Enya "The Memory Of Trees" (1995)

This could be my now established familiarity with Enya's remarkable music but The Memory Of Trees has a touch of "by the numbers" to it. The overall flow reveal a familiar structure, uniformity and similarities in songwriting find footing in cadence to that of other records. Anywhere Is has that playful tropical jollity to it, a charming track none the less. Pax Deorum takes an early dive into the dark side, conjuring echoes of Mordor war drums in the deep to guide its foreboding menace. A brief resolution of angelic respite emerges before plunging back into the fantastical devilish demeanor.

From there, the album drifts through its calmer sentiments. Endearing voice and string harmonies, emotive piano compositions and touches of childish joy on tracks like Tea-House Moon. That familiar mix of English, Gaelic and wordless singing guides the way. Ending with On My Way Home, that and the hymn-like Hope Has A Place strikes with an uncanny sense of Deja-vu. Surely I've heard these exact ones before?

Its a strange sentiment to emerge from an otherwise thoroughly enjoyable record. A stagnant moment from a musician in peak stride. Not something to complain about. The Memory Of Trees is a luscious listening experience, a craft of pure inspiration but seemingly the same inspiration, leaving me with a lack of fresh vocabulary to expel despite being enthralled once again, another wonderful chapter.

Rating: 8/10

Drudkh "Shadow Play" (2025)

 

As one of the finer Black Metal acts from decades gone by, Ukrainian outfit Drudkh's part natural, part mystic has always held my curiosity. Shadow Play marks a welcome return unmarred by the death of drummer Amorth, victim of the ongoing war. Somehow, life goes on and the band from the oblast continue with their earthly craft.

Released earlier this year, I held onto the record, knowing it would have its opportunity to strike a nerve. That moment has come hiking in the Austrian Alps. Stunning mountain ranges, blanketed in towering trees, mother natures beauty, entangled in the harsh reality of survival. Its all I see in this mighty conjuring of earthly Black Metal.

Opening with Scattering The Ashes, what I'd assumed was the sound of rustling leaves, arrives adorned by a lone morose synth note and depressive guitar chords. It sets a glum tone to be upturned as April drops us into a perpetual momentum driven by its galloping double pedal drum grooves. Tremolo guitars shred slow descending melodies alongside a brooding lonely synth to unite its esoteric, earthly tone.

Shrill screams cry out and haunting howls drop in at routine intervals, all the hallmarks of a now customary formula too familiar. Its in the back half of the record, Fallen Blossom, The Eve, The Thirst, that atypicality becomes exceptional. The balance of esoteric darkness, natures verdant muse and contemplative moods fines its stride.

Some combination of its elements bestowed one with an awe complimentary to my reverent surroundings. Perhaps it was the latter that let me connect with the music. Either way, I felt the ethereal earthly rumble of this primal music as its battering aesthetic droned away, letting the subtleties of its shifts take form on its lengthy songs. The union has created some wonderous memories of breath taking views, only to be relived though the music at a later date. Something felt but this time seen.

Rating: 7/10

Lorna Shore "I Feel The Everblack Festering In Me" (2025)

 
Current darlings of Extreme Metal, with a swiftly growing popularity, Lorna Shore seem poised to take off. This second incarnation with iconic vocalist Will Ramos serves as a monument to their craft. Laying in wait, over an hour of scorched earth fury blazoned by gleaming symphonic melodies. Trading blows between pelting drums and ever tuneful guitar leads, epic themes of rapturous adventure and embattled mythos collide in a theatric spectacle. Strangely reminiscent of Fantasy themes and Power Metal's melodic focus, Lorna Shore deliver on an engrossing darker Orchestral vision of extremity, the likes of which Dimmu Borgir once lit the path forward.

As a mood, this is an enthralling listen. The music swings and swells between varying intensities, ever led by this triumphant unison of symphony and lead guitar wail, a glorious expression that often feels like a singing voice given Ramos' roll as a gutteral screamer. Its a beautiful construct, gallant and uplifting, capable of traversing all terrain. Oddly, as the record endures, its nature starts feel repetitive, as if a single melody keeps re-emerging. This strips identity from its songs. Defining points and motifs become blurred by this reoccurring tone, which overpowers other ideas.

