Enya "The Memory Of Trees" (1995)

This could be my now established familiarity with Enya's remarkable music but The Memory Of Trees has a touch of "by the numbers" to it. The overall flow reveal a familiar structure, uniformity and similarities in songwriting find footing in cadence to that of other records. Anywhere Is has that playful tropical jollity to it, a charming track none the less. Pax Deorum takes an early dive into the dark side, conjuring echoes of Mordor war drums in the deep to guide its foreboding menace. A brief resolution of angelic respite emerges before plunging back into the fantastical devilish demeanor.

From there, the album drifts through its calmer sentiments. Endearing voice and string harmonies, emotive piano compositions and touches of childish joy on tracks like Tea-House Moon. That familiar mix of English, Gaelic and wordless singing guides the way. Ending with On My Way Home, that and the hymn-like Hope Has A Place strikes with an uncanny sense of Deja-vu. Surely I've heard these exact ones before?

Its a strange sentiment to emerge from an otherwise thoroughly enjoyable record. A stagnant moment from a musician in peak stride. Not something to complain about. The Memory Of Trees is a luscious listening experience, a craft of pure inspiration but seemingly the same inspiration, leaving me with a lack of fresh vocabulary to expel despite being enthralled once again, another wonderful chapter.

Rating: 8/10

Drudkh "Shadow Play" (2025)

 

As one of the finer Black Metal acts from decades gone by, Ukrainian outfit Drudkh's part natural, part mystic has always held my curiosity. Shadow Play marks a welcome return unmarred by the death of drummer Amorth, victim of the ongoing war. Somehow, life goes on and the band from the oblast continue with their earthly craft.

Released earlier this year, I held onto the record, knowing it would have its opportunity to strike a nerve. That moment has come hiking in the Austrian Alps. Stunning mountain ranges, blanketed in towering trees, mother natures beauty, entangled in the harsh reality of survival. Its all I see in this mighty conjuring of earthly Black Metal.

Opening with Scattering The Ashes, what I'd assumed was the sound of rustling leaves, arrives adorned by a lone morose synth note and depressive guitar chords. It sets a glum tone to be upturned as April drops us into a perpetual momentum driven by its galloping double pedal drum grooves. Tremolo guitars shred slow descending melodies alongside a brooding lonely synth to unite its esoteric, earthly tone.

Shrill screams cry out and haunting howls drop in at routine intervals, all the hallmarks of a now customary formula too familiar. Its in the back half of the record, Fallen Blossom, The Eve, The Thirst, that atypicality becomes exceptional. The balance of esoteric darkness, natures verdant muse and contemplative moods fines its stride.

Some combination of its elements bestowed one with an awe complimentary to my reverent surroundings. Perhaps it was the latter that let me connect with the music. Either way, I felt the ethereal earthly rumble of this primal music as its battering aesthetic droned away, letting the subtleties of its shifts take form on its lengthy songs. The union has created some wonderous memories of breath taking views, only to be relived though the music at a later date. Something felt but this time seen.

Rating: 7/10

Lorna Shore "I Feel The Everblack Festering In Me" (2025)

 
Current darlings of Extreme Metal, with a swiftly growing popularity, Lorna Shore seem poised to take off. This second incarnation with iconic vocalist Will Ramos serves as a monument to their craft. Laying in wait, over an hour of scorched earth fury blazoned by gleaming symphonic melodies. Trading blows between pelting drums and ever tuneful guitar leads, epic themes of rapturous adventure and embattled mythos collide in a theatric spectacle. Strangely reminiscent of Fantasy themes and Power Metal's melodic focus, Lorna Shore deliver on an engrossing darker Orchestral vision of extremity, the likes of which Dimmu Borgir once lit the path forward.

As a mood, this is an enthralling listen. The music swings and swells between varying intensities, ever led by this triumphant unison of symphony and lead guitar wail, a glorious expression that often feels like a singing voice given Ramos' roll as a gutteral screamer. Its a beautiful construct, gallant and uplifting, capable of traversing all terrain. Oddly, as the record endures, its nature starts feel repetitive, as if a single melody keeps re-emerging. This strips identity from its songs. Defining points and motifs become blurred by this reoccurring tone, which overpowers other ideas.

