One Louder Magazine… RESURRECTED!

One Louder Magazine… RESURRECTED

Introduction
Album of the Week
Honorable Mentions
Missed The Cut
Addendum
On The List
Looking Forward To
Fine Print
About One Louder Magazine

Hey, it’s Thursday, let’s do this thing!

No intro, no BS, just straight to the music, let’s go!

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How’s this for a bummer…

I was pumped for DOMi & JD BECK‘s debut release, 2022’s ‘NOT TiGHT’. LOVED IT!

So here we are four years later with their sophomore release, and I could not have been more excited to crown it this week’s champ… only to not only NOT hand over the AOTW award to them, but it doesn’t even make the Honorable Mentions list <sigh>… what happened?!

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** – July 31st to August 6th, 2026:

None.

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

7,235,722 – Five Finger Death Punch – Legacy

Fucking brutal, but not annoyingly so… melodic, chunky riffage, kick-ass solos, etc. Hells yeah, horns high! These guys get a bad rap, but I don’t get it. I think they’re alright…

NOTE: ‘Legacy’ is NOT a ‘Greatest Hits’ album although the album title seems to suggest that. It is a brand-new studio album.

From Better Noise Records: “Ten records. Two decades. Heavier than ever.

Legacy celebrates 20 years of Five Finger Death Punch with some of the most aggressive, dynamic, and ambitious music of the band’s career.

Written over three years and crafted from nearly 30 songs, the new album reconnects with the grit and intensity that defined 5FDP’s early years. Fueled by massive riffs, unforgettable hooks, and commanding vocal performance, Legacy stands as both a tribute to the band’s journey and a bold statement of what’s still to come.”

3,439,109 – Juicy J – The Clock Don’t Go Back

Jordan Michael Houston III (bka Juicy J) is one of the newer rappers I like. That said, this is quite the departure from the usual. Instead, he does spoken word and poetry over a piano-heavy jazz bed. Approved!

1,338,689 – Collective Soul – Touch And Go

I’ve always liked Collective Soul. They don’t do anything groundbreaking or really step outside of their comfort zone, but just release solid album after solid album after solid album filled with great tunes. They are consistently great! CS rocks and their guitar tones are amazing!

That said, this release is just a slight departure for Collective Soul, but I approve – they’re doing their best impressions of The Cars and other New Wave music. Fun fact: their debut album was released 33 years ago. I’ve been listening to them ever since.

From Rough Trade Records: “Touch And Go is the latest release from Collective Soul! The 10-song LP is something new musically for the band, taking inspiration from The Cars and New Wave music.”

271,408 – Marcin – Live Sessions

Yeah, I thought I might like this. Marcin (Patrzalek) is a 25-year-old Polish “acoustic guitar phenom”. I had heard some singles he had released in years prior, jaw just hitting the floor. It’s Rodrigo y Gabriela-ish, if looking for a comparison. Here he plays a bunch of instrumental originals (‘Art Of Guitar’ with special guest Yamandu Costa) and a few covers, as well. Some “guitar phenoms” are just “shreddy” with no feel, no soul, just straight shred, “look what I can do”. This guy is the real deal… AND he can shred with the best of ’em!

257,896 – Bear McCreary – The Singularity: Ekleipsis

This dude is an absolute stud in the world of composing movie and series soundtracks. He shits platinum. But here he ventures off on his own to release a solo album with a bunch of friends (i.e., rock stars). He is obviously incredibly talented and gifted, and this album just confirms that.

From Mutant Records: “Mutant and Sparks & Shadows are proud to present Bear McCreary’s latest album The Singularity: Ekleipsis.

The Singularity is the name of Emmy and BAFTA Award–winning composer Bear McCreary’s symphonic metal project. In 2024, McCreary released an ambitious hard-rock concept album of the same name. The album featured guest appearances by an extraordinary lineup of rock talent, including Serj Tankian (System of a Down), Corey Taylor (Slipknot), Rufus Wainwright, and more.

Now McCreary announces the release of The Singularity: Ekleipsis, the eagerly awaited follow-up album, which continues the metal saga of a damaged world in turmoil. Penned primarily by McCreary and his multitalented brother, Brendan, Ekleipsis draws its name from the ancient Greek word meaning abandonment, and explores themes of disillusionment and perseverance through struggle.

