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
End of an era…
I can’t recall when or how it happened, but nearly 30 years ago, I procured a pair of Mackie SRM450 loudspeakers. You know, the ones with the Italian RCF woofer and HFD. The V1, the original, the masterpiece. I either won ’em at a party, paid employee pricing, got ’em in a garage sale, or something, but here we are 30 years later, and… I sold ’em!
Sure, they were scratched up, and the pots are scratchy when turned, but dayummmm, they work fine other than that! I sold ’em because I won a pair of THUMPv4 loudspeakers recently and had no need for the 450s anymore.
But there is a happy ending. They didn’t end up with just some rando, but rather a former co-worker who some of you might know: D.J. Magana! He actually reached out to me a few weeks ago asking if I had any loudspeakers lying around. Well, D.J., as a matter of fact, I do!
We met up on Saturday for lunch – after a number of years not seeing each other – caught up, and made the exchange. Really great to see him and find out what he’s been up to over these past several years.
After parting ways, I headed home, mowed, and weed-whacked. Before I do that, though, I’m on doggy doodie. Yup, gotta pick up their stanky turds, lest I drive over them on the riding mower, yuck! The good news is that the weather is so toasty, the turds are all dry and crusty, easy to scoop.
Now, normally I wouldn’t share this ’cause… who cares? Right? Well, I’ve got a point, though. I’m walking through the yard, making the rounds, and… I fully know what it sounds like when I come within a few feet of a (totally and completely harmless) snake. FWIW, I’m sure my reaction would’ve been the same with a deadly snake, as well.
Spiders don’t bother me – happy to put ’em in a jar and take ’em outside. Sharks, eh… I don’t go anywhere near ’em. But muthafuckin’ snakes scare the crap out of me. Anyway, after jumping out of my shoes. I finished cleaning the yard, mowed, and weed-whacked.
It looks so sharp now, and makes me happy! But I gotta tell you… I’m out there on my riding mower, slicing and dicing the grass, hat and shades on, thinking, “this is easily the best mow of the year… possibly ever.” Of course I wondered why…
Sometimes when the grass is a little wet, the “force” isn’t strong enough to push it into the baskets in the back, and I have to open the tube. This time, the grass was dry enough and light enough, filling up the baskets swiftly. Plus, I was quite thrilled with it being a gorgeous day, not a cloud in sight… but then the real reason hit me:
I had taken some edibles earlier. Ahhhhhh, right. Sure, those other reasons make sense as well, but the edibles likely pushed me over the edge, resulting in a fantastic mow… and weedwhack, for that matter.
Ah, but the snake I had seen earlier made the experience a little less pleasant. Throughout the campaign, I swore to myself that I either saw, heard, and/or sensed snakes as I rode around the yard. I don’t know if it’s the slithery, no-legs thing or the flicking of their forked tongue that bothers me, but I do not like snakes for some reason. Don’t want to hurt them, just don’t want to be anywhere near them. Oh, and BTW… edibles can make you paranoid. Even though I didn’t take *that* much, there’s something about snakes, and perhaps mixed with the edibles, I was paranoid that there were more. And, of course, they’re all trying to get me. Those harmless little things, ha!
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Sunday was – or, I suppose, IS – Father’s Day. Yep, it’s Sunday afternoon, and a helluva weekend… in a good way! Today was (or is) mellow. Did a few chores, but nothing major. Called my ‘ol man. Y’all did the same, right?! Well, called YOUR ‘ol man, not mine, haha!
BUT… I also had this past Friday off for Juneteenth. I took the dogs to their monthly vet appts. and had a call with my financial advisor, as well. The latter made me a bit nervous since it was a “let’s take a look at how you’re looking for retirement.” Sent over all the files he requested a few weeks ago, knowing full well that he was putting together my retirement plan. So there were roughly two weeks of me thinking, “Oh God, he’s gonna tell me that I have to work until I’m in my mid-80s.”
Whew, sigh of relief… he said (paraphrased) that I’m looking good and on track for a solid retirement. He showed me graphs of what would happen if I retired at various ages… obviously, the longer you work, the bigger your nest egg. What’s important to you: more money in the bank or more personal/retirement time? For now, I just gotta stay the course a bit longer… but I see the light! At least I think (and hope) it’s the light, haha!
My financial advisor mentioned that he has some concerns with other clients and that he would be doing them a disservice if he didn’t tell them; he said that he doesn’t have the same concerns with my portfolio. Frankly, it’s probably due to my ‘ol man. Ever since I was very young, he has been very vocal about saving/investing money, and I’ve always been afraid that I won’t have enough when I’m older. Honestly, I still feel like I don’t have enough… and probably never will.
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A few weeks back, a friend texted, asking the following:
“Question for you, Troy. I often see comments in OLM like “I could see myself listening to this again”; do you have any space in a week to listen to music again, or is your week full of listening to all new releases? I guess the question is as simple as, do you ever listen to anything more than once?”
Anyway, YES, I actually DO listen to albums released previously, whether in 2026 or years past. The funny thing is that the actual day he asked, I was listening to the ‘Live-Evil’ album by Miles Davis… released in 1971. I was seven months old. A few weeks prior, I had spun the O Zorn! album I loved in 2024, ‘Vermillion Haze’.
For the most part, I concentrate on newer releases. However, it’s fun to revisit albums that I’m intimately familiar with from time to time, as well.
At some point, I should probably add a FAQ section and include that question. The number one question I get: How on Earth do you listen to all that music?!
Addendum: it’s Thursday, and I just spun ASG – Blood Drive (2013). F’n awesome album!! So yeah, I listen to albums released previously :-)
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Super-tasty Honorable Mentions, but nothing rose to the top to wear the AOTW crown this week, unfortunately.
