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
Hello my dudes and dudettes!
We’ve reached that point in the week where we review albums released over this past week, as well as taking a look at upcoming ones. I love it! Nothing more to share at the moment, so I say, “to the musics!”
My AOTW is by a band who also landed an AOTW award with their last release in 2024.
But a VERY close second was by post-rock duo, Oh Hiroshima, so don’t sleep on them, either.
56,925 – Oh Hiroshima – And the Dead Tree Gives No Shelter
Are you a casual fan who stumbled across this site? If so, be sure to SUBSCRIBE, as these are delivered every Thursday at 9 PM PT. With a subscription, you’ll be sure to never miss an issue!
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!
😁 BE THE REASON SOMEONE SMILES 😁
Cheers,
Troy
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Album(s) of the Week** – June 5th to June 11th, 2026:
84,382 – SLIFT – FANTASIA
I went into this album knowing full well that this French trio’s last release – 2024’s hour and 20-minute ‘ILION’ – was my AOTW. I even saw them touring off that album. So, would their follow-up be a huge letdown, or would they rise to the occasion once again? My date to the Slift show was completely underwhelmed with this release, but I hope he gives it another spin, ’cause I’m in love with the band all over again. I may have to see them again when they return this October 20th at Neumos. Here’s the kicker. The same night is REZN at Barboza, who I also like. For those not in the know, Neumos is upstairs and Barboza downstairs… in the same building!
Here’s what I said about 2024’s ‘ILION’, which is also how I feel about ‘FANTASIA’, as well:
“Fuckin’ RAD psychedelic space rock album with a taste of doom metal for the heavy… take me on a trip, fellas, this is SWEET! It’s an hour and 20 minutes long, so you’re in for the count, but it is so worth it.”
FWIW, ‘FANTASIA’ is 48:59, but it could’ve kept on going and I (very likely) would’ve loved it…
From their bandcamp page: “In the technical sense, every previous album by the radiant and heavy French trio SLIFT has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. Their acclaimed third album, 2024’s Ilion, was a sci-fi story built with 10- to 13-minute exploratory escapades, often starting with doom metal or stoner rock before spinning freely into glorious instrumental oblivion. But, in a bit of intentional irony, SLIFT’s fourth album is actually called Fantasia. It’s their leanest and most direct record to date; taken together, its eight songs clock in at less than 50 minutes. It is also their most riveting album yet, a pointed saga about overcoming international upheaval delivered by a band bearing down, not wasting a single second in the process.
They wanted to write and render songs that recognized the turmoil of these days and to sing of a more hopeful vision, of a time when a reckoning arrives. SLIFT didn’t want to lose the message by playing too much. To wit, the longest song on Fantasia is the opening title track, a nine-minute preamble in which Jean Fossat screams of his desires for the world: rising above our pain, burying our dread, and finding, individually and collectively, “a fire for your soul.” The songs that follow aren’t lacking the complexity or intensity that have made SLIFT a rising, radical star in heavy music; it’s simply that they’ve found new ways to weave the complexities of their past inside every piece, like a tapestry that reveals a new layer every time you look. In doing so, they offer an affirming and urgent message: Together, we can still change the times in which we live.
Though only Jean and bassist Rémi Fossat are related, SLIFT is essentially a band of brothers. They’ve been friends with drummer Canek Flores since high school, and 2026 marks a decade together in this trio. They rehearse with religious regularity in a basement in the countryside near Toulouse, inside the jam room where they’ve long indulged their propensity for long-form wonder. But they built the songs of Fantasia differently. Jean started many of the songs by himself, then quickly brought them to basement rehearsals with a clear and concise idea of how he imagined them taking shape. At first, SLIFT struggled to keep the songs tight, old habits making them wonder if this song or that one shouldn’t break the double-digit threshold. By the time they crossed France’s northern border into Belgium to record in the enormous live room at Daft Studios, though, the songs were lean, agile, and punchy. They made most of them in a single take.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. He wanted to accomplish the same thing, to add supernatural touches to his contemplations of politics so that the listener might see reality differently, might question what they were missing about this plane. SLIFT even borrowed the song title “Orbis Tertius” from a 1940 Borges short story that uses the idea of subjective idealism—that is, believing the world only exists as far as our minds go—to ask questions of memory, history, possibility, and, ultimately, control. Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order.
The town first comes into focus on “Corrupted Sky,” where lurid keyboards and a relentless rhythm section illustrate a city of power-hungry wastrels. Jean’s guitar solo feels like an exhilarating chase sequence in a video game, as he tries to dodge doom while arriving in Fantasia. They treat the newcomer like poison incarnate during the prog gem “The Village,” while he predicts their downfall during “A Storm of Wings.” In a mighty, fists-up anthem that suggests Clutch getting wild, SLIFT alludes to John Coltrane, Charlie Parker, and Soviet writer Mikhail Bulgakov to portend the arrival of some great liberating force, some redemptive truth.
That slowly starts to emerge during the record’s back half, as memory returns to the masses, as people start to remember that they are more than the oppressive uniformity of their society. “Waiting Man”—a psychedelic ballad that suggests Pink Floyd wandering into the Master of Reality sessions—is the breaking point. The narrator realizes that the world he’s committed to is a lie. “I waited for love, waited my time,” Jean Fossat sings, his voice more vulnerable than it’s ever been. “Waited the seasons of my life.” He knows he must find his own way out of this mess and into something better, so long as it’s not too late.
