Moonlight Sorcery "Horned Lord Of The Thorned Castle" (2023)

 

I only have praise to bestow upon this glorious union of two distinct sounds I adore. Moonlight Sorcery, a fresh faced act from Finland, bring together the melodic guitar virtuoso spirit of Maiden inspired 00's Melodic Death Metal with late 90s Scandinavian Symphonic Black Metal. Led by the nasty throated howling scowls of Ruttomieli, their rather colorful musically dexterous veneer gets "eviled" up alongside a ceaseless percussive battering from the restless Tommi Tuhkala's ruthless grooves.

If these two elements were toned down, Horned Lord Of The Thorned Castle would be quite the melodic adventure. Possibly gaining a large slice of accessibility for those not comfortable with such intensities. Its everpresent lead guitar spritz dazzles every song with a tuneful voice, a metallic melody of unending expression. Its use of certain scales and motifs gives the record an overall theme. Feeling like reoccurring phrases and ostinatos. A huge compliment to the consistent vibe that entertains front to back.

Fortunately for those attuned, Its extremity does not overpower the melodic might. Thus we embark on a perfect storm for ferocious dark magic to cast its spells. With chest held high, the spirit of adventure never wains yet sways in tandem with a glorious, sword raised, charge of war field battle music. The duels of dance never ends as lead guitar raptures soar between engulfing roars of instrumental intensity.

The endless virtuoso, seemingly orchestrated by multi-instrumentalist Loitsumestari Taikakallo, is a masterclass in songwriting and expression. His performances both on lead guitar and keys remind me fondly of Children Of Bodom's best hooks. Despite such a strong link, this bands character is unique. I can barely find a blemish in sight.

Every listen feels like a blessing. Closer track Into The Silvery Shadows Of Night masterfully wraps up the record with its lowered tempo and epic, conclusive melody. Its followed by one more, Suden Tie, which feels like sudden a jolt back into the mix, dispelling that classy end that felt just perfect. An odd choice for the records flow.

The vocals might go a bit hard for some, they certainly strike me as more of a tolerance than indulgence. It just becomes a part of the tapestry as one becomes accustom to Moonlight Sorcery's aesthetic. Horned Lord Of The Thorned Castle is such a cracking debut. One of the most enjoyable Metal records in recent memory. It doesn't break any new ground, simply a brilliant execution of excellence.

Rating: 9/10

Heriot "Devoured By The Mouth Of Hell" (2024)

Deep from the depths of metallic stagnation comes a rapid fire record I would have swiftly passed over if not for catching Heriot's energetic live performance. Devoured By The Mouth Of Hell also received some critical acclaim, convincing me to give it a proper go. I'm left convinced the Metal scene is lacking fresh innovation, as the genre matures into its sixth or so generation of existence, where does it venture next?

Described by Blabbermouth as "post-everything", one can hear a slew of subgenre ideals getting picked apart, then reassembled in this beastly collection of spiteful aggressive slogs. Focused on a mood of rage and tone of dread, its often a lurching background synth or atmospheric guitar distortion that glues together a songs identity. In barrels rumbling barrages of barbaric sound, dense with roaring bass but often devoid of much beyond amassing a terrifying textured vehicle of assault.

Thus its ten tracks aimlessly roam a desolate wasteland of destruction, sporadically lashing out in any available direction. Conceptually, it does sounds brilliant but in experience, most its songs lack a true musicality to latch onto. The dialed back, sullen Ethereal gloom of Opaline packs a genuine punch but its one cut from the many. The so called "post-everything" feels like a intentional choice to skirt prior conventions in search of something new. Only in brief glimpses does this search connect.

Rating: 4/10

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

Allan Holdsworth "Secrets" (1989)

Here's one for the record keeping, an entry which I couldn't possibly comment on its relevancy to late 80s Jazz Fusion. As a passing fan of the genre, Secrets has been a pleasurable soothing mood setter, one I discovered through reading on Fredrik Thordendale of Meshuggah. You can clearly hear a bold influence on his zany alien guitar leads. Allan lays a foundation for the dexterous dance of swift notation, a flashy guitar virtuoso seemingly orchestrating its charm through an arcane balance of tension and resolution in motion. Melodies drift by, casting spells through norms and a familiar charming dissonance that Jazz music loves to explore in earnest.