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 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** – June 19th to June 25th, 2026:
None.
Honorable Mentions (in order by “popularity”*):
4,711,085 – Judas Priest – The Best Of Judas Priest (2 CDs)
Man do I dig me some JP! Here they treat their fans to another “Greatest Hits” collection. Sure, sure, I like this release (of course!!), but (to me) 1993’s double disc ‘Metal Works ’73-’93’ is their best Greatest Hits release. Of course, with the mighty Priest, you also need (at least) the full albums of ‘Stained Class’ (1978), ‘Hell Bent for Leather’ (1979), ‘British Steel’ (1980), and ‘Screaming for Vengeance’ (1982). I’d also suggested ‘Defenders of the Faith’ (1984), ‘Painkiller’ (1990), ‘Firepower’ (2018), and ‘Invincible Shield’ (2024). CONGRATS on a storied nearly 60-year career!
From amazon: “The Best of Judas Priest is a career-spanning collection celebrating one of the most influential and enduring bands in heavy metal. Judas Priest have defined and redefined the sound and imagery of heavy metal for more than five decades. With over 50 million albums sold worldwide and more than 2.5 billion streams across their catalogue, their impact on music and culture remains unmatched.
This special collection of 16 songs brings together some of the band’s globally revered recordings, including ‘Breaking The Law,’ ‘You’ve Got Another Thing Coming,’ ‘Electric Eye,’ ‘Turbo Lover’ and ‘Painkiller.’ Together, these tracks represent key moments from across their catalog and trace the evolution of a band that helped shape the genre itself.
The Best Of Judas Priest serves as both an accessible entry point for new listeners and a definitive collection for longtime fans looking to revisit the song that cemented the band’s legacy.”
2,186,710 – Placebo – Placebo RE:CREATED [30th Anniversary Re-Recording – 1996] (2 CDs)
I have been listening to (and loving) English alt-rock band Placebo for a long, long time… but not since their humble beginnings back in the mid-’90s. This release is their 1996 self-titled debut in full, but “re-created” (read ahead), as well as including five remixes.
If you already dig Placebo, you’ll love this album… right on par with the others. If you don’t like them, then you won’t like this release for the exact same reason. I fully dig it…a lot! I am very much looking forward to their next studio release, as their last one was in 2022 (‘Never Let Me Go’) and a lengthy gap before that in 2013 (with ‘Loud Like Love’). C’mon back, guys! Fun fact: Other than drummers, the trio has remained a constant with vocalist/guitarist Brian Molko and bassist/guitarist Stefan Olsdal.
From the band’s website: “Thirty years on, Placebo RE:CREATED sees the band return to this pivotal album with a fresh perspective. The new record features reworked and embellished versions of all ten tracks from the original album, plus two bonus tracks from the original release, capturing the way these songs have evolved across decades of performance while retaining the raw spirit that defined them. Among the tracks are the era-defining singles “Nancy Boy” and “36 Degrees”, songs that helped establish Placebo’s reputation for fearless lyricism and genre-defying sound. These new recordings amplify the urgency and attitude that made the originals resonate so strongly, while reflecting the band’s growth and experience in the years since their debut.
“We think of this record as a director’s cut. We haven’t recreated it from scratch. We went back to the original master tapes and brought 30 years of playing these songs live back into the record.”
Why This?
“This project was about finally finishing the record, dragging it into the 21st century sonically, while preserving the integrity and the spirit of the original. It’s not about improving it; there’s nothing wrong with it, it’s about completing it.
When we made the first album, we didn’t yet have the experience or the studio knowledge to fully translate what was in our heads. Over the years, the songs took on a life of their own on stage; they grew, they developed, they kind of completed themselves.
It’s a celebration of where we began, and a meeting point between who we were then and who we are now; a way of honoring that innocence, while letting the songs exist with the scale, confidence, and energy of the band we’ve become.”
Why Now?
When Placebo first appeared in 1996, the band’s aesthetic and lyrical perspective challenged expectations within British rock culture. Their visual identity – deliberately ambiguous, glamorous and confrontational – pushed against traditional ideas of gender and masculinity at a time when such conversations rarely entered mainstream discourse. In doing so, Placebo carved out a space for a different kind of alternative voice, one that resonated deeply with audiences who felt outside the cultural mainstream and is still referenced to this day by many of their contemporaries.
Today, discussions around identity, gender expression, and individuality are more visible – and often more contested – than ever. Against this backdrop, the origins of Placebo’s debut feel strikingly relevant again. Placebo RE:CREATED not only celebrates the legacy of the original album but also highlights its enduring cultural significance, reaffirming how forward-thinking the record was upon its release.
The Album:
The album was recreated by Brian Molko and Rob Kirwan from the original master tapes and mixed by Adam Noble. The result is a collection that preserves the immediacy and defiance of the original while pushing the sound into new territory – reflecting both the band’s long history with these songs and their continued creative evolution.”
I’m not a huge fan of most rap and hip-hop albums – and what I do like is typically “older” [e.g., Run DMC, PE, NWA, Dre, Snoop, etc.] – but I did like this release. It sounds like his live shows are total baller good times, and I sure wish this release was longer than ~45 mins.
About the show via Nu Deco: “Nu Deco Ensemble returns to the Miami Beach Bandshell for a powerful evening celebrating the poetry and impact of hip-hop. The program features a bold suite honoring the music of GRAMMY decorated producer, Timbaland, alongside Playground by YoungArts alum Pascal Le Boeuf—a newly adapted chamber version created especially for Nu Deco, followed by a brand new Nu Deco original work.
