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

Wow, what a short week… I loved it!

Are the cottonwoods getting to anyone else? I’m doing the daily Flonase squirt up the nostrils in the morning and Aller-Tec pills at night, yet I continue having to blow my nose like it’s going out of style. Are you having any success? If so, please do tell. I may be all ears, but I’m all out of nose.

As mentioned last week, I took a bunch of days off from the daily grind, and… it did not disappoint. In addition to sleeping in (ahhhhhhh…), I also mowed again (further adding to the already miserable allergies issue), and took a nap. Remember when we were kids, and the last thing you wanted to do was take a nap? Fear of missing out (FOMO), right? Ooooh, I’ll tell ya, I am a big fan of naps these days. In fact, I’m a big believer in the “listen to your body” saying. My body is saying, “Take a nap,” so I should take a nap. I’m a flexitarian these days and try to eat as little meat as possible, but sometimes my body says, “yeah, I’ve got a hankerin’ for a burger right about now.” And I will listen. Obviously, there are caveats. I mean, I can’t exactly take a nap in the middle of the office. Actually, I suppose I could, but I don’t want to find out what happens if I do, hahaha! 

Anyway, enough about that… let’s get back to the cooler stuff that happened over the extended break. A longtime buddy – and former Mackie employee – and his wife were up from California for a wedding, and he carved out a night for us to meet up for dinner and catch up. The wife and I met them at Demetri’s in Edmonds. The food was most excellent (thanks to the recommendation from my longtime friend + drummer, Dustin!), and the view was incredible! The best part, though, of course, was hanging with Paul and Karyn. Man, so good to see them again after all of these years!

You know who else I hadn’t seen in a long time? My ‘ol man! He’s a snowbird who splits time between Anacortes and Tucson. So I made the trek up north to Anacortes and spent the night. We went on a nice two-mile hike and watched the movie ‘Remarkably Bright Creatures’ (Netflix), which I highly recommend. It is not based on a true story, and there is some CGI involved (but not all CGI). It’s still a wonderful story that was well-written and acted, starring Sally Field. Check it out and report back! 

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Hey, just one more point I’d like to make about friends who are far and wide. Has a friend that you hadn’t talked to and/or seen in ages cross your mind just out of the blue? I’m not convinced that it’s “just” a coincidence. But I’m also not sure if it’s telepathy, intuition, or something else entirely. Regardless, I’ve noticed it happening a lot more lately… or perhaps I’m just “more in tune” with it. 

Anyway, I’d like to give you a couple of recent examples. I lived on Capitol Hill (Seattle) for a couple of years way, way, way back in the mid-’90s. I’m friends with my roommate Dylan, but you know how life goes. Sure, sure, we’d drop a line to each other every few years, but those were mostly just quick check-ins. For some reason, Dylan crossed my mind, oh, I dunno, let’s say three months ago. Can’t recall where I was or what I was doing… just, “huh, I wonder what Dylan’s up to.” Roughly six weeks ago, he reached out to say “hey” and “we should get together.” YES, absolutely we should! So, yeah, Dylan and I have plans to meet up and see each other for the first time since… the mid-’90s? Possibly. I can’t think of a time when we saw each other since then, but perhaps. I am quite excited to catch up, been far too long.

Another story is about a friend from my HS days. Some of you know Josh W. Well, he crossed my mind several days in a row. I took that as a sign to reach out and did. Right out of the blue. Hadn’t spoken to each other in years. I text him, and he returns the favor seconds later. We ended up texting each other over the next several hours… because why call when you can text, hahaha?!

This is a lengthy, roundabout way of me saying, “Hey, if a longtime friend that you don’t interact with on a daily/weekly/monthly basis crosses your mind, drop ’em a line.” I promise that they will be thrilled to hear from you! Try it and report back – I want to hear your stories of rekindling friendships!

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As predicted, with so much time off over this past week, my pile of albums to listen to and review was cut way short. There were some great Honorable Mentions, but only one album truly made me do the side-eye “oooh, this is really, really good”. That said, with only one listen, I don’t want to crown it as this week’s AOTW yet, but it could land there in the future. I need to confirm that I liked it as much (or more) than I did on the initial spin. Anyway, I am talking about <drum roll>…

951 – Cellar Noise – Panic Loves Telling Lies

Give it a spin and let me know what cha think!

There are a TON of amazing releases this upcoming week, and I’m sure there will be at least one, if not multiple, AOTWs. Furthermore, I plan on working the entire week, so I should be able to grind through the majority of them, if not all of them. 

Speaking of time off, though… we have Juneteenth and the 4th of July off, so perhaps I’ll extend those weekends, get more bang for the buck. A long-ass weekend bookended by two shorter weeks is pretty bomb.

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😁 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 22nd to May 28th, 2026:

TBD.

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

1,417,741 – Primus – A Handful Of Nuggs EP

Les Claypool is a GOD on bass. So much so that he is currently on the 2026 Claypool Gold tour with not one, not two, but THREE bands that he fronts: Primus, The Fearless Flying Frog Brigade, and The Claypool Lennon Delirium. Heading into the tour, all three bands released albums. You can never go wrong with ‘ol Claypool. Dude is an absolute stud. Music is quirky as hell, but I’ve been a fan of the band since High School. Fun fact: my band even covered ‘Too Many Puppies’ for charity one year!

From ATO Records: “Primus return with a brand new song, The Ol Grizz.” The song travels through high-speed bass riffs, spaced-out arpeggios, and double bass drumbeats to create a singular sound that can only be described as Primus. Paired here on this limited edition 12″ with a new cover of “Holy Diver” [featuring Puddles Pity Party] and two songs released as a 7″ last summer: “Little Lord Fentanyl” [featuring Puscifer] and a live recording of “Duchess (and the Proverbial Mind Spread)” [Live from the Mann Music Center, Philadelphia, PA].”