Allan finds a particular curiosity theorists could easily dive deep on, exploring odd tensions and easy tunefulness across eight tracks fitting of the decade. Slightly cheesy in its glossier incarnations, yet devilishly engaging from a performative perspective, these are dazzling displays of creative genius simply swirling in the magic of the moment. Its softer touches lull into the decades tropes whilst its musters of momentum mesmerize on a rousing journey to the unworldly stars above.

The record has variety within its tone, lending the spotlight to other instruments and singers on occasion, keeping dynamics in healthy motion. Opener City Nights is the standout track, one that packs a heavy lead guitar punch. A self evident influence on the aforementioned, as well as some bands I've listened to in the Progressive Death Metal scene. Secrets has been an impressive find to treasure, one that suits my tastes and further illuminates the rich tapestry of music and its many, many overlaps.

Rating: 8/10

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

Matte Blvck "Vows" (2024)

 

My allure to this record arrived through Midnight & Angel. With tender voice, tight electro percussion and nightly synth melodies, this song conjured a kinship to Black Celebration, a record I adore and have always wanted to hear more of. Vows delivers that magic in moments but between its flushes of human emotive touch comes a mechanized industrial delve into aesthetic and groove that leaves a bold impression.

From Electro-Industrial to Noise, Synthpop to Darkwave, the California trio Matte Blvck command a spectrum appealing to both pop sensibilities and challenging aggressions. These songs revel in sharp potent synthetic aesthetics, assembling a gorgeous yet dystopian soundscape. Its vivid, striking, a crystal clear exploration of darkly futurist sci-fi imaginations, reflective of the modern state of music production.

The records structure is impressive, voiced tracks alternate with instrumentals that lean on percussive might and groove. Serving as shows of force, they signal talent, craft and care as its magnitudes shift focus. As a result, the album experience wins out. On the journey through its visions, strong touches of Synthwave, Techno, Trance and even a whiff of 90s Big Beat emerge. Vows is simply a delightful exploration of expression. A trove of treasures to return to and enjoy again. Truly impressive.

Rating: 8/10

The Firm "The Album" (1997)

 

Why did The Firm flop? Led by Dr. Dre's evolving production, this Rap super-group failed to garner merit from fans and critics alike. With three decades of distance amassed, not even nostalgia for classic 90s Hip Hop elevates its status, a mostly forgotten and overlook East-West collaboration with aims to end the rivalry.

Firmly rooted in concept and execution, The Album delves hard into Mafiaso Rap, a subgenre then in its prime. Chemistry between artists isn't its downfall. The concepts explored perhaps lack depth but my gut tells me they leaned to far into this Mafia lifestyle inspired motif. Its better tracks share something in common, a narrative. The best lyrical strides come through occasional story telling, leaving the bulk of the album recycling lifestyle braggadocio picture painting rhymes as its main thematic reflection.

The Album does give one a curious window into Dre's evolution. These beats pop off with snappy percussive drums, slick suggestive instruments, assembled tight and precise. For keen ears one can heard the aesthetic foundation for his classic 2001. Five Minutes To Flush slaps with a hard gated reverb bass kick. It recycles the synthetic vocal tricks heard on California Love. Firm Family share a spirit with Jay-Z and Memphis Bleek's Coming Of Age. I love hearing these links in Hip Hop records.

At the time, the star studded cast probably cast a big shadow of expectation. Revisiting this decades on with out any presumptions, a fair and competent record emerges. Armed with a diversity of beats for one to pick favorites, it ultimately lacks substance and depth in lyrics content, painting gangster portraits with predictable rhymes. As suggested earlier, it leans to hard on a single concept, lacking hooks and concepts to back it up. If you're not a fan of Mafiso Rap, this will be a tough sell.

