Abysmal Hymns

Cro-Mags : "40 Years of Quarrel"

2026-11-02T19:21:25.423-08:00

It's been 40 years since "Age of Quarrel" was released; rather than bring John Joseph and Parris Mayhew back to mend the fences and have a reunion, Harley is just going to re-record the entire album with his vocals and bring a few guests. To his credit, his voice sounds great. He did the John songs well back when I saw them on the "Best Wishes" tour back in the day."Malfunction" is the first song where there is a more noticeable difference, granted he has been playing these songs for 40 years no matter who has been in the band,

The recording is the difference between "Alpha Omega" and the original Quarrel. The more refined production makes it sound more metal. "Street Justice" turns into a thrash song. It was half way there already, but I'm not sure thealbum needed to be re-recorded. I am glad Harley is still out there representing, and ya gotta keep your momentum and pay the rent somehow. These songs are great in any version; if I had to own one harcore album, this would be it. Is the appearance of Meg from Turnstile really going to open doors to their legacy, not likely.

The more sung vocals on "Seekers of the Truth" work well, but the vocals feel more like Mötley Crüe here. Rocky George and Authur from Rise Against did not help in this regard. It is one of my favorite songs by these guys, as it is one of the more metal ones from this album, so I can't complain. If I did not know Meg was on "It's the Limit," I would have never known, aside from a change in the guitar tone. At the end of the these songs are iconic no matter whose version they are. However, it is hard to fuck with the original; this album at least honors the legacy.

pst543

November is Doom- Stricken : "From Dark Dimensions An Unspeakable Presence Awakens"

2026-11-02T19:16:10.333-08:00

The Second album from this Seattle-based band. The opening track is dark as hell, so that pleases my ears. It is sludge, but on the doom side of the genre, based on the grim trudge into the opening track when they start gaining traction and build into a stormy chug. The drummer from Lair of the Minotaur bangs the kit on this one. The vocals have a crazed Neurosis like howl. It is hard to play in that sonic zip code when the sludge father themselves released an album this year. It chugs and gallops its way into a more conventional metal attack.

They bring in blast beats going into the second song as some of the more blackened elements are introduced. They slow it down into the more brooding lurch of sludge riffs, that eventual deconstuct into a creep. There are some cool, catchy riffs that help color it. The vocals are more shouted.It's the swing in the slow gallop of "Moonless' that brings a black metal feel; the rest is pretty rooted in sludge, though the drums can be bombastic at times. Some of the verse riffs they really milk for all they are worth. It does slow into a marginally more moody section.

There is a doomier touch to "Touch of Corruption". It is more deliberate but not a huge shift in the color of sonics employed. Some of the chords introduced carry a more haunting fele that works well. The vocals are a one-dimensional lumberjack shout. The half-time riff introduced at the five-and-a-half-minute mark is the songs best. The last song opens with a depressive riff that you know if going to build into something with more brutish sludge factor, but they fake you and keep things dismal. This swells into a more doom-focused section that stirs the sonic soup. I will give this album a 9, it might not be the msot original sludge album of the year, but it is well done.

pst542

November is Doom - Dream Unending : "Certain Uncertainties"

2026-11-02T16:21:20.605-08:00

This project's last album took the number one spot on the 2022 Top 10 Doom Albums list, so the bar is pretty high here. It opens with more emphasis placed on the progressive nature of what they do. The more cavernous side of death doom is introduced a couple of minutes in, with an angular riff twisting into form. Once again, this album is offering some stellar guitar work that marked the previous release. The jamming is tasteful and does not wander much, keeping the 8 minutes of the song moving well. "Certain Uncertainties" carries a jazzy feel with touches of Pink Floyd in its second-hand smoke.

"Strained Sincerity' finds them firmly back in metal. Though they are not playing it safe. There is some intersting layering in this stunning mix. Jazz guitar sits against metal chugs. Much more technical than what you expect from this sub-genre. "Rubato" has a steamy jazz creep. You never say 'Wait, but this is not metal" because they are doing what they do so well; it just boils down to good music being good music. If you are a guitar player or just love great guitar playing, this song is a must.

"I Carry Your Burden' takes things out into a King Crimson-like place. While it's not a total deal-breaker, they have jumped the shark a little here with this one. The 11-minute "Causal" wanders in its wizardry. They are great musicians, but it is about blance which, up to 'Rubato," is maintained in a manner that allows melody and purpose to coexist with their display of chops. It takes about five minutes for the metal to develop. The metal moments ground them; jazz leads them to believe a song has no boundaries. Not the most focused album, but impressive and well done I will give it a 9.5, even though the jazz takes over at times.If you want a progressive death doom album heavy on the jazz, this is it.

pst541

November is Doom- Exhuming the Tunes with Trouble's "Psalm 9"

2026-11-02T16:06:10.096-08:00

Here we start our journey through this Chicago band's discography. Some of the earlier albums I have not delved into as fully as I once did, when I was obsessed with their fourth album. The first thing that really sets them apart is the voice of Eric Wagner. There is an unhinged warble and piercing touch of rasp that gives him more of an edge than the bulk of his peers during this time. When this album was released in 1084 it was clearly ahead of its time. The opening track balances brooding and bombast with the tone of its time as the pulse. You can hear hints of the New Wave of British Heavy Metal in their sound almost as muhc as you can hear the looming influence of Sabbath in the lurching riffs.

It's easy to hear how this album could be considered the first proper doom metal album as when Sabbath came out they were never considered doom, and I do not think these guys were trying to do anything but make a heavy metal album, which, when Sabbath came out, the concept of heavy metal did not exsist. "Assassin" is more ofa a straight-up metal song. "Victim of the Insane" is darker and more rooted in doom as we know it today. It took a couple listens for it to click with me. "Revelation" works off the kind of groove they are now known for. It clicks the first time you hear it.

"Bastards Will Pay" finds the chug gaining momentum. It is your typical heavy metal anthem. Somewhere amid the chug of "the Fall of Lucifer," I fell asleep so I had to back into the album again. Riff-wise, it plays off the tropes of the time, though even then it's non-conforming metal when we consider where metal was in 1984. "Endtimes" feels like a variant riff of the ones already used on this album as it twists around. Overall, the song works well in terms of dynamic ebb and flow , but not sure they needed an instrumental.

The intro to the title track feels like Spinal Tap, but the song itself is great once you dig into the meat of it. The cover of the Cream song they tackle works well enough. Not a huge Cream fan, but I do appreciate them. I will give this album a 9.5. While it's important to the genre and ahead of its time, it is being measured against when the band hit its peak, but it's a great debut that is a must for all doom fans.

