For over forty years now, Neurosis, has been a legendary heavy band. The amount of influence and inspiration this band has emitted is astounding. Their renowned albums have over time become profound art installations into an intoxicating and dark world. Twelve studio albums that all feel unique and intriguing. Ranking these is extremely hard to do but, I do believe I’ve found a very great way to put them in perspective. That’s not to say there is a bad album in the bunch. With that in mind here’s the definitive Audioeclectica album ranking of Neurosis.
Artists that are truly artists, have the ability to convey even the simplest of concepts or words into a meaningful language that is poetic and creative. Then you add in the music, melody and the notes that make it all come together.
Throughout Emma Ruth Rundle’s solo career, she’s been able to weave her poetic prowess into deeply articulate songs that hit more in a modern art form mixed with music. The first single “Powerless” from her upcoming album, These Killing Times (out September 18), embodies the essence of the previous statements into a more sonically reactive sound. The album features drummer Jess Gowrie (Chelsea Wolfe, Mrs. Piss), long-time friend and collaborator Troy Zeigler, Patrick Shiroishi, Nick Reinhart (Tera Melos), Gina Gleason (Baroness), Marissa Nadler and more.
Emma is a force of nature and this is just the tip of the iceberg of what’s going to be another gem in her genre defying catalog.
Twenty five years ago at the Rock Am Ring festival in Germany, Linkin Park stole the show. They began their set that day with the song “With You” and in their own way, lured the thousands in attendance to turn their attention to the stage with the way they kicked it off. This 2001 performance became one of those of monumental significance.
Now in 2026, Linkin Park returned to Rock Am Ring as headliners and celebrated that significant moment in grand fashion by opening their most recent set the same way. The intro that DJ Joe Hahn starts creates a wave of excitement then the rest of the band runs on stage and singer Emily Armstrong hits her scream into gear just like Chester Bennington did in 2001. To pay homage to the night as well, even her jacket resembled that of Chester’s.
“With You” is a gem in the bands catalog. It’s great they brought it into their new live sets. The rest of the setlist for the show is great. Enjoy this very memorable set!
When bands start to evolve past their origin point, most of the time it’s pretty interesting and shows real growth as songwriters. One band that I’ve had my ears tuned to since I heard them a few years back, have been subtlety showing that growth in their music. That band is Black Magnet.
Black Magnet have released some of the best modern industrial music in the last couple decades. And they’ve only been around for a handful of years. Their album Body Prophecy, is an unsung masterpiece. The follow up, Megamantra, is an all out audio assault of heavy and viciousness. That’s not to say each album didn’t have those outlier songs that hit at different elements and ideas. Which has led us to where we are now in the band’s evolution.
The mastermind behind all this is James Hammontree and on this new song, “Keep It Downtown,” the roots are still intact, only this time an alternative twist has been added to the mix. A move into post punk and more gothic undertones is now more prevalent in an exciting way. The Jesus and Mary Chain and David Bowie (you can hear his late 70’s Berlin era and early 80’s work in this) have been cited as inspirational examples into this new territory. I’d also put The Cure (Faith/Pronography era) into the fold too. “Keep It Downtown” has the grittiness of its origins with a swagger of these new distinct elements. Produced by Nick Rowe (who also co-produced Greg Puciato’s debut solo album, Child Soldier: Creators Of God, as well as being a member of the underrated, Bloodsimple), produced this song. This new collaboration between Black Magnet and Nick is something to keep your ears on!
Enjoy!
By: Brian Lacy
Black Magnet- Keep It Downtown:
Audioeclectica Interviews- James Hammontree of Black Magnet:
Back in 2008, Metallica released their “return to form album, Death Magnetic. This album marked a return to their “thrashier” days as well as more epic notes. Across the ten songs and seventy five minutes, there’s always been one song that from day one, has had my attention. Ever since I heard Metallica’s “All Nightmare Long, I’ve been mildly obsessed with it. Even the music video, directed by, RoboShodo, is stellar.
“All Nightmare Long” is an absolute banger of a song as well as one of my all time favorite Metallica songs. There’s heavy intensity of this song feels like it could have come out on …And Justice For All. In a fun way too there’s a little bit of a Slayer homage to the intro part. James Hetfield sounds masterful on this song both lyrically and vocally. Lars and Robert really gel on this song too, as they hit endless thrash and groove. The real treat though is Kirk Hammett. There’s not one but TWO absolutely killer guitar solos on “All Nightmare Long.” Personally, I don’t know what one is best, though I tend to gravitate toward the second one. This is one of those songs too, that needs to be played live a lot more by Metallica.
If it’s been a minute since you’ve listened to Death Magnetic, you should fix that. It’s quite the album. Plus right smack dab in the middle is this absolute masterpiece of a Metallica song! Enjoy “All Nightmare Long.”
Earlier this year, Converge released their tenth studio album, Love Is Not Enough. Right out of the gate that album hit you like a pile of bricks. Then a sudden left hook came out of nowhere and the announcement of a second album to be released a few months later. And now we have arrived at that time and Hum Of Hurt, is everything you’d hoped it would be and then some.
Never a band to rest of their laurels, Converge explore every single nuance of influence and inspiration on Hum Of Hurt. There’s a very up front and confrontational approach to a lot of these songs that comes from the depths of each member of the band. One of the best aspects of the album is the sense of groove. The abstract atmospheric elements ooze out of the rhythmic grooves and blasts. While Love Is Not Enough leaned more into metal territory, Hum Of Hurt leans more into noise rock and emotional hardcore. The combination of those and their signature sound, propels this album past the previous.
