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

Thursday night, time for the music. Love it!

Before that, though, the 2026 NFL Schedule was released, woo-hoo! Let’s check out our Super Bowl LX winning Seattle Seahawks, caw caw. Not one, not two, not three, not four, but FIVE – count ’em, FIVE! – prime time games, including three consecutive ones (asterisked*):

*Week 1: vs New England Patriots (WNF, opening night!)
Week 2: at Arizona Cardinals
Week 3: at Washington Commanders
Week 4: vs Los Angeles Chargers
Week 5: vs San Francisco 49ers
*Week 6: at Denver Broncos (TNF)
*Week 7: vs Kansas City Chiefs (SNF)
*Week 8: vs Chicago Bears (MNF)
Week 9: vs Arizona Cardinals
Week 10: at Las Vegas Raiders
Week 11: BYE
Week 12: at San Francisco 49ers
Week 13: vs Dallas Cowboys
Week 14: vs New York Giants
Week 15: at Philadelphia Eagles
*Week 16: vs Los Angeles Rams (FNF, Christmas!)
Week 17: at Carolina Panthers
Week 18: at Los Angeles Rams

We’ll talk when it gets closer to the season (duh!), but you may be asking, “dude, they won the Super Bowl. Where can they go from there?”

The answer, my friends, is not “just another Super Bowl” but rather an undefeated season. I’m calling it now. 17-0 en route to SB win number three, and their second consecutive one. Lesssssss gooooooooo!!

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You know what else…? It’s been a minute since I’ve updated the concert calendar. Well, let me roll up on to the sidewalk and take a look, yes…

May 23rd – Les Claypool at Marymoor Park
May 27th – Trey Anastasio at the Paramount Theatre
June 6th – Restless Spirit and GOZU at The Funhouse
June 6th – Bob Dylan at Chateau Ste. Michelle Winery
June 7th – Bob Dylan at Chateau Ste. Michelle Winery
June 11th – America at the Paramount Theatre
June 14th – Witch Ripper at Hidden Hall
July 1st – Ziggy Marley at Chateau Ste Michelle Winery
July 16th – Corrosion Of Conformity at The Crocodile
August 11th – ZZ Top and Cheap Trick at Marymoor Park
August 15th – Sugar at The Paramount Theatre
August 16th – The Neal Morse Band at The Triple Door
August 18th – Toto, Christopher Cross, and The Romantics at White River Amphitheatre
August 21st – Red Fang and The Sword at the Showbox SoDo
September 5th – Weird Al Yankovic at Washington State Fair
September 9th – Bear McCreary at The Crocodile
September 20th – Ariel Posen at the Tractor Tavern
October 10th – Hiss Golden Messenger at the Tractor Tavern
October 10th – RUSH at Climate Pledge Arena
October 12th – RUSH at Climate Pledge Arena
October 20th – REZN at Baba Yaga
October 20th – Slift at Neumos
October 25th – W.A.S.P. at The Moore Theatre
December 5th – All-Star Porn Jam at The Central Saloon
December 6th – All-Star Porn Jam at The Central Saloon

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Unfortunately, I ran out of time, but the Honorable Mentions this past week were really fantastic! I’m not sure who will end up with the AOTW – possibly several – but here are the four albums that really made me take notice… and I look forward to hearing them again! We’ll see who ends up in the coveted spot eventually, but without further ado, the finalists (in order of “popularity”): Be sure to read my reviews about the albums below!

65,690 – Linda Perry – Let It Die Here
7,222 – The Quill – Master Of The Skies
2,322 – Brother Wallace – Electric Love
994 – Bong Voyage – Hedonistic Hard Rock

😁 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 8th to May 14th, 2026:

TBD.

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

4,627,129 – Motörhead – The Löst Tapes, Vol. 8 (Live At Winter Gardens, Margate, 5th Nov 1984)

Can’t go wrong with Lemmy and the boys from Motörhead! I love their raw rock-punk-metal delivery, and they always put on an outstanding show! Gone, but never forgotten… RIP Lemmy, Phil Campbell, and Würzel :-(

From the Motörhead website: “The latest instalment is a hellraising performance from 1984, recorded live at Winter Gardens, Margate, UK. It features a rare early three-piece line-up of Lemmy, Peter Gill, and the newly recruited Phil Campbell, recorded while Würzel was hospitalised in Newcastle with a kidney illness.

Streaming everywhere now — grab a drink, turn the volume up, raise a toast to Phil, and wrap your ears around eighteen slabs of prime Motörhead goodness.”

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

Neil Diamond is the MAN! I love and prefer all his old-school shit, but new studio albums, like this, are still quite enjoyable. 85 years young and still crushing… what a voice, what tunes. I dig me some ND!

From amazon: “Neil Diamond is a legendary artist, songwriter, and producer who has to date sold more than 130 million records worldwide, including more than 30 platinum or multi-platinum albums. His risk-taking career has delivered many surprises. Among them is an enormously popular collaboration with iconic producer Rick Rubin that delivered the stunning, stripped-down 12 Songs and the No. 1 album Home Before Dark.

And now from their creative partnership comes a new, never-before-heard album featuring 10 tracks written solely by Neil. Drawn from the Home Before Dark sessions, featuring such musical luminaries as Mike Campbell and Benmont Tench of the Heartbreakers, Wild At Heart is the culmination of the unexpected, deeply felt, Neil Diamond x Rick Rubin trilogy.”

3,310,601 – Adekunle Gold – Fuji Xtra (2 CDs)

Adekunle Almoruf Kosoko (bka Adekunle Gold) is a Nigerian singer-songwriter (Afrobeat, world music) that my bro Ray suggested. This album was originally released in 2025, but I missed it then. This deluxe edition includes five extra tracks. The album is an acronym: ‘FUJI’ (Finding Uncharted Journeys Inside). It is his sixth album, yet my introduction to him. Better late than never, this was great! Fun listen, thanks for the reco!

1,277,657 – Testament – Practice What You Preach [2026 Remaster – 1989]

As the album title indicates, this is the band’s 1989 classic, ‘Practice What You Preach’, remastered in 2026 by Justin Shturtz at Sterling Sound. It was the band’s third release, but the first one that got me into them. Therefore, it was a fun trip down memory lane… been a minute since I spun this one. Testament may not be considered one of the “Big Four” of thrash metal (Metallica, Slayer, Megadeth, Anthrax), but they are right there in the wings, right on the cusp. Guitarists Eric Peterson and Alex Skolnick write some the tastiest riffs and solos in thrash metal. The band’s debut was released in 1987, and they’re still going strong today, with a new album slated for a 2027 release. Can’t wait!

From Nuclear Blast: “Iconic Bay Area thrash band TESTAMENT has announced the upcoming remastered reissue of their coveted 1989 album, Practice What You Preach, on May 8th via Nuclear Blast Records.

The Practice What You Preach (2026 Remaster) reissue was remastered by Justin Shturtz at Sterling Sound. It will be available digitally and 180G vinyl on Yellow and Orange Swirl with Black Splatter (limited to 1250 worldwide) and is packaged with brand new artwork from Bill Benson (who also designed the original cover art), a 20pg booklet showcasing old photos and documents provided by Chuck Billy and Eric Peterson of the band, and newly provided liner notes.