7.7

pst540

Mystic Prophecy : "In Metal"

2026-11-02T15:57:52.899-08:00

This German Power metal band gets it right wehre other bands of this genre wimp out and get too happy. They have a mean guitar sound that carries a hammering chug. There is a dose of melodrama. The keep the guitars to a respectable level, and aweighty chug giving it some balls. Vocally, there is grit to his voice; he does not sound like he wants to be in Helloween despite being from Germany. At 58, age wisely keeps Roberto grounded; he is not doing much falsetto yodeling and belting everything from his chest register, which plays to his favor, and he does an excellent job of using what he does have to work with.

They keep everything at a very fist-pumping tempo. The dynamics are subtle, but it is clear they are skilled songwriters who are true to the genre without sounding more dated than the genre tends to root itself in a certain era of the 80s; they bring some fire of their own to. 'Don't Run Away" does find being so devoted to this style beginning to be a little limiting, so we will see how they keep this going. The double bass gets poured on for "Angels are Falling". The drummer is working over time on this one and it pays off.

Lyrically, we are to our ears in heavy metal mish-mash, marching with swords and such. Thankfully, the more anthemic elements on a song like "When the Hammer Will Fall" find chugs balancing it out, almsot more like Tyr than Iced Earth. Granted, this is still very European, but it is aware that heavier music came out in the 90s and uses those tools. "My Inner Innocence" embraces a more melodic dynamic without becoming a glorified power ballad. Granted, they are not as nuanced as what Kamelot would do, but then again, they do not allow themselves to be pulled into power ballads, where Kamelot will sadly fall into. "Devil's Son" works better for me than the last song, which is about Vikings again. I will give this a 9.5, on the basis of how well done this is and the fact it brings some guts to a genre that need them.

pst539

October's Top 10 Albums

2026-11-01T06:17:42.524-08:00

October falls behind us, and it's now time to catch up on the month's best new releases. This might help you, casual readers, see what you missed. I am not doing little blurbs on them, just linking the reviews. This helps me organize my end-of-year lists by including each album's genre. This does not mean these albums were released this month; it is a list of new or upcoming albums I have enjoyed most. I have albums in my in-box that won't come out until March of next year, so I am normally way ahead of the curve in this regard. They are ranked in order of how much I have listened to them. This month, it runs the gamut from Americana to black metal, so perhaps you will find your new favorite among them. Here are the Top 10 albums for October of 2026.

10--WAYFARER- "Riders of the Setting Sun"

Dark Americana

https://abysmalhymns.blogspot.com/2026/10/wayfarer-riders-of-setting-sun.html

9-Ductape-"Faded Flowers"

Darkwave

https://abysmalhymns.blogspot.com/2026/10/gothtober-ductape-faded-flowers.html

8-Wolves in the Throne Room-"Estuary"

Black Metal

https://abysmalhymns.blogspot.com/2026/10/wolves-in-throne-room-estuary.html

7- Bleached Cross- "Wrath"

Industrial

https://abysmalhymns.blogspot.com/2026/10/gothtober-bleached-cross-wrath.html

6-Iommi- "From the Dark"

Epic Doom Metal

https://abysmalhymns.blogspot.com/2026/10/tony-iommi-from-dark.html

5-Pain of Truth -"S/T"

Hardcore

https://abysmalhymns.blogspot.com/2026/10/pain-of-truth-st.html

4-Ghostemane-"AM: FM"

ALT HIP-HOP

https://abysmalhymns.blogspot.com/2026/10/ghostemane-amfm.html

3-LOR3L3I="Peace By Proxy"\

Ethereal Darkwave

https://abysmalhymns.blogspot.com/2026/10/gothtober-lor3l3i-peace-by-proxy.html

2-Theodor Bastard - "▽"\

Dark Electronic Goth

https://abysmalhymns.blogspot.com/2026/10/gothtober-theodor-bastard.html\

1-Fontaines DC- "Dopamine Chamber"

Brit Pop

https://abysmalhymns.blogspot.com/2026/10/fontaines-dc-dopamine-chamber.html

pst538

November is Doom- Cult of Luna : "In the Shadow of Your Shadow"

2026-11-01T05:20:46.626-08:00

This Swedish band has evolved a great deal over the years. At the core is a form of post-sludge that traces its roots back to Neurosis. The stormy chords and thundering drums present a gloomy attack. The vocals are at a coarse rasps with the guitar carrying the bulk of the melody. It swells to the kind of apocalyptic proportions that sludge is known for before breaking down into a melodic guitar section. It floats along before predictably building up. Joe from Gojira shows up for "Sadness Will Reign" ,which is another song that leans heavilly into the Neurosis influence with it's sonic sprawl. Joe's voice sits back in the mix.

"Laby" is more of an interlude, while the over 12-minute "Breach' has more interesting sounds being introduced that are not sitting as neatly into the expectations of the genre, something that worked really well for Portrayal of Guilt this year. Portrayal of Guilt's new album went in a more sludge direction this time around, so there is more common ground than you might think. This song finds more ofa slow burn in places as things move at a much more deliberate pace. Atmosphere is used really well to build the mood. The guitar solo contributes to the song rather than just being wanking. Over half the album is made up of long sprawling songs. Not uncommon for this genre. It is not the most dynamic song, as it works around one darkly clouded mood.

"The Rift" floats on a more post-rock abstraction until hitting the two-minute mark. The growled vocals this band uses have typically felt like a dynamic killer; this time around, the guitar is in control of that, and it is just an obligatory motion to go through. It ebbs down into a more simmering post-rock jam. There is, however, more build than payoff. The six-minute "A Way Back" is carried by the sung vocals. Eugene Edwards from Wovenhand joins them for "One More Day". It starts off with the deliberate crunch sludge is known for that carries with it a sullen atmosphere. Edwards' voice chimes in and carries a very Swans-like vibe with it. He is also on the new Wayfarer album, which carries a similar vibe to what they are doing on this song.

There is a more aggressive sludge chug to "From Grey to Black" with a guitar melody that hangs in the background. Less progressive andd more aggressive it sounds more like their earlier work, which should please a segment of their fan base. There is enough dynamic ebb andd flow on this one to keep you engaged. Just under 12 minutes, "Burial" closes the album with a more doomy tone. t much longer. Three minutes in, it feels like they have already taken this lumbering riff as far as it can go, but they drag it out. I like how dark this album is but the growl vocals are kind of boring, with only moments like unless Edwards' singing redeeming them so I will give this one an 8.5

pst537

November is Doom 2026

2026-11-01T05:15:35.364-08:00

I have been doing this doom-dedicated month for a few years; it makes sense, as we head into the gloom of the year. First and foremost, when it comes to bands I am looking to cover this month, I am not seeking out bands that worship Black Sabbath. Thi year I am reviewing every single Trouble album this month to see how they have held up over time. My favorite sub-genre is Funeral Doom, so we will have our fair share of that, but also sludge, stoner rock, darker psych, death doom, and more. More is the variation of traditional forms of doom.

