One of the albums I’ve been anticipating most of 2026 has arrived! Grey, the debut album from Held., is more than just a debut album, it’s one of the most personal and compelling albums of the year.
Grey is the album you didn’t know you needed. While many bands say they wear their heart on their sleeves, Held. is literally pouring themselves out on these songs. The melodic yet heaviness of these songs permeates through the entire album.
The way the album begins with “Defending The Earth” and the very urgent lyrics comes out of the gate with pure intensity. From there the next three songs explode in your speakers. I’m still amazed at “Constant Tension” and the heart strings it pulls on. “Waves Of Fire” is another gem of a song in the way its speed propels the second half of the album. The title track “Grey” is as emotionally charged as it is anthemic. That’s a recurring theme found throughout. It’s not so much about empowerment but, more about self awareness and realization. “I and I Against You All” is one of those songs that hits on the previous theme only this one is more empowering. “Through The Cracks” feels like a very classic post-hardcore song along the lines of Jawbox. “Broken Spacesuit/Decay And Sand” is epic. This Failure-esque song is spacey all the while introspective. Closing the record is “Emptiness: A Side Effect” a song that is an instant classic. This is one of those songs that will make you want to listen again and again. What a song. I’d go into more detail about it but that would just take away from your own listening experience.
The lyrics of singer/guitarist Douglas Robinson are beyond personal and memorable. The way he writes speaks to the listener in a way that it gets under your skin in the best way. Some of my favorite lyrics of the year are on this album. In particular the closing song has my favorite line “Side effect of every side effect you ignore.” What a line! I can hear the audience singing along to this! The rhythm section of Sal Mignano and Josh Eppard is a revelation of thunder. The way they play off each other and create a great tension that plays off the guitar. One of the other aspects of the album that stands out is the production. The way the band feels alive throughout is stellar. You can feel the energy and breath of the performances. Which is something that is missing in modern music.
Grey is hands down one of the best albums of 2026. Having a debut album hit the strides this one does is astounding. Held. have arrived and I genuinely hope are here to stay. The grasp they have on the listener via this album is one that I don’t want to let go of. This is one of the best debut albums I’ve heard in a long time. You wouldn’t even think this is a debut based on the quality of the songs and how great this band sounds.
The idea of making an “album” these days seems to escape most bands. While so many are so focused on the quick song or short attention span fans, Failure have returned with their seventh album, Location Lost, and remind everyone why making an album is so important.
Location Lost is an album that shows Failure at a vulnerable and fragile state that draws from personal, societal trauma and issues. When you put this album on and the crisp sound comes bellowing out of your speakers, it’s a passionate and deep presence felt. There truly is magic between the music created by Ken Andrews, Greg Edwards and Kellii Scott. Each brings in a unique batch of influences and styles thus creating a tour de force of music and art.
Across nine songs and forty minutes, Failure does what they do best, rock! The album opens with “Crash Test Delayed” a delicate space rock song that incorporates the bands early post punk/new wave influences. For a moment you can feel like it’s 1986 but, then realize it’s 2026. “The Rising Skyline” is a beautiful mellow-dramatic piece. The collaboration with Hayley Williams is the perfect choice. Her vocals on the second verse and then intertwined with Ken and Greg’s voices, is stunning! “Solid State” picks up the energy and glistens like a twinkling star. “The Air’s On Fire” is a gem. It’s one of those songs that makes you turn up the volume. You know where too. “Halo And Grain” strikes you with a grabbing bass line that lets you glide into quite the melodic treat. “Someday Soon” is another in the post punk/new wave song, with a sweet twist of melody and delicate pulsating rhythm. The title track “Location Lost” is another treat. It has an almost Magnified era vibe to it as well. “A Way Down” is going to be a classic in the bands catalog. There’s such a fun to this song that it really makes you want to play this one while “taking a ride, with your best friend.” Closing this album is “Moonlight Understands.” The unfolding subtleness allows you to drift along into a fuzzy state that leaves you contemplative.
For those that are new to Failure, this album might not grab you at first. Stay with it though as everything you enjoy about Failure is here in this album. As I mentioned earlier, their post punk/new wave influences shine throughout. Even the production of the album pulls from some of those early albums. If you have a really great set of headphones, put them on while listening. You’ll get a whole other listen out of it. It has been talked about that this could be the final album for the band. If so, it’s a real delight to hear the honesty and passion of Ken, Greg and Kellii. I sincerely hope there is more to come from Failure. For now though, Location Lost has now been found with Failure.