Commenting on the reissue, [lead vocalist] Chuck Billy says:
“I am stoked about the remastered Practice What You Preach release with Nuclear Blast. With new artwork and Bigger sound than the original. Drop the needle and bang your head!!””

1,062,445 – Josh Groban – Cinematic

This is an all soundtrack singles covers album, including ‘As Time Goes By’ (Dooley Wilson, Casblanca), ‘Skyfall’ (Adele, Skyfall), ‘Brucia La Terra’ (Nino Rota, The Godfather), ‘Can You Feel The Love Tonight’ (Elton John, The Lion King), ‘When You Wish Upon A Star’ (Cliff Edwards as Jiminy Cricket in Pinocchio), ‘Unchained Melody’ w/Jennifer Hudson (Todd Duncan, The Righteous Brothers, Unchained), ‘Remember Me’ (Miguel, Coco), ‘Moon River’ featuring Jack Groban (Audrey Hepburn, Breakfast At Tiffany’s), ‘Against All Odds (Take A Look At Me Now)’ (Phil Collins, Against All Odds), and ‘Stand By Me’ (Ben E. King, Stand By Me).

My thoughts? Dude has an incredible voice. Undeniable. I don’t think I’d reach for this again anytime soon, but good God, that voice could melt butter.

From amazon: “An album of the world’s most iconic movie songs—at last matched with Josh Groban’s extraordinary voice. From Oscar-winning themes like “Can You Feel The Love Tonight” (The Lion King) and “Skyfall” (James Bond) to timeless classics including “Moon River” (Breakfast at Tiffany’s), “As Time Goes By” (Casablanca), and “When You Wish Upon a Star” (Pinocchio) plus a heartfelt new rendition of “Stand By Me”.”

723,085 – Social Distortion – Born To Kill

This is the Orange County classic punk band’s first release in 15 years… Welcome back, Mike Ness and gang! I have been a fan of the band going back to the early ’90s. They play a wicked cover of the Chris Isaak classic, ‘Wicked Game’, as well. Great stuff! Now don’t wait another 15 years ’til the next release, fellas!

From amazon: “Orange County’s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. For many, Born to Kill is a return to form, but instead, it’s a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for.

Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the rowdy title track that serves as the album’s mission statement, along with the riff-laden “Partners in Crime,” the nostalgic “The Way Things Were,” and rollicking “Tonight” are songs that fit in across any of Social Distortion’s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.”

378,634 – Kenny Wayne Shepherd – Ledbetter Heights [30th Anniversary Sessions – 1995]

Hot damn, that kid’s got skills! His tone and playing on this album is just sick! Blues rock at its finest. As the album title indicates, this is his debut release, re-recorded. I got into KWS in 1995 with ‘Ledbetter Heights’, his debut album, and he’s never looked back (until now). Super-talented and killer live show.

From amazon: “When grunge was mainstream, a blonde teenager from Louisiana upended the music industry by charting top 10 singles on the rock charts with his blues rock debut album Ledbetter Heights.

Kenny Wayne Shepherd released Ledbetter Heights 30 years ago, and he has been redefining the genre ever since. “This is the album that put me on the map,” Shepherd says. “My goal has always been to make music that is unfiltered and straight from the heart, and Ledbetter Heights is an album I’m very proud of.”

Thirty years later, Shepherd is releasing a re-recorded version of that debut album, Ledbetter Heights: The 30th Anniversary Sessions.

With the maturity of a seasoned musician and producer, as well as vocals featuring his longtime singer, Noah Hunt, the 30th Anniversary Sessions are sure to please both old and new fans. “Revisiting this album put me back in touch with the wonder and excitement of those days. I didn’t know what lay ahead at the time,” he reflects, “But I’m very grateful for what came from it.”

297,831 – The Knack – Knackology: The Zen Recordings

Holy shit, what a fun listen! Fun fact: Did you know that The Knack wrote songs other than ‘My Sharona’? It’s true! Funner fact: Those “other” songs – or certainly a good percentage of them – are actually better than ‘My Sharona” (IMO, of course). Funnest fact: ‘My Sharona’ is now stuck in your head. The Knack was a fantastically fun, upbeat power-pop meets new wave band. RIP to The Knack founder, vocalist, and guitarist Doug Fieger.

From amazon:

• 19 studio, live, and demo tracks from across their storied career.
• Features the return of their classic cover of Badfinger’s “No Matter What,” and other hard-to-find performances.
• Mastered by multiple Grammy-winning engineer Michael Graves with liner notes from Grammy-winning set co-Producer Lee Lodyga.

“The Knack was far from a one-hit wonder. But, sometimes, we need to be reminded of that. Principal songwriter and vocalist Doug Fieger of The Knack created Zen Records as an outlet for new Knack material, as well as early recordings, demos, and more, in order to get them into the public ear. Omnivore Recordings has been honored to have a decade-plus relationship with Zen Records. Knackology: The Zen Recordings collects 19 classic Knack performances. From pre-Get The Knack demos (“That’s What The Little Girls Do”) to a live “Let Me Out,” Knackology shows the band’s genesis.

Follow that with more across-the-globe performances of hits including “Good Girls Don’t,” “Baby Talks Dirty,” “One Day At A Time,” and—naturally—“My Sharona,” and feel the live power that caused a bidding war for their debut, and how it never relented onstage throughout their tenure. Also included are studio tracks from their releases Zoom (which Fieger called their best album) and Normal As The Next Guy, showcasing that they were never truly that “one hit wonder” label they had been slapped with. Add in rarities like their cover of Badfinger’s “No Matter What” (originally released on a Badfinger tribute), and you have a total Knack education and experience.

This collection is mastered by multiple Grammy-winning engineer Michael Graves, and features liner notes from Grammy-winner Lee Lodyga (who has helmed Knack reissues for Capitol Records, Virgin Records, and Omnivore Recordings). Knackology: The Zen Recordings is more than just a compilation. It is both an introduction and a refresher course to one of the world’s most important, impressive, and irreplaceable bands. You know we all shine on / The light delights the day / Return to turn it on or fade away.”

258,768 – The Sword – Age Of Winters [20th Anniversary Edition – 2006] (2 CDs)

Hell YESSSS!!! Kick ass stoner/doom-rock with so much groove… think Clutch meets Metallica at a Fu Manchu show. While stoner-doom makes the headlines, there’s also just a hint of blues. This was the band’s debut album, originally released in 2006. Disc one is the original album remastered in 2026, and disc two contains three 2004 demo versions, including ‘Celestial Crown / Barael’s Blade’, ‘Winter’s Wolves’, and ‘Iron Swan’.

From their bandcamp page: “Marking the 20-year anniversary of Age of Winters, this new edition elevates an already impossibly high mark from The Sword’s early canon. Newly remastered by Dan Coutant at Sun Room Audio, this anniversary edition accents and amplifies a modern metal classic.”

