It’s quite fun when you’re in deep listening to a band and then you remember something else that another band did that links the two. That occurred the other evening while I was listening to the band Far. In the midst of listening to their album Water And Solutions, I remembered out of nowhere that the band 36 Crazyfists had covered “Mother Mary” by Far. It first appeared on a compilation album by Kerrang magazine and later as a bonus track off the Japanese version of their 2006 album, Rest Inside The Flames. On a side note, Apple Music has it listed as being part of 2004’s A Snow Capped Romance, as does YouTube. Listening back to the 36 Crazyfists version, there is no doubt that vocalist Brock Lindow could pull off the vocal aspect of Jonah Matranga. Both bands are sadly not together anymore. Hopefully one day Far can get together one more time!
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.
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.
