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

Magdalena Bay "Mercurial World" (2021)

Dynamic duo Magdalena Bay are swiftly becoming a fascination. Stepping back in time from their ambitious, progressive Killing Time, this debut, Mercurial World, simply plays as a string of tuneful songs. Warm, dreamy and uplifting, cheerful yet quirky, these numbers dance with Electropop and Synthpop foundations, exploring jolts of Psychedelic creativity with blushes of Vapourwave aesthetic and Dreampop mood.

Some of its motifs blatantly pull from Disco, Dance, Indie Pop among other revived Pop music antics. If you've known a lot of music, many echo's crop up, reinvented to their tune. I felt this phenomena on Killing Time but title track Mercurial World's nod to Madonna on its closing lines confirms it. Among its many flashes of influence, Grimes seems another particular influence on Mica Tenenbaum's soft breathy presence.

Such obvious familiarities sometimes dampen the musical experience but fortunately Magdalena Bay have a beautiful, colorful energy emanating from the core. These sounds arrive through an exciting, lively energy, enriching their songs as layers of sound and creative production intermingle for an engulfing experience. Songs play catchy, deploying simple ear worms, yet can deviate from convention at any moment and explore fantastical oddities along the journey. A joyous debut, Mercurial World does indeed feel like a world of its own, set to pull you back over the coming years.

Rating: 8/10

Sleep Token "Even In Arcadia" (2025)

 

 Lingering on the cutting emotive sensations of Vessel, this newest chapter, Even In Arcadia, plays like poetry in motion, a dwell of personal exorcisms originating from a lyrical inception. This impression could simply speak to the frontman's charming R&B leaning vocal inflections. As their key song-writer, this synergy unites voice and instrumental with a deeper, intentional chemistry than most. Its a now familiar formula but on this occasion, Sleep Token nail the album experience from front to back.

Shy of an hour, it breezes by effortlessly. Look To Windward opens, immersing us in artistic heavies as the throws of Djent yield to a grand gravitas carrying its tensions into soaring melody. Emergence and Dangerous lend their swells of momentum to metallic atmospheres as do other songs like the gorgeous Caramel. Concluding with blast beats and shrill howls, its ever curious how they seamlessly bridge such a chasm from their catchy 00s Garage beats with Pop vocals to untethered extremes.

 I'd often considered Sleep Token a stealth vehicle for Pop sensibilities into a genre usually adverse to such musical pleasures. Only its title track passes without a swell of metallic energy, a curiosity given how all my impressions stem from Vessel's delightful voice and the emotive melodies that accompany him. Its a wonderful orchestration of sombre piano that dissolves in tightening airy ambiences as the songs resolves itself in a common swelling. The violin on exit is a fine touch of craft.

 The thematic dance played between beauty, pain and introspection wrapped in sunny melancholy defines this record. Its reflection from words to sound a delight. On reflection, I appreciate its swells of intensity so much more. Their natural progression had me overlooking the dynamic shifts on a casual listen. That can't be said of closer Infinite Baths. Its groovy revelry in filth, a shock and horror to remember, seeing the experience out as if its all been sucked into a black hole. What a cracking album by a band reaching new heights. Along with the Saturday headline slot at Download Festival, this a moment that could ascend their profile even further.

Rating: 8/10

Magdalena Bay "Killing Time" (2024)

Imaginal Disk serves as my introduction to this talented multi-instrumentalist duo Magdalena Bay. Clocking in with a mightily entertaining fifty-three minutes, this album plays like a dreamy journey through the soothing serine, as conceptual narratives punctuate its seamless flow. Pronounced by gorgeous instrumentation, layered yet consistently apt, warmth emanates throughout as the pair explore upbeat vibes, meaningful and dialed in, compared to traditional popular "happy music". Moments of soft tuneful melancholy do arise, finding resolution as breezy winds whist any sorrowful introspective reflection back to the arms of this curious serenity.