 In a similar counterproductive vein, over the top Post-Deathcore breakdowns conjure a similar lack of identity. Spurious eruptions of groove less, shuffling monotone guitar barrage and gravity blast beats make potent housing for impressive feats of utterly foul, deathly gutteral howls. Ramos has made a name for himself with this new level of ridiculous texture wrenched from his throat. Sadly, there aesthetic might lacks a bite as the breakdowns mostly amount to differing configurations of the same ideas.

I Feel The Everblack Festering In Me passes one by as a wildly captivating listen, yet lacks the hallmarks of good song writing to nail an identity in ones mind. The aesthetic lavish of its extremities and symphonic offering are a delight but it only extends so far. War Machine is a lone track that feels distinguishable purely because it pulls back from the aforementioned lead guitars. In its absence, some rhythmic assault and toned down symphony gives it much needed distinction in the runtime. No doubt many will love this but for me a vital component among their chemistry is still missing.

Rating: 7/10 

Enigma "Le Roi Est Mort, Vive Le Roi!" (1996)

Album number three, Le Roi Est Mort, Vive Le Roi! arrives an amorphus evolution of previous ideas. The prior potiency of Worldbeat dimishes as global cultral sounds subside into a stagnant midtempo troth of dreary passing moods. Michael Cretu takes the role of frontman. His milder vocals, slightly strained, strip the music of impact. Aiming high but landing short, his attempted grandiosity and questions of “im asking why” shys from evoking the deeper resonance these songs are searching for.

 

Meddling instrumentals noodle around with slugish atmospheric synths over dulled Woldbeat and Trip Hop percussion groves. It evokes mildly etheral vibes, somewhat contemplative but rarely do they peak or summit upon a destination. These songs simply circle on themselves as various instruments or vocals chime in on these travels. The moods conjured are dreamy, relaxing and indulgent but mostly as drifting emotions, passing one by. You could give your full attention to them… or not.

 

Thus many of Enigma's once impactful deployment of Gegorian chants, or the inclusion of dramatic female warblings, fall to is medicore persuasion. This third chapter isnt awful but the exicusion of its now established ideas end up drifting through routine, droning percussive loops. This religates a somehat decent round of listens as the novelety somewhat wears off. I now lack the appitite to return again.

 

Rating: 5/10 

Enya "Shepherd Moons" (1991)

 

Understated yet sublime, Enya returns with a seemingly subdued take on her previously adventurous, occasionly tropical music. Shedding the New Age traits, she hones in on deeper, humanist inspirations. Clearly inspired by Irish herritage, voice and instruments form a union around the spirit of Folk hymns. A harmonous, intimate tone emerges, capturing a spiritual connection through seeming but deceptive simplisity. Stripped back composotions commonly pair strings and pianos, laid bare against Enya's exemplary voice. They strike at the heart of a songs intention, without the melodic garnish and fluffy fanfare that could easily slip into these compositions.

Thus Shepherd Moons almost seems broody on first encounters. A lengthy foray into atmosphere over immenence. Regular intervals linger on these minimalist passages, maximized by the aesthetic claritty of immaculate sounds suspended in gentle, spacious reverbs. This approach leans into the spirtual sentiment, a soothing breeze of mortal meaning, profound and almost devine in its church hymn nature. So to does her singing in Gaelic evoke that emotive power found in traditional communal music.

 Describing the magic of Enya's voice is such a feat. Words evade yet a prevailing sentiment remains. She seems like a muse unto herself, channeling heavenly inspirations to a humane destination. Learning of her seclusion from the lime light and reluctance to perform live elevates this mythos. Citing she cannot do her carefully crafted songs justice, I end up with a sense of finding perfection that works.

When her voice graciously drifts over adorning strings or moving piano chords, its simply wonderous. So often she arrives in different measures, from gently singing words, to humming tunes and many places between. Layering melodies and chanting like choral synths, it all comes together with a touch of divinity. On this incarnation, it all flows like a river of time, continuously flowing, giving one a dose of tranquility.

Rating: 9/10 

Ho99o9 "Tomorrow We Escape" (2025)

Where once a clear vision of anarchic rebellion stood fulled by societal frustrations and obligatory anger, Ho99o9 have descended into an exploratory realm of their own identity. No longer a rattling urgency pervades these abrasive constructs as tangents diverted from rage lack a chemistry to invigorate like their prior anger anthems do.

