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Victims of the New Math The Stories That You Weave Review

Victims of the New Math The Stories That You Weave Review

Victims of the New Math opens his album, The Stories That You Weave, with “The Run Up.” This track begins with striking guitar strumming. The absence of vocals establishes a direct and sincere atmosphere. The arrangement feels grounded yet atmospheric, inviting the listener into the album’s emotional landscape.

$Victims of the New Math The Stories That You Weave$

Next, the album moves into “You’re A Star.” This track ventures into psychedelic territory reminiscent of David Bowie. The rhythm pulses with intensity, creating an enchanting groove. The instrumentation teeters between dreamy and vibrant, encapsulating a sense of surrealism that beckons for deeper engagement. The vocals emerge, echoing the thematic exploration of individuality within a cosmic context.

That intensity continues into ‘Only in My Dreams.’ This track offers a captivating rhythm that radiates with psychedelic energy. The influence of The Beatles subtly graces the composition, though it veers into a kaleidoscopic territory all its own. Different layers of instrumentation come together harmoniously, creating a delightful complexity. The vocal lines intertwine gracefully, painting vivid imagery of dreams and memories.

The Stories That You Weave by Victims of the New Math – Sound and Atmosphere

The album takes an introspective turn with “We Can Be Anything.” This track unfolds like a classic rock ballad, rich with nostalgia and imaginative allure. The instrumentation here feels expansive, allowing listeners to drift away in their thoughts. Those soaring guitar riffs sparkle, inviting an almost ethereal reflection. This ballad taps into the yearning for freedom and possibility, resonating deeply with listeners.

Transitioning to “The Run Out,” the album embraces simplicity in its structure. A straightforward guitar loop serves as the backbone of this track. While it may seem minimalist, there’s an underlying dystopian quality that permeates the sounds. The subtle nuances in the rhythm enhance this sense of strangeness, marking it as a unique passage within the album.

“Return to the Universe” brings the album to a dreamy conclusion. The melodies here evoke a celestial quality, transporting listeners into a vast cosmic expanse. Serene pads open up the sonic space, creating an ambient richness that feels almost universal. As the final notes linger, this track leaves the listener in a reflective state.

The Stories That You Weave – Performance and Production

Victims of the New Math, aka Thomas Young, presents an instinctive collection of sounds through this album. The array of styles draws from a rich musical history while forging its distinct path. Each track unfolds with sincerity and emotional depth, making The Stories That You Weave a noteworthy experience. It’s a memorable journey indeed, one that invites listeners to explore both nostalgia and new frontiers.

This album highlights the raw talent present in today’s music scene. The fluid display of artistry demonstrates Young’s vision and understanding of storytelling within music. His low-fi approach adds authenticity to the listening experience. The blend of influences is familiar, calling for multiple listens to fully appreciate the intricacies woven throughout the album. Don’t miss the chance to immerse yourself in this remarkable work, a true gem for music lovers seeking something sincere and direct.

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Find Victims of the New Math here:

Spotify
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For fans of:

Bowie • The Beatles

The post Victims of the New Math The Stories That You Weave Review appeared first on Edgar Allan Poets – Noir Rock Band.

May 1, 2026
A.D.A.M. Music Project Suck My Ship Review

A.D.A.M. Music Project Suck My Ship Review

A.D.A.M. Music Project storms in with Suck My Ship, a track that wastes no time igniting its engine. From the start, the song hits with a surge of raw energy, channeling the spirit of ‘80s hard rock while injecting a sharp, modern edge. There is no slow build here; instead, the band chooses immediate impact, pulling the listener straight into a high-voltage atmosphere that refuses to loosen its grip.

The vocal performance stands out instantly. There is a tonal quality that recalls Dexter Holland of The Offspring. The delivery carries a sense of urgency and attitude that fits perfectly within the track’s aggressive momentum. Each line cuts through the dense instrumental layers while maintaining a strong melodic identity

What makes Suck My Ship particularly compelling is its ability to balance past and future. The song draws heavily from classic hard rock aesthetics, yet it introduces a subtle futuristic undertone that gives it a distinctive personality. This fusion creates a sound that feels both familiar and forward-looking, a rare combination that keeps the listener engaged from start to finish.

