Blog

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm¹ recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).² Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

The post Early Moods – Ready for the Grave Review appeared first on Angry Metal Guy.

The Westside finds Maudlin Strangers turning glossy surroundings into something far more uneasy. The track moves with a sleek indie rock pulse, balancing melodic guitars and a polished rhythmic foundation with a darker sense of tension underneath. There is an almost cinematic quality to the arrangement, but the song never loses its directness, keeping the melodies clear while the atmosphere gradually becomes more uncomfortable. Jake Hays and Maudlin Strangers capture the strange contradiction at the heart of the song, where appearances, status and surface level happiness can hide something much less certain underneath. Rather than spelling everything out, the music leaves enough space for that feeling to seep through, making the contrast between its accessible sound and more cynical perspective particularly effective. The Westside is stylish on the surface, restless underneath, and built around the uneasy feeling that looking good is not necessarily the same as feeling good.

Pretty on the outside, restless underneath.

Connect:

Instagram

Eric Slick is the longtime drummer of the Philadelphia band Dr. Dog, and he’s also got an extensive history of backing up other artists on record and onstage — Taylor Swift on her 2021 Maren Morris collab “You All Over Me,” Waxahatchee and MJ Lenderman and Wilco’s Sky Blue Sky fest earlier this year. Slick (what a cool name) also makes solo records, most recently 2024’s New Age Rage. In March of 2027, Slick will return with Bounce House, his latest solo LP.

The post Eric Slick Announces New Album <em>Bounce House</em>: Hear “Mannequin” (Feat. Molly Martin & Jamie Lidell) appeared first on Stereogum.

Album Review: Europe – Come This Madness

Reviewed by Matthew Caldwell

A lot of great music has come out of Sweden, and hard rock heavyweights Europe are continuing that tradition with their latest offering. With a career spanning over 40 years, the band show no sign of complacency as they unleash their twelfth studio album upon the world.

It’s impossible to talk about Europe without mentioning the elephant in the room: The Final Countdown launched them into the stratosphere. But the band are not relying on legacy with the new record. Their combination of classic hard rock and 21st-century sensibilities proves that Europe deserve their legendary status.

The album’s opener sets the tone: the grandiose orchestral movement lulls you into a false sense of security before John Léven’s bass annihilates any suggestion that the band are coming into this light-heartedly. In fact, producer Tom Dalgety has made sure the bass is front and centre throughout the whole album, and having worked with Rammstein in the past, he knows that bigger is better.

Next up is ‘The Cult of Ignorance’, chosen as one of the singles, and it is easy to see why. Guaranteed to become a crowd favourite due to its infectious hooks and singalong chorus, the band give Isaac Asimov’s famous observation a slightly more tongue-in-cheek spin.

The title track has a strong message of hope in an increasingly volatile world, and that tone is perfectly captured by the guitar/keyboard solo. Things slow down with ‘This Time of Year’. We get to hear a more reflective and emotional side to Joey Tempest in this ballad, which could easily become a Christmas single.

Another single, ‘Scandinavian Eyes’, is an example of what makes this such a great album. The orchestra returns before being blasted out of the way by a Deep Purple-style rocker. Listen closely for a Mikael Åkerfeldt cameo ― Joey Tempest appeared on Opeth’s 2024 offering, The Last Will and Testament. ‘Takin’ it Back’ is a contender for the best track on the album. Melodic and powerful, the chorus is absolutely belted out by Tempest.

The most surprising moment comes in the form of ‘In the Absence of Grace’. Short and lyrically interesting, it makes use of a Turkish proverb: “When a clown moves into a castle, he does not become a king. Instead, the castle becomes a circus.” Read into that what you will.

When the final track begins, it’s hard not to be reminded of Bruce Dickinson’s ‘Tears of the Dragon’, but once the intro ends, it finds its own way and becomes the perfect way to close the album. John Norum’s guitar prowess is on display again, with slightly Egyptian/Middle Eastern melodic choices.

This album isn’t Europe going through the motions: it is a band very much on top of their game and showing why they have had such a long career. Come This Madness is not just an album for Europe completionists ― it’s for anyone who wants to hear brilliant musicianship and songwriting, and is an invitation to bang your head, Sweden style.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Album Review: Europe – Come This Madness appeared first on The Razor's Edge.

