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 

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

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 

Deftones "Private Music" (2025)

 
Now over thirty years deep, the Deftones' tenth record packs little novelty for old heads, yet will enthrall the recent surge of new TikTok fans. Private Music's carefully measured cuts of revelry delve into the many fractions of their motifs established over the past two decades. Handled with love and care, the band's production alongside Nick Raskulinecz delivers a gorgeous indulgent guitar tone. Dense and crooning, a chromatic aesthetic resonates full of expression. Its a foundation fit for Moreno to swoon in with his range of sensitive softness to shrill screams. Drums and bass fall into place around the duo, who in tandem make up a majority of the musical magic.

In peculiarity, its clearest reminiscent tracks seem to hit hardest. Cut Hands echo's Goon Squad pivoting act between meat head brutality and Moreno led emotive obscurity. Ecdysis' tight and choppy metal guitar riffs echo's moments on Ohms. The opening rhythmic spasm and atmospheric lunging riffs of My Mind Is A Mountain has that distinct familiarity too. Milk Of The Madonna strikes me as the standout track, sustaining tensions of its speedy tempo through transitions of bouncy grooves and power chord shoe gazing. It too is a welcome yet accustomed temperament.

Where the lines muddy, the band don't exactly encroach on new territory bar a few minutes of indifferent synth noodling. Enjoyable but not quite as memorable, they do emphasize how good this records texture is. Flicking back through the catalog, comparison highlights how each record felt like a step forward in aesthetic evolution. This time, the distance feels like a leap into an ocean of clarity. A dense and rich sound, including plenty of acoustic guitars. So to do the synth play a subtle yet pivotal role, weaving their grain into the mix, yet brilliantly breaking into the light on occasion.

Private Music feels like the bands yet classiest effort to date but fails to conquer fresh ground in terms of songwriting. Its the perfect record to satisfy fans old and new yet may loose it potency with time as a record like Gore did. I'm doubtful, my gut says this one will stick. I'm still really enjoying each and every spin!

Rating: 8/10 

Mudi Sama "Will I Make It Out Alive?" (2025)

Following up on a passonate live performance at Reading Festival, Mudi's tuneful appeal translates well to record. Although labelled as an album, its nineteen minute runtime and rough around the edges production feels much like a demo. With seven two to three minute tracks, we breeze through colorful songs built on conventional pop song structures, always illuminating its main hook between bright uplifting melodies.

 

Although his lyrics have a darker undercurrent of emotional struggle, the whole expression is felt as a sunny resolution to such turmoil. Each song works out its premise through this gorgeous assemble of warm empowering baselines, dreamy shoegazing leads and thick distortion guitar fuzz. Held together with tight percussive grooves akin to a drum machine, the experience takes on a soft wall of sound quality.

Mudi's voice acts as the glue, pulling this winning chemistry together around his lyrics. Each song is well written with Jealous Type, Let Go and End Of The World standing out to me. The latter highlights some of that rough production with its gritty baselines and lack of balance compared to other tracks. Maybe its part of the concept to sound a touch more Punk on this one, after all, its a downtrodden reprieval anthem.

 

Throughout it all tho, I got the impression that in the hands of a more experienced producer, the compositional ideas could be elevated to another level. There is a undercurrent of punchy pop appeal in his songs that would love a touch of shiny gloss. Either way, this record is a cracking start. Mudi is a bright talent with tones of potential. One to keep an eye on for sure!

Rating: 6/10

BABYMETAL "Metal Forth" (2025)

Round five and were back on form with the triumphant Metal Forth! Not their fourth, unless your counting "metal" in the record title. Anyways, this latest installment is a lean thirty five minute, ten track blitz focused on creative collaboration. The likes of Poppy, Slaughter To Prevail, Polyphia and Spiritbox appear among other big names, lending their characteristic for a true crossover experience, something Metal has sorely lacked for decades. There's only three solo tracks Babymetal and one could be forgiven for thinking the closing White Flame featured Sabaton. Its a blazing roar of Power Metal might, executing all the tropes, practically a tribute to the sub-genre.

Interestingly, the remaining two solo tracks feel flat, recycling ideas the band have burned through before. That's why Metal Forth's merits rest on the synergy of its alliances. The creative partnerships genuinely cross a divide between sounds and birth a unique middle ground. Of course this all boils down to banging riffs and stomping grooves. The record fires on all cylinders in its stride but the point remains just how much freshness these uncommon unions provide. This is no "featured artist" but a firm commitment to integrating each others identities and it works so well.