1,417,741 – Colonel Claypool’s Fearless Flying Frog Brigade – Return Of The Live Frogs: Volume 1

^^^See above. From amazon: “Ahead of their inclusion on the 2026 Claypool Gold tour, The Fearless Flying Frog Brigade will release a new live LP recorded during 2023’s Hunt For Green October Tour (which includes a band comprised of Sean Lennon and Harry Waters, among others).”

781,447 – Maisie Peters – Florescence

Wow! Maisie Peters writes great tunes and has a beautiful voice! She plays gorgeous folk-pop tunes, top-to-bottom, a great album, and a new find!

From Townsend Music: “Maisie Peters has officially announced her third studio album, Florescence, scheduled for release on 15 May 2026. Co-produced by Ian Fitchuk, the 15-track album features her first-ever collaborations, including tracks with Julia Michaels (“Kingmaker”) and Marcus Mumford (“If You Let Me”).”

194,286 – Hammock – The Second Coming Was A Moonrise

Hammock is a (mostly) all-instrumental, ambient, post-rock duo outta Nashville. Their music is beautiful, it’s epic, so grand, yet so mellow… so awesome. They aren’t doing anything new or anything they haven’t done before, but if you like ambient music, look no further than Hammock.

From their bandcamp page: ““Maybe tonight/Maybe we will see the light.”

These words, from the song “We Close Our Eyes So We Can See,” hold a sense of possibility, though never a guarantee, in reaching for something beyond the mundane. Perhaps that’s what has been so key about the work of Marc Byrd and Andrew Thompson as Hammock. Now over twenty years together as a working duo, Hammock continue their remarkable string of sonic explorations with one of their most boldly titled albums, The Second Coming Was A Moonrise, released on their own Hammock Music label.

Byrd and Thompson, both primarily guitarists, have found their musical bonds becoming ever stronger as their shared work grows even more dramatic and richer over the years, pursuing a feeling of sweeping, shimmering sonic awe that can never simply be summed up as anything other than itself. “Beatless ambient, post-rock, shoegaze, neoclassical,” says Byrd in conversation, noting tags they’ve been given. “Or as some of our listeners call it, loud Hammock or quiet Hammock. What all our work has in common is a distinctive sonic blueprint.”

The Second Coming Was A Moonrise continues those sensations of exploration, feeling at once like one of their most intimate releases while exploring the rich sense of majesty that they can create in turn. Following soon after their 2025 release, Nevertheless, their self-production, in combination once again with mixer Emery Dobyns to accentuate the textured flow of their work, covers ten songs that sound like deep spaceflight in many forms, whether it’s the extended drone rise concluding “The Unsetting Sun” or the vast sensations of “Everything You Love Is Buried In The Ground Or Scattered Into Space.”

When asked about this sense of reaching out to the beyond, Byrd discusses the striking origin of the album title, also the name of the album’s longest song, and one of its most calmly powerful. One night when younger, he and a friend, while indulging in some LSD, were momentarily affected by a light in the night sky, the fundamentalist Christianity of their upbringing leading them to expect the Rapture at any moment. It was, Byrd quickly realized, a moonrise in the end, but as he notes, the mere fact that they had that as their baseline was grounds for a reflective moment:

“If anyone grew up a fundamentalist, maybe this album can be a soundtrack for letting go of toxic shame and bad religion, while holding onto what is good, beautiful, and true. Seeing and experiencing a moonrise is a miracle in itself. How many times do we miss what’s there or what’s being said by someone because we assume or believe something else is happening or being said?”

As has often been the case with their work, much of The Second Coming is instrumental or only adds wordless vocal sighs and textures, though always with titles chosen with intent. When the words come, they hit all the harder. “Like Sinking Stars” interprets the experience of a tornado hitting Thompson’s home and studio, while Byrd revisited more of his drug-fueled escapes from narrow-minded small town repression with “Chemicals Make You Small.” The latter features two notable guests that aren’t strangers to similar sonic and youthful experiences: Wayne Coyne and Steven Drozd of the Flaming Lips, adding vocals and keyboards. Other returning guest performers include regular collaborator Matt Kidd of Slow Meadow, adding strings and guitar, Deserta’s Matthew Doty on synths and guitar, Chad Howat playing keyboards and bass, and Jake Finch adding some remarkable drumming.

It all adds up into another involving example of Hammock’s ability to embrace seriousness with warmth, a dreaminess that has heft, a beautiful glaze of sound that invites reflection and connection. When asked to describe what Hammock aims for now with The Second Coming Was A Moonrise and with where their creative journey has taken them, Byrd talks about creating something that “feels like a combination of what we’ve done through the years, with maybe a little more solidity,” appropriate in a time of personal changes in their lives and in the unsettled common state of the world in these years.

“So much is missed and looked over due to the tunnel vision created by politics, social media, algorithms, silos of misinformation, and perpetual distraction,” Byrd adds. “I would hope this could be an album that sounds like sitting on the roof of a car, when being young was serious, and one night was like the end of the world. In a way, it’s the same old Hammock but new and maybe even incautious.”” – Ned Raggett

157,610 – Noah Gundersen – Rites Of Spring

What a beautifully stunning album! Folksy singer-songwriter album… really digging it! Bonus points since dude’s from the PNW [Olympia, WA]!

From Rough Trade Records: “Noah Gundersen has been writing and recording music since he was 13, working his way from teenage hardcore to indie rock to the creation of his own distinctive strain of bold, genre-busting songcraft. Noah takes vulnerability to a new level on his album Rites of Spring, produced by Andy D. Park (Medium Build, Joseph, Pedro the Lion, Death Cab For Cutie.)”