 

Housed by the expansive nature of Progressive music, they aesthetically sit at the crossroads of Synthpop and Rock, with a Shoe-gaze Dream Pop nature, often leaning into melodic influences from Dance, Disco and Funk. Songwriting is king as these identities yield to the dreamy directions their music meanders in. Many aesthetic tangents arise as regular structures give way to swells and subtle crescendos. This ebb and flow keeps the record interesting, swinging through creative strides, offering a playful exploration of expressive ideas packaged in vibrant instrumentation.

 

My initial hurdle with Killing Time was Mica Tenenbaum's singing! Lacking oomph and power, her breathy, shy voice felt tame, limping by on subdued expressions. This impression was emphasized by her wordy interludes, the spoken temperament highlighting a narrow range. With the music calling for grandiosity, I anticipated a powerful, soaring voice that never came. Despite that, repetition has grown on me. She may not have big and bold presence but actually leans into her casual range, finding a soft charming chemistry with lively music which could easily overpower. Her grace and softness becomes a strength playing into the dreamy mood.

 

Stacked with its bangers early on, the record does mellow out as the initial Dance and 90s Alternative Pop energies subside, allowing songs to ruminate on ideas not quite as flashy but equally gratifying. Its an exciting, lively record, rich in musicality neatly packaged, making a bold impression on this listener who will have to dive deeper!

 

Rating: 8/10

Backxwash "Only Dust Remains" (2025)

 

Taking a step back from the abrasive edges of Metal, Noise and Industrial, Canadian producer-rapper Backxwash returns carrying that stark Soulful pivot heard on Mukazi at His Happiness's conclusion. This new chapter shows signs of growth as Only Dust Remains' eight songs play tight and concise with a refined approach. Toning down aggression, dialing in human voices, choral, gospel and the like, the reoccurring themes of self doubt, identity, guilt, and life's woes wrapped in demonic metaphors, arrive through a shifting lens. Signs of maturity and evolution in perspective manifest through both Her lyrical and instrumental expressions.

Touches of reflection upon these dominant artist defining themes crop up among an arsenal of personal exorcisms. Wake Up plays a focal point, as cries to "wake up" from internalized suffering seem offset by lyrics delving into current affairs of war and politics, as she turns her attention to the pains of external matters. So to does the following Undesirable echo this shift as shouts of "grow the fuck up" cry out over its mellowed instrumental, a voice and string duet adorned by underlying piano chords.

Each song carry's a character best felt by enduring its duration as expressions manifest through the journey, as apposed to simply rocking a wild beat to latch onto. As such, personal preferences will illuminate these nurtured instrumentals. For me, the Dave Gilmore akin unending airy guitar solo of Stairway To Heaven and Dissociation's dreamy build up of uplifting energies were a keen highlight.

So to does its concluding title track turn a similar leaf to Mukazi. The album ends on a gorgeous note, a soothing instrumental encapsulating soulful warmth with a touch of beautiful melancholy. Its chorus hook a blissful one that seems a far cry from this artists roots. Only Dust Remains is a solid record, the brilliant union of expression driven by an artist handling both lyrics and production shines strong. It does however feel like a stepping stone between the past and future if this evolution continues on the next record, which I now eagerly anticipate even if it may be a few years away.

Rating: 8/10

Gelure "Inner Sanctum" (2025)

 

The purist pleasures of these peaceful yet esoteric atmospheres has affirmed Gelure's elevated stature. My initial fondness for The Candlelight Tomes and Into The Chesfern Wood has matured with much exposure. Those arcane magics have delivered time and time again. Returning refined after a few years break, the character depicted pitches partly Medieval, churchly, with a dash of Tolkien Fantasy grandiosity. Cultural stringed instruments yielding folksy melodies ground its era. Saintly chorals, vibing on soft cloudy synths, bewitch one in a captivating calmness. Swaying between these masterful constructs, we venture upon scenic swells, conjuring natural beauty, fantasy landscapes and occasionally battles through the crashing of gong cymbals, deep laggard drums and triumphant horns. At its opposing end, sleepy subdued melodies, smothered in reverberations, upend darkly mystic moods, both soothing and curious.