Some bands have such a distinctive sound that the instant you put one of their albums on, you just know it’s them. That’s exactly how it’s been for Corrosion Of Conformity since the early/mid 1990’s. The sound is one of those “you know it when you hear it” type of things. For those that don’t know, it’s a sound that feels like Black Sabbath went down to New Orleans and leaned heavily into the sludginess of the area and then got shot out of a cannon. At least that’s how it is when I hear Corrosion Of Conformity. Now in 2026, COC have regrouped to deliver an album that has all you’ve come to love about the band and then some. Good God / Baad Man is an album that comes out of the gate with a loose feel that makes you strap in for the ride.
This is a double album in case you were wondering. Each half of the record has its own vibe and sense of fun. That’s right, FUN! From the first note of this album there is an instant feeling of good vibes and a whole lot of fun to be had. That’s a really rare thing these days. That’s not to say the subject matter of the record isn’t urgent or personal but, the overall presentation of Good God / Baad Man feels like a celebration of life. Across the hour plus each song pulls you into the riff and rhythm. Songs like “Good God/Final Dawn,” “You And Me,” Bedouin’s Hand” and the epic “Run For Your Life” highlight the Good God side. Then you have “Baad Man,” Lose Yourself,” my favorite as of this writing in “Asleep On The Killing Floor” and the left field song “Brickman” on the Baad Man side that accentuate just how good this album is. It’s interesting too when you listen to C.O.C., the amount of bands that have blatently copped a good chunk of their style. Sometimes it can be a form of flattery while others not so much.
Much like albums of the 1970’s and early/mid 1990’s, there is a total push and pull with this album in a good way. The driving nature of the songs propel Pepper Keenan, Woody Weatherman, Bobby Landgraf and Stanton Moore into another realm. The inspired group really created a record that stands out not just amongst their peers but as a classic in their stellar catalog.
Comeback albums are not easy to make. The pressure of trying to capture a time and place from years before is enough to make one throw a fit. Especially when people want something from that particular era. The great thing about a comeback album is taking all you’ve done before and molding that into everything else since to make a record that stands up with the rest of the discography. The very awesome Poison The Well have released their first new album since 2009’s, The Tropic Rot. Peace In Place is an uncompromising and direct shot to your gut and brain type of album. Notice too how I said “album.” That’s what this is! After first reuniting in 2015 and 2016, Poison The Well made their full on return in 2020. Since then they have been giving the fans joyous tours of landmark albums like The Opposite Of December and You Come Before You and then some. Taking the time over this era has given the members of PTW the chance to really capture the essence of the band before and now.
Peace In Place is an album not for the weak. The heaviness of the lyrics, music and melodies are razor sharp and cut deep. The way this album begins with “Wax Mask,” lets you know right away this is only the calm before the eruption. From there it’s just on. The way “Primal Blooms” push the controlled chaos into an atmospheric beatdown is seemles. In fact each song transitions perfectly into each other making for a very complete listening experience that is lost amongst so many bands and albums these days. The already released one two punch of “Thoroughbreds” and “Everything Hurts” stings even more in the context of the record. “Weeping Tones” though when you hear this song, the whole picture comes to light. This part of the album feels like the turning point as well as it seeps into the absolutely devastating “A Wake Of Vultures.” Which I can see becoming a fan favorite and live staple. “Bad Bodies” keeps the pace going and injects a heavy melodic sense that has become a signature for Poison The Well for years. “Drifting Without End” has some really interesting elements that go back to the Versions era making it one of those deep cuts that offers a bit of a breath amongst the heavy. “Melted” is another gem on the album. I love the way this song sways a bit then grabs you by the throat and shakes you a bit. Ending the album is “Plague Them The Most” which is epic and intense and a great way to end the record. That’s not all though, stay for a couple minutes after for a real treat!