GRAMMY-winning artist Lupe Fiasco brings his signature lyricism and vision to a one-of-a-kind collaboration, paired with the sweeping, defiant finale of Shostakovich’s Symphony No. 5—a work of emotional depth and resistance that mirrors the power of words to provoke, uplift, and endure.”
1,403,009 – King Crimson – 1974 Penn State University [Live]
In short, it’s King Crimson. It fucking ruled! In longer, KC is considered to be one of the first prog-rock bands, having formed in London, England in 1968. They are still going strong today, although this is a look back at a live show from 1974. KC is not for everyone, but if you dig prog-rock, then they’re an absolute must check out at the very least. The one caveat for me is that this isn’t my favorite KC lineup… killer show, great tunes, but I miss Adrian Belew and Tony Levin here.
From Burning Shed: “Multi-track recording of a King Crimson set from June 29th, 1974, at Penn State University, featuring the Bruford, Cross, Fripp, and Wetton incarnation of the band on brilliantly brutal form.
Contains material from Larks’ Tongues In Aspic and Starless And Bible Black, plus Is There Life Out There? and It Is For You But Not For Us, two of the finest improvs from this tour.
Now available on CD, following on from the exclusive RSD double vinyl release. Includes sleevenotes from KC biographer Sid Smith.
Robert Fripp: Guitar, Mellotron & Devices
David Cross: Violin, Viola, Mellotron, Electric Piano
John Wetton: Bass, Lead Vocals
Bill Bruford: Drums & Percussion
To coincide with the releases of “Starless & Bible Black” in March 1974, King Crimson set out on a run of shows that many fans consider to be that line-up’s peak with the late music critic John Kelman (All About Jazz) describing them as being at their “heaviest and most guitar-centric version of Crimson to date” where “even 24 hours represented a significant difference in how this group approached form-based material”.
In the final week of June, as the band neared its conclusion as a live act, four of these concerts – including the Asbury Park show from which much of the original 1975 released “USA”, single live LP was derived – were recorded to multi-track tape but, with the exception of that release, lay unreleased until the 1992 assemblage/mix & compilation of “The Great Deceiver” boxed set by Robert Fripp & David Singleton which was centred around those performances. In the notes to that set, Robert Fripp described the band’s 1974 tour as a period of “balanced disarray” characterised by “chaotic and intense” performances and “powerful, almost brutal improvisations”.
With the rapid growth of CD in the 1980s came an equally rapid growth in bootlegging, and by 1992, there were over 120 different King Crimson bootlegs – many focusing on poor quality recordings of the 1973/74 touring band whose reputation among fans and influence on a generation of musicians continued to grow. The first pressing run of “The Great Deceiver” sold out within weeks & was re-pressed by DGM in the same format before being split into two double CD sets in the early 2000s. The release also did much to re-establish King Crimson’s critical reputation, especially in the UK.
Of the four multi-tracked concerts, Penn State was a last minute addition to the schedule and required gruelling additional journeys there and back, book-ended, on the original tour schedule, by the geographically easier Asbury Park, New Jersey on the 28th and Providence, Rhode Island on the 30th, leaving audiences then & since, grateful for the band’s willingness to use a ‘rest day’ for an unplanned performance.
Despite the travel complications, the Penn State gig featured two of the best improvs from this tour – Is There Life Out There? and It Is For You But Not For Us, which sounded, in many respects, no less fully composed than the recently released Fracture or the yet to be recorded Starless. For most attendees, the majority of the material would have been heard for the first time, not an uncommon feature of King Crimson gigs in that period, though unthinkable for most bands today.”
1,022,214 – Joe Bonamassa – The Spirit Of Rory: Live From Cork (CD / DVD)
Current-day blues phenom Joe Bonamassa pays tribute to former-day blues phenom (and massively underappreciated) guitarist Rory Gallagher. Fun album to listen to! RIP Rory, I hope you don’t have the blues no more.
From amazon: “Rory Gallagher is a national hero in Ireland and is renowned around the world for his musicianship and stagecraft.
“The Spirit of Rory” is a celebration of the music and a tribute to Rory Gallagher’s special talent, played out to an audience of rabid Rory Gallagher fans, to a rapturous response which underscores Bonamassa’s success through his deep respect and love for the music.
A unicorn of a concert, once-in-a-lifetime musical experience showcasing the brilliance of Joe Bonamassa.”
325,934 – PJ Morton – Saturday Night, Sunday Morning (2 CDs)
PJ is a soulful, gospel-y R&B singer, and his latest solo release includes small tinges of jazz and funk, as well. This is his 10th full-length solo album, yet my introduction to him. Thanks for the suggestion, Ray! Fun fact: PJ is a member of Maroon 5 (officially joining in 2010!), playing keys and singing backing vocals.
From amazon: “Saturday Night, Sunday Morning is a double album from PJ Morton that consists of both an R&B/Soul and a gospel album respectively. Throughout history, artists have been made to choose one or the other.
Winning Grammys in R&B, Gospel, and even Album of the Year, PJ has been an artist that has been able to live comfortably in multiple genres, whether it’s his work as an R&B/Soul artist, his writing and production in gospel music, or his work as a member of Maroon 5.
This album celebrates all those sides of his journey in one place. There’s the Saturday Night side and the Sunday Morning side.”
195,168 – The War and Treaty – The Story Of Michael And Tanya
I loved 2023’s ‘Lover’s Game’, stating, “Husband-wife duo that plays soulful as fuck folksy gospely country-blues. Nice stuff here!” Michael and Tanya Trotter delivered the goods once again on 2025’s ‘Plus One’ and now this, their latest offering.
