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, time for the weekly blog!
The day gig has gotten exceptionally busy, plus it’s heavy brain-use stuff, so no intro this week. I typically write intros in the evenings and/or weekends… but honestly? I’m just f’n beat by the time I get home.
We’ll (quickly) talk Seahawks, then onto the music!
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Week Three – Sunday, September 27th at 10:00 AM (Pacific)
Seattle Seahawks (2-0) at Washington Commanders (0-2)
The Seahawks are favored by -7.5 points, and the over/under total is 40.5 points.
Seahawks 28
Commanders 17
Take Seattle -7.5 and the over 40.5.
FTR, I am three out of four on my guesses thus far (the only loss being Seahawks -3.5 to the Patriots… they won by three, d’oh!). I’ll bet if Sammy D was QB or Drew Lock was expecting to play, that they would’ve scored at least one more point, and then I’d be 100% on my guesses. Half a point! Dude!
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I love me some 2Pac, but this week we’re going with a 3Pac of AOTWs!
Those Honorable Mentions are no joke, either, but the 3Pac is where it’s truly at – hot fire!
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** – September 18th to September 24th, 2026:
218,313 – Uncle Acid & The Deadbeats – Shapes Of Midnight
Been listening to this band for years, love ’em, so fucking killer! It’s like bluesy psychedelic stoner rock… really, really, really good! This might be my favorite release of theirs to date. Lovin’ these guys!
From Rough Trade Records: “Uncle Acid and the Deadbeats return with their seventh album, Shapes Of Midnight, released on Killer Candy Records. Tracked live to tape at Abbey Road Studios and made using 1960s EMI console technology, it captures the band sharpening their unmistakable “Evil Beatles” sound.
Across 45 minutes, Uncle Acid and the Deadbeats lean into ragged downer rock, balancing down-tuned, fuzzed-out guitars with two-part vocal harmonies, pop melodies and subversive paperback horror lyrics. It is a sound entirely their own, and one that keeps evolving with every record.”
From Metal Injection: “Only two short years after their synth-led soundtrack, Nell’ Ora Blu, their newest effort combines The Masque Of Red Death by Edgar Allan Poe with the all-too-real nightmares of the 21st century. Known for their “Evil Beatles” sound, Uncle Acid & the Deadbeats expand on that, with echoes of other influences such as Ireland’s Thin Lizzy throughout the guitars.
Recorded live to analog tape, the forthcoming offering was created in Abbey Road Studios, not a terrible hop-and-a-skip away from the band’s origins in Cambridge, England. Eerie, intense, cinematic, Chris Bolster (Phil Spector, Ozzy Osbourne, and Paul McCartney) masterfully helps the band carve out a fully fleshed-out story that bridges dark, melancholic pop in areas, jazz-inspired structures, and bruising verses. Songwriter Kevin Starr says that their “albums exist in an alternate universe to our own. They’re all stories that could happen here, but everything’s just a bit ‘off.’”
Starr is also responsible for vocals and lead guitar, with George Hudson on rhythm guitar and vocals, Jus Smith on bass, Jon Rice on drums, and Rachel Burnett on keys and vocals, as well. The band formed in 2009 with aspects of psychedelia, blues, and hard rock, a foundation for the unit’s discography.”
78,000 – Villagers of Ioannina City – Venceremos
So I read the album description first (see ahead) and thought to myself, “I might like this…”. I did not.
I fucking LOVED it! The only concern I had going into it was that they also play folk metal. Not typically a fan of most folk metal. But this album is HEAVY on the prog-metal / post-metal / stoner rock side with subtle inflections of folk metal sprinkled throughout. The music, the vocals, the production – what an amazing band, what an amazing album! They formed nearly two decades ago (2007), yet this is my introduction to them. I shall not miss any more releases from this exceptionally rad band, holy shit, YES!!!
Fun fact: Venceremos is a Spanish and Portuguese word that translates to “we will win”, “we shall overcome”, or “we will prevail”… which, of course, is the album’s theme.
From Napalm Records: “On September 18, 2026, VILLAGERS OF IOANNINA CITY return via Napalm Records with Venceremos, a bold and immersive studio album that expands the band’s sonic universe beyond its roots. Blending heavy rock, progressive heavy metal, and distinct folk elements, the Greek collective deliver their most ambitious and conceptually driven work to date.
Set in a dystopian future shaped by illusion, control, and fear, Venceremos unfolds as a journey through exile, resistance, and awakening. It follows those who rise against a broken world, rejecting gods and modern kings in order to reclaim freedom and meaning. Through struggles, hopes, fears, and deep reflections on existence, one truth remains constant: the quest is one, and its name is freedom.
Rather than bending to trends, VILLAGERS OF IOANNINA CITY sharpen their identity. The album presents itself as heavy, direct, and intense, driven by a raw and immediate energy. It leans decisively into heavy rock and metal, pushing into more aggressive territory while unfolding with a genuinely progressive spirit, where each composition evolves with purpose and depth.
Ritualistic rhythms, expansive arrangements, and traditional instrumentation such as bagpipes and zourna are not mere embellishments, but essential elements of the band’s sonic language. Folk and Hellenic elements meet powerful riffs and dynamic structures in a sound that feels direct, distinctive, and entirely their own.
Songs such as the first single, “Ghosts in the Sky”, introduce this world with energizing intensity, combining heavy driving grooves, layered textures and a cinematic sense of movement. The epic title track “Venceremos” stands at the album’s core, unfolding through dynamic shifts, crystal-clear vocal delivery, and a powerful build that captures both tension and release. With “Requiem”, the band present the album’s final chapter: an over seven-minute journey where progressive structures and traditional elements fully unfold, culminating in a liberating, heavy rock anthem of epic scale.
Across the record, the band move seamlessly between meditative passages and eruptive climaxes, balancing restraint and impact. Folk layers are not ornamental, but central to the band’s sonic identity, shaping the emotional weight of each composition.
Produced and recorded by Alex Karametis at Magnanimous X Studio in Greece, and mixed and mastered by Jacob Hansen at Hansen Studios, Venceremos captures clarity and depth in equal measure. With this release, VILLAGERS OF IOANNINA CITY deliver a powerful statement and a journey through darkness, defiance, and the unbreakable force of rebellion. As one of the key names in post-stoner and heavy prog rock, the band once again reinforces their place within the scene, with Venceremos standing as a defining step in their ongoing evolution.”
4,069 – Playgrounded – A Flower To Water
It may not be a masterpiece, but it’s pretty god damn close! It’s a tasty slab of post-rock/metal, prog rock, and industrial metal… yet so much more… so damn good that it gave me goosebumps in certain spots. Gonna have to go back and listen to their previous releases now: 2017’s ‘In Time With Gravity’ and 2012’s ‘Athens’ EP. This will have to be repeat listens because I know I missed a bit. Holy shit, so good… wow! The production is amazing on this thing!
From Pelagic Records: “A flower bursts into life and withers away to nothing in the blink of an eye. Sheets of glass glitter with possibility as they shatter in slow motion. A Flower to Water, the staggering third full-length album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further, welcoming the unquantifiable depths of loss, grief, and finitude into their meticulous, fractal process as friends in defiance of neglect. A Flower to Water is the product of patience, of past mistakes, of nurturing; a token of, and totem for, time consciously offered.
Hailing from Athens, Greece, but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band’s inception almost two decades ago. One of many criminally underrated creative outfits coming from Greece, Playgrounded’s immediate impact on the heavy scene is due in no small part to the formidable musical pedigree of the band’s members.
The quintet’s first release, 2012’s Athens EP, saw a musically mature band writing modern, forward-thinking prog rock that found them compared to artists as diverse as Deftones, Massive Attack, and Moderat. Years of national and international touring and opening for the likes of Riverside, Anathema, and Nine Inch Nails led to Playgrounded’s 2017 debut full-length In Time with Gravity, a document of the band reveling in full flux as they continued to dive deeper into extended compositions weaving influences from cutting-edge electronica into weighted riffs, fluid basslines, and delicate yet driving drums.
