Periphery "A Pale White Dot" (2026)

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

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

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

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

Rating: 7/10

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

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

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

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

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

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

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

Rating: 8/10

Deftones "Eros" (2008)

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

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

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

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

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

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

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

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

Fief "VII" (2026)

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

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

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

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

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

Rating: 7/10 

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

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

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

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

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

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

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

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

Rating: 8/10

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

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

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

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

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

Rating: 4/10

Vince Staples "Cry Baby" (2026)

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

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

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

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

Rating: 7/10

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

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

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

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

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

Rating: 5/10

PeelingFlesh "The G Code" (2024)

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

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

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

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

Rating: 6/10

Sungazer "Sungazer, Vol.1" (2014)

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

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

Rating: 4/10

Sungazer "Sungazer, Vol.2" (2019)

 

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

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

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

Rating: 6/10

Sungazer "Perihelion" (2021)

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

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

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

Rating: 7/10

Serial Killers "This Thing Of Ours" (2026)

As far as classic rappers past their prime goes, This Thing Of Ours has been reasonably entertaining. Consisting of Cypress Hill's B-Real, MTV famed Xzibit and later entry to the Rap game Demrick. The LA based trio's third outing together catches a spark. Fine beat production provides classic vibes with a sharp snappy edge for the three to exchange verses. There is little lyrical revelation to astonish or challenge anyone seasoned to their tastes. X even revives some of his classic cadences and personal verbage with a wink and nod. Its endearing, fun, showing they can still spit their styles confidently. Levels puts in a cohesive effort to drive a lyrical theme but many of the songs here serve as simple platforms for lyrical braggadocio. Chuck D of Public Enemy gets featured a handful of times, sampling his timeless voice. As well as recycling LL Cool J's classic Mama Said Knock You Out. Other than that, its a group of seasoned heads putting together a fair set of tracks to entertain the old crowd. If you like the mid 90s to early 00s Rap sound, then you'll find a couple of tracks here.

 Rating: 5/10

Dance With The Dead "Malombra" (2026)

As a listener for whom lyrics can often fly over ones head, it may seem ironic that my main critique of Malombra is its lack of oral presence. Although this duo flesh out their upbeat numbers with interchanging lead expressions and melodic focal points, the verse-chorus structure sets a limelight for a personality to shine who never emerges.

Armed with lush, oozing nightly synths and rounded Industrial Metal guitar grooves, neither musical mechanism manages to fill that vocal void. These instruments are, however, aesthetically sublime. United with crisp punchy drums executing tight attack tones, a mastery blueprint returns for yet another ghoulish forty minute party.

Despite the excellence, I'm left with little to say given a lack of stylistic divergence from Driven To Madness. Dance With The Dead keep pumping out their nocturnal inspired Synthwave but with a lack of new ideas or progressive song writing it feels like a return to a familiar mood. Malombra is simply a good fun for a fair few spins.

Rating: 6/10

Sungazer "Against The Hall Of Night" (2024)

Late to the party but happy to have finally arrived, my years spent following Adam Neely's explainer videos and showcasing of prodigy percussionist bandmate Shawn Crowder seem unforgivable in the wake of such a delightfully warm and musically riveting record. Perhaps its this latest chapter of bright, cheery Jazz Fusion that lured me in. Armed with an arsenal of well educated professional musicians, Against The Hall Of Night sails through vibrant excellence, a gorgeous aesthetic production, dazzling one with a snug fit of crisp instruments expressing emotions boldly.

Earmarked by intravenous illuminations from lead solos, song directions house these expressive delights through intriguing foundations. Experimenting with odd grooves, time signatures and an adventurous opposition to popular convention, song structures bustle from their power house rhythm section, gushing forth with stellar musical ideas. Crowder's crisp and clean drumming a continuous pleasure, as no beat ever seems to rest on its laurels, always finding a angle from which to spice up the pizzazz. 

On the journey of its nine chapters, familiar themes of bold, cheesy 80s gameshow Jazz "done right" frequently emerge, alongside other motifs within a broader Jazz Fusion landscape. Always seeking to expand horizons, much of the music has room for modern Electronic key tones, delving on occasion into the Synthwave style, retro Chiptune 8bit melody and in another realm of the spectrum, crunches of Metal groove. All classy and well executed, every idea feels fully fleshed out, expressive, matured, yet most of all, emotionally entertaining, gratifying and endearing.

To layer on at least some critique in the wake of my applause, the record does feel somewhat front loaded. Its opening half feels a grade above what proceeds but that could be personal preference. The latter songs seem to lean more into the Jazz side of the project. Lead instruments dance out melodies with less personal resonance. Even so, I like these numbers very much. What a cracking record, Bravo!

Rating: 8/10

Autumn's Grey Solace "The Neverending" (2026)

I'd passed over journaling the last couple of Autumn's Grey Solace releases. Years of stagnation left me with little to remark upon. Always a pleasure yet rarely a surprise, what separates The Neverending from recent mediocrity is its "return to roots" approach. On a handful of tracks the illusive magic of those first impressions gets recaptured. Tones, textures and the musical blueprint from their classic debut Within The Depths Of A Darkened Forest resurface on within these eight numbers.

