic

723,085 – Social Distortion – Born To Kill

522,729 – Darkthrone – Pre-Historic Metal

505,023 – Basement – WIRED

416,456 – Broken Social Scene – Remember the Humans

205,512 – The Lemon Twigs – Look Out For Your Mind!

135,456 – Midge Ure – A Man of Two Worlds

94,143 – Reverend & The Makers – Is This How Happiness Feels?

65,690 – Linda Perry – Let It Die Here

8,741 – Restless Spirit – Restless Spirit

994 – Bong Voyage – Hedonistic Hard Rock

…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