Scarve "The Undercurrent" (2007)

 
Embarking on their third yet final chapter, a darkly chromatic landscape of desolate unease awaits. Refined by elevated production fidelity, extreme outfit Scarve squander an opportunity to dazzle. Their twisted inhuman musicality fumbles as moments of magic birthed through dizzying frenzies and alien guitar leads get bogged down by mediocrities found between. Imperceptible Armageddon and The Plundered manage to hold ground with swells of metallic dissonance frothing under shimmers of illusive melody and disruptive groove. In these magnetic strides, curiosity charms.

Its many aggressive stints lack that flair, slipping into lengthy mechanical grinds, exploring an unconventional meandering riff style. A technical nature lures it towards impressive techniques that yield little without melodic inflections from vocals or leads. Thus the music sways in its own estranged landscape, unable to evolve its songs into truly memorable cuts. Given the shorter record life, it does feel as if the band lacked ideas. Somewhat of a whimper to end on, given how much potential they showed. Sadly, songwriting falls short. After a fair few spins, its left me with little to remark on. 

Rating: 5/10

Bring Me The Horizon "Count Your Blessings: Repented" (2026)

 

Has it really been twenty years? I'll never forget stumbling upon these black mop headed haircuts in the Download Festival tent. I found myself subsequently getting wiped out in the hardcore dance pit. What an introduction! I instantly took to This Is What the Edge of Your Seat Was Made For, however this debut was disappointing. Their snarling edge traded in for a cookie cutter beatdown-fest. Its quite the curiosity to hear Bring Me the Horizon wanted to rerecord it, considering how far they've moved on from this sound. Its not like they talk about this era with any fondness either. 

Giving it another couple of spins has been reasonably fun, a crisp modern production to sharpen its edges, elevating its impact, especially during their filthy breakdowns. The whole performance sounds tighter, not a surprise considering the time elapsed mastering their instruments. Most remarkable is Olly Sykes, who can still pull off these rotten throat churning howls. The drums pack a punch, guitar tones crooning. It's a fine upgrade to the original aesthetic, with a handful of minor quirks to pick up on.

The re recording really exposes the fragility of these original songs. Pray For Plagues' opening breakdown always lands but as we roll through the punches, the same ideas get recycled. More prominent than I remembered, a plethora of Melodic Death Metal alternate string picking riffs. The Dragon Slaying breakdown still doesn't hit like the Radio One, "witness the fitness" recording. Its isolated pitch perfect pinch harmonics all too clean for comfort. However Fifteen Fathoms Counting, a deliberately juxtaposing acoustic soother, feels genuinely meaningful in this renewed setting.

Ironically, the album's championing moment is the addition of a newly written song, Dehumanized, which the record closes on. Bridging the gap between new and old, it seems the band decided to write a new song in the old Deathcore style. Starting off strictly in that lane, they can't help but expand into a powerhouse. An atmospheric break leads to blazing league guitar solo as crafty use of synths slip in. It's the peak before a fall, as the song rolls into an utterly ridiculous breakdown akin to Slaughter To Prevail. A fine note to end on, a fun revisit not budging my feelings on the original. 

Rating: 5/10

Periphery "A Pale White Dot" (2026)

 
Now eight records deep into their career, A Pale White Dot marks a djentleman's competency within expectancy, a harder to love record in the shadow of familiarity that ran before it. Periphery have firmly established their dexterous identity, leaving little here to shock and awe. That doesn't mean one can't enjoy this latest chapter of low end technical brutality but its sticking power feels diminished in the wake of anthems like Marigold, Remain Indoors or the sludgy barbarian assault of Reptile.

For reasons well known, Spencer's silvery soaring singing, I've always considered Periphery to be a band on trajectory to more accessible leanings. Heaven On High catches limelight with catchy hooks and melodic lines, despite a brief blasphemously brutal breakdown. My ears seem most expectant when their lighter side gets expressed. Despite this, A Pale White Dot shook me with its roaring intensity. A reminder of their commitment to heaviness, written on their lowest tuning yet!

That limelight doesn't stick, leaving the exploration of djent laden aggressive antics as a key takeaway. Most its delights emerge from the stunning production, inching more aesthetic charm from such abrasive noise. Subhuman highlights this, as Will Ramos of Lorna Shore lends his devastating voice on a barrage of dense brutality. Proceeded by the electronic Blackwall interlude, this shift highlights a range much of the record swings from. Often rigid in execution, with little of the middle ground explored.

That speaks to the first half of the record. Three or so tracks in the backend explore this terrain. Switching to dense power chord strumming, Spencer explores the intense cleans, that space between strained screams and smoother singing. The yield is minimal, entertaining but unable to get its claws in. A Pale White Dot is a fine record lacking an evolutionary step to distinguish it from all they have done before.

Rating: 7/10

Olivia Rodrigo "You Seem Pretty Sad For A Girl So In Love" (2026)

 
Going three for three, Rodrigo returns upon intrepid stride. With no shortage of inspirations, this latest chapter documents her life's adventures, mainly dating, relationships and there emotional ups and downs. Opening numbers lean on this infatuated motif through airy upbeat, light hearted Pop Rock romps. A touch to sappy for my appetite but tolerable given how fruitful her collaborations with Daniel Nigro are.

For my liking, Maggots For Brain is where this record finds its voice. In come spangled 80s guitar licks, a strong hint at where things are heading. Olivia explores her relationship vulnerabilities candidly with poetically self depreciating lyrics to romanticize moody longings. From here that broad Post-Punk umbrella, Dream Pop, Shoegaze, New Wave, Synthpop, influence this current craft of intelligent songwriting.

In particular, the guitars take on this chorus tinged broody aesthetic, playing warm soulful melodies and gentle chord strumming. A beautiful resonance is struck, soft melancholy lingers never intruding on an upbeat underbelly. Every downtrodden notion feels as if resolution is insight. Olivia's words and voice carry a soft catharsis through this exercise of musical exorcism. Her lyrics expressed relive the burden.

A fascinating stride of songs bloom as Purple's playful vocal inflection's conjure favorable impressions of Elizabeth Fraser. The magnetic The Cure swoons. Surely an intention nod to the act with Robert Smith appearing on What's Wrong With Me, a dreary minimalist number for rainy days. Between them, a beautiful vocal oriented song, showcasing Olivia's talents, her voice holds a limelight harmonizing with herself.

It sets up a beautiful stride to the records dramatic conclusion. Expectations proves relief, a fun, quirky number with punchy chiptune baseline. Its playful, cheeky, chirpy, a bright radio track similar to My Way earlier in the track listing. In fact, there's a handful of song styles here that are on rotation from front to back. Together, they signal obvious 80s influences and structure a cohesive fifty minute album experience.

This third installment, You Seem Pretty Sad For A Girl So In Love, gracefully moves forward feeling fresh, fun, and interesting. Although I've only spent a few weeks with it, it already feels like the soundtrack to my summer. Each returning spin a delight, despite being lukewarm on the first couple of tracks. Unlike Guts and Sour, it seems to lack that one killer track. A mild critique, given how much this one offers.

Rating: 8/10

Devin Townsend "The Moth" (2026)

 
Forever a legend with permanent home in my heart, a dwindling appetite for new material stalls as Devin's unwavering musical identity returns on a new frontier. I may have skipped this if not for its grand spectacle, an opera of sorts, thee orchestral Prog Metal epic! That being said, It feels less metallic in nature, rather Dev's charactered antics and productive impulses spun to familiar motifs fit for a theatrical stage show. At times so vividly cinematic, you may wonder where to go to see the show! 

