Movie Review: Faces of Death

Rating: 8/10

When I first heard there was a new Faces of Death movie coming out, my initial reaction was, “why?” Long gone are the days of shocking films and barf bags. Was this going to be another installment in the franchise? Was this going to be a straight up remake of the original? If you’re going to make a Faces of Death movie in 2026, there’s going to be expectations from fans expecting another Mondo film filled with exploitative death scenes, so how do you bring the concept of Faces of Death to the modern age? Well, director Daniel Goldhaber gives us the answers to these questions with his meta, thought-provoking, and yes, gory reimagining of the infamous film. The film follows a content moderator for a TikTok-esque social media platform who discovers a series of viral videos featuring murders heavily influenced by scenes from the original Faces of Death movie, and she makes it her mission to identify the serial killer behind these videos. Interesting premise, but is the movie worth a watch? Hell yes. Daniel Goldhaber has cleverly brought the morbid curiosity and Real vs. Fake debate that surrounded the original film to the modern age.  The film is an effective commentary on the current state of internet addiction and everyone’s yearning for viral popularity. Damn near everyone in this film is chronically online and constantly searches for that dopamine hit from a “like” on their posts, but this movie is in no way preachy. It has a fun 80’s Slasher element featuring some gnarly practical effects, a killer synth-heavy score, and some damn good suspense, and unlike most movies in the realm of the Slasher and Pseudo Snuff films, the violence actually serves a purpose and rarely comes across as gratuitous. The acting is also very solid and believable. Barbie Ferreira perfectly conveys a range of emotions, and Dacre Montgomery really sinks his teeth into his role as the killer, and looks like he’s having the time of his life playing it. Now, I’m willing to bet most fans of the original Faces of Death will be letdown by this movie. This movie isn’t for the real life gore-seeking fans who probably frequented rotten.com in the 2000’s, but honestly, would it really be necessary to make a film like the 1978 Faces of Death? The original was a product of its time. It was a movie that catered to people looking for something taboo to watch, and in the current world we live in where most of us are desensitized to violent content thanks to the accessibility of the internet, a movie like the original wouldn’t serve a purpose, because we’re all exposed to gory and violent content online anyway. A movie like the original probably wouldn’t even be green-lit. However, if you’re looking for a movie rich in thought-provoking themes, suspense, and of course violent kills, then give this one a shot. 

Written By: Steven Sandoval

Album Review: Station Model Violence – Station Model Violence

Rating: 8/10

Nowadays a common misconception about “Post-Punk” is that it’s all dark and goth-adjacent, which reduces the genre’s artistic and experimental history of incorporating elements of Funk, Industrial, Pop and Krautrock to something that’s just dark and moody. Sure Gothic Rock derived from Post-Punk, but not all Post-Punk is Goth. Though that misconception can be frustrating for Post-Punk scholars, there are bands that still understand the assignment when it comes to continuing the artistic, intellectual and anti-commercial ethos of the beloved genre. Australian band “Station Model Violence” are one of those bands. Consisting of members of bands such as Total Control, Den, and R.M.F.C., “Station Model Violence” have crafted a fantastic debut album that harks back to 80’s Post-Punk, when the genre evolved into a more pop-oriented style often called “New Wave.” That’s right, this album is more Psychedelic Furs than Gang of Four. This album sounds like it came from a band who frequently performed at “The Batcave” in London in 1983. This album sounds like what “Zero Le Crêche” would’ve sounded like had they stayed together. Despite the band’s obvious Post-Punk influence, that influence doesn’t turn the music into a gimmick. These are tunes that also dive into psychedelia, Krautrock inspired 4/4 drum rhythms, and dark but soothing walls of sound topped with smooth as Hell saxophone. The pulsating rhythms will put you in a trance, which leads to a hypnotizing experience. Sure the band acknowledges the Post-Punk and Goth forefathers, (“Cliffs” is a dead ringer for Bauhaus’ “King Volcano”) but this is a solid album that’s entirely their own, and I feel like they’ll somehow top this record in the future. 