Rating: 5/10

Old Sorcery "The Outsider" (2026)

 

It turns out that the twenty minute epic Magick Truimph was not a lone anomaly but the lead single and opening track of this fervent march into the mystic chills of synth laden Black Metal. An attentive individual may notice the link in title and cover art framing with last years The Escapist. That album ended with a brief flush of distortion guitar, suggesting another link into The Outsider, a meaty seventy plus minute plunge into sways between aggressive metallic mania and occult esoteric offerings.

Barrowgrim Asylum plunders one extreme, a cold chromatic track toying frightening hellish cries from the void with cheesy horror key tones. Innigkeit and The Pain Threshold serve the other end of this diabolical spectrum, soothing yet mystic synth interludes, evoking curious atmospheres of arcane and sequestered secrets.

The records best resides where these two ends meet. The Interior Gates Of The True Soul offers up delight when its Berlin School lead melody infuses the dark ravenous blasting with an emotional through line. Suddenly the music illuminates as some sort of 80s Synthpop vibe makes its resonance with a bi-polar opposite known.

Where Sorrow Reigns is my absolute favorite, a throwback to late 90s Symphonic Black Metal. Its seemingly dense foray of darkness opens up a third of the way in. Jovial piano keys call out from a carnival of chaos. Its following grooves infuse symphonic wonder and stoke the flames of greats, like Dimmu Borgir, Emperor and Arcturus that came before. A simple wonder for this fan of that particular niche.

In essence, The Outsider is an entertaining exploration of tried and true extreme sounds, armed with peculiarities and inspiration to bring moments of genuine freshness. They are however, somewhat sparse. With competency and passion, this record plays with an excitement hard to come across these days. Its interesting to see artists shift direction but this is a somewhat retroactive pivot to enjoy an old craft.

Rating: 7/10

Apashe "Renaissance" (2020)

Stunned by its impactful predecessor Antagonist, Apashe's debutant Renaissance lingers in a shadow yet cast, a cruder amalgamation of Classical eclectic crossover with an urban grit. I'm shocked to learn its taken me two years to follow up on this bespoke Baroque bombast, a riveting union of classic aesthetics produced with hard hitting heretic percussion. Three years its junior, on this outing, one can hear a vision yet to craft a cunning to evade listeners from overt dissection of its element1s.

Thus the seams of ageless string sections and renascence orchestral tonality peal, riding upon rigid waves of obnoxious, dance floor pounding beats. Leaning into its own absurdities, stints of slickness unravel as tight, lean instruments, polished to a fault, create walls of stark rhythm. Its modern, flashy, often devilish when bass drops echo the vulgar machinations of Dubstep. Fortunately, this execution caries itself well.

With its foundations firm and fair, the record benefits from a routine cast of guests brining much need distinction to these numbers as several instrumental ideas get recycled. Insane catches my ear as a keen collaboration, veteran rapper Tech N9ne lending credibility to a crudely demonic instrumental. His snappy flow outshining the all to sinister obvious drop arriving past the songs midpoint.

You'd be hard pressed not to find some enjoyment here, however the evolution in sound tainted my experience. The craft will evolve however at this point of inception, the ideas are keen and potent, explored with a vision evoking intrigue and curiosity. My biggest takeaway is a renewal of excitement for what Apashe will do next!

Rating: 6/10

Poppy "Empty Hands" (2026)

Keeping up the impressive pace, Poppy swiftly returns with her seventh full length album. Empty Hands is another amalgamation of Alternative Metal, Pop Metal and Djent, emulating the modern scene, still struggling to surface an originality to call her own. Consistency strikes well in the album's opening half, a firm grip on bombastic guitar tones paint dense atmospheres for her singing to cut through. The opener Public Domain chops this up with a blatant ohmage to Manson's 90s Industrial style.

Diversification unravels in its second half, Eat The Hate delves into revival Grunge. A well executed song that cant quite escape her presence. The Wait, Blink and Ribs toy with Electro Pop beats and dreamy Synths, a vibe switch up I can't help but feel is closer to Poppy's voice as an artist. This is my gripe with her persona in the music, the instrumental influences of Metal and Alternative don't meld with her expressions.