Its been a long time in the making, around a decade, performed and composed in mind with an actual orchestra. Fortunately, the Noord Nederlands Orkest reached out to help bring this impressive feat of work to life! Both thematically rich and a textural treat born of Dev's wall of sound production mastery, The Moth lives as a journey of orated emotions. A stream of ebb and flow, finding swelling peaks and luscious valleys. The latter lulls often home to an aesthetic adventure of dazzle and wonderment that lurks in every inch of this mighty seventy minute behemoth.

That density can make it hard to comment on specifics. The Moth takes many twists and turns but its pacey nature means we never reside in one stride for long. Able to swiftly transition from lullaby to churning rhythm with sinister streaks and playful jollity on route. Through listening but also studying track titles, one sees the structure of the story. It's drama and tensions leading up to a big battle that leaves a turmoil to be resolved in its wake. Stained Hearts feels like that gratifying swell to conclude upon.

Having devoured the near thirty records of Dev's career, I felt as if there wasn't much left to unearth but whatever the challenge, Dev's rises to the occasion. The Moth was massively ambitious and did not disappoint. So much more than your regular album experience, its proved his brilliance once again. I do hope he will continue to seek avenues that push the boundaries of his comfort zone. Well done Dev, take a bow!

Rating: 9/10

Deftones "Eros" (2008)

 
Its with the utmost respect for Deftones and their suffering that I write these thoughts. For context, Eros was shelved during its creation, as tragedy struck. Founding member Chi wound up in a car crash, leaving him comatose. Not realizing the severity of his condition, the group moved forward to write new material during his absence.

Years later, Chi would pass, leaving this unfinished album locked away. That left Eros as a painful memory for the group, something they wished to leave behind them. If its not obvious, the album has leaked. You can find it on various platforms, however the copyright owners are asserting authority, aggressively removing Eros when it pops up.

For fans, this album also means something entirely different. A peek into what could have been, an alternative trajectory for their beloved band. Anyone who's being rational and reasonable about human nature would understand that fans simply cannot resist this curiosity. I just hope the band members understand that as well.

So it's with love and respect that I comment on what Eros feels like. To my ears, it's so undeniably Deftones. A band that seeks to grow and evolve with each album. Moving on from the dazzle of Saturday Night Wrist, Eros feels inherently darker, even gloomy, carving like a knife without leaning on extremity for its raw emotional howling's.

Unlike the low end theory of Diamond Eyes, a monumental pivot by comparison, the group explore texture and rhythm with what mostly sounds like six string guitars. In stride, they hit the usual markers of their identity between pushing boundaries with morose melodic leads atmosphere through stripping back distortion guitars.

Its strongest point of comparison among the Alternative Metal scene is The Smashing Pumpkins. But more often than not the band evoke their own sensations. Chino, supposedly the most unfinished element, has these fantastic spurts of shouted Raps, even in the spirit of a Beastie Boy on Electra. Clearly raw but still charming.

Highlights include Trempest, where we hear a seven string guitar riff and mysterious synth textures flourishing. Diamond is my favorite, again the keys evoke intrigue but best of all, the simple lead guitar melodies evoke echoes of early 90s Doom Metal. After cycling through two verses, it expands, blossoming in mesmerizing fashion.

This has been an utterly fascinating listen. In this form, I can't help but feel Deftones path forward may have been rather different. Its broodier tone finds sensual resolution and musical gratification, yet may have made them less accessible to a broader audience. Either way, Eros holds up their stature as brilliant musicians. RIP Chi <3

Tartaros "The Grand Psychotic Castle" (1997)

This musical traveller is always keen to unearth hidden gems. Debut extended play The Grand Psychotic Castle is almost such a blasphemous treasure. Hailing from its musical homeland, Norway, Tartaros delivers the Symphonic Black Metal I adore. Released in 97 its at the prime infancy of this symphonic offshoot, I was shocked by a lack of Spotify or YouTube plays. It seems they never got swept up into the usual crop of classic bands people talk about. This truly feels like a forgotten artifact of sorts.

Its closest neighbour is clearly Arcturus, specifically Aspera Hiems Symfonia. Sharing similar temperament for harshness balanced with astral symphonic wonder, The Grand Psychotic Castle revels in ghoulish dusk. The horror synths muster an Adams Family cheese, yet only in aesthetic, churning suggestive Halloween tropes into devilish melodies. Alongside fiendish voices both guttural howls and throaty screams, they are the main elements striking up a terror educing chemistry of theatric fright.

The vision is striking, a macabre spectacle led by its keyboard melodies. The guitars drums and bass follow lead, fleshing out the ebbs and flows through extremity and relief. Its various arrangements fit the genre's characteristics. Often swinging from blast beats to half tempo grooves. It's four songs never stray far from the path initially laid out, offering quite basic song structures. One could say it's not adventurous, but the musicianship and way these instruments come together is well executed.

My final remark is that of production, It actually took me quite some time to get into this record. Somethings off about the tone of each instrument. They seem distant from one another at first. An amateurish lack of cohesion that took many repetitions to overcome. It no longer spoils the listening experience but certainly made it harder to enjoy. Well worth a listen for fans of the genre. This one is cut of the classic era.

Rating: 6/10

Floating Sun "Pelagos" (2026)

 
Here's another lofty ambience record, the likes of which I sift through on a regular basis. I've been waiting for one to perk my ears. When one catches my attention, I'm sometime alluded as to why? After all, the foundations for these meditative sounds were laid down a long time ago. Every inch of this record feels familiar. Perhaps unlike others Greek producer, Floating Sun, strikes an alluring balance carved to my taste.

Clocking in at twenty minutes, Pelagos is comprised of five dreamy chapters. Each drifts by in temporal ambiguity. A cast of reverberated sounds explore the seas. Subtly woven in the mix, seagull squark, winds blow and waves lapping rhythmically against the shoreline. Around it, a construct of dense cloudy synths allow for creaks of light to shine through in the form of electronic sounds, sometimes with a hint of chording.

Soft and subtle in nature, the music ebbs and flows undramatically, letting us enjoy its gradual shifts and aesthetic textures. One is lured into its immersive atmospheres, serene, ethereal and contemplative. A meditative feeling fit for deep focus and thought. Why this particular incarnation struck a nerve? I think it shares a soothing charm akin to Marconi Union's Weightless. A piece studied for its effects on anxiety.

Paying closer attention to the music through the lens of its inspiration, the ocean. One hears thought and intent behind its aesthetic design and implementation of certain sounds. Warbling oscillations take on an aquatic quality. Deeper synths often swell and contract like waves at the shoreline. Electronic wind chimes conjure a breeze. It's all quite brilliant. In conclusion, I need to explore more of this artists works.

Rating: 7/10

Fief "VII" (2026)

 
I'm always overcome with a wave of joy by the sudden surprise of a Fief record drop. Better yet, to enjoy its soothing cinema on a beautiful day, walking alone in natures woods. Then it hits me, Song Of Some Deed Or Other, what is this track? Instantly my mind is cast back to Fortress Festival, where I had the honor of seeing Fief perform live. This track is the first to really emphasize an extra depth VII explores.

Samples! From subtle background sounds of wildlife and natures breeze, to the industry of medieval life, Feif fleshes out their arsenal of timely instruments weaving wondrous melodies. It's a soft touch that occasionally really breathes life into the music. The jovial song Fool's Licenses starts out as a playful jesters show. Cutting away for a vocal snippet from some Medieval era movie, the music kicks back in full tilt, with vigor, gusto and spirit! Birthing one of the most dense musical dances yet.