Another five years of experimentation and refinement saw the band’s sophomore album and their first release on Pelagic, 2022’s The death of Death, demonstrate Playgrounded’s mastery of their form. A profound understanding of how the myriad sonic glitches and fragments that the quintet produce can be carved, sculpted, and contorted into something so much greater than the sum of its parts; The death of Death presents Playgrounded as composers in the art of decomposition. The album was crowned Album of the Year at the 2022 Rotterdam Pop Music Awards and saw Playgrounded embark on a 36-date EU/UK Tour with labelmates The Ocean (Collective) and LLNN before bringing the cycle to a close with formidable performances at internationally renowned festivals such as ArcTanGent, Euroblast, Radar, and more.
A Flower to Water is Playgrounded’s third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema), who mixed the album at Cederberg Studios in Kristiansand, Norway, and George Tanderø (Madrugada, Satyricon, Jaga Jazzist), who mastered it in Oslo.
An ever-sharper refinement of the quintet’s inimitable process, which sees the band build splinters of noise into huge, sprawling soundscapes inspired in part by the work of experimental sound artists like German composer Orson Hentschel; A Flower to Water welcomes the emotional and physical toll of loss into the melee. Lead single ‘Counting Embers’ erupts with all of Playgrounded’s discordant distortion before abruptly folding back into itself, leaving just frontman Stavros Markonis’ growling baritone alone in your ear. From there, the song begins to rebuild itself, but slowly, tentatively, as Playgrounded incorporate the weight of silence into their sonic palette before one final, cataclysmic chorus. Second single ‘Snow’, a dreamy beat in 15/16, quietly unravels Playgrounded’s electronic introspective core, stripped of the heavy tones that usually adorn it.
This profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line, or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forevermore. In marking this absence, however, in embracing loss head-on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips, and sonics, the quintet slows time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost.”
FOR FANS OF:
Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema
Honorable Mentions (in order by “popularity”*):
7,676,774 – Beabadoobee – Pylon
Beatrice Kristi Ilejay Laus (aka Beabadoobee) is a 26-year-young Filipino-British singer-songwriter… and this is her fourth full-length! She writes beautiful tunes and has a great voice!
From amazon: “Written on the road whilst supporting the acclaimed and chart-topping ‘This Is How Tomorrow Moves’ and crafted with collaborators including Hayley Williams, Turnstile’s Brendan Yates, Chino Moreno of Deftones and Pinegrove’s Evan Stephens Hall, ‘Pylon’ touches on classic grunge, Midwest emo and ‘90s radio rock, zeroing in on a sound that is both more intense and more direct than any of her previous records.”
3,497,082 – Neil Young & The Chrome Hearts – Second Song
This release – the band’s second full-length – is superior to their 2025 debut, ‘Talkin To The Trees’. It’s really mellow, subdued… no rush, just delivering it as it comes. Throughout the years, Neil’s releases have been hit-or-miss for me. I enjoyed this one.
From amazon: ““Second Song” is the second studio album Neil Young has recorded with the band The Chrome Hearts, and the third album in total following the live album “As Time Explodes.”
“Second Song” is produced by Lou Adler and the Volume Dealers (Neil Young and Niko Bolas). Anthony LoGerfo and Manny Adler are associate producers.
The album features seven songs written by Young. Five are previously unreleased, and two are unreleased versions (“Casting Me Away From You” and “I Will Love You Forever”). The semi-acoustic album is musically related to earlier albums in Young’s catalog such as “Comes A Time” and “Prairie Wind”.”
1,917,456 – Anthrax – Cursum Perficio
It’s been a loooooong ten years since their last release, 2016’s ‘For All Kings’, and 15 since ‘Worship Music’. I was fully expecting this release to be hot fire… and was let down. I mean, yeah, it’s good. Really good! But it’s not hot fire, ya know? I was literally thinking it would take a stab at AOTW, but taint that good. 1987’s ‘Among The Living’ will always be their best release (IMO). I used to listen to these guys waaaay back in the day, and it’s good to hear how they’ve progressed throughout the years while still staying true to their thrash metal roots.
Fun fact (via the album’s wiki page): “Despite the album’s title, which is translated as “My journey has come to an end”, “My journey is over” or “I complete my journey” in Latin, the members of Anthrax have clarified that this will not be their final studio album. In March 2026, drummer Charlie Benante commented on the meaning of the album title: There was a whole idea going around about all four bands, the Big 4 bands, kind of getting to the point where, “Wow, this may be the time that this could be the last record”. And I was watching this Marilyn Monroe documentary. She has this plaque in her house, which said, “Cursum Perficio,” which means “My journey has come to an end” or “My journey is over”. And we were talking, and “What about this?”. We don’t really have to say that this is the end.”
From Nuclear Blast Records: “The kings of thrash are back! Anthrax return with “Cursum Perficio”, their first studio album in a decade, officially arriving on September 18, 2026.
Blazing a path across the band’s full sonic spectrum, the record unleashes classic thrash fury alongside powerful, melodic, song-driven moments. Ferocious riffs, sharp hooks, and unmistakable attitude prove once again why Anthrax remain one of metal’s most dynamic and enduring forces.”
1,830,460 – Beck – Ride Lonesome
Singer-songwriter Beck David Hansen (or simply just Beck) has been hit-or-miss for me throughout the years, but this was a massive hit… and a lengthy wait after 2019’s somewhat forgettable ‘Hyperspace’. He was looking to release something in the vein of 2002’s excellent ‘Sea Change’ and 2014’s (also excellent) ‘Morning Phase’ albums. If you liked/loved those dark, brooding, subdued albums, this is much more of the same… fantastico! But hey, don’t listen to me. Welcome back, maestro.
From Beck: “Beck returns with Ride Lonesome, his first album of all-new material since the GRAMMY-winning Hyperspace, arriving September 18 via Capitol Records. Harkening back to the rich, atmospheric sounds of Morning Phase and Sea Change, the album reunites Beck with musicians from those acclaimed releases. Produced by Beck and mixed by Nigel Godrich, Ride Lonesome marks a compelling return to the intimate, cinematic style that defines some of his most celebrated work.”
483,524 – Rodrigo y Gabriela – OurHome
If you haven’t heard of Rodrigo Y Gabriela by now, you MUST check them out; nearly any album works! They’re a Mexican acoustic guitar duo that plays largely instrumental compositions. They are a force to be reckoned with live, too! Special guests include pianist Hiromi (‘Akatsuki’), guitarist Yukihiro Atsumi (‘Is In Your Pocket’), and guitar God Marty Friedman on the nearly 11-minute album closer (‘Simurgh’).
From amazon: “Grammy-winning guitar duo Rodrigo y Gabriela returns to the textural fluidity of acoustic instrumentation on their new album ‘OurHome’. Self-produced in a Tokyo studio, the odyssey-like album unfolds with an otherworldly beauty achieved with guests from former Megadeth guitarist Marty Friedman to Japanese jazz pianist Hiromi. OurHome echoes all the transcendence and serenity that Rodrigo y Gabriela have routinely experienced in their journeys to Japan.”
271,069 – Bear McCreary – Outlander: Blood Of My Blood [Season 2 Original Television Series Soundtrack]
This dude is an absolute stud in the world of composing movie and series soundtracks. He shits platinum. Additionally, he plays a wide range of instruments. He is obviously incredibly talented and gifted, and this soundtrack just confirms that. I have not seen the series ‘Outlander: Blood Of My Blood’.
From Film Music Site: “Sony Music Masterworks, in partnership with Sparks & Shadows Records, has released “OUTLANDER: BLOOD OF MY BLOOD” (SEASON 2 ORIGINAL SERIES SOUNDTRACK) by Emmy® and BAFTA Award-winning composer BEAR McCREARY. Available digitally everywhere now, the album features original music composed by McCreary for the second season of the prequel series in Sony Pictures Television’s “Outlander” universe. Returning to the musical world he established in the series’ debut season, McCreary expands upon the lush, cinematic soundscape of “Outlander: Blood of my Blood,” once again drawing from Celtic instrumentation and tradition while channeling the sweeping romance and heightened stakes of the story.
The new score builds on the musical foundation of season one, for which McCreary created distinct themes for the parallel love stories of Jamie Fraser’s and Claire Beauchamp’s parents. Rooted in the sound of bagpipes, fiddle, bodhrán frame drum and other traditional instruments, those themes connected the prequel to McCreary’s long-running musical legacy for “Outlander” while giving “Outlander: Blood of my Blood” an identity entirely its own.”
183,455 – Rhiannon Giddens – Hope Is The Thing With Feathers
What a beautiful voice! She has that classic, folksy, singer-songwriter delivery (with a heavy sprinkling of bluegrass thrown in for good measure). Really nice stuff here!
