Emyn Muil "Afar Angathfark" (2020)

 
Emyn Muil's own epic Middle-Earth trilogy ends on a high note, coming full circle in a feat of utter mastery. The stars align as spirited composition and aesthetic vision converge across a mighty sixty eight minutes of galvanized Summing inspired magic. Making no strides to escape their shadow, the record revels in that Tolkien vision, perhaps giving melody a more luminous presence for most of these lengthy tracks.

With measured pace, carried along by the grandiose thunder of tom drums, these songs brood a steady intensity. Straddling orcish howls and snarling tremolo guitar, the clouds of darkness frequently part for good and glory to victor. Firm strings set a tone for triumphant horns to pierce the sky, as a whole cast of instruments dampen the rains with their uplift. Bells, Harps, Flutes paint warm color over grim Black Metal.

Infrequent but adored upon each arrival, a warm effeminate voice invokes a subtle natural crescendo. Her arrival often plays conclusively, at the end of a song or as resolution to the melodic emergence from darkness. Its a keen highlight alongside the adorning string sections which lay foundational chords for the fantasy to unravel.

Afar Angathfark is a stunning listen but does wear itself out with a couple of weaker tracks towards the end. It may suffer a lack of transitions and bold pivots, lacking events and theatrics beyond its musical foundations. Songs tend to stay fervent in stride, same pace, same shifts between the sides of its casts, often leading to fade outs. Despite that, its rich dramatic atmosphere reigns supreme. A peak achievement.

Rating: 8/10

Karmanjakah "Diamond Morning" (2026)

Diamond Morning's stunning display of summer soaked melancholy immediately perked my ears. Within awaits a power struggle. Extreme Djent antics face off against melodic Post-Rock aesthetics, creating a beautiful tangle of opposing ideals. Those often rapid polyrhythmic stunts the likes of fellow Swedes' Meshuggah would deploy, get eased into crawling unravels, a gradual cadence to revel in rhythmic elasticity.

Eyes Seeing Eyes exemplifies much of the records magic. Opening with tender expressive vocals and serene noir pianos, a vulnerable emotive atmosphere is set. In fly the low end guitars, juxtaposed by higher register tremolo picking. Thumping drums deploy the bare minimum groove in apt measure. This restraint allows a sway between extremities to scintillate. This song leads to one of the albums best moments, a climatic polyrhythm! Spanning multiple bars on a delicious leisurely pace, It illuminates the power of such rhythmic oddity when slowed to an accessible clarity.

Much of the records allure revolves around these brilliantly realized dynamics. A gorgeous play of bittersweet uplifts, oscillating between intense elements. On this luminous journey, acoustic guitars adjoin its softly pianos that rest over either lofty airy synths or dense enriching reverberations. It creates a luscious tapestry for angular Djent guitars to collide with on many occasion. Their drummers' orchestration of these key moments is utterly inspired. Its the glue that holds this chemistry together.

On a couple of occasions, the music breaks down into soft spoken acappella raps. Its casual vulnerability feels apt but plays rather underwhelming in the shadow of this gleaming construct. Its presence feels like a footnote. Diamond Morning concludes with a self titled trilogy of tracks, bowing out on a high for a record that ebbs and flows wonderfully. Every listens rocks and croons. Its been one of the most impressive listens in recent memory. Contender for album of the year in my journal.

Rating: 9/10

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

Trollslayer "Pharaoh" (2026)

 
Trollslayer! Another anonymous bedroom composer with high output. A possible deterrent in a niche scene sloshing in low effort records. Despite that, its two tone cover mystique and promise of "Desert Synth", akin to Ziggurath, lured me in! I have to say it, I'm firmly impressed. Temporal transformation and sandy sightseeing aligned, Pharaoh plays ones imagination well. Consisting of mostly ten minute cuts, these lengthy atmospheres dwell like drones that initially feel simplistic but across its duration, evolve and venture with a gradual pace befitting of travel on camelback.

Across the record a variety of compositional ideas play out on that steady movement. In its best strides, wildly cinematic strings bloom with culture and grandiosity. One feel a nostalgic chill from Lawrence Of Arabia. Dark Ambience and the lurch of foreign dangers get a spotlight, as does some subtle toying with distortion. Kordan's Maze feels so befitting of its suggestive title. Led on by dexterous snake dancing lute, a mysterious theme is set. I'm particularly fond of the low key exotic percussion which has some unmistakably familiar tones to my favorite of Steve Roach's work.