Peace In Place is not just an album for now it’s a new blueprint for those that cop this style. Poison The Well is back and this album shows that not only do Chris Hornbrook, Jeffery Moreira, and Ryan Primack still deliver at a top level but, the time away really shows just how integral this band is to the music we love. The way this album sounds feels lively and in your face. Vocally, the screams and delicate moments are impassioned and mature. Lyrically there is a lot to delve into but, the poetic nature lets you feel it. The guitars are bright and crisp when needed and downright nasty heavy when it’s called for. The dynamics shifting throughout really shows the influence and inspiration Poison The Well has on so many bands of today. Then you get into the drums and it’s like listening to lightning strike. The way Chris Hornbrook plays just rains down inspiration. The snare sound is so signature to Poison The Well is alive and well here and cuts through like butter. Plus the fills and pulsating driving nature of the drums guide these songs through all the temperatures of the songs. New members Vadim Tavor and Noah Harmon add their own touches to the album in a way that pays homage to the past but, it their own. Producer Will Putney, was able to really capture what Poison The Well in 2026 is!
Poison The Well is an album that is confident and shows tremendous growth. There is no mistaking where they came from and it shows in here as well. The maturity of the members personally is a real bright spot throughout listening. To be able to come back and make an album that not only marks a return but, doesn’t rely on nostalgia is remarkable. The creative push on Peace In Place is heard on each song. As far as comeback albums go, this is definitely one of the best I’ve heard. I greatly look forward to seeing Poison The Well on tour for this album as well as what the future holds. Poison The Well stood out for a reason many years ago and this album is exactly why.
For well over twenty five years now, Lamb Of God have been at the forefront of heavy music. Their sound and style is unmistakable and quite pummeling. Never a band to stay in one place, they have expanded their sound through the course of ten studio albums. Each record carves its own place within their catalog and tells a particular story of the time. Their new album, Into Oblivion is explosive as it is urgent. What you have here is Lamb Of God firing on all cylinders and reaching into their past as well as diving into new territory.
Across the ten songs and forty minutes, there is no letting up with Into Oblivion. As the title track starts things off with quite the bang, each song after leaves it’s own mark. This album still packs the heavy and the groove that fans have come to love. What you find though is the inspiration coming through. It’s not so much an influence that comes to light, it’s the feeling. One of the strongest undercurrents found on Into Oblivion is the Swedish Melodic Death Metal style a la At The Gates and even Meshuggah. The way that inspiration finds its own niche on certain songs like “The Killing Floor” and “St. Catherine’s Wheel” is astounding. The sheer heaviness on these two will incite mosh pits for years to come. Then you have a couple songs that make sharp left turns into a more bluesy realm like “El Vacio” and “Blunt Force Blues.” The first two singles “Sepsis” and “Parasocial Christ” are very classic sounding songs with a very rage filled aggression. The latter half of the album is pretty intense. “Bully” provides some interesting social commentary and some really great melodic moments. While “A Thousand Years” feels like a storm brewing. Ending this stellar album is “Devise/Destroy” which is a great summation of the album. It’s got everything I mentioned above and more.
Into Oblivion is one of those albums that when it’s done you want to start it again. If you are driving it will definitely make that foot go heavier on the gas. Lamb Of God have been a constant in heavy music for a reason. Randy Blythe delivers vocals and meaningful lyrics with a passion that is unwavering. You can feel every word he says/sings/screams. And in this world we live in it’s nice to hear someone with common sense. Musically this band is on one hell of a run. Mark Morton and Willie Adler are one of the best guitar duos in all of music. They both have a different style and you can hear each of them on these songs. The rhythm section of drummer Art Cruz and John Campbell is oh so sweet. John is one of the best heavy music bass players and Art continues to push the boundaries of drums and percussion in this band. I say this with all due respect, Art Cruz is the better drummer for Lamb Of God. Just listen to how he plays the older songs and these new ones.
This album is one of the best of the year and it’s only March. 2026 is going to be a year to remember for great music and albums. Lamb Of God have knocked it out of the park with Into Oblivion. I look forward to these songs becoming live staples and seeing the audiences explode.
What is going on with shoegaze these days? When did this subgenre become such a phenomenon? I’ve been trying to find the point of origin and it’s quite complex. Instead of trying to figure out all that at the moment, why not just enjoy the best of what’s out there. The ones that have really left a mark on me have done just that. These select bands and albums have not just found their way into constant rotation, they’ve separated themselves from the pack well enough to make a lasting impression on the genre and era. Trauma Ray is one of those bands and their latest release, the EP, Carnival, absolutely cements that.