The instrumentation is relentless. Guitars drive the track with tight, energetic riffs, while the rhythm section locks into a groove that feels powerful and controlled. The band demonstrates clear experience in how they manage dynamics and rhythmic shifts. Transitions are handled with precision, allowing the song to evolve without losing its core intensity. It is evident that these musicians understand how to structure a track that maintains excitement without becoming chaotic.

An interesting layer comes from the occasional rap-style vocal sections, which inject additional bursts of energy into the arrangement. These moments never feel forced; instead, they enhance the overall momentum and contribute to the song’s modern edge. Around the 2:30 mark, the track reaches a particularly striking point where the vocal delivery shifts into something almost prophetic. This section adds a dramatic dimension, creating a brief yet powerful contrast before the song surges forward once again.

Suck My Ship Production

The production deserves special mention. Every element is polished without sacrificing rawness. The mix allows each instrument to breathe while maintaining a cohesive and powerful sound. It is the kind of production that amplifies the song’s impact, ensuring that every dynamic change and rhythmic variation hits with clarity and force.

Accompanying the track is a visually intense and imaginative video. The concept of a protagonist being pulled into an arcade game fits perfectly with the song’s energetic and slightly futuristic tone. Bright, saturated colors dominate the visuals, creating a striking contrast with the gritty sonic landscape. The result is a video that feels chaotic and controlled, mirroring the song’s structure and energy.

Suck My Ship is pure adrenaline. It is a track designed to be felt as much as heard, the kind of song that pushes you to raise your horns and surrender to its momentum. A.D.A.M. Music Project delivers a performance that is tight, energetic, and unmistakably confident, leaving a strong impression that lingers long after the final note.

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Find A.D.A.M. Music Project here:
Spotify | Instagram

For fans of:

Mötley Crüe • Poison

The post A.D.A.M. Music Project Suck My Ship Review appeared first on Edgar Allan Poets – Noir Rock Band.

May 1, 2026
Reviews: Yoth Iria, Battleroar, From The Blackness, Fullmoon Cult (Matt Bladen)

Yoth Iria – Gone With The Devil (Metal Blade Records)

Yoth Iria embrace their heritage more than ever with their new album, with extensive use of traditional Greek instruments such as clarinet on the classic metal anthem Dare To Rebel and fiddle on Give ‘Em My Beautiful Hell, sitting beneath the blasts of Satanic yet melodic black metal. There’s also Greek language chants on The Blind Eye Of Antichrist, making for a cinematic third album from this rapidly rising Hellenic Black metal act formed by legendary bass player Jim Mutilator.

Combining the approaches from their previous two albums, they also look to add more density to their sound with these traditional soundscapes such as ancient instruments and chants, used to counter their often Christian message and take things back to pagan beginnings. Flipping dogma on its head with Lucifer as the light bringer, while those that follow the book strictly often create their own hell, telling others about sin but being the most sinful of all, this power used to execute control.

This message of breaking free of the dogma is throughout the album linking all the songs thematically, the spiritualism, the freedom and to coin a phrase the ‘non serviam’ of Hellenic black metal the overpowering influence on these songs. Musically though they don’t limit themselves to black metal, there’s the classic heavy metal power of the NWOBHM, particularly Venom, Tank, Angel Witch, the ones that are on the darker side of things, as the evil vocals from He barks, screams and snarls.

Guitarists Nikolas Perlepe and Naberius in bright melodic union as they switch between leads and riffs, the thunderous bottom end of The Mutilator and drummer Vongaar dictating the pace, from blasting black metal, through early thrash, traditional heavy metal groove.

Gone With The Devil is a tonic for the world as it is today, dark music for dark times. Avé Satanas, Avé Yoth Iria. 9/10

Battleroar – Petrichor (No Remorse Records)

One of Greece’s longest lasting and most notable bringers of Epic Metal, Battleroar return with album number 6, Petrichor, opening with a spoken word which promises that these songs once spoken “belong to the listener and the storm”, we immediately head on the search for The Missing Note, epic heavy metal from first chord as Battleroar are definitely back.