Rock and metal luminaries featured on the new album include Joe Duplantier (Gojira), Patrick Stump (Fallout Boy), Claudio Sanchez (Coheed and Cambria), Jens Kidman (Meshuggah), Alissa White-Gluz, Tim Henson (Polyphia), Steve Vai, Slash, Duff McKagan (Guns N’ Roses), Chad Smith (Red Hot Chili Peppers), Stewart Copeland (The Police), and more.”

Overture II
Our Kingdom (feat. Alissa White-Gluz and Brendan McCreary)
The Chandelier (feat. Patrick Stump)
Black Box (feat. Joe Duplantier and The Mystery of the Bulgarian Voices)
Kill Us Anyway (feat. Brendan McCreary)
Sweet Misery (feat. Claudio Sanchez and Tim Henson)
Blueshift (feat. Steve Vai, Tim Henson and Brendan McCreary)
Alexandria (feat. Raya Yarbrough and Guthrie Govan)
Pray for a Storm (feat. Stewart Copeland and Brendan McCreary)
Supernova (feat. N.T. Bullock)
Cool Kids (feat. Slash, Duff McKagan, Chad Smith and Brendan McCreary)
Shades of Gray (feat. Brendan McCreary
The Elephant’s Foot (feat. Jens Kidman)
One Fine Day (feat. Slash and Brendan McCreary)
I Forever (feat. Brendan McCreary)

138,470 – The Durutti Column – Renascent

The Durutti Column return after a 15+ year absence with their 28th (!!!) album. I was never familiar with them prior, so they are new to me here. I was fully expecting a ‘listen-then-pass-what’s-next’, but I low-key kinda liked this album. They’re listed as a post-punk band that formed in 1978, but the music to me sounded way more subdued… like almost New-Age-y (in a good way).

It’s difficult to describe, but others have said, that the “…music might at times work as a film score, with others “edging, delicately, towards a rock album… the music ebbs and flows like a drifting sea” (Record Collector) and “…the album distill[s] minimalism, romanticism, and ambient elements into a sort of universal music” (Jazz Monroe). See? Not easy to describe! But what I do know is that I liked it… and so did a lot of other folks. It has been greeted with open arms from fans and critics alike.

From Townsend Music: “Renascent marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years. Around the guitar work of Vini Reilly, ‘Renascent’ plays between sonic atmospherics and structure: warm ambient washes, piano, beats, and guest vocal turns by a new generation of performers.”

109,984 – Ripe – Brooklyn Paramount

With previous releases by RIPE, I have always stated: “A hesitant ‘Hell yes!’. It’s a decent alt-rock meets funk-rock album, but not as good as I had hoped for with this release. Decent, but a ways off from what I was hoping for…”

Ah, so now I get it… They’re a LIVE band! The studio albums are good, but not mind-blowing. This live show is happening! The band is en fuego, the horn section just kills! Super-funky stank top-to-bottom, including a ton of cover songs interspersed throughout. This was a killer live album!

56,294 – The Family and Dylan LeBlanc – Delusions Of Grandeur

Really smooth, easy-going, folksy singer-songwriter(s) album. Nice tunes, great voices, what more can ya ask for…?

From Big Black Cow Records: “The Family, like all families, has been through a lot in our time. We have battled the demons of addiction, depression, doubt, anxiety, fear, and anger and come out the other side. We have also reveled in the joys of faith, hope, love, music, laughter, camaraderie, and fellowship. We’re a tight-knit unit. We are best friends.

We have battled, and continue to battle, the music business in all of its complexities. The fight for relevance and significance.

We wake up every day with songs in our heads. Maybe a title, a riff, a melody. We live this thing day in and day out. It’s our day job. It is our night job. It is our job in every waking moment. We have laid it all on the line for music with no regrets. We’ve earned the respect of our peers.

Coming from a long line of musicians, writers, and artists who toiled away in obscurity… We do it for them. We do it for the love of it. We do it for Johnny. We were born to be musicians, writers, and singers.

What would you do for your family? We would do anything for ours. Of course, we would die for each other — that’s a given. But much more importantly, we have decided to live for each other. We have been to the brink and back again.