Much of the record plays as expected. An all too familiar interchange of layered instruments, navigating chords, arpeggios, and scales with grace. A comforting atmosphere for Fantasy led historical romanticization of what was in all likely-hood a rough and difficult time to be alive. But alas, these things are somewhat relative. I mention this because on tracks like Echoes Of The Apse and Peasants Vigil, darker tones are explored. This expanded vocabulary enriches the album experience, paving for a more diversified nostalgic setting, in which our artists' musicality flourishes.

The majority of this material is of that medieval jovial nature. We sit at the King's court, the Queen of hearts hosting. Dinning with fine wines, fresh fruits and mince pies for all royalty attending. Minstrels dance and pleasantries exchanged as Harps and Flutes, Guitars, shakers and Bells, filling pristine gardens with simple melodic joys.

Thus VII lives up to the richness of its evocative period-piece album cover. Where previous records felt like a collection of songs built out of the same set of instruments, this one has more dynamism, more territory to traverse. It does so with spirit and inspiration, the shifts in tone and world building samples gave it an edge. Its lovely to hear their grand musical ideas evolving. This was a firm step in the right direction.

Rating: 7/10 

Kaosis "Mate. Feed. Kill. Repeat." (2024)

 
Yesterday I laid the groundwork for discussing this record by talking about Slitknot s debut demo album Mate Feed Kill Repeat.. Recorded by original vocalist Anders Colsefni and Aussie band Kaosis, I'll make the assumption that it was a test run for getting back into this material. In recent weeks, Anders has been playing the whole (original) record live in Australia, coinciding with the record's thirtieth anniversary. There is however a twist, this version of MFKR was released without Ander's blessing.

Despite that, it's been a fun listening experience, however, the record does take some creative liberties. It starts off as a faithful recreation of the original material, updating aesthetics with modern production and clearer tone. Either an embellishment or for audible clarity, the more discrete elements of sampling, synth and noises that play under the traditional instruments can be heard. The bomb sirens of Slipknot feel apt, yet synths chime in on its melodies. I didn't get a sense that was originally buried.

Gently continues on similar footing, the acoustic guitar tones sound particularly gorgeous. As we get into Do Nothing/Bitchslap, the songs ambition really comes to life. The chemistry of its Funk Metal groove blooms in this aesthetic romp where we hear samples, baselines and synths gel. Only One and Tattered & Torn are pretty hard hitting, direct ragers which mostly maintain that stern brutality. These little Synth embellishments really start to add up at this point. These numbers definitely didn't have those elements buried in the mix somewhere. It softens the harsh vibes a touch.

On Confessions, the creative liberties heighten. Now the keys are really fleshing out the spaces between they can occupy, adding a different flavor to the track. Musically, it's clever, apt, well executed. But in terms of being faithful to the original material, it's veering off course. Additional melodies and chords feel unnecessary despite fitting in. Some Feel doesn't receive this level of attention, yet it's just enough to steer the track away from that darker identity. Killers Are Quiet claws it back. The dark ambient samples within play far more audible. A real delight but with no hidden Dogfish Rising.

All in all, this re-recording is such a fun indulgence. Hearing the additional, rather colorful, musicality is fun throughout. At times it illuminates the eclectic side of an experimental embryonic Slipknot, giving you a sense of what might have been. In other moments, it derails. These musicians get caught up in their own additions. This unsanctioned version doesn't feel as close to the original intention. It was still a blast! I'm glad this exists, It helps illuminate how brilliant the original demo album was.

Rating: 7/10

Slipknot "Mate. Feed. Kill. Repeat." (1996)

  
Once their debut album, now retroactively labeled a demo album. Slipknot's original incarnation was a curious machination of Death Metal and the emerging Nu Metal groove. If their masked avatars weren't wild enough, the band periodically burst into bizarre tangents of Funk Metal and Disco. Echo's of the early 90s Alternative linger but MFKR is mostly a dark mysterious beast born of loose experimentation.

With original bandmates Shawn Crahan, Joey Jordison, Paul Gray and Craig Jones all present, its an interesting observation that so much of the identity defining guitar work is present. Josh Brainard and Donnie Steele deserve much credit for laying down those darkly brutal riffs. A lot of their material ends up spread over Slipknot's next three albums, often reshaped, the self titled number sped up for the classic Sic.

Yet to find Corey Taylor, the band have a fine frontman in Anders Colsefni, who introduces those little Rap Metal verses, alongside barrages of brutal guttural vocals and raw throaty screams. His cheesy opening lyrics vent frustrations around the game Ultima Online But beyond this silly oddity, the themes get dark and serious swiftly. Gently, heard later on Iowa, has its meditative catharsis, swaying between calm and unease on the march to its grandiose riff that marks a peak as the song closes.

Do Nothing Bitchslap Is the first song to really test the limits. Dropping into a sly Lounge Jazz Funk groove, the song plays a game of pivoting between Death Metal and this easier temperament which gradually shifts into a disco groove. So too does its heavier end sway into manic guitar discordance and feverish grinding intensities. It plays like a bad acid trip walking among the halls of a carnival house of horrors.

Only One and Tattered & Torn are much like on the self titled record. Both fully written, here they just have a rawer edge which Anders does justice too. Confessions has to be my favorite song. Me and a friend used to listen to its, joking about these masked villains would wear their masks, dressed up in with fancy suits, dancing like it's MJ's smooth criminal video. The song beautifully transitions from woeful expressions to a dancey emotive number with spirited singing and a very 80s guitar solo.

The affair ends with Killers Are Quiet and the hidden track Dogfish Rising. Nineteen minutes of brutal downtrodden Metal that ventures into bizarre realms of experimental Industrial Noise. Atmosphere is the key word. This song really showcases Slipknot's unique yet deranged spirit. It's that side of the band we hear in its rawest form, yet to become the mainstream Metal juggernaut that would dominate this alternate culture.

For me, MFKR was a peculiar entity. A band I adored had sequestered a mysterious history. Back then, it was difficult to learn about and get your hands on. Now it's very accessible. But that mystique I experienced really let me connect with this album's strange character and appreciate its experimental approach. What Slipknot would become to be is genius in its own right, but so too is this alternative universe record where the band could of headed on a different trajectory. A cult like, underground act.

Rating: 8/10

Karnivool "In Verses" (2026)

 
Having been turned on to these fluid branches of expressive Alternative Metal by pioneers Tool, In Verses strikes as a delightfully indulgent yet familiar journey within expansions and contractions. Venturing though rumbles of textural guitar aggression and emotive melodic lines, I hear echo's of Adam Jones' organically moving guitar riffs and Maynard James Keenan's tendered personal vocals. It’s my own narrow point of reference but I’m absolutely loving the exploration of this matured sound.

New to Aussies Karnivool, this is actually their first batch of songs in thirteen years! In Verses being only their fourth album. It seems the lengthy wait is one of authenticity. Nothing about this record feels forced or even rusty, given the time passed. Rather, the lyrical expressions of frontman Ian Kenny has its purpose met by the gravitas of musical swells and flourishes of color his band mates offer instrumentally.

Thus, the elements align for music traversing nurtured dynamics as serene and contemplative acoustics gracefully descend at apt intervals to explore the darker, aggressive side of these themes. I'm fairly sure these worded motifs align across songs with intent. Either as poetic releases of bottled troubles from life's path or something deeper, interconnected, given the grander sentiment of some sentences.