Written By: Steven Sandoval

https://staticshockrecords.bandcamp.com/album/station-model-violence

Donzii Announce New E.P “Kaleidoscopic,” Share New Single “Bird”

Formed in Miami, Florida, “Donzii” have been making music as far back as 2018, crafting an infectious blend of Post-Punk, No Wave and Industrial. Today the band have announced a new E.P. titled Kaleidoscopic. According to the band, the E.P. will be released “slowly like a waterfall with the second single arriving May 2026, followed by additional releases leading into the full project.” The first release from the E.P. is a banger titled “Bird,” which was inspired by a dream lead singer Jenna Balfe had where she had figured out how to fly. “She thought it was insane and incredible, but no one seemed to bat an eye or care. Rather than a commentary on ego- this dream reflects the often disaffected approach people have toward the wonder of life. It’s not just about driving a car to work and buying shit. Life is an ecstatic ecstasy! Every breath is so insane and precious. Bird is an expression of wanting to maintain that wonder and share it” says the band. You can listen to “Bird” at the link below:

https://donzii.bandcamp.com/track/bird

Album Review: Katie Alice Greer – Perfect Woman Sound Machine, Vol. 1

Rating: 8/10

About 4 years ago vocalist/producer Katie Alice Greer released a very forward thinking debut album that combined Art Pop, Experimental Rock, Post-Industrial and a myriad of different sounds and styles that don’t normally work together, but somehow worked on this record. This album, which is titled Barbarism, is still unlike anything I’ve heard in music before. It’s filled with Hellish and at times, dreamy soundscapes that give the listener a nightmarish experience, but all while maintaining a sense of comfort, and providing a place for those of us fearful of the direction the U.S. is heading in a place to vent. Now, 4 years later, times are even scarier, and Katie Alice Greer has released her sophomore album Perfect Woman Sound Machine, Vol. 1. This album is no less forward thinking, with its fantastic sound collages and layers, but this album is even more all over the place in the best way possible. Jumping from the grungy Babes in Toyland-esque “Unglued,” to the Trip Hop influenced tracks which wouldn’t sound out of place on a “Tricky” record, to the stellar cover of Leonard Cohen’s “I’m Your Man,” this album is pure chaos, but a necessary chaos as it goes from lush and dreamy, to the soundtrack to the apocalypse as KAG conveys a myriad of emotions. Hey, people experience various emotions and the human brain is multifaceted, so why shouldn’t music reflect that? It’s impressive what sounds KAG can create, which is more experimental in nature and a massive departure from her former Post-Punk band “Priests,” who were fantastic by the way, I still listen to The Seduction of Kansas regularly. Judging from the album’s title, I’m assuming there will be a Vol. 2, and if that’s the case I cannot wait to hear it! 

Written By: Steven Sandoval

Portrayal of Guilt Share Two New Singles, Announce New Album “…Beginning of the End”

Austin, Texas trio “Portrayal of Guilt” will release their new album …Beginning of the End on April 24th via “Run for Cover Records.” Today the band have shared two new tracks off their upcoming album titled “Human Terror” and “Ecstasy,” and both tracks find the band maintaining their harrowing and hellish sound all while incorporating newer elements the band aren’t exactly known for. Especially “Ecstasy.” The track sounds like 90s Korn-styled Nu-Metal with an Industrial flavor. Seriously, this track sounds like it could’ve been on the 1997 Spawn soundtrack. Both tracks are great, and you can listen to them below:

Pre-order the album here: https://portrayalofguilt.bandcamp.com/album/beginning-of-the-end

ADULT. Release New Single “R U 4 $ALE”

Detroit duo “ADULT.” have been at it since the late 90s. They were a prominent group during the “Electroclash” movement in the early 2000s, made some killer anxiety-ridden “Synth Punk” in the mid to late 2000s and in recent years have been an important group in the world of modern “EBM” and “Industrial.” However, all of those genre tags still don’t do the band justice when describing their sound. ADULT. sounds like ADULT. After all these years the band haven’t skipped a beat, and now they have a new album on the horizon titled Kissing Luck Goodbye. The album will be released on March 27th via “Dais Records,” and following their previous single “No One is Coming,” the band have released another banger titled “R U 4 $ALE.” You can listen to the track below:

Pre-order the album here:

https://adultmusic.bandcamp.com/album/kissing-luck-goodbye-2

Album Review: OMINESS – OMINESS

Artist: OMINESS

Album: OMINESS

Genre: Doom Metal/Sludge Metal/Gothic Metal

Label: Transylvanian Recordings

Rating: 8/10

Every once in awhile an album comes along that reminds me of why I should be paying more attention to what’s going on in the underground Metal scene. The most recent album that has done this for me is the debut self-titled album from Gothic Doom Metal band “OMINESS.” Hailing from Ohlone & Pomo land, also known as Oakland and Santa Rosa, CA. OMINESS’ music is dark, foreboding, and the soundtrack to impeding doom with immaculately produced sludgy instrumentation combined with Gothic fervor. Fans of Sludge and Doom Metal will find solace in this album with its slow lethargic tempos and heavily distorted guitars while lead singer Destiny Espinoza’s vocals cut like a knife, transitioning from clean to guttural growling. However, even with the gloomy nature of this album, those who are marginalized will reach catharsis when listening to this album with its themes of feminist rage and queer liberation, and it’s all topped with bruja spirituality and aesthetic. If this all sounds like something you’d fancy, then turn off all the lights, light some candles and enjoy this Hellish ride. 

