The thought of experimentation and exploration within music swings like a pendulum. Each side has its own distinct sound and feel just like Machinekit’s new EP, Body Without Organs. In a fun metaphorical sense, perhaps each organ that is missing represents the style of the music.
Across five intense and almost primitive songs, Machinekit mastermind, John Rojas, emits a mixture of electro-punk, jazz, industrial, doom, and darkwave all in a raw nature. This is where the primitive sense comes in. The vocals tear through skin and pull at your own organs. The way the songs have a visual impact gives the EP an even darker and tortured feel. The instrumentation here is direct and given a clear mission to teeter the line of precision and avant-garde.
When a release like Body Without Organs arrives, it might take a minute to fully grasp what is happening. Go with it! As each song pulls you in a twist, there’s more to uncover with each listen.
When the chance to see a band you’ve been into for well over thirty years in your “backyard,” you make that happen! On Wednesday night July 29, 2026 around 7:30pm at the Ventura County Fair, Bush took the stage set against the ocean and coastal backdrop of Ventura, California.
Opening the set was the always fun and classic “Machinehead.” Personally I’ve always thought this song has a great impact and energy to be a choice opening song. Then came “Bullet Holes” one of their newer songs from excellent album, The Kingdom. This is another great riff song and you might have heard it in John Wick 3! Next up was from their most recent album, the quite good, I Beat Loneliness, the anthemic “We’re All The Same On The Inside.” It was funny to watch crowd go absolutely silent because they weren’t familiar with these songs. Pretty much anything after Razorblade Suitcase was the cut off point for probably 99% of the crowd. Yes, myself and friend/podcast co-host Justin were the 1% that DID know these songs. Then back to a song some knew in “The Chemicals Between Us.” If you haven’t listened to the underrated The Science Of Things album, you should change that. The Land Of Milk And Honey” was next off their new album. This one was quite the live song that really upped the level than the studio version. From there a large crowd pop hit as the heavy distorted intro riff of “Everything Zen” launched like a rocket. Followed by two more newer really solidly good tracks from The Art Of Survival. “Identity” and “May Your Love Be Pure. A fun sing-along with the crowd came with “Glycerince.” I know that songs is super played out but, when you see it played live and the crowd sings it really loud back, that truly shows how timeless it is.
The next five songs were all from their latest three albums The Kingdom, The Art Of Survival and I Beat Loneliness. “Heavy Is The Ocean” is a fantastic song. While it is a track one (from The Art Of Survival), putting it in the latter part of the set was a real treat. “More Than Machines,” “Human Sand” and “Flowers On A Grave” rocked with the latter song leading Gavin from the stage all the way to the bleachers to sing with the crowd. Closing out the main set was “I Beat Loneliness” and if you haven’t heard this song, thats another one to rectify. What a song and what a way to end that part of the set. After a short breather, Gavin returned to the stage alone to begin a solo version of the classic “Swallowed” from my all time favorite Bush album, Razorblade Suitcase. The new arrangement adds to the already “heavy” nature of the song. To end the night out were classic crowd favorites “Little Things” and Comedown.” The latter of which has become quite the end of the show song with extended bridges and outros that show off how terrific the band of Chris Traynor, Corey Britz and Nik Hughes are.
Bush is still one hell of a live band. They are still putting out quality albums and songs that deserve your attention. I’m not kidding. Go check out the three newest albums, and you can thank me later. Even now as I write this, It’s still a bit of a trip to have seen Bush at the Ventura Fair. Gavin Rossdale sounds amazing. His voice like him hasn’t aged! The amount of energy he’s had from the beginning to now is passionate. One of the things about Bush now that I really like is that they don’t rest on the nostalgia of the band. As you can see there are only a handful of classic songs played and the majority was all new. And when you have albums and songs like they have put out the past few years, it’s best to keep it that way. I look forward to what comes next from Gavin, Chris, Corey and Nik.
Overall Rating: A
Overall Rating For The Crowd: C_ People need to actually care about the band you are seeing live!