The words Dungeon Synth barely crossed my mind before writing out these inspired thoughts. Gelure has ascended its shackles, arriving upon a grand stature, crafting beautifully mediative music adrift from a genre awash with low effort imitations. Inner Sanctum indeed evokes introspective refuge. A haven of sorts through its spellbinding ambience. Best of all, its eleven minute finale surrenders to metallic convention. Modern percussion houses its historic instruments in the rapture of blast beats and fiery groove to venture upon Atmospheric Black Metal's alter. The initial mellowed tremolo guitars hide its extremity well, masking what is to come. At the eight minute mark a truly epic power chord riff gratifies to no end. With monumental sway, its repitions toy with dazzling tunes and tempo deceleration, in a stroke of genius.

Rating: 8/10

Yagya "Vor" (2025)

Vor feels like a valiant return to fundamentals, that familiar mesmerizing magic spun to a new level of aesthetic excellence. The entrancing hallmarks of Dub Techno remain intact, soothing synths jostle in a haze of dramatic reverb to deliver dense, wondrous atmospheres. A slightly unsettled yet blissful tone bestows one, as inconsequential meandering melodies resonate a naturalistic beauty. The soft power of deep bass and Downtempo grooves aid these suggestions of chilling, tundra landscapes.

 

So to does its snowy cover art. Each song gently broods, easing its way into the dreamy rhythmic sway. Illusive tunes give way to pulsating thuds of bass drum kicks and stabbing wave saw synths. With crafty deception the walls of sound engulf us. Often built alongside northern countryside sounds, the crashing of waves, howling winds and squawking of distant birds, one is persuaded to its visual conjuring.

 

Icy caves, frozen mountains and snow smothered forests, their is no doubt the native Icelandic winter gives rise to these stunning Ethereal experiences. Nothing unexpected in its familiar construct, yet astonishing by the weighty power it holds. Its two halves, Vor and Haust, did suggest a shift in tones on paper but the whole thing flows as one, eight glorious shades of superb and dreamy Dub Techno.

 

Rating: 8/10

Ice-T "O.G. Original Gangster" (1991)

 

Godfather of Gangster Rap and front man for the cop killing Body Count, Ice-T courts controversy with an unfiltered, unapologetic rawness. A subversive force of intellect, Ice masks deeper realities trough his gritty portrayal of street life in LA. Original Gangster affirms his authority on the matter whilst ringing off a long list of social portrayals and systemic grievances. Direct yet difficult, his lyricism runs crude and humorous, blurring lines between tongue in cheek and reality. At times he flows firm and plain yet in a moment can delve into wordplay. Wherever his cadence leads, Ice rarely deviates, sticking to his themes, which each track delivers with focused intent.

Clocking in at a lengthy seventy two minutes, the twenty four tracks chop by with snarky interludes between softened noisy Bomb Squad style sampling. It banging beats rock with late 80s drum loops, keeping energy high. Overall the aesthetic style sounds a year or two behind the cutting edge but its substance triumphs in the face of an ever changing scene. Midnight marks a shift in tone, sampling Led Zeppelin and Black Sabbath a dark, grizzly, eerie Rap horror show emerges. This lays foundations for Ice-T to show his metallic edge, as the record also houses a Body Count track to cross pollinate his audience, something completely unheard of for the time.

These tone shifts shake up the second half another, The Tower, reusing John Carpenter's Halloween theme to chilling, haunting effect. It does blemish the flow considering how tight these upgraded, authentic post-N.W.A gangster raps are. It's been decades since I last spun this classic. It holds up well. A powerful listen by a master rhymer who can hold your attention with his direct penmanship. Classic!

