Труп Колдун "Under The Cold Moon" (2026)

 
Earlier this year, I passed on writing about Under The Cold Moon but the YouTube algorithm has surfaced Warlock Corpse's recent live shows. They are a delightful reinvigoration of raw Black Metal energy. The band's quirky fusion of deranged Dungeon Synth a breath of fresh air in an aging scene. Previously an occultic one man band, this live act had me thinking on the arrangements I heard on this dusky album. Now it all makes sense, they recorded this one as an actual band.

Despite seeming more like a traditional Black Metal record, a punkier, less bleak energy drives its harsh guitars and pounding bass. Cheesy Casio and Korg aesthetic synths penetrate the metallic menace with flushes of toxic color across nightly fogs. Everything is simplistic and energetic. Alternating A/B structures and Heavy Metal groove push its gravely momentum into cheap and cheery horror motifs.

Atop its oddity remains those snarling vocal howls. Distinct and charming, they do become somewhat of a "one trick pony" as the same cadence from low to linger on a high gets recycled consistently. No song here strides for greatness. It's more of a Vibes record, where you settle into this ghoulish mood as it runs through a bunch of gruesome riffs and eerie melodies. Highlights included Three Corpses By The Road and the end track Cursed Circle. Dabbling with dirty distorted synth effects for a grand conclusion. A spark of potential for something a little more unusual and involved. 

Rating: 6/10

Arcanist "Zothique" (2026)

 
Despite a misfire on an unusual Avero​í​gne, French duo Arcanist return to form as one of the most exciting Dungeon Synth artists of recent years. Their Berlin School synth and visionary atmospheres spark again as familiar instruments conjures familiar mystiques. Xeethra opens up the record dense and mysterious. Its swirling winds shroud subtle percussive lines that give way to an ooze of lead melody. Exotic and grand, we glimmer upon an advanced paradise often secluded by desert winds.

The Death Of Lliotha and The Master Of Crabs play as otherworldly melodies, transcendent tunes evoking esoteric adventures through lush arrangements where every note feels intentional upon the next. Placed around Zothique's two ten minute plus epics, they provide a change of pace from these ambitious compositions.

Empire Of The Necromancers is a brilliantly suggestive title. Around the three minute mark, a sense of arrival meets a gruesomely sluggish, grisly set of dark synths. The deep pounding below seeding dread. At its peak we mellow into a curious game of avoidance, as if attempting to penetrate undetected. The aesthetic could be a snug fit for Synthwave. Visions of dystopian 80s movies come to mind. Sadly though, it never concludes this direction and fizzles out to recycle the atmosphere heard at its start.

The Dark Eidolon is the albums crown jewel. Starting with distant thunderstrikes, It's eerie crawl towards a menacing buzzsaw synth is utterly foreboding, foreshadowing the coming crescendo. Its midsection promotes its most engaging Berlin school drive. The energy is almost danceable. After some brief theatrics, a swift transition occurs. The beast has arrived! Mustered along by a spacious drum beat, that buzz saw riff reappears a scowling cry of graven Doom Metal riffage. After some punishing repetitions, It swiftly subsides into an acoustic echo of that lurching menace, feeling as if it might return again, but the beast retreats into its hole.

This is the Arcanist I adore! Although this may seem like a "safe" return of sorts, the familiar motifs and techniques carry such vivid power. There is much yet to be explored and Zothique does that again, another adventure into the enigmatic!

Rating: 8/10

Willow "The Thread" (2026)

 
After a brazen foray of experimentation with Petal Black Rock, Willow bridges the gap between those Avant-Garde impulses and her prior personal peak Empathogen. The brief structures and short lived chemistries mostly felt unfinished, yet still charmed curious spells. The Thread unravels those intuitions, returning to conventional forms.

Finding itself in a stride of maturity, this newest chapter feels familiar and comforting, almost expectant at times, yet still excitable. Its magnetism often emerges from swells of entanglement. Momentum builds, her voices melt magic as layers of swooning vocal tones layer up, meeting the music's moment. This motif is becoming a signature.

