Any album that sounds as though everybody involved remembered to wipe their feet before entering the studio should probably be regarded with suspicion. Fortunately, Wailin Storms’ The Arsonist sounds more like four people discovered a door already hanging crooked from its hinges and decided the sensible course was to make the room less structurally sound.

The Durham band carries the American South around like a family curse, hauling blues, gothic rock, punk, doom, Baptist hymns and old folk dread into the same cramped quarters. Their fifth album, and first for Season of Mist, was recorded fully analogue by Matt Talbott of Hum, an appropriate choice for music that benefits from scraped edges and human error. Justin Storms wanted portions of the record to reconnect with the primitive four-track character of the band’s beginnings. “Some of these songs are more primitive and stripped down, hearkening back to the four-track recordings that the band started with,” says Storms. “The recordings contain flaws, but remain human in all the right ways. They could be a murder ballad or an old folk song that’s sung around the campfire.”

Standout track Dead End provides an appropriately diseased introduction. Ben Melton’s guitar worries at Steve Stanczyk’s bass while Mark Oates pounds out a rhythm that seems increasingly annoyed about being alive. There is some Radiohead in its queasy grandeur, the poetic ecstasy of The Doors’ Jim Morrison, and plenty of The Gun Club in its bloodshot blues logic. Then Storms sings “Calm night / Birds keep plucking out our eyes” with the casual authority of a man reporting local traffic conditions.

Fire has followed Storms since childhood, when his fascination with flames nearly resulted in the destruction of his family home. Here it becomes appetite, catastrophe, sex, faith and bad judgment sharing one cigarette. Flannery O’Connor would recognize the neighborhood immediately: everybody has dressed for church, salvation is theoretically available, and somebody somewhere has misplaced a can of gasoline.

You Never Answered turns the miserable modern habit of staring into a phone into a deafening plea for actual contact. Elsewhere, war and ordinary social machinery feed the record’s agitation before the title track slows everything into a bruised procession. Love suddenly becomes another uncontrollable force capable of rearranging a life without requesting permission. Never Rest swells into a crescendo of horror as it unfurls a wild torrent of haunting poetry set against apocalyptic guitars and thundering drums – landing somewhere between Type O Negative and The Doors.

The Arsonist finds Wailin Storms standing dangerously close to their oldest impulses: primitive rock & roll, folk horror, damaged romance and the suspicion that salvation and catastrophe may share an address.

Listen to The Arsonist below and order the album here.

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The post Like Murder Ballads and Campfire Folk Songs — Southern Gothic Outfit Wailin Storms Ignites With “The Arsonist” LP appeared first on Post-Punk.com.

Featuring support from Downswing and Convictions

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Filmed in their hometown of Birmingham, AL this past May.

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Never mess with Murdoch’s society

Crashing and burning oh what a pity

Tracky Nike fourth reich vitriol spray

Commonplace everyday wreck of the UK 

Modern life has become one long argument with a screen, a boss, a stranger, a lover, or the idiot currently screaming beneath a flag in a supermarket car park. Shaven Primates have mined the exhaustion and alchemized it into a new EP, Kill The Algorithm. The Oxford quartet turns private dependency, political resentment, male grievance, and algorithmic manipulation into four rough-and-tumble songs powered by post-punk tension, industrial abrasion, art-rock unease, and guitars that sound ready to put somebody through a wall.

Saviour starts from the most private wound. Its language treats affection as narcotic relief, the beloved transformed into medicine for absences that began much earlier, somewhere around the missing mother, missing father, and the suspicion that another person might finally close the hole. The 1990s references make sense: Placebo’s bruised glamour, Nine Inch Nails’ compulsive machinery, A Perfect Circle’s heavy-lidded grandeur. The emotional centre remains ugly enough to feel dangerous. Love becomes dosage, fantasy becomes diagnosis, and the repeated appeal to a saviour keeps curdling into evidence that salvation has been outsourced to somebody equally mortal.

Pioneer Way drags that anxiety into public, where the nervous breakdown has flags tied to the lamp posts. The track takes aim at a Britain of workplace exhaustion, tabloid conditioning, immigrant scapegoating, screen addiction, and everyday fury looking for a body to blame. There is something grimly comic about a man screaming at an indicator while the country around him rehearses imperial fantasies beside a roundabout. The Sex Pistols influence is less about imitation than permission: permission to sneer at the pageantry, to notice how easily personal failure gets repackaged as national grievance, and to turn the resulting disgust into a hook sharp enough to draw blood.

Then Feed goes after the salesmen. These are the grievance merchants who discover lonely young men, tell them tenderness is weakness, sell coercion as confidence, and monetize every insecurity they helped aggravate. The band brings in the clenched attack of Rage Against the Machine and Metallica, but the song’s ugliest idea is economic. Misery has become a business model. The customer is kept hungry because a satisfied customer might stop clicking.