DEAN BIRKHEIMER | Go Venue Magazine

September 17th 2026 saw a band play The Admiral that for more than forty years have occupied a musical space that is almost impossible to duplicate. The Violent Femmes sound can be stripped down to the essentials.  Acoustic guitar, bass, percussion and a voice that has accumulated four decades of scars, sarcasm, and attitude.

The Milwaukee veterans made up of, Gordon Gano, Brian Ritchie, Blaise Garza and John Sparrow, marched on stage like they’ve done hundreds of times before while hundreds of people voluntarily packed themselves into a room with a band whose music has spent more than 45 years reassuring the socially awkward, mildly pissed-off, and gracefully unhinged that, there are others like them, and frankly it was beautiful.

The Violent Femmes have never needed a wall of Marshall stacks, a mountain of lights, or expensive stage nonsense to make an impression. Their weaponry has always been considerably more primitive. You don’t need pyrotechnics when you have personality.  You don’t need a giant video wall when the singer’s face can tell the story. Forget the confetti. The crowd had spent 40 plus years stockpiling enough energy, attitude and questionable decisions to put on its own damn show. Other than a contrabass saxophone used by Blaise and a Big Johnson acoustic bass used by Brian their really is nothing out of the ordinary instrumentally speaking.  Speaking of the Big Johnson bass, I had a chance to say hi to it’s creator, Nebraska’s own Troy Johnson. Hex was brought up on stage and played bass on “Gone Daddy Gone”. The device is quite impressive. Take a peek at it here.

“Country Death Song,” “Blister in the Sun,” “Gone Daddy Gone,” and “Add It Up” had the crowd going completely bonkers. For a few glorious minutes, middle-aged knees through out the hall forgot they had responsibilities. The crowd was already teetering on the edge of sanity, but the encore featuring “American Music” pushed the entire venue straight over it. 

After all these years, The Violent Femmes haven’t mellowed, but have perfected the art of controlled chaos. The songs haven’t lost a bit of their bite, and the crowd still erupts like it’s 1983 and somehow the weird little band that never quite fit anywhere, thankfully still sounds exactly like themselves.

[See image gallery at www.govenuemagazine.com] All images © Dean Birkheimer

Follow our socials, only take a second and is free by finding us on:
Facebook | Twitter | Instagram | BlueSky

The post 45 Years of Disorganized Music. The Violent Femmes Sell Out The Admiral appeared first on Go Venue Magazine.

Firewalking brings a bright, driving indie rock energy to a song about pushing through difficult moments and finding a way forward. The guitars keep everything moving with a clean melodic edge, while the drums give the track a steady lift that stops its emotional core from becoming too heavy. James Ingham’s vocals have a direct, unforced quality, letting the melody carry much of the feeling before the arrangement opens up for the final chorus. The layered harmonies add a welcome sense of scale, giving the ending a bigger emotional release without overloading the song. There is a straightforward charm to the writing here, built around strong hooks and an upbeat arrangement that keeps the track feeling alive. Firewalking turns struggle into forward motion, finding something hopeful without losing sight of the darker ground underneath.

Keep moving when the ground starts burning.

Connect:

Instagram

Swim the Current has recently announced the release of the powerful new rock single “The Price We Pay”. Distributed by Virgin Music Group / TLG|ZOID. Produced by George Pond, Chris Reyes, and David Caplinger, the track is an emotionally charged reflection on loss, grief, and the memories that help carry us forward when life feels impossibly heavy.

“‘The Price We Pay’ is really about losing someone you love and trying to hold on to the good times while you’re living through the bad ones. Loss is something we all deal with eventually, and sometimes those memories—the laughs, the stories, the moments you’ll never forget—are what get you through the hardest days,” says George Pond, bassist for Swim The Current

Adding an especially meaningful layer to the track is JD DeServio of Black Label Society, who contributes piano to the song. Pond and DeServio share a friendship that spans years of touring, conversations, and a mutual love of music. Both are accomplished bass players, but their long-standing friendship had never translated into a musical collaboration—until now.

While DeServio is widely recognized for his work as a bassist with Black Label Society, Pond emphasizes that his talents extend far beyond the instrument.

“This song became even more special to me because my good buddy JD DeServio from Black Label Society plays piano on the track. JD and I are both bass players, and after all these years of friendship, touring, and talking just about every day, we’ve always wanted to do something together musically but somehow never had the opportunity. People obviously know JD as an incredible bass player, but he’s also an amazing multi-instrumentalist, songwriter, and producer—and just an all-around amazing dude.”