Accompanied by warm soothing basslines, roomy acoustic guitar plucking, bright jazzy pianos and consistent percussive intelligence, a cohesive unity dazzles in its best strides. Whatever intensity a song strikes upon, all elements align to deliver Willow's voice through a collective guidance. It makes for such easy listening.

Although The Thread's creative peaks lean upon those unusual, experimental chemistries, this matured progressive refinement structures the music with an inviting, accessible tone, making the experience a simple pleasure with depth throughout. Perhaps that's its key takeaway, the brilliant songcraft housing her lyrical musings.

Once again, words fly over this humble listeners head. Despite that, I picked up a reflective nature towards relationships that sounded both therapeutic in expression and matured with age. Highlights included the title track, single song and lead out starting with Crush On Eternity. I especially enjoyed The Present Moment, something about the arrival of that song always signaled a timely feeling of finality to me.

Rating: 8/10

Machines Of Loving Grace "Concentration" (1993)

In search of a slice of the nineties? Absolutely! Having somehow evaded my radar, Machines Of Loving Grace embrace the lighter side of Metal. An Industrial Rock hybrid with a soft touch of Funk and Electro, spirited by the Alternative movement. They initially reminded me of NIN's debut but more so Head Of David, who two years prior struck a nerve with Seed State. This discovery has been a personal delight.

Machine's merits stem from a slick execution of sharp unravelling guitar riffs and tight percussion patterns rocking a snappy snare that cuts through the mix with intense mechanical precision. Powerful, hard hitting, repetitive, somehow never tiring one out. The pair lay a rhythmic foundation for the record to kick off with drive and groove. Its opening numbers make a meaty offering with amped up Ministry energy bangers.

Pretty swiftly the album dissipates into its diversity. Each sequential track exploring charactered moods as the metallic energy drops out for more variety. Beautifully orchestrated alongside front man Scott Benzel's competent voice, we hear so much chemistry, from Ethereal synths to Trip Hop drums, a cast of 90s scenes emerge. Grunge, Shoegaze & Funk Metal dazzle among many stylistic tropes of the era.

The album caught my ear thanks to its standout track Butterfly Wings. The sliding distortion guitar keenly reminiscent of Michael Jackson's D.S. With some clear Industrial influence, its another trace of musical taste from my childhood. Tangents aside, Concentration is a fine record by talented musicians who explore their ideas with a seasoned maturity and youthful excitement that captures the moment well.

Rating: 7/10

Tartaros "The Red Jewel" (1999)

Further wallowing in the ghoulish theatric horrors of The Grand Psychotic Castle, Charmand Grimlock's Tartaros returns with The Red Jewel. Debut record and final release, It marks the end of a brief venture into a peculiar avenue of Symphonic Black Metal. Stylistically stagnant, It's eight cuts grind gristly distortion guitars against a rough clatter of rumbling blast beats. Emerging through the cracks of this raw, strenuous production, a twinkle of awe and wonder escapes the gloom.

Lacking groove, bombast or anything excitable in the rhythm guitar department, The Red Jewel ends up feeling like a one-trick pony. Its eerie b-movie horror synths whirl a nightly terror in singular tone. Practically every track ends up dominated by this by this animated, repetitive presence that swiftly becomes more bothersome than gratifying.

The overall atmosphere is ripe with mystique, a darkly obscure plane of existence. Shrouded in mystery and menace, it conjures the spooky, satanic and even occult. One can love the vision but dread a dreary execution as its musical ideas fail to punch through, to make themselves felt, alongside its dated recording. Even cranking up the volume doesn't save it of low end rumble and clashing instrument tones. 

The title track gets merits for going a little off course, throwing in a howling lead guitar to emphasize a momentum shift. Dropping the synths, utilizing sway and momentum shapes the song and sets it on a path for curious direction changes. The returning lead guitar over a stompy riff yields a rare moment of gratification. Sadly though, the record is mostly a slog weighed down by amateurish writing and recording. There's some brilliance in here, but it simply wasn't guided to execution. 