From Rough Trade Records: “2x Grammy Award -nominated duo The War and Treaty take a bold step into a new chapter with their hugely anticipated fifth studio album The Story of Michael and Tanya. The characteristically electric project exemplifies the duo’s ever-evolving creative growth, making it abundantly clear that a vibrant new energy now guides The War and Treaty, driven by honest and unique conversational perspectives.”
94,208 – Haircut One Hundred – Boxing The Compass
Well, shit, color me pleasantly surprised! This is the band’s third full-length, but only their first in over 40 years (1984’s ‘Paint and Paint’). They’re listed as a British new wave meets jazz-funk band, and I was confident that I would be ready for the next album when this one wrapped up after ~36 mins. To my surprise, it could’ve kept on going. Great vocals, and I’m a total sucker for a horn section. It’s likely nothing I’ll reach for again, but I gotta say that it was a pleasant listen, for sure!
From Proper Music: “The original chapter of Haircut One Hundred beamed briefly yet brightly. They achieved the kind of success that they could have only dreamed of: four UK Top 10 hits, all of which were definitive ’80s classics – ‘Love Plus One’, ‘Fantastic Day’, ‘Favourite Shirts (Boys Meets Girl)’, and ‘Nobody’s Fool’ – followed by a debut album, ‘Pelican West’, which peaked at #2 during an eleven week run in the Top 10, in the process reaching Platinum status.
That was 42 years ago. But now, after a lengthy absence, Haircut One Hundred are back: fuelled by the power of friendship, a love of adventure, and the simple joy of seeing wherever their unexpected next chapter will take them. Their return now gathers pace after releasing their first new music in 40 years with the new single ‘The Unloving Plum’. Ahead of more new music and an album in 2025.
‘The Unloving Plum’ sparkles with the exuberant joy of a band loving what they do. The joyous, brass-assisted, instantly unforgettable pop that they’re best known for is still their most compelling trait, but it’s a natural evolution that takes in touches of jangly, Beatles-esque pop and an anthemic Britpop-flavoured power. While vocalist/guitarist Nick Heyward explains what it means to him, it also speaks to the universal experience of something great in life emerging from what you initially thought was the worst possible outcome.”
85,650 – The Veils – Fragile World
The Veils have been around for (seemingly) ever – having formed in 2001 – yet this release is my introduction to them. Better late than never! They are an English/New Zealand-based indie rock band that peppers in gorgeous alt-country themes throughout. This was a great album and a wonderful listen!
From amazon: “Following the critically acclaimed release of Asphodels in 2025, The Veils return with a bold and invigorated new album, Fragile World, out June 19 on V2 Records. Arriving just over a year after their last release, Fragile World marks a striking shift in tone and energy for the band.
Recorded live to tape in New Zealand by Paddy Hill, with production by Tom Healy (Tiny Ruins, The Chills, Folk Bitch Trio), Fragile World captures The Veils in an urgent and instinctive mode. The album’s title is both a reflection of the present moment – a time in which many institutions appear to be crumbling before our eyes – and a metaphor for the act of creation itself.
The process of making music, Andrews notes, is a delicate and fragile undertaking where thousands of small decisions gradually coalesce into a finished whole. “We went into the studio with a lot of songs, but very little idea of the arrangements or instrumentation. It was truly exciting, having no idea what this record would sound like and only a few weeks to figure it out. It’s mostly Tom and I playing everything, with Joseph McCallum coming in at times. It was all very instinctual, quite full-on, and scary at times – but a good kind of scary, not scary like the real world out there.”
With its immediacy, intensity, and emotional clarity, Fragile World stands as one of The Veils’ most compelling releases to date.”
84,948 – Daniel Lanois – Belladonna Nocturne
Really great, mellow, all-instrumental ambient / soundscape-y album. Only 36:09… it could’ve kept on going! This was really nice!
From Burning Shed Records: “Renowned producer, composer, and songwriter Daniel Lanois (Brian Eno, Peter Gabriel etc) returns with Belladonna Nocturne, a mesmerising studio album featuring 14 new pieces.”
51,409 – Spafford – Cat Shop
What an incredibly fantastic find! They’ve been around since 2009, but I just got into them, oh, I dunno, around 2018-ish. Spafford just kills it in the jam band department, fusing elements of rock, funk, jazz, reggae, ska, electro-pop, and more, with tons of extended improv jams in their live sets… not to mention all of the cover songs that they have played throughout the years.
When I first heard these guys, I said, “Gotta go catch these cats live sometime!” Well, I finally did in 2025 at Hidden Hall in Seattle (cap 300). I have not listened to it yet, but the band is streaming that set from their bandcamp page, as well: https://spaffordmusic.bandcamp.com/album/live-at-hidden-hall-10-21-25-seattle-wa
50,460 – Dan Terminus – Gestalt Providence
This shit is pretty bad-ass! It’s all-instrumental dark synth / cyberpunk tunes. Reminds me a little bit of Puscifer at times, but not necessarily in song structure, but the programming side of it. I’m digging this!
From his bandcamp page: All music decomposed, misproduced, dismixed, and unmastered by Dan Terminus – except “Too Young” music and lyrics originally written by R. Adamo, L. Christin, and S. Cotta of Hyphen Hyphen.
All lyrics, vocals, speech synthesis, vocoders, synths, and any other instruments heard on this album are by Dan Terminus.
Degraded almost unheard vocal shout on “No God’s Land” by Jim Gennisson.
Album cover “Deployed” by Jim Gennisson.