From Townsend Music: “Twenty years of Rhiannon Giddens, distilled into one record. Hope Is the Thing with Feathers brings together her longtime collaborators – voices from Louisiana, the Congo, Italy, and the Carolinas – recorded live, with the room left in.”
142,055 – Seth MacFarlane – Seth MacFarlane Sings the Muppets
Why are there so many songs about rainbows… and what’s on the other side?
Y’all know Seth MacFarlane. Dude acts, produces, directs, and writes a multitude of wildly famous shows (Family Guy, American Dad!, and The Cleveland Show, to name but a few). Look him up if you don’t recognize the name because you’ll definitely recognize his work.
Anyway, he is also a huge fan of “crooner”-type Big Band music, having released several albums in this style. This album is a bit of a departure, as Seth opts to sing a bunch of tunes from The Muppet Show to celebrate its 50th anniversary… and it is fantastic! It’s probably not an album I’d reach for a whole lot, but what a voice!
Fun fact: After I listened to the album, I mentioned to the wife that I want to name our next dog Kermit. Forget Kermit the Frog, we got Kermit the Dog! I think she might be on board <fingers crossed>!
Wild fact (via Seth’s wiki page): MacFarlane gave a speech at his alma mater, the Rhode Island School of Design, on September 10, 2001; the next morning he was scheduled to return to Los Angeles on American Airlines Flight 11, one of the planes hijacked in the September 11 attacks. Due to a hangover after the previous night’s celebrations and an incorrect departure time (8:15 a.m. instead of 7:45 a.m.) from his travel agent, he arrived at Logan International Airport about ten minutes too late to board the flight, as the gates had been closed. Speaking of his experience of missing the fatal trip, MacFarlane said:
“The only reason it hasn’t really affected me as it maybe could have is I didn’t really know that I was in any danger until after it was over, so I never had that panic moment. After the fact, it was sobering, but people have a lot of close calls; you’re crossing the street, and you almost get hit by a car… This one just happened to be related to something massive. I really can’t let it affect me because I’m a comedy writer. I have to put that in the back of my head.”
From amazon: “Celebrating the 50th anniversary of The Muppet Show, Seth MacFarlane shines a spotlight on one of the most beloved and enduring songbooks in popular culture. Featuring timeless favorites from The Muppet Show, the classic Muppet films, and Sesame Street, the album reimagines these unforgettable melodies as lush orchestral jazz standards inspired by a classic era of vocal recordings.
The album features songs by acclaimed writers including Joe Raposo, Paul Williams, and Jeff Moss, with spectacular arrangements by Andrew Cottee. Conducted by John Wilson and performed by a world-class orchestra recorded at Skywalker Ranch, these songs are brought to life with the sophistication, warmth, and swing of the classic American Songbook.
Both a heartfelt tribute and a fresh musical interpretation, the album celebrates the wit, emotion, and extraordinary craftsmanship that have made the music of the Muppets resonate across generations.”
135,741 – Jesse Cook – past the breakwater
Beautiful all-instrumental (acoustic) album. Typically, his releases are more in the vein of world/flamenco-type music, but here he is more subdued and on the jazzier side of acoustic instrumentals. Really nice stuff here!
From Jesse Cook: “past the breakwater is Jesse Cook’s deeply personal, jazz-influenced exploration of space, melody, harmony, and emotion. Inspired by the quiet, immersive records he has loved throughout his life, Cook strips some arrangements down to Spanish guitar, double bass, and other carefully placed instrumentation. Much of the album was created in the solitude of a remote Canadian island, where the stillness of the landscape provided both the inspiration and the title.”
97,562 – Ozric Tentacles – Harmonic Mind
Killer instrumental prog-rock meets psychedelic / space rock meets fusion meets electronica. I dig this big time! The songs, the tones, the instruments, the production, the album artwork, up-and-down the board, top-notch!
From amazon: “Ozric Tentacles Return With Harmonic Mind – The New Studio Album And New Journey Into The Unknown. For over forty years, Ozric Tentacles have carved out a universe entirely their own. From their roots on the UK’s free festival circuit to becoming one of the defining names in experimental rock, the Ozrics have spent more than four decades charting a wonderfully offbeat course through prog, space rock, electronica, and beyond, creating an instantly recognisable musical world that has inspired generations of musicians and listeners alike. 2026 sees Ozric Tentacles continue their extensive touring schedule with a large run of Autumn/Winter shows and a number of co-headline shows alongside The Orb.”
66,407 – Jesus Jones – Twilight
I have loved the Jesus Jones hit ‘Right Here, Right Now’ for as long as I can remember – it was released on their 1991 sophomore full-length, ‘Doubt’, so 35 years. I’ve been trying to get the guys to cover it, with no takers (booooo!). Anyway, I think their other tunes are really well-written, too, including on this release. Solid British dancey alternative rock band, and this release proves that the band still has it!
From Townsend Music: “Jesus Jones return with Twilight – their eighth studio album and first new music in 8 years. From the band who gave the world “Right Here, Right Now” comes a record about ageing, legacy, doubt, and a world in flux, with the classic rock-meets-dance collision that’s always defined them.”
55,191 – SKIDS – SKIDS 1977 EP
SKIDS is a fantastic old-school band that mixes new wave with post-punk, although this release is more of a straight-up raw punk EP… clocking in at a few hairs under 20 minutes! This is not a new album, per se, but an EP that was recorded in 1977 but never released… until now!
From Rough Trade Records: “Skids 1977 brings together Skids’ first studio demo recordings, cut in October 1977 and released officially for the first time on Awrite Records. It’s a vital snapshot of the original lineup: Richard Jobson on vocals, Stuart Adamson on guitar, Bill Simpson on bass, and Tom Kellichan on drums.
These are the earliest recordings of songs written by the late Stuart Adamson of Skids, Big Country, and The Raphaels, later dubbed “Britain’s answer to Jimi Hendrix” by BBC Radio 1 legend John Peel. Raw, direct, and full of early spark, they capture Scotland’s emerging punk scene in motion.
Compiled with the full support of Skids and Stuart Adamson’s family, Skids 1977 is both a historically significant archive release and a seriously collectible piece for fans of UK punk and new wave.”
6,006 – Wendy’s – Songs To Listen To In A Wendy’s Parking Lot EP
So Wendy’s – yeah, that Wendy’s, the fast food chain – released a short 6-track, ~22- minute EP featuring some of the leaders in the emo world, including members of Memphis May Fire, Winona Fighter, Silverstein, blessthefall, State Champs, and Holy Wars. Dude, the lyrics and song titles (see below) are hilarious. Beyond that, the songs are actually super-solid!
From Wendy’s: “For years, fans have turned Wendy’s parking lots into an unexpected backdrop for documenting life’s emotional moments from the comfort of their car. So, we gave those moments a soundtrack. If you’ve been there too, songs like “Salt in the Wound” and “She Said She Didn’t Want Fries (She Lied)” may speak to your soul more than you’d expect.
With emo and pop-punk experiencing a resurgence in culture, the genre felt like the perfect backdrop for celebrating everything from Frosty treats and fries to sunrooms and late-night Wendy’s runs.
Yes, We Made a Real Emo Album
When we first came up with the idea to make an emo album, we knew we had to do the genre justice. So we partnered up with respected artists from across the emo community, resulting in a soundtrack made by real musicians, not generated by AI, and a high-quality production that stays true to the genre.
That team of artists includes multi-platinum producer and songwriter Matt Squire – whose credits include Panic! at the Disco, 3oh!3, All Time Low, Simple Plan, and Sum 41 – along with a lineup of artists who know exactly how to turn heartbreak, nostalgia, and existential dread into a catchy chorus.
Featuring Matty Mullins of Memphis May Fire and Anberlin, Chloe Kinnon of Winona Fighter, Shane Told of Silverstein, Beau Bokan of Blessthefall, Derek DiScanio of State Champs, and Kat Leon of Holy Wars, this album pairs surprisingly well with a Wendy’s combo and a dramatic stare out the front windshield.
“Emo has always been about the small moments that feel huge. A younger generation is discovering that now, and the older fans never stopped feeling it,” said Executive Producer Matt Squire. “Enjoying a Wendy’s Frosty in a parking lot might sound like a small moment, but everybody’s had a night where that was the only thing that went right.”