However, despite the twists and turns the genre might make, there may be doom-adjacent artists or two, we are going to be very clear about what is doom and what is not. It is not just about playing slowly. Sludge most commonly makes this mistake as it is often slow to pass through a metal filter. Sludge is about aggression, which is more tormented than hateful. Doom is about sorrow, loss a foreboding fear of what is to come, not unlike horror movies in this regard. While darkness is the driving force behind black metal, it should also be a pervading theme of doom. There are a few bands, one of whom I review this month, who confuse power metal for doom, and that does not work for me.

The month will end with me revealing the best lists for doom, sludge, and stoner metal. One reason I keep doing this every November is it gives me the time to catch up on bands that might have flown under my radar the rest of the year, or catchy bands who have released their album late in the year. I think releasing an album after October is pointless. There used to be a trend of holding out until November so it could be sold for Xmas, but how often are physical pressings of music given as gifts these days? Not much, and not enough to have release schedules delayed. Anyway, here comes a parade of sonic despair for the month.

pst536

WAYFARER : "RIDERS OF THE SETTING SUN"

2026-10-30T08:44:08.036-07:00

Gone are the last vestiges of metal as they have crossed over into dark Americana. They have also invited a few other musicians to help celebrate the occasion. There is post-punk influence without veering off into the genre. More of a rambling strum holding the tension here than any taut bass line owing its existence to Joy Division. The first song has a bit of a Wovenhand feel so it is not surprising that David Eugene Edwards appears on the second song. The trembling anxiety of his voice is what separates him from their singer's similar baritone croon. They bring in stormy dynamics that swell up.

Ben Chisholm from Chelsea Wolfe's band produces this album. "Black Waves & Early Graves" drifts out of the smoke from the previous song, as things begin to hold a more uniform feel. There is a heavier dynamic in play that does not build into metal. Keylly from Dreanought leans her voice to the album on "Casey's Last Ride". There is more of a Johnny Cash sound here to the main vocal, andd she just adds in a more atmospheric bridge. It does provide a more haunting color; 'Fell Spur' carries more western twang, and a touch of blues. It is not unlike something Kris Kristofferson might have done in the 70s.

Jay Munly shows up on "Grey Country". It is one of the more sullen moments so far on the album, more depressing than your typical Wovenhand song. Munly's voice is the lowest on the album thus far. "Hollow Hearts on the Way to Eden" coasts along smoothly adn the vocals work well with it, so it is not like I'm asking a great deal here. The last song that finds Midwife joining them drones with a swirling, almost shoegaze-like atmosphere that is dense but not hooky. Overall, this album sounds great and taps into some wonderful moods, I will give it a 9.

pst535

Gothtober- the American Jobs : "Carne Levare"

2026-10-30T06:43:17.497-07:00

This Ohio-based band was recommended to me by one of the guys from Swan Wash, who has been pretty obsessed with this album the past decade, and now their 2014 is being reissued, so let's get into it. It's intersting how ahead of their time they were and shows how fragile the spinning wheel of music trends is. These guys delve into a dark, smoky New Orleans back Alley to bring you simmering, slinky post-punk that is not too far removed from what bands like Crippling Alcoholism and Protomartyr are doing now. There is the percussive churn of a voodoo ritual, crooned over as a sax while it sings its sorrows from the shadows.

The first two songs establish that they have a sound they are confident in; the rest of the album is going to tell me if they are writing songs with that same swagger."Black Tar" finds a creepier atmosphere slithering in, with femal vocals echoing from the distance. If this came out of New Orleans, I would be less surprised by how this is unfolding. "Grace" is the first song where the ambiance breaks down into more free-form jazz, like Nick Cave getting stoned and jamming out. More traditional goth leanins peek out a bit on "King of the Lake". It is pretty effective at keeping the album's dynamics varied.

"Jail House" creeps around in a more jammed fashion; the vocals are noncommittal and lurk in the background with a spectral croon. The sax seeps up from under it all. Marginally trip-hoppy. "Two or One" is a little more abstract and finds the jazz elements being more dominant. The last song also goes off in this jazz direction, making it more Nick Cave-leaning with its murky noir shadows. I will givve this a 9, if you like dark music with jazz undercurrents, this is worth your time

Carne Levare by The American Jobs pst534

Coilguns : "Everything We Love, We Destroy"

2026-10-28T14:54:03.944-07:00

This might be the band's 5th album, but it is my first time giving them a shot . They strike me as a punk band with broader depth of 90s indie rock influences, with the Pixies being the most prominent. It is mixed by Tom Dlagety, who has worked with the Pixies, so this choice was not accidental. I am aware they have a hardcore past, so that explains some of the more emotionally explosive dynamics. There is also a darker Murder City Devils type vibe, though I am not getting the same whiskey-soaked suicidal vibe. "Peace Trader" has a moodier almsot Dinosaur Jr. tinge to it. Perhaps they self-identify as noise-rock, but I would say they are not as unhinged, more like an aggressive Modest Mouse. The fact is highlighted in this song.

"Repliation Crisis" has a burly bass line and a big guitar riff for the vocals to collide with. It's also nuanced and makes the most of the vocal melodies that are draped around it rather than having the vocals just be obligatory howling. Not to say they are not capable of outbursts it is just a dynamic color rather than being the sole narrative. This was sent to me by Ghost Cult Magazine, so I think they understand that vocals are important to me, and if they are an afterthought, it is going to make me less than enthusiastic. "Platform Decay' is both tense and anthemic at the same time. The vocals are metaphoric politcal nonsense, but come across as just word soup being puked from an overexcited stomach.

"Punisher Disclaimer" is more of a frantic punk song. But it does not play to their true strengths. "Days Before the War" is more of a strummed intelude than a complete thought of a song. "Teach Ourselves" finds the vocals pulling the weight to give the song the needed dynamics to make it more memorable than just yelling. "Carbon Magic" is more angular , and less focused. The last tow songs show you how the Pixies might sound as a hardcore band, though the second to las is more screamo. This brings them closer to the status quo of screamo than where they started, which was more unique, but for what this is, it works. I will give it a 9, as the melody it does offer makes it worthwhile. Out November 8th on Humus Records.

pst533

Hatebreed : "Fatal Paradox"

2026-10-27T15:55:24.569-07:00

The band's 9th album, and they are now full circle back to what hardcore is, which is something different than when they started in 94. It feels more like thrash here, and "The Carrion Choir" makes this more noticeable despite the groove of the more breakdown-like riff. Jasta's voice has lowered with age and is pretty one-dimensional. They could have spiced it up more in post-production. They do have a huge guitar sound. The previous albums I've heard by these guys scored a 7 and an 8, with the 2020 being the higher-scoring of the two. The reason for this can be heard in the boring riff driving "Decisions Become Destinies," though not so much that I am totally bored with it. Thankfully, all these songs are compact and sit around the three-minute mark.

