Willow "Petal Rock Black" (2025)

Ill confess, on first impression, Petal Rock Black felt like a series of Avant-Guard Jazz experiments. This dubious outset was reinforced by its short tracks, averaging two minutes each. The recycling of lyrics from Empathogen and even Prince's I Would Die For You also aided this skepticism. Predictably, with each recuring spin, its treasures unearthed themselves as each brief constructs own magic steadily charmed.

All of Petal Rock Black's songs are devoid of traditional song structure. Each stint serves its own purpose, a swaggered union of layered vocal indulgence, steely Jazz piano and raw roomy percussion, all rocking to its own groove. Lacking progressions and pop sensibilities, they at first feel like aimless moments from improvised jam sessions but with familiarity, one grows to love the moments Willow revels within.

Her lyrics and poetic tangents between songs heighten an awareness of conceptuality that probably adds depth but flys this inept listeners ears. In its absence, the flavor and texture of her ever playful vocal swoons play a treat. Creative, adventurous, she expresses through range. From strength and power to whispers and laughs, Willow can pivot into a soar at any moment. The variety gushes forth rapid and effortlessly.

On the instrumental front, I would have mistakenly commented on a cast of classy seasoned professional behind her. Thanks to the artist credits, I've learned this musical montage is mostly her own multi-instrumentalist creation, briefly blessed by a couple of big heavy hitter names, George Clinton and Kamasi Washington.

That first impression is a misnomer but also a hint as to what may condemn the record to some negative reception. It lacks a glue to piece it all together. Despite loving it front to back, Petal Rock Black feels like its missing something. That Avant-Guard embrace turns these unusual songs into isolated islands of musical wonder in need of a throughline. You can't fault any of its numbers, these are all beautiful expressions!

Rating: 7/10

Tame Impala "Deadbeat" (2025)

 

A lengthy five years on from The Slow Rush, Kevin returns armed with the charm of his voice and a lack of direction. Gone is the defining entanglement of Psychedelia and Synth that electrified his prior works. Only Dracula and to a lesser extent Loser, conjure those dreamy upbeat vibes. The rest of this tame record meanders through electronic aesthetics seemingly inspired by the breezy night life House of Fred Again.. for lack of a better reference given my limited scope. Tracks No Reply, Not My World, Ethereal Connection and End Of Summer are the biggest culprits, the last two drifting into pounding bass drones reminiscent of Underworld's timeless classic Born Slippy.

 Its not to say these aren't entertaining tracks but one can hear a competent musician exploring the realms of musical ideas and exiting with little new to offer. These more blatant flavors come mingled between numbers leaning into Disco, Dance and Funk, always with a jiving modern synthetic angle. Then you have Obsolete, where a synth jam leads into a tangent on Bach's classic Toccata and Fugue. This sense of exploration without finding a unique freshness permeates much of Deadbeat.

Its left me with a few vague flashes of "what could have been", wondering if imposed pressures to release new material had Kevin scraping together whatever was left lying about from jam sessions. Despite that, his lyrics hit a personal and meaningful tone. A depth of emotional expressions with crafty hooks and apt messaging overshadowed by instrumental mediocrity. Ive given it many spins and so little has sadly stuck.

Rating: 5/10 

Prince "Purple Rain" (1984)

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

 

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

 

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

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

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

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

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

Rating: 9/10

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 

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 

Qendresa "Londra" (2024)

Shifting gears, refining the chemistry, Londra trades in its Vapourwave idiosyncrasies for a dusky flavor. This collection of mellowed out R&B dwellings settle on subdued night light vibes, with a touch of Noir Jazz gloom to it. It becomes more apparent as the record grows, early on moods are brighter. Its opener 2 Much revels in a groovy G-Funk shadow. Its all subtitles tho, as the musics tempo is consistently effortless.