Each song has its own charm and place. The sequencing of the album is tremendously satisfying. The way the album starts with the very image inducing “Slip The Noose,” you know that this is going to be a record that will tighten your heart. “Doom In Bloom” into “It Only Gets Worse” is a stellar one two punch! Then comes a trifecta of oblivion and obliteration with “Detonator,” “I Won’t Let You Go,” and “It’s Not Up To Us.” At this point catching your breath is a smart idea as “Dream Debris” sweeps you into a new realm. Just as you think the dust has settled, you’re thrust into the final three songs “It Used To Matter,” “Hum Of Hurt,” and “Nothing Is Over.”
What is accomplished here in thirty three minutes is near legendary. This is the year of Converge. It’s started out that way and it’s continued. There’s a feeling to this record too that makes you want to hear it played live in full. I can only imagine the sonic boom of intensity from that. Hum Of Hurt is a soon to be classic not just for Converge but, the genre as a whole.
You don’t get much more iconic 90’s than the film True Romance, Christian Slater, Brad Pitt, Tony Scott (director), Quentin Tarantino (writer) etc. That’s just that the film part. One the music side adding in Soundgarden’s “Outshined” to the mix really ups the auntie!
There are many scenes in True Romance that are pretty iconic. There is one though that, during the editing process, using a temp track (a place holder until later music is picked during the editing process), has stood the test of time in all aspects. Brad Pitt’s character “Floyd” is the consummate stoner. The whole scene plays out in such a great way. Then you add in “Outshined,” especially the opening riff, it all really fits the vibe of the scene quite well.
True Romance- Brad Pitt “Floyd” with Soundgarden “Outshined” Scene:
The idea of finding a band name that encapsulates the music is never easy. Luckily for Richard Patrick of Filter and Photographer and There Is No Us vocalist, Jim Louvau, A Place To Kill was not taken, as that is quite the band name to debut their new band. There’s an eerie feeling that resonates through the post industrial sound. By delving into EDM and its many sub genres, A Place To Kill has found its kill room.
Each song found on their debut EP, blends crushing electronics that hit at fun nuances, trap beat rhythms, and unadulterated dual vocals that alternate between seething aggression and controlled chaos. These are songs designed to hit hard, provoke, and challenge the status where electronic music can go. The songs themselves from “The Killing Field” through “Something Inside Of Me” explore intriguing themes of the world of today and the future of tomorrow. Through the screams, melodic undercurrents and other urgent vocals, these themes are conveyed in a manner that calls you to attention. Songs like “Jet Engine,” “What Feels Right,” and “Drown In A Sea Of Sorrow,” carve their own niche into the lyrical themes that accentuate the heavy distorted synths, deep grooves, and eerie atmosphere that amplifies the direct unease.
The duo of Richard and Jim is quite seamless. You can hear in this that both have a great contrast of styles and influences that makes A Place To Kill not the run of the mill/generic electronic project. There’s a great deal of potential where this can go and I’m quite intrigued by the possibilities.
The end of the world is closer than ever and having a soundtrack to accompany that feels right. A Place To Kill have made an EP does just that. And live is going to be absolutely crushing and have the crowd screaming and dancing to usher it all in.
Here we are at episode 21 now for The Audioeclectica Podcast! What a fun episode this one is. Episode 21 is all about side projects. I love a good side project as it gets to explore other ideas and concepts that might not otherwise be a part of the main band. On this episode we talk about a multitude of projects like The Black Queen, Down, Puscifer, Chino from Deftones many projects, Mike Patton’s many projects, Mad Season, The Smile from Radiohead’s Thom and Jonny, and so many more! So find yourself your favorite place to stream and listen away! Let us know what your favorite side project is!
The Audioeclectica Podcast- Episode 21: Side Projects:
When you hear an album or a song that sonically catches your ear first, you know that what you’re hearing is meticulously crafted. The was exactly what happened the moment, I heard Monolord’s song “You Bastard,” the first single from their long awaited new album, Neverending. Across forty minutes and only eight songs, Monolord, has taken doom/stoner metal into higher ground that will make your speakers excited.
The thing with doom metal is that it can be drawn out and go nowhere. Thankfully, Neverending is not one of those album. Instead, Monolord, makes quite the engaging album. The focus and sequencing of this album is remarkable. From the way “Iodine” kicks off the album, you know you are in for something more. “You Bastard” feels like it’s straight out of the 1970’s, the way the fuzziness sounds and plays out. “Inside A Collider” is a trip of a song. Plus the placement of it makes for an interesting turn. Then it’s back to the heavy with “Crystal Bridge” which, also hits with a left turn that’s just so perfect. “Oozing Wound” is a killer song with a bass riff that would make Justin Chancellor of Tool stunned. “The Masque” and “Invisible” are a 70’s burner for sure. So much so, that such a trip back, it might make your pants into bell bottoms. Closing out the album is “It’s Neverending.” This just might be the bands heaviest song to date. There’s epic qualities to this song that feel like they are pulled from the depths of doom.
As great as the album is, the other star is the production by Sylvia Massy. The way this album sounds is a triumph. Especially in an age where technology is heavily relied upon, going back to the well, sounds oh so right. The dynamics of each instrument, note, vocal, and subtle nuances are divine. This is truly one of the best sounding albums of the year. Sylvia is known for her work on early albums by Tool and System Of Down. And here, it’s brilliantly done by a seasoned professional who truly knows and understands what albums and real sounds truly sound like.
Do yourself a favor and carve out about an hour to sit with Neverending and let it just transport you back to the 1970’s but in a 2026 way. Albums like this will become sonic standards for the future. Especially when making this kind of music.
