Little Simz "Sugar Girl" (2026)

I appreciate both Simz' artistic explorations and the willingness to share these creative tangents between albums. Sadly, the four track Sugar Girl makes a mild impression. Its mix of flavours feel mostly derivate of other trendy styles in the modern rap scene.

 

Opening with That's A No No, we find auto-tuned mumble ad-lbs over spacey synthetic beats akin to Yeat. Adding little to the conversation, the mid track pivot to her normal rap person seems stiff in its contrast. This synthy exterior melds with classic 808s and deep base lines on the proceeding Game On. Its underwhelming tone leads onto an under-powered hook, culminating in a rather forgettable stint.

Things perk up on Open Arms. An intriguing percussive groove drives the song, housing an ambiguous yet dreamy atmosphere. Effeminate voices dip in and out of intensities. Curious in concept but it lacks something exceptional to tip it over the edge. Telephone continues with the spaced out, dreamy vibes. Autotune returns, aiding its chilled lean into an Ethereal space. The whole thing drifts by in a soft mediocrity. Intriguing experiments but all of them lack something special.

Rating: 3/10

Jessie Ware "Superbloom" (2026)

 
Now accustom to Jessie's refined 70s revival, this newest installment, Superbloom, spins its wheels on autopilot. A familiar nostalgic cast of aged Disco, Soul, R&B and Pop motifs return revitalized, sounding fresh. Receiving a lavish treatment from modern production and experienced song writing, a stage is set for Jessie to dazzle. Unlike What's Your Pleasure and That! Feels Good, none of these songs ascend their constructs, hitting one with emotionally stirring chemistries or new musical ideas. 

Sadly, Superbloom is just competent. An enjoyable aesthetic treat with cheeky feel good themes and seamless instrumental cohesion. Along this journey, nothing breaks the mold, subverts expectations or executes them at another level. Jessie's empowered singing is on point but cadences, hooks and lyrics feel by the numbers. The sparks of inspiration to ignite magic are sorely lacking despite a stellar veneer. 

A few songs to remark on. Two track felt like favorites to return too. I Could Get Used To This hits a stride with its fusion of Dance and Disco that finds a dreamy peak, pivoting into a nicely executed key raising crescendo. Proceeded by a slower soulful title track, the exotic percussion, perusing baseline and overall tone fondly reminded me of Marvin Gaye. Synthpop akin Ride gets a mention too for its interpolation of some Ennio Morricone western lead. Not a great track, feels like a sore spot illuminating the limitations this nostalgic pursuit imposes on itself at times.

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

Enter Shikari "Lose Your Self" (2026)

 
With unshakable identity, Shikari return on another rousing record to reflect upon our troubled times. Spouting unabashed articulate words to address the current zeitgeist, Rou's lyrics cut deep. Led by emotion, raw authentic messages of worry garnish each track with urgent meaning. Touching on the erosion of institutional norms, growing wealth inequality, increasing climate fears and the ubiquitous influence of silicon valley tech, we embark on a fever pitch. One to always grab my attention, Rou's finger is firmly on the pulse again, crafting his passioned cries into anthemic bangers.

Obviously, this is no one man show. His band mates of twenty five years plus fire on all cylinders. Together, charging their genre soup of majority British musical influences with a vibrant, colorful, ceaseless energy. A keen apatite drives these songs with pace and blazing spirit. Spliced with chunky rhythmic chops, electronic stunts and subtle layers of tantalizing details, a constant thrust of anticipation keeps excitement stirring.

The albums structure is fantastic, between anthemic ragers, Shikari switch up the flow. Spirits are soothed on the juxtaposed Demons, exchanging its mellow lulls with a rapid Drumstep groove. Flick Of A Switch's second part calls back to the first incarnation, revisiting it with a mammoth zany spaced out breakdown, its sliding synths and detailed percussion is a treat. Closing on the trilogy Spaceship Earth, their song writing expands to Symphonic scope, yielding a glorious conclusion. A sentiment of visitors leaving our pale blue dot emerges, leaving its lyrics lingering with meaning.

Unironically, the aforementioned songs are not even my favorites. This album was pure class. Perhaps their best since The Mindsweep? Only the brief 90 seconds of an erratic I Can't Keep My Hands Clean felt a bit stale, perhaps an attempt to capture the abstract comedy of Slipshod... but probably not upon hearing it again after so many years. Shikari albums have a habit of feeling like strong connections to their era but losing a little potency over time, this one however feels like it has true lasting power!