The boredom does begin to itch until midway into "Total Invincible" . The riffs are kinda Slayer-like, so not a total waste just the one-dimensional vocals are wearing on me. The title track is powered by a more deliberate riff andd the vocals carry more of a Biohazard-like cadence. It has the hookiest chorus yet."Still a Threat" is where things begin to blur and sound the same; I knew the moment was coming, and it guess it was delayed more than some of their albums. Then John Tardy helps them out with "Sacrifice Season". Obituary is clearly the better band; it felt like he was dumbing it down.

"Truth is Lion" is more Slayer-like. I have not really been paying attention to the lyrics up to this point; I am sure it's macho-socio-mish-mash. "Make the Demons Obey" finds them pulling out every trope in the kitchen sink. "None to Save" has an effective refrain that helps the song find its footing. "Poison Planet" finds them trying to be a hardcore punk bandd again, and it does not work that well; it feels like going through the motions. I will give this album an 8.5, putting it above the others I have reviewed, but not aggressive enough to measure up to the hardcore of today.But it sounds good for what it is.

pst532

Gothtober-The Top 10 Goth Albums of 2026

2026-10-26T14:35:26.122-07:00

It's time to bleed Halloween; that is what goth is about, not Instagram fashion trends. It's the music that matters, so we are going to look at the best albums of the year. If this seems premature, record labels have already sent me most of what this year has to offer. After I sort through sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of the year.

2025 was marginally better than the previous year, though, given the current climate of the world, we are progressing on a downward spiral, making dark music more important as a soundtrack for this. The very fact that these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album; there is something that just gives it an edge that makes me want to listen to it more.

After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day, what makes an album the best is that it makes you want more, and you look forward to listening to it again. Perhaps you can find your next favorite on this list, and I have included links to reviews of these albums if you want to check out the audio on these guys. Anyway, here are the top 10 Goth albums of 2026.

10-Shadowlands-"004"

Haunting dark wave, that works with the required sounds of the genre without sounding like a stale tribute act. The choice of effects draping the atmosphere works in their favor to help solidify their identity. The Sabin sisters get props for not trying to be Siouxsie Sioux, another key element.

https://abysmalhymns.blogspot.com/2026/02/shadowlands-004.html

9-Ductape-"Fadedflowers"

Here is a French goth band that is getting it right. Not dramatically removed from the Siouxsie school of Batcaving, they have some 80s new wave sounds in the mix that help give them their own sound that is relevant in 2026. Bands like this are why gatekeeping is important it is not about shunning other bands but making sure awesome bands like this find their right audience. If you don't get that sentence, then stop reading now.

https://abysmalhymns.blogspot.com/2026/10/gothtober-ductape-faded-flowers.html

8-Bleached Cross- "Wrath"

At times, this album carries an industrial feel with sung vocals that drift behind grim sonics. The bass lines carry things into a synth-laced dungeon of sorrow. The sung vocals deviate from your typical sullen post-punk tropes and have more of a 90s industrial rock feel, with more angst to them and hyper-emotional delivery. It's emotional to the point of being emo,

https://abysmalhymns.blogspot.com/2026/10/gothtober-bleached-cross-wrath.html

7-Crucifera- "Exostential"

The creative force behind this project is Danielle Astraea, who combatted the problem that the vast majority of new dark wave runs into by giving the music some sonic rock balls. In doing so, she invokes the spirit of 90s electro-tinged alternative and puts her in a similar musical zip code as artists like Kidney Thieves and Snake River Conspiracy, though darker than the latter. But wait, that is not the best part; she actually uses her voice more like an instrument to color the songs, rather than try to emulate pop vocal hooks, yet proves herself capable of drawing you in.

https://abysmalhymns.blogspot.com/2026/06/crucifera-era-exostential.html

6-Crippled Black Phoenix-"Sceaduhelm"

I have enjoyed watching this band descend further into darkness with each album. W. There is an emotional punk tugging against the post-punk tension, with the shadows haunting the atmosphere.An impressive display of refined and dynamic songwriting, and it is likely the band's best album yet, as it feels the most focused

https://abysmalhymns.blogspot.com/2026/01/crippled-black-phoenix-sceaduhelm.html

5-Bestial Mouths -"Dead Lines"

When it comes to post-90s goth artists, these guys are one of my favorites. They have appeared on both our yearly Top 10 Industrial Albums and 10 Top 10 Goth albums lists, always scoring in the top 5. This album seems to lean more in the darkwave direction, with Lynette's vocals creating lush, evocative melodies that flow over the sometimes more apocalyptic crunch of the beats . I can hear where this might be mistaken for industrial, but it's just aggressive darkwave.

https://abysmalhymns.blogspot.com/2026/07/bestial-mouths-dead-lines.html

4-Marilyn Manson-One Assassination Under God pt2

His 13th album and the fourth to be produced by Tyler Bates, with whom he has a pretty decent track record thus far. This album feels darker than Part One. Maybe it's the clean car smell of new songs, but I think this album edges out the previous one in terms of vocals and songwriting. He continues to refine what he does without dialing it in.

https://abysmalhymns.blogspot.com/2026/08/marilyn-manson-one-assassination-under.html

3-LOR3L3I- "Peace By Proxy"

Heike Langhans from Draconian spearheads this atmospheric darkwave project. The darkness lurks under the surface at first listen; her ethereal voice just glides over synths, but holds a great deal of melancholy. Her melodies are well crafted and arranged.If you like a more melancholy whimsy to your ethereal darkwave, you need to hear this album; if you like great-sounding albums with beautiful voices perfectly captured, you need to listen to this album.

https://abysmalhymns.blogspot.com/2026/10/gothtober-lor3l3i-peace-by-proxy.html

2-Boy Harsher-"GET MEAN"

The breakup was what they needed to get inspired. It's not as dark or brooding as their previous work, but they had kinda taken that as far as it could go, as the vocals were beginning to feel one-dimensional. This change helped her singing and finds the songwriting more melodic and intersting, with hooks that bring you back for more in the way their earlier work did not.

https://abysmalhymns.blogspot.com/2026/09/boy-harsher-get-mean.html

1-Theodor Bastard-"▽"

Russian electronic wizards continue to blend world music into their mix of sounds. They have said they shifted into a darker direction as the world is darker. This album is catchy with aching vocals. Moody andd dynamic, woven with complex sounds and one great song after another. It throbs with an authentic longing and considering their homeland it makes sense; it also makes for perhaps the year's best album.

https://abysmalhymns.blogspot.com/2026/10/gothtober-theodor-bastard.html

pst531

Walls of Jericho : "System Error: Humanity"

2026-10-26T11:29:17.590-07:00

These guys are legit I saw them playing a college club in 99 with Buried Alive and Indescision , that they rocked it then. Women in hardcore bands were more of a rarity then. Female-fronted hardcore bands of today would be foolish to ignore the impact this band had on the genre. Now the importance of who they are is out of the way; we can focus on whether they're still writing solid songs. The opening trakc is pretty kicking, but how consistent are they. How do they fend off the need to senselessly thrash at you?What they do on "Beginning" works, but a whole album of this will not. They need to lean into groove to compensate for the one dimensional nature of the vocals.