 In a similar counterproductive vein, over the top Post-Deathcore breakdowns conjure a similar lack of identity. Spurious eruptions of groove less, shuffling monotone guitar barrage and gravity blast beats make potent housing for impressive feats of utterly foul, deathly gutteral howls. Ramos has made a name for himself with this new level of ridiculous texture wrenched from his throat. Sadly, there aesthetic might lacks a bite as the breakdowns mostly amount to differing configurations of the same ideas.

I Feel The Everblack Festering In Me passes one by as a wildly captivating listen, yet lacks the hallmarks of good song writing to nail an identity in ones mind. The aesthetic lavish of its extremities and symphonic offering are a delight but it only extends so far. War Machine is a lone track that feels distinguishable purely because it pulls back from the aforementioned lead guitars. In its absence, some rhythmic assault and toned down symphony gives it much needed distinction in the runtime. No doubt many will love this but for me a vital component among their chemistry is still missing.

Rating: 7/10 

Enigma "Le Roi Est Mort, Vive Le Roi!" (1996)

Album number three, Le Roi Est Mort, Vive Le Roi! arrives an amorphus evolution of previous ideas. The prior potiency of Worldbeat dimishes as global cultral sounds subside into a stagnant midtempo troth of dreary passing moods. Michael Cretu takes the role of frontman. His milder vocals, slightly strained, strip the music of impact. Aiming high but landing short, his attempted grandiosity and questions of “im asking why” shys from evoking the deeper resonance these songs are searching for.

 

Meddling instrumentals noodle around with slugish atmospheric synths over dulled Woldbeat and Trip Hop percussion groves. It evokes mildly etheral vibes, somewhat contemplative but rarely do they peak or summit upon a destination. These songs simply circle on themselves as various instruments or vocals chime in on these travels. The moods conjured are dreamy, relaxing and indulgent but mostly as drifting emotions, passing one by. You could give your full attention to them… or not.

 

Thus many of Enigma's once impactful deployment of Gegorian chants, or the inclusion of dramatic female warblings, fall to is medicore persuasion. This third chapter isnt awful but the exicusion of its now established ideas end up drifting through routine, droning percussive loops. This religates a somehat decent round of listens as the novelety somewhat wears off. I now lack the appitite to return again.

 

Rating: 5/10 

Enya "Shepherd Moons" (1991)

 

Understated yet sublime, Enya returns with a seemingly subdued take on her previously adventurous, occasionly tropical music. Shedding the New Age traits, she hones in on deeper, humanist inspirations. Clearly inspired by Irish herritage, voice and instruments form a union around the spirit of Folk hymns. A harmonous, intimate tone emerges, capturing a spiritual connection through seeming but deceptive simplisity. Stripped back composotions commonly pair strings and pianos, laid bare against Enya's exemplary voice. They strike at the heart of a songs intention, without the melodic garnish and fluffy fanfare that could easily slip into these compositions.

Thus Shepherd Moons almost seems broody on first encounters. A lengthy foray into atmosphere over immenence. Regular intervals linger on these minimalist passages, maximized by the aesthetic claritty of immaculate sounds suspended in gentle, spacious reverbs. This approach leans into the spirtual sentiment, a soothing breeze of mortal meaning, profound and almost devine in its church hymn nature. So to does her singing in Gaelic evoke that emotive power found in traditional communal music.

 Describing the magic of Enya's voice is such a feat. Words evade yet a prevailing sentiment remains. She seems like a muse unto herself, channeling heavenly inspirations to a humane destination. Learning of her seclusion from the lime light and reluctance to perform live elevates this mythos. Citing she cannot do her carefully crafted songs justice, I end up with a sense of finding perfection that works.

When her voice graciously drifts over adorning strings or moving piano chords, its simply wonderous. So often she arrives in different measures, from gently singing words, to humming tunes and many places between. Layering melodies and chanting like choral synths, it all comes together with a touch of divinity. On this incarnation, it all flows like a river of time, continuously flowing, giving one a dose of tranquility.

Rating: 9/10 

Ho99o9 "Tomorrow We Escape" (2025)

Where once a clear vision of anarchic rebellion stood fulled by societal frustrations and obligatory anger, Ho99o9 have descended into an exploratory realm of their own identity. No longer a rattling urgency pervades these abrasive constructs as tangents diverted from rage lack a chemistry to invigorate like their prior anger anthems do.

 

Half the songs, like Target Practice, OK, I'm Reloaded, Tapeworm, LA Riots and Godflesh, conjure the best of this duo, uniting dirty Punk power chord abuse with snappy mosh rhythms and gritty electronic noise abuse. So to do there attention grabbing lyrics and social-political themes echo the bands better material.

