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