And so, we bring you this record that we call “Delusions of Grandeur.”

Conceived with the help of FAME Studios president and our great champion, longtime friend, and brother from another mother, Rodney Hall. Brought to fruition by our great friend and record producer, musician, and songwriter extraordinaire, Brad Crisler. He is also our brother.

This record will be released on the newly formed Big Black Cow Records, founded by our son-in-law/brother-in-law Jesse “Chunk” Walker and our granddaughter/niece Scarlett Walker.

This is an inspired set of songs born in the not-too-distant past. Coming to a turntable near you in the not-too-distant future. Drop the needle. We believe it to be some of the best work we’ve ever done. We believe in it. We hope you love it too.

We proudly stand on the shoulders of the Muscle Shoals giants that came before us. And we hope to be an inspiration for those who come after us.”

Sincerely,
James, Angela, Dylan, and Bay

15,016 – Bywater Call – Broken Souvenirs

This was fantastic! The band formed a decade ago and has already released a handful of albums, yet this is my introduction to them. Better late than never! Encompassing a smorgasbord of Americana, folk, alt-country, blues, and more, this Canadian seven-piece delivers the goods! I bet their live show is really fun.

From their bandcamp page: “A powerhouse seven-piece Southern soul, roots rock outfit from Toronto, Canada, Bywater Call was nominated for the 2025 UK Blues Award for International Blues Artist of the year for the second straight year, alongside artists such as Beth Hart and Walter Trout.

The band has also received multiple Independent Blues and Canadian Maple Blues Award nominations, including Entertainer, Electric Act and Best Female Vocalist for the 2024 Awards Season.

Bywater Call’s music is an exploration of life’s highs and lows. From intimate ballads that lay bare the complexities of human emotion to electrifying anthems that demand to be played at full volume, their catalogue is a journey through human experience, featuring influences from the likes of The Band, The Wood Brothers, Tedeschi Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, and many more.”

5,253 – Forced Entry – As Above, So Below (35th Anniversary Re-Release – 1991)

Ahhhhh, to be reacquainted with an old friend after all these years was nothing short of awesome! Forced Entry was a Seattle-based thrash band that was never huge, but they “made some waves”. I got into ’em when I was still in High School in Tucson. When I moved to Seattle, I was friends with several folks who were friends with guitarist Brad Hull, worked with him, and/or more. At this point, Forced Entry was no longer, but Brad was involved in other projects. One of them was a band called “Thug” who recorded their 4-track demo in my basement! I was there with one of my guitar heroes in Brad Hull; I couldn’t believe it! And he’s just there rippin’ on guitar in between takes, etc. A sight to behold.

I had heard from friends that he could be “rough around the edges, a dick”, but that was never the case with me. I was always nervous when Brad came to our gigs, but he always complemented my playing. Again, I couldn’t believe it! I mean, isn’t he supposed to be kind of a prick? Later on, I was introduced to drummer Colin, who I now call a friend, as well. We’ve jammed at his place before (named “The Wreck Room”). He’s a natural on the kit. Enough about the guys. The album. Fuckin’ awesome Seattle-based thrash metal! What more could ya want?! Maybe there’s a reunion in the works…?!

Did I purchase the 35th anniversary vinyl? Duh, of course I did!!!

From M-Theory Records: “Marking 35 years since its original impact on the heavy metal landscape, the seminal Seattle-based technical thrashers, FORCED ENTRY, are pleased to announce the definitive reissue of their cult-classic masterpiece, ‘As Above, So Below.’ In partnership with M-Theory Audio, this long-awaited celebration and sought-after classic will make its vinyl debut, as well as a Digipak edition CD, available July 31, 2026.

“Can’t thank the guys at M-Theory enough for getting our best work back out on CD and Vinyl! 35yrs later, this record still thrashes the SHIT outta ya! Crack a beer and listen up!” – Tony Benjamins (vocals, bass)

Formed in the late 1980s, FORCED ENTRY carved out a unique space within the burgeoning Seattle metal scene, blending blistering thrash speed with complex, progressive song structures. “As Above, So Below’ remains a high-water mark for the band, celebrated by fans and critics alike for its aggressive intensity, musicianship, groove, and technicality. The anniversary reissue ensures that a new generation of metalheads—and long-time devotees—can experience the record in prestige formats.