 

Half the songs, like Target Practice, OK, I'm Reloaded, Tapeworm, LA Riots and Godflesh, conjure the best of this duo, uniting dirty Punk power chord abuse with snappy mosh rhythms and gritty electronic noise abuse. So to do there attention grabbing lyrics and social-political themes echo the bands better material.

 

In deviating from their sharpest formulae, some ideas clearly echo others. Escape captures somewhat of the in vogue Turnstile soaring spirit. Psychic Jumper's jittered rhythm, quirky synths and feverish singing reeks of Tyler The Creator. Immortal's collaboration with Chelsea Wolfe sounds like two separate songs mashed together.

An improvement on Skin, Tomorrow We Escape is all listenable, enjoyable even. A fair record full of variety, mood shifts and interesting compositions. Whats lacking is that shock value, a hit of adrenaline, the spurious venom of urgency that defined previous albums and EPs. Their ideas were once fresh and original. Now feeling worn in and lacking suprise. The new efforts between those familiar grooves simply mediocre.

Rating: 5/10

Enigma "The Cross Of Changes" (1993)

 

In a pleasant surprise, it seems this assembly of musicians was no fluke. Evolving from MCMXCa.D., the group lean further into the Worldbeat sound, shedding some New Age vibes as striking a nerve with indigenous chants on a familiar Return To Innocence, another commercial hit preserved to memory through its recurrences in movies and adverts. Its a stirring union of loud, crashing, Hip Hop influenced drums and ritualistic cultural vocal chants. On paper a contrast, in performance an easy pleasure to take in. Oddly, its character stands apart from the rest of the record.

The Cross Of Change is mostly a moody, esoteric voyage through ambiguous avenues. Contemplative atmospheres, soothing in nature yet softly melancholic and mysterious. The archaic airy synths and subtle choral voices of its openers lay this foundation. Driven forth by drum machine grooves the music expands with drifting samples and instruments fleshing out its linear nature. Briefly interrupted by the aforementioned Return To Innocence, we then plunging further down the rabbit hole.

I Love You... I'll Kill You plays a remarkable pondering on loneliness. A darkly sorrow song, achieved without the usual hallmarks that often evoke such darkness. With Silent Warrior, we hear the Phil Collins influences again, punctuated by gated toms lifted from Genesis's Tonight Tonight Tonight. Its unnecessary but it fits in.

After Age Of Loneliness works its way through the established conventions that make up its identity so far. Out From The Deep serves as a closing pivot, drawing uplift and reprieve from the heavier themes. Deploying Eric B's classic sample of The Soul Searchers drum break, it barely manages to make sense as the music links up with a grandiose Glam Rock guitar solo. The Cross Of Changes then too pivots its synths to bright glossy chords, like the sun breaking apart storm clouds after the downpour. All in all, a strong record with a curious vibe to get lost in, if that's your cup of tea.

Rating: 7/10

Enya "Watermark" (1988)

 

A Day Without Rain made quite the impression, Watermark has a similar revelry in the sublime. Released twelve years prior, Enya's musical philosophy seems more remarkable for a decade often marred by cheesy Glam and cheap Synthpop. Her adoration of harmony through voice and traditional instruments plays out on contemplative compositions. Performed via keyboards, the production handles their synthetic nature expertly, one could be fooled into picturing her with an assemble of trained musicians orchestrating these deeply emotive songs.

Swaying from the imaginative, colorful throws of New Age, into cinematic scores of sentimental stirrings, Enya graces us with a range of humanist emotions. Evoking sentimental pondering, themes of beauty, love and warmth caress by. With ambience and a touch of gloom the scenes painted occasionally slip into a melancholic haze, a curious space of gently handled sorrows. So to our there flushes of exuberance as worldly sounds usher in colorful strides of adventurous melody.

Each idea feels nurtured and understood, expressed expertly as dense orchestrations of instruments play alongside lone piano pieces and minimal compositions. Through it all, her soft soothing voice sings as a guiding light. Occasionally drifting into the scenery itself, she becomes more of the melody than words uttered. Its a delight how she is always in equilibrium with the varying temperaments explored.

Then there is the case of Orinoco Flow, an explosion of exotic, tropical delight. This song was a huge hit and still sounds fantastic today, as if it exists in a space of its own. Interestingly, the dialed down, meditative ambience of River with its quirky bass aesthetic almost sounds like an echo of that track. Perhaps the link between these two songs lies in a similar aquatic sentiment felt.