Rating: 8/10

Marilyn Manson "One Assassination Under God - Chapter 1" (2024)

 Moving on from the catchy Post-Punk period vibes We Are Chaos reveled in, the band trade in those flickers of color for dreary tones steeped in indulgent misery. Bleak, downtrodden and typically anthemic, Assassination hails back to the spirit of Antichrist Superstar with the metallic inclinations of Holy Wood. Manson's lyrics flow potent and cutting. Renewed with a biting anger, his disenfranchised cries come wrapped in religious overtones and social commentaries. Spinning disillusionment into reverence once again, the nostalgic familiarity hailing back to their creative peak sounds fresh. A few tracks further in, words turn inwards, reflecting on addiction and escapism, a new avenue heard since fragilities expressed on The Pale Emperor.

Throughout Assassination, in some of his words linger a sense of martyrdom, spinning controversies of recent years to paint himself the victim. The tensions amass with Raise The Red Flag. Antagonistic lines make a climatic declaration to "wash the bullseye off my back". Through the lens of artistic expression, its a marvelous twist of the arm, however when reality and legal proceedings are a long muddy affair of accusations and defamation, its hardly a black and white case you can rally behind.

Lastly, the instrumentals are well crafted, a consistent aesthetic that serves this album experience well. Shifts in tones can ramp up intensities for aggression and subside into rebellious melodies. It all flows cohesively with their iconic front-mans licks. At fifty five, he can still deliver his knack for devious and catchy hooks. Now lacking the shock and awe he once commanded like a prophet, Assassination's potent expression themed on recent accusations land well but perhaps with an air of doubt.

 

Rating: 8/10

Tyler The Creator "Chromakopia" (2024)

 
Yesterday's record, Man Down, concluded with an aging rapper losing focus and purpose. Although of a younger generation, Tyler, now fifteen years into his career, continues to mature and challenge himself. Far from reaching his fifties but the contrast emphasizes how vividly empowered by self expression he remains.

Chromakopia is a slice of life record, where Tyler articulates his thoughts on fame, professional stature, reminisces on Odd Future's history, expresses pains of his closeted sexuality and reflects on personal values as an emergence of new family members stands in comparison to his lifestyle and celebrity image.

 His verses pull one in effortlessly, animating his world through the craft of lyricism dressing up plain language. Its the reason he connects so directly. If not already attentive, ears perk as a string of songs delve into an unexpected pregnancy. Tyler tells the tale from both sides of the relationship (referring to himself as T), delving into the hard realities of such a heavy situation. Its honest, sincere, humble and unique.

Getting past a lyrical highlight, the album loosens its peculiar mix of Soul, R&B and Jazz, throwing in dark bangers with big noisy baselines and drum groves pulling on worldly percussion beyond the traditional kick snare drum kit. His production calls back to the quirky magics of Igor, assembling tunes, textures and motifs from seemingly abstract moments, all drenched in the tone of aforementioned influences.

With an ear for voices, instrumentals flow woven between lyrics, vocal ad-libs and soulful singing, often leaning into the strange. Its as to be expected yet charming every time. I'm deeply impressed by how unique his voice and music remains. Familiar, yet fun and impactful through a new set of excellent songs.

Rating: 8/10

Boston Manor "Sundiver" (2024)

  

Exploring the many charms of 90s Alternative Metal, Boston Manor returned armed with exquisite execution over originality. Sundiver is a captivating record led by front-man Henry Cox who's empowered voice swoons in the emotional current. Pivoting from soft streams of emotive vulnerability to roars of clean confidence, he sings unabashed by the overt stylistic imitations of Chino Moreno. So to do his band mates revel in musical arrangements, groovy riffs and aesthetics pioneered by the Deftones. His other flattery emerges in catchy, tuneful deliveries like Oli Sykes of Bring Me The Horizon would do, these two personalities define much of his vocal presence.