‘As Above, So Below’ features freshened up and expanded layouts by Marc Lopes, including a new interview with vocalist/bassist Tony Benjamins and extra pics and flyers. The original album was produced by Tom Soares (Demolition Hammer, Cro-Mags, Meliah Rage) and engineered by Jamie Locke (Obituary, Prong, Leeway) with artwork by Sean Wyett (Exodus, Cyclone Temple, Devastation).”

3,329 – Lalu – A Mythmaker’s Demise

Lalu – not to be confused with ‘Lulu’, Metallica and Lou Reed’s 2011 failed album – is a fantastic prog-rock band featuring keyboardist/composer Vivien Lalu, vocalist Martin LeMar (Nachtgeschrei, Mekong Delta), guitarist/bassist Joop Wolters (Shadrane), and drummer Simon Phillips (ex-Toto, Protocol). It definitely has that “old-school” prog rock delivery, but without sounding “dated”. Modern-day classic prog rock, perhaps? It’s killer, and I’m glad I stumbled upon him/them. Congrats on 20 years as a band!

From Frontiers Records S.R.L.: “French progressive rock powerhouse Lalu are excited to announce that their upcoming new album, “A Mythmaker’s Demise”, will be out on July 31, 2026, via Frontiers Music Srl.

Lalu returns with “A Mythmaker’s Demise”, a milestone release celebrating the 20th anniversary of Vivien Lalu’s progressive rock project. What began in 2005 with “Oniric Metal” now comes full circle – this is not just a new album, but a bold tribute to legacy, craftsmanship, and artistic brotherhood.

To mark the occasion, Lalu reunites with vocalist Martin LeMar (Nachtgeschrei, Mekong Delta), whose voice first defined the project. LeMar contributes powerful performances and lyricism that bridge past and present. Also making a triumphant return is drumming legend Simon Phillips (ex-Toto, Protocol), the very first drummer to record the earliest Lalu track, “Paint the Sky”.

Continuing the collaborative spirit ignited in 2023’s “The Fish Who Wanted To Be King”, Vivien Lalu teams up once again with longtime partner Joop Wolters on guitars and bass. The duo crafted the songs from the ground up, focusing on organic, dynamic arrangements with no overproduction – just raw, honest performances.

“We wanted this record to feel alive. No drum samples, next to no EQ, just real performances captured in their natural state”, explained Vivien Lalu.

Guitarist Joop Wolters added: “There has always been undeniable musical synergy between Viv and myself. This album came together very naturally, and locking in with the real, unedited live drums by Simon Phillips in the final stages was the icing on the cake. It truly feels like a real band, just like back in the good old days”.

The album was mixed to preserve a live, open sound, capturing the human energy of each take. A key guest appearance comes from keyboard virtuoso Jens Johansson (Stratovarius, Yngwie Malmsteen), who delivers explosive solos across three tracks. His presence carries particular significance, having been one of Vivien’s earliest influences and a contributor to both “Atomic Ark” and “Paint The Sky”.

The evocative title “A Mythmaker’s Demise” reflects on the fading light of human imagination in the age of artificial intelligence. The striking artwork by Mattias Norén portrays a writer dying at his desk, while his creations struggle to escape into a world that no longer values them – a visual metaphor for the album’s deeper message.

“A Mythmaker’s Demise” isn’t just an album – it’s a time capsule of progressive rock’s soul, 20 years in the making.”

3,227 – James Murray – Islands Alight

I got turned onto James when he collaborated with Ian Hawgood and Stijn Hüwels on the 2021 release, ‘Day Falls’. All three artists live under the same dreamy, all-instrumental ambient / soundscape-y / electronic / soundtrack umbrella. Love this kind of stuff!

From his bandcamp page: “Very happy to say that next in the quiet details series, with his second solo album, is an artist with a uniquely special talent – UK-based James Murray, with Islands Alight

Undoubtedly familiar to followers of the label – James first appeared in collaboration with our good friend Ian Hawgood on qd15 Slowreels – Everyday Exotic, a gorgeous example of what can happen when two wonderful musicians come together. Then again on his first individual album, qd23 Weeds – another spellbinding album.