As touched on already, these often repeated lyrical touchstones appear like the driving point of a song. Its a dance that illuminates these songs. Kenny is quite understated in his competency. Its the instrumental unity that elevates his presence. A consistency through a record traversing similar temperaments that are always in motion. It makes every inch of this rich music feel worthy of more attention than your actually giving it. Most lovable are the little creaking's of guitar feedback and acoustical drum stick clicking among other intricacies. Bespoke noises detailing a steadily blooming tone.

In verses has a lot of musicality, flowing like a river, gushing forth with expression, often sombre, melancholic yet never sullen. Rays of light pierce the cloudy skies in the distance. A lingering hope, colorful and tuneful. Most songs find the connection to this mood through moments of swelling gratification. I'm left with some lyrics stuck in mind. “Feeling alone in a crowded place”, “If i could have one more day”. Universal themes, yet personal. Its a connection I found for much of this fantastic record.

Rating: 8/10

Scarve "Luminiferous" (2002)

 
Stepping back from the exciting discovery of Irradiant, we unsurprisingly encounter perceived familiarities of the musical journey. Decreased production fidelity, unrefined identity, a vague rawness. These initially hold back the music but it only takes a few spins. With Luminiferous we have another intriguing exploration of the early djent influenced European metal scene. Labeled Technical Death Metal, yet experimental, progressive and showing similarities to the "Future Fusion Metal" label yet to emerge.

A far cry from where the extended guitar range sound has landed today, Scarve explored low end discordance, rhythmic treachery and sporadic shifts of blasting drums with a agitated stride. Exchanging guttural roars and raw heathen singing, a dualistic vocal dynamic emerges. Together they traverse an ever unsettled metallic construct beneath, taking a burley limelight, brooding within the ceaseless chaos.

Toying with trading tensions and dances of dissonance is a tricky game. Somehow, these bumpy rides converge onto peculiar gratifications. The ever violent percussion channels their artistic extremity through its Grindcore akin patterns, shuffling them consistently. Its the guitar leads that provides relief from this unending frenzy. Usually in intriguing arrangements, a melodic resolution ties up these unusual soundscapes.

On the other hand, the rhythm guitars stand out too, deploying dated polyrhythmic power chord chugging reminiscent of old school Meshuggah. On Luminiferious' ever animated journey, the ceaseless nature of its energetic lashings make it hard to determine where one is among the wretched, mangled metallic landscape. That is at least the vibe often similar to Mnemic yet not exploring the bombast they offer.

The record evades a sense of peaks or valleys, just a continual unravel of curiosity one moment to the next. Somehow, despite my many spins, its riffs and motifs haven't embedded a solid identity, one it clearly has. Futile resilient and The Day After stand out for their acoustic leaning soundscapes. As do brash moments of punk influences when the band venture into simpler drum drives and power chord strumming. Between the obvious influences, a tangled web of ideas that entertains. All in all, a great listen!

Rating: 6/10

Look Outside Your Window "Look Outside Your Window" (2026)

Technically an album without an artists publishing name, Look Outside Your window Is the so called experimental album recorded by Slipknot members Sid, Clown, Corey & Jim Root. Created alongside All Hope Is Gone, almost twenty years ago, then left in a lengthy limbo, the lack of enthusiasm for its release seems more than reasonable given the general drab mediocrity this gloomy set of mid-tempo sluggers brings.

Hinging on Corey's distinct vulnerable voicings, the music follows his mourning expressions, offering subdued militaristic drum marches under meandering textured guitar noise. This grey chemistry amasses to glum overcast skies and dreary rains as their bleak soundscapes circle themselves. When breaks for sunlight are briefly offered, it does so with minimal melody and an echo of the reverby shoegazing sound.

Some of Corey's hooks have his fingerprints all over it. At least of that era. His natural sway and dramatic pivots could lead into enraging screams and riff eruptions but those feveros elevations never arrive. I often feel left in the lurch by that lack of resolution or release. Its clearly an intentional choice, to ruminate on that dreary tension beforehand, however his band mates never offer up chemistry to engage with.

The record drifts by, these songs seem content wading knee deep in the gloomy amassing of raindrops it gently drizzles upon us. The overall mood never sheds its burden, rarely find relief and thus feels confined to drone by uneventfully. Its bleak, without leaning into its depths that could be. Sadly, a rather tame, disappointing listen.

Rating: 4/10

Dimmu Borgir "Grand Serpent Rising" (2026)

 
This tenth and possibly final chapter of a fine legacy sees inspirations grace a distinct and charactered return to form. The band's stride past the intoxicating Death Cult Armageddon has been a stifled mix of fruits, purposely seeking evolution but not quite encapsulating the enthralling experiences of their post Enthrone Darkness Triumphant run. With eight year stretches between their last two efforts, Grand Serpent Rising seems like a natural successor to that marvelous run over twenty years back.

Gracefully showing the age and maturity of its composers, the emblazoned thrills and aggressive stunts of Extreme Metal are stripped out in favour of rich atmosphere and grand storey telling. Clocking in at a meaty seventy minutes, all its thirteen songs march on a similar temperament. Mid tempo grinds of darkly wanderings, venturing through forbidden landscapes, immune to its dangers. We join the band like observes of this shadowy landscape, seeing its dramas like observing a battlefield from afar.

Thus its hardest movements tend to rattle blast beats over subdued chord plucking. As forementioned, their are no bombastic eruptions of aggression or pivots into sudden adrenaline. Its aphotic grandiosity emerges from devilish themes and structured composition. Orchestral elements often dictating the nefarious cinema. These are steady journeys, traversing metallic grinds to land on potent expressions of symphonic wonder as breaks in that grueling stride uplift with melodic reprieve.

My weakness as a listener is often lyrics. Well attuned to Shagrath's dense snarling screams, I've picked up on plenty of the words, gathering a sense of overarching theme. Cryptic lyrics of knowledge, secrets, conspiracy, power and truth seem to intersect across songs. References to this arcane union permeates key moments and ties together a sense of "secret society". Sequestered rituals, wisdoms and magics revealed. The records title perhaps suggests such a name for a cultic organization.

As a whole, Grand Serpent Rising doesn't have highs or lows, peaks or valleys. Instead it holds its tone well for a lengthy record, exploring its many ideas with steady measure. That being said, its closing beautiful instrumental Gjoll does feel like a special moment to end upon. I reckon this record achieves what Eonian set out to do, however this time their maturity as seasoned song writers really shows this time. 

Rating: 8/10

Vince Staples "Cry Baby" (2026)

 
Having previously expressed disillusionment with his artistry a rapper, Vince's return feels well earned and keenly authentic, something he's never lacked. This seventh chapter pivots into a fresh, politically charged lane as Staples' lends his laid back demeanor to a distinctly Post-Punk craft. Having previously toyed with Latino, House and darker sounds, this pivot highlights his ability to meet the instrumentals at its level.

On Cry Baby, subtlety reigns supreme! Both Vince and the bass guitar led beats choose to dial back intensity and let their combined resonance work its magic. Where others might channel the heated political themes and anger Punk influence into violent a wall of sound, Cry Baby leans into mood and atmosphere. Props to the various bass players, many of these songs are powered along by keen ruminating textured lines.

Around a core of Post-Punk baselines and raw drum kits, other sounds drift in, often aiding the atmosphere over deploying melody. This leaves space for Vince to shine. His smooth, easy going hooks, tie together the verses lyrical themes with an knack for both a sharp relevancy and catchiness. My personal highlights include Blackberry Marmalade, The Running Man and The Big Bad Wolf. Done with class and style, it joins an endless list of tracks sampling Silk Rick's classic Children's Storey.