Review/Photos By: Brian Lacy
BUSH SETLIST:
01) Machinehead 02) Bullet Holes 03) We’re All The Same On The Inside 04) The Chemicals Between Us 05) The Land Of Milk And Honey 06) Everything Zen 07) Identity 08) May Your Love Be Pure 09) Glycerine 10) Heavy Is The Ocean 11) More Than Machines 12) Human Sand 13) Flowers On A Grave 14) I Beat Loneliness ENCORE: 15) Swallowed 16) Little Things 17) Comedown
The idea of the band Will Haven going in a full on 180 degree direction than their known heaviness is beyond intriguing. Usually when you hear a band, well the majority of a band, step out of their known repertoire it can go a bit haywire. That’s not the case for Foreign Film. While there is still a bit of heavy, their debut album, A Love Letter, is an ethereal ambient melodic rock record that soars in direction that flies through the atmosphere.
Across ten songs and forty two minutes you will get lost in this new world of Will Haven’s Jeff Irwin. Along with his fellow bandmates Mitch Wheeler (drums), Adrien Contreras (bass) and Sean Bivins (guitar) he’s also joined by Rylan Kerr (guitar), Robin Florkin (piano/keys) and Tami Taracena (backing vocals), they’ve made a record that moves in a more “post” rock style that’s emotive and full of lush soundscapes. This project has long been in the making and now comes to fruition.
Each song evokes it own emotion. There’s not one song on here that feels like it repeats itself. Instead it weaves an intricate web of all sorts of inspiration making A Love Letter an album that truly captures the essence of the idea. I urge everyone to listen from start to finish to see the whole picture come to life.
Foreign Film’s A Love Letter truly is a thoughtful piece of music and art that fits stands out on its own. There’s a place for both Will Haven and Foreign Film and rightfully so. Enjoy what this album is. The evolution of what this band can be is only getting started.
The element of surprise and evolution in music is one of the many things which makes people keep coming back to a band. For Genghis Tron, both of those qualities permeate through all of their songs and albums. Just as their 2021 return did with the atmospherically heavy Dream Weapon, the way in which Genghis Tron shape shifts through genres is stunning. Their new album Signal Fire, lights a very powerful path through the start of the band into a very intricate evolution that blooms to a vibrant and visceral sound.
Being a band that can weave melody and hooks into this style of music is an art form. Across the ten songs that make up Signal Fire, there is no letting up. While the atmospheric tension from Dream Weapon is apparent, the sharp left and right turns that blend into heavier experimental territory is very exciting. Signal Fire is an urgent record that calls to the now of a very fragile time.
Starting things off with the call to arms that is “I Am All,” truly sets this album off ablaze. Moving into the title track, you can feel and hear a plethora of treats as it plays out. “Future Worship” is a blast of a track. The playfulness lets you take it all in. “Like Fotochrom” is a great “calm before the storm” track that has a fun futuristic sound. “Tomorrow Mirage” is a burner! Just one listen will wake you up. “Nothing Blooms In The Hollow” is a banger of a song. The perfect mix of classic GT with all the new and a melodic cherry on top. “Without Form” is a subtle segue into the onslaught that is “Born Prey.” By the time you’re listening to this song, the sheer magnitude of volume should evoke auditory clarity! “A Love So Pure” is a great bit of departure from the heavy while still being heavy. The more post-hardcore vibe of the song makes it a great penultimate song. Closing out the album is “New Gods” one of the best end of album songs of 2026. The hypnotic sensibility of the song mixed with the electronics makes it a bit of a psychedelic sensation.
The core of Genghis Tron is Hamilton Jordan and Michael Sochynsky. The additions of vocalist Tony Wolski and drummer Nick Yacyshyn are impeccable as each adds their own distinctive character to these songs and makes Genghis Tron into the band that comes to life. The four of them have made Signal Fire one of the best albums of 2026. It’s interesting, when listening, if you are not familiar with the band, you might think something feels out of place but, it all makes perfect sense in the end. Personally I can’t wait for the tour. One can only imagine how much these songs will come to life in that setting.
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.
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.