Photos by Laura Lyson – lauralyson.com
I want to thank :
Jim Gennisson – For supporting me even in the harshest of times, for always lifting me up, for his work that goes along with the music so finely, for introducing me to the works of Tsutomu Nihei at the right time of my life, and for his unwavering friendship. This album couldn’t have been made without his help.
Laura Lyson – For helping me even when she thought she was doing nothing more than just listening, for her architectural eye that amplifies the world, for 1080 kilometers in two days to the Viaduc, for making me feel less alone in my admiration for Ricardo Bofill, and for her endless endurance when it’s time to listen to me.
Alexia T. – For always helping me with asking myself the right questions at the right time, for rounding thoughts up effectively, and for understanding who I am.
Jean-Luc B. – For being exactly the same friend as when we used to play metal in a solitary village by the Saône.
I would also like to thank Lindsay V., Léa D., Petteri L., Julien “Moustache Machine” C., Thomas Le D., Sight Telma Club, and Kim Neuropa.
“One way (amongst many others) to get into Gestalt Providence is the following: it is better to focus on the predominant beauty of an amalgamation of symbols, rather than on their literal meaning.” – Terminus Heavy Industries promotional brochure.
“Aujourd’hui, je n’ai plus le temps de passer ma vie à la perdre.” – Dan T.
“Today, I no longer have time to spend my life wasting it.” – Dan T.
30,560 – Various Artists – Ride The Rainbow – The Ultimate Tribute To Ritchie Blackmore’s Rainbow
I have been a fan of guitarist Ritchie Blackmore and Rainbow for as long as I can remember. While not the original – untouchable – this tribute is still pretty solid, and reminds me of what a great team Blackmore and lead singer Ronnie James Dio (RIP) truly were. All hail the mighty Rainbow!
From amazon: “The mighty Rainbow, Ritchie Blackmore’s post-Purple juggernaut, receives its full flowers on this star-studded tribute album! Performances by no fewer than six Rainbow alumni – Bob Daisley, Graham Bonnet, Don Airey, Joe Lynn Turner, Doogie White, and Ronnie Romero! Also includes epic contributions from rock/metal luminaries Sebastian Bach, Steve Morse, glam heroes Angel, White Lion’s Mike Tramp, Rick Wakeman, and more, PLUS a very special appearance from Blackmore’s Night vocalist Candice Night! Full liner notes written by Jason Myers of classic metal revivalists Icarus Witch!”
- Long Live Rock ’n’ Roll – Bob Daisley, Graham Bonnet, Ron “Bumblefoot” Thal, Carmine Appice, Don Airey
- Man On The Silver Mountain – Sebastian Bach, Doug Aldrich, Bob Daisley, Carmine Appice, Mick Box, Jonathan Cain
- Stargazer – Ronnie Romero, Derek Sherinian, Marty Friedman, Vinny Appice, Joe Bouchard, Jürgen Engler
- Lady of the Lake – Angel
- Rainbow Eyes – Mike Tramp
- Since You Been Gone – Marty Friedman, Vinny Appice, Graham Bonnet, Jürgen Engler
- Kill the King – Rick Wakeman, Bob Daisley, Vinnie Moore, Marc Lopes, Chris Adler
- The Temple of the King – Steve Morse, Phil Soussan, Ronnie Romero, Simon Wright, Jonathan Cain, Kevin James Morse
- Jealous Lover – George Lynch, Vinny Appice, Andrew Freeman, David Ellefson, Jonathan Cain
- I Surrender – Eric Gales, Tim “Ripper” Owens, Phil Soussan, Don Airey, Chris Adler
- Catch the Rainbow – Doogie White, Derek Sherinian, Chris Poland, Vinny Appice, Bob Daisley
- Street of Dreams – Paul Shortino, Joel Hoekstra, Joe Bouchard, Fred Aching, Jonathan Cain
- Stone Cold – Vivian Campbell, Joe Lynn Turner
- I Surrender (Acoustic Version) – Marcus Nand, Candice Night
26,989 – When Rivers Meet – Rhythm Rust & Static
When Rivers Meet is British blues-rock husband-wife duo, Aaron and Grace Bond. The tunes range from rousing, high-energy blues-rock numbers to sweet ballads, then onto dirty, swampy blues. Nice diversity that I dig!
From the band’s website: “This record takes us right back to our roots — raw, rough and real. Recorded as a three-piece with Foxy (James Fox) on drums and produced by Ads (Adam Bowers), we co-wrote the album together as a four, capturing that gritty blues-rock energy built to sound exactly like we play it live.
Creatively, this has been a real passion project for us. We set out to make something honest and unfiltered — and we genuinely couldn’t be prouder of how it’s turned out.
Being able to release music independently means everything to us. No label. No management. Just us and you — and because of that, we get to make records exactly the way we believe they should sound.”
22,054 – Lost in Kyiv – We’re All Going To Be Fine
This (mostly instrumental) post-rock band had not crossed my radar until 2019’s ‘Persona’, but they’re rad! I won’t (and haven’t) missed any future releases… great stuff, guys!
From Pelagic Records: “Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, ‘We’re All Going To Be Fine’, they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture.
Lost in Kyiv’s music has always thrived on tension between the organic and the synthetic. On ‘We’re All Going To Be Fine’, that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail.
Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control; silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist.”
12,244 – Lindsay Schoolcraft – Harrowing
Definitely nothing new – I mean this is basically Evanescence 2.0 – but you know what? I am a fan of Amy Lee and Evanescence, so why not?! Dead nuts sound-alike! That album artwork is stellar, to boot!