Its concluding lull and dramatic swell plays gratifying. The closer, Heart Of The Pyramid, is a messy playground of ideas. Initially, it feels like an Eastern adaptation of a Symphonic Black Metal architype. Shrill guitars are ripped out with enough murkiness in the synths to carry a similar energy. Really clever production. The song meanders through all sorts of ideas, a trove of creativity seeming like leftovers melded together. Either way, its really enjoyable as is the entirety of this niche record!

Rating: 6/10

Fingerspit "Minecraft: Chaos Cubeds (Original Game Soundtrack)" (2023)

 
Fingerspit's milder entry into an ever expanding Minecraft soundtrack plays cozy yet unsurprising as its familiarity to the existing cannon lacks a flavourful distinction. Perfectly executing a tranquil tone and tamed temperament, these five fresh footprints dreamily drift by, indistinct from the cloudy vapors of atmosphere they conjure. Soft and safe, these serene sounds saunter by indistinct and inconsequential. Shy yet tuneful instruments gently chime in. Cushioned synths, distant bells, melancholic pianos and the occasion percussive steel drums stealthily partake in its subtle swells.

Its on the new music disc, Bounce, where we hear personality peaking in. Emulating the quirks of whirly synths and hazy intentions, we wade familiar waters. The rhythmic section is where the track shines! Carefully subdued in texture and presence, underneath rumbles sharp snare shuffles, cutting crash cymbals and stuttering pedal grooves. A touch more progressive than I recall prior tracks. Its a nice contribution that, perhaps, could have been leaned into further. This lengthier thirty minute soundtrack is a safe fit for the game, yet wains by its natural acquaintance.

Rating: 4/10

Plini "An Unnameable Desire" (2026)

 
Plini's unrelenting mission to seek out utterly gorgeous music and push themselves as an artist is still firmly intact. An Unnameable Desire has been well worth the wait. Although drips and drabs trickle from his well of creativity, the arrival of this third full length solidifies the significance of its format. Clutched by the grip of its stellar forty minutes, we are spoiled to a melodic ooze of spellbinding songcraft. Spinning a dazzling harmony across many lavish instruments, Plini manages to tie core theme and lead voice together, guiding us through dense soundscapes of emotional swells.

Although much of his virtuoso voice remains expressive upon similar motifs, the avenues taken still feel fresh and vibrant as this colorful Progressive Jazz Fusion Djent returns with only a couple of embellishments. A notable lean into an aggressive metallic side sees restraints lifted. Harder grooves, denser walls of sound and the occasional purely riff driven momentum, like the opening of Manala, catches ones ear keenly. So to does a deeper layer of sound emerge. Quite often subtle electronics and arpeggio alike guitars nestle themselves into the quieter spaces. Among with an expanding arsenal of instruments, it feels like an extra layer of gloss has been applied.

If the record lacks anything, perhaps a surprise beyond the anticipated scope of Plini's style would have been nice. That lean into harder metallics was nice but also an area I'm all to familiar with. Lead guitars felt a touch flashier than usual. More moments of synth and strings would have been welcome. They are often used as bridges between the main themes. All this is said with tounge in cheek, seeking minor quibbles among a sea of resonant excellence. An Unnameable Desire simply does it yet again. 

Rating: 8/10

Këkht Aräkh "Morning Star" (2026)

 
Emblazoned by the merits of early 90s Black Metal spiritual reincarnation, a highly anticipated Morning Star disappoints this impatient listener as Këkht Aräkh pivots hard to a niche flirted with on prior outings. I'll do this one this disservice of over simplifying its ambition as fusing "sad boy" Emo vibes, something I lack a ironic emotional connection with. With streaks of sombre acoustic guitars and tender, wounded singing, the record is strewn with tinges of sadness flavoured by self indulgence.

Although the grisly shrill guitar tones, growling vocal shouts and pattering drums meet it halfway, its melodic wonders hinge firmly on this motif. In fairness, this stark union feels apt, cohesive and natural. At times, its soft moments feels adjacent to the Tolken-esque fairytale. Subtle synths, plucked melodies and heathen singing fit for one of Black Metal's frequent inspirations yet attuned to this different intention.

With a reasonable fifty minutes, variety comes sprinkled throughout. Frequent pivots and crossovers play out between its opposed ends. From dark raw rumbles to Nordic Folk energy, it has a lot to offer. Ultimately, I have to step back and simply remark this one wasn't quite for me. Fresh Black Metal is tired on this old soul and unless somehow evoking that ancient magic, it will fail to ignite my darker curiosity.

Rating: 4/10

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