Rating: 5/10

Haken "In A Fever Dream" (2026)

Returning on an EP, modern Prog Metal titans Haken bestow a gorgeous run of five tracks to compliment one another like a single entity. Toning down technicalities, the band shift to the simpler pleasures, focused on swooning melody and tempered groove. Rocking in at a slower tempo, its pacing never hurries itself, even as Delirium whips up intensity with its rapid hit-hat and mammoth Djent riffs. Jennings vocals soar above the frenzied track, maintaining that cool head bangers half-time nod.

Eclipsed By You explores a gentler yet experimental side. Harmonizing voices gel under tone tweaking electronics techniques that lure us from an acoustic guitar intro, subtlety drifting towards Downtempo adjacent territory. That's as far as they push the envelope, the rest of the music resides within a crooning powerhouse of intense Djent groove and luminous melody. In A Fever Dream's power resides in beautifully crafted sways between intensities. A natural flow from power to colour illustrating its lyrical underpinning, amassing its conclusion as the final moments of Lotus sings its name.

A mightily impressive band, putting out a leaner release that feels as if its ambition was reached. Ending on such a dramatic note, It concludes the questions proposed in tensions heard earlier in the record. As previously mentioned, it's like a single twenty six minute track to be appreciated in one sitting. The opening and closing numbers feel deeply linked, while the three snug between explore their creativities. 

Rating: 6/10

Motionless In White "Decades" (2026)

As part of my passing musical diet these past two weeks, Motionless In White return for another cheesy romp of unoriginal modern Metal. Executed with grinning competency, Decades passes the sniff test as far as entertainment goes. I was unsurprised to hear shades of classic Nu Metal hallmark their songwriting. From the battering frustration of Slipknot to pop sensibilities of Linkin Park, Djent guitars lay aggressive foundations. Industrial Metal has its moments, strong whiffs of BMTH suffocates it crowd pleaser tracks. Other numbers attempt to bridge the Argent Metal motif with trancey electronic tones, even a flash of Dubstep gets some limelight.

Love At First Bite champions the crown of tackiest tune, a Synthwave Goth Horror anthem hinged on its overt lyrical pun. Blood Pact reeks of slowed Tetrarch groove. Afraid Of The Dark rides the classic Metalcore gallop into a ridiculously dull and predictable breakdown. Its reminiscent of the albums opening title track, rocking a classless cry of "Fuck a tombstone" to drop in with more cookie cutter brutality. These may seem like critiques but its all fair game. The band wear their influences bold and proudly, yet lack a sense of uniqueness emerging from styles explored. Their merits lay in an audacity to give anything a try and somehow make it flow fluently.

    A shock to myself, personal highlights were lyrical. "log_in//crash_out" and Playing God with Corey Taylor tackled key concerns of our times. Internet ecosystems of algorithmic influence, worldview shaping and device addiction. Somehow, these cheesy plain face lyrics channeling anger at such digital concepts resonated strongly. When you think about it, some of these terms are quite awkward to sing about poetically. Its tone isn't perfect but I adore the message they put across. The other highlight had to be sunglasses at night. A final song, pivoting to indulge in a full on dose of luminous eighty's Synthwave nostalgia. With soothing nightlight melodies, the singing finds a soothing peak on this one. A standout track to close upon.

All in all, Decades is a fair attempt. Another collection of broad influences converging from across the Metal spectrum with a healthy amount of electronic synths weaving there way in. It lacks sparks of originality, yet serves up a good dose of spirited modern Metal fit for festival stage energy. Decent but far from greatness.

Rating: 6/10

Scarve "The Undercurrent" (2007)

 
Embarking on their third yet final chapter, a darkly chromatic landscape of desolate unease awaits. Refined by elevated production fidelity, extreme outfit Scarve squander an opportunity to dazzle. Their twisted inhuman musicality fumbles as moments of magic birthed through dizzying frenzies and alien guitar leads get bogged down by mediocrities found between. Imperceptible Armageddon and The Plundered manage to hold ground with swells of metallic dissonance frothing under shimmers of illusive melody and disruptive groove. In these magnetic strides, curiosity charms.