Along with all his many other releases on the likes of Home Normal, Ultimae, Eilean Rec, Fluid Audio, Morr Music, his own Slowcraft and more – James is an artist dearly loved across the community.

Islands Alight is James combining his peerless ability to craft deeply touching synthetic vistas, now sent through a prism of rhythmic forms. Four years in the making, and much inspired by the history of dub in electronic music, James has made a singular and mesmerising work of art.

The introductory lush chordal waves and modulating melodic shapes are soon joined by the first indication of the true direction of this album – textural percussive patterns give us an initial glimpse into James’ vision.

Huge spaces open up, and the drums morph into new forms; psychedelic echoes disintegrate into the distance; the emotions of the listener are brought to the forefront by radiant synth contours that reach into your consciousness.

The album evolves from here – countless textures and beautifully subtle percussive programming meshes perfectly with James’ melodic refinement – hypnotic, all- compassing, and one of a kind.

As James says:

“Islands Alight making landfall amidst these relentless heatwaves and impending drought feels about right; environmental anxiety courses through the album like wildfire, consciously balanced only by the rising of pale, elemental waters.

Developed over four years, the origins go back further still. Drawing together wide- screen melodic, rhythmic and electroacoustic concerns, Islands Alight stands as a deliberate, defining work at the confluence of ambient dub roots and the artist I am now.”

Huge thanks to James, a fantastic addition to the series.

The artwork was made, as always, influenced by the music and idea behind the album – originating from a photo from James which was then captured with analogue photography and processed here at quiet details studios.

As usual, the album is presented on the physical edition, a custom six-panel digipack with a separate fine art print too.”

2,846 – Dave Bessell and Markus Reuter – Orchestra Of Wasps

I am a big fan of instrumental ambient, downtempo electronica – especially albums released on the DiN Records label – and this one is no exception. I will say, though, that compared to earlier works, this was quite a bit darker and sharper. In fact, it could probably qualify as a soundtrack to a horror/thriller movie. I’m going to throw Dave an extra bone, too, since he is a Seattleite!

From the bandcamp page: “For nights when your mind won’t stay quiet and your thoughts don’t seem to belong to you anymore. Worlds collide. Combining touch guitar with classical avant-garde orchestration, Markus Reuter and Dave Bessell conjure abstract, dark atmospheres which range from uneasy ambience to downright terrifying. This is music without the guard rails; a hidden gem from the deep underground for the listening cognoscenti.”

1,626 – Fernando Perdomo – Clouds 8

I can’t get enough of Fernando Perdomo, and that’s a good thing since dude is incredibly prolific. He released an album every month in 2025 called the “Wave” series. Now we’re onto 2026 and the “Clouds” series. As usual, it’s packed with tasty all-instrumental guitar shred… that’s mellow. Diggin’!

1,265 – The Limit – Another Drop

The Limit features vocalist Bobby Liebling of Pentagram fame. If you’re unfamiliar with Pentagram, they are a doom metal band, considered one of the “Big Four” of doom metal (alongside Candlemass, Saint Vitus, and Trouble). This is nothing like that. Rather, this kinda has that punky garage / rockabilly sound. I don’t love it, but like it enough to put here and keep my eyes on these fellas! Plus, how about that groovy album artwork, oh yes?!

From Silver Lining Music: “The Limit return with a fierce statement of intent, announcing their explosive new album, Another Drop, alongside the unapologetic brand-new single ‘Part Two, Screw You’, that captures the spirit of real rock ‘n’ roll and sets the tone for the album’s visceral, unrelenting energy. Set for release on July 31st via Silver Lining Music, Another Drop delivers a sound that cuts straight to the bone – urgent and alive with the kind of electricity that defines true rock ‘n’ roll.

In your face, vital and visceral, The Limit are a super-charged collision of hard-edged genres. An unfiltered, analog force cutting through a landscape too often dulled by polish and predictability. What they create isn’t retro, and it isn’t revivalist; it’s something far more rare: rock ‘n’ roll with genuine urgency, played like it still matters. It’s a sound that refuses to sit in one lane, connecting just as strongly with punk, hard rock and metal fans alike, tapping into a shared instinct that resonates across scenes and generations.