When you ignite the future with the right bands, there is a good chance you can see where music is headed. For too long, modern heavy music has gotten too overproduced and frankly generic. Granted that sounds like a blanket statement, when there are bands out there that don’t fall into that trap. Instead what’s happening is a bands full of youngsters are providing a resurgence of a more raw and invigorating sound. There is one band in particular that has caught my attention for some time and has chosen the punk and hardcore route, XCOMM.
XCOMM have released their debut album, Time To Burn, and just like its title, that statement rings very true in a multitude of ways. Across eleven songs and thirty minutes, this unrelenting five piece band, rip through the gamut of the best of what hardcore punk is. While influences like Minor Threat, Black Flag and Bad Brains are the foundations of the genre and can certainly be heard here, Xcomm don’t rest on that. What you hear is part homage and the rest is pure and full of promise.
Kicking things off is “Reasons” a shotgun blast right out of the gate. This is just that start of the boiling tension that starts this album. Also the video for this song was directed by Dean Karr and perfectly executed that feeling. Check it out! Next is “Hot Pursuit/One and Nothing” a two for one song that shows that promise I mentioned earlier. Just listen. “Fake ID” is a fun barnburner of a track. And again, a fun video worth watching. “Borrowed Happiness” is a thrashy punk song that hits at the right melodic tinges. The title track “Time To Burn” is a to the point statement. “Pirates” continues the onslaught with guest vocals from Ghostmane. “Running Zeros” is a departure from the frantic frenzy. In fact this standout is song that shows another side of the band. There’s some great little subtle nods in this song as well towards those inspiring bands. “Relevance” returns to the punk sound with a snarl and crashing backdrop. “No Teeth” will definitely get circle pits going. It has that vibe right from the beat drop. “Purity” is eighty seconds of a a slamming good time. Closing out the album is “Negativity.” Don’t get that twisted though, this song packs a ton of optimism for what’s to come from XCOMM.
What Ross Robinson was able to get from XCOMM on Time To Burn is exquisite. The raw prowess of the production combined with ferocity of the songs really makes for a great listening experience. Having seen the band live, a good amount of their live energy is here in a way that only Ross can capture. Each band member has their own moments through that shows not just their musical abilities but, shows how each member plays a dynamic role in these songs.
XCOMM are without a doubt legit. They have the live show, songs and energy to make you a fan. Time To Burn is a great debut and one hell of a way to get your attention. There is a definite throwback element to this album too that, if you came of age at certain points, will remind you of that time in the best of ways. It’s worth noting too that for all the seriousness on this album, it’s also a fun record. And who can’t use a little fun in their life?!!
Late last year, I introduced you all to the band The Owling. Their debut album, You Don’t Bow, You Will Learn” hit me out of nowhere and was a perfect end note to the year. Now, Kal Michael (guitar/vocals) and Art Quanstrom (drums), have kept their creative flow going and have released a new EP titled, Intravenous Flow.
Intravenous Flow is quite the perfect title for this release. Clocking in at just about twenty five minutes, the way this EP plays out really feels more like an album. The title track, “Intravenous Flow” starts things off and truly does have quite the flow. The delicate nature of the guitar creates a warm texture against the ambient cymbals and drums, while the vocals float on top. In a way there’s a post punk tinge to go along with the doom riffs and thunder drums. “Hollowed” is quite possibly my favorite song by The Owling. There’s a really cool almost Neurosis vibe to this song and it’s one of those really great slow burn songs. And then comes the cover song you didn’t know you needed, Ozzy Osbourne’s “Mama I’m Coming Home.” I quite enjoy this version. The way it pays homage to the original but, sways more into Sabbath territory is treat. Closing out this record is an acoustic version of “Intravenous Flow,” And what I said prior still stands, this one truly is THE delicate one.
I haven’t had the chance to see The Owling live yet but, I sure will soon. These songs live are going to be huge! The Owling aren’t just the a typical doom/insert other genre here band. When you listen you hear substance and depth. Something that is truly missing from so much rock music these days. Take your time with this record and really listen.
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.
