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

Yes, yes, yes, and more yes!

Heapings of YES is what we get this week!

Music = YES

NFL football season kicking off in under a month = YES

The weekend’s here = YES

Joe Mama = YES

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I’d like to start by saying that I love receiving fan mail, and one such fan did just that. I’ll start with the positive reinforcement ’cause the narcissistic ego in me needs it:

“Great mailer. I really appreciate getting these and all the work you put into them.”

THANK YOU!! Your appreciation for it warms the cockles of my hardened black heart!

Anyway, this fan – ok, fine, it’s a good friend who I talk/text with on an almost daily basis, but he can also be a fan, haha! – was asking if we could dedicate a blog (or start a discussion/thread) about guilty listening pleasures and/or earworms.

What prompted this discussion was the big bombshell dropped this week when Karoline Leavitt announced her resignation… like, literally after returning to the job UNDER one month ago (July 16th).

Y’all know how I feel, so I won’t get into the weeds other than to say that I texted that “Leavitt made me miss Sarah Huckabee Sanders, something I never thought in a million years that I would say…”

The response: a YouTube clip of Cinderella’s 1988 hit, ‘Don’t Know What You Got (‘Till It’s Gone)’.

My response: “Man, those first two records KILL!! They got lumped in with all the hair metal bands, but they have a bluesy swagger that rules!!”

So, guilty listening pleasures (and earworms).

In addition to early Cinderella, this unnamed fan added a few of his favorites: Prince’s demo version of The Bangles’ ‘Manic Monday’, Lady Gaga’s ‘Poker Face’ (especially the intro), The Fixx’s ‘Stand or Fall’ (or basically anything by The Fixx), Iron Maiden’s ‘Wasted Years’, and The Used’s ‘All That I’ve Got’.

What’s fun about this exercise is that in the original version of One Louder Magazine (pre-RESURRECTED), I would ask interviewees that very question. One I liked in particular was when I interviewed Red Fang’s Bryan Giles… twice.

From the first interview in 2010:

OLM: Who is your guilty listening pleasure?

BG: Anything by Simon and Garfunkel, and I love “SexyBack” by Justin Timberlake.

…and from the follow-up interview in 2014:

OLM: I also ask about guilty listening pleasures. Last time you mentioned Simon and Garfunkel…

BG: That’s not really a guilty listening pleasure. I love them!

OLM: And Justin Timberlake…

BG: I don’t feel guilty about that, either!

OLM: Are there any guilty listening pleasures?

BG: Oh, I don’t know. Not really. If there’s something I like, I like it. When I was a kid, I was a closet goth. All my friends were punk rock, and we were listening to D.R.I and all that kind of stuff. I wouldn’t tell anyone, but through my headphones I would listen to, say, Siouxsie & the Banshees or Bauhaus…stuff like that, which I liked, but it wasn’t cool with my buddies. It didn’t go well with my mohawk. But nowadays, I don’t care…and I still listen to that stuff! Goth is cool. Variety. You’d go crazy listening to one style of music.

And you know what? I agree! If you like it, then like it! No need to be ashamed or call it a guilty pleasure. Come out of the closet with what you like to listen to, shame be damned!

This is something that I’d need to think about, but I suppose if I had to throw a few bands out there at the moment – bands that might otherwise be considered “embarrassing” to say that you like them – here are three:

Bush – Their studio albums are really well-written, and I’ve seen them live a handful of times; they never disappoint. They get a bad rap, though.

Coldplay – Their more recent albums are a bit disappointing, but early on, they were <chef’s kiss>… IMO, of course. I’ve also seen them live a couple of times. Incredible.

Fuck it, y’all already know. I’m no die-hard Swiftie, but I dig her songs, too. Y’all also know where I work and know that I couldn’t afford a ticket to see her live, hahahaha! But I would go in a heartbeat.

What’s weird is that those three artists mentioned all still play large arenas, so they ARE popular. But is it “cool” to say that you’re into them? I dunno. I mean, Nickelback plays massive arenas as well, but I do NOT care for them <shrug>…

Anyway, that’s a three-pack to get you started, and I’ll put my thinking cap on, but what I want to know is…

Who are some of YOUR guilty music listening pleasures? If you add them in the comments below, other people can read, enjoy, and add their own comments! Do it!

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Addendum (RE: Guilty Pleasures)

Been thinking about this a bit more, of course, and will continue to do so in the days/weeks/months ahead. The reason why is that the three bands I mentioned all play mega-arenas. So can they truly be considered a guilty pleasure? I say “yes,” and here’s why – I think a good description of a guilty pleasure is selecting a band/song that is wildly out of your typical listening wheelhouse.

I also think it may be something that you don’t typically reach for… but when you do, you know you’re in for a good time. There’s one other band that also crossed my mind on the drive that fits this bill.

I’m talking about AFI, A Fire Inside.

Anyone else a fan? Jesus, I can’t get enough, especially their block of four albums delivered between 2000-2009. I know them up and down, am intimately familiar with those albums, and have seen them live a few times – have never been let down.

Interestingly, they are kinda/sorta already in MY wheelhouse, yet their bread-and-butter is really the teenage goth/punk crowd. THAT I am not, ha!

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Over the past (nearly) two months, there have been a few albums that I really enjoyed, but only a couple of them made the leap to AOTW status… and that was back in mid-June! There certainly have been some “take a look at these” Honorable Mentions, but AOTW? Hardly. And it got me thinking – is it me or have albums kinda been ho-hum lately?

Well, after this past week’s releases, I am going to go with the latter. It’s not me. There IS good shit out there, but I want – nay, NEED! – those fully baller albums, and that is what this past week delivered.

Even the non-AOTW winners – you know, the aforementioned Honorable Mentions – are STACKED with killer albums. You really can’t go wrong with any of ’em. I hope you enjoy the albums as much as I did!

Before getting to the list, I had so much time this past week that not only did I listen to each of the five finalists again, but also a healthy handful of albums that were released earlier in the year. A productive week, no doubt.

Anyway, the following five albums made the cut to be crowned AOTW. I liked all of ’em so much that I’m just gonna keep this week at TBD, but it will be at least one of the following, if not (very likely) additional ones.

439,202 – The Mountain Goats – Days
168,136 – John Carpenter – Cathedral
105,078 – Cancer Bats – Give Me Dirt
6,505 – 10,000 Years – Esox Lucifer
1,877 – Din of Celestial Birds – Takeoffs & Landings

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
oneloudermagazine@gmail.com

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Album(s) of the Week** – August 7th to August 13th, 2026:

TBD.

