Tag Archives: Wil Cifer

ALBUM REVIEW: Insomniac – Om Moksha Ritam

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Atlanta’s Insomniac brings the surreal sounds of the early nineties back to life on Om Moksha Ritam (Blues Funeral Recordings). These guys drape brooding baritone vocal lines over layers of atmospheric guitar that swell into big sludge-tinged riffs of epic proportions. On a song like “Mountain,” the twin guitar attack is a dizzying affair that accelerates in an almost Mastodon-like manner. Deceased drummer Amos Rikin keeps the cymbals crashing with enough gusto to move their hypnotic riffage with locomotive momentum. This reaches peak heaviness for these guys when harsher growls roar up from the back of the mix to accent the punchy chugs.Continue reading →


ALBUM REVIEW: Fleshwater – 2000: In Search Of The Endless Sky

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Fleshwater’s new album 2000: In Search Of The Endless Sky (Closed Casket Activities) displays the lessons the band learned from playing arenas with a more anthemic nineties Rock sound than what was heard on “We’re Not Here to Be Loved.” It shoved singer Marisa Shirar into the spotlight, forcing her to own her identity as a frontwoman. The mix of this album is more radio-friendly with the vocals out front, as the guitar swirls around them. Shirar’s singing style is more Rock-oriented on this album, belting the choruses out as the guitar sits back in the mix. The atmospheric opener is the strongest song on the front end of the album, as the singles dial back the more shoegazing elements. Though it depends on what you want from music in this regard; if you are a fan of Paramore, the more alternative rock-leaning sound might be more to your liking.  Continue reading →


ALBUM REVIEW: Modern Life Is War – Life On The Moon

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Life On The Moon (Deathwish Inc) is Modern Life Is War’s first full-length in over a decade. They have returned and are deviating from what you might expect from Punk in 2025. It does not stray dramatically from what the definition of Punk was in the mid seventies. They still carry most of the aggression, though layers of singing chime in for the chorus of “First Song On The Moon.” The guitars carry a frantic jangle rather than a Hardcore chug. “There Is A Telephone That Never Stops Ringing” finds the urgency building into an explosion. The kind of organic chaos The Stooges once kicked up.  Continue reading →


EP REVIEW: Palladists – Tenebrous Ways

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Rather than worshiping Minor Threat, DC Punks Palladists pursue darker sounds on their new album Tenebrous Ways (Fiadh Productions). This is fitting when you are named after a satanic cult hidden within early Freemasonry. When it comes to the vocals on this album, they are still very much rooted in punk. It is the guitar tones that set them apart from the rest of the punk pack. They use more effects to add a creepy touch to the otherwise in-your-face rapid-fire attack. In terms of their songwriting approach, they are not busting out the kind of hooky anthems the Misfits are known for, nor are they dwelling in the kind of drug-induced morbid self-reflection Christian Death once lamented upon.Continue reading →


ALBUM REVIEW: Lowheaven – Ritual Decay

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Canadian post-Screamo merchants Lowheaven open Ritual Decay (MNRK Heavy) with a swell of noisy ambiance, setting the stage for an explosion of screamo intensity against a stark, apocalyptic mood that bears more resemblance to Neurosis. The sung vocals add a melodic counterpoint that might remind you of Glassjaw. They are prone to hover over crushing Sludge-drenched stomps to give the album its heavier edge. These are often broken up by atmospheric guitar passages before reaching their scathing climax.Continue reading →


ALBUM REVIEW: Arcadea – The Exodus of Gravity

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The Exodus of Gravity (Relapse Records) is the follow-up to Arcadea’s 2017 debut. Brann Dailor is still handling the drums and vocals, with Core Atoms returning to handle the bulk of the synth duties. At the same time, they are also joined by Mastodon‘s current touring keyboardist João Nogueira, adding to the layers of prog unfolding here. There is less of a synth wave feel this time around. His drumming is more aggressive. He piles on layers of vocal overdubs to try things he does not normally explore with his day job. The title track would feel more like current-day Mastodon if the synths were replaced by guitars. “Fuzzy Planet’ is the lead single and the best of the first three songs, as it takes things in a more new wave, Gary Numan direction, while applying some funky grooves. This sets the project apart as a more distinct entity. Continue reading →


FEATURE: In Memory of William Brent Hinds July 16th 1974 – August 20th 2025

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Yes, William Brent Hinds was the former guitarist of Mastodon. But I knew him as my friend who gave the best hugs and said “Man, Benchpress, it feels like you are going to crush me, that’s awesome!” 

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ALBUM REVIEW: King Yosef – Spire of Fear

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King Yosef has always leaned into the more abrasive end of their music, and Spire of Fear (Bleak House Records) has pushed it even further into that direction with an increasingly confrontational aggression. Sonically harrowing with the genre-defining mechanical stomp. That is not to say the entire album just grinds with a robotic pulse, as there are moments like “Glimmer” to provide a more melodic contrast. It’s a darker song with a very reverb-drenched mix that sets the vocals at the end of a dark tunnel. It tapestry of cool sounds that don’t hook into years but serves stark monument of sound.Continue reading →


ALBUM REVIEW: Marissa Nadler – New Radiations

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Marissa Nadler’s 10th album, New Radiations (Sacred Bones Records), finds her stripping down to a more minimalist yet cinematic feel. It feels spacious, yep, with an intimate yearning. Her vocals are produced in a similar reverb-heavy manner. Her approach to vocals continues to expand the well-layered vocal harmonies. The harmonies are more prominent in the mix time, adding more depth in the absence of more Rock-oriented instrumentation. Continue reading →


ALBUM REVIEW: Lord of the Lost – OPVS NOIR Vol. 1

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Lord of the Lost is back with OPVS NOIR Vol. 1 (Napalm Records)  which is a grandiose take on Metal that feels like it’s gotten bigger this time around. Midway into the opening track, you can hear how they ae moving up the bill on European festivals with this album. This album comes on the heels of opening slots for Iron Maiden, which forced them to step up their game. They have not dumbed things down for an American audience, so you are either into this or you are not. Yes, the harsher vocals might appeal a little more to Western audiences, but they’re only one aspect. 

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