It is dreadfully easy these days to feel powerless. We have instant access to a world of news, and so much of it is so very heavy. SLIFT reckons directly with the modern onslaught of cruelty and absurdity on Fantasia, whether that’s not caring about our home planet or one another. But these eight songs are about trusting in some hidden power for fighting back, for believing in a world where something we cannot yet articulate or define offers not just a way to disrupt the status quo but perhaps to destroy it completely. SLIFT is loud, heavy, and aggressive inside these anthems. They’re preparing for a battle they think we can still win.”
Honorable Mentions (in order by “popularity”*):
6,948,785 – Evanescence – Sanctuary
Welcome back, Evanescence! This is the band’s first studio release in five years. The music is a blend of alt-metal meets goth rock meets symphonic metal. I dig their music and Amy Lee’s voice… sexy and haunting, but still crunchy and dark. The production on this album is so good. Brilliant! The album has been very well-received by fans and critics alike. I got into the band way, way, way back in 2003 with the release of their debut album, ‘Fallen’. It’s still my favorite release of theirs and will always hold a special place in my heart. Saw them several times touring off that album.
From Townsend Music: “Evanescence has officially announced their sixth studio album, Sanctuary, scheduled for release on 5 June 2026. The album is described by Amy Lee as a “sanctuary of truth and community” rather than an escape from the chaos of the world. It features 12 tracks, including the lead single “Who Will You Follow,” and features production from Zakk Cervini, Jordan Fish, and Nick Raskulinecz.”
5,765,106 – Lizzo – BITCH
Welcome back, Melissa Viviane Jefferson (bka Lizzo)! Sure, she released a mixtape last year, but it was kind of a stinker, so this is really a return to her roots of one part pop, one part funk, one part R&B, one part soul, 100% awesome! Great tunes and killer voice! Production is solid, too. Looks like I may be the only one on the ship, though, as the album got panned pretty hard.
From Townsend Music: “Lizzo is officially entering her most provocative era yet with the announcement of her fifth studio album, titled BITCH, set for release on 5 June 2026. The rollout follows her 2025 mixtape, My Face Hurts From Smiling, and marks a creative reset described as “moodier” and “unapologetic”. Lizzo announced the project on her 38th birthday (27 April), explaining that the title is about reclaiming a label used to diminish women.”
1,839,062 – Barry Manilow – What A Time
Barry Alan Pincus (bka Barry Manilow) is a legend, an icon, and at 82 years young, still releasing albums! This is his first release in nearly 15 years that contains almost all originals. It’s not an album I’ll reach for again, but it’s good to see this legend out there still crushing it! He’s a singer-songwriter in the soft rock / adult contemporary world. Fun fact: I had no idea that he’s gay! He married his partner in 2014 in a private ceremony and publicly came out in 2017.
From amazon: “Produced by Manilow and longtime collaborator Michael Lloyd, What A Time brings together an eclectic and cross-generational group of collaborators, including Kenneth “Babyface” Edmonds, nine-time GRAMMY® winner Dave Cobb, and longtime co-writers Bruce Sussman and Adrienne Anderson. The result is a collection that pairs Manilow’s signature melodic grandeur with fresh textures and stylistic turns — from classic, string-swept torch songs to groove-driven R&B flourishes, heartland rock touches, and gospel-inspired crescendos.”
1,636,002 – Death Cab For Cutie – I Built You A Tower
I dig Death Cab… great, mellow-ish-but-still-rockin’ tunes. Their albums always leave me wanting more, never overstaying their welcome. Fantastic band keeps releasing fantastic albums! The first single – ‘Riptides’ – is an absolute scorcher of a tune. Bonus points for being a (formerly) Pacific Northwest [Bellingham, WA] based band!
From amazon: “Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records, and they’re back with a brand-new eleventh album titled I Built You A Tower out June 5th.
I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It’s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. “I see the tower existing on your emotional horizon,” Ben Gibbard states. “You don’t always have to look at what’s inside it, but it’s a reminder that it happened. You know it’s there. You have to face it.”
The band will tour in support of the new album, including a play at Outside Lands. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed 2022 album Asphalt Meadow.”
1,442,729 – The Red Clay Strays – Grateful
TRCS is a band that I found out about with their sophomore release, 2024’s ‘Made By These Moments’. This new one, ‘Grateful’, is as good, if not better than that. A band that sounds comfortable in its own skin, releasing banger album after banger album (including 2025’s ‘Live At The Ryman’). At some point I should check out their debut, 2022’s ‘Moment Of Truth’. Here’s what I said about ‘Made By These Moments’ since it reflects how I feel about the new one, as well:
“Several months ago I was flipping through channels and heard the band on The Tonight Show With Jimmy Fallon. They were playing their single ‘Wanna Be Loved’ from their forthcoming album. Instead of passing through, I stopped and finished listening to the song, noted the release date, and here we are. They’re listed as country rock – and it is – but… it’s pretty great. The music, the vocals, these guys from Mobile, Alabama are solid!”
From amazon: “Grateful marks the third studio album from award-winning band The Red Clay Strays. Featuring standout singles “Demons In Your Choir,” “Revival,” “If I Didn’t Know You,” and “Do Today,” the album sees the band reuniting with their previous Made by These Moments collaborator and producer Dave Cobb. The assured songs of faith and redemption are fueled by a collective songwriting effort and executed with powerful lead vocals and a thunderous, heart-throbbing performance from the band. Grateful is an impactful collection of songs from one of today’s most beloved bands.”