There are plenty of Slayer-inspired bands, so Slayer has influenced hardcore through the bands they influenced as well. They pour on more anger-fuelled thrash on "the Flame" that finds more of the punk side of the genre creeping in. The anthemic chant of vocals and dive bomb chaos of the solo give it more energy. Gang vocals bring things to a rousing, fist-pumping. " The Ascent" is marginally more deliberate, but this was really all they needed to do in order to keep things intersting. "Broken Mouths Can't Speak". Features Randy Blythe lending his voice to things. His voice just kind of blends in as an undertone. It gets the job done but does not bring anything new to the table.

"Untouchable" is both focused and aggressive to be bring more power to the groove. They have just the kind of anger you are in the mood for if you watch the news. "Rise" races off at more of a rapid thumping. Candance is more convincing than 60 percent of her peers. Some are crushing out there; they have come to the head of the pack in the past 27 years, making this a little more middle of the road but still effective."Agency" finds the no kings she is ranting about to just be the window dressing for the chugs."Unchained" feels more like a breakdown made into a song, but still manages to work.

They keep hammering at you on "the End Before"; this album is making me wonder if I should listen to the new Hatebreed after this or do I need to let my ears air out some. They are packing a bunch of songs into this one. Guy from the Red Chord joins them for "Humanity"; the two screamers have such a similar vocal style that it is almost redundant. "Borrowed Ground" his in a furious blur that could use more space and nuance. The chugs begin to run together by the time you get to "Last Judgement," but they find the nuance the previous song needed and prove me right."Brighter Fires" finds her daughter Patsy lending her singing voice. Then they clsoe the album with a more in-your-face goodbye. There is a pit-churning riff that will induce all kinds of karate kicking. I will give this a 9, as it might not do anything new, but shows they can still do what they are best at.

pst530

Malhavoc : "the Masquerade's Death"

2026-10-26T06:51:06.558-07:00

An Edgar Allan Poe-themed thrash album with industrial leanings makes this a darker version of Angkor Wat. The vocals sit way back in the mix and are on the nastier, snarled side of things. The challenge for them is to not let the tempo run away from them as the more deliberate-paced riffs serve best for the weird atmosphere they like to slather everything in. The other sticking point for this album is that the songs are way to long the opening track is 14 minutes, and thrash is not a genre where this plays to their favor, as they are not Metallica. Even with the samples keeping the thematic narrative going, it still finds the thing dragging a little. Old White Zombie might be a better point of comparison, but the vocals play an even more obligatory role.

Thankfully, the second song stays under the four-minute mark. It's a way better song, as it does not hang on the verse riff for too long."The Fact" is almost 11 minutes long. The riff is catchier than some of the previous songs; it's a very boomy, bass-heavy mix on this album, which creates some sonic murkiness that gives them their own personality rather than jsut trying to recreate a sound from the late 80s. There are moments that bring Coroner to mind. It feels like by the time we get to "the Harrow" the Edgar Allen Poe theme has musically rifted away, though there are still some samples running in the distance. The vocals are mixed so far into the guitar that their croak is almost not audible. To their credit, it gets darker as it progresses.

The collision of sounds works really well on "Through the Cruel Light". It accelerates into a more as it progresses. It takes almist three minutes for distant noise, five nad a half minutes before it does something with" Distant Noize ". I will give this album an 8.5; the vocal coming forward in the mix and getting some love in post-production would have helped in the end. Production would have elevated this one to the next level, but it is fun for what it is.

pst529

Gothtober- Dismantled : "Endless"

2026-10-24T11:59:47.663-07:00

Gary Zon's electronic project has been in motion for 26 years now. It is clear he has mastered making the sounds that he does. They fall between the genre lines. There is a pulse that you could dance to on goth night, but it is not as aggressive as industrial. The breathy vocals on the first actual song give it a darker feel, and some of the melodrama of darkwave. I could also hear this being thought of as future pop, as it's not unlike what Gary Numan does to some extent. The second song 'Cloned," has a more poppy feel in the refined cruise control of the beat and how the vocals are produced.

The vocals are actually one of this album's strengths, as they are not an afterthought, but arranged and produced with a great ear for detail. While they do adhere to the mainstream son format, they are used almost more like another instrument than to make the choruses super anthemic, which can be cheesy. "Poison" is atmospheric, but still finds its groove amid the space-age ambiance. "Wired For War" seems like it would be more aggressive than it is, and it is more aggressive than the previous song, thus working within the parameters of this brand. More like the more modern era of Nine Inch Nails, where they abandoned guitars.

They fall back to the more focused throb of "Nano Cloud Warning". The vocals stay in this hushed, almost purring, with a whispered tension that obviously is shooting for more of a horny vampire demographic.'Zero"works off a middle-of-the-road thump that is catchy enough to justify the abundance of ambiance it is cloaked in. The title track also has its share of dystopian sonic trapping and benefits from a deliberate beat and melancholy synths. But it also never develops into a song. "Mirror's Edge" compensates for this. It has a great groove and vocals that complement it. DJs take note: a more club-ready beat powers 'Frozen". This compensates for the vocals being so low in the mix.

"The Fires Out West" features one of the album's most intersting vocal performances, even if they sit back into the synths. The last song is stripped down with a more vulnerable vocal performance. It works for what it is . Overall, I think this album sounds great and is really well done. I will give it a 9.5. Out November 20th on Metropolis Records

pst527

Iommi : "From the Dark"

2026-10-24T10:56:08.339-07:00

At 78, you can't stop rock n roll; this is the mission statement from which Tony Iommi birthed his new solo album. If Dio were alive, he would have been sining on this, as Masterplan vocalist Jorn Lande is doing his best Dio impersonation. Not sure why he is not marketing this under the Sabbath banner, as he could have grabbed Geezer; they have called it Sabbath with fewer original members before and made some pretty decent music, but this is heavier than everything, but maybe "Dehumanizer: 'World Alone '" has a more metallic drive. Lande keeps belting it out with convincing power; even if Tony's riffs needed to carry the weight, they don't have to with Lande on the mic. Though it also brings them closer to power metal.

There are plenty of guitar solos that make it clear Iommi is keeping his fingers nimble with age. "Black Times" is much darker and doomier. I could also hear Lande handling some Candlemass, though he is more soulful than the bulk of their singers. "Beyond the Dead feels more Dio-like with its stormy menace. The song moves with more of a throb, and there is a subtle hint of the Glen Hughes era..There is more of a Sabbath chug to "Stormwatcher". It is not the album's strongest song, but it works for what they are doing. The main verse riff for all it's worth.