 Its all taken in wondrous stride, every track tightly wound, a perfect fit of elements. Broken up by interludes exploring dreamy acoustics, Ethereal Drum n Bass loops and perusing baselines, its main songs are given space to breath in these intriguing lulls. Venturing into Shoegazing guitar aesthetics and mammoth Nu Metal adjacent grooves, Boston Manor navigate their inspirations with class, birthing fiery songs with inviting passion and emotional resonance to engulf. The whole affair is breezy, warm and uplifting as swells of aggression are vented with positivity. Its definitely a contender for best Metal album of the year! I've struggled to put this one down.

Rating: 8/10

Willow "Empathogen" (2024)

 

Daughter of famed rapper slash actor Will Smith, the last I heard of Willow were remarks on her adolescent entry into pop music on Will's autobiography. It wasn't an appealing reason to check in, and according to critical pundits, It seems I've been spared this misfortunes of a youthful musician maturing from shaky foundations. Empathogen serves as my introduction to an artist who's not only found her voice, but expresses it with freedom, led by emotion and passion, venturing into curious spaces.

Elements of Progressive Rock, R&B, Soul and Jazz Rock emerge on a fruitful journey. Leaning into its oddities, dwelling on unconventional melodies, the record gracefully swings between jam session chemistries and structured Pop convention. Creative percussion has much of the record feeling playful and expressive. Willow layers her voice in riveting self duets, chiming in, spinning simple hooks into exciting swells.

It all feels so genuine and expressive. Songs naturally pivot into different vibes. Often upbeat in tone with differing rhythmic drives, her lyrically reflective presence anchors every song. Swaying into curious oddities like the catchy humming of No Words and a moody, esoteric Ancient Girl, the contemporary compositions get consistently exposed to an ear for infectious melodies and keen aesthetics to reshape its own mold.

Empathogen feels effortlessly accessible yet drifts slightly to the Avant-Garde from a Pop perspective. Lyrics play relatable through their abstraction, each empowered word and cry of feeling wrapped up in a breezy momentum. Best of all, Willow fits snugly with these stellar backing musicians who craft a compelling listen from start to end. I've been unable to put this one down for a while, each spin is still riveting.

Rating: 8/10

Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

Erang "The Kingdom Is Ours" (2024)

 

 Now over twenty albums deep, one might suspect familiarity to dominate first impressions. What awaits within, is quite a humbling surprise. Wonderment and novelty return as Erang unites the Dungeon Synth scene on a gallant stride to glory. The Kingdom Is Ours plays as a love letter to the shared passions among his peers. Its title reflects a unity tied into the realms of imagination led kingdom lore.

Pulling in both legends Mortiis, Depressive Silence, Jim Kirkwood and contemporaries into the fold, nine of its thirteen songs play in collaboration with a fondness, steady paced and endearing. Together, the spooky realms meander by in a stiff nostalgic peculiarity, a whimsical stroll through ancient fantasy melodies of shadow and wonder.

Acting alone, Erang's solo efforts feel expectant. Yet Heroes takes a bold stride upon a scenic frenzy of bellowing percussive strikes and gong strikes delivering warring drama. A grabbing moment, bi-polar to the luscious aquatic lullaby of Isles. Its beachy sound design and exotic steely lead synth deliver a melancholic warmth over these endearing and serine plucked acoustic guitars. Its a firm highlight of mine.

The collaborative peak is undoubtedly with Dame Silú de Mordomoire, who flips one of Erang's classically eerily bleak and emotionally morose indulgences on a dime. With her arrival... transformation, a beautifully graven gushing of sorrow unloads. Her deep operatic voice replaces the viola halfway in unleashing a brilliance held within.

Other notable indulgences include moments of scratchy low-fidelity embrace. One with Hedge Wizard, an unraveling of ghostly groans and fiendish shivering guitar leads. The other with Fief, on the albums title track. Its baroque, royal fantasy vibes so expectant yet mutated into a fierce Summoning alike Black Metal stint, lined with drums from the deep, howling screams and Tolken inspired spoken word segments.