From Schoolcraft Shop: “Harrowing is a fresh chapter in Lindsay Schoolcraft’s solo work with a harder metallic bite. It blends nu metal, metalcore, and rocktronica, and elevated by strings and choirs. The record shifts textures from song to song while Lindsay’s voice keeps the compass steady as each piece moves from shaking off manipulation to choosing self‑rescue and, finally, hard‑won freedom⚔️🖤”
3,501 – Datura4 – High On The Low Brow
‘Tweener release. They have this psychedelic, bluesy stoner rock sound and… I like, but don’t love. They’re growing on me, though.
From Alive Naturalsound: “After a four-year break since “Neanderthal Jam” hit the shelves in 2022, Datura4 are back at it with their sixth record, “High on the Low Brow,” laid down once again in their Fremantle stomping grounds. Steering the ship is Dom Mariani, a true legend of the Australian rock scene, whose work with The Stems and induction into the WA Music Hall of Fame speak volumes. This new album finds the band doing what they do best: weaving together bluesy rock, infectious boogie, and a swirl of psychedelic vibes.
Datura4’s albums have built a devoted following, celebrated for their authentic throwback to an era when Aussie rock was loud, loose, and mind-bending. Mariani’s guitar licks and knack for memorable melodies tie it all together. If you’re after music that feels like it was recorded in the thick haze and vibes of the early ’70s—with grooves that dig deep, riffs that burn, and every song is performed with soul—“High on the Low Brow” should be right up your alley.”
DIRTY LAUNDRY : Laidback but full of colour and cool edges, “Dirty Laundry” combines classic Freddie King blues with woozy, desert-fried psychedelia, early 70s swagger and even a saxophone sojourn. Hooky, heavy, trippy but not too trippy – yeah, we’ll totally take that. – CLASSIC ROCK
GETTING THROUGH : Driven by thick fuzz riffs, pounding grooves, and psychedelic textures, “Getting Through” delivers the heavy retro-inspired sound that has become a hallmark of the band’s music. The track blends gritty hard rock with spacey keyboard flourishes and an infectious groove while exploring themes of unrequited love and respect. – BLUES ROCK REVIEW
3,087 – Colin Edwin – Place Of Definitions
What a phenomenally beautiful, all-instrumental (bass-heavy) ambient / soundscape-y album. This is the real deal, great stuff!
1,115 – Green Desert Water – Eerie Meadows
Another great bluesy psychedelic stoner rock album… tasty riffage, tasty soloing, been digging these dudes since their inception in 2018!
From their bandcamp page: “Based in Asturias, Spain, Green Desert Water are a classic power trio. Their third album for Small Stone Records, ‘Eerie Meadows,’ brings eight immersive and engaging tracks, merging heavy psychedelia and melodies born across decades from the 1970s on, speaking seamlessly to both sides in a way that is their own, as much grunge shove as it is boogie vibes.
“With Eerie Meadows, we wanted to explore the duality between the heavy and the ethereal—the mist, the ancient woods, and that feeling of finding home in the wild,” says the band. “Recording in a new studio was a challenge we set for ourselves to push our sound further; it’s a record about the cycles of life, the scars we carry, and the fire that burns even under the northern lights.”
This new LP provides a modern twist to classic foundations. From the opening journey of “Northern Lights” to the closer “Meteora,” the band explores themes of loss, primal power, and spiritual survival.
‘Eerie Meadows’ follows the fan-favorite ‘Black Harvest’ (2021), which established the band and its new lineup: guitarist/ vocalist Kike Sanchís, bassist Juan Arias, and drummer Dani Bárcena. While the band keeps one foot decisively embedded in the classics – Mountain, Sabbath, Sasquatch – they execute the tight 37-minute LP with earned confidence and purpose, finding variety in mood amid a universal quality of craft. For the converted or those willing to be, it is a thing to be celebrated.”
For fans of: La Chinga, Captain Beyond, Sasquatch, Black Elephant, Free Ride, The Brought Low
946 – Kilter – Ten Billion Years
I liked this album, but not as much as I had hoped for based on what they play: all-instrumental jazz-metal, with a sax as the lead instrument! But the recording process sounds quite interesting (read ahead).
From their bandcamp page: “A water molecule’s entire existence, reimagined through Kilter’s dense jazz-metal textures. Composed collectively from 50-measure sketches (50 BPM) written by each band member. Built from a 10-minute recording, slowed down x4 to create the 40-minute album, inspired by John Cage’s As Slow As Possible.”
751 – Plaindrifter – Gestalt
My buddy Brian turned me onto this rad German trio that blends tasty stoner / fuzz rock with psychedelic outlines. He came at me with their 2021 debut, ‘Echo Therapy’. Five years later and they’re back with another tasty slab of rock ‘n roll. The album artwork is super solid, too! Excellent journey… if you’re ready for the trip…
From Ripple Music: “With their 2021 debut Echo Therapy hailed as “a mind-blowing journey” by the Doom Charts and “music for the mind, body and soul” by UK website Outlaws of the Sun, it is clear that Plaindrifter have impressed critics and fans alike, as few newcomers do.
Now, the trio returns with their forthcoming sophomore album and Ripple Music debut, Gestalt. Pushed by a deep sense of self-criticism and a fear of repeating themselves, Plaindrifter have expanded their signature blend of tempo and key changes with bold new elements, including keyboards by Philipp Seitzer and guest vocals from Ryan Garney (High Desert Queen) and Lena Schneider.
The result is an immersive, forward-looking heavy journey born from patience and passion, that should catch the ear of fans of Elder, King Buffalo, Howling Giant, and Lowrider. The album was produced, engineered, and mixed by Robin Stirnberg, mastered by Dennis Köhne, with a stunning cover artwork by André Tinibel. Stream the latest single Moth Mumuration!
