Review by Josh Drespling

This album is fresh and filthy. A heaping serving of nasty bass, thunderous guitar, and intense angry vocal mix with DJ scratching and slammin’ grooves that congeal to form a monstrous cyclops. The monster that is Resistor not only pays homage to the musical past, but they also forcefully migrate the genre with what they have christened “knuckle-dragging wika wika core.”

When asked about the album, the Long Island, NY, quintet’s bassist, Ian Schneider, said, “I want everybody who listens to it to have a stank face for as close to 29 minutes as possible.” And the ten-track album delivers grooves that hit with enough tectonic force to do just that.

The follow-up to the band’s 2023 EP So It Begins and their 2025 EP HEADCASE opens with the track “Born 2 Break.” The first sound is the crackle and feedback of a loose 1/4-inch guitar cord being plugged in, followed by four strums of a dissident yet thin guitar sound. This is quickly obliterated by a pummeling disturbance that could easily make the head of an uninitiated listener explode from pure brute force. Pick drags, guttural screams, and a bombastic rhythm destroy your speakers within the first fifteen seconds of the album. Led by a nasty bass riff bathed in a tone that had to have taken months or even years to dial in. The earth-shattering bass coupled with coarse vocals is ripped to shreds by the DJ’s scratching, followed by an earthquake-inducing rhythm. This opening track, which after a brief two minutes and forty-seven seconds leaves you needing to gasp for air.

L33CH
“L33CH” is the second track, and it follows suit and feels like a continuation of the previous song, “Born 2 Break.” Clocking in at just two and a half minutes, this bombastic ditty will make your ears bleed. Full of guitar noise similar to an early Slipknot, cymbal crashes ring out in the quiet spots. This is the first track where you can hear the multiple vocal styles from the band. I’m not sure if it’s just the single lead vocalist, Anthony Grambo, performing all the vocal parts or if another member is pulling double duty. As there are low guttural screams, high-pitched shrieks, and rapped parts all bathed in aggression, angst, and thunder.

Dead Soul
“Dead Soul” is next and has been released as the lead single on this notably short album. It is what the band calls “the perfect introduction to this record.” It features a hip-hop bounce that tempers the brutality while proclaiming the band’s “Fuck you” mantra. With lyrics like “Always running your mouth. I’m casting you out. We built this shit that you know nothing about.” You know that Resistor is not here to play games. This one starts with some frantic scratching and brutal screams by Grambo, kicked off by a “Sit the fuck down” bellow. This, coupled with the samples and/or guitar ambience, makes this song another track that could have been stripped off a Slipknot album. The track pummels you for over three and a half minutes but seems to fly by in a matter of seconds. 

The band has described “Dead Soul” as “what to expect from the next nine songs.” In terms of the meaning, it’s a big ‘Fuck you,’ which tends to be our motto and a central theme.”

BITE THIS!          
This title track explodes from the speakers like an atomic juggernaut. The understated guitar riff is dirty and disgustingly aggressive in its simplicity. Then there is a “bass break” that will make your windows rattle with sonic pleasure. And the samples just make it go even harder.

PETTY FUCK
A frenetic beat and a jagged, down-tuned chug fuel the sonic bloodletting of “PETTY FUCK.” True to its title, “Petty Fuck” channels frustration and defiance into an unapologetic expression of resentment. Bassist Ian Schneider noted the song’s message is “loud and clear,” adding that while there aren’t a ton of expletives, “there are enough.” Built on thick, punchy riffs and a rhythmic bounce that locks into a head-nodding groove while maintaining aggressive momentum, a signature element that sets Resistor apart from their contemporaries.

LOVE SONG (BULLSH!T)
This is anything but a love song. Maybe somebody needs to reach out to these guys and offer up a heartfelt hug. In all seriousness, this song slams as hard as the previous five songs on this release. There are some interesting samples/DJ/production work going on in this song. It makes for a headbanging, fist-pumping song full of hate and venom.

LEARNING TOOLS
Oh my, the chug at about the 2:15 mark is going to make you drive 100 miles per hour, followed by a decadent guitar decay that leads perfectly into the next track, “Frozen at 29.”

FROZEN AT 29
Noisy, sludgy, down-stroke guitar blasts you face-first into this track whether you like it or not. Distant screams echo through the track, exuding despair and regret. Haunting keyboard draws you in as the agony of Grambo’s vocals echoes in the distant background, giving a bit of a Deftones feel. The track ends with some futuristic computer noises that clean your audio palette in preparation for “XXL.”