109,304 – Armored Saint – Emotion Factory Reset

Count me in as a (long-time) fan of the band! First studio full-length in six years and well worth the wait. Straight-up kick-ass metal album, and vocalist John Bush sounds almost dead nuts like Maiden’s Bruce Dickinson (IMO). Good stuff!

From Metal Blade Records: “American heavy metal icons, ARMORED SAINT, are back with their anticipated new full-length release, Emotion Factory Reset, set for release on May 22nd through Metal Blade Records.

Emotion Factory Reset, the lineup’s ninth studio album since 1984’s March Of The Saint, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour), the record finds the quintet challenging themselves. Songs like “Close To The Bone,” “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.

“Each ARMORED SAINT record, to me, is like a new skin for the band, a different chapter. I don’t think we’ve ever repeated ourselves,” says Vera. “Every album has been pretty different from the previous one, a snapshot in time. In 2026, Emotion Factory Reset is where our heads are at.”

“When we start coming up with songs, I always say we can do whatever we want,” notes Bush. “Use all our influences through the years, diverse music that we listen to and love, and let that seep in and bring something new out of us. It leads to something more adventurous.”

Bush, one of music’s most respected vocalists, operates from a place of passion and presence in the studio and on stage. In fact, about 85% of his vocals from the last three ARMORED SAINT records are taken from the demo sessions, capturing the raw power. While Vera is a granular and detailed writer, like Bush, the bassist says, “I try not to overthink and be right where I’m at that time. I really don’t look over my shoulder much, like, ‘what did I do in the past? What’s going on in the next lane?’ Once the ball starts rolling, I just sit back and let it happen.”

The collaborative nature of Emotion Factory Reset led to the album title, a phrase from Phil Sandoval. “To me, ‘Emotion Factory Reset’ means to reset yourself back to clarity. Take a pause and breathe before you respond or react. You can’t control outside events, but you can control your mind,” the guitarist says. “How you interpret things is what hurts you, not the event itself.”

His brother, drummer Gonzo, notes, “the world is going through a technological upswing/awakening. I look at our planet as the factory, and in the most positive way, we need to realign, reimagine, reset for our better selves.”

In advance of the record’s release, today the band presents the first single and album opener, “Close To The Bone.” Comments Bush, “The first track on the record sounds like vintage ARMORED SAINT. Yet vintage that comes out in 2026! How did we do that? The title of the record, Emotion Factory Reset appears as the first line of the bridge. Killer riffs, awesome rhythms, and attacking vocals gets this train rolling. The title implies the human response to withdraw and keep things to yourself instead of being confrontational; Something I believe we all struggle with as humans. Do you just say, ‘aww, whatever, man,’ or do you say, ‘hey, fuck you!’ Depends on the moment, I guess.”

Adds Vera, “Musically, this song was inspired by my love and appreciation for metal that was coming out around the time of the NWOBHM, which is right when ARMORED SAINT was formed. As always, I try to reimagine my early influences by giving them a slight modern twist.”

Guitarist Jeff Duncan agrees, “I like to think that ARMORED SAINT doesn’t keep making the same album over and over. Emotion Factory Reset is another musical chapter for the band. When the five of us play together, we have a special chemistry and our first single ‘Close To The Bone’ demonstrates this perfectly; it’s musically sophisticated but still retains the ARMORED SAINT signature sound.”

ARMORED SAINT’s Emotion Factory Reset was recorded across several studios, including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios, and Bridge Recording, engineered by Oliver Roman, Bill Metoyer, Joey Vera, and Jason Constantine, and features cover art by DDKing.”

42,083 – The Deslondes – Don’t Let It Die: Vol. 1

The Deslondes play a blend of Americana, folk, roots-rock, and just a pinch of country and… it’s quite enjoyable! This is an all-covers release featuring bands that have influenced the band’s sound. While I didn’t recognize most of the songs, that didn’t matter, as I enjoyed this release regardless. The songs include ‘The World Beyond’ (Swamp Dogg / Bobby Goldsboro), ‘The Ballad Of Boot Hill’ (Johnny Cash / Carl Perkins), ‘Cordelia’ (Drunken Prayer / Morgan Geer), ‘Try Again’ (The Kernal / Joe Garner), ‘Moving’ (Leonie Evans), ‘I’m Gone’ (Kiki Cavazos), ‘I’m Coming Home’ (Clifton Chenier / Charles Brown), ‘Family’ (Nick Woods), ‘Lawdy Mama’ (Edgar Blanchard & Paul Gayten), ‘Long Drives and Lonesome Mornings’ (Pat Reedy), ‘Where I’m From’ (Shelby Lynne & Bill Bottrell), and ‘Don’t Let It Die’ (Hurricane Smith). Great band, The Deslondes!

From their bandcamp page: “The Deslondes are a five-piece group from New Orleans, Louisiana. The band splits up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. Now, with their latest record, Don’t Let It Die: Vol. 1, the band continues to build on their inventive take on New Orleans country and R&B by covering some of their favorite songs that have inspired their sound and love of music. Don’t Let It Die: Vol. 1 finds the band covering select songs from artists such as Swamp Dogg, Johnny Cash, Pat Reedy, and Hurricane Smith, but Don’t Let It Die: Vol. 1 is the sound of a band that understands the history of American music, while embracing their own contemporary approach.”

28,929 – Chuck D, John Densmore – do+PE = no country for old men

do+PE is a unique new band featuring The Doors’ drummer John Densmore and Public Enemy rapper Chuck D. I don’t love the album, but I dig it. It’s almost reggae-ish/dub with spoken word poetry over it. I hope they collaborate again, as it’s quite different than either of their other projects!

From Rough Trade Records: “Recorded especially for Record Store Day 2026, former RSD Ambassador and hip-hop legend Chuck D (Public Enemy) joins forces with The Doors’ iconic drummer John Densmore for No Country for Old Men, the debut album from their new project doPE. Blending spoken word, rhythm, and raw social commentary, the record bridges generations of rebellion and reflection.”