Written By: Steven Sandoval

https://ominess666.bandcamp.com/album/ominess

Album Review: PVA – More Like This

Artist: PVA

Album: More Like This

Genre: Trip Hop/EBM/Synthpop

Label: It’s All For Fun

Rating: 7/10

Four years after their debut album BLUSH, London trio and Windmill scene affiliates “PVA” have returned with their second full-length album No More Like This, and it’s a more developed version of the Industrial-tinged post-club sound featured on BLUSH with instrumentation more focused on making you feel than making you dance. The Downtempo and Trip Hop elements complimented by lead singer Ella Harris’ deadpan almost spoken word vocals bring to mind a band like Massive Attack. This album is rhythmic, atmospheric and somber in tone with a heavy emphasis on either consistent instrumental repetition or instrumentation that builds and builds but maintains a steady flow instead of bursting out into an all out dance party. However, with how brilliantly produced these tracks are, I feel like much of this album would be complimented more if the vocals didn’t always sound deadpan and carried the same weight and emotion as the instrumentation. The talk singing makes sense during the album’s more anti-melodic moments, but there’s some tracks with dreamy synth lines that just feel a bit underwhelming when contrasted with Harris’ subdued vocals. The track “Anger Song” finds Harris giving us a more passionate and luscious vocal delivery which at times frustrates me that the album doesn’t feature more of that, but even with that critique the album is still an enjoyable listen, and it’s interesting hearing the direction all the Windmill alumni are going in. 

Written By: Steven Sandoval

Album Review: The Ruins of Beverast – Tempelschlaf

Artist: The Ruins of Beverast

Album: Tempelschlaf

Genre: Black Metal/Doom Metal/Gothic Metal/Death Doom

Label: Ván Records

Rating: 7/10

I’m just gonna start this review by admitting that I am a part time metalhead. I love me some Metal but I am picky. If the Metal starts off with kickass demonic I need an exorcism ass guttural growls and then transitions into the cleanest and prettiest vocals you’ve ever heard I’ve lost interest. If the Metal relies too heavily on shredding it just sounds like the Power Rangers theme song to me and I can’t help but think it’s morphin’ time, and some stuff (I’m not gonna name any subgenres) just gets a little monotonous after awhile. Um, if I haven’t pissed you off by now and you’re still reading this… well, if you’re a metalhead you’re probably not reading this anyway…. actually let’s be honest, no one is reading this… wait where was I? Oh yeah, allow me to introduce you to the kind of Metal that hits every note and strikes every fancy for me, THE RUINS OF FUCKING BEVERAST! “Fucking” isn’t actually in their name but you get the point. Lead by sole songwriter Alexander von Meilanwald, “The Ruins of Beverast” is a hard to categorize project with a myriad of genres such as Black Metal, Doom Metal, Gothic Metal, Death Doom, and Atmospheric Black Metal to their name, and yet none of these genres are a definitive category for the band’s sound. Whether it be the the Gothic-tinged Doom combined with shamanism of their album Exuvia, or the reverb soaked atmospheric and at times psychedelic dark and sinister journey of an album like The Thule Grimoires, it’s clear Alexander von Meilanwald has no intention to pigeonhole himself and every intention to experiment. His new album Tempelschlaf is no exception. Continuing with the epic and grandiose nature of the aforementioned albums, Tempelschlaf is a more refined album dialing back the atmospherics in favor of more precise instrumentation less focused on odd time signatures and more focused on direct heavy riffs and continuous blast beats, which I feel this was done to focus on the live aspect of these songs by stripping back the studio wizardry. This direction unfortunately makes this album the band’s least ambitious release, but it’s still a solid installment in their discography with plenty to enjoy. There’s even some shredding, and thank God it doesn’t sound like the Power Rangers theme. 

https://theruinsofbeverast.bandcamp.com/album/tempelschlaf

Written By: Steven Sandoval

David Bowie’s “Blackstar” Turns 10

Today David Bowie’s final album “Blackstar” turns 10. Which also means it’s been 10 years since he sadly left us. This album means a lot to me. Not only is it a superb album, but it was the first album I reviewed back when I started “MELT Reviews,” so you can imagine my surprise and shock when Bowie passed away just a couple of days later. It was insane to me that at this stage in his career he managed to make one of his best albums in his extensive discography, and even in his final days drew influence from contemporary artists such as Kendrick Lamar and Death Grips. This is a perfect album. Happy 10th Anniversary to “Blackstar,” and Rest In Peace Starman.