With potent expression and no thrills delivery, Cry Baby creates much food for thought as its social and political musings churn the wheels of thought. A distinct, memorable record and a welcome return for Vince, who I feared we might not here for some time. Its only been two years since Dark Times, I'm glad he has found his way again.

Rating: 7/10

My Friday At Download Festival 2025

 
My own navigation fumble led to a late arrival. A rough start to the day, missing out on several exciting bands as I got caught in a wave of Friday attendees. Despite that, still had an amazing time as always. The weather was just right, sun and clouds, a cool breeze to keep one from cooking. I still got around, of the bands not mentioned here, I watched James And The Cold Gun, Paleface Swiss, Creeper and Lake Malice.



Lakeview
Having prior enjoyed their mashup of current low end metallic energy and modern Country Rap, Lakeview were the first to bring the live music chills. Amped up and full of enthusiasm, the duo front act rocked their authentic sing along numbers well, getting the crowd excited, putting on a memorable show with a sound I'm growing increasingly fond of.

Drain
Part Punk, half Hardcore, mostly Metal and a fond Echo of Crossover Thrash, California's Drain brought manic energy and stole the show. Their front man talked up the crowd with an endless surge of energy and excitement. Their songs blazed through fast mosh friendly chops, rocking riffs and headbangers grooves. The crowd ate it up, as did I.

Electric Callboy
Watched from a far, I got to enjoy the impeccable sound engineering of Download's main stage. It sounded so crisp and clear! I'm not overtly keen on Electric Callboy and their comedic party vibe antics but the live show always brings one closer to what a bands about. Mixing up their set with some vibrant European Gabber and Rave influences, the show became quite the surprise hit. I was thoroughly entertained and would be happy to catch them again sometime.

Cypress Hill
What a nostalgia trip! Sing along to every lyrics, I was reminded of my youthful love for this act with a flood of memories rushing back. Their age is starting to show a little and Download felt like the perfect opportunity to dust of the amps and bring back their Metal crossover era but that will likely be an unfulfilled dream for the Rap Metal obsessed teen in me. Anyways, great show but the energy was tame compared to other acts.

Limp Bizkit
They are my reason for attending this Friday. Immediately after seeing them at Reading last year, I knew I wanted to see them again. This time without Sam Rivers, RIP. Its my tenth time seeing the Bizkit. I went wild, as I always do. These songs just hit that teenage nostalgia different. I jumped, moshed, sung my heart out and ruined my voice. What a great time! I must say, the set felt light, lots of drawn out moments and even some extended downtime. It mostly felt like the same set I saw them do last time in thirty minutes less. It would have been nice to have gotten a few deep cuts but it is what it is. I'm sure I'll see them again in the coming years.

Blood Incantation "All Gates Open (Original Motion Picture Soundtrack)" (2026)

 
In a rather meta move, Blood Incantation release All Gates Open. A soundtrack to their homebrew cinema on the recording process of the critically acclaimed Absolute Elsewhere, a stellar gem that's grown on me immensely. The documentary itself is enriched by these soothing contemplative drones that meander among its backdrop.

As Berlin-School tinged ambiences, they lend power and gravity to band led discussions about the music's creation and capture. Immersed in a historical studio once home to the like of Brian Eno and Tangerine Dream, it feels rather likely that specific immersion led to the creations of these wonders lengthy pieces.

Temporal in nature, often still and reflective, moments of change feel like gradual drifts through the cosmos. Balance offers twenty minutes of deep droning with insignificant astral synths passing overtop. Flight births a touch of movement as grandiose melodies conjure awe and wonder, transitioning into a hurried percussive section which stalls its astrological allure. The five minute Dawn ushers in heavy hearted organs for an emotional rally which never finds any cadence. One can hear echo's of Pink Floyd's Any Color You Like being toyed with among its aesthetic density.

Rain closes up then run with another adrift song. Colliding with whirling synths and disconnected acoustic guitars, it lingers in this drawn out tempo-less space, like all its songs do. A curious listen, brilliant for the background yet on closer inspection its ideas evade magic in the moment. Perhaps that is precisely its purpose, to really lean into spanning those lengthy durations. This is one for the drones playlist.

Rating: 5/10

My Weekend At Fortress Festival 2026

 
Trekking up north for a niche musical festival on the costal town of Scarborough was quite an unusal adventure! Catching the last of the heatwave made for fantastic weather, we had time to enjoy both music and the local area. Although the lineup mostly consisted of modern Black Metal I'm exhausted with, the spectacle of a Dungeon Synth stage and return of favorite Old Man's Child pulled me north.

I'm glad I invested time into Choronzon. Before seeing It performed in full, we attended the interview talk on the side stage. That added such depth to the experience, giving additional insight and context to its creation from the band themselves. Their show was fantastic, a riot of enthusiasm for this eclectic assemble of extreme oddities. It was the one time I saw a mosh pit, which speaks to the frotress demographic, unsurprisingly mostly men my age and older. No teenagers in sight!

Flooded with feelings, memories and ecstatic musical magic, finally seeing Galder's Old Man's Child was blessing. A "bucket list" band I didn't think I'd get to cross off the list. Their show was a fun nostalgic romp. Playing favorites plucked from many possible candidates. Far from a band in their prime, they act pulled of these songs well, in the process stirring many memories as these old riffs and melodies unlocked parts of my brain from decades gone by. At the time, I didn't think this could be topped.

I'm not sure if I caught the announcement because Fief's inclusion was a joyous surprise. Relaxing in the theater to these jovial medieval dances, I was impressed by the impressions these often atmospheric songs had made on me. Usually, I'd consider this tone setting music, a ken ambience to spark ones imagination but I found myself remembering all melodies and transitions between. I loved every minute of the show!

Fresh in the mind, Emyn Muil's emotional motifs really came to life on stage. Preformed as a trio, some songs were stripped of their metallic core. This absence was felt when the distortion guitar was brought to the stage, suddenly, the magic elevated. I believe this approach was adapted for the Dungeon Synth stage but it felt like these songs needed to be in their final form. Either way, fantastic to see live!

Stealing the weekend comes Old Sorcery's first ever live performance. I hadn't even considered this a possibility, I was buzzing with excitement. Undoubtedly the genres top talent, I was astonished to see how well this translated to the live setting. It was if another element of magic emerged through this scenario. There was the mystical wizard himself, conjuring other words and occasionally commanding cryptic chants into the bellowing reverberations of his mic. It blew my mind, these already mystique drenched numbers hit me hard. Incredible show, one among the all time favorites.

Emyn Muil "Afar Angathfark" (2020)

 
Emyn Muil's own epic Middle-Earth trilogy ends on a high note, coming full circle in a feat of utter mastery. The stars align as spirited composition and aesthetic vision converge across a mighty sixty eight minutes of galvanized Summing inspired magic. Making no strides to escape their shadow, the record revels in that Tolkien vision, perhaps giving melody a more luminous presence for most of these lengthy tracks.

With measured pace, carried along by the grandiose thunder of tom drums, these songs brood a steady intensity. Straddling orcish howls and snarling tremolo guitar, the clouds of darkness frequently part for good and glory to victor. Firm strings set a tone for triumphant horns to pierce the sky, as a whole cast of instruments dampen the rains with their uplift. Bells, Harps, Flutes paint warm color over grim Black Metal.