The album turns Wendy’s food into feelings. Brand truths become confessions, with lyrics like “Always Fresh, Never Frozen,” “Square Burgers Saved My Soul,” and “It’s Not a Phase, It’s a 10PC.” Fan rituals are expressed through lines like “Great Together, Like Frosty & Fries,” “Dipped Fries, A Salty Sweet Goodbye,” and “My Frosty’s Funeral.”
There’s some edge too, because emo has never been polite about it, with lines like “Redheads Treat You Better” and “No Happy in Your Meal Anymore.” And some lyrics hit home whether you’re an emo fan or not: “She Said She Didn’t Want Fries, She Lied” and “Frosty Cup Is Empty, I’m Barely Hanging On.”
The six-track album includes:
– “She Said She Didn’t Want Fries” featuring Matty Mullins
– “Salt in the Wound” featuring Chloe Kinnon
– “I Miss the Sunroom” featuring Shane Told
– “The Best Combo Meal on the Worst Night of My Life” featuring Beau Bokan
– “It’s Not a Phase, It’s a 10PC” featuring Derek DiScanio
– “My Frosty’s Funeral” featuring Kat Leon
Not Our First Mic Drop
Longtime Wendy’s fans may remember We Beefin’?, Wendy’s 2018 hip-hop mixtape that proved we take our music experiments as seriously as we take our Hot n’ Crispy Fries.
Songs to Listen to in a Wendy’s Parking Lot picks up where that project left off, trading hard beats for emo confessions. This time, Wendy’s is leaning into the ache of six strings with songs like “I Miss the Sunroom,” a track made for emo music lovers who still want every chorus to hit like a late-night confession.”
5,379 – The Spacelords – Uranus Omnibus Sanctus
Been listening to this fantastic German trio for a few years now. This is simply a phenomenal all-instrumental psychedelic / stoner / space rock album, really, really dug this release!!
From Tonzonen Records: “URANUS OMNIBUS SANCTUS marks the ninth studio album from the three lords of space rock. It features four brand-new songs, delivered with immense power and stylistic variety.
The journey to complete this rich-sounding production took the core crew of this “stoner orbiter”—Matthias “HAZI” Wettstein, Marcus “MUDGE” Schnitzler, and Ekhard “AKEE” Kazmaier—through a veritable asteroid belt of personal setbacks and near-catastrophic technical issues.
Navigating these challenges demanded the utmost in survival instinct, perseverance, friendship, creativity, and technical finesse. Yet, as is often the case, the more difficult the circumstances, the more remarkable the result. URANUS OMNIBUS SANCTUS is undoubtedly an outstanding album and another milestone in the band’s history.”
5,333 – Gyasi – Songs From the Holler
Gyasi – pronounced “Jah-See” – is a glam rock band, fronted by Gyasi Heus. I said this about 2025’s ‘Here Comes The Good Part’: “I love me a good glam rock album, but this is wiiiiiiide right, a total miss.”
However, here he drops all of that and writes/records an album of just acoustic guitar and voice with two mics. It is incredible! I love hearing the background noise that the mics pick up. Gives it a real old-school sound/feel. Stick in this lane, Gyasi!
From amazon: “Gyasi does something unexpected with “Songs From The Holler” – he trades his signature high-voltage rock n’ roll for the humble sounds of home. Born and raised in the rugged hills of a West Virginia holler, Gyasi returns to his roots and the solitary mountains of his youth, celebrating the music he first encountered as a child by recording a vibrant folk-blues album.
Neatly captured in the wild with just two microphones, the songs on “Songs From The Holler” feel authentic and heartfelt. The album blends familiar classics and forgotten gems with four original tracks, highlighting Gyasi’s tasteful guitar work and his genuine connection to this music. “Songs From The Holler” is an artful oddity whose sounds will carry you back to a world long past.”
4,418 – Violation – Underground Metal Vault: Chapter 1: The Anthology – Violation
The Underground Metal Vault is open, and this is Chapter 1: Violation!
Violation was a Bay Area metal band in the late ’70s/early ’80s, but never got much recognition outside of their local circle. As I was listening, I was thinking, “Man, this sounds a little bit like UFO [a band I love!], but unpolished and raw.” Lo and behold, they used to cover UFO songs (along with AC/DC, Thin Lizzy, and Blue Oyster Cult, among others). Ah, there it is!
So yeah, think early, rough – almost demo-ish-sounding – heavy fucking metal. This probably won’t be something I listen to again, but it was great for a single listen, at least. Plus, I love that this is only Chapter 1… we’re going to get additional underground metal albums in the future from bands that made some noise… but not a ton of noise.
From their bandcamp page: “First Chapter in a whole new Ripple series of 12” vinyl and CD releases, The Underground Metal Vault. This series will shed some light on many of the unheralded metal upstart bands that hit the world near the end of the ’70s and the early ’80s. Inspired by the raw energy of NWOBHM and the resurging popularity of bands like Judas Priest, the Scorpions, and Van Halen, hundreds of hungry metal musicians set out to conquer their corner of the world, producing some of the most energetic, raw, heavy metal ever heard.
Not signed to major labels, these bands never had big budgets for recording or producing, never had a big label push, or big PR, but were just as deserving. So let’s bring them back!
Starting off the series is a Bay Area legendary metal band, Violation. Formed in the late ’70s, they gigged hard throughout the Bay Area, eventually catching the ears of Leonard Haze of Y&T, who then produced 3 songs for their self-released 2-song single, Meet Me At Midnight. Leonard Haze pounded the drums on the B-side Balls Out. Then came a song placement on Shrapnel Records US Metal vol 3, and Mike Varney became a huge fan.
Now, we’re collecting all their recorded output, including songs only ever released on a demo cassette, to bring you the complete Anthology.
Welcome to the Underground Metal Vault
Violation was formed in the late ’70s by longtime friends Paul Harris and Perry Fotos in Livermore, California, a small town on the eastern edge of the San Francisco Bay Area. They were later joined by Brian Khoury, a bassist in a local Top 40 band, and drummer Mike Pavlick.
The band began honing their sound while rehearsing in Galaxy Records, a downtown Livermore record store owned and operated by the Khoury Family. Even though the band would have to wait until after hours to begin, this was the perfect location for rehearsals; they could play as loud and long as they wanted without any interruptions.
Violation was a cover band in the early days, playing songs by UFO, AC/DC, Thin Lizzy, and Blue Oyster Cult at local house parties, halls, and high schools. The band’s version of UFO’s “Rock Bottom” was classic. Harris nailed the guitar solo flawlessly, note for note, and it became a huge crowd-pleaser.
Unsatisfied with playing cover songs, the band began working on original material. Several of those are featured in this collection, including “Hot Fire,” a fan favorite featuring Harris’s catchy opening harmonics, and the power ballad “Coming After You”, which closed many shows. Harris and Fotos wrote songs with solid melodic vocal hooks and guitar solos so melodic you could sing the melodies of all of Harris’s guitar work.
At this time, the band started to gig throughout the San Francisco Bay Area. Playing at the Keystone in Berkeley and Palo Alto, and The Stone in San Francisco, where they shared the stage with Mötley Crüe, Metallica, Quiet Riot, Aerosmith’s Joe Perry Project, Aldo Nova, Vandenberg, Y&T, Carmine Appice & The Rockers, Yngwie Malmsteen, Steppenwolf’s John Kay, and Randy Hansen. Eventually, the band would headline these clubs, including The Old Waldorf in San Francisco and the venerable Whisky a Go Go on the Sunset Strip in Hollywood, CA.
In 1982, shortly after the departure of drummer Mike Pavlick, the remaining members of Violation went into the studio to record three original songs, “Meet Me at Midnight,” “Balls Out,” and “Goin’ Down Fightin”’ with an uncredited Leonard Haze of Y&T manning the drums.
The resulting 7” single of “Meet Me at Midnight” b/w “Balls Out,” released on Violation’s own VIR Records, sold well in the San Francisco Bay Area, in addition to Europe, thanks to a positive review in Kerrang! Magazine. More copies were sent overseas, and soon the record was #1 on the charts in Kerrang!
Following the success of “Meet Me at Midnight” and the addition of drummer Don “Rocket” Stephenson, Mike Varney of Shrapnel Records asked Violation to appear on US Metal, Vol. 3, the third in a series of albums featuring the greatest unsung metal guitarists. With “Rocket” now on drums, Violation headed across the Bay to the Music Annex in Menlo Park, CA, to record a new version of “Gonna Get to You” for the album. The track featured Harris’s blazing guitar work and a new band member, Tim Hall, on lead vocals.