The anthemic inspiration of Manilla Road, Omen, Crith Ungol, Savatage and Manowar are all recognisable from those first huge muscular riffs of Zack Kotsikis and Kostas Tzortzis. Undercut by the chest beating thunder from bassist Lukas Libertos as the velocity is dictated by drummer George Tsinanis. From the first song it gives you exactly what you have been waiting for since 2018.

It’s bold, baroque and proper macho heavy metal with fantasy elements writ large across it, as The Earth Remembers highlights Battleroar at their core. With all the massive guitar riff, galloping bass, steel on steel drumming, it’s the violin of Alex Papadiamantis that is one of the main ‘lead’ instruments here. It’s used brilliantly to add folky moments on Atē, Hybris, Nemesis, Chaosbane and the battle balladry of What Is Best In Life? taking many of the solos in addition to the guitars.

Petrichor features the vocals of new singer Michael Karasoulis and his voice is dramatic, theatrical but have the gritty snarl when the tracks like Legacy Of Suffering invite evil with gothic and thrash elements ala Iced Earth.

For 26 years Battleroar have fought hard to be in the position they are today, standing as the generals of the Hellenic epic metal scene. With Petrichor they remind anyone who may have forgotten that they are the mightiest of the Greek warriors. 9/10

From The Blackness – Conjuring Power (Self Released)

From The Blackness is the musical creation of Sokratis, founded during the pandemic, the music and lyrics are written by Sokratis and he also performs everything, guitar/bass/keys/drum programming and even backing vocals. Though he brings in some guests to play the guitar solos, mainly George Lazaridis and Riccardo Benedini while the vocals are performed by Finnish session singer Eric Castiglia.

There seems to be something of an unwritten rule about one man projects that they tend to be ok if they’re classic/power metal but not as much if they’re black metal, no one seems to get annoyed when it’s all cool leads and fist pumping but they do when it’s about Satan and being evil. I digress but it’s interesting as I pressed play I wondered had Sokratis conjured a great debut album?

Well yes and no, musically he’s got it spot on, rampaging rhythms, great riffs that have influences from Sanctuary/Nevermore, Iced Earth and Manowar, all bands I love. There’s solos that love to just appear and blow the roof off and vocals that are varied and aggressive. It’s a great mix of old school heavy metal, thrash and power metal. However the overall impact is let down by the production as it does sound a rather flat and unnatural, the keys and drums especially.

Whether this was a stylistic decision to make it sound retro or just maybe limitations I don’t know however it does have quite the punch you’d want. However you have to keep in mind that this a self written, self performed, self produced debut album and there’s a lot skill here. With a full band of real players and a bigger production, From The Blackness could be hot on the heels of the big boys on the Greek scene.

As it stands Conjuring Power, has all the potential but the execution let’s it down a little. 6/10

Fullmoon Cult – Unleash The Wolves Of War (Khaoszophy Productions)

Back to the more familiar realms of Hellenic black metal and the rough, tremolo riffage of Great Plea To The Realm Of Most which opens the debut full length from trio Fullmoon Cult. The trio go under pseudonyms with Chaos Kommando on drums, Askalaphos on guitar/bass and Alastor on vocals, standard black metal shenanigans really and you can say that about the music as well.

It’s full on 35 minutes of frigid blasts, lycan war cries and production that makes it sound like the mics were in another room when they recorded it. Now this is clearly a stylistic choice as it’s sort of what black metal should sound like especially that 2nd wave when it was new and dangerous, rejecting the over production.