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

26,670,940 – Twenty One Pilots – More Than We Ever Imagined (Live In Mexico City) (2 CDs)

I became aware of Twenty One Pilots with their fourth full-length, 2015’s ‘Blurryface’, which is also the album that catapulted the Ohio duo into superstardom. I’ve always dissed this band’s releases – “This pop-rock band is unbelievably, HUGELY popular. Mad props on the production (sounds amazing), but the tunes are just blah… That said, I can hear why people love them. Upbeat, positive, anthemic songs. This album was released to positive reviews.” – but maybe they’re a live band, ’cause this was pretty killer. The audience is absolutely bonkers out of their mind which, in turn, likely elevates the band to perform better, as well. The give and take between band and audience is real… and you can hear it here.

From Townsend Music: “Set against the vibrant pulse of one of the world’s great music capitals, More Than We Ever Imagined captures Twenty One Pilots at a career-defining moment. Recorded during the band’s huge Mexico City headline show on The Clancy World Tour, it documents an unforgettable performance with 65,000 fans at Estadio GNP Seguro. There’s real scale here, but also the connection that makes Twenty One Pilots such a compelling live band. A powerful snapshot of a major tour, in a city that knows exactly how to raise the volume.”

8,646,972 – Various Artists – Death Metal Tribute To Ozzy

As the title succinctly puts it, this release is (in their words) a “Death Metal Tribute To Ozzy”. On this compilation, a bunch of bands that I’ve never heard of play 2+ hours’ worth of Black Sabbath and Ozzy Osbourne songs. As with most compilations featuring various artists, it’s a mixed bag. Yes, even within the DM camp! There are a few pretty amazing covers, then there are A LOT of others that shouldn’t have seen the light of day. In the end, though, this comp just reaffirmed my love for Ozzy and Sabs. I know these songs through and through, so hearing them – even if by different artists – is almost always welcome. Plus, I love that all bands came forward on their own accord. All voluntary! I shan’t listen to this again, but long live Black Sabbath, long live Ozzy Osbourne!

From the bandcamp page: “All tracks featured on this album have been recorded exclusively for this project. This is a non-profit release. Any revenue generated from digital sales will be used solely to support the promotion and visibility of the album and participating artists. Thank you for supporting this project! More to come!”

1,004,938 – ROLE MODEL – Chuck Timely & The Hourglass

ROLE MODEL is the alias of singer-songwriter Tucker Harrington Pillsbury, and this is his third full-length release. If this album is any indication, I’ve been missing out. Dude is a fantastic songwriter!

From Rough Trade Records: “Role Model returns with his highly anticipated third studio album, Chuck Timely and The Hourglass. Working across pop, indie pop, and alt-pop, he keeps things direct and intimate, building songs from warm, minimalist production, muted guitars, and subtle trap percussion.

What stands out here is the honesty. Role Model leans into vulnerability, mental health, insecurity, romance, self-sabotage, and that restless feeling of growing up. His plainspoken, lightly melodic phrasing gives the record the feel of a late-night conversation with hooks that land without overcomplicating the mood.”

439,202 – The Mountain Goats – Days

Indie rock band The Mountain Goats are led by singer-songwriter John Darnielle. I kinda totally liked this album. It worked for me… certainly wished it was longer than ~36 mins. Been following this band for years and they’ve only had a couple of misses! Some pretty fun song titles: ‘Charlie Sheen Reaches Out To The Feds’, ‘Candlebox’, ‘Crying On Eddie Nash’s Grave’, ‘Best Hard Rock Albums 2013’, ‘Hidden Majesty Of Later Venom Albums’, and more. Great album!

From Rough Trade Records: “These songs are loosely about the 70s, 80s, and 90s, which is to say they’re about the accumulation of days, each one a little further back than the next, sometimes miraculously seeming clearer as they recede and sometimes blurring into unrecognizable shapes which are sometimes pleasant and sometimes troubling.”

348,651 – Various Artists – Cathedral Of Smoke: A Tribute To Sleep

On this compilation, a bunch of bands that I’ve never heard of play an hour-plus worth of Sleep songs. As with most compilations featuring various artists, it’s a mixed bag. There are some pretty amazing covers, then there are others that shouldn’t have seen the light of day. In the end, though, this comp just reaffirmed my love for Sleep – the band and the verb!

From Witching Buzz Records: “Cathedral of Smoke: A Tribute to SLEEP will be released digitally on August 7th via Witching Buzz Records. The compilation features 10 international artists paying tribute to the influential doom band Sleep, reinterpreting material from across their catalogue.

Each contributing band delivers its own interpretation of Sleep’s signature sound, spanning early releases through later-era material, while maintaining a focus on heavy, slow, and atmospheric approaches that define the genre.”

315,858 – Citizen – Halcyon Blues

This was a surprisingly enjoyable rock album. Nothing fancy, just meat ‘n potatoes rock ‘n roll, reminding me a tad bit of The Bravery, The Strokes, et al. The band has been together since 2009 (over 17 years), has released six full-lengths, an EP, and a couple of splits… yet my introduction to them was their last full-length release, 2023’s ‘Calling The Dogs’. Glad to have found them; better late than never! Solid rock ‘n roll.

From Run For Cover Records: “17 years into an impressive career, Citizen still feel like underdogs who have never quite fit in. The band’s persistent sonic evolution and refusal to make the same record twice has earned them a reputation as one of the most consistently captivating bands in modern rock music. But following your own path often means walking it alone, and their unlikely rise from a band of Toledo high schoolers to long-running headliners capable of selling out shows around the world has been hard-earned. It’s precisely this commitment to their craft that has led to their new album, Halcyon Blues. It’s a dynamic and confident culmination of all that’s come before, making it crystal clear that for all their sonic restlessness, Citizen have always known exactly who they are.

From the start, the band–vocalist Mat Kerekes, guitarist Nick Hamm, bassist Eric Hamm, along with newer members guitarist Mason Mercer and drummer Ben Russin–were steadfastly determined to follow their creativity wherever it led. Over the years they deftly moved through raw emo, menacing post-hardcore, anthemic alternative, garage-y indie pop, and so much more. Now Halcyon Blues brings elements from throughout their entire catalog together into a singular and instantly satisfying record that just sounds like Citizen.

In the band’s earlier years, their sonic shifts were seen as a bug rather than a feature. “We’ve never easily known where we belong,” explains Kerekes. “When we were coming up, we’d try to get tours, and people would ask verbatim, ‘What kind of band is this?’ We were the ugly ducklings for a long time, and maybe we still are, but I like that we figured out how to stand on our own.” And the band has also stood the test of time. While many of their contemporaries from the 2010s emo boom burned bright but also quickly burned out, Citizen’s singular focus on pushing themselves musically allowed them to grow steadily–and for their audience to grow with them. “A lot of bands try to do anything they can to be the hottest thing of the moment, and we’ve just never operated like that,” says Nick Hamm. “We don’t think in moments, or months, or record cycles. Some bands end up getting sick of whatever walls they exist in, but I see Citizen as this long-term creative project where there’s always somewhere new to go, and that’s kept me exhilarated through all these years. And we’ve trusted that people who like our band will want to come along. A lot of people grew with us, and we’re really thankful for that.”