Other highlights include the dramatic The Longships and a darkly epic Cursum Perficio. Giving the track listing a little more attention in my closing remarks, the oceanic theme seems all to obvious now. No doubt I'll give it more attention on future listens. This ones a gem I'm sure will only grow closer to the heart with time.

Rating: 8/10

Enigma "MCMXCa.D." (1990)

Catching my ear through the Spotify playlist shuffle, a curiosity was peaked given its early release date. This both felt and sounded like a missing link in the tapestry. A convergence of New Age and Worldbeat, at the alter of 90s drum machine aesthetics from the emerging House and Dance scenes. Before, I've covered similar evolved vibes from En Voice, Dead Can Dance and most keenly Delerium. This one swiftly clicked into place. Research revealing its position as a pioneering record, with surprise commercial success for these relatively unknown German-Romanian musicians.

The record has a trance like meditative presence. Easy listening, as its Dance rhythms gracefully drift through soundscapes of worldly atmosphere. Loaded with samples, spoken lyrics, Ethereal synths and keyboard instruments jostling New Age melodies. It forms an evocative collage of complimenting aesthetics suggesting deep and slightly esoteric themes about the human experience. Best of all, the inclusion of Gregorian Chants aids in playing up the ever present sense of spiritual significance.

Highlights include the mini epics Principles Of Lust and Back To The Rivers Of Belief. Both venture through lengthy song structures, packing a lot of intrigue as their powers hold over the listener. A shorter four minute piece, Callas Went Away, catches the ear with an even touch of plagiarism, as its subdued tom drums and lonely atmospheric synths clearly borrow from the timeless Phil Collins mega hit, In The Air Tonight.

The rest of the music falls into place around these key pieces. MCMXCa.D. is a soothing experience from start to end. One to return for, in need of these worldly spiritual vibes but with a touch of pace from its classic Dance drum machine patterns driving the music. I'm glad I stumbled onto it. It seems they had continued success with the following few records, which I may just check out next.

Rating: 7/10

Sabrina Carpenter "Man's Best Friend" (2025)

Striking while the iron is hot, Sabrina swiftly turns around another record. Leaning further into Country vibes with a competent arrangement of tracks, its the subject matter that dominates the albums tone. To a lesser extent, the cover art also provokes similar questions as to whats going on here. The devilishly flirtatious, mildly edgy nature of Short N' Sweet has its charms, elevated by fun instrumentals and joyous hooks. Man's Best Friend skews away from this chemistry. The Country roots less to my liking and its lyrical content slipping from cute and cheeky to crude and cringy.

Artistry is a curious interaction of intention and interpretation. In an attempt to be charitable, one could suggest a lack of context is available, however these things should make themselves self evident in the performance. I'm not sensing substance behind the provocative. No philosophy, food for thought or reflection thrust upon the listener to challenge perspectives. Sabrina's lyrics simply come off as shallow and childish, saying that which crosses the line simply to cross it. I'm all for artists challenging norms but there needs to be an actual reason behind it.

Thus Man's Best Friend tests once tolerance as mediocre Country music rubs up against a care free Sabrina dialing up her overtly sexual persona. Her words drift from cheeky to questionable. At times, this reach for shock value paints an unfavorable image of her values when it comes to relationships. If there is a point being made here, It went right over my head. Tears is the one track I'll come back for. Its Disco groove and comedic hook is crude but mostly plays as harmless fun. 

Rating: 4/10

Skepta & Fred Again.. "Skepta .. Fred" (2025)

The title along says all it needs too, advertising an enticing collaboration between two big UK artists. Dance/House producer Fred Again.. and veteran Grime MC Skepta, a voice I've not heard in some time. I was hyped but to be frank, this mostly feels like padding for the killer track Victory Lap. Hard hitting and obnoxious, its gritty groove rocks off the bold synth baseline and tight drums. Kicking off with a wild monotone hook, the fast vocals chop and change with Skepta filling in a pair of atypical verses.

 

With a sense of adventure, Fred transitions through the first four tracks. Starting with a dirty Grime beat, steadily blending in his signature vocal snippet tunes and touches of House atmosphere. These are tricksy, intricate instrumentals, layered with intimate textures. By Last 1s Left we are fully submerged into the club vibes, holding onto a mysterious urban darkness. 21 Years sheds that Grime hangover, while his partner in crime leans into the sound harder than ever. Its as if their ideas don't quite align.