470,876 – Old Crow Medicine Show – Union Made
Yee-haw! If you dig country-bluegrass-Americana hillbilly-ish music, look no further than OCMS. Probably nothing I’d reach for a whole lot, but definitely worth at least a single spin. Happy birthday, America!
From amazon: “Grammy Award winners Old Crow Medicine Show’s new album Union Made is rooted in the people, places, and pulse of America. It features special guests such as Ray Benson, Evan Felker, Del McCoury, Lee Oskar, Maggie Rose, Molly Tuttle, Jesse Welles, and more.
It has ten new OCMS songs and two classic covers: Buffalo Springfield’s “For What It’s Worth” and Merle Haggard’s “Rainbow Stew.” The album arrives just in time to celebrate America’s 250th Anniversary, and it’s available on CD!”
367,729 – Jalen Ngonda – Doctrine of Love
Feel like going back to a bygone era of classic soul meets R&B? Then Jalen Ngonda’s sophomore release is the answer. Thirty tight minutes of absolute retro-soul scorchers. I may need to go back and spin his debut. This was killer!
From amazon: “Since the release of his critically acclaimed debut full-length, 2023’s Come Around and Love Me, Jalen’s career has undergone a meteoric trajectory. The track “If You Don’t Want My Love” went viral, garnering 253 million streams to date.
Jalen has appeared on a bevy of first-rate television programs – notably, Graham Norton, Late Night with Steven Colbert, and Later with Jools Holland. He opened for Thee Sacred Souls on their national US tour, as well as Olivia Dean on her 2023 UK tour, and has sold out countless club dates across the globe as a headliner.
Now, in 2026, with the embers of his debut still burning brightly, Jalen prepares to drop his eagerly awaited sophomore album, Doctrine of Love. The hard work and relentless touring behind his debut has fortified his craft.
His message: “The doctrine of love holds that every thought and action should be guided first by compassion for others, because love is the highest measure of human worth.” The tracks on the forthcoming album are born from this creed.
With his deep knowledge and love of classic soul, Jalen delivers authenticity in abundance. Doctrine of Love blends pop sensibility and soulful melodies with raw grit and groove, expanding on the orchestral arrangements of Come Around and Love Me with flourishes of horns and gospel-kissed background vocals, creating a highly stylish exercise in modern soul artistry.”
251,199 – Converge – Hum Of Hurt
Converge is a band that I like, but don’t love. They deliver crushing hardcore punk anthems in just over half an hour on this release. Fast, punishing, unrelenting, raw. I could do without the growly/screamy vocals, but the rest is kinda cool. The title track f’n rips!
From Epitaph Records: “Following the release of Love Is Not Enough, Hum of Hurt delivers a raw, emotionally exposed exploration of the human condition, born from sessions that ultimately yielded two distinct records. This new ten-song album stands as a powerful statement piece that confronts the cost of a life devoted to creation, while enduring the weight of inner conflict and external turmoil.”
237,707 – The 69 Eyes – I Survive EP
Man, this reminds me so much of a band, but I can’t put my finger on it… a goth metal band sort of like Type O Negative meets Danzig (I think…?)! Not a band / album I love, but I could see myself jammin’ this from time to time, although I sure wish it was longer than four songs and 14:05. The self-titled opening track features Billy Idol guitarist Steve Stevens.
From the band’s label, BLKIIBLK: “Finnish rock band The 69 Eyes is thrilled to announce the release of the new EP “I Survive”, out on June 5, 2026, via BLKIIBLK.
Once you’ve survived the 80’s rock scene, you become unstoppable – and The 69 Eyes are living proof. Formed in Helsinki in 1989 and still going strong with the same line-up some four decades later, the Helsinki Vampires have earned their legendary status.
In a world with fewer and fewer true believers in leather jackets, midnight sunglasses and low-slung guitars, The 69 Eyes keep the Johnny Thunders’ flame burning like an endless sleazy club night back in the days.
Their biggest hit, “Lost Boys”, from 2005, was made into an iconic music video by MTV’s Jackass star and skater Bam Margera, and the song still remains on annual Halloween rock playlists.
One foot on glam, another one on goth, The 69 Eyes have released thirteen albums, reaching gold and platinum and a mainstream status in their native Finland, where they are signed to Gabi Hakanen’s Vallila Music House. Their previous studio album “Death Of Darkness” was released in 2023, and they have been touring without any notable breaks all over the world the last twenty years.
Vocals, a lead and a rhythm guitar, a bass, and drums are the classic rock band line-up. The 69 Eyes have that magic on stage that is needed for these elements to carry on beyond the rock’n’roll dreams, theirs and their cult following.”
168,737 – Deer Tick – Coin-O-Matic
I didn’t love this album, but I liked it… it’s a nice combination of Drive-By Truckers meets Bruce Springsteen, sort of that roots rock meets Americana meets alt-country.
From amazon: “Providence-bred Deer Tick returns with their 9th album, “Coin-O-Matic”. Rooted in their hometown, it draws from the city’s colorful & once-seedy past, telling stories inspired by the characters that shaped its reputation & the hardworking people who call it home. Named after the former Atwells Avenue headquarters of the Patriarca Crime Family, Coin-O-Matic blends nostalgia with universal themes, delivering the kind of hook-filled, lived-in songwriting longtime fans have come to expect.”