Its many aggressive stints lack that flair, slipping into lengthy mechanical grinds, exploring an unconventional meandering riff style. A technical nature lures it towards impressive techniques that yield little without melodic inflections from vocals or leads. Thus the music sways in its own estranged landscape, unable to evolve its songs into truly memorable cuts. Given the shorter record life, it does feel as if the band lacked ideas. Somewhat of a whimper to end on, given how much potential they showed. Sadly, songwriting falls short. After a fair few spins, its left me with little to remark on. 

Rating: 5/10

Bring Me The Horizon "Count Your Blessings: Repented" (2026)

 

Has it really been twenty years? I'll never forget stumbling upon these black mop headed haircuts in the Download Festival tent. I found myself subsequently getting wiped out in the hardcore dance pit. What an introduction! I instantly took to This Is What the Edge of Your Seat Was Made For, however this debut was disappointing. Their snarling edge traded in for a cookie cutter beatdown-fest. Its quite the curiosity to hear Bring Me the Horizon wanted to rerecord it, considering how far they've moved on from this sound. Its not like they talk about this era with any fondness either. 

Giving it another couple of spins has been reasonably fun, a crisp modern production to sharpen its edges, elevating its impact, especially during their filthy breakdowns. The whole performance sounds tighter, not a surprise considering the time elapsed mastering their instruments. Most remarkable is Olly Sykes, who can still pull off these rotten throat churning howls. The drums pack a punch, guitar tones crooning. It's a fine upgrade to the original aesthetic, with a handful of minor quirks to pick up on.

The re recording really exposes the fragility of these original songs. Pray For Plagues' opening breakdown always lands but as we roll through the punches, the same ideas get recycled. More prominent than I remembered, a plethora of Melodic Death Metal alternate string picking riffs. The Dragon Slaying breakdown still doesn't hit like the Radio One, "witness the fitness" recording. Its isolated pitch perfect pinch harmonics all too clean for comfort. However Fifteen Fathoms Counting, a deliberately juxtaposing acoustic soother, feels genuinely meaningful in this renewed setting.

Ironically, the album's championing moment is the addition of a newly written song, Dehumanized, which the record closes on. Bridging the gap between new and old, it seems the band decided to write a new song in the old Deathcore style. Starting off strictly in that lane, they can't help but expand into a powerhouse. An atmospheric break leads to blazing league guitar solo as crafty use of synths slip in. It's the peak before a fall, as the song rolls into an utterly ridiculous breakdown akin to Slaughter To Prevail. A fine note to end on, a fun revisit not budging my feelings on the original. 

Rating: 5/10

Periphery "A Pale White Dot" (2026)

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

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

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

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

Rating: 7/10

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

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

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

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

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

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

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

Rating: 8/10

Devin Townsend "The Moth" (2026)

 
Forever a legend with permanent home in my heart, a dwindling appetite for new material stalls as Devin's unwavering musical identity returns on a new frontier. I may have skipped this if not for its grand spectacle, an opera of sorts, thee orchestral Prog Metal epic! That being said, It feels less metallic in nature, rather Dev's charactered antics and productive impulses spun to familiar motifs fit for a theatrical stage show. At times so vividly cinematic, you may wonder where to go to see the show! 

Its been a long time in the making, around a decade, performed and composed in mind with an actual orchestra. Fortunately, the Noord Nederlands Orkest reached out to help bring this impressive feat of work to life! Both thematically rich and a textural treat born of Dev's wall of sound production mastery, The Moth lives as a journey of orated emotions. A stream of ebb and flow, finding swelling peaks and luscious valleys. The latter lulls often home to an aesthetic adventure of dazzle and wonderment that lurks in every inch of this mighty seventy minute behemoth.