 

 Despite having engaging instrumentals that consistently conjure these slick, dusky spells, its Qendresa herself who breaks the allure as the album progress. Early on her soft singing charms, Sweet Lies reminiscent of Grimes at her best. Toning down the presence of these smooth sung lines, opting in for a casual, spoken word approach to her verses, a social, conflict oriented braggadocio persona steadily emerges.

 

Its this lyrical focus that spoiled the musical magic for me. Status oriented, plain worded ventilations of social dramas and relationship woes cross' paths with seemingly shallow statements of boastful intent, aimed at putting down others. The self indulgence of it all added an unemphatic layer to the music hard to relate with. Otherwise a solid listen but this shift in tone to "harden up" was not to my liking.

 

Rating: 4/10 

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

Qendresa "Midnight Request Line" (2020)

Dropping in with a sleek 00s R&B voice, London singer Qendresa distinguishes herself from the crowd with genius instrumental chemistry. Its seemingly obvious in retrospect but I'd yet to hear this combination before. Given that Vapourwave often pitches samples from the umbrella of Soul, Funk and Disco, this is an obvious fit.

 

Taking the foundation of R&B, these instruments play slowed and slurred. Melodies and tempos descend into a dreamy Ethereal realm, as the breezy Vapourwave aesthetic emerges from this approach. Armed with slow G-Funk era baselines, the likes of Ice Cube's You Know How We Do It comes to mind, the music croons.

 

At a short twenty minutes, the craft blooms on tracks Real Luv and Be Mine, whereas the rest of the record descends into a vibe over substance tangent. Midnight Request Line exposes this fantastic chemistry, yet struggles to explore its potential depths, leaving one with a solid apatite for more. However this vibe is undeniably on point.

 

Rating: 6/10

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

Spellling "Portrait Of My Heart" (2025)

 

Devoid of that alluring magic felt on The Turning Wheel, experimental musician and singer-songwriter Spellling returns with a stiff set songs to lend her hearty, endearing voice to instrumentals simply on a different wavelength. Rife with overt echo's of 90s Alternative Pop, 80s Classic Rock, Glam Rock and flashes of Prog Rock, even Metal in a single moment, these songs crudely show their inspirations. Its rough around the edges, garage aesthetic sounds fantastic yet clashes with a remarkably salient, soulful performance, expressing many personal, emotional themes through lyrical delivery.

I've tried to drill these songs into my mind with repeated exposure, that same gnawing clash barricades a charm clearly aimed for. One can hear the bold conceptual strides these numbers take. Bright ideas, yet lacking novelty in pursuit of convention over experimentation. With this shift in norms, a chemistry between voice and instrument falters, despite either doing nothing erroneous individually, together they lack spark.

This disposition left me with little to say, I could delve into the ideas explored deeper but with a lack of adoration, words for expressing my perception just don't flow. Still one to pay attention to, I hope she finds her way back to the unusual charms again.

Rating: 4/10

The Weeknd "Hurry Up Tomorrow" (2025)

 

Unleashing emotions raw and aching, Abel's heavenly falsetto collide with misery as Hurry Up Tomorrow paints a unenviable depiction of an artists anguish. Channeled through dreamy Synth-Pop R&B mashups, the limelight suffering, heartbreak woes and substance abuse ripple through this record like therapy. Glued within his mental struggles, suffering is illuminated painfully through direct lyricism and animated interludes set to portray personal, intimate moments and their crushing weight.

Its a strange juxtaposition to the often upbeat, feel good music that has retreated to the sidelines. As such, we embark on a lengthy spell dwelling on this temperament. Instrumentals frequently drift into a dreamy Ethereal sense of limbo. Seeking warmth yet coming up cold. Wake Me Up featuring Justice seems to revive echos of Dawn FM, as if to shut a door on that chapter. Sao Paulo grabs ones attention with its cultured, Hispanic dance floor beat. Infectious, occasionally obnoxious and nightly.