For me, Skepta is the weak link here. His confident persona an entertaining one, yet his cutting flow and slang laden rhymes feel predictable and aged, lacking a spark of freshness or urgency. Its acknowledged on the aforementioned track, referencing the unchanged nature of this now classic London rhyme style. Aesthetically, the two have chemistry but the overall mood feel somewhat off bar the powerful Victory Lap.

 

Rating: 4/10 

Prince "Purple Rain" (1984)

With his legendary status firmly intact, jumping into an extensive discography such as Prince's can be daunting. Why not simply start at the peak? After all, Purple Rain is a frequent on top albums of all time lists. I have no excuses for how it took this long to get around to such a classic record but now, I am fully converted. I adore the genius that is Prince, a musical virtuoso channeling his extensive creativity for our pleasure.

 

Kicking off with Let's go Crazy, a clunky drum machine, soft organ keys and Hard Rock guitar licks whip one up into a feel good frenzy. Let your hair down and rock out! Immediately you'll sense eclecticism as each instrument plays like the lead, flashing its vibrancy through a range of influences that will only expand as the record grows.

 

Quite often Prince sings at equal measure to his instrumental pallet, becoming a part of the artistic canvas. His range of temperaments and techniques keeps each track feeling unique. However, he periodically finds apt moments to simply erupt and ascend to the limelight. His remarkable venture from soft tearful vulnerability to an outcry of raw passionate screams on The Beautiful Ones is just unforgettable.

Given my love of Metal, Compute Blue is an unsurprising favorite. Starting out with a plastic assemble of janky synth riffs and funk groove, its unusual charm suddenly pivots into a riot of slick metallic guitar shredding that ticks all my boxes. On paper, its quirky aesthetics and union of genres, including some Prog Rock vibes, shouldn't work. Its a common theme, Prince's compositions bend the rules of convention.

Darling Nikki is fascinating song. Toying with minimal elements, Prince lays out the thrills of his sexual escapade over bare instruments. Building to dramatic swells, his emotive singing follows suit, soaring into another screaming eruption of sensational energy. Alongside big synth stabs, a rapid fire double pedal drum groove rattles the cage. Another example of stitching oddities together with powerful persuasion.

 
A few more cuts roll by, delving into 80s moods better than most have done it. Its a notab aesthetic fit for the decade, however Prince's song writing survives the tropes and cliches. His musical indulgence into the range of these drum machines and chirpy synthesizers ascends through his fantastically adventurous and fun song writing.

Of course the record ends at the alter of an epic. Its title track Purple Rain needs no introduction, a nine minute embark into what I can only describe as beautiful sorrow, the sadness of great loss permeated by the subtly of its spiritual church organ tone. Crescendo' by his crooning howls and glorious guitar leads, the music eventually sees itself out through a wonderful deconstruction that has strings and pianos burying the moment. An epic conclusion to a remarkable record I'll adore for time to come.

Rating: 9/10

South Arcade "2005" (2024)

 

I can't get over how young and fresh faced this English four piece appear. Reminding me of how the years have gotten paste me, they look straight outta the alternative scene of my youth. 2005 is their only non-single release, a twenty minute EP who's title speaks to the sound and aesthetic their emulating. South Arcade look like post Tony Hawk's skater kids, birthed from a time capsule. I love it, my youth is cool again!

Aesthetic and appearance aside, South Arcades sharp ascension is based on merit. They have amassed almost a million monthly Spotify listeners off the back of this six track and a string of singles. A strong debut record could rocket them even further.

Its exciting and I'm hopeful they have it in them. Although influences are stark and obvious, even overtly stated through their intentionally imitating music videos, the band have enough individuality and expression of their own in the mix to define these songs as South Arcades'. Mainly a breed of Pop Punk, Nu Metal Alternative Rock, the fond influences of Linkin Park, No Doubt and Avril Lavigne are striking.

 Alongside its anthemic title track, Nepo Baby and How 2 Get Away With Murder have a similar magnetic pulls. Warm grooves and catchy hooks, with Harmony Cavelle's, note the name, easy voice leading a colorful aggressive charge. Powerful and poppy with these occasional dives into rapped lines, she seems like the magic ingredient.