This is the soundtrack to the documentary film ‘All Gates Open: In Search of Absolute Elsewhere,’ which follows Denver, CO-based death metal band Blood Incantation when they were in Berlin in 2023 recording the truly brilliant ‘Absolute Elsewhere’. I am not a fan of their death metal releases, but love(d) ‘Absolute Elsewhere’ and now this, ‘All Gates Open: In Search of Absolute Elsewhere’. Here’s what I said about ‘Absolute Elsewhere’ because it absolutely applies to this one, as well:
“I am wildly, wildly (and pleasantly) surprised! I have listened to this band before and have reviewed previous albums like this: “Awful death metal band / album… an easy pass.” I seriously had to do two, three, and four takes to see if this is the same band, and indeed they are. That said, this is nowhere near death metal. Nah, this is an all-instrumental ambient / soundscape-y masterpiece, love it! Heck, it was only 40:38, and it left me wanting more… I am truly shocked (in the best of ways)! [Haha, I just checked out some other reviews… the death metallers are PISSED!!!].”
This release clocks in at ~61 minutes. Now I just need to check out the doc!
From Century Media: “Witness the recording of ‘Absolute Elsewhere’ from Blood Incantation with ‘All Gates Open (Original Motion Picture Soundtrack)’. The band reveals a light, beautiful and holistic side of their musical lexicon, serving as the pastoral “yang energy” to the dark atmosphere of ‘Timewave Zero’. The soundtrack and documentary originally appeared only in the limited edition Artbook of ‘Absolute Elsewhere’. This marks the first standalone release for both, including the first-ever vinyl pressing of the soundtrack.
Now on home video, the included 73-minute documentary takes you inside the legendary Hansa Tonstudios. Go behind the scenes as the band rehearses and records with appearances by members of Tangerine Dream, Hällas and Sijjin, fully immersing themselves in Berlin’s multifaceted culture. Mixed and mastered by Arthur Rizk and featuring retro-futuristic cover art by Jodie Day.”
151,885 – Liam St. John – Man Of The North (Live In The Wild)
What phenomenal songs, what a fantastic voice! Spokane, WA-bred Liam was on Season 19 of The Voice, where Gwen Stefani coached him, but ultimately got knocked out in round 8. He plays a gorgeous blend of roots rock with hints of Americana, blues, and more. I highly recommend this album! No longer in Spokompton, Liam left for Nashville, where he now resides.
From Rough Trade Records: “Experience the music of Liam St. John’s album, Man Of The North, from his live performance sessions around the world. This exclusive vinyl features his viral performance of “Man Of The North” from the cliffs of Findlater Castle in Scotland, “Believer” 250 feet beneath the surface of the earth in the Cumberland Caverns of Tennessee, “Stick To Your Guns” from the ethereal City of Rocks in Idaho, among many others.”
134,624 – Voivod & Orchestre Symphonique De Québec – Symphonique (Live)
Canadian sci-fi thrash metal band – around since 1982! – releases a new live album… with a symphony! The band’s releases are hit-or-miss for me, but I enjoyed this one.
From their bandcamp page: “After more than 40 eventful years of existence, Canada’s progressive sci-fi metal innovators Voïvod return with “Symphonique”, a special live release together with the Quebec Symphony Orchestra.
Features a carefully curated Voïvod best-of setlist composed of 12 songs / 73 minutes with classical musical arrangements by a full symphony orchestra, recorded live on June 4th, 2025 at the Grand Théâtre in Québec City, Canada.
“Symphonique” functions like an epic piece of cinema, showcasing Voïvod’s pioneering futuristic metal with the strains of a symphony orchestra. A highly effective natural symbiosis, which successfully takes the listener on yet another fantastic musical journey, never fearing unexplored territories.”
124,687 – Evergrey – Architects Of A New Weave [Deluxe Edition] (2 CDs)
They’re a mix of prog-metal and power metal… I dig the proggy parts, but not so much the cheesy power metal parts. The good thing, though, is that they’re starting to shy away from the more cheesy power metal parts. They’re still there, of course, but they’re leaning in pretty hard with the tasty prog-metal. I’ll continue to keep my eyes and ears peeled for future releases… The (nearly hour and a half) Deluxe Version (which I listened to) includes six extra songs: (1) ‘Heights’, (2) ‘OXYGEN!’ (Album Mix), (3) ‘One Heart’, (4) ‘Longing’ (Demo Version), (5) ‘Falling From The Sun’ (Live in Europe, 2025), and (6) ‘Leaving The Emptiness’ (Instrumental).
From Napalm Records: “EVERGREY, Gothenburg’s masterminds of melancholia, offer up another outburst of beautiful darkness and turn their inner fire into something unstoppable: their intense fifteenth album, Architects Of A New Weave, will be released on June 5, 2026 via Napalm Records, just days before the band takes the stage as special guest to the undisputed kings of heavy metal, Iron Maiden, for two shows on their Run For Your Lives World Tour.
This is the wake-up call you didn’t know you needed: a plunge into thinning air, burning worlds, and lingering guilt—only to break free with fierce momentum. The album refuses to wallow. It ascends—fast, heavy, and cinematic. But it refuses to hide in the dark. It rises: fast, fierce, and utterly transformative. Among other exclusive formats, Architects Of A New Weave comes with a bonus album, containing bonus tracks “Heights” and “One Heart”, as well as an album mix of the previously released standalone single “OXYGEN!” (2025). Additionally, it features a demo version of “Longing”, instrumental tracks of “Leaving The Emptiness”, both new songs, as well as a live version of “Falling From The Sun”, the hit single off the previous record, Theories of Emptiness (2024), and a continuation of “Ominous” off of A Heartless Portrait (The Orphean Testament) (2022).