24,880 – The Virginmarys – Beyond The House Of Fires

I got turned onto The Virginmarys with their 2013 debut, ‘King of Conflict’, stating that it is, “…straight-up, no bullshit rock ‘n roll, but you can feel the passion… not just hear it, but FEEL it. Man, this album is so fuckin’ good!! I fucking LOVE The Virginmarys!!!”

I’ve enjoyed their releases since then, but not nearly to the extent of KoC. This release is a “stripped-back” interpretation of their 2024 release, ‘The House Beyond The Fires’, featuring acoustic guitar, piano, and more. I actually like it better than ‘The House Beyond The Fires’.

24,366 – XCOMM – Time To Burn

Hey, I guess the kids are alright! XCOMM features Anthrax guitarist Scott Ian’s kid, Revel, on drums, and they deliver a blistering ~30-minute album of hardcore punk on this, their debut full-length. It’s a ripper!

From Revolver Records: “Produced by Ross Robinson (Korn, The Cure, Slipknot, Glassjaw, At The Drive In), Time To Burn is the full statement that previous singles and months of fast growth have been pointing toward since XCOMM first broke cover in September 2025. In the months since, the band opened for the Foo Fighters at a sold-out Kia Forum charity show, they have been featured in Revolver and Alternative Press, they earned a spot on the prestigious NME 100 of 2026, and built a following of nearly 80,000 Instagram followers in a matter of weeks.”

14,816 – Western Addiction – Psychedelic Munitions

I’m not sure why Western Addiction has never crossed my desk, but better late than never. Roughly ~25 minutes of straight-up no bullshit hardcore punk. These fellas are on my radar now!

From amazon: “San Francisco hardcore stalwarts Western Addiction return with Psychedelic Munitions, a high-octane successor to Frail Bray that captures the explosive fervor and technical precision of their Bay Area roots. Recorded and mixed by Scott Evans at Sharkbite Studios and Antisleep Audio, then mastered by Brad Boatright at Audiosiege, the album delivers a massive, “live-in-the-room” sound that avoids modern polish in favor of visceral, room-shaking grit.

Despite the time between releases, the band bridges the gap with a collection of songs that feel both seasoned and dangerously urgent. Psychedelic Munitions stands as a definitive masterclass in authentic California punk, honoring the legacy of the Gilman Street scene while pushing the boundaries of the genre’s aggressive potential.”

4,840 – Impure Wilhelmina – Le sanglot

This Swiss band has this cool post-metal meets prog-rock mix, and it totally works! Will need to see what else they’ve done… pretty cool! Fun fact: “Le sanglot” translates to “The sob” in French. Funner fact: the album is sung entirely in French!

From their bandcamp page: “Born in Geneva’s alternative underground in 1996, IMPURE WILHELMINA has forged a singular path between metal and progressive dark rock, marked by density, melody, and emotional restraint. After three decades of evolution and renewal, the quartet now enters a new chapter with ‘Le Sanglot’, their most radical, yet organic, transformation to date.

Entirely written and sung in French, ‘Le Sanglot’ sharpens the band’s vision into something more direct, more cutting, and more exposed. The album is conceived as a sob in sound, the musical equivalent of human tears. Its lyrics observe a fractured world with surgical coldness, portraying ugliness, mediocrity, and quiet violence, yet never abandoning the possibility of grace. From the cathartic surge of “Électricité noire” to the fragile radiance of “À jamais radieuse”, darkness and light circulate in constant tension. The record refines IMPURE WILHELMINA’s blend of progressive, dark, and melodic rock metal, driven by magnetic vocals and deeply textured arrangements. The arrival of guitarist Edouard Nicod broadens the sonic architecture, while the collaboration with Mütterlein on “Train mort” pushes the album into its most abrasive terrain.

Recorded and mixed by Yvan Bing and mastered by Magnus Lindberg, the album is adorned with a sound which balances power and refinement with remarkable clarity.”

3,544 – Cyanide Pills – Singled Out (2 CDs)

Solid punk rock album. Several of their songs fall comfortably in the Ramones-type delivery… and that’s not a bad comparison in the least. Fun listen!

From Damaged Goods Records: “Thirty-three tracks! Rounding up all the band’s 7” single releases to date! That’s all their A- and B-sides!

Includes two soon-to-be-released singles, one which will appear as a free 7” with the next issue of SAFETY PIN MAGAZINE, and the other as a very limited-edition lathe cut 7”.

To excite/annoy completists, there will be a third (standard) 7” released at the same time, featuring an A and B-side that don’t appear here.

Cyanide Pills released their first 7” single, ‘Break It Up,’ in 2009, following it up with a further 14 fab 45s, the most recent being a split single with Switzerland’s Nasty Rumours early last year. Most of these releases featured exclusive non-album B-sides, which we’ve rounded up for Singled Out. Good to have them in one place, innit! All tracks were recorded at the Billiard Room in Leeds with producer Carl “Razorblade” Rosamond.

“Influences? Hmm, well, we don’t just listen to punk rock, neither did the early bands, because there wasn’t any,” said lead singer Phil speaking with Vive le Rock magazine in 2023. “We like the usual suspects, obviously, our favourites are the Belgian band The Kids, X-Ray Spex, and Buzzcocks. We like Satan’s Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin’ Wolf. The list goes on and on and on.”

We asked Phil a few questions to tie in with the release of Singled Out…

All these tracks were recorded with Carl Rosamond as producer. What do you like about working with him?

Mr Razorblade is a local legend around these parts. When we first went into his place, we wanted to capture what we sounded like in the rehearsal room or live. He did more than that; he made us sound like a proper band. I don’t know what knobs he’s twiddling, but it sure works! We are great friends, and we wouldn’t work with anyone else.