“More importantly, he’s one of my closest friends. Having him play on a song this personal means more to me than I can really put into words. He absolutely crushed the piano part and brought an emotion to the song that was exactly what it needed. After being friends for so many years, it’s an honor to finally have our names together on a piece of music. I couldn’t be prouder of what he brought to ‘Price We Pay.’”

“The backstory on this one is very personal. I had written the music as an instrumental the week my pup Kodi passed away. When George and Greg heard it, they asked if they could use the music for an STC song, and I agreed. The lyrics that George and Marcos wrote capture all the emotions of losing a loved one. It was the perfect marriage of music and lyrics,” adds Joe Gareri, the band’s lead guitarist.

Bringing together an all-star lineup of rock talents, including vocalist Marcos Leal (formerly of Ill Niño), bassist George Pond (Disciples of Verity), guitarist Greg Antine, drummer Chris Moore (George Lynch, Ultraphonix, Rock of Ages), and lead guitarist Joe Gareri, takes the band’s sound to new heights.

Swim The Current delivers a high-impact blend of rock-driven musicianship, modern country-rock grit, and deeply personal storytelling. Built around guitarist and songwriter Greg Antine’s vision, the band transforms real-life experiences into anthemic, emotionally charged songs with a sound that is both cinematic and immediate.

Greg began developing the project with longtime collaborator and bassist George Pond in George’s home studio. The lineup soon expanded with Joe Gareri on guitar and keyboards, whose cinematic writing added depth and atmosphere, and drummer Chris Moore of Ultraphonix and Rock of Ages. The band’s final piece came with the addition of longtime friend Marcos Leal of Ill Niño, whose commanding vocals and creative songwriting gave Swim The Current its unmistakable identity.

Following the release of their debut single, “We Are Not The Same,” the band built serious momentum through a fully organic DIY campaign, earning thousands of streams, YouTube views, and followers without relying on traditional industry machinery. That grassroots growth reflects the direct connection Swim The Current creates with listeners—both online and in the room.

Drawing inspiration from Koe Wetzel, Lakeview, Treaty Oak Revival, and Hardy, Swim The Current combines hard-hitting guitars, soaring melodies, cinematic textures, and honest lyrics into a live experience designed to leave an impression. Now writing, recording, and releasing new music through TLG Zoid, distributed by Virgin Music, the band is bringing its distinctive sound and high-energy performance to audiences everywhere.

The post SWIM THE CURRENT Release New Single “The Price We Pay” Featuring Piano By BLACK LABEL SOCIETY’s JD DESERVIO appeared first on Sonic Perspectives.

Founded in 2006 by Dutch multi-instrumentalist, songwriter, and producer Ruben Vermeulen, Funus crafts dark, introspective soundscapes by weaving together shoegaze, doom, and post-metal. The project’s latest offering, Dreamless Water, is a nine-track descent into total shadow, expanding its sound into deeper, more claustrophobic territory. Built on an early-’90s production aesthetic, the album collides moments of fragile introspection with massive, crushing walls of guitar. Drenched in dense layers of reverb and chorus, it stands as a slow-burning wall of sound tailor-made for fans of bleak, immersive atmospheres. 

The album comprises of 9 songs for 43 minutes of music. Dreamless Water (the title track) starts the album in a very atmospherical way, with calm vocals and a relaxed but dark arpeggio. The music becomes very intense towards the middle but the interesting aspect is that the vocals remain calm. A very interesting and peculiar contrast. The following Still Circling Downwards features a fantastic and dynamic rhythm section combined with classy guitars (check out the fantastic solo section) and shoegaze vocals. 

The third track Between Future and Shadows is uptempo and energetic, with 90s alternative rock vibes, with a very intense bridge, in the middle of the song and Caged Liberty keeps that direction with a frantic drumming, synths, inspired bass lines and heavy riffs, until an unexpected change in the middle of the song, with some Pink Floyd vibes. This was released as a single and it’s my favourite track on the album, if I have to choose one. Check it out on the video below. 

Among other songs on the album, I like the melancholy mood of Hum of Nothing (the longest track with its 7.30 minutes), the rhythm section of Fractured Calm (the bass sound fantastic!) and the intensity of the final track Across the Bridge of Echoes.

Dreamless Water is a very interesting album, combining lots of influences and styles flawlessly. Also amazingly performed and produced. Give it a go by clicking on the Spotify player below and follow Funus if you like what you hear. It’s also available on different formats (12″ vinyl, 6-panel CD), all available on Bandcamp.