Hailing from Germany’s industrial heartland, the Ruhr Area, Plaindrifter formed in 2017 to forge a brand of heavy psych that refuses to stand still. Blending hypnotic riffs, expansive soundscapes, and the restless spirit of stoner, prog, and post-rock, their 2021 debut Echo Therapy carved out a name in the European underground, winning over listeners with raw heaviness and unexpected melodic depth.
The band entered the studio in June 2025 with engineer Robin Stirnberg, but an unexpected setback forced them to relocate mid-session. Undeterred, Plaindrifter finished recording Gestalt in their rehearsal space. That resilience paid off quickly: through their friends in High Desert Queen (whose frontman Ryan Garney lends guest vocals to the track “In Anima”), the album’s master found its way to Ripple Music’s Todd Severin, who took the leap and instantly welcomed the band to the label’s roster. Now looking ahead with optimism, the band invites listeners old and new to dive into their anticipated new album Gestalt, to be released in the summer of 2026.”
712 – David A. Jaycock – Children Of The Cold War: Phase 7
Yeah, alright… all-instrumental electronica with post-rock tendencies. I don’t totally love it, but I like it enough to put here and keep my eyes posted for future releases… Interesting story behind the album, as well (read ahead).
From his bandcamp page: “This is a concept record that reflects on events that have had a calculable effect on a generation:
‘’By 83 and 84, it felt that nuclear war was going to happen. Not could happen but was going to.’’ – Stephen Brotherstone
“What would you do in the event of a Nuclear war?”
I remember having discussions about what we would do when we heard the four-minute warning siren. We would raid the sweet shop. I was 8 or 9 years old. The absurdity of this vivid memory encapsulates the concept of the record. It would take at least four minutes to get to the shop!
The record starts with an early memory of circling a church on a Raleigh Budgie (the smaller, lesser-known, iconic Chopper bicycle) in 1981 and ends with staring up at a clear sky on Oldham Lows in 1990.
The record identifies and plays with the effects of an underlying fear of oblivion on a generation of children, but also society as a whole: The pieces take in media and government propaganda. Machinery (nuclear submarines) and buildings (nuclear bunkers), but also everyday activities of the civilian population, activities such as shopping, clubbing, and staring at the sky. Thematically, the record is made up of personal memories mixed with historical events.
Instruments are mainly from the 1980s. DX7 and 808 feature predominantly. The pieces feature numerous melodic motifs that develop and intertwine underlying ideas of espionage and layers of secret messaging. It also mirrors the ways in which governments and civilians interact. Decisions being made in the name of defence whilst people go about their daily lives. I am exploring the everyday experiences of the masses whilst major political decisions are taking place. For example, shopping on a Saturday afternoon versus heated Cold War tensions in 1983.
Although taking place conceptually in the years 1979-1991, this record mirrors current events. History repeating. It also mirrors the helplessness or maybe some oblivious everyday normality state that we adopt as a community whilst major political decisions are being made.
The idea that life goes on oblivious to larger-scale politics, or on the other hand, the idea that we are all very aware but in a state of unreal normality. Adam Curtis goes into great detail about such things in his film ‘Hyper Normalisation’.”
Further reading:
Panorama ‘If the bomb drops’ (1980)
Should Disaster Strike – Civil Defence for Nuclear War (1987)
Threads – In 1984, teachers across the British Isles taped Threads, a BBC docudrama, to play to and subsequently scar a generation of Cold War school children. The next day, masses of children discussed whether we would be burned alive or suffer fallout. I concluded, living near a nuclear submarine base, that we would be disintegrated pretty quickly.
When the Wind Blows – The combination of topic and medium made When The Wind Blows more subversive and arguably more wide-reaching in its influence than the unremittingly bleak, post-watershed documentary realism of Threads.
More Cinematic/TV Evidence:
The Terminator (Images of an apocalypse brought on by nuclear war)
Red Dawn (Russian invasion of the U.S.A)
Protect and Survive (Government information films)
War games (Would you like a nice game of chess)
Rocky IV (More American propaganda)
237 – Prince Of Failure – Prince Of Failure
I had a sneaking suspicion that I might like this prog-metal band’s self-titled debut album, but I didn’t… I loved it!! The band features vocalist Daniel Tompkins (TesseracT) and multi-instrumentalist Paul Ortiz (Chimp Spanner), hence the reason for my suspicion. It met and exceeded all expectations. If you dig TesseracT, Chimp Spanner, or, frankly, prog-metal in general, don’t miss out on this banger!
From KScope Music: “Prince of Failure marks a significant shift in Daniel Tompkins’ creative world. Written and developed over several years with Paul Ortiz (Chimp Spanner), the album traces a long internal process rather than a single moment of inspiration. The material reflects on neurodivergence, masking, and the psychological weight of living out of alignment with expectation – themes that shape both the narrative and the sound of the record.
Musically, the album develops the atmosphere of Daniel Tompkins’ earlier solo work into darker, more reflective territory. Paul’s spacious arrangements, electronic textures and powerful guitar work sit alongside intimate, close-mic vocals, creating a strong sense of immediacy without sacrificing the dynamic scope associated with Tompkins’ progressive background and work with TesseracT. The pacing is restrained and deliberate with interludes and recurring motifs reinforcing the feeling of a continuous psychological arc.”