Dive into Architects Of A New Weave’s standout tracks like “The World is on Fire”, “Leaving The Emptiness”, “Heaven”, and “The Prophecy”, and the breathtaking title anthem “Architects Of The New Weave”. Their choruses break through like sunlight piercing storm clouds: enormous, cinematic melodies that pull you upward, riffs with genuine weight and bite, and vocals dripping with raw, unflinching truth. In one breath, you’re shouldering buried longing; in the next, you’re weightless, fearless, endless. Scars transform into badges of survival, fractures fuel reinvention. In the second half of the album, fellow Gothenburg icon Mikael Stanne (Dark Tranquillity, The Halo Effect, Grand Cadaver, Cemetery Skyline) joins Tom S. Englund in vocal duties for “A Burning Flame”, the voices of the two scene legends intertwined compellingly. Architects Of A New Weave was produced by Tom S. Englund and Vikram Shankar, with a stellar mix by Adam “Nolly” Getgood.
Chaos doesn’t claim victory—you do. You step forward as the weaver, rethreading belief, identity, connection, and the very shape of tomorrow into something stronger, brighter, unbreakable. This is melodic, progressive, dark metal at its most massive and intimate: heavy enough to shift mountains, anthemic enough to make you raise your fist and truly believe it. It carries one unshakable truth straight to your core: Nothing—not pain, not darkness, not any storm—gets to label you broken. You’re the power that gathers the fragments and forges real beauty from them. Dream weavers rising. Architects are stepping up to claim what comes next. If you’ve ever felt that inner tug—quiet or roaring—to rewrite your story on your own terms, with zero apologies and complete ownership, this is the soundtrack that turns the urge into certainty. Your battle cry. Your hymn for renewal, creation, and finally stepping into the person you’re destined to be. Whether it launches EVERGREY’s boldest era yet, stands as a fierce standalone declaration, or serves as the pivotal bridge chapter that redefines their path, Architects Of A New Weave is pure cinematic motivation—ready to charge your playlist and propel your momentum forward. It’s as though EVERGREY don’t merely survive adversity—they rise and expand because of it. Every challenge, every setback, every wound seems to become the very oxygen that fuels their music. The darker the storm that once threatened to break them, the more powerfully each note draws breath from that same pain, transforming what hurt them yesterday into the soaring, living heart of their songs today. Architects Of A New Weave seals it: we are no longer victims of the night, but creators of new skies, new beliefs, and entirely new heavens. Grab it now. Let it arm you. This isn’t just an album – it’s the sound of you seizing control and building what’s next.”
110,602 – Bedouine – Neon Summer Skin
Bedouine is the stage name for folksy singer-songwriter Azniv Korkejian. She has a great voice and writes beautiful songs. Additionally, the “behind the curtain” look at the story/lyrics is heartbreaking (see ahead). I probably wouldn’t listen to this again, but I do like it and will keep my eyes and ears peeled for future releases.
From amazon: “On her new album, Neon Summer Skin, Bedouine, the project of Azniv Korkejian, explores this feeling of safety long before one can fully understand the concept. Written with vivid, honest, and intimate imagery after visiting her family in Saudi Arabia, it tells the story of family and upbringing, and mourns the end of her childhood. There is a singular resonance and newfound heft in this music previously unheard in Bedouine’s discography.
Bedouine is known for making gentle, lilting folk songs that build fingerpicked guitar melodies into tsunamis of emotion. Her masterful songwriting and timeless melodies have earned her praise from publications like Pitchfork, who said her music “boasts a surreal calm and lived-in glow,” and Rolling Stone, who lauded her “humble folk-pop brilliance,” plus an NPR Tiny Desk Concert, and tours with the likes of Fleet Foxes and Father John Misty.
While working on the record, Bedouine realized the pain of displacement, of searching for home, has been a throughline in her family history. Other relatives have also experienced this sense of loss as they’ve migrated between Armenia, Syria, and Saudi Arabia. “I felt so frustrated about the places that I’m from becoming war-torn or difficult to return to,” she says. “My family has been split apart time and time again.” This realization prompted her to document and honor her parents’ lives and stories.”
76,712 – Dwarves – Jenkem
Long-time [mid-’80s] punk band releases a new album of straight-up kick-ass punk anthems. I only have one complaint, and it’s that it was too short, clocking in at a few hairs and freckles under 19 mins. I wanted more!
From MVD Visual: “Jenkem finds The Dwarves reconnecting with the raw, confrontational energy that defined their earliest work, delivering a concise but explosive statement rooted in punk’s most irreverent traditions. Emerging in the mid-1980s, The Dwarves built a reputation not only for their abrasive, high-speed sound but also for their provocative imagery and chaotic live performances – positioning themselves as one of punk’s most unapologetically transgressive acts. Over decades, they have shifted between hardcore punk, garage rock, and more melodic territory, but Jenkem sees the band leaning firmly back into their stripped-down origins.