This has felt like a special moment in Dungeon Synth, a scene which for me has become tired. As a spark of light in the dark, this union of artists birthed some much needed freshness. Mostly, it played like a love letter to craft and community, a revel in shared creative obscurity. Its been an intriguing moment to celebrate, also introducing me to a handful of new names to investigate!

Rating: 8/10

Labyrinthus Stellarum "Vortex Of The Worlds" (2024)

  

Thematically esoteric with astral overtones, this stunning album art strips away any doubts to its lovecraftian cosmic horror influences. Shrill tremolo guitar leads, howling blast beats and elongated screams shrouded in reverb undoubtedly carry all the hallmarks of Atmospheric Black Metal. Tales Of The Void sounds unshakably familiar in design, yet excels with fresh excitement as a Post-Metal delivery of grand, scaling, epic melodies and an exotic symphonic component align for a very memorable listen.

Decent song writing underpins the experience, stellar melodies and a prevailing tunefulness solidifies its catchy ear worming nature. A cacophony of pummeling drums and void descending screams act as sways of intensity and tempo, the ebb and flow, stuttering between tense scenic breaks and descending cosmic eruptions. Together, among dense guitar noise, they guide the musics key component, synths.

Woven deep into the mix, their aesthetic offerings range from unusual and specular, to common and atypical for darkly space themed music. Sparks fly when delving into a mix of bell, woodwind and metallic toned virtual instruments. Foreign for this genre, an unusual fit mostly used to drive home immense cosmic melodies. The aforementioned atypical synths play the subtle role of reinforcing its atmospheric underpinnings.

Another well-earned merit goes to the heathen clean vocals that rise up underneath those howling dirty screams. Its another avenue for one to gorge upon these dazzling melodies they concoct. Initially a ghastly beast of extreme Black Metal, this prevailing tuneful charm becomes the key take-away, a keen triumph for a band in this lane.

 Its only blemish? What seems like programmed drums occasionally amplifies an repetitive drone in its rapid strikes, possibly intentional but definitely sounding stiff in patches. Tales Of The Void is a Stellar record, possibly my favorite Metal record this year? Well worth a spin for fans of extreme music with a crafty focus on melody.

Rating: 8/10

Eminem "The Eminem Show" (2002)

 

At the peak of his popularity, somehow, the teenage me checked out with this record... Getting deeper into Metal and Hip-Hop, I remember being more interested in Metallica and N.W.A. than what was on MTV. The hype was palatable, Without Me was a sensation. I recall hearing it for the first time on a school holiday, kids cramming into a dorm room to hear a copy ripped from Napster. When returning home and purchasing the album, I felt disappointment, leaving it to gather dust after only a handful of spins. With The Death Of Slim Shady out, an appetite for nostalgia has been turning back to these juvenile records I missed out on, Encore and Curtain Call being the others.

White America kicks the show off with a fiery Eminem, possibly at his angriest ever? Spat with gritted teeth, a venomous anthem roars to life, stiring his teenage fans into rebellion aimed at conservative families in disarray over his influential force. The following Business is a track I remember fondly, pivoting from a moody grind to goofy upbeat fun with quirky rhymes painting the Em and Dre as Batman and Robin.

 Getting deeper in, the unfamiliar cuts, Square Dance, Soldier, When The Music Stops, Say What You Say, reveal a dark undercurrent. The records less distinguished songs lean on a savage Eminem upping the anti, finding a nasal tinted amplification of aggression, his cadence flowing vicious and unrelenting, like a Mike Tyson throwing a string of knock-out blows. Ferocious and cutting, Em's mastery of his controversies still finds ground to run on, engaging, witty and sharp yet familiar topicality by now.