Missed the Cut (in order by “popularity”*):
1,533,095 – Myles Smith – My Mess, My Heart, My Life. (2 CDs)
Myles is a British singer-songwriter. He has an incredible voice and is a fantastic songwriter… yet I was bored to tears. I believe that a critic from The Guardian stated it best: “As it is, it’s hard to see what Smith is actually bringing to the party, beyond an amalgamation of his favourite artists” (referencing how Myles got his start by covering tunes by Ed Sheeran, Mumford & Sons, Coldplay, and more).
358,019 – Pond – Terrestrials
Yeah, this is gonna be a pass. They are an Australian neo-psych pop band, and their songs are terrible and quickly forgotten. How they have such a wide fanbase, I have no idea.
195,823 – Hard-Fi – Sweating Someone Else’s Fever
This is the British indie rock band’s first release in 15 years, but methinks they should’ve remained on permanent hiatus. I dig the band name, but the tunes are soon forgotten.
84,286 – Swim Deep – Hum
I like the theme of the cycle of life and death (see ahead), but the album is forgettable dream pop peppered with a lil shoegaze for good measure. Moving along…
From Townsend Music: “Birmingham-hailing quintet Swim Deep announces their fifth studio album Hum, due June 19th. Thematically, ‘Hum’ continues the life journey of ‘There’s A Big Star Outside’, which captured a transformational period for Williams – preparing for the arrival of his first child, but also the departure of his wife’s father. The songs on ‘Hum’ detail the aftermath of that spell, exploring loss, family, and our responsibilities to those we build a life with.”
28,888 – Warning – Rituals of Shame
Anyone else feelin’ a lil sleepy? Yeah, I’m sorry, but this doom metal band’s latest release is a real snooze-fest… and it only took ’em 20 years to get to this point. Yup, this is Warning’s first studio full-length since 2006’s ‘Watching From A Distance’. Their reunion was a HUGE deal for a lot of people, but if this is a taste of what came before, then it sounds like I didn’t miss much. Pass.
9,628 – Endseeker – Coffin Born EP
Apparently Germany’s Endseeker has seeked the end. Yup, this is the band’s swan song after a twelve-year career of headbanging death metal. Needless to say, it didn’t move me in any way, shape, or form, so Godspeed on your next adventures, fellas. Fun fact: The EP ends with a cover of David ‘The Hoff’ Hasselhoff’s ‘True Survivor’, because of course it does!
5,017 – Gin Lady – Toads and Diamonds – Volume I: Live in Spain
Gin Lady is a psychedelic/stoner rock band outta Sweden that misses the mark for me. It’s a bummer because they’re on the Ripple Music record label, the album artwork is stellar, and I love the genres, but, man, it is just… boring …
3,203 – Ament – Montana Grind
Pearl Jam bassist Jeff Ament goes solo (again) and… I’m torn. On one hand, it’s kinda out of left field, perhaps a little too out there for my taste. But some other tunes almost have that ’80s new wave sound (mixed with a little post-punk), which I kinda like. ‘Tweener release. This is the soundtrack to the documentary of the same name.
From The Pearl Jam website: “What you are about to see is a labor of love that Dan Reis has been putting together over the last twelve years. He’s been coming out yearly to document the isolation, the heartbreak, and the grandeur of the small communities and reservations of Montana.
Dan shows us the powerful healing spirit of skateboarding amongst the dozens of skateparks being built by some of the best park builders in the world.
Starting eight years ago, Dan dared Jeff Ament to write a title track for the film. With the help of his skate-centric friends, eleven tracks were created telling stories of the joy and trials and tribulations of growing up as misfits in remote Montana, truly in the middle of nowhere.”
A film by Danilo dos Reis / Music by Jeff Diction (bka Jeff Ament)
1,143 – U.S. Bastards – Negligent Discharge
U.S. Bastards is a hardcore/punk meets speed metal band outta Virginia, and this is their first release in a decade. The band includes former GWAR guitarist Brent Purgason (aka Pustulus Maximus) on guitar/vocals, alongside Doug Fines (guitar), Brendan Artz (bass), and Robby Scarce (drums).
It’s not a total miss – I’ll follow ’em – but I didn’t quite connect with this release other than the two hellraising covers: Judas Priest’s ‘Heading Out To The Highway’ and Motörhead’s ‘Killed By Death’. Absolute scorchers!
88 – Liminal Sky – All Tomorrow’s Darkness
Liminal Sky is a new, melancholic post-rock project that misses the mark for me. Love me good post-rock, and certainly a fan of sad music, as well, but this album seemed to drag the F on and on…
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…
2,866,595 – Miles Davis – Miles ’56 [Remastered 2026] (3 CDs)
Jazz. From Craft Recordings: “Released to celebrate Miles Davis’ centennial, Miles ’56: The Prestige Recordings brings together recordings from 1956, the year Davis recorded his most influential work on Prestige.
With cuts from the four albums recorded with Rudy Van Gelder, “Cookin,” “Relaxin,” “Workin,” and “Steamin”, this collection includes the first great quintet of Davis, Coltrane, Garland, Chambers, & Jones.
Released on 3-CD and remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore, the set included new liner notes by GRAMMY-winners Ashley Kahn and Dan Morgenstern.”
Looking forward to (in order by “popularity”*) – These albums will be released this week and should be in next week’s AOTW blog:
34,223,664 – Metallica – Reload [Super Deluxe Edition – 1997] (15 CDs / 4 DVDs)
8,708,125 – MUSE – The Wow! Signal
1,616,534 – The Pretty Reckless – Dear God
25,564 – Junius – Sotera
4,544 – Child – Rebirth
2,459 – CJ Wildheart – DEViL
439 – Shane Embury – Bridge To Resolution
308 – Fra Det Onde – Smilet Er En Flyktig Tilstand
…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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