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

Man, what an exceptionally fun album! This duo – comprised of brothers Brian and Michael D’Addario – plays fun, quirky, psychedelic jangle-pop that sounds like it could’ve been released in the ’60s. The album has been quite well-received by others, as well.

From their bandcamp page: “The two previous Captured Tracks albums, A Dream Is All We Know (2024) and Everything Harmony (2023) certainly indicated something of a ground zero in The Lemon Twigs’ then five-album career. “We started making records that we would listen to ourselves,” says Michael D’Addario, the younger Twig brother, now aged 26. “We were forced to slow down and reevaluate who we were in 2020. Around that time, we tried to assess what we could do better than other groups, particularly in the studio. The live gigs had been getting crazier and crazier, and with no prospect of playing shows, we thought it was the perfect time to make something a little more delicate, and to exploit particularly Brian’s strengths. We decided to put all our efforts into making something powerful, and that’s how Everything Harmony came to be.” The album was a critic’s.

By the time of A Dream Is All We Know, the future Michael classic ‘My Golden Years’, which opens the album and also received a single release and a superb video, The Lemon Twigs new era had truly begun.

And now comes the third Lemon Twigs album for Captured Tracks, Look For Your Mind!, which follows on from the standalone single ‘I’ve Got A Broken Heart’ / ‘Friday (I’m Gonna Love You)’, the first new release in two years, discounting Brian’s excellent solo album, Till The Morning (2025). For lovers of the slightly psychedelic / folk-rock / garage-pop that the band touched upon on their last long-player, this pairing was a delight. Would the forthcoming album follow in this style? “I think we went into the record hoping that every song was going to be in a guitar pop style,” explains Brian of their initial intentions, but being The Lemon Twigs, this wasn’t going to happen. How could it?

Underneath its poppy exterior, Look For Your Mind! contains an undercurrent of paranoia and suspicion. “I do think that now is a time of insanity,” admits Brian after pausing for thought. “You really have to hold onto your own mind if you don’t wanna lose it.”

Opening with the title track ‘Look For Your Mind’, a jangly Michael number, the listener is introduced to the guitar-driven harmony sound that is the centering theme of the album. Brian plays drums, bass, and fuzz guitar. Michael adds the lead and rhythm guitars. Michael takes the lead, but as the song progresses, the vocals are shared. Much of what was achieved on A Dream Is All We Know is here, just more laser-focused. It’s classic Twigs, indebted to the golden age of guitar pop, but in no way slavish.

The distinctly optimistic teenbeat of the period is continued with Brian’s ‘2 or 3’, a bouncy pop number, where the brothers make up a two-man wrecking crew in order to construct their very own wall of sound. “When we played in Argentina, I fell asleep after the show and woke up with the chorus in my head,” says Brian. “I dreamt the melody with the lyric, so now I had to figure out what it was about. It concerns a guy who’s not intelligent or cultured enough for his girlfriend. We’re both always trying to write something where you can condense the meaning into a single sentence. A simple pop concept.”

‘Nothin’ But You’ returns to the Twigs in power pop mode – a style that’s nowhere near as easy to put together as the listener may think. “These types of songs are definitely tough to perfect,” states Michael. “You can go very wrong very quickly in the overdub world. It’s tempting to opt for something more complex, but it isn’t always needed. I had a chance to develop these guitar parts, three or so years ago, playing a show with Brian and Eva Chambers (Tchotchke) as The Michael D’Addario Trio. There are a few tunes on the record we did with this trio lineup.”

As well as Eva’s participation, Look For Your Mind! marks the studio debut of live Twigs Reza Matin (drums) and Danny Ayala (bass). With the brothers previously having handled everything in the studio themselves, this offered a newfound sense of freedom. “Seven of the tunes were just Michael and I,” ponders Brian, “‘Nothin’ But You’ and ‘I Just Can’t Get Over Losing You’ had Eva joining us on bass and vocals, like on the single earlier this year. The rest of the tracks had Reza on drums, with Danny joining in on ‘Bring You Down’ and ‘You’re Still My Girl.’ They helped us finally capture that vital live sound on record.”

The album was once again recorded in the brothers’ tiny recording space in Brooklyn. “It’s pretty terrible to have more than just Brian and me there,” laughs Michael. “It’s 400 square feet, and there’s nowhere to sit with all the studio equipment. You end up getting a lot done just because you wanna get the hell out of there. But we have had a lot of fun late-night jams there with Reza.”

‘Gather Round’ is one of Look For Your Mind!’s bigger productions. A Brian song with joyous orchestrations, it feels like a turn-of-the-century campaign song. The writer is looking for an uncorrupted leader but resolves that collective action is the only way forward. Musically, it’s ornate and delightfully 1967, but the mood and sentiment are distinctly 2026.

The ringing guitars of ‘I Just Can’t Over Losing You’ may create a familiarly pleasing mood, but when the bridge comes in at an unexpected time, the chorus is cut in half, and Brian and Eva’s harmonies build to its euphoric climax, the conventions for a pop song such as this are broken. The manner in which The Lemon Twigs surprise is a constant and testament to their vision and abilities. “Every time we try to write something that’s completely straightforward, we can’t help adding an element which comes out of left field. We always want to write a song we’ve never heard before,” chuckles Brian.

After the “unexpected expected”, a further curveball is thrown that disrupts any notion of this being yet another ’60s pop record. Brian’s ‘Fire And Gold’ starts off with a shimmering guitar riff before turning everything inside out. Brian states he was initially trying to write the kind of power pop song his brother might but compares his approach to that of Todd Rundgren’s work in the ’80s with Utopia. “You can see that he was trying to subvert the typical rock quartet form and give it more musicality because he’s just bored,” says Brian of Rundgren’s work of this time. “I was trying to write an energetic ‘Substitute’-type riff but with soulful harmonies. And then vocally, I remember listening to Paul Brady’s ‘Arthur McBride’… and other Irish folk. There’s definitely something that runs through the DNA of classic power pop, Irish folk, Indian music, and Gregorian Chants. The droning quality. There are textural nods to all of these styles on this track, from the tanpura that comes in on the second verse to the vocal mantra that builds towards the end of the song.” Nothing is as straightforward as it seems with The Lemon Twigs.

Closing Side One on the vinyl record is Michael’s beautiful ballad, ‘Mean To Me’, with vocals that The Beach Boys would be happy to have committed to wax 60 years ago, care of Michael, Brian, and Danny.

On the flip is the stomping ‘Bring You Down’, in which Brian sings: “I’ve been working so hard every minute of the doggone day / And my rent’s gone up and the boss won’t raise my pay / I’d like to take my woman out for a night on the town / But you know that the man was made just to bring you down.”

“I was thinking of Amazon workers who get spied on and fired if they make an effort to unionise. And the push to replace the already immiserated working class with AI. Even as an artist, you’re in danger of being replaced in this new world the tech oligarchs are building. In a sense, it’s an old story, but it becomes more and more relevant as corporations continue to consolidate their power.”