Rating: 9/10

Dave Mackay "Three: Vol.3 [Utopia]" (2022)

Completing this triumphant trilogy of trinities, we temper tranquil trails as these three threads delve upon magical mellow moods. Wedged in the middle, Oog arrives a stiffer act, its melty instruments river around against the sticky shuffling rhythm of its gentle yet ever-busy percussion. It carries an airy colorful spirit through this ceaseless rigid pacing, a beautiful contrast to its melodic flavors oozing in sun soaked scenes.

Utopia leans in to its gorgeous reverberations. Again, the ceaseless drums hit this unshakable drive, more subdued in presence. Around it, a cast of instruments croon, melting in a roomy ambience, an aesthetic delight. An impactful piano arrive in waves, striking tuneful notes in succession. Illuminating, then dissipating into warm currents.

Impulse rounds up the record with an emotional stride. The welcome smoothness of this Jazz Fusion affair encroaches on a magical sentiment as the pivot a third in stirs spirited feelings. Its soft piano keys suddenly dance with the stars, as synths fall from the heavens. Its a lovely movement, revisited again a third later to climax the song, then suddenly drop out into attention breaking ambience. Really classy music.

Rating: 5/10

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

Gate Master "Hidden Mysteries" (2026)

Concluding this journey on a more positive note, Hidden Mysteries houses one or two moments of esoteric magic alongside a baffling set of extreme experiments in noise and abrasion. Starting at its lowest point, the concluding Sonic Cleansing Final Movement fumbles through cryptic dirty analog distortions to no avail. Just a pointless romp of aesthetic disgust. The prior trio of movements lack offense, yet fails to evoke the vivid terror these scenic Dark Ambience pieces can so often do. Title track Hidden Mysteries try's it hand at harsh obscure horrors via low fidelity Drum N Bass percussion loops, mixed with harsh dissonant screams for attempted mystique.

Positives start with The Palace, venturing into quirky synths akin to Труп Колдуна, we drift through a limbo like dimension as soft airy synths cushion the unsettled lead melody and droning drums beneath it. A Perculiar Pathway ventures into Dead Can Dance territory, favouring an unsavory darkened tone around these arcane chants bellowing out from the dark. Very much akin to the voice of Brendan Perry.

Lacking a vocal element but continuing in their shadow, opener Enlightenment hits a high note, perfectly emulating Dead Can Dance's worldly magic. The string lead tone is apt, suitable for any imagination or mood. Personally I'm reminded of sun soaked deserts and decimated pyramids, despite a like of melodic flavour in that cultural direction. Its bespoke meditative mood will likely meet you where you're at.

Rating: 4/10

Dave Mackay "Three: Vol.2 [Nashville]" (2021)

 
What a delightful stumble upon this has been. The threesome return with another trio of classy Jazz Fusion tracks that revel and ooze within its own exquisite veneer. Prophecies kicks off measured and gradual. Soft, gorgeous instrumentation swelling in harmony as lively shuffling percussion guides passages for all its elements to shine. With melody, texture or sudden roars of synth jive, the subtleties of craft slowly amass as baseline exchanges lead us through a gradual amass of layers that croon together.

Mute echo's sentiments of Vol.1, its dusky contemplative piano refrains balance beauty and tension with an unshakable familiarity. With a smidge of Noir Jazz flavour, the nightly flavour simmers down to a cool, finding a soothing stride, opting for a soft surge in conclusion that dreamily backs out, winding down with Ethereal grace.

Cassette Culture conceptually focuses solely on its lead, a bold, plastic like synth tone, singing a tuneful dance with expressive dynamics. Volume and tone pedals shape its intensity upon a curious, slightly quirky escapade lacking direction as it meanders in the whirling moment. All three tracks are such easy pleasures to enjoy. The short duration and high bar for excellence really empowers this format.

Rating: 5/10

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

Gate Master "Relics" (2025)

 
The acute mystic tone struck on In Pursuit Of Forbidden Knowledge seems absent elsewhere in Gate Master's discography. Perhaps the lengthy escaped through cloudy ambiguous fog drenched synths on the closer My Journey To The Stars shares some spirit. However, its dreamy tone and airy hum feels closer to Brian Eno than our cryptic Dungeon Synth. Its also devoid of any progression, just a droning loop glistening in its own reflection, chewing up fifteen minutes of time aimlessly.

This project feels like more of a dumping ground for experimentation. The opening Relics blatantly derivative of Emperor's masterpiece In The Nightside Eclipse. Utilizing the chemistry of its pioneering symphonic extremity, even lifting a riff directly. This imitation however, lacks charm. Following it, a dreary dark ambient piece lacks depth.