Where past Citizen albums have felt like direct responses to the preceding release, Halcyon Blues sounds like the group wrapping their arms around their entire catalog and carrying it forward. Recorded by Kerekes in his home studio in Toledo, then mixed by Tom Lorde-Alge (U2, Weezer, Blink-182), the record taps into the urgency and ferocity of Citizen’s early albums while embracing the epic scope and undeniable hooks of their more recent work. “I think the band is always in conversation with itself,” explains Hamm. “Early on we tried to set it up so that Citizen could be whatever we want it to be, so we’ve always been ready and willing for the music to change as we change as people. But at the end of the day we are still the same people making music together, the same people that made Youth and all the rest.”

Being those people hasn’t always been easy, for Kerekes in particular, and Halcyon Blues finds him simultaneously reckoning with personal upheaval while finding a sense of security within the band for the first time. “When you’re doing what you always dreamed of doing, you really don’t understand why it’s not always fulfilling,” he explains. “There’s been times where I’ve thought about leaving the band, but the Youth anniversary shows were a real game-changer for me. I would walk out on stage and look out at the front row and see people’s faces that I recognized because they’ve been coming to Citizen shows for a decade. It made me sort of feel like this is the coolest thing ever. Why would I even for a second not be stoked on it? From that moment on, I’ve just been all in. This is who I am, and this is what I do.”

Kerekes’ self-assuredness with his role in the band contrasts the uncertainty that permeates Halcyon Blues’ lyrics. “It’s about unexpected change,” he says. “You think you know everything, you think you have everything figured out, and then all of a sudden you don’t. Everything’s different, for better and for worse. Sometimes it’s really hard, but ultimately it might be for the best.” The opening salvo of “Good Fortune” and “I Can See You from Here” explode from the speakers, introducing the record’s blend of technicolor sound and melancholic themes. These are huge rock songs with fittingly huge emotions, but the youthful frustration of Citizen’s early work has grown up too, replaced by a more nuanced, though no less cutting, adult perspective. “The album sounds sad, but it’s not necessarily like that,” says Kerekes. “Sometimes coming of age things are bittersweet, and this is sort of like that too.” Mid-album standout “Always The Last One To Leave” offers one of the most sweeping ballads Citizen have ever penned, while scorching tracks like “Matador” or “Smooth Talker” tap into pent-up resentment with cathartic results. “Highs and Lows” pushes the band’s sound to truly astounding heights, a soaring alternative song driven by propulsive drums, a towering chorus melody, and synth strings that draw the listener into Kerekes’ emotionally raw storytelling.

As the cinematic “Anne” closes out Halcyon Blues, it’s clear that Citizen have truly arrived. “I never imagined we’d play shows to several hundred people, let alone thousands,” says Hamm. “We never had that red-hot rocketship thing, but we always did what we wanted to do, and we had a feeling that if we kept doing it, then eventually everything else would come together. Maybe we’ve started to come to that point.” This is the sound of nearly two decades of musical and personal experience combined into a declaration of something their dedicated fans already know: Citizen is one of our great modern rock bands–and they’re at the absolute top of their game.”

269,721 – Zeal & Ardor – Devil Is Fine X [10th Anniversary Remaster – 2016]

This is the band’s 2016 debut ‘Devil Is Fine’ remastered for its tenth anniversary, plus five previously unreleased bonus tracks. Back then I was stoked for this album even before it was released, and once I listened, I was in. Every time I hear it, I get to relive these memories.

My notes from the 2016 release still hold true: “Yeah, this is wild… even at ~25 mins. [~37 mins with the bonus tracks]. Elements of slave spiritual tunes mixed in with black / death metal. It weaves in and out beautifully even for as diverse as this release is… good stuff!”

168,136 – John Carpenter, Cody Carpenter, and Daniel Davies – Cathedral

Dude, John Carpenter = scary movie soundtracks, but… this is another one of John’s (+ cohorts) original (non-soundtrack) material. In fact, it was based on a dream (nightmare?) that John had (read ahead). Scary-sounding, and I love it! This isn’t necessarily something I’d listen to a whole lot (if ever again), but I love hearing these “darker” tunes. Good stuff!

From Sacred Bones Records: “An abandoned cathedral. A gruesome murder. A powerful supernatural entity living in the catacombs. It all comes to a head in downtown Los Angeles. What will happen and who will live to tell the tale? Such is the storyline of Cathedral, the thrilling new album and terrifying graphic novel from director and musician John Carpenter, based on a dream Carpenter had in 2024.

Cathedral has all the drama, dark atmosphere, and frenetic pacing of a classic heavy metal record. Especially designed as the soundtrack to the graphic novel, each track corresponds to a specific section of the book. The liner notes included with the album packaging feature prompts for each track, creating a fully interactive experience. Combined with the graphic novel, it’s the closest thing to a new John Carpenter film in years.

The music on Cathedral retains all the eerie atmosphere and sinister propulsion of the epochal scores Carpenter created for his films Halloween, The Fog, and Assault on Precinct 13, but this is a much heavier, riff-driven enterprise. Carpenter is a firm believer that music plays a major role in what really makes something scary. That’s first and foremost,” the director says. “It’s all about making the music work.” “This is somewhat different sounding stuff that we’ve done, but it’s done with the same desire in mind,” he adds. “In other words, put this thing on and imagine you’re watching a movie. That’s what we want you to do.”

Daniel Davies’ soaring, snaky guitars take center stage on opener “Primeval,” “Elevator,” and the metal masterpiece “Lord of the Underground” while John Carpenter and Cody Carpenter’s synths take the lead on the ominous “Desolation in the Underworld,” the plaintive “Death of the Mapmaker,” and even converge with strings on “Abandoned Cathedral.”

Whereas the Lost Themes albums were written as scores to movies of the mind, Cathedral scores the first original graphic novel written by Carpenter, his wife and long-time creative partner, producer and editor Sandy King, and writer Sean Sobczak, published by Storm King Comics. As with all of Carpenter’s musical forays of the last decade-plus, the album will be released by Sacred Bones.

Cathedral awaits. Immerse yourself in John Carpenter’s universe all over again.”

167,620 – The Reytons – A Love Letter To A Broken Town

Hey, this is kinda cool. Garage rock melts with post-punk. As long as we have kids playing rock ‘n roll like this, I think our future will be ok. Solid!

From Rough Trade Records: “Off the back of a huge year, The Reytons return with their fourth studio album A Love Letter To A Broken Town, building on a rise that has seen them become arguably the UK’s most exciting and unstoppable independent band.

Releasing entirely on their own terms, with no label backing, the Rotherham four-piece have continued to defy expectations, storming the charts with ‘What’s Rock and Roll?’ reaching #1 and ‘Ballad of a Bystander’ climbing to #2, cementing their place at the very top of the UK music scene.