Now that still doesn’t mean I’m hip to it, I much prefer a lot of the black metal bands that fleshed out their sound, however a little bit of this goes a long way and Fullmoon Cult capture that feeling of 2nd wave intensity so if you like it then come howl with their pack. 7/10

May 1, 2026
Reviews: Yoth Iria, Battleroar, From The Blackness, Fullmoon Cult (Matt Bladen)

Yoth Iria – Gone With The Devil (Metal Blade Records)

Yoth Iria embrace their heritage more than ever with their new album, with extensive use of traditional Greek instruments such as clarinet on the classic metal anthem Dare To Rebel and fiddle on Give ‘Em My Beautiful Hell, sitting beneath the blasts of Satanic yet melodic black metal. There’s also Greek language chants on The Blind Eye Of Antichrist, making for a cinematic third album from this rapidly rising Hellenic Black metal act formed by legendary bass player Jim Mutilator.

Combining the approaches from their previous two albums, they also look to add more density to their sound with these traditional soundscapes such as ancient instruments and chants, used to counter their often Christian message and take things back to pagan beginnings. Flipping dogma on its head with Lucifer as the light bringer, while those that follow the book strictly often create their own hell, telling others about sin but being the most sinful of all, this power used to execute control.

This message of breaking free of the dogma is throughout the album linking all the songs thematically, the spiritualism, the freedom and to coin a phrase the ‘non serviam’ of Hellenic black metal the overpowering influence on these songs. Musically though they don’t limit themselves to black metal, there’s the classic heavy metal power of the NWOBHM, particularly Venom, Tank, Angel Witch, the ones that are on the darker side of things, as the evil vocals from He barks, screams and snarls.

Guitarists Nikolas Perlepe and Naberius in bright melodic union as they switch between leads and riffs, the thunderous bottom end of The Mutilator and drummer Vongaar dictating the pace, from blasting black metal, through early thrash, traditional heavy metal groove.

Gone With The Devil is a tonic for the world as it is today, dark music for dark times. Avé Satanas, Avé Yoth Iria. 9/10

Battleroar – Petrichor (No Remorse Records)

One of Greece’s longest lasting and most notable bringers of Epic Metal, Battleroar return with album number 6, Petrichor, opening with a spoken word which promises that these songs once spoken “belong to the listener and the storm”, we immediately head on the search for The Missing Note, epic heavy metal from first chord as Battleroar are definitely back.

The anthemic inspiration of Manilla Road, Omen, Crith Ungol, Savatage and Manowar are all recognisable from those first huge muscular riffs of Zack Kotsikis and Kostas Tzortzis. Undercut by the chest beating thunder from bassist Lukas Libertos as the velocity is dictated by drummer George Tsinanis. From the first song it gives you exactly what you have been waiting for since 2018.

It’s bold, baroque and proper macho heavy metal with fantasy elements writ large across it, as The Earth Remembers highlights Battleroar at their core. With all the massive guitar riff, galloping bass, steel on steel drumming, it’s the violin of Alex Papadiamantis that is one of the main ‘lead’ instruments here. It’s used brilliantly to add folky moments on Atē, Hybris, Nemesis, Chaosbane and the battle balladry of What Is Best In Life? taking many of the solos in addition to the guitars.

Petrichor features the vocals of new singer Michael Karasoulis and his voice is dramatic, theatrical but have the gritty snarl when the tracks like Legacy Of Suffering invite evil with gothic and thrash elements ala Iced Earth.

For 26 years Battleroar have fought hard to be in the position they are today, standing as the generals of the Hellenic epic metal scene. With Petrichor they remind anyone who may have forgotten that they are the mightiest of the Greek warriors. 9/10

From The Blackness – Conjuring Power (Self Released)

From The Blackness is the musical creation of Sokratis, founded during the pandemic, the music and lyrics are written by Sokratis and he also performs everything, guitar/bass/keys/drum programming and even backing vocals. Though he brings in some guests to play the guitar solos, mainly George Lazaridis and Riccardo Benedini while the vocals are performed by Finnish session singer Eric Castiglia.

There seems to be something of an unwritten rule about one man projects that they tend to be ok if they’re classic/power metal but not as much if they’re black metal, no one seems to get annoyed when it’s all cool leads and fist pumping but they do when it’s about Satan and being evil. I digress but it’s interesting as I pressed play I wondered had Sokratis conjured a great debut album?