Highlights include My Queen as the two bands jostle their heaviest aesthetics back and forth. Song 3 is another banger where the exchange yields a curious callback to Slipknot with its unhinged pinch harmonics and brutal riffage. RATATATA will likely stand out as a fan favorite. Electric Callboy's brand of tongue in cheek party meme metal a fun fit for the J-Pop influences. In a way it summarizes the overall mood, just a fun record about pumping out animated compositions embraces obnoxious grooves and lively melodies. Cracking record, falling just shy of something truly great.

Rating: 7/10

State Azure "Paradise Star EP" (2025)

EP by name but double LP by duration, Paradise Star drops four lengthy serine mood pieces alternating between Berlin School inspired synth jostling and brooding ethereal percussion-less soundscapes. Its opening piece, the twenty minute title track, a clear favorite. Its lively, animated cycling melody a curious engagement. Seeming more mechanical than expressive, its burgeoning bustles and gradual unwindings guide the song through phases over top dreamy synths. Together, they paint a rich atmosphere.

 White Lake and We Sleep Beneath A Dying Moon act as layered tone setting drones, great for focus and meditative moods. Pathfinder feels like a mastery of texture, guiding its various sequenced instruments through gradual shifts as sharp attack-decay keys and drums exchange over soft elongated synth chords. Its a textural treat but in its lengthy incarnation, this aesthetic class becomes secondary to the musics lengthy trajectory. All in all, an impressive set of songs befitting of my taste right now.

Rating: 7/10 

$uicideboy$ "Thy Kingdom Come" (2025)

 

Its a smash! Returning swiftly from New World Depression, cousins Ruby and Scrim spin the wheels recycling their distinct but well refined formula. Now accustom with their gritty aesthetic, I found this thirty minute record to offer little fresh or exiting. Second track Napoleon leans into some classic 90s Southern Hip Hop themes, mustering a momentary flair as the records tone quickly resettles. Later on Grey+Grey+Grey ushers in scary movie soundtrack vibes with a Horrorcore style banger. The following Carried Away caught my ear too. A moody number, leaning on the hazy vibes of its depressing Ethereal atmosphere.

These where a couple of highlights among a lack of novelty. One of my biggest takeaways was noticing how many beats use the exact same drum kit, often with the same hi-hat rhythm. That lack of variety essentially parallels a very casual approach to songwriting. Hastily produced beats, flexing lyrics that feel expressive of the moment but lack a broader scope. Hooks are sorely missed too. Not a single track lands something truly memorable. Although their sincerity is endearing, that power wears off when the creative process feels routine and dialed in. Overall, a disappointment.

Rating: 4/10 

Scowl "Are We All Angels" (2025)

Catching my ear with their easy sways between scruffy Grunge chorus riffs and melodic Shoegaze tinged verses, Fantasy served as an intriguing song to pull me in. Sadly, Scowl currently stand as a band with plenty of potential. Are We All Angels' production out paces the bands depth of ideas. Brimming with a fiery aesthetic, their fusion of Pop Punk, Grunge, Hardcore Punk, Alt Rock, even touches of Metal - feels so fitting of this era. The ability to look back a couple of decades and revise such ideas has yielded magic with fresh faced bands like Turnstile.

 

Unlike their contemporaries, Scowl's riffs and motifs lack a spark of imagination. Arrangements and music ideas feel relatively basic, leaning on that stunning aesthetic to get by. Front loaded, the first string of songs will et pumped up but as the record draws on the songs dull into a mediocrity. Singer Kat Moss is the bands brightest light, her voice adds a smooth veneer of color to the crunchy aggression her band mates assemble. Her occasional unhinged shouts froth with an apt angst, anchoring her in this energized setting as she more often plays the counterpart.

 

Their chemistry is strong, the auditory experience is spot on but as stated the songwriting suffers. The record ends up muddling its way through half baked ideas, feeling like either record filler or I'm missing the point. Potential is the word, one to keep an eye on. At this incarnation they are still finding their voice and you hear it on occasion with songs like Special, Fantasy and Not Hell, Not Heaven.

 

 Rating: 5/10

Kae Tempest "Self Titled" (2025)

 The weight of depressive expressions heavies with age, my appetite for hearing such struggles continually diminishing. Self Titled acts as a firm reminder of this personal trend, a brutally unfurled delve into this latest chapter of mental health and gender identity issues. Its tone plays a smothering suffocation, as burdensome lyricism and downtrodden beats unite to paint an artistic doom and gloom matching the pains of this spoken word, rhyme rap poet.