Led by Sonny Vincent (Testors) and frontman Bobby Liebling (Pentagram), The Limit are a band that bristles with the kind of kinetic charge that can only come from lifers. Vincent’s songwriting carries the DNA of rock’s most dangerous corners, while Liebling delivers a performance steeped in character and conviction: part snarl, part storyteller, always unmistakably his own. Together with drummer Alex Schwers (Slime), guitarists Hugo Conim and Dee Dammers, and Alex Farrar on bass, they tap into something deeper than genre, fusing punk’s bite with hard rock’s weight in a way that feels both timeless and strikingly singular.

The first single taken from Another Drop, ‘Part Two, Screw You’, featuring a blistering guest appearance from Steve Stevens on guitar, is out now. The song is an unfiltered blast of attitude that sets the tone for what’s to come. “Part Two, Screw You is about cutting through all the fake noise and going straight for what’s real,” comments founder, guitarist and primary songwriter Sonny Vincent. “No pretending, no filler, just authenticity. It’s driven by pure passion – that raw, untamed energy that makes you feel alive. Because if you’re not feeling life at full force, you’re not really living it.”

Another Drop is feral, carefree and defiantly alive. A 15-track blast of raw, instinctive energy that feels less constructed than unleashed. There’s no chasing trends here, no studio trickery masking the message, just the unmistakable sound of musicians with nothing to prove and everything to say, delivering something immediate, unvarnished and real.

The result is a record that doesn’t sit comfortably alongside anything else – it stands apart. Songs like ‘Another Drop of Blood’ push forward with a confrontational intensity that refuses to let go. There’s sweat, smoke and grime running through raucous cuts like ‘Tryptophan’, the low-slung drive of ‘Sidetracked’, and the defiant surge of ‘Unchained’, each delivered with clarity of purpose and a refusal to overcomplicate what should hit hard and fast.

Another Drop doesn’t just celebrate rock ‘n’ roll; it reasserts its core values. This is music made with integrity, and with a deep-rooted understanding of what gives it life in the first place. In an age of overproduction and imitation, The Limit strip everything back to the essentials and remind you what it feels like when it’s done right.”

303 – Left Eye Perspective – Horizons

I don’t love this sludge metal album, but I like it enough to put here and keep my eyes on these fellas. Enough tastiness to warrant future listens. That album cover art is pretty happenin’!

From their bandcamp page: “Left Eye Perspective is a four-piece metal band from Ghent, Belgium. Their music combines heavy riffs, atmospheric passages, and layered vocals with melodic guitar lines, odd time signatures, and dynamic shifts.”

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

111,337,684 – Ariana Grande – petal

I’ve *enjoyed* some of her previous releases – she has a great voice – but this was just a turd of an album. Other than great production (to be expected), the tunes are just terrible…

1,824,174 – Shaboozey – The Outlaw Cherie Lee & Other Western Tales

Collins Obinna Chibueze (bka Shaboozey) is a country-rapper. Yes, you read that correctly. Country AND rap. Unfortunately, it leans a little too much into the country side for my taste. That said, if I were to listen to a country artist, Shaboozey might be the guy. Plus, I love the story behind the album (read ahead).

Fun fact: Perhaps it’s just me, but if not, his last name (“Chibueze”) looks like it could be mispronounced as “Shaboozey”… especially when they’re right next to each other: Chibueze–Shaboozey. Lo and behold, it’s actually pronounced more like “Cheeb way zay”.

From amazon: “The Outlaw Cherie Lee is a cinematic outlaw revenge story with a tragic love at its center.

After watching her sheriff father murdered by the Bootcut Boys, Cherie Lee abandons the badge and hunts the gang down one by one. In the middle of her vengeance, she falls for one of the outlaws – not the killer, but guilty by association. He believes loving her can redeem him; she hopes loving him can quiet her darkness. They’re both wrong.

When the real killer resurfaces, her lover kills him in her name, proving that violence doesn’t end – it evolves. In the final act, Cherie chooses blood over love, killing the man who loves her most and fully becoming what she set out to destroy.”

200,997 – DOMi & JD BECK – WHO ASKED?