"Death Wake" is closer to the Glenn Hughes era again, though I could also hear Tony Martin singing this."The Return of the Arbaist" feels like the vocals are just belting it out for the sake of doing so. "Legacy" is another return to the more blues-based format of the Tony Martin era. The song, however, just feels dialed generically; it's the only song that is more like filler. Despite this the strong songs balance this album out, so I will give it a 9.5. While I am more likely to listen to a Tony Martin than this it's worth a listen if you are Tony fan, be a testament to the fact he is one of the best guitarists out there even at his age.

pst526

Gothtober-The Top 10 Industrial Albums of 2026

2026-10-24T08:47:04.033-07:00

The world is burning in slow motion, so nothing is a more tting soundtrack to watching it all unravel into a into a dystopian nightmare than Industrial, You would think fans of the genre would be celebrating this, but from what I have seen online, they are crying under the covers like the rest of the sheeple. If you are someone who believes that leaning into the end should be celebrated since it is a natural destination in the cycle, then you might appreciate the mood these albums created as much as I did. After I sort through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of 2026.

The very fact that these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album; there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day, what makes an album the best is that it makes you want more, and you look forward to listening to it again. Perhaps you can find your next favorite on this list, and I have included links to reviews of these albums if you want to check out the audio on these guys. Anyway, here are the top 10 Industrial albums of 2025.

10-The Family Men - "Co/de/termination"

This band from Sweden mixes industrial with noise rock to create something interesting. The beats and sense of motion keep the opening track at a high-energy intensity. The vocals are yelled with a harsher rasp from the tortured vocal cords.f you want industrial music with real instruments, experimenting rather than just grinding on the dance floor, then this album is worth your time

https://abysmalhymns.blogspot.com/2026/04/the-family-men-codetermination.html

9-Godflesh-"Decay"

Yeah, I know it's surprising the final album from these guys did not make it higher, but it's a combination of the albums above this one being more dynamic and song-focused, and this one focusing on the droning pulse of it's apocalyptic crunch, which is what fans want from thiss.

https://abysmalhymns.blogspot.com/2026/09/godflesh-decay.html

8-PIG-"Dirt Box'

Raymond Watts has been particularly prolific; his newest EP was very guitar-driven, if it reminds youeminds you of KMFDM, it's probably because Gunter Schulz is laying down the metallic riffs on it. There is almost a more 90s industrial metal feel not unlike the kind of thing Rob Zombie was doing on his most recent album, though with a bit darker and more nuanced industrial vocals than the roar Zombie normally delivers

https://abysmalhymns.blogspot.com/2026/09/pig-dirt-box.html

7-Third Realm- "Escape Sequence"

This project brings a hard-hitting take on industrial's more EDM side. This does not mean they are compromising the aggression; in fact, it's heavier sonically because it is not falling back into 90s nostalgia. if you are into 'goth" laced EDM with a future pop sensibilty to the production, then this album is for you,

https://abysmalhymns.blogspot.com/2026/05/third-realm-escape-sequence.html

6-Spike Hellis- "SUCCESSOR"

This is an experimental industrial artist from Los Angeles. This project is more about making music for cool kids on drugs than for Halloween, but that can be said about a great deal of industrial music. Not far removed sonically from Street Sects, combined with a bit of "Pretty Hate Machine"- era Nine Inch Nails.

https://abysmalhymns.blogspot.com/2026/10/gothtober-spike-hellis-successor.html

5-Choke Chain -"Decomposition"

his project comes from the Skinny Puppy school of industrial, which I can appreciate as it's dark. Haunted by drifting samples that pass through the background, It stays true to the heart of the genre without going stale.

https://abysmalhymns.blogspot.com/2026/06/choke-chain-decomposition.html

4-KMFDM - "ENEMY"

Their mission statement is 40 years of conceptual continuity, but the concept expands in recent years; aside from the more rock n roll vibes, there does seem to be a similar vibe that checks off all the boxes you expect from the long-running electro-industrial band. This stacks up pretty well against their other stuff and is less poppy than the last album

https://abysmalhymns.blogspot.com/2026/02/kmfdm-enemy.html

3-Purest Form- "Resistance"

This album grew on me; I like the duo's r aggressive approach to the more electronic side of industrial music; their singers carry a convincing snarl..here is something unique to the synth sounds employed here. There is a gap to be filled when it comes to this sort of thing,

https://abysmalhymns.blogspot.com/2026/07/purest-form-resistance.html

2-Combichrist- "the Venom in the Mouth of God"

With darker synths carrying the album's grooves, it feels like they are expanding from the militant industrial anthems. Granted, that is still embedded in who they are, but it reminds me of their earlier work. Andy has become a better vocalist over the years. Not a great one, but able to apply more vocal color. There is a coldwave-like feel at times, but they still let their aggression creep in.

https://abysmalhymns.blogspot.com/2026/07/combichrist-venom-in-mouth-of-god.html

1-Sunswarm- "Those Who Do Not Build Must Burn"

Industrial music should be rooted in confrontational exploration. It's the very roots of the genre; bands like Nine Inch Nails have just packaged this in a more user-friendly sheen over the years. This project marries the genre to post-rock in the spacious sonic sprawl unfurled here with more than enough atmosphere. They excelled at reminding us what industrial music should be about, putting them at the top of the heap this year.

https://abysmalhymns.blogspot.com/2026/07/sunswarm-those-who-do-not-build-must.html

pst525

Drop Dead Gorgeous :"Daggers"

2026-10-23T17:34:44.333-07:00

The only album I've owned by this band was their 2007 "Worse Than a Fairytale," which was pretty dark and emotionally crushing. I had to go back and listen to that album again after a few minutes into this one to make sure it was the same band. Part of the difference here is the modern production sound that pushes them in a more Bad Omens direction. The vocals are less painfully emotional and carry more of the current pop sound these bands have been adopting; there are some heavier riffs, and the vocals do build into a more aggressive exclamation by the end.

"Sink Your Teeth" has this newer anthemic quality that finds them not really sticking to their guns. I don't hear this as them pushing their original sound forward but trying to find their relevance in today's environment, which might have been done more organically; they could have gone heavier, but this is the direction they chose; "Six Feet:" almsot has more of a pop-punk feel. "Ghosts" starts off with a more harcore energy attacking the song before the chorus.