Next, the gear is dropped to the beautifully bare and heartfelt ‘Yeah I Do’, cut with Michael’s live vocal, and Brian and Reza, with only a few overdubs. “It’s a nice little capture of a performance, like how some of the [Big Star] Radio City stuff is,” says Michael. Curveball number two comes in the form of Brian’s musically dense ‘I Hurt You’, which in a more basic and youthful format could have quite easily sat on debut album Do Hollywood, with its whizzing synths and sizzling guitars.

After the jangle and Brill Building hybrid, Michael’s ‘You’re Still My Girl’, with the inclusion of Brian’s uniquely New York City Italian-American falsetto, comes Brian’s emotional epic, ‘Joy’, which he arranged with Sammy Weissberg. “I think we kind of balanced each other out,” he says of their shared duties, “because what I initially wanted was a very harmonically simple sort of George Martin orchestration sound. Sammy introduced more jazzy harmonies.” Rather than give too much away, wait until you can hear this with your eyes shut and focus. You’ll be blubbing like a baby by the end of this gorgeous production.

New things are done again with the familiar, a through line across this album, in Michael’s ‘My Heart Is In Your Hands Tonight’, resulting in harmony and crescendo, ringing guitars in The Beatles/Searchers mode, and lashings of Beach Boys harmony, before the closing track, and curveball number three, ‘Your True Enemy’.

“We had stripped production back on so many of the songs, and we at first approached this one the same way. It was just obvious that it needed more. Some intense processing and experimentation to put it over the top,” confirms Brian. “So we started to get more adventurous, and then we became more excited by the song.

“We put on some churchy organ to reinforce those dark descending chords, and it started taking on a more sinister tone. We threw the chorus vocals through our rotating Leslie speaker to give you a feeling of hearing the singer’s subconscious. Next, we added harsh ‘Psycho’ cellos and a fuzz/Leslie guitar solo. The end vamp was a good canvas for trying out backwards sounds, so we had our dad read a Yeats poem, and we ran it backwards and remodulated it… the track devolves into a full-on sonic breakdown, and is capable of scaring the mentally fragile if experienced at full blast on headphones.”

The Lemon Twigs sixth studio album is the logical next step, but it’s also much more. With the skills they’ve acquired over the last two records, their many outside productions, and time on the road, they’ve imparted a vital but disciplined spirit. At the LP’s core, as always with the Twigs, is great songwriting.”

127,003 – High Fade – Twice As Nice

I love(d) their 2024 debut, ‘Life’s Too Fast’, saying: “Oh man, I have no idea where I heard about them or this album, but I’m so glad I did! All I knew going in was that the album cover was hella rad… I’m thinking, “I’m either gonna love this album or be super-disappointed”. Lo and behold, it’s a bad-ass trio out of Edinburgh, Scotland that plays nice, tight, funk rock. The grooves on this album are thick and juicy. Thrilled to have heard about this band and album. I bet their shows are an absolute blast!”

This trio’s sophomore release is also pretty bad-ass, no doubt… but perhaps a bit underwhelming compared to their fiery debut. Definitely some absolute barnburners, but also a couple of lulls.

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

The band was formed in Sheffield, England, in 2002, released their debut in 2007, and this is their eighth full-length… yet my introduction to the band! They play fun, upbeat soul-rock. The “Reverend” in the band is lead vocalist Jon McClure. He got the nickname because “I’m a big mouth and always running at people.” Don’t look for him at your local HOW, though. He’s a heathen.

From Townsend Music: “Reverend & The Makers return with the follow-up to their Top 10 album Heatwave In The Cold North. Is This How Happiness Feels? is a 13-track collection that blends uplifting, vintage soul with sharp, modern storytelling. Produced by Danny Lafrombe and Jon McClure, it’s their most accomplished work yet.”

65,690 – Linda Perry – Let It Die Here

Singer-Songwriter Linda Perry returns to music after a lengthy hiatus (her last solo full-length was released in 1999). But, hey, she’s been busy since founding not one, but two, record labels, and writing songs for a bevy of other high-profile artists. Speaking of which, she wrote the song ‘Beautiful’ for Christina Aguilera, then reclaimed, re-wrote, and recorded a version for herself on this album (24 years after Christina’s original release!)… and it’s fantastic! In fact, the entire album is great top-to-bottom, and I dig the “behind-the-scenes” about it (read ahead). At times, she sounded quite a bit like Stevie Nicks meets Neil Diamond. Two thumbs up here, although… if I never hear 4 Non Blondes’ ‘What’s Up?’ ever again, it’ll be too soon.

From Kill Rock Stars: “Linda Perry’s “Let It Die Here” is a raw, spiritual reckoning, a journey through inherited pain, grief, and redemption. Across seventeen tracks that blend confessional poetry, cinematic rock, and vulnerable introspection, Perry confronts the ghosts of her past — mothers, lovers, and the darker corners of self.

The record moves from the streetlight confessions of “Balboa Park” to the searing surrender of “Let It Die Here,” culminating in “Albatross,” a release from the weight she has carried her whole life. It is an album about release, letting go of guilt, embracing imperfection, and finding beauty in survival.”

47,489 – Koyo – Barely Here

This is the pop punk band’s sophomore release, but my introduction to them. There is absolutely nothing new here, yet I loved the delivery, production, and more. If you dig solid pop punk, look no further than Koyo’s latest release, ‘Barely Here’. Looking forward to hearing more from these guys!

From Pure Noise Records: “There are few things more appealing in music than hearing a band who are unabashedly being themselves. It’s a harder feat than you might expect–avoiding contrivance or overthinking while still pouring everything into the art–and it only gets harder as a band progresses. On their sophomore album, Barely Here, Koyo were more than up for the challenge. It’s the kind of album that feels completely instinctual, an airtight blend of emo melodicism and hardcore ferocity where every note is permeated with passion and personality. It’s the sound of a band not only coming into their own, but owning it.

Koyo–vocalist Joseph Chiaramonte, guitarists Harold Griffin and TJ Rotolico, bassist Stephen Spanos, and drummer Salvatore Argento–emerged from the Long Island, NY, underground and quickly earned themselves a reputation for putting their own spin on the sound of their hometown’s legendary music scene. Their 2023 debut album, Would You Miss It?, propelled the band into a whirlwind of worldwide touring that never really stopped. When it came time to make their second album, Koyo found themselves trying to squeeze the writing process in between lengthy tours–even demoing songs from their RV on the road to prepare for the looming recording sessions. Rather than crack under the pressure, the group rose to the occasion by trusting that they’d developed into a well-oiled machine and allowing the songwriting to become completely intuitive. “I think we’d learned so much about our process from making Would You Miss It? that we knew exactly what we wanted going into this one, and it came together with more of an instinctual kind of magic to it,” explains Chiaramonte. “A lot of bands think their second album has to be this magnum opus epic that sews so many things together, and I think we’d actually taken more of that approach with our first LP. So with Barely Here, we wanted to do the opposite of that trajectory–we wanted to refine our strengths instead of doing this purposeful departure. It’s a snapshot of what our band is in its most no-frills, perfected form.”