From their breakthrough debut ‘Kids Off The Estate’ in 2021 to selling out 20,000 tickets in Rotherham’s Clifton Park, iconic nights at Wembley Arena and making history as the first independent band to headline Tramlines Festival, their journey has been nothing short of remarkable, driven by word of mouth and a connection with fans that few can rival.

Rooted in the grit and honesty of everyday life, The Reytons continue to channel the spirit of their origins into everything they do. A Love Letter To A Broken Town stays true to their roots while pushing their sound forward, capturing both the raw energy of their early days and the confidence of a band at their peak.”

105,078 – Cancer Bats – Give Me Dirt

I hadn’t cared much for this Canadian band’s past releases, but I am fully in now. This album is pretty badass. If you dig some hardcore music, but with a touch of melody, give this a spin. These boys keep getting better!

From their bandcamp page: “As the follow-up to their 2022 JUNO-nominated, critically acclaimed seventh studio album, ‘Psychic Jailbreak’, ‘Give Me Dirt’ pushes Cancer Bats’ artistry to new heights, fully realising the sound they have pursued throughout their musical careers.

As with their earlier work, the music came together organically, with all four members jamming in the same room. One key lesson the band carried over from their last album was that the real magic happens when everyone is fully collaborating. Once the riffs, breakdowns, and grooves were locked in, Cormier returned to rural Nova Scotia to craft the lyrics and vocal hooks. Many of the songs took shape on dusty forest roads, along winding dirt bike trails, and while brewing campfire coffee on secluded North Shore beaches.

Inspired by a year of travel, ‘Give Me Dirt’ unfolds as both an outward and inward journey, grounded in a deep connection to nature. The songs explore leaving urban life behind, processing personal loss, and confronting environmental devastation, while also reflecting on lessons drawn from the natural world.”

19,614 – Ada Lea – the end is a wave EP

Alexandra Levy (aka Ada Lea) is a Canadian singer-songwriter. Good tunes, nice voice. I just wish it was longer than 21:34. I’ll keep my eyes on her for future releases.

From Saddle Creek: “the end is a wave is an experimentation of sorts: “For this EP, I wanted to combine songs that were cut from when i paint my masterpiece, as well as the ones I’d recorded a million years ago when I was just a child. It was to test their fragility. How would they behave next to the other? The old and the new? The brave and the haunted? The impression and the finely sculpted.

I also decided to mix three of the songs myself (was it a mistake? you tell me…I says). I’ve been thinking of the kind of artist I’d like to be, and how I’d like to see all artists treated. I am most at home when I am creating and performing, it is what I was born to do. These worlds are opposites.

12th house and 6th, 4th & 10th, the story goes on. I can imagine a future where artists are supported by UBI and they do what they want. A kind of welfare for the serious artists that are not afraid to play. It serves the betterment of society to support artists this way. I know there are others out there, like me, that feel little purpose in their life when they’re not working toward making things.

But it’s also near to impossible to make things when you are fighting to protect your energy at every turn, feeling burnt out.””

18,390 – Billy Morrison – HOLLOW

Billy Morrison is currently the rhythm guitarist in Billy Idol’s band and the former bassist in The Cult. Here he cuts his teeth on a dozen solo album rock and industrial metal tunes. This is very solid top-to-bottom!

This album features appearances by a ton of special guests, including Extreme guitarist Nuno Bettencourt and Godsmack vocalist/guitarist Sully Erna on ‘Becoming’, Marilyn Manson on ‘The Tailor’, Public Enemy’s Chuck D, Cypress Hill’s B-Real, and Run D.M.C.’s Darryl “DMC” McDaniels on ‘No Suspects’, Billy Idol lead guitarist Steve Stevens on ‘Another Day’, Guns N’ Roses bassist/vocalist Duff McKagan on ‘Leave No Trace’, Mudvayne vocalist Chad Gray on ‘Devil In Your Eyes’, and The Offspring vocalist/guitarist Dexter Holland on ‘Never Gonna Change’.

From Rough Trade Records: “Hollow follows the success of 2024’s The Morrison Project with 12 songs, half sung by Morrison and half sung by a handful of Morrison’s friends. Guests include Sully Erna, Nuno Bettencourt, Duff McKagan, Dexter Holland, Marilyn Manson, Chuck D, B Real, Steve Stevens, DMC, Chad Gray, among others.”

6,729 – zakè – Revector

zakè is Zach Frizzell, and he plays super-minimal, ambient, soundscape-y drone-type stuff. Really nice, beautiful, mellow stuff!

From his bandcamp page: “Written, recorded, mixed, and produced by zakè. Featuring various instrumentation and improvisations by the following brethren: anthéne, Benoît Pioulard, Marc Ertel, and Purl. Piano accompaniment by hoax.”

Mastered at Ambient Mountain House by James Bernard.
Photography by Benoît Pioulard on Polaroid SX-70 film.
© 2026 Zakè Drone Recordings
℗ 2026 Past Inside the Present Publishing (BMI).
This is ZD-049. zakedronerecordings.com / zakedrone.com / pitp.us / pastinsidethepresent.com

6,505 – 10,000 Years – Esox Lucifer

A few hairs over 35 mins of hard-hitting Swedish stoner rock. Vox are iffy at times, but the riffs are relentless, dirty, raw… and exquisite! This shit was an absolute banger of an album!

From their bandcamp page: “Swedish stoner metal berserkers 10,000 YEARS return with their new album “Esox Lucifer” on Ripple Music this August 7th, and present the rip-roaring first track “Two Million Stones” today.

10,000 Years return with their eagerly awaited new album to once again pummel the world into oblivion! Delving deep into existential dread and dark lore, Esox Lucifer drifts through deep space with the same sci-fi, horror, and fantasy obsessions that have always fueled the band.

Esox Lucifer delivers the riff-centric, melodic stoner metal that 10,000 Years has become known for, all driven by Erik Palm’s guitar wizardry and searing solos, the thunderous anchor of Alvin Risberg’s drums, and Alex Risberg’s fuzzed-out bass and fire-driven howls. The result is the band’s most ambitious work to date — one that will easily win over fans of Torche, High On Fire, The Sword, and Kylesa!

It was produced by the band themselves with Erik Palm engineering, recorded in four months at their own Pine Hill Studios (drums cut at Studio Fluff in Västerås by Andreas Morén), mixed by Robert Lamu of Skraeckoedlan, and mastered by Magnus “Devo” Andersson at Endarker Studio.

Formed in the plague year of 2020, 10,000 Years has wasted no time forging their signature brand of skull-crushing stoner metal. Across three records in as many years — including II, which earned them a nomination for Best Metal at the Swedish Independent Grammys (Manifest) — the band has proven relentless.

