“I try to love everyone, because I think that’s what you’re supposed to do – and I do.”
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I’ll disappear in the crowd
Trade my complexion for another round
Somehow I’ll piss away that money I found
Yeah, I swear I’ll always let you down
Time is a rotten comedian, always showing up late with a greasepaint grin and a broken watch, so maybe it makes perfect sense that Choir Boy comes back with a song called I’ll Always Let You Down and makes it sound like the sweetest possible collapse. That title alone lands like a kiss blown from the ledge of a very tall building.
Six years since their last album is long enough for expectation to turn feral, for fans to start checking the horizon like sailors with split lips, and Choir Boy seems perfectly aware of the absurdity. “Triumphantly return? Just say that we got lost,” they joke. Since the release of 2020’s Gathering Swans, Choir Boy has kept producing surrealist music videos, posting avant-garde content on social media, and performing live throughout North America and Europe. However, compared to their previous album, the absence of new music feels like an eternity to many in their loyal fanbase.. “Tell everyone the delays are my fault…blame everything on me,” Klopp asserts.
That cracked humour runs right into the bloodstream of the single. “I’ll Always Let You Down is an anti-love song; a sardonic self-indictment of a failing lover,” the band says. There it is: romance dragged through the mud by a man who knows he is carrying the bucket. The song lives in that awful little gap between longing and behavior, between wanting to be held and knowing your own hands are unreliable equipment. It aches with self-disgust, but it never wallows. It moves. It glides. It grins through broken teeth.
Musically, Choir Boy have always known how to dress damage in finery, and here they pull it off with real panache. Drum machines skitter with nervous purpose, the synth bass dirties up the floorboards, and those bright keyboard accents drift in like church light filtered through motel curtains. Adam Klopp sings from somewhere high and bruised, a voice that still feels touched by devotion even while confessing failure. You can hear parallels to Bronski Beat and The Associates in the way it all unfolds, but Choir Boy remains gloriously themselves: grand, wounded, a little camp, a little cruel, very funny when the world starts caving in.
Producer Jorge Elbrecht turns out to be the right co-conspirator, who had “a shared sense of humor about the bleakness,” according to the band. “In (the song’s) previous incarnation, before we were working with Jorge, there was something missing.” Elbrecht uncovered depth with motion, a fuller emotional mess, more air in the room, more rot in the roses.
And then there is the self-directed video, which plays like a hallucination: an archaeologist digging too deep and finding some primordial fool loose inside himself, like a crustpunk trapped in the dinosaur daydream of Pee Wee’s Playhouse. Against these heavenly vocals, the imagery feels gleefully deranged. Perfect, really. Choir Boy came back wearing a clown’s oath and a wounded heart, and for once, disappointment sounds magnificent.
Watch the video for I’ll Always Let You Down below:
Listen to I’ll Always Let You Down below and order the song here.
Choir Boy supports AFI on their Holy Visions tour this month, before returning to the studio this Spring. They’ve also confirmed a performance at Darker Waves later this year. Tickets are available here.
Choir Boy (with AFI) Live Dates:
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HIs new album arrives next week.
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A new Lumon?
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The lead single features Daedric’s Kristyn Hope.
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There’s a certain kind of New York record that feels like it came up under busted lighting and sharp instincts, the kind that understands the city as a mix of cut-rate epiphanies, failed love affairs, and someone dancing past their limit in a room with a leaking ceiling. Darling Black, aka Dylan Hundley, belongs to that tradition with a smart, dirty smile: her debut LP Darling Black carries the downtown clatter of post-punk, early electronica, electroclash, goth pulse, and industrial throb into something personal enough to feel lived in and loose enough to keep moving.
Hundley has already done time in the cultural trenches as the lead singer of Lulu Lewis, host of Radar on The Vinyl District, and curator of Salon Lulu, a roving New York art-and-music congregation haunting the Lower East Side. If her name sounds familiar, you must be a fan of cult favourite film Metropolitan. You can hear all of that traffic, and Hundley’s boundless creativity, in this delightfully strange, hypnotic record. It has the ears of somebody who has spent years around artists, weirdos, lifers, and glam casualties. As Darling Black, Dylan previously released the EP It Wasn’t Supposed To Be Like This in 2020 and several singles on the road to this album, and the full-length finally feels like the moment when all those impulses lock together and start throwing elbows.
8th and Alvarado is billed as urban dance punk, and that tag fits because the thing struts in wearing city dust and nightclub lipstick. It has that clipped, caffeinated forward motion that makes you want to spill your drink while pointing at the speakers. The Champagne remix by Youth opens it up for a bigger dancefloor without sanding off its bite, taking the original’s raw motor and giving it enough air to ricochet across a festival field. Same trouble, larger room.
Across the album, Hundley moves through goth, dance, electronic, industrial, minimal machine music, and full-on synthpop with the kind of appetite that suggests she likes records as events, not polite little mood parcels. The covers help tell the story: the John Cale penned/Bauhaus classic Rosegarden Funeral of Sores and Yoko Ono’s Walking On Thin Ice are not picked for prestige; they feel chosen because they belong to the same crooked family tree. Elsewhere, you can catch echoes of Kraftwerk, Polyrock, Ladytron, Fad Gadget, The Normal, and Talking Heads, especially in Dial, where rhythmic repetition gets worked like a nervous tic until it turns sexy.