That thought detonates fully in Kill The Algorithm, where social media becomes less a tool than a delivery system for appetite, paranoia, tribal identity, and manufactured certainty. Radiohead, Black Sabbath and Iron Maiden hover in the architecture, while the repeated command at the song’s centre turns disgust into something nearly ecstatic. The target is the machine that keeps learning which wound to prod next.

Listen to Kill The Algorithm below:

Shaven Primates have made four songs about dependence: on lovers, on screens, on enemies, on gurus, on systems that promise relief while feeding the sickness. The riffs grind, the drums hit with factory-floor force, and the vocals move from wounded croon to open-throated accusation. The EP is held together by the recognition that private desperation and public brutality are often roommates, splitting the rent while each insists the other started the fire.

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The post “You Prey on Those You Feed” — Oxford Quartet Shaven Primates Share “Kill The Algorithm” EP appeared first on Post-Punk.com.

They’ll be hitting the returning venue this November.

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The song appears on the band’s latest album, ‘Medusa,’ out now via Judge & Jury Records

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Including three Southwest shows with Buried In Spring

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Our Top 10 Janis Joplin songs list features some of the best material from one of the most magnificent rock and roll artists of the classic rock era. Sadly, Janis Joplin released relatively little material during her short career. Janis Joplin’s life was cut short at the age of 27 when she passed away due to a heroin overdose in 1970. In essence, her career had just begun. At the time of her death, she had only released three studio albums and had just about finished her fourth. The first two were with the band Big Brother and the Holding

The post Top 10 Janis Joplin Songs appeared first on ClassicRockHistory.com.

Enter Mephistopheles

Overcome by innocence and purity

On a hell-bent path led to corrupt

To destroy us all and rise above

Goth music has always been hospitable to transformation: flesh into apparition, desire into doctrine, the nightclub into a temporary chapel. Pittsburgh industrial project ShadowMouth and Cleveland vocal trio The Elder Goths take that appetite for metamorphosis literally on The Promise of Alchemy/The Death of Chemistry, a paired single released August 12th and the final preview of ShadowMouth’s forthcoming debut album, Modern Alchemy.

ShadowMouth is the project of multi-instrumentalist and songwriter Rick Polo, of Baroque Monody and Heck Vektor, with producer and drummer Brooks Farris of Electric Fox Studios. After the 2024 EP Purification By Fire and singles including Your Words, Not Mine and DOOM SCROLLERS vs HOLY ROLLERS, Polo reached outside his immediate circle for these two pieces, contacting The Elder Goths: Cassandra Bishop, Laura O’Janpa, and Gina Schultz, without having met them.

“These songs were the result of me taking a shot in the dark and reaching out The Elder Goths group, who I had never met before, and asked if they would provide some of the striking beautifully haunting harmonies that are immediately apparent when first hearing their work,” says Polo. “But it turned out to be so much more than I could have imagined. The end result was an intense and and really heartfelt delivery which absolutely blew me away. This collaboration felt too important not to highlight. So we decided to release this a single ahead of the record.”

That gamble pays off immediately on The Promise of Alchemy. Aphex Twin-like electronics move beneath spare guitar passages while Bishop’s lyrics describe awakening, perception, and the search for one’s place within a larger atmosphere. The Elder Goths bring an elegant, spectral grandeur that recalls Strange Boutique, Faith and the Muse, and the ceremonial scale of Dead Can Dance. Their layered voices give Polo’s machinery a sense of upward motion, turning alchemy into a metaphor for people entering the same space and becoming altered by the encounter.

The Death of Chemistry, with lyrics by Schultz, pushes the collaboration toward darker territory. Its language circles blindness, consumption, manipulation, predation, and the dangerous seductions of appearances. Mephistopheles enters as an emblem of corruption, while bodily warnings – alarm, dread, instinctive recoil – suggest a consciousness struggling to recognize danger before persuasion overrides perception. The final image of being taken in by a “suntan and a grin” gives the song a wickedly contemporary sting: evil may arrive beautifully groomed, socially fluent, and camera-ready.

Together, the songs form a compact study in attraction and corruption. One considers transformation as revelation; the other examines how easily perception can be bent by charisma, appetite, and spectacle. This tension gives the collaboration a compelling force, especially because the music itself began with an act of trust between strangers.

Listen below and purchase the double single here.

Formed in 2024 after its members crossed paths through Cleveland’s underground scene, The Elder Goths will perform at Pagan Pride Fest in Cleveland on August 15th. Their appearance on Modern Alchemy gives ShadowMouth’s coming album an intriguing final preview: four musicians meeting across projects and cities, testing what might happen when unfamiliar elements are placed in the same vesse

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