Their 2024 release, All Quiet On The Final Frontier, saw the Riff still reigning supreme, but with a newly melodic edge described as “an experience that’s as heavy as it is spiritual” by The Sleeping Shaman and “the psychedelic-stoner embodiment of science fiction” by Ghost Cult Magazine. The album marked their debut on Californian label Ripple Music, introduced powerhouse drummer Alvin Risberg on wax, and locked into perfect symmetry with Erik Palm’s guitar wizardry and Alex Risberg’s thundering bass and howling vocals. A massive leap forward into new and hugely exciting territory, which will be sealed with their upcoming album Esox Lucifer, coming in the summer of 2026.”

10,000 Years lineup
Erik Palm – Guitars
Alex Risberg – Bass/Vocals
Alvin Risberg – Drums

2,219 – SubtractiveLAD – Inward 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…

This release is the same as always, although here, the lap steel guitar takes center stage.

From his bandcamp page: “Ambient pieces composed around processed lap steel guitar performances. This is a companion release to “Onward” [July 3rd, 2026], but features the lap steel more prominently in the tracks.

A bit dreamier and more psychedelic than “Onward”, it explores the inner vistas of consciousness through improvisation and expansion. Textured layers of sound that create impressionistic emotional landscapes. Or something.”

Recorded, mixed and mastered at 24-bit / 96 kHz for your high-resolution pleasure. Composed, performed, recorded, mixed and mastered by Stephen Hummel

2,088 – Edena Gardens – Quintessence

I had a feeling that I might like this since it was released on the El Paraiso label, home to some of the best all-instrumental ambient, psychedelic free-form jazz / world music. Man, this shit is just so trippy, groovy, and great… never gets long in the tooth, even with a run time of an hour and 20 minutes.

From El Paraiso Records: “Edena Gardens unleash their most expansive work to date. Quintessence is structured in 4 parts as a Magnum Opus—the ancient alchemical process of transformation. But this is not a work of high fantasy. It is a seismic meditation. A study of deep time, weighted matter, and the crushing gravity of change.

Quintessence is massive. 79+ minutes of tethered magnitude, carved into six sprawling tracks. The trio pushes further down into the void, discovering new dimensions. Each piece allows the form to stretch. To break its own boundaries. Shifting terrains and unpredictable geometry. The core remains unhurried: A slow, relentless, unabridged crawl. This sort of alchemy demands patience, allowing every sonic mutation to breathe, shift, and solidify in a new atmosphere.

Recorded by Jonas Munk (Causa Sui), the sound is rooted in a natural, anchored production, as if the band is right in front of you: Causa Sui drummer Jakob Skøtt drives the pulse and adds ghostly, sparse treatment to the mix. Nicklas Sørensen (Papir) weaves angular guitar geometry over the deep sediment of Martin Rude’s bass and baritone strings. Martin also supplies the original artwork, spreading across 4 panels (one for each vinyl side), coloured by Jakob Skøtt: A work in its own right.

The final work is a massive, physical expanse: Their Quintessence.”

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

Tasty AF all-instrumental post-rock with underlying prog-metal goodness from across the pond (Leeds, UK). Holy hell, where has this band been my whole life? They’re a relatively new-ish band (debut EP in 2019), but have a handful of albums under their belt already. I shan’t miss any further; plus, I’ll likely dig into their back catalog. All hail the almighty Din Of Celestial Birds!

Fun fact: Din Of Celestial Birds was originally a book, author Brian Evenson’s second, released in 1997. In 2006, a short film (also titled ‘Din Of Celestial Birds’) was released by writer, producer, and director E. Elias Merhige. The two are unrelated. Furthermore, the band is not tied to the book or film, either!

From Burning Shed: “Din Of Celestial Birds are a heavy progressive post-rock instrumental band who have quickly become one of the UK’s most championed acts, known for their vibrant live performances. Takeoffs & Landings is a concept album about adventure, travel, and the journey of life – literally and figuratively – encompassing all the stresses and triumphs.”

“Beautiful, elegant and explosive instrumental post-rock; the kind that makes you lay back and close your eyes as you feel your spirit is being ascended.” – Everything Is Noise.

510 – Professor and the Madman – Dreamworld

Wow, impressive! Features some old-school punk dudes – bassist Paul Gray (The Damned), vocalist/guitarist Alfie Agnew (Adolescents, D.I.), guitarist Sean Elliott (D.I., Mind Over Four), and drummer Rat Scabies (The Damned) – but this is a very melodic rock album that was really quite enjoyable! On this latest release, they’re going for a 1960s psychedelic dream pop sound… and NAIL it! Nice stuff, lads!

From their bandcamp page: “The 1960s forever changed music and remain a big influence on PATM. Dreamworld takes you on a sonic trip through the style of this era via the minds and ears of songwriters Alfie Agnew and Sean Elliott. Paul and Rat provide the rhythm section like only they can. Recorded at Abbey Road Studios, London, and Hollydale Studios in Fullerton, CA.”

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

1,200,168 – Ravyn Lenae – Blue Island

I can dig some R&B albums from time to time, but this was a massive swing-and-a-miss. What’s next on the chopping block?

From Rough Trade Records: “Ravyn Lenae releases her third studio album, Blue Island, via Atlantic Records. Executive-produced by Bird’s Eye collaborator and Grammy Award-winning producer Dahi, Blue Island is an immersive world shaped by poise, playfulness, and the quiet confidence of an artist who knows momentum is only the beginning.”

1,160,828 – Electric Callboy – TANZNEID

Hahaha! In my initial notes, I wrote, “I’m sure I’m gonna hate this”. Love it when I have to eat crow and am 100% wrong, but I hit the bullseye with this one: Oh. My. Fucking. God. Metalcore with fucking electronica and dubstep thrown in for good measure (aka electronicore): quite possibly the worst combination in music, this was fucking awful. It easily cracks the top-10 – possibly top-5 – for worst release of the year. Lastly, they’re wildly popular, what the what…?!?!

588,767 – FLO – Therapy At The Club

Wildly popular but completely forgettable pop-oriented R&B. Granted, I kinda sorta knew what I was getting into just by looking at the album cover… but don’t judge an album by its cover, right?! This album is “only” 46:11, but it seemed like a lifetime… I kept yawning, waiting for it to end.

211,860 – Overmono – Pure Devotion

Overmono is an electronic duo out of Wales featuring brothers Tom and Ed Russell. They have a shit-ton of EPs out, but this is only their sophomore full-length. It is boring and completely forgettable.

78,084 – Ceremony – Tell Me Your Dreams

Terribly boring and forgettable post-punk album. They’ve gained some steam, but I simply cannot hear what the attraction is to them. Pass.

77,139 – Margaret Glaspy – I Am Both

I’m usually a fan of singer-songwriter albums, but didn’t care for the music or her voice. I mean, it’s not like it’s completely awful or offensive or anything… I just found it to be kinda meh. Better ones out there.