 Deeper into the record, flavors of Synthwave, Trap and Soul emerge, characterizing some big name collaborations. Between them, these mid-tempo, toned down swells of ease and chilled temperament arise. Seemingly unhurried, I sense our artist is trying to linger on every expression felt, as if to be aired out thoroughly. With such stellar production, the glossy sound carries stripped back, simplistic melodies quite far.

Clocking in at eighty four minutes, Hurry Up Tomorrow plays like a limbo mood to sink into, with a foot in each camp. Articulations endures wounds whilst its hazy synth driven instrumental charm pass by like a trip. This dreariness lingers as the record winds down, seemingly without a resolution. I'm left thinking this was all intentional, despite an inclination for curation, The Weeknd was leaning into this moment fully.

Rating: 6/10

Willow "The 1st" (2017)

 

Armed with a charming youthful naivety, Willow's sophomore effort gracefully dodges its own awkward imitations as inspiration and "talent" saves its heartfelt expressions from mockery. Venturing dangerously near the pitfalls of teenage philosophy, her introspective self expressions carry an emotional weight and sincerity that is hard to ignore. Sentiments extending beyond herself scarcely play hollow however the personal insights seem befitting of the records peculiar coffee shop tone.

Backed by sullen, broody instrumentals, strings, pianos and acoustic guitars start out on a Classical tone. Track by track the setting inches into different territories through minimalist compositions that leave a lot of airy space for its inconsequential melodies to drift by. Picking up pace and intensity, things brighten up as sounds of New Age, Soul, Dream Pop and Alternative Rock start to color these intentionally stripped back songs. The final few tracks then lean into a folksy current that was always present.

These thirty four minutes drift by without a misstep yet feel just out of reach from something grander. Early on, Willow's singing contrasts the backings, drifting above with a sense of free flowing expression. Later, the two find unison. Along the way, a few obvious echos of 90s singer-songwriters make themselves known. Considering her trajectory, the creativity expressed here is enjoyable but is yet to really click.

Rating: 6/10

The Brand New Heavies "Heavy Rhyme Experience Vol 1" (1992)

 

 

British act The Brand New Heavies try their hand at collaboration with rap heavy hitters of the era. Adding story driven rhymes to the mix, the Acid Jazz outfit come full circle on their Hip Hop persuasions that mostly shape up percussive loops with repetitious groove. The fit seems perfect, given the shared influences of Soul, Funk, R&B and Disco on both the bands style and young rappers parental music.

Working with a pre-Wu-Tang Clan Master Ace, Kool G Rap, Main Source, Guru of Gangstarr and legendary The Pharcyde, the band scoop up some top talent among other guests, each track receiving a guest act to layer in the vocal element. The band shape their slick Acid Jazz grooves into fruity, flavorful loops - lively, tailored with apt color and melody. Despite its organic nature, the performance stiffens, stripping out the opportunity for tangents, iterations or progressive leaning song structures.

 

Once a beat makes itself known, it sticks firmly, resting a lot of the music on its rappers who meld with the tone to various degrees of success. With such smiley, friendly instrumentals, its curious to hear Kool G Rap excellence on Death Threat. A strutting baseline and shimmering guitar leads add a soft gangster attitude to its tone. Kool takes it the rest of the way with fierce rhymes and aggressive energetic delivery.

Heavy Rhyme Experience Vol 1 is a competent listen, capturing the rap scene at the end of its Golden Era / Jazz Hop sound, right before big shifts in tone over the next couple of years. With quite a few weak performances and a lack of identifiable hooks, its served as a fun listen to plunder a couple of fun tracks from. Sadly wont have me returning for more, despite the disappointment, its a shame more crossovers like this haven't taken place in this era of Hip Hop. There was such potential here.