XXXL
Turntables snake around the guitars, practically choking out feedback, and Grambo delivers his anthemic state of the union, “This is big boy revolution!” And is that somebody imitating the Fat Boys following the extended vocal growl towards the end of the track, or maybe a sample? Inquiring minds want to know.

FEEL LIKE SHIT
The finale “FEEL LIKE A SHIT” is caustic and cathartic. Slamming you in the face with distortion that will rattle your teeth. Against this backdrop, Grambo bellows, “It only gets worse.” Leaving you wanting more as the album winds down and the final cymbal crash rings out.

This album is a giant step forward for the band. It has a nu-metal feel, bathed in hardcore, married with a DJ’s sensibility. The exclusively live instrument feel makes the anguish, fear, and worry come screaming through the speakers with genuine emotion, catchiness, and above all, heaviness. There is what seems to be genuine chemistry between the five distinct musical identities of the members. The turntables add texture that feels essential, while the bass tone and riffs can knock you on your ass. The album balances brutality with head-nodding grooves, and considering it clocks in at just 29 minutes, it doesn’t overplay their hand.

With production being handled by Randy LeBoeuf (Acacia Stain, Misery Signals, Counterparts, Thy Art is Murder, Every Time I Die, Unity TX, Kublai Khan TX), it is clear that this is just the entry point for Resistors’ journey in the musical world. The album will be released on March 27, 2026, on all the platforms and can be ordered on WeAreResistor.com.
Also check out the Empire Extreme interview with Resistor’s drummer Pete Smith here.

About Author

Josh Drespling

Josh is the Publisher and creator of Empire Extreme and it’s sister publication Kingdom Extreme Magazine. He is an accomplished writer, photographer and graphic designer. He is always conjuring up new ideas and has a amazing passion for the music industry and all the things that surround it.

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Marilyn Manson just released his 12th album “One Assassination Under God-Chapter 1” on November 22nd 2024. 

This album in my opinion is the best album Manson has put out since Holy Wood.   It has a feeling of albums old and new with little hints of Antichrist Superstar, Mechanical Animals and Holy Wood. 

The album opens up with “One Assassination Under God” which just gets you ready for what’s to come. With Manson Just finishing his tour, This is the Manson we have been needing for years now. He looks good and sounds great. 

Putting out a few singles from the album , the overall feeling of this album is great. It’s been a while since I’ve like a full album of Manson, while this album isn’t perfect it’s as close as perfection of those early albums were. Of course I love the singles “As Sick as the Secrets we Keep” and “Raise the Red Flag” but I also really enjoyed songs like “Death is not a costume”, “Nod if you understand” and “Sacrilegious” 

I think this new chapter of Mansons life and music is exciting , I hope we get more tours in 2025 and maybe some over the top stage shows like we did in the late 90s early 2000s. I feel the younger generation hasn’t experience a real “Full” on Manson show yet and it’s time for the King to take back his throne at the top of the Shock Rock mountain. 

ALL HAIL MARILYN MANSON 

About Author

Ron

Ron has keen eye for new talent, a love for the underground, and a tremendous passion for music of any genera. You’ll probably bump into him at a horror convention or some seedy club checking out the next need-to-know band.

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I remember when this album came out in 1994 . I was 15 and really discovering all types of music. As being a typical teenage boy I seen the band name “Bush” and thought hmm I love bush, let’s check it out.  It was such an amazing album from beginning to end.  

The new  released vinyl that just came out on November 17th is such a testament to this album being as great then as it is now. Listening to the vinyl just brought back so many memories of being an angst teenager that just wanted to heard. The vinyl package is amazing with lots of photos of the band throughout the years and the sound of the vinyl is so pristine. 

I got my hands on the opaque red vinyl and just looks awesome spinning on the player. It’s crazy to think that this album has so many hits and no filler songs, even the songs that didn’t become hits are just as good as the hits. 

With the hits being “Glycerine”, “Everything Zen” , “Comedown” “Little Things” and “Machinehead” but some of my favorite songs are not the hits songs like “Swim”, “Bomb” and “Alien” which is probably my favorite song on the album. If you’re a fan of Bush or this album or just want to dive into the mid 90s Grunge/Post Grunge era this is a key album to have in your collection. 

About Author

Ron

Ron has keen eye for new talent, a love for the underground, and a tremendous passion for music of any genera. You’ll probably bump into him at a horror convention or some seedy club checking out the next need-to-know band.

See author's posts