What are your favourite A- and B-side tracks from this compilation and why?

For me, my favourite B-sides are ‘Stick ‘em Up’ because it has the late great Jock on lead guitar, it’s our nod to glam rock. Also ‘Lock-up’. It was tradition back in the day for snotty punk bands to show their appreciation for reggae and dub by having a go themselves, however crap it may be, this was our attempt.

A-sides, I like them all, maybe ‘Suicide Bomber’ because it’s becoming hard to find, I’ve heard that copies can change hands for over £8 these days! The new singles are pretty good too.

Over the years, you’ve toured the world. What’s been your strangest gig? And what is your favourite venue to play?

Yes, we were lucky enough to meet Paul, who took us out on the road, and with the help of Sandra, our booking agent, we have played in some amazing places. Highlight would be Heligoland, a small island in the North Sea, (look it up) two long boat rides away, the last boat was full of drunken punks, Conor turned green with sea sickness, bless him.

Also, a place we played just off Hollywood Boulevard called Madame Siam, I think it was once a nineteenth-century opium den. Our favourite haunts are Wild at Heart in Berlin and Freakshow in Essen, both incredible punk rock clubs. All the places we have played have been great, our tours have been eventful, and it’s been an adventure.

How would you describe the other members of Cyanide Pills?

Adorable! Ha, I’m not falling for that.

We asked the band members to nominate their favourite single…

Sy – ‘Waiting (For You To Call Me)’ because I’m a sucker for power-pop songs with a catchy chorus.

Chris – ‘Break it Up’ is my favourite single because it was the first one, and getting a 7” out on Damaged Goods was a big step up from playing at Batley Frontier Club. I think we put two songs on the B-side because we thought it might be our only release.”

1,806 – Thomas Dollbaum – Birds of Paradise

I got into Thomas Dollbaum last year with 2025’s ‘Drive All Night’ EP. It’s only six songs long and has a run time of 20:25. So it wasn’t a whole lot to go off of, but I enjoyed what I heard. This full-length release just expands on what I already knew. He writes mellow, breezy singer-songwriter tunes. Great stuff!

From amazon: “The realest-deal storyteller in indie-rock today is the Tampa-born, New Orleans-based singer/songwriter Thomas Dollbaum, and Birds of Paradise is his most powerful and dynamic work yet. Following up his critically acclaimed Wellswood (Big Legal Mess, 2022) and Drive All Night EP (Dear Life Records, 2025), Birds of Paradise is a goodbye letter to lost loved ones and former selves. These songs find Dollbaum searching for acceptance in the transient in-between places: Florida’s pine flatwoods, backroads leading to 1-95, where birds fly across the water. And even though the ghosts of his alt-county predecessors Townes and Molina are definitely present, on Birds of Paradise, Dollbaum emerges from their shadows – waving to the past, sounding all the more like himself.

This moment – this album – is long overdue. Both of Dollbaum’s previous releases had taken way too long to record, due to circumstances out of his control, leaving him frustrated. And after having been away from his home for eight years, the place he had left was no longer the place he remembered, and the unchanging of the natural world felt like a constant he wanted to write about. With a sense of immediacy, he wrote Birds of Paradise in three months. Called up the musicians he trusted and admired the most – Nick Corson, Josh Halper, and Jake Lenderman – and asked them to meet him at Dial Back Sound in Water Valley, Mississippi, with producer/engineer Clay Jones.

They learned and tracked the album in four days, capturing lightning in a bottle, a sonic revelation that Dollbaum’s writing has always been waiting for. With the help of Lenderman, Halper, Corson, and Jones, Birds of Paradise is Dollbaum’s hard-won breakthrough. Alive and echoing like the poems and short stories you can’t shake: coyotes howl, birds fly south, kids chase rabbits through the sugar cane, and cigarettes are four dollars a pack. Birds of Paradise reminds us where we come from – the things inside ourselves we’ve forgotten – we just needed Dollbaum to show us. Here’s how to look back without fear or shame. Here’s authenticity.”

1,321 – Blindead 23 – Deuterium

Blindead 23 is a brand-new prog-metal “supergroup” of sorts by way of Poland. It started off a little iffy – growly vox were a putoff – but as the album progressed, I became more and more attached and attracted to the album. I never did catch on with the growly vocals, BUT… there are two vocalists! Patryk Zwoliński is the main frontman (the growler), but ex-Katatonia guitarist Roger Öjersson also sings (the awesome parts). The best part about that is that the majority of the album contains Roger’s vox. With vox out of the way, let’s talk music. Excellent musicianship, excellent songwriting, really nice album top-to-bottom (sans parts with growly Cookie Monster vox; sorry Patryk!). Other than that, this band is on my radar now, and I can’t wait to hear more from them!

From their bandcamp page: “THE MUCH-ANTICIPATED DEBUT STUDIO ALBUM FROM POLAND’S NEW LEADING LIGHT OF PROGRESSIVE METAL, FEATURING FORMER MEMBERS OF BEHEMOTH AND KATATONIA.

Blindead 23, formerly known as Blindead, is the new Polish avant-metal juggernaut led by ex-Behemoth guitarist Mateusz “Havoc” Smierzchalski, with a stellar lineup also including Roger Öjersson (ex-Katatonia) and Pawel “Pavulon” Jaroszewicz (Vltimas, ex-Vader, ex-Decapitated). This new incarnation of the band blends an atmosphere of early Blindead recordings – sludge and post-metal, with heavy riffs and mesmerizing electronics – into an evolved and elevated new form, while continuing to honor past material during their captivating live performances.

Early compositions following the Blindead 23 “rebirth” resulted in the ‘Vanishing’ EP, followed by the 7” vinyl single, ‘Disposed’, which was the first ever recording for Peaceville Records, unveiled in 2025.