49,166 – Hulder – Verbolgen

So Hulder is a solo artist who dons the face paint and plays black metal. I typically find the face paint silly, and black metal ain’t usually what I reach for. However, some of those pesky solo black metal affairs can be pretty interesting, unique, and even… awesome! Unfortunately, that is not what happened here. Shitty music, vocals, face paint, etc. Pass pass pass…

16,038 – Man/Woman/Chainsaw – Cannonball

This is the British band’s debut. They meld post-punk with art-rock, and it didn’t move the needle for me, unfortunately. Fun fact: Every time I see the band name Man/Woman/Chainsaw, I think of Person/Woman/Man/Camera/TV. How could you not, haha?!

15,632 – Keyside – Keyside

Jangly shimmery-shiny guitar on this pop-indie rock debut. Kind of a fun “throwback” album, but nothing I need to hear again.

10,554 – The Anchoress – As We Once Were

The Anchoress is the stage name for Welsh dream-pop singer-songwriter Catherine Anne Davies. I’ve listened to previous albums – and they’re not “bad”, per se – but her music just hasn’t clicked with me 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:

58,340 – Ana Roxanne – Poem 1 – [May 1st, 2026]

From Paste: “In the midst of heartbreak and uncertainty, the ambient musician searches for clarity and balance.”

I really wanted to get behind this release – even (especially?) in all its sadness, read before and ahead – but I just couldn’t. It’s like a singer-songwriter album over a bed of ambient-type tracks. Usually a winner for me, but simply couldn’t gain traction.

From amazon: “I wanted to travel / Home into somewhere,” Ana Roxanne breathes across an eerie suspended drone on “The Age of Innocence”. “I wanted to try / And go very far.” These are the first words we hear on Poem 1 and reintroduce an artist who’s in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.

Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a newfound boldness. Her voice is naked, vulnerable, and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures. Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on “Berceuse in A-flat Minor, Op. 45”, making each word count.

On “Keepsake” meanwhile, she sounds as if she’s alone in an abandoned bar, stroking the dust off the piano’s keys as she inventories her emotional scars. There’s a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self-pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides.

“Untitled II”, the album’s pronounced, uninhibited centerpiece, delivers on the Lynchian promise that’s been present since her first EP, 2019’s —. “[I] always picked the slowest, saddest songs in the entire repertoire,” she explained to them in 2021, recounting her teenage dream of being a jazz singer. “I would arrange them in a way that was just really slow and quiet, that was always just my vibe.” Purring over a brushy, decelerated rhythm and funereal piano, Roxanne glances at the edge of a hot spotlight, cutting through the stage smoke with her glassy evocations.

And when she interprets Robert Schumann’s lied “Stille Tränen” on “One Shall Sleep”, she turns Justinus Kerner’s words into a whispered echo of her own grief, narrating the 19th-century poem over syrupy synthesizers and strings. There’s a light emerging on the horizon, though; burying her past on the choral standout “Cover Me”, Roxanne shifts the pace and the mood on “Atonement”, lifting her voice into a gentle lilt. “Running alone,” she concedes at last. “Running forward and looking ahead / With a long road to go.”

57,243 – Jeff Parker & ETA Ivtet – Happy Today – [May 15th, 2026]

Two songs (~45 minutes) of traditional instrumental jazz. Frankly, I was bored to tears <zzzzzzzzzzz>…

From amazon: “Happy Today, the third album from guitarist/bandleader Jeff Parker’s long-running ETA IVtet, was recorded live at Lodge Room in Los Angeles on August 20, 2025.

This fresh entry into the IVtet’s catalog captures Parker and the band – including drummer Jay Bellerose, bassist Anna Butterss, and saxophonist Josh Johnson – on record outside of the now-shuttered Highland Park micro-club ETA for the first time.”

52,980 – Little Barrie – Gravity Freeze – [May 22nd, 2026]

I loved everything I read about this British blues-rock trio (see ahead), but ultimately came away massively underwhelmed.

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

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

47,413 – Samurai Pizza Cats – Press Start – [March 27th, 2026]

Samurai Pizza Cats is a metalcore band, so I was convinced that I wouldn’t care for it, and you know what? I didn’t! But I absolutely had to listen to a band named “Samurai Pizza Cats”. Fun fact: the band got their name from the 1990s Japanese anime series of the same name (キャッ党忍伝てやんでえ).

37,613 – Bill Orcutt & Mabe Fratti – Almost Waking – [May 22nd, 2026]

Well, it certainly sounded good on paper, if nothing else (read ahead). Unfortunately, it was a bit too out there for my taste on this improvisational experimental / art rock album.

From amazon: “Mabe Fratti is a Guatemalan cellist, vocalist, and composer based in Mexico City, celebrated for her experimental yet deeply melodic work. Blending cello, voice, synthesizers, and electroacoustic textures, she builds songs that move between improvisation, ambient soundscapes, and off-kilter pop forms. Emerging from Mexico City’s improvisational and experimental scene, she has become a key voice in contemporary avant-pop.

Bill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice.

Almost Waking: “I had known about Bill’s music for a while: since his 2017 release under his own name. I connected a lot with his music, and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating! – we bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me. I had a great time with the pieces, and in some of them had the honor to collaborate with I.

La Católica in the studio here in Mexico as well, where we were trying to decipher the harmonic possibilities of Bill’s ideas and very carefully develop some good melodies that followed the guitar correctly. The vocal melodies also followed the same principle of trying to get tight with Bill’s initiatives. The idea was to leave a lot of space, but in only one of the tracks I just went on with the idea of harmonizing the vocals shamelessly. The album ended up having this nostalgic vibe to it. I am so happy with how it turned out and grateful for the crazy coincidence that made it happen!”

Guitar by Bill Orcutt, Cello and vocals by Mabe Fratti, Except tracks 1, 3, 4, and 6, which were written by Bill Orcutt & Mabe Fratti, with contributions on the cello arrangement by I. La Católica. Recorded at Tinho Studios in CDMX and in the Living Room in San Francisco. Mixed by Santiago Parra. Mastered by James Plotkin. Special thanks to I. La Católica, who contributed with great aura, ideas, and feedback at Tinho Studios.

37,282 – Haggus – The Mincecore Manifesto EP – [June 26th, 2026]

This band plays a genre called “mincecore”. I didn’t know what that was, either, so: “Mincecore is a microgenre of Grindcore that primarily focus on short songs, a mid-tempo kick-snare drum pattern known as “mince stomps”, and slower tempos.” The band even plays in their lowest tuning (drop G, haha!). Well, I call this straight-up garbage. This is seriously fucking awful, DEFINITELY in contention for worst release of the year. This “band” should not exist. Listen at your own risk. Fun fact: there was a silver lining – a short runtime of only 15:29. Not sure I could’ve handled much more, though…

26,852 – 100 Demons – Embrace The Black Light – [June 5th, 2026]

Yo, where are all my hardcore homies at?! Brutal riffage that I can dig. Perhaps you will, too? Fun fact: The band’s beginnings go back to 1998. They released their debut, ‘In The Eyes Of The Lord,’ in 2000, their self-titled follow-up in 2004, followed by… crickets! It’s been 22 years since their last full-length! Welcome back from the cave!