Ooph, what a letdown. They released a brilliant debut album in 2022’s ‘NOT TiGHT’, and I suggest you listen to that instead of this, their sophomore follow-up (AKA a heaping pile of garbage).

My review of 2022’s ‘NOT TiGHT’: “My buddy Justin doesn’t always suggest winners, but he scored with this one!! It’s like this downtempo – yet highly complex and virtuosic – jazz / hip-hop album peppered in with a few other genres and a TON of rad special guests. I didn’t like all of it, but I’d say a good 90% of it was really enjoyable. The other 10%…? A little cringeworthy. But the rest of the album is so good that it makes up for that. Thanks for the reco, dude!”

My review of 2026’s ‘WHO ASKED?’: I was ready to crown it AOTW champ before hearing a single note. After listening, I suggest staying away. Stay far, far away. It’s, like, experimental jazz (at best).

From Blue Note Records: “DOMi & JD BECK – the GRAMMY-nominated jazz duo featuring keyboardist Domi Louna and drummer JD Beck – are set to make their long-awaited and highly anticipated return with the July 31 release of their 2nd studio album WHO ASKED? on Anderson .Paak’s APESHIT label in partnership with Blue Note Records. The album is available for pre-order today on a multitude of formats including premium 180g black vinyl, color vinyl variants, CD, cassette, and digital download.

It’s been 4 years since the release of the duo’s acclaimed 2022 debut album NOT TiGHT, which landed them on NPR Tiny Desk, Jimmy Kimmel Live, and The Tonight Show Starring Jimmy Fallon, as well as earning them two GRAMMY nominations including Best New Artist.

Somehow both simpler and more complex, WHO ASKED? foregoes the rollcall of special guests that illuminated NOT TiGHT yet features even more contributors, including a small sinfonietta of seasoned classical players who help bring the duo’s incredibly singular, super-maximalist and strikingly beautiful orchestral vision to life. Featuring vocals by Domi and JD throughout, it might almost resemble chamber pop if chamber pop had 50 times as many notes, shifty time signatures and an overall vibe of jazz-born indietronica cut with verdant flower-child freedom.

The band debuted instrumental versions of the new songs last night at the Toronto Jazz Festival and will be performing the new music at the Ottawa Jazz Festival (June 25) and Montreal Jazz Festival (July 2) over the coming weeks. The duo has also begun teasing WHO ASKED? with a series of cinematic vignettes.”

95,448 – Dead Meadow – Foundlings

I’ve enjoyed previous releases, but found this one to be terribly boooooooring (other than the rarest of rare moments)… psychedelic-stoner rock featuring fuzzy guitars. Normally right in my wheelhouse, but lawd help me, this is a miss! It is not a “new” album, per se, but rather a collection of unreleased tracks.

65,004 – ALLT – Ataraxia

Metalcore doesn’t much work for me, and that fact was confirmed yet again with this release. Pass.

61,299 – GA-20 with Charlie Musselwhite – BLUES NOW

GA-20 (formed in 2018) collaborates with elder blues statesman Charlie Musselwhite (who released his first album in ’67 – a career spanning 60+ years!) to release an album packed with covers, including ‘Crazy Love’ (Willie Dixon), ‘I Can’t Hold Out’ (Elmore James), ‘I’ll Change My Style’ (David Parker), ‘Big Stars Falling’ (Hudson Whittaker), ‘Universal Rock’ (Earl Hooker and Junior Wells), ‘The Blues Never Die’ (Otis Spann), ‘Strange Land’ (Charlie Musselwhite), ‘Stroll Out West’ (Eddie Taylor), ‘Short Dress Woman’ (John T. Brown), and ‘Cristo Redentor’ (Duke Pearson).

Congrats to Musselwhite for still grinding at 82 years young. Good on you, young man! Unfortunately, the album was your basic I-IV-V 12-bar blues album. Fun fact: The band GA-20 was named after the Gibson amp of the same name (which was sold between 1950-1961).