Recently launching to the approving attention of the broader global masses following the announcement of their new deal with Peaceville, the wait for Blindead 23’s full-length studio debut has been both gruelling for fans and an arduous endeavour for the band itself. Recorded in 2023, then carefully moulded and refined over the following years, ‘Deuterium’ instantly captivates with its stratospheric soundscapes over the duration of nearly an hour of meticulously crafted and multi-textured, inspired metal.

The album itself is described as a conceptual journey, and is one which manifests as an uplifting yet often sombre expression and reflection of the soul. And so, in continuing the momentum created in the wake of the band’s ‘Disposed’ track, the odyssey that is ‘Deuterium’ is a new powerhouse of unique, experimental, and progressive metal.

‘Deuterium’ was recorded and produced by David Castillo (Opeth, Carcass, Katatonia, Leprous) at Studio Gröndahl in Stockholm in the spring of 2023, with mixing and mastering duties carried out by longtime friend of the band, Kuba Mańkowski.”

From metalsucks: “New progressive metal outfit Blindead 23 (fka Blindead) have taken a major step in their career as a band, as they announced this week that they’ll be releasing their debut album Deuterium in just two months’ time.

Comprised of ex-Behemoth guitarist Mateusz “Havoc” Smierzchalski, ex-Katatonia guitarist Roger Öjersson, and Vltimas, ex-Vader, ex-Decapitated drummer Pawel “Pavulon” Jaroszewicz, the band is a who’s who of extreme metal.

Yet rather than go down the extremities of metal, they opted to make Blindead 23 an avant-garde progressive metal outfit. It’s grimy, it’s got post-metal trappings, and there’s definitely an electronic element to it, but it’s incredibly engaging, too. It’s heavy at points for sure, but from the initial listen of their first single and title track off the new record, they’re not afraid to explore the more melodic side of their sound.

Boasting seven new tracks, Deuterium was actually recorded back in 2023. However, years of refining the sound and getting it exactly right is what caused the record to only now see the light of day. The band describe Deuterium as “a conceptual journey [that] manifests as an uplifting yet often sombre expression and reflection of the soul.””

951 – Cellar Noise – Panic Loves Telling Lies

What an incredible album by these Italian prog-rockers! Heavy on the keyboards, but there is some muscular riffage throughout, as well. Reminded me of RUSH at times, but more like they wear the influence on their sleeve versus copy-paste. This album was a welcome return after a seven-year wait.

From their bandcamp page: ““Panic Loves Telling Lies” sees the return of Cellar Noise, seven years after their previous album “Nautilus”, which had already revealed a remarkable evolution from their 2017 debut “Alight”. The Milanese band’s focus is today even more oriented towards the future, building on superb prog-metal that evolves into darker, heavier and more structured ground, whilst retaining the atmospheres already present in their previous works. The album’s central theme explores the subtle space between pressure and fracture.

Cellar Noise’s third album is centered around the experience of being trapped within one’s own mind, held captive by rigid mental constructs shaped by fear and self-deception: defence mechanisms created as safety nets and survival tools, both reassuring and deceptive at the same time. However, as balance slowly deteriorates and panic intensifies, a subtle possibility of freedom emerges beneath the surface: breaking free from the cage and reclaiming one’s true self, allowing a moment’s respite for an exhausted and overwhelmed mind.

Mixed by Loris Bersan (bass, acoustic guitar) and Alessandro Palmisano (electric guitar), as the band’s previous album, “Panic Loves Telling Lies” has been recorded at RecLab Larsen Premoli Studios and mastered in Sweden at the legendary Fascination Street Studios, whereas the artwork comes from English artist Carl Glover, a long-time collaborator of Steven Wilson and numerous other KScope artists.”

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

48,055,151 – Dua Lipa – Dua Lipa (Live From Mexico) (2 CDs)

Super-duper wildly popular dance pop songstress releases a(nother) live album and… I will never listen to it again, but not because it’s bad. The production is amazing, the beats are kinda phat, and perhaps this is pretty good for what it is. It just happens to be something that’s not really on my radar. So, not bad, not bad… but I won’t reach for it again.

599,702 – Dimmu Borgir – Grand Serpent Rising

These clowns wear funny outfits and silly face paint, play blast beats, and write crappy tunes. I have never been a fan of this black metal band – even saw them live (terrible) – and this release does not change my mind. Ooph.

59,887 – Erik Grönwall – Bad Bones

Ah man, what a letdown. I was really looking forward to this, only to be massively underwhelmed. Erik was a contestant on Swedish Idol, joined hard rock band H.E.A.T., followed by Skid Row, and now this: his first solo debut full-length! Dude’s got a great voice, no doubt, but the tunes are milquetoast. What a shame.

30,052 – Thee Marloes – Di Hotel Malibu

Indonesia’s Thee Marloes return with a sophomore album featuring their brand of funk, psychedelic soul, and R&B. I was lukewarm with their 2024 debut, ‘Perak’, saying:

“From their bandcamp page: “Thee Marloes, by way of Surabaya, Indonesia, are Natassya Sianturi on vocals, Sinatrya Dharaka on guitar, and Tommy Satwick on drums. Their unique sound mixes elements of their local culture and music with influences of Soul, Jazz, and Pop.” So yeah, I don’t totally love this release, but I like it enough to put here, plus enough to keep my eyes on the band, as well. The “swirling” guitar lines give it a psychedelic feel to the soul and jazz aspects.”

Unfortunately, this follow-up loses its “lukewarm” status and goes cold.

7,507 – Ed O’Brien – Blue Morpho

The guitarist of Radiohead returns with his sophomore album and first since 2020’s ‘Earth’. It’s mostly low-key psychedelic / jazz. I enjoyed it more than I have Thom Yorke’s (Radiohead vocalist) solo albums, yet I was still underwhelmed, unfortunately.