The production style is loud and punch, fondly reminiscent of the heavier edged Ocean Grove. These bands actually share a lot of similarities. A tour together would be quite fitting. Tangents aside, South Arcade are a delight. Given their so young, the potential that comes with musical maturity is something to watch out for!

Rating: 6/10

Deftones "Private Music" (2025)

 
Now over thirty years deep, the Deftones' tenth record packs little novelty for old heads, yet will enthrall the recent surge of new TikTok fans. Private Music's carefully measured cuts of revelry delve into the many fractions of their motifs established over the past two decades. Handled with love and care, the band's production alongside Nick Raskulinecz delivers a gorgeous indulgent guitar tone. Dense and crooning, a chromatic aesthetic resonates full of expression. Its a foundation fit for Moreno to swoon in with his range of sensitive softness to shrill screams. Drums and bass fall into place around the duo, who in tandem make up a majority of the musical magic.

In peculiarity, its clearest reminiscent tracks seem to hit hardest. Cut Hands echo's Goon Squad pivoting act between meat head brutality and Moreno led emotive obscurity. Ecdysis' tight and choppy metal guitar riffs echo's moments on Ohms. The opening rhythmic spasm and atmospheric lunging riffs of My Mind Is A Mountain has that distinct familiarity too. Milk Of The Madonna strikes me as the standout track, sustaining tensions of its speedy tempo through transitions of bouncy grooves and power chord shoe gazing. It too is a welcome yet accustomed temperament.

Where the lines muddy, the band don't exactly encroach on new territory bar a few minutes of indifferent synth noodling. Enjoyable but not quite as memorable, they do emphasize how good this records texture is. Flicking back through the catalog, comparison highlights how each record felt like a step forward in aesthetic evolution. This time, the distance feels like a leap into an ocean of clarity. A dense and rich sound, including plenty of acoustic guitars. So to do the synth play a subtle yet pivotal role, weaving their grain into the mix, yet brilliantly breaking into the light on occasion.

Private Music feels like the bands yet classiest effort to date but fails to conquer fresh ground in terms of songwriting. Its the perfect record to satisfy fans old and new yet may loose it potency with time as a record like Gore did. I'm doubtful, my gut says this one will stick. I'm still really enjoying each and every spin!

Rating: 8/10 

Mudi Sama "Will I Make It Out Alive?" (2025)

Following up on a passonate live performance at Reading Festival, Mudi's tuneful appeal translates well to record. Although labelled as an album, its nineteen minute runtime and rough around the edges production feels much like a demo. With seven two to three minute tracks, we breeze through colorful songs built on conventional pop song structures, always illuminating its main hook between bright uplifting melodies.

 

Although his lyrics have a darker undercurrent of emotional struggle, the whole expression is felt as a sunny resolution to such turmoil. Each song works out its premise through this gorgeous assemble of warm empowering baselines, dreamy shoegazing leads and thick distortion guitar fuzz. Held together with tight percussive grooves akin to a drum machine, the experience takes on a soft wall of sound quality.

Mudi's voice acts as the glue, pulling this winning chemistry together around his lyrics. Each song is well written with Jealous Type, Let Go and End Of The World standing out to me. The latter highlights some of that rough production with its gritty baselines and lack of balance compared to other tracks. Maybe its part of the concept to sound a touch more Punk on this one, after all, its a downtrodden reprieval anthem.

 

Throughout it all tho, I got the impression that in the hands of a more experienced producer, the compositional ideas could be elevated to another level. There is a undercurrent of punchy pop appeal in his songs that would love a touch of shiny gloss. Either way, this record is a cracking start. Mudi is a bright talent with tones of potential. One to keep an eye on for sure!

Rating: 6/10

Travis Scott "Utopia" (2023)

Album four and the experience follows a now familiar form, another protracted stream of creativity lacking curation. Once again, sparks of genius emerge within a lengthy escapade touching deeper into the realms of Psychedelia, Ambient and Low-Fi.

Arranging unique aesthetics to conjure estranged and unconventional vibes that fit the trap formula, Travis dedicates a whole track to each idea, forging tame streaks of mediocrity between the bangers. The classic chicken or egg question emerges, as subdued beats devoid of percussive power tend to lull. One wonders if a little oomph from the drums is all that's needed to elevate, as the best numbers have the hardest grooves to propel his curious and distinct atmospheres forward, an unusual intersection of laid back, easy going energy entangled with dark and gritty tensions.