On the vocal front, she is certainly working on the aggressive intensity of her shouts and screams, amping up the energy with crude throaty roars on brutality tracks Dying To Forget and Empty Hands. The latter plays a vibrant meaty Metalcore number spliced with a Pop Metal chorus. Empty Hands containing throwbacks to the late 00s Deathcore scene, peaking with an ever cringy and hilarious bree pig squeal.

Most likely thanks to switching songwriters, Empty Hands has been the easiest of her records to get into. Despite that, I still don't feel a strong connection between voice and instrumental that has been a continual pain point across her records. Its the same issue that lets these songs fade from memory, so I'm left with a familiar sense of enjoyment in the moment, but no idea which tracks will stick over time.

Rating: 7/10

Zander Parks "Light Years Away" (2025)

A casual obsession of recent weeks, Light Years Away presents itself as an emotive exploration of life's many journeys. Personal, pensive, thoughtful lyrics navigate poetic expressions with a touch of maturity. At a meaty fifty plus minutes, its twelve tracks traverse an Alternative Rock landscape, dipping into Post-Rock and Folk Rock. A flash of Glitch in opener Machine, lesser so on Vastness, alludes to a modern "in vouge" sound that swiftly gets drowned out by a more traditional song writing approach.

Leaning on the atmosphere conjured by its instrumental textures, these numbers craft melancholic moods fit for softly sung words tackling, struggle and regret. The duo exchange a spotlight, offering tender relief, channeling human motions into storeys. Our unnamed effeminate companion takes center stage for most of the record but its best runs evolve from the exchanges where voices crossover in smooth duality.

Its best cuts, Event Horizon, Letters To Nowhere, Voltage and Leave The World Behind, all share something in common. A musicality that ebbs and flows, swelling into theatrical through lines that punctuate a songs intent. Its gratifying in comparison to the rest of the music, which tends to lingers on calmer energy, not quite finding a suitable climax to peak its intent.

Far from perfect yet brilliant in its channeled focus on songwriting, Light Years Away serves as a set of beautiful expressions. Its compositional chemistry exploits dynamics, texture, atmosphere and tone from a varied cast of instruments. Perhaps a detractor is the lack of potent melodies to settle in like earworms. Much of that role comes from the hooks which leave a firm impression. This is a firm record well worth ones time, I'm sure you'll find a few favorites among its cast.

Rating: 7/10

Master Peace "How To Make A Master Peace" (2024)

 

Cruising by on sing along anthemic vibes, Master Peace's debut delivers a riot of carefree youthful energy, an unapologetic love letter to the highs and lows of responsibility free young adulthood. Powered by gritty baselines, sharp rhythmic chops and catchy guitar riffs, their brood of Indie Rock echo's a spirit the best of Britpop once had to offer. Blur's Park life comes to mind, with many of these lyrics cutting resonate insights into modern British life. So to do melodies and grooves also evoke vague memories from our countries musical history. More notably, a few familiar The Prodigy synth tones crop up on its aptly integrated Dance Rock numbers.

This is all high praise, without a touch of plagiarism, Master Peace writes a new chapter of British Rock, every track hitting with an infectious intent. The song-writing is class, tight catchy songs with purpose. On occasions they play rough around the edges, peaking instruments ruffle the feathers with a shirty attitude. As the singer, Peace handles the grit and sleaze of shouty, loud speaker hooks, pivoting to smooth tuneful singing and all in between. Swaying between obvious influences, Indie Rock, Punk, Dance Rock. Soft flashes of Shoegaze, EDM and UK Hip Hop add to the mix, a fun upbeat party concoction, both serious and cheeky. A good listen front to back.

Ones personal taste will influence the album experiences topography. The warmth of Panic101, Start You Up and Happiness Is Love were peaks. Shangaladang and its reprisal Santiladang were valleys. I could see what they were going for, just not quite my cup of tea. How To Make A Master Peace is a fast and brief record, a half hour of power totally worth checking out if you're fond of British sounding music.

Rating: 8/10