From amazon: “Ed O’Brien, the acclaimed guitarist and singer-songwriter known for his role in Radiohead, announces Blue Morpho, his absorbing, second solo album and first under his own name.

Named for the iridescent butterfly, Blue Morpho was written during lockdown and recorded at The Church Studio, London, and Seven Sound in Wales. The tranquil Welsh countryside proved inspirational, capturing a sense of reflection, healing, and acceptance.

Musically, the album blends a collage of hypnotic psych-folk, jazz, trip-hop, radiant guitars, and rhythm sections. Blue Morpho marks a fresh and deeply personal chapter in O’Brien’s musical journey.

Produced by Paul Epworth (Adele, Coldplay), with additional production from Riley MacIntyre (Ezra Collective), and mixed by Ben Baptie (Sault, Little Simz). The album features an array of musicians, such as Shabaka Hutchings (flute), Dave Okumu (guitars, bass), Philip Selway (drums), and The Tallinn Chamber Orchestra.”

7,279 – Your Spirit Dies – It Is Well… EP

Seven minutes and 38 seconds of blistering hardcore across three tracks. Not very long, but I feel bruised from the hits I took in the pit. Not a bad EP, per se, but nothing I’ll reach for again.

2,465 – JPT Scare Band – Live At Crosstown Station

I had high hopes for this release, being proto-metal meets acid rock meets dirty blues, and also released via the Ripple Music label… yet it was quite underwhelming. The live recording leaves a lot to be desired, and the songs from this trio are just kinda meh at best (IMO)…

702 – Burial Clouds – Burn Holy

Burial Clouds returns with their sophomore album and an almost all-new lineup, and… I think they actually got worse! They’re a doom metal – or, as they call it, “post-doom metal” – band out of Portland, OR. Fun fact: even at 38:05, it still seemed like a lifetime. Don’t make the mistake I made. Pass!

522 – Rival Cults – Our Gods Need Blood

Well that was disappointing. They’re going for that dark goth rock sound and nail it. I do like some goth rock bands, but this album was a miss in my book. That album artwork is pretty sweet, though…

168 – Suzette Charles – Suzette Charles

Super-sugary dance-pop album from Suzette Charles, the former Miss America [1984]. Why did I listen to it? Simply for that reason alone – I just HAD to hear what an album from a former Miss America winner sounded like, and ‘The Love Boat’ theme song is the answer… but poppier and (even) more upbeat. This is her first – and so far only – album.

How can I work when all I want to do is wear leggings and Jazzercise? Not really a fun fact (?): Suzette Charles actually came in second place, but only won due to the winner – Vanessa Williams – being forced to resign due to nude photos that surfaced. Vanessa Williams was the first black woman to win Miss America, and Suzette Charles was number two.

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

Not a chance, unfortunately.

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…

3,497,082 – Neil Young – Mirror Ball [30th Anniversary Reissue – 1995]

From the Pearl Jam website: “Big news for Neil Young and Pearl Jam fans: Mirror Ball, the legendary album born from Young’s collaboration with the Seattle band, is coming back on May 22, 2026, with a fresh vinyl reissue through Reprise Records. Pre-orders have already started popping up at select retailers.

Originally released on June 27, 1995, Mirror Ball was one of the coolest rock team-ups of the ‘90s. Neil Young linked up with Pearl Jam right as the band was blowing up. Because of label issues, Pearl Jam’s name didn’t appear on the cover, but their fingerprints were all over the record.

Jeff Ament, Stone Gossard, Mike McCready, Jack Irons, and Eddie Vedder all took part in the sessions, helping create a raw, loud, and straight-up electric album.

The record features fan favorites like I’m the Ocean, Throw Your Hatred Down, Downtown, and Scenery — tracks that perfectly fused Young’s wild guitar spirit with the Seattle sound. Those same sessions also gave fans the Merkin Ball EP, released under the Pearl Jam name.

This reissue finally puts one of the most wanted titles back on shelves for collectors and longtime fans alike. Mirror Ball still stands as one of the fiercest records in Neil Young’s catalog and one of the best cross-generation rock collabs ever.”

962,031 – Bleachers – everyone for ten minutes

Pop Rock. From amazon: “Bleachers’ new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff.

Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio album took the band to new heights, including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.”

684,656 – Future Islands – From a Hole in the Floor to a Fountain of Youth

Synth-Pop. This 20th anniversary compilation contains alternate versions, rarities, fan favorites, and a couple of new songs.

From amazon: “Future Islands are an emotionally charged synth pop group, known for their dexterous melodic touch, stately momentum, and impassioned delivery. Over the past twenty years, they have travelled a rare arc, from promising newcomers to best-kept secret, from cult favourites to heroes of the genre.

As they reach this remarkable milestone, they resist the obvious move. Instead of a ‘best-of’ compilation victory lap, Future Islands present From a Hole in the Floor to a Fountain of Youth – an immediate and accessible collection – half of which have never appeared on streaming services – comprising alternate hits, rarities, and fan favourites that showcase the band’s palette and bring further colour to their uniquely universal appeal.

Twenty songs for twenty years, four members of the band, four sides of vinyl.“

“The best synth-pop band of the 21st century […] a band of renaissance men who can make a sublime and meticulous genre like synth-pop feel grandiose and loose” – Paste

410,407 – The Cat Empire with the Sydney Symphony Orchestra – Live At Sydney Opera House (2 CDs)

From Rolling Stone Australia: “The Cat Empire rework ‘Bulls’ with the Sydney Symphony Orchestra for its 10-year anniversary and upcoming Sydney Opera House live album.