Produced, engineered, and mixed by longtime collaborator Jon Markson (Drug Church, Drain, The Story So Far), Barely Here is a lean 10-song, 28-minute blast of incredibly anthemic punk. The band’s familiar Long Island DNA is there–the firecracker guts of The Movielife, the widescreen hooks of Taking Back Sunday, the tuneful grit of Silent Majority–but the sound of Koyo themselves shines through more than ever, a confident band who know exactly what they want to make and excel at making it. “We definitely don’t spend as much time talking about our influences anymore,” says Chiaramonte. “We just know what kind of band we are and do what comes naturally.”

But the assuredness of Koyo’s music didn’t happen overnight; it was hard-earned through those years of intensive touring and the variable life as full-time musicians. Many of Chiaramonte’s lyrics on Barely Here explore the confusion and disillusionment of being so mentally and physically unmoored. “We played hundreds of shows, and amidst that a lot of life happens back home, and a lot is happening around you that you have no control over–and you just have to live with that,” he explains. “I feel very grateful for how things have gone with our band, but with that, you miss a lot of things, and you’re also subject to a lot of disappointment when you see how things operate behind the curtain. It puts your head in a weird place to feel powerless in all of it. You can lose your sense of what you’re doing and why.”

Tracks like the adrenaline rush opening salvo of “Barely Here” and “Jet Stream Wish” address the dissatisfaction and distance, with Chiaramonte’s melodic roar still sounding defiant against his circumstances. “I have a real sincere gratitude for what’s happened for us, but I don’t want to pretend I’ve been in this awesome headspace the whole time,” he says. “There’s a lot of isolation and misplaced shame for choosing this kind of life.” Chiaramonte delves into these ideas on tracks like the fiery “Saying Vs Meaning,” which features guest vocals from Drain’s Sammy Ciaramitaro, or the propulsive “You Hate Me.” On “Oxidize” (a driving duet with Fleshwater’s Marisa Shirar), the challenges back home take on a very real weight as Chiaramonte describes wanting to find more time with his grandmother as she deals with dementia.

Late in the album, Chiaramonte brings all of his frustration to a head with “What I’m Worth,” a two-minute exorcism of negativity overtop of brooding chord changes that push Koyo’s sound into post-hardcore territory. The track is immediately followed by “Pace and Loiter,” a ray of light that breaks through the dark clouds with one of the biggest choruses Koyo have ever crafted–no small accomplishment for a band regularly trafficking in huge choruses. Its lyrics find Chiaramonte saving himself from the brink by appreciating moments where everything feels right. “It’s about those times when you really lock in, and you’re surrounded by people you care about,” he says. “Those times when everyone’s just shooting the shit, everything gets shut off, and the worst things all disappear–it’s so intangibly perfect. They’re so finite, and I wish I could just catch that in a bottle and enjoy it forever.”

The making of Barely Here seems to have helped Chiaramonte process wild motion and upheaval from the past few years of his life, and ironically, it’s also setting the stage for another round of non-stop touring. But this time he seems ready–better equipped to not only weather the chaos, but to also enjoy it more. “I think I’ve recently been able to lift my head up from the trenches and be like ‘hey, we’re still here,’” he says. “I’m really grateful for that. I don’t think we’d ever want to be a band that overstayed our welcome and tried to force something to happen, we just want to do it as long as it feels right.””

25,092 – The Covasettes – Honeymoon Forever

This English indie rock band has released a handful of EPs, but this is their full-length debut… and what a debut it is. Packed top-to-bottom with very well-written songs, this release was quite enjoyable! They have a bright future ahead of them.

From Townsend Music: “From the heart of Manchester’s Fallowfield scene, indie rockers The Covasettes are finally dropping their long-awaited debut album, which is scheduled for release on the 8th May 2026.”

23,786 – Karmanjakah – Diamond Morning

Karmanjakah is a Swedish-based djenty-y prog-rock/metal four-piece, and this is my introduction to them. Apparently, they are super popular ’cause the first edition of the vinyl ran out before the release, and the second edition of vinyl was down to one last copy on the day of release (all gone now). I liked what I heard and will continue to follow them.

18,152 – Teramaze – The Silent Architect

Pretty rad prog-rock meets prog-metal band from down undah! Tasty licks and excellent musicianship… reminds me a little of TesseracT? I may be a heathen, but the religious lyrics don’t bother me…

From MVD Shop: “Australian progressive metal force Teramaze continue to evolve as one of the genre’s most consistent and creatively driven acts. Led by founding guitarist, vocalist, and producer Dean Wells, the band’s current lineup features powerhouse frontman Nathan Peachey, bassist Andrew Cameron, and drummer Nick Ross.

Renowned for their seamless balance of technical precision and emotive songwriting, Teramaze have carved out a distinct identity within modern progressive metal — combining intricate rhythmic frameworks, soaring melodic hooks, and contemporary production. With a catalogue that reflects both ambition and authenticity, the band has built a dedicated international following through relentless creativity and a fiercely independent ethos.

In its current form, Teramaze represent a refined and confident chapter — delivering progressive metal that is both musically adventurous and immediately impactful, solidifying their position as a formidable presence on the global stage. Their brilliant new opus, ‘The Silent Architect,’ is an emotional roller coaster that battles to be the band’s best album yet.”

15,931 – Black Orchid Empire – LORE

This was a bad-fucking-ass prog-rock/metal album from the other side of the pond (London, UK to be precise). Tasty licks if you dig the prog! That album artwork is pretty happenin’, too.

From their bandcamp page: “BLACK ORCHID EMPIRE create huge, memorable rock music that combines heavy-hitting savagery with intense melodic beauty. Their technical, fearlessly complex grooves and gigantic sing-along choruses have already earned them a widespread fanbase.”

9,875 – Bjørn Berge – Morphine

Oh hell yeah, this was rad! This is an all-covers tribute to the band Morphine. I’ve heard of the band – and likely some songs/albums – but for the most part, they flew under my radar. Therefore, I’m unfamiliar with the songs, but dude plays them in his traditional swampy slide blues… and it absolutely rules! If you dig blues rock and/or Morphine, give this a spin!

The songs include ‘Early To Bed’ (‘The Night’, 2000), ‘Eleven O’Clock’ (‘Like Swimming’), ‘French Fries With Pepper’ (‘Like Swimming’), ‘All Wrong’ (‘Cure For Pain’, 1993), ‘Potion’ (‘Cure For Pain’, 1993), ‘Top Floor, Bottom Buzzer’ (‘Like Swimming’), ‘You Look Like Rain’ (‘Good’, 1992), and ‘Have A Lucky Day’ (‘Yes’, 1995).

From High-Res Audio: “Renowned Norwegian guitarist Bjørn Berge pays tribute to the iconic American cult band Morphine on his upcoming album. Known for his powerful acoustic performances, Berge has built a reputation as a unique guitarist and formidable live artist, delivering hard-hitting arrangements that span blues, rock, funk, and ballads.

With over a decade-spanning career, Berge has released 14 albums and earned multiple accolades, including two Spellemann Awards (the Norwegian Grammys) in the Blues category (2001, 2002) and the Notodden Blues Festival Blues Prize.