 

 Breaking from the drudgery, Sunshine On Catford acts like a fleeting peak of sun between dreary rain clouds. An inflection of warmth, still lingering on the melancholy of minor chords, tinged by 90s Dance piano melodies in its chorus. A strange sullen lover letter of sorts that finds a similar tonality again on Prayers To Whisper. Otherwise, Self Titled's instrumentals are casually dark, hardly adventurous but competent at assembling percussive grooves with flashes classy instrumentation.

 

Diagnoses stands apart as anthem for self inflicted mental health saturation. Along with another track, a theme of contrast upon these internal obsessions and the world at large emerges. A strange blame game of victim hood that feels confusing as to its purpose. Otherwise the record is pretty coherent, a walk through the current woes of a struggling artist. The expression is powerful but as already stated, this broody temperament has been hard for me to endure these days.

 

Rating: 6/10 

Tyler The Creator "Don't Tap The Glass" (2025)

Arriving swiftly off the back of a remarkable Chromakopia, Tyler suddenly drops this fun fast and loose record. A surprise release, Don't Tap The Glass clocks in as one of his shortest albums under the thirty minute mark. Consequently, this pays without a dull moment, perfect for its restless energy, expressed through quirky tone and playful mood, something familiar of Tyler yet spun again, lively, renewed and fresh.

 

Working with layers of punchy instrumentation, rhythms and melodies overlap in a subtly dizzying frenzy of crunchy sounds, orchestrated with a stroke of class. Jolting grooves rumble with snappy and sporadically off kilter percussion. Plenty of instruments jive in with stabs, strikes and momentary contributions that stack up. It can be quite fun to pay attention and see how many sounds you can single out.

 

Too my ears, the big influences at play are 80s Hip Hop drum machines and 90s Southern Hip Hop melodies, often piano led. Not exclusive, but struck me as part of the approach to many of these tracks, the last three taking on Soul and R&B colors in its temperament. Of course its no surprise, central to it all, written in his name, a ceaseless thirst of creativity flows again. Fresh off a deep, introspective record, Tyler marvelously pivots into a playful avenue with this lively record I'll be enjoying for weeks to come.

 

Rating: 7/10 

Thornhill "Bodies" (2025)

 

Originality is a contestable term, often misplaced by a lack of context and history - something we are all born ignorant to. It leads me to ponder why does this idea of whats "original" influence our personal enjoyment of music? After all, music is all connected, past and present, strong or weak! A fair portion of Thornhill's sound lives directly in the shadow of Djent Deftones, the post Diamond Eyes era. Something that seemed like an issue on first impressions. Fortunately, the power of inspired song writing has prevailed. I've adored Bodies since the second spin, its expressive force a consuming indulgence in the throws of its familiar soft-heavy dynamics.

Songs sway from crushing blows of meaty Djent guitar stomp groove, into shoe-gazing swaths of hazy melancholic colors, as melodies melt in the wall of sound production style utilized. So to does Jacob Charlton's vocals follow this motif, toying with his sensitive, vulnerable tones and pivoting into throat clenching screams, nestled wisely into the dense mix. Operating with fractions of Progressive Metalcore and occasional thematic Nu Metal overtones, the group wear their influences broadly, yet electrify in riots of groove and rhythmic theatrics as their best tricks roll out a treat.

It glimpses a heading towards Argant Metal territory in sparse moments, an insight to emphasize a understated part of their sound design. Synths and production antics shape out the sound to a sonic experience of stylish aggression. Interludes, build ups and breaks meld crafty drum machines into the fold, displaying overt EDM and Trap influences as the group toy with instrumental samples. Its all a firm sign of the talent that goes into shaping up what could of easily been a plain faced imitation game.

The record has an interesting structure, its more emotional, atmospheric edges start and close the record, leaving its explosive numbers in the middle. Tounges, Nerv and Obsession erupt with countermanding violence, a reversal that pulls its dynamic ends together, amped up and invigorated as this string of songs fires off with the low menace end of their down tuned Djent guitars. Bodies is a cracking listen, yet to tired on me, indicating this band may have a lot to offer. Another journey begins now!