Soon after the album’s release, Hall left the band, and Violation disbanded in 1983.”
4,333 – Carlton Melton – Reason Beings
If you need to tune out for a bit, look no further than this all-instrumental psychedelic-space rock meets ambient-soundtrack-post-rock release… a perfect album to zone out to, aaaahhh…
From amazon: “Time to turn on and turn it up, there’s a brand new Carlton Melton in the offing… It’s been a good couple of years since the West Coast space/psych travelers have dropped new music.
‘Phantomize beyond the window, into the portal, the panes of eternal returns, wooden spirals, roots into the realms of everything and nothing, the reason beings’.
With Anthony Taibi fully ensconced in the metaphorical Melton Dome, this four-piece is ready to soar, go deeper and wider into the psyche than on previous recordings, now fully recording live with drums, bass, guitars, and keys – recorded at 3D Light in Freshwater, CA by Anthony Tiabi in 2025, and mastered by the inimitable John McBain in 2026.
We have a single LP of 40+ minutes spanning 4 tracks that have textures and waves and patterns to lull you into some fever dream of motorik psych! Touchstones like Träd, Gräs Och Stenar / Kandodo / Guru Guru / Eno & Fripp / Birds of Maya / Parson Sound come into view.
There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock-inspired jams that have form and focus – you blink and your life flashes before you, the record ends, you want more.
Carlton Melton masterfully blend hypnotic, long-form psychedelic jams with drone and Krautrock influences.”
3,454 – Seedy Jeezus – Tranquonauts III
Seedy Jeezus are guitarist/vocalist Lex Waterreus, drummer Mark Sibson, bassist Paul Crick, and featuring guests Isaiah Mitchell (on vox/guitar; Earthless) and Tony Reed (on vox/guitar; Mos Generator). This won’t be for everyone, but I fully enjoyed this trippy psychedelic-stoner rock album. There are some vocals, but for the most part, it is just intense musicians simply jamming as if their lives depend on it, including a cover of UFO’s ‘Space Child’!
From Fat City Sides Records: “On Tranquonauts III, the spirit continues – bolder, stranger and more expansive.
The new album contains four expansive 9-10 minute compositions, each revealing a different facet of the group’s boundary-pushing vision:
‘All Rise’ – A crushing descent into heavy riffage, balancing volcanic weight with exploratory improvisation.
‘Space Child’ – A radical reinterpretation of Space Child, the 1970s classic by UFO – transformed through the Tranquonauts prism into a cosmic voyage all its own.
‘Broken Star’ – A surprising turn toward traditional rock/pop songcraft, where melody and classic songwriting instincts meet psychedelic colour.
‘Sigurnova S()’ – An Icelandic post-rock-inspired piece, unfolding in slow-burning crescendos, glacial textures and widescreen emotional atmosphere.
While rooted in the exploratory energy of II, the new record pushes further into dynamic contrast, deeper collective interplay, and a broader emotional and sonic range. The result is perhaps the most stylistically adventurous Tranquonauts release yet, moving effortlessly from crushing heaviness to melodic classicism, from meditative post-rock drift to outer-space reinterpretation.
Where II opened portals, III steps through them.
A MEETING OF DISTINCT VOICES
The chemistry at the core of Tranquonauts remains singular.
Seedy Jeezus bring the restless experimentalism and psychedelic intensity that has defined their celebrated body of work.
Isaiah Mitchell, revered for his transcendent lead work in Earthless, contributes his unmistakable melodic fire and improvisational reach.
Tony Reed, one of underground heavy psych’s most respected architects, brings production depth, compositional sophistication, and sonic daring that help shape the project’s wide-screen vision.
Together, they create something none would make alone.
NOT A SIDE PROJECT – A COSMIC COLLABORATION
What began as an exploratory collaboration has evolved into a fully realized creative force.
Tranquonauts is not about escaping their primary bands, but expanding beyond them.
It is a shared laboratory where krautrock hypnosis, progressive complexity, heavy psych improvisation, and cosmic curiosity are allowed full expression.
And with III, that mission reaches a new peak.”
2,811 – Stinking Lizaveta – Cassandra, Prophet Of Doom
“Well, isn’t that interesting?” – Dana Carvey as The Church Lady on SNL.
Yup, these West Philly stinkers play a pretty interesting concoction of all-instrumental prog-doom meets psychedelic/stoner metal…and there’s upright electric bass on the entire thing, what?! Rad! Will continue to keep my eyes and ears peeled for future releases.
From their bandcamp page: “Cassandra, Prophet of Doom is the 10th full-length release from Philadelphia’s instrumental progressive doom band, Stinking Lizaveta.
Stinking Lizaveta was forged in the 90s in the basements of West Philly. Yanni Papadopoulos (guitar), Alexi Papadopoulos (upright electric bass), and Cheshire Agusta (drums) have produced ten full-length albums and are road dogs of rock in the US, UK, and EU. For over 30 years they have been playing every show like it’s their first and last.”
2,541 – Bees Made Honey In The Vein Tree – In Between Strides
BMHITVT play a beautiful mix of psychedelic rock, desert rock, and stoner rock teased with a lil shoegaze for good measure… It’s one tasty ride! Great stuff!
From their bandcamp page: “When German four-piece BEES MADE HONEY IN THE VEIN TREE began to find their bearings on where to go next from the success of their previous full-length, “Aion” (2023), the core idea for the fourth album, “In Between Strides”, was to take a more melodic approach. All else, they would leave to the creative process and somewhat to chance.
BEES MADE HONEY recorded every other song on “In Between Strides” in various settings that were available to them at the time of creation: a cavernous cellar, a concert stage, an indoor balcony, a living room, their rehearsal space, even returning to the studio where their first album “Medicine” was tracked. Through this spontaneous and shifting approach, BEES MADE HONEY began to move texturally and stylistically from ambient and drone toward shoegaze along with more acoustic elements.
According to their original plan, “In Between Strides” stepped into more melodic territory, with each song representing a different aspect of the band’s musical vocabulary.
BEES MADE HONEY IN THE VEIN TREE originate from the Swabian capital and German city of Stuttgart. All four members grew up together, eventually forming the band in 2014. Their musical template of ambient psychedelic doom was established with the debut album “Medicine” in 2017, and their sound has continued to evolve ever since.
With “In Between Strides”, BEES MADE HONEY have turned rage into reflection by developing a more organic and spontaneous approach to their songs, opening up wide spaces and letting the melodies flow freely. This musical honey tastes simply delicious.”
2,083 – Saturna – Light And Shadow
OMG, so much groove! It’s a killer blend of classic ’70s hard rock peppered in with a little bit of psychedelic rock and spacey desert rock. That album artwork is pretty trippy, too –climb aboard the ship and let’s take off! This band got their humble beginnings in Barcelona, Spain, back in 2010, yet this is my introduction to them. For shame!
From their bandcamp page: “‘Light and Shadow’ lives in the tension between opposing forces.
Across nine songs, Saturna move between weight and space, clarity and confusion, restraint and release. Heavy riffs collide with expansive textures, melodic passages emerge from moments of raw intensity, and songs constantly shift between light and darkness without settling comfortably in either.
Rather than following a single path, the album embraces contradiction. Some songs push forward with purpose and momentum, while others drift, unfold slowly and linger in the distance. Together, they form a body of work shaped by contrasts, where strength and vulnerability exist side by side.
‘Light and Shadow’ captures Saturna at their most expansive and expressive, exploring familiar ground from new angles while remaining rooted in the sound that has defined them for more than a decade.”
943 – Wesley Stace – One Last Heist
Wesley Stace is an English singer-songwriter who writes great tunes and has a fantastic voice… plus, how about those lyrics (especially on the final two songs, ‘Thoughts and Prayers’ and ‘Hello Dead Horse’), wow?! The songs mostly live in the folk genre, but I also heard a little jazz and even bossa nova!
The album opens, though, with the title track, ‘One Last Heist’. It alludes to the fact that this might be his last album, his swan song… one last heist, if you will. I hope not because he’s only 60 years old. C’mon, man, give us another couple of albums!