His new album is dedicated to Morphine, the influential band fronted by the late Mark Sandman, whose music has been a major inspiration to Berge since the 1990s. Morphine’s distinctive sound — driven by baritone saxophone, two-string bass, and a dark, minimalist groove — left a lasting impression on him early in his career.

“Morphine was something completely unique. They had groove, rawness, and soul in a way that struck me immediately — and still inspires me today,” says Berge.

On this tribute release, Berge reinterprets selected songs from Morphine’s catalog, balancing respect for the original material with his own signature, blues-based energy and expression. Swapping the band’s iconic baritone sax for his baritone guitar, Berge successfully channels the unmistakable Morphine vibe while making the songs entirely his own.

The album represents a meeting of two musical worlds, united by atmosphere, intensity, uncompromising musicianship, and deep respect. The first single, “Early to Bed,” written by Mark Sandman, offers a powerful introduction to the project.”

Bjørn Berge, vocals, guitars
Arnt Ove Kvernenes, harmonica
Vegard Fossum, drums
Kalle Aasland, vocals

8,741 – Restless Spirit – Restless Spirit

I got turned onto this badass trio in 2021, where I named ‘Blood of the Old Gods’ my AOTW. Well, the band obviously put in their due diligence the last few years and returned with yet another album that spanks in ‘Afterimage’ (2023), and now this, the band’s self-titled release. Straight-up stoner-doom metal with heavy AF (yet totally melodic) riffage. These dudes are great, and they put on a helluva show! They’ll be at The Funhouse (El Corazon) on June 6th with another rad band in Gozu! [Addendum: Gozu’s new album ‘VI’ will be released next week, May 15th.]

From their bandcamp page: “With their self-titled full-length, RESTLESS SPIRIT have reached a point in their career where the band of friends from Long Island, New York, knows exactly who they are and where they stand.

As the eight tracks on “Restless Spirit” are the most distilled version of what the trio is about, they saw no need for further explanation in the title. So, what are RESTLESS SPIRIT about? Pure metal, no more, no less.

Born from the steel mills of Birmingham, this musical style has deep English working-class roots that the East Coast outfit translates into an American sonic slang with elements from desert and stoner metal and even the occasional progressive flourish.

As a result, they seamlessly merge classic heavy solos with roaring guitars and a pinch of psychedelic fuzz. In hindsight, the massive punch delivered to the gut delivered by their previous album, “Afterimage,” set the trio onto a course that led directly to “Restless Spirit”. Trimming away all sonic fat, focusing on the essentials, and refining their sound and songwriting down to its heaviest core has yielded a record that promises to be timeless.

RESTLESS SPIRIT are throwing out a rescue rope to all headbangers and particularly those dealing with all the cruelty that life can bring. “Restless Spirit” is a call to persevere in the face of others not understanding or even outright rejection. This album is about living on one’s own terms, which was and is at the heart of metal.”

7,222 – The Quill – Master Of The Skies

Y’all, this is a super-tasty slab of stoner rock… killer groove on this release, and rad album artwork to go with it. Been listening to these fellas for a while now, and they never disappoint.

From Rough Trade Records: “Swedish hard rock veterans The Quill return with Master Of The Skies. The album marks another chapter in a long-standing dialogue between groove, weight, melody, and power – this time with a darker tone. It’s heavy without being clumsy, atmospheric without losing its swing – heavy rock with depth and character that has been hard-earned.

The Quill is a band that is comfortable in its own skin and writes music because it still means it, not because someone asked them to. No reinvention. No trip down memory lane. Just The Quill doing what they’ve always done best: writing heavy rock songs that stand on their own.”

2,322 – Brother Wallace – Electric Love

Brother Wallace is Chris Wallace outta Georgia. He plays goosebump-inducing retro-soul gospel music… and I’m here for all of it! Dude’s been playing in church since he was just 11 years old and was the choir director at 14. Don’t sleep on Brother Wallace. This is the shit… and his debut full-length!

From amazon: “Raised in the tiny rural town of West Point, GA – Brother Wallace is a true force of nature. A K-12 music teacher who began playing piano in church at age 11, Wallace teamed up with guitarist/producer Dan Taylor (The Heavy) in dreaming up a body of work built on his electrifying brand of soul music, mining inspiration from Sam Cooke, Little Richard & Johnnie Taylor, among others. Recording in England at Real World Studios, Wallace emerged with “Electric Love’, his 13-song debut for ATO Records.”

1,951 – Karcius – Black Soul Sickness

Karcius is a Canadian-based prog-rock band, eh. They said they were inspired by bands such as Pink Floyd, King Crimson, Porcupine Tree, Opeth, Radiohead, and Foo Fighters, and I heard elements of all those bands. Throw ’em right in a blender, and ya got Karcius. The album is a hair over ~45 mins long, but was over before I knew it. Looking forward to what they deliver next!

994 – Bong Voyage – Hedonistic Hard Rock

I had a sneaking suspicion that I might dig this heavy metal album since it features members from Håndgemeng, whose 2025 release, ‘Satanic Panic Attack’, was my AOTW in April 2025. Even bought the album! The members in both bands include guitarist Charlie Ytterli (aka Abuse Springsteen) and bassist Kim Grannes (aka Jeans Simmons). Can’t go wrong with songs like ‘UFOria’, ‘One Hundred Million Billion Beers’, and ‘Outer Space Freebase’, among others. It’s a heavy metal party, y’all… fun album!

From amazon: “This is ripping heavy party rock of the best kind! Bong Voyage from Norway consists of members of Håndgemeng and is a fantastic heavy as hell full on hard rock and stoner band!”

105 – Mörkekraft – Fragments

Solid stoner rock band outta Norway. This is their debut, and I believe their future is bright if they can keep delivering beefy riffs like this. F yeah!

From Argonauta Records: “Fragments is the debut album from Norwegian heavy rock trio Mörkekraft. Blending heavy riffs, atmospheric melodies, and hypnotic grooves, the band explores the space between stoner rock and classic heavy rock.

Recorded at Bridge Burner Recording with Ørjan Kristoffersen Lund and mastered by Steven Grant Bishop, the album captures a raw and immersive sound shaped through years of jamming and songwriting.

Across its tracks, Fragments moves between driving riffs, melodic vocal harmonies, and darker, more atmospheric passages – a collection of songs that reflect the band’s evolving identity and their fascination with mood, melody, and weight.”

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

31,115,599 – Chris Brown – BROWN [aka Break Rules Only When Necessary] (2 CDs)

Chris Brown is a dbag. Dude has multiple felony assault and domestic violence violations, including against his former girlfriend, Rihanna. It’s almost instant disqualification based on those merits alone. However, I like to review based on the album itself. My own self-imposed rules: “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).”

So, I listened to the entirety of the hour-and-a-half album. Of course I loved the production, but when you have unlimited resources at your fingertips, it’s gonna sound good… like, really, really good. And it does. His voice is smooth AF, and I can hear why he has such a strong fanbase. That said, his style of R&B just doesn’t do it for me, and never really has.