That density can make it hard to comment on specifics. The Moth takes many twists and turns but its pacey nature means we never reside in one stride for long. Able to swiftly transition from lullaby to churning rhythm with sinister streaks and playful jollity on route. Through listening but also studying track titles, one sees the structure of the story. It's drama and tensions leading up to a big battle that leaves a turmoil to be resolved in its wake. Stained Hearts feels like that gratifying swell to conclude upon.

Having devoured the near thirty records of Dev's career, I felt as if there wasn't much left to unearth but whatever the challenge, Dev's rises to the occasion. The Moth was massively ambitious and did not disappoint. So much more than your regular album experience, its proved his brilliance once again. I do hope he will continue to seek avenues that push the boundaries of his comfort zone. Well done Dev, take a bow!

Rating: 9/10

Deftones "Eros" (2008)

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

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

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

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

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

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

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

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

Tartaros "The Grand Psychotic Castle" (1997)

This musical traveller is always keen to unearth hidden gems. Debut extended play The Grand Psychotic Castle is almost such a blasphemous treasure. Hailing from its musical homeland, Norway, Tartaros delivers the Symphonic Black Metal I adore. Released in 97 its at the prime infancy of this symphonic offshoot, I was shocked by a lack of Spotify or YouTube plays. It seems they never got swept up into the usual crop of classic bands people talk about. This truly feels like a forgotten artifact of sorts.

Its closest neighbour is clearly Arcturus, specifically Aspera Hiems Symfonia. Sharing similar temperament for harshness balanced with astral symphonic wonder, The Grand Psychotic Castle revels in ghoulish dusk. The horror synths muster an Adams Family cheese, yet only in aesthetic, churning suggestive Halloween tropes into devilish melodies. Alongside fiendish voices both guttural howls and throaty screams, they are the main elements striking up a terror educing chemistry of theatric fright.

The vision is striking, a macabre spectacle led by its keyboard melodies. The guitars drums and bass follow lead, fleshing out the ebbs and flows through extremity and relief. Its various arrangements fit the genre's characteristics. Often swinging from blast beats to half tempo grooves. It's four songs never stray far from the path initially laid out, offering quite basic song structures. One could say it's not adventurous, but the musicianship and way these instruments come together is well executed.

My final remark is that of production, It actually took me quite some time to get into this record. Somethings off about the tone of each instrument. They seem distant from one another at first. An amateurish lack of cohesion that took many repetitions to overcome. It no longer spoils the listening experience but certainly made it harder to enjoy. Well worth a listen for fans of the genre. This one is cut of the classic era.

Rating: 6/10

Floating Sun "Pelagos" (2026)

 
Here's another lofty ambience record, the likes of which I sift through on a regular basis. I've been waiting for one to perk my ears. When one catches my attention, I'm sometime alluded as to why? After all, the foundations for these meditative sounds were laid down a long time ago. Every inch of this record feels familiar. Perhaps unlike others Greek producer, Floating Sun, strikes an alluring balance carved to my taste.

Clocking in at twenty minutes, Pelagos is comprised of five dreamy chapters. Each drifts by in temporal ambiguity. A cast of reverberated sounds explore the seas. Subtly woven in the mix, seagull squark, winds blow and waves lapping rhythmically against the shoreline. Around it, a construct of dense cloudy synths allow for creaks of light to shine through in the form of electronic sounds, sometimes with a hint of chording.

Soft and subtle in nature, the music ebbs and flows undramatically, letting us enjoy its gradual shifts and aesthetic textures. One is lured into its immersive atmospheres, serene, ethereal and contemplative. A meditative feeling fit for deep focus and thought. Why this particular incarnation struck a nerve? I think it shares a soothing charm akin to Marconi Union's Weightless. A piece studied for its effects on anxiety.

Paying closer attention to the music through the lens of its inspiration, the ocean. One hears thought and intent behind its aesthetic design and implementation of certain sounds. Warbling oscillations take on an aquatic quality. Deeper synths often swell and contract like waves at the shoreline. Electronic wind chimes conjure a breeze. It's all quite brilliant. In conclusion, I need to explore more of this artists works.

Rating: 7/10