Fun fact: Wesley Stace has used the stage name John Wesley Harding for years, but opted for his legal name with this release. Another fun fact: John Wesley Harding is also the title of Bob Dylan’s eighth studio album.
From amazon: “One Last Heist marks the Pravda Records debut of acclaimed singer-songwriter Wesley Stace, also known to many listeners as John Wesley Harding. Over a remarkable career, Stace has shared stages with artists including Lou Reed, Rosanne Cash, Iggy Pop, John Prine, and Bruce Springsteen, while appearing on major television programs and contributing songs to film and television productions including High Fidelity and Transparent. Beyond music, he is an internationally bestselling novelist, respected literary journalist, educator, and creator of New York City’s celebrated Cabinet of Wonders performance series.
Drawing upon decades of songwriting experience, One Last Heist presents eleven new compositions that blend intelligent lyricism, melodic craftsmanship, and Stace’s trademark wit. The album reflects the maturity of an artist whose work spans folk, pop, indie rock, and singer-songwriter traditions while maintaining the literary sophistication that has defined his entire career.
One Last Heist offers another compelling chapter in Wesley Stace’s distinguished catalog, combining thoughtful songwriting with the seasoned perspective of one of contemporary music’s most accomplished storytellers.”
939 – SUBMASQ – Spirit Animal
SUBMASQ is an Israeli prog-metal band. I only became aware of SUBMASQ (formerly Subterranean Masquerade) with their ‘Oedipus’ EP, released earlier in the year, but am looking forward to hearing more! Ron ‘Bumblefoot’ Thal plays a guitar solo on the opening track, ‘Cardamom’.
From their bandcamp page: “Israeli progressive metal and ethno-rock band, SUBMASQ (formerly known as Subterranean Masquerade) will make its Willowtip debut with the September 18 release of its seventh full-length album, Spirit Animal.
SUBMASQ’s new album is an autobiographical journey through trauma, addiction, bipolar disorder, and collective memory. At its core lies a constant search for identity and belonging, expressed through nine new songs that embrace bold, accessible songwriting while seamlessly blending ethnic instruments with forward-thinking progressive rock. The album also features a special guest appearance by Ron “Bumblefoot” Thal.”
671 – hijss – hijss
Wow! What a difference two years makes. I was lukewarm with their full-length debut, 2024’s ‘Stuck On Common Ground’, calling it a ‘tweener release, but I am fully in now! It’s a really unusual album with elements of heavy psychedelic blues fused with krautrock and just a pinch of punk. A couple of tracks didn’t work for me, but as a whole, it is a band that plays unique music, and I am looking forward to what they come up with in the future!
From Heavy Psych Sounds Records: “Two years after their debut, hijss are back with a self-titled second album. Synth-punk crashes headfirst into industrial krautrock and no wave. Throbbing basslines, blown-out fuzz guitars, and relentless drums drive the whole thing forward without mercy — topped off with synth arpeggios to make sure you won’t stand still. The record was produced, engineered, and mastered by Maurizio Baggio, mixed by Paolo Canaglia.”
323 – Pete Roth Trio – Group Chat [Live]
Yeah, I thought I might like this, and I did… but I didn’t love it. It’s a jazz album featuring guitarist Pete Roth. But, for me, the magic is in the rhythm section: drummer Bill Bruford and bassist Mike Pratt. They lay down some hella groovy, stanky funk, oh yeah! Make no mistake, though; it IS a jazz album, with forays into the dark underbelly of funk. I won’t be listening to this again, but I thought it was good enough for a listen… and to continue following for future releases.
From Burning Shed: “Group Chat (2026) features German-born guitarist Pete Roth alongside legendary drummer Bill Bruford (Yes, King Crimson) and bassist Mike Pratt. The album documents Bruford’s eagerly awaited return to headline performance after a 13-year hiatus, and is BB’s first new material for 19 years.” “The audience might have been predominantly prog aficionados, but they left as jazz fans.” – Darren Walker, The Progressive Aspect
Missed the Cut (in order by “popularity”*):
28,701,050 – MILEY – Bass Persuades
I’ve got no shame. I love me some good pop-princess stuff from time to time: P!nk, Kelly Clarkson, Avril Lavigne, et al. This also includes Miley Cyrus. Unfortunately, while I love her voice, the tunes aren’t always my favorite. Same thing with this release. Fun fact: No longer Miley Cyrus, she’s simply going with a mononym – MILEY.
1,908,504 – Chaka Khan – Chakzilla
The inimitable Yvette Marie Stevens (bka Chaka Khan and/or “The Queen Of Funk”) returns with a new album, her first in seven years, and only her second in 20 years. I certainly was a fan of hers back in the day, but I believe her best days are behind her. Not really funky at all, this is more of a dance-pop album, unfortunately. But, hey, I love that she’s still kickin’ ass at 73 years young! And I also like the album’s positive, uplifting themes (read ahead).
From Chaka Khan: “”This album is about joy. It’s about freedom. It’s about loving yourself, loving each other, and finding your power no matter where you are in life. I’ve lived a lot of life since my last record, and I wanted these songs to celebrate that. This music is about being human, feelin’ good, and stepping into our power.””
From amazon: “The highly anticipated return of global music icon Chaka Khan is here, with her first new music in over seven years! With a 10-track album produced by Greg Kurstin and co-written by Sia, Chakzilla is an impactful statement from an artist celebrating a landmark year, fresh off a GRAMMY Lifetime Achievement Award and Rock & Roll Hall of Fame induction.”
1,120,606 – Echo & The Bunnymen – Apples For Isaac
I totally respect Echo and the Bunnymen. They’ve been around for-seemingly-ever (1978) and have quite the following, even to this day, still releasing new albums every few years. That said, it’s been quite the gap since their last release, 2014’s ‘Meteorites’. Over the years, they’ve become more “rock” and less “new wave”, and it suits them well. Is this something I’ll listen to again? Eh, probably not, but it’s not bad… RIP Clem Burke :-(
From amazon: “Apples For Isaac is a monumental return from Echo & The Bunnymen, their first album of newly written songs in over a decade. After years spent performing their immense catalog of classics to audiences around the world, the Bunnymen have recorded an album that is as bold as it is vulnerable, that perfectly captures the essence of what makes the Bunnymen so great.
From the first few moments of opener “Take Me By The Hand,” it’s apparent that the band have lost none of the urgency of their early work. The lead single, “Brussels Is Haunted,” is emblematic of the band’s proud legacy, with a life-affirming chorus worthy of one of post-punk’s forefathers.”
All but one of the tracks also features the late drummer Clem Burke, who sadly passed away during its creation: “The mighty, legendary Clem Burke – longtime friend of Mac – was integral to the making of the album and heartbreakingly passed away during its completion. love you Clem X.”
981,864 – Agnes Obel – The Meaning Of Flowers
Agnes is a Danish singer-songwriter. She plays somewhat avant-garde / experimental piano-driven chamber pop meets new age. In other words, they typically miss the mark for me, and that was the case here as well, although I like the album’s themes (see ahead).
From Townsend Music: “Agnes Obel, the Danish-born, Berlin-based singer-songwriter, multi-instrumentalist and producer, returns with her highly anticipated new album, The Meaning of Flowers. Inspired by the birth of her first child, Obel explores themes of natality, interconnectedness and metamorphosis, reflecting on how new life reshapes the body, the mind and one’s relationship to the wider world.”
354,829 – Son Lux – Out Into
Good Lord, what did I just listen to?! It’s artsy-fartsy, avant-garde, experimental electronic rock meets post-rock… and it is horrible. Let’s nominate this album as worst of the year… we’re up to, what, 8-9, so far this year…? Passssssss.
From amazon: “Son Lux returns with Out Into, their first studio album since being nominated for two Oscars and a BAFTA for their work on A24’s Everything Everywhere All at Once and scoring Marvel’s Thunderbolts.
Propulsive, urgent, raw, and vulnerable, the album strives to question assumptions about how music is made and construct their own from a molecular level, cultivating a musical language rooted in curiosity and balancing opposites.
Over two decades, the band has released numerous recordings marked by raw emotional intimacy and meticulous electronic constructions. They have performed at major venues and festivals globally, and will embark on a world tour supporting the new album.”
350,065 – Roger Taylor – Violence Insane In A Beautiful World
The drummer of Queen goes solo with his first release in five years and… it’s not really “bad”, per se, but not an album I’ll reach for again, either. Kudos to Roger for playing / singing / producing the entire thing! Love that he’s still cranking out albums at 77 – dude, yes! This release includes a cover of John Lennon’s ‘Jealous Guy’.