From the ‘BROWN’ wiki page: “Meanwhile, Pitchfork reviewer Alphonse Pierre gave the album a controversial 1.3 rating — the publication’s lowest score of the 2020s — and called it “a real piece of shit”, criticizing the singer’s public controversies.” <— and that’s why my reviews are better than Pitchfork’s ;-)

7,394,167 – Jason Mraz – Grandma’s Gospel Favorites

I dig JM and have for some time. Great writer, great vox. For the most part, he writes super-mellow, groovy singer-songwriter tunes. But this release was a bit of a departure. His grandma – and I LOVE this! – requested that he record a gospel album… so he did!

The covers include ‘Turn Your Radio On’ (The Louvin Brothers), ‘Daddy Sang Bass’ (Johnny Cash), ‘It is No Secret’ (Elvis Presley), ‘Peach Pie’ (original JM composition), ‘Evening Prayer’ (Elvis Presley), ‘His Eye On The Sparrow’ (1905 hymn, Mahalia Jackson, Whitney Houston, more), ‘Old Rugged Cross’ (Traditional hymn, Johnny Cash, more), ‘Never Grow Old’ (Traditional hymn, Aretha Franklin, more), ‘When We Die (You Are Loved)’ (original JM composition), ‘God Be With You (Til We Meet Again)’ (Traditional Christian hymn).

Unfortunately, it sounded more somber than his typical releases, so I’ll stick with earlier albums.

From amazon: “Grandma’s Gospel Favorites, the new Jason Mraz release, celebrates beloved gospel, country, and inspirational classics, alongside two original compositions.”

2,130,554 – Black Veil Brides – Vindicate

Never been a huge fan of the band, and this release does not change my mind. They play goth-glam metal… with an edge. The song ends with a cover of A.F.I.’s ‘Death Of Seasons’ (which made me yearn to hear A.F.I.’s 2003 masterpiece, ‘Sing The Sorrow’ instead of this).

585,115 – Claptone – Wanderer

Claptone is a widely respected German DJ and producer, and this release is packed with guest vocalists. ‘Tis a bit outside of my world, so it’s a bit of a miss, unfortunately. Fun fact: Claptone is always masked and gloved to conceal his true identity… although there have been at least two or three Claptone performances occurring simultaneously in different locations.

522,729 – Darkthrone – Pre-Historic Metal

Darkthrone is a black metal band that’s been around since ’86… wow! Congrats on the career, guys – their 40th anniversary as a band!!! – but I can’t do it. I’m a fan of very few death / black / extreme metal bands / albums and this is not on the list.

505,023 – Basement – WIRED

This is the British emo punk band’s first release in eight years, and… I can hear why people dig them, but it didn’t move the needle much for me.

416,456 – Broken Social Scene – Remember the Humans

Crappy experimental / indie rock band BSS has gotten lots of glowing reviews throughout the year, but they’ve never done much for me. This album – their first release in nearly a decade – does not change my mind. Perhaps they should’ve remained on hiatus. What’s next on the chopping block?

254,256 – Aldous Harding – Train On The Island

Aldous Harding is the stage name for New Zealand-based indie folk singer-songwriter Hannah Harding. Surprisingly, this is my introduction to her. She is quite popular, but, unfortunately, I don’t care for her voice or the tunes. I was rather bored with it, really…

196,086 – Draconian – In Somnolent Ruin

Draconian is a gothic death-doom metal band outta Säffle, Sweden. I was surprised to see that I had not listened to them previously (this their eighth studio album). That said, based on this release, it sounds like I haven’t been missing much. A bunch of meh with more meh on top of that. Moving along…

135,456 – Midge Ure – A Man of Two Worlds – World One: Music

Midge Ure was the guitarist/vocalist in British new wave band Ultravox, but he’s been solo for a number of years. He released two albums – one that’s all-instrumental, and one with vocals. I didn’t particularly take to either. Perhaps a bit too “slow” and “orchestral for my taste? But, hey, give the guy a break. He’s 72 years young and still releasing new shit, so good on him! That said, the tunes don’t move me. Fun fact: His name is James Ure, but he goes by “Midge,” which is a phonetic reversal of Jim.

From amazon: “In recent years, Midge Ure has spent his time playing live and hasn’t had time to fully immerse himself in the studios creating music. To that end, A Man of Two Worlds is his first album of new material in 12 years. Well worth the wait, the album is a formidable collection of outstanding music, divided into two clear parts.

The first half, World One: Music, consists of eight instrumental pieces, while the second half, World Two: Songs, features eight vocal songs. This concept was partly inspired by the time Midge spent during lockdown listening to instrumental music whilst presenting THE SPACE on Scala Radio. Hearing music that rarely finds a home on mainstream radio, he set about making something without lyrics, where the melodies had to speak for themselves.

The eight vocal songs which form the second part of the album came to Midge as the world reopened. A more divided world, in many ways a much harder and less empathetic one. Sharing an atmosphere with the preceding instrumentals, these songs are incredibly sparse and meditative, and whilst they are subtle, with some songs dealing with the frailty of the human condition, underlying many songs reflect Midge’s concerns for the discord infecting the world today.

Midge will be touring A Man of Two Worlds on a 21-date UK tour in May/June, Australia/New Zealand in October, with Festivals and US dates being booked during the summer, and Germany in Feb/March 2027 with more dates being added.”

135,456 – Midge Ure – A Man of Two Worlds – World Two: Songs

^^^See above.

74,050 – Panopticon – Det Hjemsøkte Hjertet

Panopticon is a one-man atmospheric black metal band: Austin Lunn from Louisville, Kentucky. He’s been hit-or-miss for me throughout the years, sometimes within albums. I totally get what the appeal is, as dude plays all instruments, adding in layers of acoustic guitars, banjos, etc, amongst the blast beats, heavy riffage, and growly vocals – and there are some cool moments here and there – but it can get muddled at times. But the brilliant parts are truly brilliant. Overall, though, it’s a bit of a miss this time around.

67,185 – Namasenda – Limbo

Thank goodness that this was under half an hour long because this dance-pop album is so not in my world. If you dig the meat markets / clubs and want to “lose yourself to dance”, throw on this album. I’ll move on to something else.

31,200 – Loraine James – Detached From The Rest Of You

Loraine “One R” James is a British-based electronic/IDM artist. What I didn’t know (until I started listening) is that it’s also experimental / avant-garde. This shit was way TF out there and a complete swing and a miss.

23,743 – War On Women – Time Under Tension

War On Women (WOW!) is a feminist hardcore punk band hailing from Baltimore. The band originated in 2010 and has released five full-length albums, yet this is my introduction to them. I liked what I heard, yet not enough to reach for the album again. Good, not great. Perhaps I’ll keep my eyes and ears on ’em for future releases.

From Smartpunk Records: “Time Under Tension finds fluidity and inspiration from both the personally mundane and politically insane, dissecting the impact of the outside world on one’s inside world, how our perspectives can alter our perception of the world, and what that interpersonal relationship with the outside looks like.”

23,660 – Yoth Iria – Gone With The Devil

I’m typically not a fan of most black metal releases, and this album is no exception. That said, it was one of the better ones I heard. I still didn’t care for the growly vox, but the music was quite interesting at times. In the end, though, I shan’t be reaching for it again.