At under 20 minutes, the album embraces brevity as a core strength, packing fourteen tracks into a relentless sequence of sharp riffs, aggressive tempos, and darkly humorous lyricism. Songs like “We Are The Scene,” “Damned If I Do,” and “Psychosis Tripping” exemplify the band’s ability to balance satire and nihilism with tight, hook-driven songwriting. The production remains intentionally direct and unpolished, reinforcing the immediacy and impact of each track while preserving the band’s signature edge.
What distinguishes Jenkem is its sense of continuity within The Dwarves’ long career. Rather than attempting reinvention, the album doubles down on the elements that have sustained their cult status: speed, attitude, and an unfiltered perspective that resists mainstream sensibilities. At the same time, there is a level of precision and confidence that reflects decades of experience, allowing the chaos to feel controlled rather than unfocused.
As a release, Jenkem serves both as a reaffirmation of The Dwarves’ identity and a reminder of punk’s enduring capacity for provocation and immediacy. It is a compact, high-impact record that captures the band’s core ethos without compromise.”
56,925 – Oh Hiroshima – And the Dead Tree Gives No Shelter
I have nothing but good to say about Swedish-based post-rock duo, Oh Hiroshima. In fact, I’m simply going to copy-paste my review about 2024’s ‘All Things Shining’ and 2022’s ‘Myriad’ since this new one fits right in there with those:
“This post-rock band rules!! I fully concur that what I said about their previous album – 2022’s ‘Myriad’ – also matches this one: “Ok, going into it, I knew they were a post-rock band with vocals. I love good post-rock, but it can really be a crapshoot; then throw vocals in on top of it, and my hope diminishes. Time to eat crow. This Swedish duo fucking rules!! As the album played on, I had two thoughts going on in my head simultaneously. I was thinking, “holy crap, why have I not heard of these guys previously, they’re awesome?!” and also, “well, at least I found out about them now; better late than never!”.
They’re definitely heavy on the post-rock front, but they’ve got a good grasp of prog rock, as well. There were a couple of dud tracks, but the rest was so fucking good that I… I don’t have words! At times it reminded me of Pink Floyd. Other times it sounded Tool-ish. Another influence I may have heard is Porcupine Tree. In other words, the songs (at times) grew to be very epic and grand, not unlike the previously mentioned bands’ catalogs. Excellent stuff, I am a fan, and may have to dig into their past catalog.”
From Pelagic Records: “Emerging from the fertile Scandinavian post-rock landscape, Oh Hiroshima have built a reputation for transforming introspection into vast, cinematic sound. The Swedish band has spent the better part of the last decade refining a musical language that balances fragility with overwhelming emotional force. Their music exists in the space where atmosphere, melody, and gradual intensity converge, where hushed textures evolve patiently into towering waves of sound. With each release, the group has deepened their identity as one of the genre’s most evocative and emotionally resonant voices.
“And the Dead Tree Gives No Shelter” continues Oh Hiroshima’s pursuit to refine the balance between vulnerability and power.
At the core of Oh Hiroshima’s sound lies a delicate interplay between restraint and release. Their compositions carefully cultivate tension, letting each layer unfold organically: chiming guitars, distant reverberations, and minimal rhythmic pulses that feel suspended in air, all contrast against the heavily drenched power they can unleash. Whether the passage be titanic or still, Oh Hiroshima establish a sense of openness and emotional ambiguity, allowing listeners to settle into the sonic landscape as the music works its slow ascent.”
47,583 – Cyhra – Requiem For A Pipe Dream
These are my dudes! Straight-up metal, raise the horns! They’re a “supergroup” of sorts, with lead vocalist Joacim “Jake E” Lundberg (ex-Amaranthe), rhythm guitarist Jesper Strömblad (ex-In Flames), drummer Alex Landenburg (Kamelot, ex-Annihilator, ex-Axxis), lead guitarist Euge Valovirta (ex-Shining), and guitarist Marcus Sunesson (Engel).
From Reigning Phoenix Music: “”Requiem For A Pipe Dream” is an album born from interruption, reflection, and renewal. Driven by relentless energy, vulnerability, and determination, the record channels the experience of watching progress disappear and choosing to rebuild with greater purpose. Heavy riffs and soaring melodies mirror the emotional shifts running through the record, balancing intensity with honesty and introspection. The result is CYHRA’s most unified and emotionally direct work.”
45,394 – BIG SPECIAL – O’JOY EP
Big Special is a British punk / post-punk duo. This EP is not “new” per se (see ahead), and like their previous releases, I didn’t totally love this, but it made me take notice. It has angular riffs and thick British accent vocals. I kinda liked the reworkings on this. VERY different!
From Rough Trade Records: “Big Special Announce New EP Featuring Reworked Material from Previous Albums.
Big Special unveil their brand new EP, a collection of reworked tracks that previously didn’t find their place on the band’s earlier releases, Postindustrial Hometown Blues and National Average. Whether due to tonal differences or time constraints, these songs now emerge in a cohesive project of their own.
The EP brings together a selection of standout tracks, including recent singles ‘SLUGLIFE’ and ‘DRAGGED UP A HILL (and thrown down the other side)’, alongside the latest release, ‘ONLY FREE WHEN SLEEPING’. Each track has been given new space to breathe, showcasing a different side of the band’s evolving sound.”
41,344 – Jared James Nichols – Louder Than Fate
This dude is one of the most passionate, fiery blues-rock guitarists I have heard in a long time. His albums are great, of course, but if you can see him live, do it! Dude is INSANE!!