Infrequent but adored upon each arrival, a warm effeminate voice invokes a subtle natural crescendo. Her arrival often plays conclusively, at the end of a song or as resolution to the melodic emergence from darkness. Its a keen highlight alongside the adorning string sections which lay foundational chords for the fantasy to unravel.

Afar Angathfark is a stunning listen but does wear itself out with a couple of weaker tracks towards the end. It may suffer a lack of transitions and bold pivots, lacking events and theatrics beyond its musical foundations. Songs tend to stay fervent in stride, same pace, same shifts between the sides of its casts, often leading to fade outs. Despite that, its rich dramatic atmosphere reigns supreme. A peak achievement.

Rating: 8/10

Karmanjakah "Diamond Morning" (2026)

Diamond Morning's stunning display of summer soaked melancholy immediately perked my ears. Within awaits a power struggle. Extreme Djent antics face off against melodic Post-Rock aesthetics, creating a beautiful tangle of opposing ideals. Those often rapid polyrhythmic stunts the likes of fellow Swedes' Meshuggah would deploy, get eased into crawling unravels, a gradual cadence to revel in rhythmic elasticity.

Eyes Seeing Eyes exemplifies much of the records magic. Opening with tender expressive vocals and serene noir pianos, a vulnerable emotive atmosphere is set. In fly the low end guitars, juxtaposed by higher register tremolo picking. Thumping drums deploy the bare minimum groove in apt measure. This restraint allows a sway between extremities to scintillate. This song leads to one of the albums best moments, a climatic polyrhythm! Spanning multiple bars on a delicious leisurely pace, It illuminates the power of such rhythmic oddity when slowed to an accessible clarity.

Much of the records allure revolves around these brilliantly realized dynamics. A gorgeous play of bittersweet uplifts, oscillating between intense elements. On this luminous journey, acoustic guitars adjoin its softly pianos that rest over either lofty airy synths or dense enriching reverberations. It creates a luscious tapestry for angular Djent guitars to collide with on many occasion. Their drummers' orchestration of these key moments is utterly inspired. Its the glue that holds this chemistry together.

On a couple of occasions, the music breaks down into soft spoken acappella raps. Its casual vulnerability feels apt but plays rather underwhelming in the shadow of this gleaming construct. Its presence feels like a footnote. Diamond Morning concludes with a self titled trilogy of tracks, bowing out on a high for a record that ebbs and flows wonderfully. Every listens rocks and croons. Its been one of the most impressive listens in recent memory. Contender for album of the year in my journal.

Rating: 9/10

PeelingFlesh "The G Code" (2024)

 
Has it been a minute since I precariously enjoyed some good old disgusting slam? Or do the fresh faced PeelingFlesh have an ace up their sleeve? This newly formed outfit from Oklahoma City are pulling impressive numbers, gathering attention via a sound I thought was well past its prime. Its album cover may hint upon its uniqueness, paying ohmage to Pen & Pixel's Cash Money album aesthetic. B.G. is a classic example.

The G Code's main musical driver is Brutal Slam Death Metal in its rawest. Invigorated by modern production clarity, all the genres hallmarks remain intake. Assaulting with utterly foul pig squeals and vocal absurdities, they punch like another percussive force. Alongside battering drums, armed with a clanging snare, the gristly guitars slam rhythmic low end riffs which routinely run rapid chops into slamming breakdowns.

Mean pinch harmonics, shattering blast beats and devastating gutturals aside, the bands unique flair emanates from a routine inclusion of street culture. Samples from movies, news reports and the like arrive between low key raps and the occasional use of horror aesthetic synths, the latter being something I would loved to hear more of. Skin Blunt showcases this well, these forces converge on this brief interlude track.

With this unique veneer of Gangster Rap embellishment, I'm keenly receptive to this mashup that keeps itself firmly in the Slam camp. That aspect of the music is some of the best executed I've heard in some time. Usually when Slam comes on, its fun for a moment but PeelingFlesh have managed to sustain my interest for more than the usual dosage of extremity would allow. The G Code certainly has its moments!

Rating: 6/10

Trollslayer "Pharaoh" (2026)

 
Trollslayer! Another anonymous bedroom composer with high output. A possible deterrent in a niche scene sloshing in low effort records. Despite that, its two tone cover mystique and promise of "Desert Synth", akin to Ziggurath, lured me in! I have to say it, I'm firmly impressed. Temporal transformation and sandy sightseeing aligned, Pharaoh plays ones imagination well. Consisting of mostly ten minute cuts, these lengthy atmospheres dwell like drones that initially feel simplistic but across its duration, evolve and venture with a gradual pace befitting of travel on camelback.

Across the record a variety of compositional ideas play out on that steady movement. In its best strides, wildly cinematic strings bloom with culture and grandiosity. One feel a nostalgic chill from Lawrence Of Arabia. Dark Ambience and the lurch of foreign dangers get a spotlight, as does some subtle toying with distortion. Kordan's Maze feels so befitting of its suggestive title. Led on by dexterous snake dancing lute, a mysterious theme is set. I'm particularly fond of the low key exotic percussion which has some unmistakably familiar tones to my favorite of Steve Roach's work.

Its concluding lull and dramatic swell plays gratifying. The closer, Heart Of The Pyramid, is a messy playground of ideas. Initially, it feels like an Eastern adaptation of a Symphonic Black Metal architype. Shrill guitars are ripped out with enough murkiness in the synths to carry a similar energy. Really clever production. The song meanders through all sorts of ideas, a trove of creativity seeming like leftovers melded together. Either way, its really enjoyable as is the entirety of this niche record!

Rating: 6/10

Fingerspit "Minecraft: Chaos Cubeds (Original Game Soundtrack)" (2023)

 
Fingerspit's milder entry into an ever expanding Minecraft soundtrack plays cozy yet unsurprising as its familiarity to the existing cannon lacks a flavourful distinction. Perfectly executing a tranquil tone and tamed temperament, these five fresh footprints dreamily drift by, indistinct from the cloudy vapors of atmosphere they conjure. Soft and safe, these serene sounds saunter by indistinct and inconsequential. Shy yet tuneful instruments gently chime in. Cushioned synths, distant bells, melancholic pianos and the occasion percussive steel drums stealthily partake in its subtle swells.

Its on the new music disc, Bounce, where we hear personality peaking in. Emulating the quirks of whirly synths and hazy intentions, we wade familiar waters. The rhythmic section is where the track shines! Carefully subdued in texture and presence, underneath rumbles sharp snare shuffles, cutting crash cymbals and stuttering pedal grooves. A touch more progressive than I recall prior tracks. Its a nice contribution that, perhaps, could have been leaned into further. This lengthier thirty minute soundtrack is a safe fit for the game, yet wains by its natural acquaintance.

Rating: 4/10

Plini "An Unnameable Desire" (2026)

 
Plini's unrelenting mission to seek out utterly gorgeous music and push themselves as an artist is still firmly intact. An Unnameable Desire has been well worth the wait. Although drips and drabs trickle from his well of creativity, the arrival of this third full length solidifies the significance of its format. Clutched by the grip of its stellar forty minutes, we are spoiled to a melodic ooze of spellbinding songcraft. Spinning a dazzling harmony across many lavish instruments, Plini manages to tie core theme and lead voice together, guiding us through dense soundscapes of emotional swells.