Its two other cuts feel like crude experiments with dirty harrowing noise and Black Metal's harsh ugly aesthetics. They seek an abrasive disgust yet perhaps miss the point from this listeners perspective. That darkness needs to be driven by something truly musical, otherwise it remains a bleak noisy mess of discomfort and chaos.

Rating: 2/10

Cult Of The Damned "Simony" (2026)

 
Still topping my "ones to watch" list, UK Rap collective Cult Of The Damned return on auto pilot, dropping a record that mostly serves to house singles Car Park and Sapnin. These are slick numbers, the group fire on all cylinders, delivering aggressive, gritty, unhinged raps spiraling out erratically in wild directions. Predictably unpredictable.

Simony's atmosphere plays dreary, dark, spooky. Instrumentals focus on unsettled scenic sounds and crunching slippery beats to paint gloomy backdrops for mean, dissenting raps, often springing an air of tongue in cheek self depreciation. Dim and Dingy from front to back, drums bring enough punch and power to keep a bounce.

In moments, the theme encroaches on subversive spycraft, a sense of conspiracy and coercion pervades its shadowy ambience. Its driven by BeTheGun's intersecting monologue's. His suggestive lines border brilliance but mostly play dialed in with plain language. Its a missed opportunity to embellish theme and do something unique.

Blackburn's Bill Shakes continues to illuminate. His verses are a routine highlight, the loose vocab rhyme style delights with rhythmic creativity. Unfortunately no one else stood out quite the same. Many of these songs raps feel generalized, with the group kicking in feisty verses linked by tone but lacking a deeper thematic concept.

Ultimately, the bleak and eerie Simony entertains but creates a sense the gang could easily elevate their game. As mentioned, those superb highlights create a gulf from the bulk of tracks. In comparison, those cuts feel routine and unfocused. Despite this, Cult Of The Damned remain thoroughly entertaining and morbidly intriguing. 

Rating: 6/10

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

Dave Mackay "Three: Vol.1 [Los Angeles]" (2019)

 

Dear reader, you'll have to tell me if you've heard this before. I cannot shake this feeling I know the first two cuts from somewhere. My gut tells me these themes have been interpolated into a Rap song, or perhaps vise verse? Either way, from the instance I first heard All The Same, a shudder went down mine spin. Its six minutes of beauty start gentle, steadily crooning into gushing spell of melancholic delight.

Along the path, a matured Jazz architecture blossoms as the talented trio revel in the motifs drama, a radiant sunset, warm, enduring yet a sense of closure lingers in this bitter sweet moment, tilting to the later. Its an exquisite sound informed by deep musical understanding and aesthetic craft. This continues excellence with Outlines, a more subdued number, alluring and dreamy, it kicks off with a prominent rhythmic groove fit for a healthy Hip Hop sampling. The mid section ventures into a quiet realm, its deep hurried baseline murmurs a pacey strut with minimal accents placed above.

Foreign Transmissions has less of this magnificent charm. Its sleepy fundamentals get violently awaken by distortion rock guitar, warbling away with an Avant-Guard flare. This snarky lead is quite the abrasive juxtaposition, peaking with luscious organs synth swells, yet lacking gratification upon that union. Conceptually interesting yet in execution, misses a personal connection for me. Despite that, its first two cuts are ones to remember and enjoy again and again for time to come.

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

Emyn Muil "Elenion Ancalima" (2017)

Successor to the remarkably delightful Túrin Turambar Dagnir Glaurunga, Italian one man band Emyn Muil pivots their musical approach, searching for an epic adventure that doesn't grip me with the same intrigue. Structured by an intro and outro track, the meat of its thematic concept sits within three lengthy songs that limits the scope and variety explored last outing. With fervent stride, a sense of saga pervades, a struggle between forces climaxing. Uplifting theme of heroism illuminate melodies, tone and temperament resting in highlands stride, as tremolo guitars elongate its main motifs.

The Lay Of Numenore's drama and sense of scale plays vast but drifts from focus into mood and feel as repetition constrains this protracted number from blossoming. Ar-Pharazon offers a touch more as chunky guitar riffs break up the recycling themes. Far Umbar relieves itself of tensions built as the synth interlude doesn't find different grounds to land the song on. In general, the steady atmosphere of these songs simply linger, gradual shifts to subtle for action and theatrics that aid creating memorability.

The opener hits a fantastic note with a powerfully sung melody of adventure awaiting. Its closing track is the records highlight. Again, a voiced melody champions its merits as we slip into an Ethereal realm of sleepy synths and dreamy tunes blessed by misty singing through the distant airy fog, reminded me of Enya's music in ways. Elenion Ancalima is a fine, ambitious effort, unfortunately it didn't quite click with this listener.

Rating: 6/10