50,750 – Tim Montana – Entire State of Tim Montana

This was a hard rock album that I liked… but didn’t love. Unfortunately, I read the album description first (read ahead) and opined that I’d really enjoy this. Moral of the story: don’t judge a book by its cover… or in this case, the description of an album. There are several notable guest appearances, including Alice In Chains guitarist/vocalist Jerry Cantrell (‘Kinda Like It’), ZZ Top guitarist/vocalist Billy F Gibbons and Guns N’ Roses guitarist Slash (‘Brown Sugar’), and a few others.

From Music Knox Records: “Tim Montana forges a new frontier for hard rock. Following a tumultuous and downright unbelievable childhood in a trailer off-the-grid, the singer, guitarist, and entrepreneur left his home state of Montana in the rearview at barely eighteen years old. Driven by a restless work ethic, he quietly carved out a niche without comparison.

Along the way, he performed on The Late Show with David Letterman at the behest of the host (practically unheard of for a totally independent artist), collaborated with everyone from Billy Gibbons to Kid Rock (cracking the charts for the first time), made a fan out of Charlie Sheen (who directed the “Mostly Stoned” video), and even attracted his idol Dave Grohl to his corner.”

27,444 – Sinner – Boom Bang Goodbye

This is a totally cheesy ’80s butt rock album fronted by founder/vocalist/bassist Mat Sinner. There are a few cool moments here and there, but overall it was just a little too monotonous for my taste. The album title ‘Boom Bang Goodbye’ is indeed a nod to it being the band’s last album. They’re riding off into the sunset. I’ve never much cared for their music, but congrats on a long, storied career.

25,441 – Trashcan Sinatras – Ever The Optimist

Trashcan Sinatras are a Scottish indie pop band, and this is their first full-length in a decade. Love the unique band name, but the music belongs in a trashcan, unfortunately.

7,091 – Iconic – II

Iconic is a supergroup featuring a who’s who in the rock and metal world: guitarists Michael Sweet (Stryper) and Joel Hoekstra (Whitesnake), bassist Marco Mendoza (ex-Journey, Whitesnake), drummer Tommy Aldridge (Whitesnake, Ozzy Osbourne), and vocalist Nathan James (Inglorious). Unfortunately, the tunes are just kinda ho-hum. Thought the same with their 2022 debut, ‘Second Skin’. Quite underwhelming. Bummer.

3,807 – Ænigmatum – Infinitude’s Passage

Hey, it’s been a minute since I’ve spun some death metal. Yup, still not a fan of the blast beats, guttural vox, and more… what’s next?

3,512 – Fractal Sun – Divergent Paradox

<Yaaaaaaaawn>. Boring-ass, perfectly executed, cheesy AF symphonic prog-metal. What a disappointment.

860 – Anatomy Of Habit – Paired Sentinels

Listed as “post-punk” and “doom metal”, but I’m not sure if that paints the entire picture. I’d throw in “experimental metal” in there, as well. It’s definitely not something that is easily “grabbed” and does not sound all that “accessible”, but, hey, if they’ve got five albums out, they must be doing something right for someone out there… The album is four songs, with two clocking in at roughly ~13-14 mins each and the other two at around ~7-8 mins.

674 – The Emerald Dawn – The Land, the Sea, the Air (Volume II)

This is what I said about 2025’s ‘The Land, the Sea, the Air (Volume I)’: “This could very well end up being the absolute cheesiest prog-rock album I have ever heard in my life. This shit is laughably bad. It couldn’t end soon enough. Pass pass pass.”

Feel free to pass on this one, as well, but it is MUCH better than Vol. I.

390 – Dry Wedding – The Back Of Beyond

This is the band’s third release, yet my introduction to them. I won’t listen to this album again, but I will follow the band. Their music is a unique blend of post-punk, gothic country, doom, and more, and the singer has an almost Glenn Danzig meets Peter Steele sound (sort of). Again, interesting enough for me to listen to future albums, but not enough to bump ’em into the “heck yeah!” category… yet.

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

1,266,245 – Kim Petras – Detour – [May 29th, 2026]

Are you a fan of sugary dance-pop meets electro-pop with heavy bass anthems? Then this hot garbage of an album will be right up your alley!

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:

105,078 – Cancer Bats – Give Me Dirt

6,505 – 10,000 Years – Esox Lucifer

2,088 – Edena Gardens – Quintessence

1,877 – Din of Celestial Birds – Takeoffs & Landings

…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