Well yes and no, musically he’s got it spot on, rampaging rhythms, great riffs that have influences from Sanctuary/Nevermore, Iced Earth and Manowar, all bands I love. There’s solos that love to just appear and blow the roof off and vocals that are varied and aggressive. It’s a great mix of old school heavy metal, thrash and power metal. However the overall impact is let down by the production as it does sound a rather flat and unnatural, the keys and drums especially.

Whether this was a stylistic decision to make it sound retro or just maybe limitations I don’t know however it does have quite the punch you’d want. However you have to keep in mind that this a self written, self performed, self produced debut album and there’s a lot skill here. With a full band of real players and a bigger production, From The Blackness could be hot on the heels of the big boys on the Greek scene.

As it stands Conjuring Power, has all the potential but the execution let’s it down a little. 6/10

Fullmoon Cult – Unleash The Wolves Of War (Khaoszophy Productions)

Back to the more familiar realms of Hellenic black metal and the rough, tremolo riffage of Great Plea To The Realm Of Most which opens the debut full length from trio Fullmoon Cult. The trio go under pseudonyms with Chaos Kommando on drums, Askalaphos on guitar/bass and Alastor on vocals, standard black metal shenanigans really and you can say that about the music as well.

It’s full on 35 minutes of frigid blasts, lycan war cries and production that makes it sound like the mics were in another room when they recorded it. Now this is clearly a stylistic choice as it’s sort of what black metal should sound like especially that 2nd wave when it was new and dangerous, rejecting the over production.

Now that still doesn’t mean I’m hip to it, I much prefer a lot of the black metal bands that fleshed out their sound, however a little bit of this goes a long way and Fullmoon Cult capture that feeling of 2nd wave intensity so if you like it then come howl with their pack. 7/10

May 1, 2026
WEARY WIZARDS FEDERATION Return With Afternoon Show At MO’S DESERT CLUBHOUSE

Magic DOES happen! Weary Wizards Federation are coming back after a brief slumber and have declared a welcome home party for one and all Mo’s Desert Clubhouse on May 16. While your attendance stops short of being compulsory, if you’re NOT there you will miss out on not only the Wizards’ first live performance in […]

May 1, 2026
“He took me out to his Rolls-Royce and played it. I was a little bit embarrassed because it’s a bit saucy.” The day that Spice Girl Mel C learned that Red Hot Chili Peppers frontman Anthony Kiedis had written a song about her

“Were we in a relationship? We did go on a date.”

May 1, 2026
Every Big Rock + Metal Album Released Each Day in May History

Here is a breakdown of the best rock and metal albums of all-time that have been released form each day of May. Continue reading…

May 1, 2026
Every Big Rock + Metal Album Released Each Day in May History

Here is a breakdown of the best rock and metal albums of all-time that have been released form each day of May. Continue reading…

May 1, 2026
Lindsey Buckingham Addresses Viral “Silver Springs” Video, Says He’s Inspired By Sombr

You’ll never get away from the sound of the woman that loves you. Right now, Fleetwood Mac are in the midst of a major gen-Z revival that’s been going for years, and their 1977 song “Silver Springs” is a big part of the reason why. “Silver Springs” is currently the band’s sixth most popular song on Spotify (as far as trending, not all-time streams). But when the band first recorded “Silver Springs,” they didn’t even put the song on their blockbuster album Rumours. Instead, it originally came out as the B-side to their “Go Your Own Way” single. Twenty years later, things changed.

The post Lindsey Buckingham Addresses Viral “Silver Springs” Video, Says He’s Inspired By Sombr appeared first on Stereogum.

May 1, 2026
Peter Gabriel – “Won’t Stand Down”

Peter Gabriel has an usual but quite simple release plan for his forthcoming o/i: Every time there’s a full moon, he’s releasing one new song from the album. Gabriel is the kind of iconic figure who can command the attention to turn every new song release into an event, so he might as well give each track its spotlight moment.

The post Peter Gabriel – “Won’t Stand Down” appeared first on Stereogum.

May 1, 2026