From Closed Casket Activities: “For over two decades, 100 Demons have stood as one of hardcore’s most uncompromising forces — a band built on raw conviction and a sound that refuses to be boxed in. With Embrace the Black Light, their long-awaited third album on Closed Casket Activities, Connecticut’s own deliver twelve tracks that push the boundaries even further.

Recorded and fully realized within the walls of Silver Bullet Studios in Burlington, Connecticut, Embrace the Black Light marks a new chapter in the 100 Demons story — one forged with patience, intention, and an ear toward something lasting. Written by Pete Morcey, Rich Rosa, Rick Brayall, and Jeremy Braddock, alongside Sean Martin rejoining the group. Produced and recorded by Greg Thomas and engineered alongside Chris Teti, the album was built brick by brick over the course of 2025, allowing each song to breathe and find its shape. The result is the most fully realized record of their discography.

“Writing and recording this last record was an experience like no other. We were able to take our time and carefully craft every single song on this release. Working with Greg Thomas and Chris Teti at Silver Bullet made us realize we would not have been able to do this record without them. And with the guidance of Justin from Closed Casket Activities, we know they brought out the best of us on every level.” – Pete Morcey, Vocals

The album opens without losing any of the band’s signature ferocity. Elsewhere, Embrace the Black Light stretches without losing its footing, adding texture and dimension to an album that earns every moment of its runtime. Mastered by Will Putney of Graphic Nature Audio and featuring the artwork of James Bousema, with guest vocals from Twitching Tongues/God’s Hate members Colin Young and Taylor Young.”

26,777 – Ben Ellis – the train where the time slows EP – [June 5th, 2026]

Ooph. I read the bio about the EP (see ahead) and was kinda psyched to hear it. Dude went through a heartbreak and wrote some songs. I was expecting (and hoping for) melancholic tunes, but nah. Instead, he writes upbeat, poppy singer-songwriter tunes. Even if they were “positive” lyrics, I still wouldn’t be behind it. Not my scene. But hey, only seven songs and a run time of 23:55. Didn’t suffer for too long.

From Townsend Music: “Written across two trips to Los Angeles in the wake of a breakup, The Train Where the Time Slows traces the complexities of heartbreak, drifting between clarity and confusion. “There was so much love still there,” Ellis confesses. “It’s crazy how art kind of comes from those moments.” The EP’s lead single, “Where She Goes,” spilled out from a journal entry written the day after the split.”

1,825 – Yelena Eckemoff – Rosendals Garden – [March 27th, 2026]

Yelena, where have you been all my life, girl! Apparently playing piano and releasing albums since she was four years old, what?! She is a Russian-American Jazz-Classical Pianist and Composer. While Yelena may get top billing (and piano is the focal point), don’t disregard the rhythm section – bassist/cellist Svante Henryson and drummer Morgan Ågren are absolutely ferocious here. She assembled a great team! I thought it might be a bit too long at nearly an hour and a half, but I pretty much thoroughly enjoyed it! It was a great album to listen to on the commute, but I could also envision it as fantastic music to work to, as well. Looking forward to hearing future releases.

From Earsplit PR: “Acclaimed pianist and composer YELENA ECKEMOFF, known for her richly imaginative jazz storytelling, unveils her newest release, Rosendals Garden — a trio tribute to Sweden’s natural beauty, history, and quiet magic. Set for worldwide release on March 27th, the album’s cover art, track listing, preorders, singles, and video clips are now posted.

YELENA ECKEMOFF was born in Moscow, Russia, in the former Soviet Union. She showed early talent at the piano and began studying at an early age with her mother, Olga, a professional pianist and teacher. At seven, she attended Gnessin State Musical College, a school for musically gifted children, and furthered her education in classical piano at Moscow State Conservatory. After graduating, she began concertizing, studying jazz, composing music for several instruments, playing in a jazz-rock band, and teaching piano. After moving to the U.S. in her late-20s, she began her recording career, working across several genres such as classical, vocal, folk, Christian, and jazz. Since then, ECKEMOFF has released nearly two dozen albums, received critical acclaim in the jazz and prog press, and forged her own unique sound as a chamber-setting composer and improvisational pianist.

YELENA ECKEMOFF’s twenty-third record since 2010, the eleven-song Rosendals Garden adds to her impressive collection of compositions that integrate sophisticated jazz improvisation with a deep, personal narrative. Inspired by her travels to Sweden, the album was recorded with some of the country’s most prominent musicians – Svante Henryson providing cello and double and electric basses and Morgan Ågren performing all drums and percussion – with YELENA ECKEMOFF writing all compositions and arrangements and performing all piano and keys.

Throughout this kaleidoscope of an album, YELENA ECKEMOFF remains masterfully in charge – always the consummate composer, instrumentalist, and bandleader. She continues to assert what a jazz album can be – not just a collection of ear-pleasing tunes, but a deeply felt experience transformed into pure sound. Rosendals Garden captures more than just picturesque scenery; It immerses listeners in the composer’s inner experiences, emotional impressions, and wide-eyed awe before the natural world, symbolized by the verdant sanctuary by the same name.

Rosendals Garden was recorded on August 28th and 29th, 2024, at RMV Studio in Stockholm, Sweden, tracked by engineer Linn Fijal, and was mastered by Stefano Amerio. Like all her records, the cover art for the album was painted by YELENA ECKEMOFF herself.

Having released several singles at the end of 2025, YELENA ECKEMOFF presents the album’s opening track “ABBA Museum,” stating with its unveiling, “So, I recorded a Swedish album about Sweden. Why Sweden? It’s a good question. I’m not sure myself. Perhaps I traveled to Sweden more times than other European countries. Or maybe because Sweden somehow reminded me of my homeland, where I was never able to come back to ever since over three decades ago; we left it with hopes to settle in the United States of America. I felt nostalgic about my homeland, and when we ended up in Sweden the first time, it felt almost like home: the smells, the nature, the food, the architecture…

“On our overseas trips, we like to check out notable recording studios, and it so happened that during our first time in Stockholm we visited RMV (which is short for Riksmixningsverket) – a new recording studio located on Skeppsholmen island that was founded by Benny Anderson (ABBA) as his home recording facility. We arranged the visit with Linn Fijal – a young sound engineer who, delegated by Benny himself, played a major role in designing and overseeing the studio’s construction inside the old brick barn. Full of light and spacious, with an excellent console and grand piano, the studio made such a good impression on me that many years later, when I made plans to record with Swedish musicians, I already had RMV in mind.”