Still working with the Bass Brothers, they and Dre rock these beats hard. Instruments are pushed to peaks, bold thudding percussion to rhythmically drive subtle moods and catchy melodies with clarity and space for Em and his guests to shine. Till I Collapse exemplifies this attitude, a sublime instrumental to propel a frenzied Eminem willing off, ascending on the high of his own rhymes. Its beyond impressive, an absolute gem to discover all these years later.

Housing many classics, The Eminem Show falls short of the timeless perfection that came before. Resting on the merits of its star power at times, weak concepts and recycled themes get tired in spots. Edging out at his prime, Em pushes himself hard, reaching new peaks but also a few missed targets along the way. Its a cracking listen. I wonder how attached I'd be, had it clicked in my youth. Age is mysterious like that.

Rating: 8/10

Knocked Loose "Laugh Tracks" (2016)

Entertained yet unimpressed by Pop Culture, this follow up debut album showcases a distinct shift in approach. Illuminating an unhinged magic to blossom fuller on You Won't Go Before You're Supposed To, the Beatdown oriented Hardcore outfit dazzle with tangents and derivatives leaning into the umbrella of Metal sub-genres. Occasionally overt but often subtle, to a seasoned Metalhead, guitar riffs shift gears with metallic thrashings between the onslaught of gritted Hardcore Punk aggression.

 

The band chew through struggling terrain, challenging music to endure. Addictive within its angered outburst, abrasive refrains, aesthetic dissonances drag one along with a touch of chaos. Wading through a swamp of discontent, each track eventually arrives with a gratifying stomp of mosh friendly groove. An awkward balance to achieve but Knocked Loose grasp it with a masterful strangulating grip.

Laugh Tracks plays in constant anticipation of whats to follow, barely lingering in any arrangement for more than four bars, its swiftly navigates non-linear writing promises a romp to follow. I think only Last Words opts out of a throw down as its final palm mute chug diverts expectations as the guitars take on an uglied Black Metal aesthetic. Its swiftly remedied as No Thanks lunges straight into the dance floor chops.

Without sensationalizing their own material, remaining grounded to the frustrated howls of Garris', Knocked Loose offer up a whole work worthy of listening front to back. I've found it hard to pick out a favorite song, This one plays complete, consistent and cunning as something vicious always lies in wait, all the way up to a sudden outburst of menacing, high society pompous laughter at its ending.

Rating: 8/10

Billie Eilish "Hit Me Hard And Soft" (2024)

 

Three years on from Happier Than Ever and still working with her brother Finneas, Billie returns reveling in crooning strides. Reminiscent of classic singers from bygone eras, she captures concise emotional narratives central to many of these songs. Let loose through an endearing vulnerability in tone and lyrics, her breathy whispers build to climactic swells, both wounded and resolute, given the mood. Finneas builds powerful current around her vocal direction. Classy instrumentation, seemingly subdued and minimal yet rises aptly with layers of subtleties to flesh out roomy indulgences. Following her lead, climaxes gratify as the two come into focus together.

  Setting aside the strident Surf Funk strut of a catchy radio earworm called Lunch, Its opening stretch of tracks have a softly sung Billie alluring over rocking baselines, bright shimmering acoustic guitars, adorning string sections and colorful saw wave arpeggios. All with that aforementioned classy touch conjuring echos of greats from decades past. This wonderful stretch ends on L'amour De Ma Vie as its final minutes pivot with a thudding pulses of nightly dance-floor energy, Billie flexing on autotune.

This leaves its final songs in the lurch as The Diner explores unease and tension through quirky bursts of melody and echoing vocals arranged for a fever dream. Bittersuite meanders through exotic, dreamy tunes never quite settling on its own intention. Blue acts to conclude, dropping in one of the albums best vocal hooks. Billie's backing track sways back and forth under her singing, I love it! Its a dramatic two minutes but again, shuffles and meanders through a handful of other arrangement ideas as the records intensity unwinds, never resolving back to that classy stride.