From amazon: “Violence Insane in a Beautiful World is the brand-new studio album from Roger Taylor, legendary Queen songwriter, musician & singer. Roger wrote (with the exception of an exquisite cover of ‘Jealous Guy,’ which he describes as “one of the greatest ballads ever written”), produced, sang, and performed all the songs on the album himself. Violence Insane in a Beautiful World is Roger Taylor’s seventh album in a solo career stretching back to 1977 and is his first since 2021’s critically and fan-acclaimed top 3 album Outsider.”
69,927 – Branford Marsalis Quartet and Dianne Reeves – Dedicated To You
Talented musicians paying tribute to jazz legend John Coltrane. Unfortunately, I was bored to tears…
From amazon: “Branford Marsalis pays tribute to John Coltrane in celebration of the jazz legend’s centennial with Dedicated to You, a remarkable album that features the acclaimed saxophonist and his quartet of pianist Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner collaborating with the great vocalist Dianne Reeves.
Together they offer stunning new renditions of the six standards that appeared on the 1963 Impulse album John Coltrane and Johnny Hartman, as well as additional instrumental performances of compositions from Coltrane’s canon, to create an exquisite homage.”
41,587 – Kristin Hersh – Sugar on Blackstone
Kristin Hersh cut her teeth with Throwing Muses, but she has also been solo for over three decades now. I was never particularly fond of Throwing Muses, and I’m not really thrilled with Kristin’s solo output, either. I don’t care for the songs, nor her voice. That said, I do like the album description (read ahead):
From amazon: “A darker yet delicately rendered work from Kristin Hersh, Sugar On Blackstone explores life and death, enrichment and poverty, and the small but defining moments of childhood that continue to echo through adult life. Deeply personal and emotionally expansive, the album reflects on the lasting bonds between musicians, family and friends, and the way certain sounds, places and memories can suddenly bring someone vividly back into focus.
Recorded at Stable Sound Studios earlier this year, Hersh is joined by longtime collaborators Rob Ahlers (50FOOTWAVE) on drums and cellist Pete Harvey (Throwing Muses). The result is a stark yet warm collection of songs that balances fragility with force, intimacy with tension.
Rooted in Providence, Rhode Island, Sugar On Blackstone draws heavily from Hersh’s reflections on home, displacement, and memory. Revisiting the streets and parks of her childhood, the record traces the emotional weight of returning to familiar places shaped by grief, survival, and resilience. The album’s title references Blackstone Boulevard and Hope Street in Providence, locations that become symbolic throughout the record of both loss and endurance.
Written in the aftermath of personal tragedy and against the backdrop of constant travel, wildfires, and restless movement across America, the album carries an unsettled atmosphere throughout. Yet within that darkness, Hersh finds moments of tenderness and connection.
A poignant and expansive record that radiates strength in vulnerability, Sugar On Blackstone stands as another essential entry in Kristin Hersh’s acclaimed and ever-evolving body of work.”
9,159 – Early Moods – Ready For The Grave
Just like previous Early Moods releases, this is another doom metal album with a few crushing riffs here and there, but overall I was underwhelmed. While I may not be in love with it, I do like it better than their earlier albums. I’ll keep my eyes on ’em, but will continue to keep my expectations tempered.
From amazon: “Elements of the past, present, and future coalesce within the spell cast by Early Moods. The Los Angeles band channel the sludge-born spirits of seminal doom metal and beckon them to attack even faster with a jolt of NWOBHM guitar-craft and a twist of thrash attitude.
The quintet – Alberto Alcaraz [vocals, keys], Oscar Hernandez [guitar], Eddie Andrade [guitar], Elix Felciano [bass], and Chris Flores [drums] – transfix with otherworldly transmissions of cosmic and catchy heaviness. “Our sound is more honed,” notes Elix. “We’ve found our identity. I think it takes a couple of albums for most bands. This record isn’t too far removed from what we’ve done in the past, but the songwriting has certainly matured. You can hear the chemistry. You can feel the mood changes in specific songs and all of the dynamics. It’s really alive.”
Originally formed by Alberto and Eddie, the musicians unlocked an uncanny balance between heavy and hypnotic on the self-titled Early Moods in 2022. The sound further crystallized on A Sinner’s Past [2024].
Along the way, they incited the applause of Angry Metal Guy, The Obelisk, and more. Hitting the road, the group shared stages with the likes of High On Fire, Candlemass, Pentagram, Coven, Lucifer, Pagan Altar, and more, in addition to joining the bill of Desertfest. During 2026, they recorded Ready For The Grave at Cyan Sound Studio with producer Toshi Kasai [Melvins, Tool]. He invariably inspired them to level up.
Ultimately, Early Moods deliver a body of work befitting of their energy on stage. It’s powerful enough you’ll feel like they’re in the room with you.”
4,965 – King Falcon – BLOOM EP
Uh, what happened? I said this about their last release, 2023’s self-titled album: “Excellent garage rock trio outta Queens, New York! Solid four-on-the-floor jams on this band’s debut full-length, I am digging it!”
This release had a couple of bangin’ tracks, but overall it was a letdown following their S/T album. It’s six songs and has a run time of 21:26, so I didn’t suffer for too long.
From Eric Alper: “King Falcon’s BLOOM is a six-track EP that expands the New York trio’s guitar-driven alternative-rock sound with new sonic textures, introspective songwriting and a broader stylistic palette.
Described by frontman Michael Rubin as a bridge between the band’s 2023 debut and their forthcoming 2027 material, the EP represents a new, independent chapter for the band while retaining the anthemic choruses, searing guitars and high-energy rock foundation of their earlier work.”
2,942 – BEAR – Anhedonia EP
Another release off the Pelagic Records label. I’m typically pleased with bands on their roster, but am not particularly thrilled with (DA) BEAR’s latest hardcore delivery, ‘Anhedonia’. There are some cool parts, but they are, unfortunately, few and far between. Fortunately, it’s only five songs and has a run time of 19:07. Not so fun fact: Anhedonia means “The inability to feel pleasure or take interest in activities that you used to enjoy.”
From Pelagic Records: “With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance.
Musically, Anhedonia represents a sharpened evolution of BEAR’s already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned.
Guitarist Falck architects the band’s sonic framework with jagged, rhythmically intricate riffs that shift between dissonant abrasion and unexpectedly melodic phrasing. His playing favors tension: angular patterns, syncopated chugs, and textural layering. Drummer Carriere is the kinetic engine: explosive but controlled, moving fluidly through polyrhythms, off-kilter accents, and sudden dynamics that feel physical and instinctive, giving BEAR’s complexity a human pulse. Verhaert’s bass acts as both glue and weapon, locking tightly with the drums while adding weight and depth to the harmonic dissonance. Over this mayhem are Maarten’s vocals, feral and commanding, shifting from throat-ripping roars to urgent, rhythm-driven phrasing that cuts through the density with clarity.”
989 – Don Jamieson – Comedy Is Killing Me
Former co-host of VH1’s ‘That Metal Show’ also does stand-up comedy. I smiled a few times, but as a whole, there is much better stand-up comedy out there.
From My Comedy Store: “Don Jamieson’s Comedy Is Killing Me is an edgy, unfiltered stand-up special recorded at Duff’s Brooklyn.
The veteran comedian covers getting older, relationships, pets, his history of canceled television shows, and absurd takes on politics and pop culture.
Conceived as a tribute to Type O Negative’s Life Is Killing Me, the special carries a heavy metal theme throughout, including its recording location, artwork, and theatrical finale.”
669 – Dragonflies – Dragonflies
Dragonflies is a new band featuring Dhani Harrison (guitar, vocals) and Nigel Godrich (bass, guitar, production), along with several contributors. Dhani, of course, is George Harrison’s son. Nigel has produced nearly every Radiohead album. I could totally see people getting into this album, but not me. To me, it sounded like yet another latter-year Radiohead album. I love that band’s first three releases, but nothing after that <shrug>.
From amazon: “Dragonflies is the self-titled debut album from Dhani Harrison & Nigel Godrich on Dark Horse Records.
Dhani is a 2-time Grammy Award-winning musician, composer, and producer. First emerging on the global stage with his band thenewno2, Harrison has since established himself as a distinctive solo artist. His 2017 debut solo album, IN///PARALLEL, marked a bold creative evolution, followed by the critically acclaimed INNERSTANDING.