 

In deviating from their sharpest formulae, some ideas clearly echo others. Escape captures somewhat of the in vogue Turnstile soaring spirit. Psychic Jumper's jittered rhythm, quirky synths and feverish singing reeks of Tyler The Creator. Immortal's collaboration with Chelsea Wolfe sounds like two separate songs mashed together.

An improvement on Skin, Tomorrow We Escape is all listenable, enjoyable even. A fair record full of variety, mood shifts and interesting compositions. Whats lacking is that shock value, a hit of adrenaline, the spurious venom of urgency that defined previous albums and EPs. Their ideas were once fresh and original. Now feeling worn in and lacking suprise. The new efforts between those familiar grooves simply mediocre.

Rating: 5/10

Enigma "The Cross Of Changes" (1993)

 

In a pleasant surprise, it seems this assembly of musicians was no fluke. Evolving from MCMXCa.D., the group lean further into the Worldbeat sound, shedding some New Age vibes as striking a nerve with indigenous chants on a familiar Return To Innocence, another commercial hit preserved to memory through its recurrences in movies and adverts. Its a stirring union of loud, crashing, Hip Hop influenced drums and ritualistic cultural vocal chants. On paper a contrast, in performance an easy pleasure to take in. Oddly, its character stands apart from the rest of the record.

The Cross Of Change is mostly a moody, esoteric voyage through ambiguous avenues. Contemplative atmospheres, soothing in nature yet softly melancholic and mysterious. The archaic airy synths and subtle choral voices of its openers lay this foundation. Driven forth by drum machine grooves the music expands with drifting samples and instruments fleshing out its linear nature. Briefly interrupted by the aforementioned Return To Innocence, we then plunging further down the rabbit hole.

I Love You... I'll Kill You plays a remarkable pondering on loneliness. A darkly sorrow song, achieved without the usual hallmarks that often evoke such darkness. With Silent Warrior, we hear the Phil Collins influences again, punctuated by gated toms lifted from Genesis's Tonight Tonight Tonight. Its unnecessary but it fits in.

After Age Of Loneliness works its way through the established conventions that make up its identity so far. Out From The Deep serves as a closing pivot, drawing uplift and reprieve from the heavier themes. Deploying Eric B's classic sample of The Soul Searchers drum break, it barely manages to make sense as the music links up with a grandiose Glam Rock guitar solo. The Cross Of Changes then too pivots its synths to bright glossy chords, like the sun breaking apart storm clouds after the downpour. All in all, a strong record with a curious vibe to get lost in, if that's your cup of tea.

Rating: 7/10

Enya "Watermark" (1988)

 

A Day Without Rain made quite the impression, Watermark has a similar revelry in the sublime. Released twelve years prior, Enya's musical philosophy seems more remarkable for a decade often marred by cheesy Glam and cheap Synthpop. Her adoration of harmony through voice and traditional instruments plays out on contemplative compositions. Performed via keyboards, the production handles their synthetic nature expertly, one could be fooled into picturing her with an assemble of trained musicians orchestrating these deeply emotive songs.

Swaying from the imaginative, colorful throws of New Age, into cinematic scores of sentimental stirrings, Enya graces us with a range of humanist emotions. Evoking sentimental pondering, themes of beauty, love and warmth caress by. With ambience and a touch of gloom the scenes painted occasionally slip into a melancholic haze, a curious space of gently handled sorrows. So to our there flushes of exuberance as worldly sounds usher in colorful strides of adventurous melody.

Each idea feels nurtured and understood, expressed expertly as dense orchestrations of instruments play alongside lone piano pieces and minimal compositions. Through it all, her soft soothing voice sings as a guiding light. Occasionally drifting into the scenery itself, she becomes more of the melody than words uttered. Its a delight how she is always in equilibrium with the varying temperaments explored.

Then there is the case of Orinoco Flow, an explosion of exotic, tropical delight. This song was a huge hit and still sounds fantastic today, as if it exists in a space of its own. Interestingly, the dialed down, meditative ambience of River with its quirky bass aesthetic almost sounds like an echo of that track. Perhaps the link between these two songs lies in a similar aquatic sentiment felt.