In gentle temperament, the return of ghostly melodic guitar echo, darkly strolling baselines and subtle groaning strings evoke a soothing Ethereal bliss of old. In particular, Erin seems to turn her voice back to that youthful charm. Lurching in a tender high range, she finds her way back to words. Their natural rhythm and wordy cadences rebirth a character missing from recent records. Its a curiosity how the presence of lyrics steer her performances into this special, otherworldly place.

Lacking any freshness and new ideas, The Neverending still strikes a mood much closer to their origins, an area that feels now underserved on its arrival. A fair record but not all tracks hit the sweet spot. Each track tends to cycle through a single set of ideas. The weaker chemistries swiftly make themselves known, however one will definitely find a few personal gems to cherish, if your a fan of this niche.

Rating: 6/10

Will Smith "Based On A True Story" (2025)

 

From one Smith to another, I couldn't help but vent my frustrations at this surprisingly bright and cheery Pop Rap album. Will assembled a competent team to deliver snazzy beats lined with harmonious voices embracing a Gospel lean on many occasions. A solid foundation for a comeback record I'm no longer surprised I didn't hear about.

Unable to shake his ego-centric relationship with fame, Will opens by stepping straight onto an almost comical landmine, if not for a tragic lack of tone. Fists swinging, armed with cheap rhymes and inserted critical remarks, he address the fumbles of recent years with braggadocio, lacking sincerity, humility and reflection so sorely needed.

As the record progresses, song concepts play shallow with cheesy hooks. Dotted throughout, attempted inspirational moments arise, Will puts on a voice as giving a sermon to save the masses. Its utterly tone deaf. It feels like Will is trying to engineer the reception of his return, as opposed to having genuine expressions as an artist.

As a Rap artist, he used to drive in his own lane. Likable, goofy, fun and uplifting but now, all that's gone and Based On A True Story confirms it. This was an opportunity for a genuine moment of self reflection and personal growth but its clear the man still has many egotistical issues to work through. To throw it a bone, You Can Make It and Work Of Art have really warm vibes. Decent tracks among the horror.

Rating: 3/10

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

Matte Blvck "I'm Waving Not Drowning" (2020)

Stepping back from the impressive Vows, this debutant record suffers a retrospect, lingering in its shadow as an inferior product. Despite that, its an enjoyable record, a competent execution of ideas forging nightly Industrial Synthwave hybrids dwelling in pain and beauty. This tone is punctuated by the shy and meager vocals of Alex Gonzales. His range lacks the power its in reach of, opening up a continual sense of tenderness and vulnerability that actually plays rather well into the overall mood.

His appearances can be sparse as instrumental numbers break up I'm Waving Not Drowning's easy flow. Focusing on their merits and embellishing the power of rhythm, synth hit hard on tracks like Casa Blanca and Panic Room, spicing up aesthetics with a little novelty given there time in the limelight. This comes to fruition on closer Rye Fire. The arrival of its angelic vocal synth jostle plays in mechanical juxtaposition, cementing a dystopian atmosphere between heavenly piano melody breaks.

 As already mentioned, this one felt a firm step behind its predecessor. The bands proximity to my favorite Depeche Mode era lured me. This album houses a rather underwhelming cover of their classic Stripped. The vocals feel shaky, the synths underwhelming and the added percussive might adds little to the original. Its a difficult song to match and sadly this cover just makes you want to put on the original instead. Despite this, Matte Blvck are a solid listen, a group with potential ahead of them.

Rating: 6/10

Stormkeep "Tales Of Othertime" (2021)

 

In our age of nostalgic recreation, here comes another classy modern Metal band turning an ear to a Nordic past. Comprised of experienced musicians from the Colorado scene, Stormkeep ventures boldly into the late 90s Symphonic Black Metal sound. With a snarling groans akin to an early Shagrath, Otheyn Vermithrax arms the outfit with an added charm I personally adore. Behind his beastly wretched howls play anthemic marches of triumph and conquest. This is victorious battle music, fresh from fantasy realms, channeling its majesty into extremes maligned by magnificent melody.

The Seer opens and sets the tone, acoustic guitars and folksy synths cast its Fantasy setting, erupting into scaling tremolo riffs soaked in dank synth. Melodic and upbeat in nature, its darkness feels rapturous, full of adventure, as if partnered on a plundering adventure. Its calls back to Medieval times with its Heathen visions, a forgot rural time ruled by myth and magic. The track goes on to toy with groove riffs, thunderous blast beats and symphonic breaks, deploying all the classic hallmarks of the genre.

Structured between four lengthy epics and two non-metallic interludes, the album wastes no momentum in exploring its ambitious song writing. It avoids repetition as A Journey Through Storms and Eternal Majesty Manifest lean towards a Folk Metal motif, exploring Pagan tones fitting of another European scene that emerged at the same time. Its forty plus minutes reign supreme, a superb execution of ideas heard before but delivering them with a grace befitting of the clear vision they had putting this fine record together. An easy recommendation for fans of these genres.

Rating: 7/10