Rating: 5/10

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

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

Sabrina Carpenter "Short N' Sweet" (2024)

 

Currently topping the streaming charts, this former Disney star charms with her strong soft voice dynamic. Backed by a seasoned production team, who have handled many big names, the instrumentals of Short N' Sweet croon. Pulling from Country, Soul and Rock, one half of its runtime paints a earnest singer on stage, armed with acoustic guitar and small town Americana charm. The other half gracefully pivots from emotive expressions with energetic bursts of Dance, Disco and Synthpop, armed with sharp wit and knack for hooks. Its fondly reminiscent of Jessie Ware's nostalgic revival.

Sabrina has a wonderful voice, easily slipping between temperaments seamlessly, she colors many a song with subtle shifts that elevate the chemistry. For me, its her sweet falsetto's that perk my ears. The lyrics however, mostly play a hormonal mess of youthful love and relations channeled into cute, quirky expressions, often juxtaposing the warm delivery tone against lyrical content. Its charm is flirtatious, playful, teenage. Fun, mostly harmless but nothing much to latch onto for this listener.

The record is solid from front to back, a breezy, warm, uplifting thirty six minutes that finds a fantastic stride with Bad Chem, Espresso and Dumb & Poetic. The vocal hook on Bad Chem, descending in a dance from breathy high notes is an utter joy. The closer Don't Smile might be joining this list too, another highlight on a solid record that indicates Pop Music is in much better shape than the boy/girl band tripe of my youth.

Rating: 7/10

Childish Gambino "Bando Stone And The New World" (2024)

What a glorious return for Donald Glover! Bando Stone plays a treat, a wild ride through a tapestry of sonic sound. Seemingly defying labels and convention whilst being pallet-able and poppy. Its refreshing, delivering unique fusions of aesthetic and composition from start to end. This feels like a passion project, birthed from free form jam sessions, capturing the snippets of magic and fleshing them out into exotic songs.

Opening with glitches, aggression and zany vocal manipulations, a bold tone is set yet swiftly we pivot into a heartbreak ballad, gracefully fusing the odd coupling of Soul and 90s Alternative Rock. Survive toys with Dream Pop vibes, Steps Beach croons into an acoustic lullaby, then we swivel again into a dark crunking Trap beat. Unsurprisingly energies shift once more with a lively The Prodigy interpolation of Breathe. A classic!

 

 This tone switching rarely relents, keeping listeners on their tones. Its a refreshing experience, full of unusual surprises and great songwriting. Layers of voicings natural and manipulated seem to be the recurring theme, lots of joyous harmonies permeate many a song on the record. Another through line are these brief interludes painting a picture of modern man stranded in the wild. Without the tools and skills to survive, the dialogs become rather comical, birthing amusing moments between the varied music.

The New World is a hard one to summarize with words. Put simply, it needs to be experienced. The music ventures into so many avenues, siring up striking aesthetics with charm. Donald's apt lyricism delights too, littered with social commentaries and cunning observations he delivers food for thought on rap verses and entertains with creative, expressive singing, frequently shifting into the higher registers, something I don't usually tolerate well. Here I adored the exchanges with his many guests.

 

Rating: 7/10

Zeal And Ardor "Grief" (2024)

 

Now a seasoned act, Zeal And Ardor's third full length has soured in lack of reverence. I'd previously been enamored with their dreary, foreboding yet somehow colored fusion of Black Metal, Chain Gang chants and Electronics. This re-imagining of the genres anti religion inspirations birthed excitement. Unique atmospheres and musical oddities emerged from this exploration, both in concept and execution. Powerful themes and striking compositions, twisting both aesthetics and melodic expectations, yet somehow packaged for consumption. This promising act delivered some amazing experiences in years but on this outing, those ideas run short.

Grief retreads familiar themes, lacking cunning for the shock and awe that surprised beforehand. Leaning on dreary atmospheres, the album routinely tries to foray into theatrical lullabies, toned down interludes with subtle instrumentation, striding for something grandiose, emotional and impacting. The vision gets broken up by the bands various shades, leaning into particulars rather than fusing them together.