Other highlights include the dramatic The Longships and a darkly epic Cursum Perficio. Giving the track listing a little more attention in my closing remarks, the oceanic theme seems all to obvious now. No doubt I'll give it more attention on future listens. This ones a gem I'm sure will only grow closer to the heart with time.

Rating: 8/10

Enigma "MCMXCa.D." (1990)

Catching my ear through the Spotify playlist shuffle, a curiosity was peaked given its early release date. This both felt and sounded like a missing link in the tapestry. A convergence of New Age and Worldbeat, at the alter of 90s drum machine aesthetics from the emerging House and Dance scenes. Before, I've covered similar evolved vibes from En Voice, Dead Can Dance and most keenly Delerium. This one swiftly clicked into place. Research revealing its position as a pioneering record, with surprise commercial success for these relatively unknown German-Romanian musicians.

The record has a trance like meditative presence. Easy listening, as its Dance rhythms gracefully drift through soundscapes of worldly atmosphere. Loaded with samples, spoken lyrics, Ethereal synths and keyboard instruments jostling New Age melodies. It forms an evocative collage of complimenting aesthetics suggesting deep and slightly esoteric themes about the human experience. Best of all, the inclusion of Gregorian Chants aids in playing up the ever present sense of spiritual significance.

Highlights include the mini epics Principles Of Lust and Back To The Rivers Of Belief. Both venture through lengthy song structures, packing a lot of intrigue as their powers hold over the listener. A shorter four minute piece, Callas Went Away, catches the ear with an even touch of plagiarism, as its subdued tom drums and lonely atmospheric synths clearly borrow from the timeless Phil Collins mega hit, In The Air Tonight.

The rest of the music falls into place around these key pieces. MCMXCa.D. is a soothing experience from start to end. One to return for, in need of these worldly spiritual vibes but with a touch of pace from its classic Dance drum machine patterns driving the music. I'm glad I stumbled onto it. It seems they had continued success with the following few records, which I may just check out next.

Rating: 7/10

Sabrina Carpenter "Man's Best Friend" (2025)

Striking while the iron is hot, Sabrina swiftly turns around another record. Leaning further into Country vibes with a competent arrangement of tracks, its the subject matter that dominates the albums tone. To a lesser extent, the cover art also provokes similar questions as to whats going on here. The devilishly flirtatious, mildly edgy nature of Short N' Sweet has its charms, elevated by fun instrumentals and joyous hooks. Man's Best Friend skews away from this chemistry. The Country roots less to my liking and its lyrical content slipping from cute and cheeky to crude and cringy.

Artistry is a curious interaction of intention and interpretation. In an attempt to be charitable, one could suggest a lack of context is available, however these things should make themselves self evident in the performance. I'm not sensing substance behind the provocative. No philosophy, food for thought or reflection thrust upon the listener to challenge perspectives. Sabrina's lyrics simply come off as shallow and childish, saying that which crosses the line simply to cross it. I'm all for artists challenging norms but there needs to be an actual reason behind it.

Thus Man's Best Friend tests once tolerance as mediocre Country music rubs up against a care free Sabrina dialing up her overtly sexual persona. Her words drift from cheeky to questionable. At times, this reach for shock value paints an unfavorable image of her values when it comes to relationships. If there is a point being made here, It went right over my head. Tears is the one track I'll come back for. Its Disco groove and comedic hook is crude but mostly plays as harmless fun. 

Rating: 4/10

Skepta & Fred Again.. "Skepta .. Fred" (2025)

The title along says all it needs too, advertising an enticing collaboration between two big UK artists. Dance/House producer Fred Again.. and veteran Grime MC Skepta, a voice I've not heard in some time. I was hyped but to be frank, this mostly feels like padding for the killer track Victory Lap. Hard hitting and obnoxious, its gritty groove rocks off the bold synth baseline and tight drums. Kicking off with a wild monotone hook, the fast vocals chop and change with Skepta filling in a pair of atypical verses.

 

With a sense of adventure, Fred transitions through the first four tracks. Starting with a dirty Grime beat, steadily blending in his signature vocal snippet tunes and touches of House atmosphere. These are tricksy, intricate instrumentals, layered with intimate textures. By Last 1s Left we are fully submerged into the club vibes, holding onto a mysterious urban darkness. 21 Years sheds that Grime hangover, while his partner in crime leans into the sound harder than ever. Its as if their ideas don't quite align.