Nigel Godrich is one of the most celebrated producers and recording engineers, best known for his decades-long creative partnership with Radiohead. Beginning his work with the band in 1994, he has produced every Radiohead studio album since OK Computer (1997), helping define one of modern music’s most influential catalogs. Together, Dragonflies brings their decades of songwriting, production, and cinematic composition into a singular new collaborative project.”
Addendum (in order by “popularity”*) – Albums that were released earlier in the year (or previous years) that I missed, but are worth mentioning, anyhow:
None.
On the List (in order by “popularity”*) – Albums that I didn’t get to (yet) for one reason or another. Will (hopefully) get to them at a later date:
Only listing ones that made me take notice, not everything…
12,730,306 – David Bowie – The Shel Talmy Recordings
From amazon: “The Shel Talmy Recordings is a new compilation bringing together the most complete collection of tracks recorded in 1965 by a young David Bowie (then Davie Jones) and legendary ’60s producer Shel Talmy.
The album features ten previously unheard tracks, with contributions from legendary Yardbirds and Led Zeppelin guitarist Jimmy Page, and Nicky Hopkins, celebrated piano player for The Rolling Stones, The Beatles, The Who and Jeff Beck.
Including previously unheard compositions and alternative takes as well as tracks such as ‘You’ve Got A Habit Of Leaving’ and ‘Baby Loves That Way’, originally released as singles on Parlophone, that Bowie would return to later in his career, re-recording them with his Glastonbury band for the album ‘TOY’, which would finally be released in 2021.”
8,213,532 – Phil Collins – Face Value (Full Value) [45th Anniversary Box Set – 1981] (4 LPs)
From Rhino Records: “Released in 1981, FACE VALUE transformed Phil Collins from the drummer of Genesis into a global solo phenomenon. The album is an intensely personal piece of work written around the time of his divorce from his first wife. Rather than opting for pure pop escapism, Collins leaned into raw vulnerability, expertly blending elements of soul, art-pop, and R&B into a cohesive, personal masterpiece.
The record is perhaps most famous for its revolutionary production, specifically the “gated reverb” drum sound that went on to define the sonic aesthetic of the 1980s. This is best heard on the centerpiece, “In the Air Tonight,” which remains the most celebrated drum fill in rock history.
Collins showcased remarkable range by incorporating the Phenix Horns (of Earth, Wind & Fire) to bring a vibrant funk influence to tracks like “I Missed Again.” This genre-bending approach allowed him to balance the minimalist folk of “The Roof Is Leaking” with an experimental cover of The Beatles’ “Tomorrow Never Knows.” Ultimately, Face Value didn’t just launch a solo career; it proved that a “divorce record” could be both deeply avant-garde and commercially massive.”
The album will be the next of Phil’s solo records to be released as a deluxe vinyl boxed set, featuring highlights such as:
– A brand-new interview with Phil talking about the album
– Rare, stripped-back performances of “In The Air Tonight” and “The Roof Is Leaking” from The Other Secret Policeman’s Ball featuring Phil and guitarist Daryl Stuermer
– Two previously unreleased live performances from Perkins Palace in 1982 and Irvine Meadows in 1985
– An unreleased outtake of Phil’s experimental cover of The Beatles’ “Tomorrow Never Knows”
– A previously unreleased full version of “Over The Rainbow,” of which there is an excerpt at the end of the original album
5,366,892 – Carly Rae Jepsen – Day And Night (2 CDs)
From Townsend Music: “Carly Rae Jepsen returns with a new double album Day and Night on September 18th. Across 24 songs, the record dreams up a world lavish enough to hold the full expanse of her identity.
The lead single “On Wires” surges with urgency, capturing the dizzying pull of desire. “It’s about wanting someone so badly you can barely get through the motions of a night out,” she says. “It’s a real ‘come hither’ song, but the chorus is just me repeating ‘I want you,’ because that’s all I can think about.””
3,200,829 – Bob Seger – Face The Promise [20th Anniversary Expanded Edition – 2006]
From amazon: “The 20th Anniversary Edition of Bob Seger’s acclaimed 2006 album, Face The Promise, features newly remastered audio, 4 bonus tracks and an expanded booklet containing lyrics and photos.
The tracklist features the #1 Billboard Adult Contemporary song “Wait For Me,” along with “Wreck This Heart” and Seger’s duet with Patty Loveless “The Answer’s In The Question,” plus 4 bonus tracks, “Time,” “Little Jane,” “Red Eye To Memphis,” and “Let Me Try.””
491,238 – Orville Peck – Mule
From amazon: “Mule, Orville Peck’s fourth studio album, arrives as his most intimate and ambitious work to date. Following last year’s Appaloosa EP, the record unfolds as a chronological account of the year that reshaped his life, tracing the collapse of addiction, the difficult pursuit of sobriety, and the slow, often uncertain process of rebuilding.
Told with unflinching honesty, humor, and compassion, Mule finds Peck confronting love, loss, and identity through songs that move fluidly between classic country storytelling, bluegrass, and expansive Americana.”
From Evil Teen Records: “Dreams & Songs: A Symphonic Journey, co-produced by Don Was and Warren Haynes, was recorded in 2019 at the Thomas Wolfe Auditorium in Haynes’ hometown of Asheville, North Carolina when Haynes debuted his one-of-a-kind Dreams & Songs symphonic show alongside the 64-piece Asheville Symphony Orchestra and his lineup of seasoned rock ‘n’ roll improvisers including Oteil Burbridge on bass, John Medeski on organ and keys, Jeff Sipe on drums, and Greg Osby on saxophone as well as Edwin McCain and Jasmine Muhammad on background vocals.
The expansive live album, mixed by the legendary Bob Clearmountain (David Bowie, Bruce Springsteen, The Rolling Stones), explores all aspects of Warren’s incredible catalog and 30+ year career with music from Gov’t Mule, Allman Brothers Band, The Dead, his solo albums, and more, reimagined with bold, new orchestral arrangements.”
Looking forward to (in order by “popularity”*) – These albums will be released this week and should be in next week’s AOTW blog:
2,781,532 – M83 – I Wrote You A Letter
2,140,404 – Europe – Come This Madness
2,050,737 – Leon Bridges– Happiness Anytime
1,397,024 – Nothing But Thieves – Stray Dogs
913,486 – Hermanos Gutiérrez – Los Ojos Del Cóndor
858,447 – Soft Cell – Danceteria
246,946 – Tom Morello – Everyone Gets Everything They Want
154,594 – The Ocean – Solaris
34,624 – Pure Reason Revolution – Terrifying Angels
18,161 – Amarok – Overcome (2 CDs)
15,356 – Deathchant – Kova
14,468 – Spiders – Crystal Eyes
13,091 – Maiah Wynne – Into The Waves
6,116 – Mr. Bison – The Garden Of Forgotten Dreams
814 – Sweat – In Dreams
298 – HOLID4Y – Topology
294 – Love•Love•Love / Ølgod – Løvegod
…and several others. Some that I am looking forward to and others not so much.
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Small print that’s normal size print:
*These albums are listed in order by “popularity”. Wait, what? How? By no means is it a measured calculation. They’re listed in order by number of ‘followers’ on Spotify. While it is listed by Spotify ‘followers’, the order would (most likely) be similar if looking at the number of ‘likes and/or followers’ on each band’s social media pages. Speaking of “popularity”, there is a bolded red number. This number (more or less) represents the number of Spotify ‘followers’ at the time of review.
**Album of the Week. No promises, but I will do my best to NOT include Greatest Hits, Best Of, Live releases, re-releases, etc. Even if these “new” releases include a ton of bonus goodies, multiple unreleased tracks, demo versions, etc, I’ll still (try to) hold off.
All albums are listened to IN FULL unless stated otherwise.
Some artists are quite controversial. My goal is to review the album on its own merits, not based on the history, beliefs (political or otherwise), police records, and/or anything else that could be considered “unsavory” of the artist(s).
(Almost) all albums are hyperlinked. I link in order by Bandcamp first, YouTube next, then Spotify last. This is so you can check out (AND PURCHASE) the album, if interested. I do and hope you do, as well!
Do you have any friends or family who might be interested in this weekly blog? If so, send ’em this way!
Until next week…
Cheers,
Troy
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