Carnival is one of those perfect EP’s that is a burst of creativity. By opening up the writing to be more collaborative, the vast expansive inspiration is aplenty here. This unlocked a whole other world for the band to travel in. What’s interesting too is these influences are cast without biting off a duplicate rendition. If you’ve heard the bands debut, Chameleon, you can definitely hear the wings stretching here. In a way it reminds me of the band Brand New and how the more open collaboration made the band even better. What Carnival does across five songs and twenty five minutes makes you fall into a trance of lush soundscapes, dreamy vocals, riffs and melodies that caress the delicate and at times intense rhythms. The use of not just shoegaze aspects is another treat. Like many of the other great bands of this genre, there is more to Trauma Ray. Other sounds and styles like metal, alternative, sludge, doom, grunge, ambience all play a part in making this one stand out release. Each song takes on a bit of a life of its own with the way the influences shine.
It’s very refreshing to hear a band like Trauma Ray taking the sum of their parts and realizing making a record that not only showcases the individual effort but pushes the band forward into making great music. Carnival is for sure a ride and one worth riding over and over again.
When a band such as Converge releases a new album, it’s a big deal. For well over 30 years, Converge has been at the forefront of metal and hardcore. Their signature sound is unmistakable. The sheer intensity of the vocals and lyrics will make grown men cry. Musically the intricacies, riffs and pummeling rhythms are as devastating as the most powerful storm. Without Converge we wouldn’t have so many other great bands that we enjoy today.
Which brings me to their new album Love Is Not Enough. The past few albums have been rather epic in their nature. Blood Moon, The Dusk In Us and All We Love We Leave Behind are quite the records in their own right and have their own place within the catalog and genre. Over the course of the time since their release, each of those albums holds a certain place for me. What we have here on this new album is a very direct sense of impact. Not since their album, You Fail Me, have Converge made such an urgent blast of an album. Spanning just about thirty minutes, Love Is Not Enough grabs you by the throat the second the title track kicks off the record. Throughout the ten songs the listener is thrust into the whole career of Converge. Each song is a bit of a snapshot of the best of what Converge is and has done. For those clamoring for the more spastic and heavy fast paced songs, those are here for you and for the taking. There is a thematic level of darkness and gloominess that is a radiating aspect to the album. Which gives it a very profound feeling. There is a balance of both the heavy/dark and spastic/pummeling making, Love Is Not Enough that much more impactful. Even the middle song which is instrumental, this track gives you the moment to gather yourself before the onslaught continues. There is not a song on this album that feels like it shouldn’t be here.
Converge is Converge for a reason. Their music is a true testament to what moves them. An album like Love Is Not Enough might not be the be all end all of metalcore albums but, what this album does is show everyone else trying to cop this style that, this is the way to do it. Imitation can be a form of flattery at times but, don’t mess with it in hardcore and metal. The equal parts of Jacob Bannon, Kurt Ballou, Nate Newton and Ben Koller made one hell of an album here. One that should not only be listened loudly but, one that shows there is no letting up for these gents. The standard was set long ago by Converge and they just keep moving the bar higher for everyone else. I’m personally beyond stoked on their upcoming tour with Poison The Well. That decibel levels in the venues should register on richter scales.
The evolution of a side project into a full fledged band is quite something to witness. As I’ve stated in other articles pertaining to Puscifer, what started out as a side project and tongue in cheek has truly blossomed into a band. Normal Isn’t, their latest offering and fifth studio album, is truly a remarkable record. It’s also the first album of theirs that I’ve truly been excited about. What Maynard James Keenan, Carina Round and Mat Mitchell have composed and created with Normal Isn’t feels visceral and direct.
Normal Isn’t is an album that evokes as much emotion as it does thought. Lyrically throughout, the themes of the songs illuminate different concepts be it political, sociological, or psychological. Musically, the way the post-punk elements are the foundation thus making all the other parts be it the electronics, guitars, bass and drums stand out on their own merit. It’s interesting to listen and feel the inspiration of other bands be it Nine Inch Nails and Killing Joke to something more in the electronic realm. The dark undertones contrast really well against the glistening of the vocals. Carina and Maynard have really found a stride on this album both solo and together that feels more uplifting than haunting.
The songs themselves are captivating and compelling. As much fun as it would be to go into each song, it’s better to just listen without any preconceived notions. There are though, certain songs here that need to be highlighted without giving anything away. As of this review and writing, “A Public Stoning” is my favorite song here. The epic nature of this one along with all the intensity is truly remarkable. And to have a song like this smack dab in the middle, what a treat! Then you get into “The Quiet Parts” and it’s sprawling yet melodic aspects make that one/two punch repeatable. I do find myself gravitating to the back half of this album more. There’s an eclecticism to this album that is rich in its delivery and pseudo-minimalism.