From Frontiers Records S.R.L.: “Frontiers Music Srl is proud to announce the upcoming release of JARED JAMES NICHOLS’ fourth studio album, ‘Louder Than Fate.’ Due out on June 5, 2026, this new album is easily the guitarist, singer, and songwriter’s most powerful and fully realized statement to date.
Raw, unapologetic, and deeply rooted in the lineage of blues-driven hard rock, the album captures an artist at the peak of his creative confidence, channeling grit, groove, and soul with relentless intensity.
NICHOLS had this to say about ‘Louder Than Fate’:
“I’m beyond excited for this record. I’ve been counting down the days until its release like it’s a personal holiday. If the singles are any hint for you, there are plenty of riffs ripping through the speakers like a buzz saw. But going deeper into the record, there are tons of different emotions and sounds that I have yet to explore as a singer/songwriter. I am personally thrilled to share different shades of myself on this record, giving so much more depth and insight to the listener. Get ready for ‘Louder than Fate’. “
Produced and mixed by Jay Ruston (Anthrax, Stone Sour, Amon Amarth, Skindred, and Steel Panther) with additional production by Roger Alan Nichols (Larkin Poe, Tyler Bryant & The Shakedown and Hayley Williams of Paramore), ‘Louder Than Fate’ balances muscle and melody, combining thunderous riffs, searing solos, and emotionally charged vocals with a modern, punchy production. The songs move effortlessly between hard-hitting rock anthems and more reflective, dynamic moments, showcasing NICHOLS’ ability to fuse classic influences with a contemporary edge. Tracks like “Bending or Breaking” and “Killing Time” expand the sonic palette with subtle keyboards and cinematic string arrangements, adding depth without ever sacrificing power.
Since his breakout debut, JARED JAMES NICHOLS has built a reputation as one of the most electrifying guitarists and performers of his generation. Known for his unmistakable tone, fearless playing style, and commanding stage presence, he has toured extensively across the US and Europe, sharing stages with some of the biggest names in rock and earning praise from fans and critics alike.
‘Louder Than Fate’ is not just an album — it’s a declaration. A record that speaks to resilience, conviction, and the unstoppable force of an artist who plays every note as if it truly matters. Loud, honest, and deeply human, this is JARED JAMES NICHOLS at his absolute best.”
11,032 – Belushi Speed Ball – Toxic Waste Was Everywhere In The ’80s
Classic crossover/thrash metal band BSB return with their fourth full-length, a real rager from top to bottom. The band released their first EP in 2014, but I only became aware of them with their last full-length, 2024’s ‘Stellkira’. Get in the pit to earn your marks/bruises!
From Metal Injection: “Louisville crossover thrash troublemakers Belushi Speed Ball have announced their fourth studio album, Toxic Waste Was Everywhere In The ’80s, arriving June 5. The band plans to celebrate the release the following day with a chaotic performance at Milwaukee Metal Fest.
The album features artwork from renowned metal illustrator Andrei Bouzikov, known for his work with Municipal Waste, Toxic Holocaust, and High on Fire. Packed with 12 high-speed tracks, the record promises the band’s signature blend of frantic riffs, punk energy, and tongue-in-cheek humor.
Frontman Vinny Castellano says the band believes the new record is their strongest yet: “We are so excited to drop our strongest album to date! Toxic Waste Was Everywhere in the ’80s is guaranteed to melt faces into a plutonium-level pizza pit.”
Castellano also joked that the group might need to release a “blank greatest hits album” before the new record arrives. “We ain’t had a hit yet, and this entire album will be nothing but banger hits after banger hits.”
The album also marks the recording debut of two new members: bassist Justin McClure and drummer Ben Cotton, the latter known for his work with Rose Funeral and SIDS.
Alongside the announcement, the band has released the first single, “I Ought Not Know.” The track playfully imagines how Dave Coulier – rumored inspiration behind Alanis Morissette’s iconic breakup anthem “You Oughta Know” – might respond if he were a pizza-loving thrash musician.
Castellano explained the tongue-in-cheek premise: “Allegedly, this is the song Dave Coulier would have wrote (if he liked pizza, thrash, and had musical talent). At least pretty sure this is the response to Alanis writing ‘You Oughta Know’.”
The track’s accompanying music video features stop-motion clay animation created by artist Adam Laughlin – and the band proudly notes that no AI was used in its creation.
Castellano also took a moment to acknowledge Coulier’s recent health news, adding: “We also want to congratulate Dave Coulier on his recent cancer remission.””
2,202 – SubtractiveLAD – Still EP
I have been listening to Stephen Hummel (aka subtractiveLAD) for years now. I love his all-instrumental ambient/soundscape-y electronic pieces, which are mellow, beautiful, mesmerizing…
From his bandcamp page: “Four meditative piano-based pieces.
Each track is a linear, stream-of-consciousness performance on the piano, sometimes embellished with other sparse instrumentation.
These tracks are best listened to with a quiet, focused attention. I have left the masters with most of the dynamics of the original performances to preserve the emotional intent of the playing. These recordings aren’t meant to be cranked loud. The quiet parts are meant to be quiet. I hope these pieces help you find some stillness in our busy world.”
Recorded, mixed, and mastered at 24-bit / 96 kHz for your high-resolution pleasure.