Although much of his virtuoso voice remains expressive upon similar motifs, the avenues taken still feel fresh and vibrant as this colorful Progressive Jazz Fusion Djent returns with only a couple of embellishments. A notable lean into an aggressive metallic side sees restraints lifted. Harder grooves, denser walls of sound and the occasional purely riff driven momentum, like the opening of Manala, catches ones ear keenly. So to does a deeper layer of sound emerge. Quite often subtle electronics and arpeggio alike guitars nestle themselves into the quieter spaces. Among with an expanding arsenal of instruments, it feels like an extra layer of gloss has been applied.

If the record lacks anything, perhaps a surprise beyond the anticipated scope of Plini's style would have been nice. That lean into harder metallics was nice but also an area I'm all to familiar with. Lead guitars felt a touch flashier than usual. More moments of synth and strings would have been welcome. They are often used as bridges between the main themes. All this is said with tounge in cheek, seeking minor quibbles among a sea of resonant excellence. An Unnameable Desire simply does it yet again. 

Rating: 8/10

Këkht Aräkh "Morning Star" (2026)

 
Emblazoned by the merits of early 90s Black Metal spiritual reincarnation, a highly anticipated Morning Star disappoints this impatient listener as Këkht Aräkh pivots hard to a niche flirted with on prior outings. I'll do this one this disservice of over simplifying its ambition as fusing "sad boy" Emo vibes, something I lack a ironic emotional connection with. With streaks of sombre acoustic guitars and tender, wounded singing, the record is strewn with tinges of sadness flavoured by self indulgence.

Although the grisly shrill guitar tones, growling vocal shouts and pattering drums meet it halfway, its melodic wonders hinge firmly on this motif. In fairness, this stark union feels apt, cohesive and natural. At times, its soft moments feels adjacent to the Tolken-esque fairytale. Subtle synths, plucked melodies and heathen singing fit for one of Black Metal's frequent inspirations yet attuned to this different intention.

With a reasonable fifty minutes, variety comes sprinkled throughout. Frequent pivots and crossovers play out between its opposed ends. From dark raw rumbles to Nordic Folk energy, it has a lot to offer. Ultimately, I have to step back and simply remark this one wasn't quite for me. Fresh Black Metal is tired on this old soul and unless somehow evoking that ancient magic, it will fail to ignite my darker curiosity.

Rating: 4/10

Little Simz "Sugar Girl" (2026)

I appreciate both Simz' artistic explorations and the willingness to share these creative tangents between albums. Sadly, the four track Sugar Girl makes a mild impression. Its mix of flavours feel mostly derivate of other trendy styles in the modern rap scene.

 

Opening with That's A No No, we find auto-tuned mumble ad-lbs over spacey synthetic beats akin to Yeat. Adding little to the conversation, the mid track pivot to her normal rap person seems stiff in its contrast. This synthy exterior melds with classic 808s and deep base lines on the proceeding Game On. Its underwhelming tone leads onto an under-powered hook, culminating in a rather forgettable stint.

Things perk up on Open Arms. An intriguing percussive groove drives the song, housing an ambiguous yet dreamy atmosphere. Effeminate voices dip in and out of intensities. Curious in concept but it lacks something exceptional to tip it over the edge. Telephone continues with the spaced out, dreamy vibes. Autotune returns, aiding its chilled lean into an Ethereal space. The whole thing drifts by in a soft mediocrity. Intriguing experiments but all of them lack something special.

Rating: 3/10

Jessie Ware "Superbloom" (2026)

 
Now accustom to Jessie's refined 70s revival, this newest installment, Superbloom, spins its wheels on autopilot. A familiar nostalgic cast of aged Disco, Soul, R&B and Pop motifs return revitalized, sounding fresh. Receiving a lavish treatment from modern production and experienced song writing, a stage is set for Jessie to dazzle. Unlike What's Your Pleasure and That! Feels Good, none of these songs ascend their constructs, hitting one with emotionally stirring chemistries or new musical ideas. 

Sadly, Superbloom is just competent. An enjoyable aesthetic treat with cheeky feel good themes and seamless instrumental cohesion. Along this journey, nothing breaks the mold, subverts expectations or executes them at another level. Jessie's empowered singing is on point but cadences, hooks and lyrics feel by the numbers. The sparks of inspiration to ignite magic are sorely lacking despite a stellar veneer. 

A few songs to remark on. Two track felt like favorites to return too. I Could Get Used To This hits a stride with its fusion of Dance and Disco that finds a dreamy peak, pivoting into a nicely executed key raising crescendo. Proceeded by a slower soulful title track, the exotic percussion, perusing baseline and overall tone fondly reminded me of Marvin Gaye. Synthpop akin Ride gets a mention too for its interpolation of some Ennio Morricone western lead. Not a great track, feels like a sore spot illuminating the limitations this nostalgic pursuit imposes on itself at times.

Rating: 6/10

Sungazer "Sungazer, Vol.1" (2014)

 
Arriving upon its origin, Sungazer's brief debut plays like an assemble of short conceptual experiments. Brimming with a ditzy glitched electronic aesthetic, its two opening cuts conjures a Chiptune dial up modem mash up. Spritzed on by craftily spun rapid melodies, they toy with rhythmic shunts and subversive tunefullness in disorienting yet soothing ways. The tone turns gentle with more traditional instruments arriving on the mellow afternoon stroll of Ether. Level One feels like a bridge to bring back some of the original aesthetic, baking in its video game adjacent culture.

Featuring human singing, its final track mixes all elements with a bold Drumstep drum groove. Justina's voice as quite the hook but the songs vibrant chemistry is so brief, its as is if the song doesn't get a chance to evolve. Instead, its shut down in the mania of stunting synth sounds. Volume one is impressive as a conceptual debutant but in the shadow of greatness to come, it shows the duo's humble original have been carefully nurtured over the years, from experimental to fully realized ambition.

Rating: 4/10

Enter Shikari "Lose Your Self" (2026)

 
With unshakable identity, Shikari return on another rousing record to reflect upon our troubled times. Spouting unabashed articulate words to address the current zeitgeist, Rou's lyrics cut deep. Led by emotion, raw authentic messages of worry garnish each track with urgent meaning. Touching on the erosion of institutional norms, growing wealth inequality, increasing climate fears and the ubiquitous influence of silicon valley tech, we embark on a fever pitch. One to always grab my attention, Rou's finger is firmly on the pulse again, crafting his passioned cries into anthemic bangers.

Obviously, this is no one man show. His band mates of twenty five years plus fire on all cylinders. Together, charging their genre soup of majority British musical influences with a vibrant, colorful, ceaseless energy. A keen apatite drives these songs with pace and blazing spirit. Spliced with chunky rhythmic chops, electronic stunts and subtle layers of tantalizing details, a constant thrust of anticipation keeps excitement stirring.

The albums structure is fantastic, between anthemic ragers, Shikari switch up the flow. Spirits are soothed on the juxtaposed Demons, exchanging its mellow lulls with a rapid Drumstep groove. Flick Of A Switch's second part calls back to the first incarnation, revisiting it with a mammoth zany spaced out breakdown, its sliding synths and detailed percussion is a treat. Closing on the trilogy Spaceship Earth, their song writing expands to Symphonic scope, yielding a glorious conclusion. A sentiment of visitors leaving our pale blue dot emerges, leaving its lyrics lingering with meaning.

Unironically, the aforementioned songs are not even my favorites. This album was pure class. Perhaps their best since The Mindsweep? Only the brief 90 seconds of an erratic I Can't Keep My Hands Clean felt a bit stale, perhaps an attempt to capture the abstract comedy of Slipshod... but probably not upon hearing it again after so many years. Shikari albums have a habit of feeling like strong connections to their era but losing a little potency over time, this one however feels like it has true lasting power!