Mediocrity and tone rotation seems to dispel each songs magic. Plenty of interesting aesthetics and compositions individually emerge but rarely do they converge. Clawing Out is one excellent track that does this. Dissonant guitar noise and creepy whispered chats lure us into the eerie as hastening guitar riffs jostle for impact. Increasing tensions loop over, building on prior ideas before striking us with gratifying siren synths and a thudding distorted bass drum. Its a rhythmic oddity that just works.

Une Ville Vide was another unique cut, a cozy yet mysterious keyboard piece more akin to a Dungeon Synth record. Other than those two songs, not much resonated with me. I do however appreciate the craft. This experience strikes me as being more about my own personal mood than the record itself. I expected a lot more but left sadly quite disappointed. I'm interested to look up the broader reception this received.

Rating: 5/10

Potatohead People "Eat Your Heart Out" (2024)

 

A snug fit for rising temperatures hitting us here in England, Eat Your Heart Out has been the soundtrack to my morning walks drenched in glorious summer sun. Jazz Hop duo Potatohead People, refine their tone with a focus on soulful moods and mellow croons, a classy vibe elevated greatly by subtle Funk baselines. They often bustle and bruise with character, bolstering rather subdued Hip Hop beats. Steady tempos arrange cushy kicks, snappy claps and reverberated snares with a breezy softness, grooving rhythms that shy away from becoming the focal point.

 Unlike prior records, only two of its eleven cuts are instrumentals. On both, the lead tones down any individual charisma, a step away from the expressive Jazz Fusion solos like heard before. This puts a notable emphasis on its expanded array of guests, who drop raps and rhymes along with some smooth singing in apt spots. Familiar names return, along with a surprise big hitter from the 90s, Redman.

None of them define the record with any remarkable lyrics, nor do any instrumentals drop illuminating melodies. Without peaks or valleys, the whole records demeanor is a mellow, tranquil vibe. An endearing warmth to relax to, that puts all troubles aside. That's to say, despite having a stellar resonance, nothing deviated from its baseline.

Only Paradise stood apart. With a dreamy shift in tone and sly tropical flavor, shimmering guitars and glistening synths give it a special touch when washed in this glossy reverb. The whole track feels plucked from an 80s fever dream, with Diamond Cafe's vocal performance reminiscent of Michael Jackson's classic high tenor. All in all a warm spin from start to end, full of good vibes but lacking a spark to make it special.

Rating: 6/10

Justice "Hyperdrama" (2024)

Still lingering in the shadows cast by Woman, an eight year wait hasn't yielded much excitement. The Disco-Funk inspired French duo return crisp and clear with a tight production to dazzle with stunning aesthetic clarity. The record sounds utterly gorgeous, rich in texture and smoothness. Its samples croon and instruments strike with fidelity and groove. A sweet indulgence but that can only take it so far.

Front loading the album with its best leaves a mediocre trail of songs experimenting with overt influences. Thumping dancefloor Disco sensibility, jolting Funk grooves, flushes of Progressive Rock melody, Classical frameworks and 70s Electonic music intersect with modern synth tones just short of the finish line. Every song feels unique, charactered and interesting but lacks the claws to sink their grip in.

Hyperdrama's Merits lay in the voices that illuminate a handful of collaborations. They add a dimension sorely needed on its instrumental counterparts. Two unions with Tame Impala strikes chemistry perfection! Kevin Parker's cloud sailing voice a snug fit for their tone. He, Rimon, The Flints and Miguel are classy fits that finish off these fine instrumentals, sounding utterly fantastic with an array of tender performances.

I have no complaints, perhaps my taste right now wasn't apt for this nostalgia tinted offering. Enjoyable, yet lacking a deeper connection after a fair few spins. One instrumental that struck gold was Generator, a Dubstep reminiscent nightly assault of unhinged jagged synths colliding with a dramatic string section. Reminded me of Carpenter Brut. I find myself desiring to enjoy these tracks more than I do. Strange.

Rating: 6/10