 

The record is star studded, a huge cast of big names reaching beyond his immediate scene on a couple occasions. Despite getting two shots to shine, The Weeknd doesn't have best tracks here, a trend I've noticed with his sublime guest appearances. It speaks volumes to a sense that these features just fill out the space between Scott's unimpressed raps and auto tune tangents. Lyrically, little stuck out within its lengthy runtime, a throwback to the CD filling days where bands would pack out a disc with plenty of filler. That's what most of Utopia was for, tone setting aesthetics with a lack of impetus.

 

Rating: 4/10 

My Saturday At Reading Festival 2025

 
Having finally made it to a Reading Leeds festival, I can now spend even more time pining over old lineups I *could* have gone too... Anyways, I loved it! Awkward to get to but worth the long walks as the smaller venue scales well with the fasciitis. No queuing for water a blessing! Such things are probably not even a thought for a majority of the young audience. It seems the GCSE right of passage tales are true! Here are my highlights from the day among many more bands and artists I saw.

Mudi Sama
A raw and youthful performance from an unknown talent on the BBC Introducing stage, Mudi's fusion of Alternative Rock, Indie and Shoegaze melodies was an easy win over. Catchy hooks, warm uplifting tunes tackling emotions we all struggle with, there is a universal appeal here executed endearingly.

Sunday (1994)
Given the year, its no surprise to find this group reveling in 90s nostalgia. Led by the powerful resonance of Paige Turner, her body swaying presence on stage pulles one into the music invitingly. Straddling Dream Pop with Shoegaze and soft touches of Alternative Rock, their delicate, easy paced songs made for a relaxing indulgence in the shade of the tent. 

Rifle
Consisting of short unhinged scuffles of raw Punk noise, these Anarcho-Punkers blew me away. Rough and ragged, their instruments hit full tilt, hard and fast, led by uncompromising shouts of loud mouthed working class agitation. A vitriolic power blast, ignited by a front mans relentless energy and fiery shouts of anger. Top notch.

South Arcade
One to keep an eye on, this young and youthful act have potential in droves, ascending to the mainstage without an album under their belt. Their punchy take on Pop Metal and Pop Punk owes a lot to the likes of Linkin Park and more recently Bring Me The Horizon. Harmony Cavelle has a fantastic stage presence and the bands whole aesthetic throws back to my generation. All the pieces are in place, their songs are decent but with some maturity this band could have a broad appeal.

Origami Angel
A dynamic duo of a diversified internet generation, this pair pull influences from Punk, Emo, Indie and Post-Hardcore, throwing them into a unrestrained mix up. Driven by time signature shake ups, jostling heavy moments between lighter singing refrains, the diversity flowed with quirky fruity loop interludes breaking up their songs. Great show!

Limp Bizkit

My main pull to the festival served up exactly what I wanted. Moshing, jumping and shouting along! I've never let go of that now nostalgic fascination in me, the thirteen year old self watching Bizkit on MTV after school. It still gets me to this day. At this point I've seen them over a dozen times and still adore the show. Great to see lots of young people enjoying it too. The only thing I could I've asked for was more of Thieves. This rendition was cut all to short. I also loved the memes up on stage! Oh, and then there is the case of Ruth, what a sweet moment. Fred pulls out a fan from the crowd, a teenage fan with the red cap back. She must of had the time of her life up there on stage with the band. Good vibes all around.

Becky Hill
Admittedly I had to watch this one from a far. The tent was rammed, I spent my time devouring chips and chicken. All that moshing gave me a ravenous appetite. Becky's voice was a powerhouse overtop an easy listening fusion of Dance and Drum n Bass. It was such a good vibe, I spent the drive home listening to her tracks. Such a strong and harmonious tone, It was impressive watching her do it live.

Bring Me The Horizon

I hadn't given it much thought. I'd seen them plenty of times over the years but this was something special! Building out a big show for the mainstage, they went to another level. The stage started out as a sinister church of evil yet underwent some mind bending changes through the songs. Toying with themes around viruses, doomsday and AI, interludes addressing the audience referenced video game culture, creating a brilliant mix of elements. Better yet was the use of live transformative AI. What starts of as some manic manipulation of the main video feed, has Olli transformed into some demonic creature live before our eyes, his movements matching the wild animations. It was just an effective use of technology but shows the band have the mind to create an even bigger experience. Its been a while since a band had me enjoying such things alongside a banging set of songs.