The songs on Darling Black run through these spectrums and also offer a commentary on today’s world, and that range gets summed up best by Hundley herself: “I have always been drawn to the dynamic elements that live in the spectrums between joy and rage, light and dark, dancing and crying,” she says. “I enjoy exploring this range in my writing and as a performer. It is simply where my instincts take me. Not everything that is beautiful is all that, nor is all horror.”
That swing is the whole show, and it’s a hell of a ride.
Listen to Darling Black below and order the album here. Check out the Champagne remix by Youth here!
Darling Black will be heading to London and Berlin in April, making appearances with Youth and Lene Lovich. Catch her live!
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ARLINGTON, TX — When you talk about the history of heavy metal, there is a distinct “before” and “after” marked by the rise of Pantera. While the 1990s saw many legacy acts faltering under the weight of the grunge movement, the Texas foursome—Phil Anselmo, Dimebag Darrell, Vinnie Paul, and Rex Brown—didn’t just survive; they redefined the genre.
By stripping away the spandex of their 1980s “glam” origins and introducing the world to “Groove Metal,” Pantera became the bridge between the thrash of the 80s and the extreme sounds of the modern era. Today, we are settling the debate once and for all: This is the definitive Loaded Radio ranking of every major-label Pantera album.
This is the definitive Loaded Radio Pantera albums ranked listing of the five records that declared war on the music industry. From the 1990 re-birth of Cowboys from Hell to the final, heavy sting of Reinventing the Steel, we break down the riffs, the rage, and the technical genius of Dimebag Darrell. While Far Beyond Driven made history at #1, we crown the game-changing Vulgar Display of Power as the ultimate champion. Scroll down to see if your favorite made the cut and join the conversation in our fan poll.
For an entire generation, Pantera was a declaration of independence from a softening metal scene. Having analyzed Dimebag’s revolutionary use of solid-state Randall amplifiers and the “step on the cat” Whammy pedal effect, it’s clear why this band remains untouchable. They didn’t just play loud; they played with a rhythmic “swing” that made extreme metal danceable without losing an ounce of its lethality.
The final chapter. Reinventing the Steel was a conscious attempt to strip back the experimental, dark fury of the late 90s and return to “beer-soaked” basics. Tracks like “Revolution Is My Name” and “Goddamn Electric” (featuring a guest solo from Kerry King) are top-tier anthems.
However, compared to the three records that preceded it, the album feels more like a solid victory lap than a revolution. It captures a band returning to their roots while simultaneously reaching the end of their rope—but what a rope it was. It remains a mandatory listen for anyone who claims to love the riff.
The most fractured, terrifying, and arguably “pure” record in the catalog. Recorded while Phil Anselmo was in a dark place in New Orleans, physically and mentally separated from the band in Texas, this is the sound of a unit tearing itself apart.
Yet, out of that chaos came “Floods,” featuring what many (including the Loaded Radio staff) consider to be Dimebag Darrell’s single greatest guitar solo. It’s ugly, raw, and features some of the most visceral vocal performances in history. It is a masterpiece of nihilism.
The re-birth. This is where the spandex was burned and the “Groove” was born. While you can still hear the thrash-metal DNA of the late 80s, the title track and the soul-crushing breakdown of “Domination” signaled that the “Power Metal” era was officially dead.
With Terry Date at the helm, Pantera redrew the map of heavy metal. It was the moment the world realized that Dimebag Darrell wasn’t just another guitarist—he was the heir apparent to Eddie Van Halen.
The album that changed the music industry’s rules forever. How a record this extreme, featuring the sonic assault of “Strength Beyond Strength” and the seething “I’m Broken,” debuted at #1 on the Billboard 200 remains one of metal’s greatest achievements.
It is the peak of Pantera’s technical and physical power. From the rhythmic stomp of “5 Minutes Alone” to the haunting cover of Black Sabbath’s “Planet Caravan,” this album proved that Pantera could be the heaviest band on earth and the most popular band on earth at the exact same time.
The definitive artifact. This isn’t just an album; it’s the gold standard of 90s metal. Every riff on “Walk,” “Mouth for War,” and “A New Level” is a masterclass in tension and release.
Phil Anselmo’s vocals reached a perfect equilibrium of street-level grit and raw, unfiltered fury. It is the single most important groove metal record ever made. It remains the undisputed #1 for a reason: from the production to the performance, it is flawless. It didn’t just influence the scene; it created a new one.
Want more Pantera? Stream Loaded Radio live right now to hear these classics in high rotation alongside the newest heavy hitters in the scene.
For the deep dive into Dimebag’s legacy and exclusive artist interviews, subscribe to the Loaded Radio Podcast on Apple Podcasts, Spotify, or wherever you get your fix.
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Is it another story in the track listing this time around?
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“I think it’s the most complete song on the album. We worked really hard on it, both musically and in terms of sound effects, the collaboration with Fernando Ribeiro… and it also has a great groove.”
“It’s an anti-war song that dissects the mysteries of human behaviour and how it seems we didn’t evolve at all, making the same mistakes of the past. We wanted to emphasize this contradiction of being an anti-war song but using the typical sounds in this context, so we created our own military march shaking some spoons inside of a cooking pot (there is even a video of us recording it).”