Each composition on Rosendals Garden functions as a standalone short story, yet together these tunes form a sweeping suite of emotional and cultural exploration. The album opens with “ABBA Museum,” an energetic, melody-driven homage to the Swedish supergroup ABBA, an early musical interest that persuaded ECKEMOFF to experiment beyond the superb classical training that informs each of her pieces. She follows with the title track, “Rosendals Garden,” an alternating reflective/stimulating meditation that recalls the peace and vibrancy of this floral oasis in Djurgården, Stockholm’s city center. Likewise, with its free, jagged turns, “Gamla Stan” captures the haunting echoes that reverberate amongst the ancient cobblestones of Stockholm’s Old City.

Even this early in the album, ECKEMOFF demonstrates a firm connection with her band: Her storytelling makes full use of the eclectic, seductive percussion of Morgan Ågren, the album’s drummer, and of the string-based contributions of Svante Henryson, who plays either acoustic or electric bass on all the tracks and cello on nine out of eleven. To grasp how intimately coordinated this trio is, note how Henryson’s lyrical cello accents “Apple Orchard Café,” a tender, pastoral interlude inspired by a spontaneous detour into a charming village café, or how Ågren’s resolute pulse-keeping undergirds the ominous harmonies of “Öresund Bridge,” recalling a fog-drenched drive across one of Europe’s most iconic feats of engineering. These contrasting tracks also show off the breadth and depth of Yelena’s consummate skills as a composer and player.

But the proof is in the listening. In the playfulness of the retro vibe and the depth of the shifting moods of “Skansen Park,” an amusement where Swedish history comes alive. In the peacefulness and understated elegance of “Sunrise In Rimbo.” In the ghostly aura of “Ruins Of Älvsborg,” its oscillating effects and marching rhythm alluding to the distant memory of this former military stronghold. In the tension between light and shadow in “Storanden Nature Reserve,” suggesting sun rays slicing through the dimness of the wild woods. And in the raucous, whimsical excitement of “Strandvägen Pier,” Stockholm’s architecturally stunning waterfront.

Finally, the album closes with “Gripsholm Castle,” a luscious track replete with geometric lines festooned with florid melodies – a nod to the stateliness of this finely preserved medieval landmark and a reminder that, once upon a time, it was the most glorious sight in the land. This kind of restorative vision, so much in evidence throughout Rosendals Garden, goes a long way to set ECKEMOFF apart as a composer.

Notably, most of the album’s tracks feature extensive free group improvisations – though the listener would be hard-pressed to ascertain the passages where the trio is playing extemporaneously rather than by the score, so seamless is their musical communication. Here’s the tip-off: You can hear the moments when the players lean into each other, focusing intently on their conversation. It happens about a third of the way into “Ruins Of Älvsborg,” when the pauses lengthen, and the repartee breathes a bit before the theme reenters. Or on the latter part of “ABBA Museum,” when each of the players is sharing their own internal ruminations inspired by the catchy hooks. Or just off the center of the title track, when, simultaneously, each player pulls out their personalized riffs, infusing the otherwise introspective tune with some surprising splashes of color.”

127 – Enigmatic Sound Machines – Divided By One – [June 5th, 2026]

I wasn’t overly wowed by this prog-rock release, but I liked it enough to put it here and keep my eyes peeled for future releases. I occasionally heard nods to Porcupine Tree, a favorite band of mine. This is the band’s fourth full-length, yet my introduction to them.

From Burning Shed: “From their synth-pop debut Telepathic Waves (2023) through the contemplative Hierarchies of Angels (2024) and the saxophone-drenched Imperfect Silence (2025), Enigmatic Sound Machines have never stood still.

Divided By One marks the band’s boldest leap yet. Jeremie Arrobas, Thomas Szirmay, Hansford Rowe (Gong, etc), and Alain Bellaïche (Heldon) bring edgy guitars, sonic experiments, rich melodies, and progressive ambition to a vibrant album that includes a reimagining of Tubeway Army’s classic Are Friends Electric?”

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…

2,372 – Gatta Morta – Burn Witch Burn EP

Experimental rock. From Shopxop: “Talk about a well-kept secret! This has been quietly in the works for your new favorite supergroup – Gatta Morta!

Say whaaaaaa? Here’s the deal: Gatta Morta is the brand-new mashup of these here guys…

King Buzzo (Melvins) guitar/vocals
Clinton Jacobs (Mr. Phylzzz) guitar/vocals
Jeff Pinkus (Butthole Surfers) bass/vocals
Coady Willis (Big Business) drums/vocals

…And we’re pleased to offer their debut album, Burn Witch Burn, starting out here on a 4-track, no-frills, cardstock sleeve cheapy CD (& yes, we’ll be doing a schmancy vinyl release in the not-too-distant future.).”

From Metal Injection: “A new band has hit the airwaves, with a brand new EP at the ready. Consisting of members from Butthole Surfers, Mr. Phylzzz, and Melvins, Gatta Morta embraces elements of psychedelia through their melancholic sound. Their new EP, Burn Witch Burn, was crafted by Butthole Surfers’ bassist JD Pinkus, Mr. Phylzzz’s guitarist and vocalist Clinton Jacob, Melvins’ guitarist and vocalist Buzz Osborne, and Melvins’ drummer Coady Willis.

“It’s always a good time for the world to embrace a new heavy/weird band,” Buzz Osborne said of the new supergroup formation. “I had the idea for Gatta Morta while touring last fall. I realized I needed to start a band with these three. Seemed like a no-brainer. Solidly weird rock music that needs to happen.”

The new EP was released through Amphetamine Reptile Records and has four tracks. “I just had this feeling that one day we would work together,” bassist Pinkus said of the group’s formation. “I became friends with Osborne over the past few years doing shows together and having him play guitar on a Mr. Phylzzz song. When I was asked to be a part of GATTA MORTA, I was speechless, but I was 100% ready for it.”

Willis added that “Gatta Morta wages asymmetrical psychedelic warfare in the name of romance.””

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

13,990,462 – Bob Marley & The Wailers – Roots, Rock, Reggae: Live At The Hammersmith Odeon (2 CDs)

6,560,130 – Various Artists – Sending Hearts To All My Dearies: A Tribute To The Smashing Pumpkins

5,169,456 – Marilyn Manson – One Assassination Under God – Chapter 2

3,339,085 – Phoebe Bridgers – Lost Weekend

1,811,491 – Jungle – Sunshine

1,254,715 – Saliva – Breaking Through

660,576 – Jon Batiste – Black Mozart

660,576 – Jon Batiste – Monk Meditations

221,699 – Hollywood Vampires – At Montreux Jazz Festival 2018 [Live] (2 CDs)

25,328 – Ferris & Sylvester – It’s A Joy To Be Alive

19,271 – Kris Barras Band – Monsters We Made

680 – Coyote Man – Prosthetic Memories

0 – Afrofuturistics – The Enigmatic EP

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

———————————————————————————————

Small print that’s normal size print:

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

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

All albums are listened to IN FULL unless stated otherwise.

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

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

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

Until next week…

Cheers,

Troy