I played "Burn" three times, and it never stuck with me; there is a predictable pop-punk ebb and flow from the verse to the chorus build-up. What they do now works best on the song "Feels Like Forever," which taps into more emotional honesty as they reflect on their drug use. Overall what they are doing works for what it is I am just not sure what this is works for who they are as a band even taki9ng into consderation that almot 20 years have passed since the album I want to compare this to . I will give it an 8.

pst524

Ghostemane : "Am:FM"

2026-10-23T17:30:03.973-07:00

The creepy Trap rapper opens his new album with nu-metal guitar and sung vocals that wink in the direction of Deftones; they are high and airy until the roared chorus that owes more to Johnathan Davis. It works for what it is and feels fresher since it is not 98. But where he is stronger is on "Miasma," that bleeds out of "Deus Ex Machina," where he is rapping against the denser bass hits behind him that are more metallic than, say, dubstep; it builds into something that is at least darker and angrier than Limp Bizkit. His trap rap vocal style is unique as it shifts through varied colors.

"Zero Day" finds the songwriting becoming increasingly effective, though lyrically it's a page out of the first wave of this sort of thing as he complains about everybody saying fuck this and fuck that, but now it's time to do something about it; however, it works with the energy of the song. This guys is so skinny I don't take him too seriously taking about being violent. "Bucketlist" is a great song and paves the path for what this album needs to do. "Jupiter" works off more hip-hop sounds than aggressive ones. This does make for a wider dynamic range. He ebbs into some passages of sung vocals to give this one more layers.

"Hyperdrive" has a darker electronic vibe going into it, before a breakbeat takes off with the song. It's more of an instrumental interlude in comparison to the other more vocally driven songs. "Mean Girls" finds him back in his sweet spot. Not the album's most dynamic song as it drones on the one beat, but it works for what it is. "Cyberia" goes for an almost more industrial sound but might be closer to the Prodigy in this regard." Get Gone" brings more shadows to the ambiance. With a blown-out bass line booming under the vocals.

"NSFW" works off a pulse of dense bass, and is one of the album's most deliberate tracks even when his rapping races over it. "Noose Knot" finds him returning to an emotive, breathy singing style. The chorus is particularly strong. "A Fire in the Skye" closes the album; it uses much more melodic sounds with delicate almsot whispered vocals. It is his version of a ballad. This album is not the most original thing you have heard, but it is done in a way that makes all of this feel fresh, I will give it a 10.

pst523

What the Line-Up For Welcome to Rockville 2027 Should Be

2026-10-23T12:30:40.031-07:00

The Welcome to Rockville lineup is dropping next week, so I 'll get a jump on it and tell you what the lineup should be. A large percentage of people who go just show up to party, and the music serves as background static for them to take selfies with people they will never see again. This is not for those people; this is for people who actually care about music and have more refined ears than just whatever is on the radio, since that is all garbage anyway.

Festival line-ups are boring; they all look the same, much like a reflection of commercial rock radio that has played the same beer commercial-sounding songs for the past 30 years, and we wonder why concerts are so expensive; it's due to the music industry trying to recoup its losses. The economy is not getting any better o are people going to just be complacent and spend their shrieking entertainment budget on a band they have already seen three times. Welcome to Rockville and its sibling festivals are terrible at retreads. As someone who has worked in the music industry for almost 20 years and listens to over 600 new albums a year, I know the pulse of where music is heading, so here is what the lineup for Welcome to Rockville 2027 should be after taking into consideration the touring schedules of bands that would have conflicts, like Iron Maiden, who is already playing Tampa on May 1st, but allowing room for unexpected reunions and other surprises.

I get the general public has not really shifted its taste in the past 20 years os you have to give them names that carry some nostalgia, but not the same ones adnauseum; you can still cater to the MySpace crowd and have the nu-emo pop-metal bands and TikTok revivalists for the kids and still bring in fresh faces with a draw. Sure, there are some idiots whose taste is limited to Monster Energy drinks and Slipknot and won't know half the names here, but they are going to be too broke paying off their Probation officer to keep a festival alive andd relevant, so here's what the lineup should be for 2027

In switching it up here is how the bands are broken down by genre, taking out the what at times has been a 60 of artists who crawled from the wreckage of the Myspace era.

Rock-41

Metal-37

Stuff for the kids- metalcore/.numetal/hiphop-37

warpTour=pop-punk/ emo mostalgia-6

Here we go....

Thursday

Apex

AC/DC

Lenny Kravitz

The Darkness

Uncle Acid and the Dead Beats

Starbenders

Twisted Teens

Octane

Kid Rock

Twisted Sister

Ugly Kid Joe

Monster Magnet

Wednesday 13

The Cruel Intentions

Vortex

Brand New

Thursday

Destroy Boys

Modern Life is War

bodywash

Poison Ruin

Inferno

A Tribute to Peter Steele and the Legacy of Type O Negative featuring members of Life of Agony, Carnivore AD and Sun Don't Shine

Life of Agony

Prong

Carnivore AD

Hangman’s Chair

Sun Don’t Shine

Restless Spirit

Garage-

Twin Temple

Black Rebel Motorcycle Club

Crippling Alcoholism

Blackwater Holylight

King Dude

Hoaxed

Friday

Apex

Pearl Jam

Them Crooked Vultures

The Pixies

Garbage

Veruca Salt

Sponge

Octane

The Misfits

Iggy Pop

Bad Religion

Spiritual Cramp

Tiger Army

School Drugs

Vortex

Idles

Viagra Boys

Whores

Ingrown

NO/MAS

The Linda Lindas

Inferno

Neurosis

Emma Ruth Rundle

Chat Pile

Kylesa

RWAKE

Terminal Nation

Garage

At the Drive in

Butthole Surfers

Sleepytime Gorilla Museum

Mac Sabbath

Blitzkid

Demon Pussy

Saturday

Apex

Rush

Muse

President

Novelists

Protest the Hero

Hidden Mothers

Octane

Queen With Adam Lambert

Paramore

Gunship

Skynd

Ours

Freeze the Fall

Vortex

Faith No More

Superheaven

Scars on Broadway

Ashes Divide

WARGASM

Spaced

Inferno

Opeth

Katatonia

Ulver

Igorrr

Daath

Oh, Zorn

Garage

Scour-featuring Phil Anselmo

Royal Thunder

Portrayal of Guilt

Cloak

Age of Apocalypse

Disfear

Saturday

Apex

Eminem

Suicide Boys

Run the Jewels

Die Antwoord

House of Pain

Jane Remover

Octane

Nine Inch Noize

Boy Harsher

Cold Cave

Aesthetic Perfection

Brtualismus 3000

Pixel Grip

Vortex

Fontaines DC

High Vis

Vowws

Love is Noise

Dead Pony

Homefront

Inferno

Scars on Broadway

County Morgue

Dropout Kings

Ten56

. Last Ten Seconds of Life

Splitchain

Garage

Tomahawk

Author & Punisher

Black Magnet

Glitched

Tayne

Sister Kill Cycle

Sunday

Apex

The Cure

Gary Numan

Placebo

Chelsea Wolfe

Twiligh tSad

Grave Pleasures

Octane

Danzig

H.I.M

Fields of the Nephilim

KMFDM

Lords of Acid

The Night Eternal

Vortex

King Diamond

Fight

KKs Priest

Savatage

Forbidden

Cagefight

Inferno

Dimmu Borgir

Blood Incantation

Paths of Possession

Undeath

Jungle Rot

Combichrist

Garage

Loathe

Drop Dead Gorgeous

Internal Bleeding

100 Demons

Balmora

xForever Warx

pst522

Prong : "Prong"