11,916 – Villanelle – Measly Means EP

Villanelle is a British-based band, and this is their debut EP, a nod to ’90s-era grunge rock. Their inspirations include Alice In Chains, Soundgarden, and The Smashing Pumpkins (among others), but they don’t particularly sound like any of ’em. It’s under 20 mins and didn’t really move the needle at all for me.

7,999 – The Woggles – Stop and Take a Minute: A Collection Of B-Sides And Rarities

I believe The Woggles’ frontman, “The Professor” Mighty Manfred, said it best (via The Woggles website): “Alan Freed once said that ‘Rock and roll is a river of music that has absorbed many streams. The Woggles drink from its many tributaries, from early rock and roll and R&B to ’60s garage rock and soul to British Invasion.” Totally a throwback band. I won’t listen to it again, but it was certainly worth a single spin, at least! RIP to former guitarist Flesh Hammer a.k.a. Jeff Walls :-(

From Lunchbox Records: ““Stop And Take A Minute Please” was written by Flesh Hammer a.k.a. Jeff Walls, our late guitarist who passed away in 2019. This was the final song of his that we worked on together. He was the lead guitarist for 16 years (2003-2019). Prior to that, he had been the band’s primary producer beginning in 1990.

Fleshtones guitarist Keith Streng plays fuzz, electric, and 12-string guitars on the recording, along with contributing backing vocals. The Woggles and Fleshtones have been pals since the 1990s, and Keith and Flesh Hammer were especially close.

Mighty Manfred quote, ”Stop And Take A Minute Please” is a fuzz-drenched Troggs-inspired stomper that wound up being the final song we worked up with the late Flesh Hammer, and we felt his presence guiding us along as we recorded it.””

6,731 – Otay:Onii – Love is in the Shit

Otay:Onii is the stage name for musician Lane Shi Otay Onii. I went into this with high hopes (released on the Pelagic Records label) and low expectations (experimental, avant-garde). Unfortunately, Pelagic swung at a ball in the dirt with this release. Way TF out there and massively outside of my wheelhouse. Hey, if you like experimental / avant-garde singer-songwriters, look no further. Shit be too weird for my taste.

2,187 – IATT – Etheric Realms Of The Night

IATT is a proggy death/black metal band. Overall, it’s a pass… the usual growly vocals, etc, etc. That said, there is a caveat. The band adds sax, violin, flute, and more throughout, which gives it a little sumthin’ sumthin’ that most DM/BM bands do not. That shit was cool, but the album as a whole won’t be listened to again by me.

1,530 – Lauren Lakis – Deadlights

Lauren plays shoegaze / ’90s alternative, and this is her debut release. While I didn’t care for the album itself, I “love” how she got there (read ahead). It’s depressing, which is why “love” is in quotation marks. Unfortunately, it didn’t leave much of a mark for me.

From amazon: “Lauren Lakis makes songs that are steeped in darkness, but inside of them is a sense of hope. They are propelled by the possibility of emerging on the other side feeling less alone and fully transformed.

On her debut album Deadlights, set for release on Riding Easy Records on May 8, 2026, she conjures a shifting reality-one defined by both distortion and clarity. Indebted to shoegaze and ’90s alt-rock, its 10 tracks are filled with ethereal vocals, melodic guitars, and a heavy low end. It’s inspired by groups like Deftones and Hole, powerful bands that explore the emotional bottom but are able to rise from the depths.

Lakis was born in Baltimore, where she was raised by her single mother. As she grew up, she lost multiple family members and friends to addiction. She became an actor and a photographer, trying to capture the human experience with each endeavor. Her travels led to stints living in Prague and Tokyo, before she moved to Los Angeles. In 2016, she endured a horrible breakup, and then her mother was in a car accident that left her paralyzed.

Though Lakis was already singing in a band at the time, these life-altering events motivated her to focus on writing and recording her own music. “When you’re in a place of total surrender, you are able to get out of your own way and finally do the thing you want to do,” she says.

After the car accident, Lakis’s mother’s health deteriorated, and Deadlights was recorded over the last year of life, with Lakis frequently travelling back to Baltimore to care for her. Despite these circumstances and the recurring theme of loss in its songs, Lakis doesn’t consider Deadlights a grief album. Instead, it captures what’s possible when you survive the worst reality you can imagine. “That loss, the experience of going through the absolute worst thing, there’s a freedom in that, ” she says. “There’s a liberation in that where I almost feel invincible.””

479 – Trip Villain – Dose

Trip Villain is a NYC-based electro-industrial metal band. I won’t listen to this again, but I found it quite interesting. Industrial metal with heavy electronics and flashes of techno and thrash metal, why not?! This is their sophomore release, but my introduction to them. If you’re looking for something that’s a bit out there, but not totally out there, look no further than Trip Villain’s latest.

46 – Teloch Vovin – Towards The Inevitable

No with extra helpings of no. Death metal at a black metal show or vice versa. The music, the vocals, the production… everything leaves something to be desired. Awful.

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…

544,223 – Ween – Brown Box (10 CDs)

Alternative rock. From amazon: “The first career-spanning complete studio albums box set from Ween. 10CD set including: God Ween Satan: The Oneness, The Pod, Pure Guava, Chocolate and Cheese, 12 Golden Country Greats, The Mollusk, White Pepper, Quebec, Shinola, Vol. 1, and La Cucaracha. This collection includes many long-out-of-print titles on CD as well as some of the finest American songwriting from the past 40 years. Punk is dead; long live Ween.”

188,367 – Laurie Anderson & Sexmob – Let X=X [Live] (2 CDs)

Experimental rock. From Nonsesuch Records: “Laurie Anderson with Sexmob Let X=X is out now. This triple-LP / double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob—Steven Bernstein on brass, Kenny Wollesen on drums and percussion, Douglas Wieselman on winds and guitar, Briggan Krauss on saxophone and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favorites from throughout Anderson’s career, performed in new arrangements—plus one by Lou Reed and Metallica, “Junior Dad.”

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) “wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.”

Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than forty years. In a recent 60 Minutes profile, Anderson Cooper said she “is a pioneer of the avant-garde, but … that doesn’t begin to describe what she creates … It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention … she [blends] the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.” The Washington Post has said she “doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.”

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a remastered edition of Big Science in 2007 for its twenty-fifth anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, “O Superman,” which is also featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honor: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.”

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

4,530,813 – Slayer – Hell Awaits [40th Anniversary Reissue – 1985] (3 CDs)

1,389,722 – Peter Frampton – Carry The Light

1,087,729 – Gipsy Kings – Historia

626,081 – Ryan Bingham and The Texas Gentlemen – They Call Us The Lucky Ones

86,800 – Pro-Pain – Stone Cold Anger

54,557 – Crown Lands – Apocalypse

24,479 – Port Noir – The Dark We Keep

16,582 – Bruce Soord – Ghosts In The Park (3 CDs / Blu-ray)

10,676 – Gozu – Gozu VI

7,222 – The Karma Effect – Cruel Intentions

6,863 – Acid Reign – Daze Of The Week

…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