Composed, performed, recorded, mixed, and mastered by Stephen Hummel
1,142 – The Kenneth Brian Band – Wild Kind Of Gone
I liked 2017’s ‘With Lions’, saying, “Really great rock-blues album that dances with “heavier” alt-country leanings a la Drive-By Truckers. I’m digging this, good groove!” This release, while similar, is much more subdued, yet still quite enjoyable!
Missed the Cut (in order by “popularity”*):
10,277,406 – Niall Horan – Dinner Party
A former member of boy band One Direction goes solo with his fourth release and… while this is completely out of my wheelhouse and I will never reach for it again, I gotta say, dude’s gotta good voice and the tunes are… they’re not bad. Or certainly not as bad as I thought they would be.
From Amazon: “Niall Horan returns with his fourth solo album, ‘Dinner Party’. Calling it “a thank you to the past and a hello to the present,” Niall delivers 12 new tracks shaped by “love, intimacy, fear, loss, hope and dreams.” Cinematic yet organic, ‘Dinner Party’ invites listeners to take a seat at the table and share in the warmth, wit and sincerity that define the album.”
2,101,080 – Vince Staples – Cry Baby
A whole new level of shitty hip-hop / rap. Good thing this was somewhat short-ish at 35:28, ’cause I’m not sure how much more I could’ve taken. And to think that dude is hella popular, huh…
1,639,849 – Modest Mouse – An Eraser and A Maze
First release in five years and… eh, I dunno. I’ve never gotten what the hype is about. Methinks it’s just straight-up shitty indie rock. However, they do get bonus points for being a local [Issaquah, WA!]-based band (now based out of Portland, OR). This is the first MM release to not feature founding drummer Jeremiah Green, who died from cancer in 2022. The new members in the band (and on the album) include guitarist Simon O’Connor, keyboard player Keith Karman, and drummer Damon Cox. RIP Jeremiah Green :-(
787,053 – August Burns Red – Season of Surrender
Oh no! I have dug metalcore band ABR for as long as I can recall, absolutely LOVING their killer music (not so much the vox), but this – and 2023’s ‘Death Below’ – sounds like a “true” metalcore album and is one to pass on. Dig their earlier releases instead. Damn.
377,614 – of Montreal – aethermead
God dammit! A few years back, I was really starting to get into these guys, mixing psychedelic rocking tunes that sound somewhat reminiscent of The Beatles and Stones… this was more on the crappy indie rock leanings. Not working for me… shizz. Furthermore, I would say that this release is in contention for worst album of the year. It is fucking awful!! Fun fact: The album title – ‘aethermead’ – is based on the Nethermead area in Prospect Park (Brooklyn, NY, where bandleader Kevin Barnes now lives).
17,760 – Sleeping Pulse – Dreams & Limitations
Sleeping Pulse is a progressive rock duo outta the UK, and this is their first album since 2014’s ‘Under The Same Sky’, a hiatus of 12 years betwixt them. It’s… solid – and I’ll continue to follow them – but I’m not overly wowed by it.
15,787 – Alunah / Samavayo – Embers of Belief
Well, I used to be a fan of Alunah’s, but their last couple of releases have been full-on duds. This was my introduction to Samavayo, and they didn’t move the needle for me, either. Both bands live in the psychedelic/stoner/doom realm (my wheelhouse!), but this split leaves a lot to be desired, unfortunately.
3,690 – Hammok – When Does This Place Become Our Scene
Not to be confused with the excellent Nashville-based post-rock duo, Hammock, Hammok is a Norwegian noise rock trio. I love Hammock, but gotta pass on Hammok. The songs are simply too rough, raw, and piercing.
2,714 – Tidal Wave – Volume Tree
Yeah, so this was released off of the Ripple Music label, so I thought I might like it… and I did. Sort of. Albums released from this label are usually bad-fucking-ass. This is not one of those. It’s fine, it’s good, but it didn’t give me a chubber or anything. That album artwork is pretty rad and hilarious, though! They blend stoner rock with doom metal, genres that are IN my wheelhouse yet didn’t make a dent with this release …
107 – Sons Of Ghidorah – Raining Fire
Sons of Ghidorah is a NYC-based stoner-doom band. Overall, it’s a miss – “I’ve heard better” – but there are moments… cool riffs, interesting passages, etc. I’ll keep my eyes and ears peeled for future releases, but will also keep my expectations tempered.
45 – Aetere – Théogonie
Aetere is a French doomgaze duo that is quite forgettable. I was on a particularly dreadful commute, “driving” approx. ~5 mph… sloooooooow. I also had this album playing simultaneously. The BPM is loooooooow and sloooooooow, which made me ponder if there was a way to see what was slower. My driving speed or the average BPM of the album. Either way, it took a long time to get home and through the album. Pass.
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…
None.
Looking forward to (in order by “popularity”*) – These albums will be released this week and should be in next week’s AOTW blog:
52,336,898 – Olivia Rodrigo – you seem pretty sad for a girl so in love
14,475,037 – LOYW – Look Outside Your Window
3,626,297 – Sublime – Until The Sun Explodes
2,113,706 – Yes – Aurora
408,860 – Tarja – Frisson Noir
212,837 – Fruit Bats – The Landfill
147,021 – Pussy Riot – CYKA
64,643 – Khemmis – Khemmis
46,346 – Black Tusk – Systems Of Solitude EP
34,487 – Genghis Tron – Signal Fire
1,040 – Bolan – Gargoyle Of The Garden State
512 – Joseph Tholl – It Might Be Art
0 – Lex Legion – Lex Legion
…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
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