For me, Skepta is the weak link here. His confident persona an entertaining one, yet his cutting flow and slang laden rhymes feel predictable and aged, lacking a spark of freshness or urgency. Its acknowledged on the aforementioned track, referencing the unchanged nature of this now classic London rhyme style. Aesthetically, the two have chemistry but the overall mood feel somewhat off bar the powerful Victory Lap.

 

Rating: 4/10 

Prince "Purple Rain" (1984)

With his legendary status firmly intact, jumping into an extensive discography such as Prince's can be daunting. Why not simply start at the peak? After all, Purple Rain is a frequent on top albums of all time lists. I have no excuses for how it took this long to get around to such a classic record but now, I am fully converted. I adore the genius that is Prince, a musical virtuoso channeling his extensive creativity for our pleasure.

 

Kicking off with Let's go Crazy, a clunky drum machine, soft organ keys and Hard Rock guitar licks whip one up into a feel good frenzy. Let your hair down and rock out! Immediately you'll sense eclecticism as each instrument plays like the lead, flashing its vibrancy through a range of influences that will only expand as the record grows.

 

Quite often Prince sings at equal measure to his instrumental pallet, becoming a part of the artistic canvas. His range of temperaments and techniques keeps each track feeling unique. However, he periodically finds apt moments to simply erupt and ascend to the limelight. His remarkable venture from soft tearful vulnerability to an outcry of raw passionate screams on The Beautiful Ones is just unforgettable.

Given my love of Metal, Compute Blue is an unsurprising favorite. Starting out with a plastic assemble of janky synth riffs and funk groove, its unusual charm suddenly pivots into a riot of slick metallic guitar shredding that ticks all my boxes. On paper, its quirky aesthetics and union of genres, including some Prog Rock vibes, shouldn't work. Its a common theme, Prince's compositions bend the rules of convention.

Darling Nikki is fascinating song. Toying with minimal elements, Prince lays out the thrills of his sexual escapade over bare instruments. Building to dramatic swells, his emotive singing follows suit, soaring into another screaming eruption of sensational energy. Alongside big synth stabs, a rapid fire double pedal drum groove rattles the cage. Another example of stitching oddities together with powerful persuasion.

 
A few more cuts roll by, delving into 80s moods better than most have done it. Its a notab aesthetic fit for the decade, however Prince's song writing survives the tropes and cliches. His musical indulgence into the range of these drum machines and chirpy synthesizers ascends through his fantastically adventurous and fun song writing.

Of course the record ends at the alter of an epic. Its title track Purple Rain needs no introduction, a nine minute embark into what I can only describe as beautiful sorrow, the sadness of great loss permeated by the subtly of its spiritual church organ tone. Crescendo' by his crooning howls and glorious guitar leads, the music eventually sees itself out through a wonderful deconstruction that has strings and pianos burying the moment. An epic conclusion to a remarkable record I'll adore for time to come.

Rating: 9/10

South Arcade "2005" (2024)

 

I can't get over how young and fresh faced this English four piece appear. Reminding me of how the years have gotten paste me, they look straight outta the alternative scene of my youth. 2005 is their only non-single release, a twenty minute EP who's title speaks to the sound and aesthetic their emulating. South Arcade look like post Tony Hawk's skater kids, birthed from a time capsule. I love it, my youth is cool again!

Aesthetic and appearance aside, South Arcades sharp ascension is based on merit. They have amassed almost a million monthly Spotify listeners off the back of this six track and a string of singles. A strong debut record could rocket them even further.

Its exciting and I'm hopeful they have it in them. Although influences are stark and obvious, even overtly stated through their intentionally imitating music videos, the band have enough individuality and expression of their own in the mix to define these songs as South Arcades'. Mainly a breed of Pop Punk, Nu Metal Alternative Rock, the fond influences of Linkin Park, No Doubt and Avril Lavigne are striking.

 Alongside its anthemic title track, Nepo Baby and How 2 Get Away With Murder have a similar magnetic pulls. Warm grooves and catchy hooks, with Harmony Cavelle's, note the name, easy voice leading a colorful aggressive charge. Powerful and poppy with these occasional dives into rapped lines, she seems like the magic ingredient.

The production style is loud and punch, fondly reminiscent of the heavier edged Ocean Grove. These bands actually share a lot of similarities. A tour together would be quite fitting. Tangents aside, South Arcade are a delight. Given their so young, the potential that comes with musical maturity is something to watch out for!

Rating: 6/10