Rating: 7/10

Potatohead People "Emerald Tablet" (2025)

 

 In collaboration with a sleek yet little known rapper Slippery Elm, producer duo Potatohead People return with a soothing set of sensuous songs. Delving into the love of their matured Jazz Hop craft, these beats emanate a loving nurture. Every inch of its aesthetic range feels dialed in. Snappy percussion locks in alongside warm grooving baselines. Ambiguous dreamy instruments drift by in the backdrop, swirling softly exotic melodies behind its upfront tuneful lines. Together they form a breezy listening experience, persuasive and classy, nothing but feel good vibes.

 

Emerald Tablet's lyrical element does little to swing it in either direction. Slippery's steady cadence and spoken demeanor a firm fit but far from offering substance to perk the ears. A lot of verses run expressive to his own experiences but fall shy of pulling one into that world. A few lively rhyme schemes emerge but its mostly a tame ride. Where he shines is with these casual lapses into singing. His sung lines feel effortless yet charming, melding into the instrumentals breezy stature.

 

 With an expanded instrumentation pallet of strings, harps, bells and orchestra adjacent sounds, this inspired "leveling up" may have a direct artistic origin, To Pimp A Butterfly. Nightbird tips this hand as its foundations play all to similar to song of that record. Spinning them back to back you can hear all the ques, ideas rippling out from that classic into the composition of this record. Some of its melodies are uncannily alike. Not a blemish but something to be enjoyed. That's mostly my impression of Emerald Tablet, enjoyable but not much is sticking beyond enjoying it in the moment.

 

Rating: 6/10 

Little Simz "Lotus" (2025)

 

Simz is one to deliver a slice of life within her ambitious records, however Lotus is precisely that slice alone. With little beyond delivering ruminations on life's current struggles, one sorely senses the absence of an anthem like Venom or Woman. I suspect Young may have been this intended beat, however its overt British jibe and cheeky tone plays like an echo of Blur's Park Life, lacking that oomph to sell itself.

Free strikes me as the records high point, a mellow spell, uniting Soul and Jazz Hop with periodic flashes of serenading string sections. Simz's expressive yet plain spoken raps make for easy listening through a soothing aesthetic chemistry. This however becomes the records fatal sticky point. So much of Lotus' affable energy fails to surpass itself and muster a meaningful gusto that can break this eternally gentle tone.

Enough comes close, livening up with a firm percussive dance beat. Frolicking hooks and mischievous baselines create a playful tone among its sporadic splurges of zany synth. So to does the records title track strive ambitious and bold with its big instrumentation. Simz' raps a firm source of intrigue and emotive release, yet the jazzy instrumentation feels underwhelming in comparison to the fires set in her lyrics.

Other chapters of Lotus' mellow out into scenic lulls, comparable to spoken poetry. Simz's lyrics feel more like intimate journals or exhaled thoughts than composed verses in a structured song. On one hand, a curious experience, on the other, repetition breeds a dullness as familiarity makes for a mostly uneventful album.

Rating: 6/10

Hunt The Dinosaur "Nefarious" (2025)

 

Nefarious made quite the excitable splash upon impact. With my apatite shaped for the lighter sides of music, a throwback to playful extremities was on the cards. Despite having had my fun, repetition has exposed novelty as Hunt The Dinosaur's "over the top" fusion of Metalcore, Djent and rapid fire Rap screams runs its coarse. Sadly, this brief record fails to carve out a classic like Destructo from its octane insanity.

Across its six cuts we are bombarded by barbaric thumps of sound. Low end eight string guitar pound assaulting grooves between splashes of dissonant guitar noise. Snarling screams spit spiteful lyrics, occasionally hurtling into sprints of the distinct memorable shout raps. Lyrics play with foul themes and periodically reference classic Rap one liners and motifs. Ferocious drums rattle like a raging beast, foaming at the mouth, holding firm grooves, then sporadically hurtling into dizzying blast beats. Wedged between it all, alien dystopian synth occasional meld unusual textures, a subtle dressing often understated and easy to overlook among the ravaging madness.

My main takeaway is a lack of memorability. A lack of songwriting fails to land hooks and riffs in a way that sticks. Instead, Nefarious feels like a ceaseless barrage of ideas aimless assembled together, unable to forge a bigger picture beyond the sum of its parts. That, or perhaps I am growing tired of this Post-Deathcore race to the bottom.