Puscifer has produced quite possibly their best album yet. This is their most meticulously put together album that stays cohesive throughout. There is still all the artistic aspects of the root of the project but, everything that is here is in service of the song. The end result of Normal Isn’t shows that this “project” is now a full fledged band that has found it’s stride. Seriously, this album is one of the best of 2026 (and it’s only February 06) and I’m here for it all!
2026 has already been a strange year. The world may be falling apart but, the music keeps playing! So much so that the first great album of 2026 was released at the end of January. Blackwater Holylight’s new album, Not Here Not Gone, expands upon their already dark yet light contrasts and pushes the doomgaze genre into new worlds.
Throughout the ten tracks on the album, there is no shortage of great moments and new things to discover with each listen. Not Here Not Gone is as haunting as it is seductive and sonically bombastic. The way the band can weave an intricate web of shoegaze, doom metal and indie/folk is breathtaking. There is a calm to the heaviness on this album that keeps you coming back. The way the album glistens as it begins with “How Will You Feel” opens the window to what’s to come. From there “Involuntary Haze” ups the volume and shows off the heavy nature of the band. “Bodies” riffs out with a stellar explosion that captivates from the moment it starts. “Heavy, Why?” is quite the contemplative song that is filled with crisp sonics and soaring vocals. “Giraffe” is a bit of a departure but, it’s one of those interesting ones that acts as a bridge between parts of the album. TV On The Radio’s Dave Sitek guests on this track. “Spades” returns to the heavy/gaze with more of a pulsating undertone. “Void To Be” feels like a sort of shoegazy prog rock track but with a dark pop sense. “Fade” is a delicate song that goes more cinematic as it builds. “Mourning After” is another soulful song that has a ton of ear candy to explore. Closing out the album is the epic “Poppyfields.” This is one of those songs that will stay with you long after you are done listening. In fact, it’s one of those that will make you want to put the album on again.
What Blackwater Holylight have made with Not Here Not Gone is triumphant. Sunny Faris, Eliese Dorsey and Mikayla Mayhew have cemented themselves as a force to be reckoned with. Albums like this take quite a bit of time to make and when the end result is this powerful, it’s a statement record. Personally, I’m enthralled with what I heard on this album. I can only imagine the magnitude of volume that is their live show and these songs will definitely push the decibel levels of wherever they play. Seriously, put Not Here Not Gone on and just let it take you on it’s journey.
There’s always so much music being released these days it’s hard to keep up with it all at times. Luckily, you all have me to sort through it all and deliver the good stuff! As always, this batch of bands and albums is quite the eclectic one. This New Music Friday has all sorts of rock, metal, hardcore, electronic, and indie. Do check out all these bands and if they are playing near you, go see them and support your scene! At the end of the day there is no scene if there are no people there! Enjoy these picks and remember to always, Listen Eclectically! – Brian
01) The Anti-Groupies- Pretty Vicious: The Anti-Groupies are the real deal! I’ve been a fan for quite a bit now and it’s been a blast to watch their growth not just as a live band but as songwriters. Their debut album, Pretty Vicious, is out now and it’s a righteous slab of rock. It’s got the attitude and charisma of the 90’s, a fun playfulness that has a late 70’s early 80’s glam/punk rock vibe a la Blondie and Joan Jett and a style that is bombastic. The Anti-Groupies are one of those bands that will kick you in the teeth when you see them. The fun aspect of seeing this band is there along with the feeling of wanting to mosh. Give Pretty Vicious a spin!! And on November 15 come out to The Cobalt Presents show at Bar10 at Corbin Bowl and see The Anti-Groupies live for the Highwire Daze Magazine 35th Anniversary Show!
02) Au Jus- Very Well, Then: I find myself at times being quite intrigued with what the kids are doing musically these days. It’s been fun to watch a new generation of kids get into the things I grew up on. Sometimes there are a few bands that can capture a certain artsy essence of that time. With that in mind, let me introduce you to Au Jus and their album, Very Well, Then. This album is very much in the 90’s alternative vein with that introspective touch to it. It’s got a sort of The Smashing Pumpkins vibe mixed with Blind Melon. So it’s sort of whimsical and spacey with some sprinkles of psychedelia and shoegaze. Give Very Well, Then a spin and see where it takes you! You can catch Au Jus live Saturday October 25 at The Cobalt Presents Show at Hotel Ziggy!!