There’s usually a good reason for a song to be re-released, and The Cat Empire’s reimagining of “Bulls” is no exception. The band has teamed up with the Sydney Symphony Orchestra to reinvent the iconic track, not only for its 10th anniversary, but as part of a bigger project to celebrate one of the band’s most memorable live performances to date.

“Bulls – Live at Sydney Opera House” — released on March 16 — captures The Cat Empire’s highly celebrated 2024 concert collaboration with the Sydney Symphony Orchestra, while also amping fans up for their encore concerts later this year.

“This version really reinvents what it was,” lead vocalist Felix Riebl said of the new “Bulls” track in a Spotify promo video. “And it’s a testament to one of my favourite shows that I’ve ever done with the band.”

While it’s a trip down memory lane, the new release takes on a completely new form that reflects the band’s mix of different global influences — think the OG Afro-Cuban fun, but with the power and impact of a bold new orchestral arrangement. This combination is also true for their encore Sydney Symphony Orchestra shows returning to the Sydney Opera House this August, with the new arrangements of the classics written specifically for this collaboration.

Following on from their early days on club circuits and festival lineups, The Cat Empire’s work with the Sydney Symphony Orchestra feels spot-on for the creatively and culturally diverse outfit, reinterpreting their catalogue — mixing Afro-Cuban, Seychellois Creole, Brazilian, and flamenco influences — to go even further musically with a full orchestra. While The Cat Empire’s tunes can be beautifully unpredictable, one thing’s for sure: every performance they deliver is a whole load of fun, and the encore Sydney Opera House shows will be no exception.

For anyone who’s been in the audience of a Sydney Opera House concert, or, more specifically, a Sydney Symphony Orchestra performance inside the magnificent Concert Hall venue, the unique kind of magic these collaborations bring can’t easily be explained. If you missed out on the 2024 shows, it’s also a great opportunity to see The Cat Empire as you’ve never seen them before.

Led by Riebl’s instantly recognisable vocals, 2026 is shaping up to be a big year for the eclectic band, with a heavy roster of live shows, almost 23 years since The Cat Empire released their debut album back in 2003. The Cat Empire kicked things off with the Red Hot Summer Tour alongside other Australian greats like Missy Higgins and Paul Kelly, and will close out the year with a South American tour.

In between, of course, are their 2026 Sydney Symphony Orchestra concerts, heading to the Sydney Opera House this August 27, 28, and 29, and featuring world-class flamenco artists Arte Kanela alongside a large choir.

If you can’t make the concerts, you can listen to the 2024 concerts that started it all. The entire 18-song Live at the Sydney Opera House album drops on May 22, 2026 — including “Bulls – Live at Sydney Opera House”, The Cat Empire’s most-streamed song “Two Shoes”, and favourites like “Still Young” and “Lost Song”.”

57,243 – Jeff Parker & ETA IVtet – Happy Today

Jazz. From amazon: “Happy Today, the third album from guitarist/bandleader Jeff Parker’s long-running ETA IVtet, was recorded live at Lodge Room in Los Angeles on August 20, 2025. This fresh entry into the IVtet’s catalog captures Parker and the band – including drummer Jay Bellerose, bassist Anna Butterss, and saxophonist Josh Johnson – on record outside of the now-shuttered Highland Park micro-club ETA for the first time.”

52,980 – Little Barrie – Gravity Freeze

British Rock Trio. From amazon: “Cast in the grand tradition of great British rock bands and fueled by a love of American blues, funk, and soul, Little Barrie return with Gravity Freeze, their sixth and most satisfying album to date, on Dan Auerbach’s Easy Eye Sound label.

This time around, the hooks are sharper, the grooves are deeper, and the atmospherics are thicker. The nine tracks on offer build on the band’s previous, highly acclaimed work – their contribution of the Better Call Saul theme tune included.”

0 – Shewolff – We’re All Gonna Fukkin’ Die

Heavy Metal, Punk. From amazon: “Dark & unchained stomping black metalpunk from the Belgian wastelands. Hailing from Belgium, SHEWOLFF find their origins in raw, punk-driven blackness galore, faithfully returning to the old-school spirit of making music by modest and primitive means. Now they delivered a six-track debut mini-album We’re All Gonna Fukking Die.”

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

What an upcoming week – check out these bangers! Holy moly!

5,957,579 – The Who – Live At Eden Project 07/25/2023 (2 CDs)

5,382,012 – Paul McCartney – The Boys Of Dungeon Lane

4,652,174 – Shinedown – EI8HT

3,497,082 – Neil Young & the Chrome Hearts – as time explodes [Live]

2,702,466 – Willie Nelson – Dream Chaser

785,671 – Boards of Canada – Inferno

549,634 – Kurt Vile – Philadelphia’s Been Good To Me

516,486 – Freya Ridings – Mother of Pearl

367,164 – All Them Witches – House Of Mirrors

260,134 – Devin Townsend – The Moth [Deluxe Edition] (2 CDs)

161,185 – Elder – Through Zero

115,889 – Monolord – Neverending

98,640 – Trelldom – …by the word…

68,201 – Bluetech – Petite Constellations (DiN96)

38,078 – Kiefer Sutherland – Grey

37,053 – JAYLER – Voices Unheard

26,992 – Violet Grohl – Be Sweet To Me

26,989 – When Rivers Meet – Rhythm Rust & Static

25,904 – Bjørn Riis – Lifandi [Live]

25,586 – Saint Agnes – Your God Fearing Days Are About To Begin

1,537 – Hanry – What Came From Silence

1,356 – Yawning Balch – Volume Four

697 – GRICE – Filter

360 – THE FRĒQS – No God On The Gold Coast

0 – Various Artists – Funk The Reggae Beat

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

———————————————————————————————

Small print that’s normal size print:

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

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

All albums are listened to IN FULL unless stated otherwise.

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

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

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

Until next week…

Cheers,

Troy