 Hit Me Hard And Soft is a subtle record on first impressions, seeming like a collection of decent ideas resting on the pairs merits. Repetition yields its depth, as Billie's voice comes into focus and the tracks beneath them endear. My qualm has been laid out, a sense of balance lost as its classy side doesn't quite flow with the creativity this duo were initially known. All of the music is fantastic but the arrangement locks you in for a ride that cant resolve its destination on conclusion as those final songs loose pace.

Rating: 8/10

Spiritbox "Eternal Blue" (2021)

Somehow once deaf to their charm, I initially passed on Eternal Blue. Returning now a few years later, I've cracked what in retrospect seems so obvious. Music can be a mysterious beast at times but familiarity is often its remedy. Burning these songs into my consciousness, Singer Courtney LaPlante emerges the anchor. Her clean voice sails through turbulence, resolute and ascending. With a firm and graceful tone, she cuts through tensions with swooning melodies and hooks that shape up akin to Dream Pop. On the flip side, I found her throaty Hardcore leaning scream aesthetic less charming. Caught in the throws of timely aggression, its a fiery combo but whenever laid bare to its many calmer backdrops, the strained roar doesn't shape up to well.

Spiritbox's other strength is firmly rooted in aesthetic driven songwriting. Unlike other Metal bands, they are willing the dwell on calm Ethereal moods that flutter by on the wings of shimmering instrumentation, both electronic and acoustic intertwined. As a result, their aggressive Djent riffs play like a natural emergence from the climax of craftily brewed tensions. A reflexive jolt of force, less "riff" more feel. This approach lets the guitars drift in and out of focus, joining an ever morphing landscape of shadowy calms and gripping tensions that follow through on an emotive narrative.

I adore this atmospheric approach to Metal. Between the conventional surges of groove and aggression, Spiritbox shape up nightly mirages of warmth tinged in a dreamy ambiguity teetering on darkness. With a soothing voice, LePlante rescues its darkly direction, yet in another breath her pelted screams plunge us into that chaos. Exploring its ying-yang, both sides of the line are ventured, these songs brilliantly sway across. Picking a favorite among its twelve cuts is hard, a sturdy forty minutes that rarely falters. One of the best "new" Metal records I've heard for some time.

Rating: 8/10

Myrkur "Spine" (2023)

After the aptly name Folkesange, Danish outfit Myrkur return to the Black Metal tinged aesthetics of their origins. Spine muddies the waters with an uncanny sense akin to a "covers album". Like Humans sets this striking tone, the "talk to me like humans do" chorus arises from a rubble of darkly guitar rumblings and morose pianos nestled in a foggy, swampy drone. The cadence and melodies of Amalie Bruun carry an elevated yet contrasting spirit, rhythm and rhyme akin to catchy yet emotive Synthpop.

Continuously, her knack for lyrical delivery evokes this peculiarity again and again. Other elements suggested similar feelings too. The tense, tick tock alike synth lines of Mothlike and its gleaming flush, a rapid melodic guitar solo that erupts from an initial dark rumble, this too felt like a differing origin brought to to serve a peculiar chemistry.

As the album runs, many inspirations are woven into its fabric. A strange mix of hazy subdued extremity and light shining through gloomy clouds. Blazing Sky brings the bloat and bombast of a sludgy Doom Metal riff to the mercy of Brunn's earthly, gentle voice. Again, its illuminating pivot into a catchy chorus gives this unshakable sense of an original piece re-imagined through a dark and contrasting genre.

After many spins and much pointless research, I've learned of this records authenticity and grown to adore its peculiar position. It speaks volumes to its chemistry as these magnetic songs carry multiple spirits in tandem. The band have yielded a record that doesn't fallen into any typicality or genre pitfalls. Gracefully, they brew great music with their own unique spirit. Its been a breath of fresh air to say the least!

Rating: 8/10