2026-10-22T07:04:42.319-07:00

I did not expect them to come out of the gate thrashing; their best work found the band deviating from the thrash genre that wa dominant in the late 80s and bringing a staccato groove to the occasion that was ahead of its time. Come to think of it, this band's name does not come up enough in conversations about the roots of nu-metal. It feels like they are trying to find their place in the musical climate of 2026. "New Commission" follows a similar formula to the opening track, but with a catchier chorus. "The Uprising" has a harder sound and a pounding beat that resonates more closely with who they are.

"Uncertain Truth" is the best song so far; it's way more melodic and hooky, perhaps almost too much so for purists of their classic sound. "Fear the Sun" has more of a metallic chug; it's one of the more polished songwriting choices so far that still feels true to who they are. 'Common Resolution" is more like the punk side of Killing Joke, who is obviously an influence on this band. They continue down this punk road with "Doomed World". The vocal phrashing sounds like them but not the riffs. The doubling down on thrashing speed for "Proportionate Response" , it works better than some moments so far.

"Trangression" comes much closer to what you want from these guys. I listened to " Simulated Drowning" three times without remembering what I heard, leaving me to think it had to be the most hookless, bland thing on the album. The last song had a chorus melody that stood out, so it was a better song, more of the Killing Joke vibe to it. Overall, I give this album an 8; they are trying to thrash way too much and that was never what they were about, that said, they still know how to write a song, and that shines through half the time. Dropping on Napalm Records November 6th.

pst521

Gothtober- Mousecunt : "Orgasmic Mouse"

2026-10-20T19:16:27.147-07:00

This Iranian band is pretty wild, they play a verse chaotic style of death rock. To their credit, they have more in common with Alien Sex Feind if they were having a circle jerk with Marilyn Manson than with Christian Death, and they are playing a more surrealist style of goth than just punk rock with effects on the guitars. They have my attention so let's see where it goes. The abstract collision of sound also brings Street Sects to mind at times. The vocals are more dramatic, swinging from a lower muttering to higher, unhinged sing-song verses. The guitar hass balls but rather than a metal chug, it's more of an angular accent. The drummer approaches things with a looseness that is like they are delving into free form jazz. While it does not find a groove you can dance to at goth nite, it is very interesting.

The higher dramatic whine of the vocals leads the way into "You Know About Art" which should have been the opener, as it is the thesis statement for this album, and the lyrics explain a great deal about where this band is coming from and help this make sense. "Mon Too" is the most goth moment so far; it's more about emotional complexity than it is Halloween, but it's dark enough to compensate for that and also carries more melody and less chaos, making it perhaps the best song of the first four. "The Orgasming" is more rock, though considering I review metal sixty percent of the time, the double bass is a little sloppy but forgivable. I think the jazzy sections are more who this drummer is.

"Your Repulsive Husband " is more of a cathartic art turned dark sound. It works for what it is. "Godspeed" is the first song that touches on death rock's punk roots. I like the lyrics to this one. Things get more abstract for the song 'Cunt". It has an almost Skinny Puppy feel minus the industrial beats. The last song picks up where the previous song left off but with a marginally more perverse undertone. It lacks the more defined bass that someone like Christian Death would drive this with, but in doing so creates a more abstract atmosphere which is unsettling in it's own way. I have listened to a ton of goth music this month, and these guys have found their own unique spot in the genre.I will give this one a 9.5 and see how it grows on me if you like your goth with the empahsis on weird, then this is for you.

pst520

xforever warx : "Upon the Week and Broken"

2026-10-20T12:30:14.741-07:00

This album from the straight edge band from Salt Lake City hardcore crew came out bakc in March. They play a very metallic and in-your-face brand of hardcore. I am typically not into straight edge bands, but if they can bring it without preaching at me, then I am fine with it. They are obviously very influenced by Slayer, judging by the opening track. There is the taunt thrashing groove almost so much so that the lines between wehre thrash and hardcore are blurred here, so perhaps just admitting they are a crossover band might be the best apporach. The second song has more of a breakdown riff at the end but that is not really their thing.

They are back to awaiting the hour of reprisal on "The Highest Truth". The coarse shouted vocals sometimes lower into more of a growl, but I have not really been paying attention to what the lyrics are. There is a little more of a hardcore roar to this one. They pour on the hyper-aggressive thrashing speed with "Apotheosis". This is angrier and does not groove as much as the first three songs. Double bass is used sparingly, which is a more hardcore trait. All but one song stays under the three-minute mark.

Double bass does not really make itself known until going into"Sacrificed' I knew a drummer being in a band this influenced by Slayer would have pulled it out at some point. They are back to the slap-your-momma grooves with this one, and you know the kids are out karate chopping to this. They bust out some mean as fuck riffs here. The mean grooving riffing is crafted in a way that flows, putting them above most bands of this sort. I will give it a 9.5, and see how it grows on me.

Upon the Weak and Broken by xforever warx

pst519

Abysmal Hymns

Cro-Mags : "40 Years of Quarrel"

November is Doom- Stricken : "From Dark Dimensions An Unspeakable Presence Awakens"

November is Doom - Dream Unending : "Certain Uncertainties"

November is Doom- Exhuming the Tunes with Trouble's "Psalm 9"

Mystic Prophecy : "In Metal"

October's Top 10 Albums

November is Doom- Cult of Luna : "In the Shadow of Your Shadow"

November is Doom 2026

WAYFARER : "RIDERS OF THE SETTING SUN"

Gothtober- the American Jobs : "Carne Levare"

Coilguns : "Everything We Love, We Destroy"

Hatebreed : "Fatal Paradox"

Gothtober-The Top 10 Goth Albums of 2026

Walls of Jericho : "System Error: Humanity"

Malhavoc : "the Masquerade's Death"

Top 10 Post-Punk Albums of 2026

Gothtober- Dismantled : "Endless"

Iommi : "From the Dark"

Gothtober-The Top 10 Industrial Albums of 2026

Drop Dead Gorgeous :"Daggers"

Ghostemane : "Am:FM"

What the Line-Up For Welcome to Rockville 2027 Should Be

Prong : "Prong"

Gothtober- Mousecunt : "Orgasmic Mouse"

xforever warx : "Upon the Week and Broken"