Rating: 9/10

Dave Mackay "Three: Vol.3 [Utopia]" (2022)

Completing this triumphant trilogy of trinities, we temper tranquil trails as these three threads delve upon magical mellow moods. Wedged in the middle, Oog arrives a stiffer act, its melty instruments river around against the sticky shuffling rhythm of its gentle yet ever-busy percussion. It carries an airy colorful spirit through this ceaseless rigid pacing, a beautiful contrast to its melodic flavors oozing in sun soaked scenes.

Utopia leans in to its gorgeous reverberations. Again, the ceaseless drums hit this unshakable drive, more subdued in presence. Around it, a cast of instruments croon, melting in a roomy ambience, an aesthetic delight. An impactful piano arrive in waves, striking tuneful notes in succession. Illuminating, then dissipating into warm currents.

Impulse rounds up the record with an emotional stride. The welcome smoothness of this Jazz Fusion affair encroaches on a magical sentiment as the pivot a third in stirs spirited feelings. Its soft piano keys suddenly dance with the stars, as synths fall from the heavens. Its a lovely movement, revisited again a third later to climax the song, then suddenly drop out into attention breaking ambience. Really classy music.

Rating: 5/10

Sungazer "Sungazer, Vol.2" (2019)

 

Further approaching the duos origin, this sophomore EP fits a snug five track format of snappy, "to the point" tracks, clocking in at around three to four minutes each. This second volume's scope feels narrowed, as does the stylistic pallet, however this reduction is its strength, an ambition channelled. Fusing a shimmering Vapourwave mystic and joyous Chiptune cheeriness as its key electronic tone, their Jazz Fusion foundation often takes a healthy backseat to these grabbing glitchy production stunts.

Busy baselines and animated percussion are an excellence you'd expect of these passionate professionals. So to does the cast of other traditional instruments have moments to shine, however they come rather understated in the shadow of this fever dream whirl of colorful electronic mania. Ostinato is the one track to ditch this element.

The other four cuts solely focus on its quirky uncanny valley personality. Its lead keyboard solos and intriguing manipulating production elements dominate the show alongside these glitchy sampled vocal snippets that tie in theme and feel nicely. Altogether it creates a sense of exploring crossroads between robot and human. A distinct character making this brief record more impactful than I initially thought.

Rating: 6/10

Gate Master "Hidden Mysteries" (2026)

Concluding this journey on a more positive note, Hidden Mysteries houses one or two moments of esoteric magic alongside a baffling set of extreme experiments in noise and abrasion. Starting at its lowest point, the concluding Sonic Cleansing Final Movement fumbles through cryptic dirty analog distortions to no avail. Just a pointless romp of aesthetic disgust. The prior trio of movements lack offense, yet fails to evoke the vivid terror these scenic Dark Ambience pieces can so often do. Title track Hidden Mysteries try's it hand at harsh obscure horrors via low fidelity Drum N Bass percussion loops, mixed with harsh dissonant screams for attempted mystique.

Positives start with The Palace, venturing into quirky synths akin to Труп Колдуна, we drift through a limbo like dimension as soft airy synths cushion the unsettled lead melody and droning drums beneath it. A Perculiar Pathway ventures into Dead Can Dance territory, favouring an unsavory darkened tone around these arcane chants bellowing out from the dark. Very much akin to the voice of Brendan Perry.

Lacking a vocal element but continuing in their shadow, opener Enlightenment hits a high note, perfectly emulating Dead Can Dance's worldly magic. The string lead tone is apt, suitable for any imagination or mood. Personally I'm reminded of sun soaked deserts and decimated pyramids, despite a like of melodic flavour in that cultural direction. Its bespoke meditative mood will likely meet you where you're at.

Rating: 4/10

Dave Mackay "Three: Vol.2 [Nashville]" (2021)

 
What a delightful stumble upon this has been. The threesome return with another trio of classy Jazz Fusion tracks that revel and ooze within its own exquisite veneer. Prophecies kicks off measured and gradual. Soft, gorgeous instrumentation swelling in harmony as lively shuffling percussion guides passages for all its elements to shine. With melody, texture or sudden roars of synth jive, the subtleties of craft slowly amass as baseline exchanges lead us through a gradual amass of layers that croon together.

Mute echo's sentiments of Vol.1, its dusky contemplative piano refrains balance beauty and tension with an unshakable familiarity. With a smidge of Noir Jazz flavour, the nightly flavour simmers down to a cool, finding a soothing stride, opting for a soft surge in conclusion that dreamily backs out, winding down with Ethereal grace.

Cassette Culture conceptually focuses solely on its lead, a bold, plastic like synth tone, singing a tuneful dance with expressive dynamics. Volume and tone pedals shape its intensity upon a curious, slightly quirky escapade lacking direction as it meanders in the whirling moment. All three tracks are such easy pleasures to enjoy. The short duration and high bar for excellence really empowers this format.

Rating: 5/10

Sungazer "Perihelion" (2021)

 
Kicking off with Threshold to establish a whimsical tone, we embark upon luminous musical crossroads. The duos Jazz Fusion architecture meets modernity as snippets of buzzing IDM energy, tonal Vapourwave synths and a soft Chiptune cheeriness emerges. Perpetually pushed by Neely's peppy basslines and Crowder's ever enthusiastic drumming, the aforementioned accents play second fiddle to their rhythmic powerhouse. The positively charged Perihelion has curious conductive chemistry. This current reflection of electronic trends generates inspired compositions, overloaded by the pairs prime instruments. Songs initially appear to be defined by there synthetic aesthetic but Neely and Crowder end up steeling the show.

Opening instrumentals Threshold and Macchina dazzle but following them, an introduction of pitched Vapourwave vocal snippets sours the rest of the record. Personally I find their moody presence a redundant distraction from the expressive blossom unraveling around their rigidity. Its a personal qualm, one that never quite dissipated. Around these intentionally voiced elements plays an joyous arsenal of ambitious lead instruments and adventurous compositions coming to life. Thicc feels like the one track to embrace it quirky vocal element in a playful cheeky tone. The arrival of that 80s TV talk show Jazz Cheese feels so right for them.

My conclusion lays firmly in the words already written. A fantastic record with a single element that unsettled my experience of a brilliant chemistry. Perihelion unites some trendier sounds with a tried and true sound. Executed by musicians looking to explore their musicality, it plays an animated treat full of twists, turns and adventure.

Rating: 7/10

Gate Master "Relics" (2025)

 
The acute mystic tone struck on In Pursuit Of Forbidden Knowledge seems absent elsewhere in Gate Master's discography. Perhaps the lengthy escaped through cloudy ambiguous fog drenched synths on the closer My Journey To The Stars shares some spirit. However, its dreamy tone and airy hum feels closer to Brian Eno than our cryptic Dungeon Synth. Its also devoid of any progression, just a droning loop glistening in its own reflection, chewing up fifteen minutes of time aimlessly.

This project feels like more of a dumping ground for experimentation. The opening Relics blatantly derivative of Emperor's masterpiece In The Nightside Eclipse. Utilizing the chemistry of its pioneering symphonic extremity, even lifting a riff directly. This imitation however, lacks charm. Following it, a dreary dark ambient piece lacks depth.

Its two other cuts feel like crude experiments with dirty harrowing noise and Black Metal's harsh ugly aesthetics. They seek an abrasive disgust yet perhaps miss the point from this listeners perspective. That darkness needs to be driven by something truly musical, otherwise it remains a bleak noisy mess of discomfort and chaos.

Rating: 2/10