Rating: 4/10

Hundredth "Fadded Splendor" (2025)

Shock and awe ensues, as sequenced drum machines and a burly haze of dreamy distortions descend upon the listener. Breaking for a bold singular baseline and tender vulnerable voicing, the sunny emotive sways of Curve had me wondering, which band is this? Last time I checked in with Hundredth, they were reveling in a Post-Rock breed of Shoegazing and Alternative Rock. The latter two genres could describe Fadded Splendor but on this endeavor the band shimmy to the other end of the spectrum. Exploring simple pop harmonies and structures they often skirting that defining wall of sound energy in favor of clear and catchy rhythmic lines.

 

 With Curve and All The Way, the band happily deploy electronic percussion fondly reminiscent of a post Jimmy Chamberlin Smashing Pumpkins'. Hovering up many 90s influences in its stride, much of that distinct Billy Corgan influence pervades in its sentimental side, as the gentler cuts play up evocative vocal croons against Etheral backdrops, ever playing with the beautiful melancholy. Other songs revel in an upbeat energetic charge, pulling dancable motifs from Indie Rock. Never tho do these ideas converge in one moment but serve as complimenting chapters of the journey.

 

Fadded Splendor is a fair stride forward, territory not to dissimilar from Rare's makings. A few songs stand tall among a variety of numbers to give fans of different flavors their pickings. It may be the weather but its emotive sentiment seems perfect for the hot weather, however I could equally picture them feeling cozy in the winter seasons. I love that suggestive power of music... ultimately its up to the listener!

 

 Rating: 7/10

Turnstile "Never Enough" (2025)

 

Dissecting sounds with an analytical scalpel, one can cut critiques upon a lack of overt musical progression. Deploying another bout of their softened hardcore power chord strum sections, recycled riffs and gently expanding the textural pallet their ever emerging keys offer, do Turnstile hit upon a moment of stagnation?

The answer is a firm no, familiarity its welcome weapon. Upon initial impact, the persuasive power of its uplifting dreamy sun soaked moods settle in. The analytics of its simplistic appeals are an after thought. Where Turnstile have excelled is reveling in the vibe, as if they have dug deep to unearth a charm that was resonating all along.

Masked by established conventions, each songs character emerges from its subtle sways of 80s nostalgia. Dream Pop and Shoegaze play on obvious veneers, with other flavors of the era woven in through additional instrumentation. Saxophones and Trumpets occasion between the dazzling shimmer of pedal driven guitar chords.

Never Enough is a familiar beast dialed down to linger on these influences and the vocal energy of Brenden Yates’ soaring soft-side. He frequently charms, his words oozing off a cruising, catchy deliveries that reinforce the feel good sentiment. Oddly, its bursts of raucous Hardcore energy serve to break up the calmer tangents.

The records pacing is sublime. Tracks flow from one revel to another, continually refreshing its breezy tone that sails between those Hardcore sprints and shoegazy bursts of beachy surf rock guitar chords. These musical ideas never complicate and thus simple tunes, melodies and chemistries get to linger briefly at our pleasure.

Vibes is the word of this album. The power of simplicity its champion. Everything feels like a bottled moment in time. Turnstile in a stride, yet pausing to capture the magic. From first spin it won me over. Now on a binge, I feel Ive found the soundtrack to my summer. Heart felt expressions, cozy feel good vibes and bursts of manic energy.

Rating: 8/10

Amos Roddy "Minecraft: Chase The Skies (Original Game Soundtrack)" (2025)

 

Admittedly, I've waited until the drop name had been unveiled to write my thoughts. With that extended exposure, its become clear that Amos Roddy expands on the delightful work of Aaron Cherof, one of my favorite contributions. Dreamy wistful melodies, straddling the serine, conjure introspective moods. Illusive instruments, lurching on the heels of echo and reverberation, blossom into flourishing strides of soothing melody. Reflective of life's passing beauties, these moments swell and pass by, just like many moments that make a memory. Its evocative, nostalgic, a slow brew who's boil creeps up on you. Ghostly pianos, yearning strings, stealthy sunlight synths and brooding atmospheric pads, melding through exquisite composure.

 That's the magic of its five opening pieces. For the Nether, we get another bop! Tears bangs with its quirky melodies of impish fright! Pitch shifted Ghast sounds wedge haunting, spooky arrangements between the crunchy strident groove of its meaty kick drum and snappy snare sway. The concept makes itself known swiftly, repeating again after a mid track melody suggests the presence of a player on adventure. Its a fun and obvious hit, yet perhaps the simplest of offerings on display here.

Rating: 6/10