03) The Barbarians Of California- Pseudo Intellectuals Are Hating On My Band (Pure Power): Ever since I heard The Barbarians Of California I’ve been hooked. It’s been great to hear Aaron Bruno back in the hardcore realm of things. I grew up in the same area as Aaron and watching his old band Insurgence along with a slew of others like Counterveil, Homemade and others was a blast. So it’s been really fun and a bit nostalgic to have this band around. The Barbarians released a new song recently that also features Keith Buckley of Many Eyes/ex Every Time I Die. This is just one of those really fun sing along hardcore songs. It’s infectious! That’s the word I was trying to come up with. Enjoy this one!!
04) God Alone- The Beep Test: I love when I get sent things that I have zero about and I just put it on and then it’s game on! That’s what happened when I checked out Cork, Ireland’s, God Alone and their album, The Beep Test. It’s this crazy amalgamation of math rock, hardcore, punk, electronics and dance. I know, what? But seriously it all works quite well. The experimental nature of the album leaves you really wanting to delve into it more and more. There is so much to unpack in a glorious way, like opening presents on your birthday. I don’t want to say too much of it will give away the fun. Just put this album on and dance your feet off!
05) Jet Black Iris- How Sweet Is The Taste Of Your Infection?: A while back a band hit me up about playing a show with The Cobalt Presents. As I always do, I checked out the band and could definitely hear something I liked. So I booked them and DAMN! Jet Black Iris really captured my attention. Firstly, the sound of the band is chock full of things I love. There’s the 90’s quiet/loud vibe but more so in the Failure way, then you add in a really cool Post-Punk element a la Joy Division as well as Interpol (mainly their first 2 albums), and then a punk vibe that sits in that metallic/melodic spot. Put all that together and you really do have one hell of a sound and Jet Black Iris definitely takes flight! Their debut album, How Sweet Is The Taste Of Your Infection?, is ten songs of pure passion poured out onto tape (well the computer these days). Jet Black Iris has fast become one of my favorite new bands. Come see them live Saturday October 25 at The Cobalt Presents Show at Hotel Ziggy!!
06) Motherless- Do You Feel Safe?: More often than not, I’m usually in a heavy music mood. Depending on my mood depends on the level of heavy. The other day I wanted something that was HARD! So I went through my list of things to check out and put on the album Do You Feel Safe? by Motherless. After listening the eight song album, I knew I found what I was looking for and I put it on again. Punishing! That’s what this album is. It’s Metal, its got Hardcore sprinkled all over as well as dashes of Black Metal, Sludge and Doom! Motherless features members of The Atlas Moth (if you haven’t heard their album Coma Noir, you really should) and Without Waves. This album is quite intense and like I said, punishing (in the best way possible)!
07) Puscifer- Self Evident: I’ll admit, I haven’t been the biggest fan of Puscifer. There are songs I do like a lot but, for some reason it jus wasn’t connecting with me. Then a few months ago, I sat down to do some other work and put all the Puscifer albums on and found myself enjoying it a lot more than before. So when the news came out the other day that after five years, come February 6, 2026 via Alchemy Recordings, we will get a new Puscifer album called, Normal Isn’t. This new album is supposed to align more with the Post-Punk/Goth side of the bands collective influences. The first single “Self Evident” is just that, it’s dipped and swirled in post-punk. I’m sure Beavis and Butthead would be happy with one of the lyrics too!
08) Trace Amount Featuring Fatboi Sharif- Seeing God On The L Train: Over the past few years, I’ve been interested in where all the electronic music is going. There are so many sub-genres to it now that it almost seems made up. There are certain ones though that I’ve taken a liking too. The apocalyptic/atmospheric soundscapes with what seems like post-industrial beats has caught my ear. One artist that I’ve really enjoyed that does this style is Trace Amount (aka Brandon Gallagher). I got to see Trace Amount a few years ago open for Greg Puciato’s solo tour and Brandon’s set was one of those that set a tone sort of foreshadowed the craziness of the night. This new track though is pretty rad in that the sparce sound accompanied by the vocal deliver of Fatboi Sharif makes this a trippy song!