BABYMETAL "Metal Forth" (2025)

Round five and were back on form with the triumphant Metal Forth! Not their fourth, unless your counting "metal" in the record title. Anyways, this latest installment is a lean thirty five minute, ten track blitz focused on creative collaboration. The likes of Poppy, Slaughter To Prevail, Polyphia and Spiritbox appear among other big names, lending their characteristic for a true crossover experience, something Metal has sorely lacked for decades. There's only three solo tracks Babymetal and one could be forgiven for thinking the closing White Flame featured Sabaton. Its a blazing roar of Power Metal might, executing all the tropes, practically a tribute to the sub-genre.

Interestingly, the remaining two solo tracks feel flat, recycling ideas the band have burned through before. That's why Metal Forth's merits rest on the synergy of its alliances. The creative partnerships genuinely cross a divide between sounds and birth a unique middle ground. Of course this all boils down to banging riffs and stomping grooves. The record fires on all cylinders in its stride but the point remains just how much freshness these uncommon unions provide. This is no "featured artist" but a firm commitment to integrating each others identities and it works so well.

Highlights include My Queen as the two bands jostle their heaviest aesthetics back and forth. Song 3 is another banger where the exchange yields a curious callback to Slipknot with its unhinged pinch harmonics and brutal riffage. RATATATA will likely stand out as a fan favorite. Electric Callboy's brand of tongue in cheek party meme metal a fun fit for the J-Pop influences. In a way it summarizes the overall mood, just a fun record about pumping out animated compositions embraces obnoxious grooves and lively melodies. Cracking record, falling just shy of something truly great.

Rating: 7/10

Enya "A Day Without Rain" (2000)

 

Enya! A name known far and wide across the musical realm, yet for why I wouldn't of been able to tell you, until recently. Hearing Orinoco Flow again, for the first time in decades, that sublime imaginative piece turned me onto her genius. Learning this record is one of the millenniums best selling, I've been set loose on a new journey.

A Day Without Rain strikes me as a union between classical instrumentation and modern convention, her voice arriving as an added dimension of charm, chiming in among the cast of apparatus making up an orchestra. Its mostly the staccato strings offer a melodic focus, as Classical grandiose arrangements are simplified into repetitive sections mimicking Pop music's verse chorus structure. The rest of the aesthetic range nestles into soothing ambiences, soft and gentle, giving space for the character of her subtly understated yet powerful voice to breath its life.

At times her exquisite tone takes on temperaments akin to a lead voice in traditional church music, hymns and psalms evoking rural echo's of Ireland and Wales. In these songs a deeply human empathy and sense of natural beauty emerges. One can almost see the rolling green hills of endless countryside and rural life that comes with it. Somehow, these moments flow perfectly with another half. Voice and instruments take on an adventurous, playful quality, exploring into fantastical spaces.

I couldn't talk about this record without mentioning Tempus Vernum. Led by Timpani drums and cold bells, Its cautious venture into stormy temperaments yields a danger from this orchestral setup I simply adore. This explains a curious bridge to the fantastical realms of war and darkness explored by the likes of Emperor's keyboard section and Glenn Stafford's medieval battle music heard on Warcraft II.

On some level, similar themes that evoke agrarian, un-urbanized, primitive yet spiritual emotions exist both here and in Fantasy music and Dungeon Synth among others from the more esoteric and obscure side of music I am usually indulged with. Enya is a refreshing take on that territory, making those connections without venturing into the abstract. Her older music however, might take a different direction.

Rating: 8/10

State Azure "Paradise Star EP" (2025)

EP by name but double LP by duration, Paradise Star drops four lengthy serine mood pieces alternating between Berlin School inspired synth jostling and brooding ethereal percussion-less soundscapes. Its opening piece, the twenty minute title track, a clear favorite. Its lively, animated cycling melody a curious engagement. Seeming more mechanical than expressive, its burgeoning bustles and gradual unwindings guide the song through phases over top dreamy synths. Together, they paint a rich atmosphere.

 White Lake and We Sleep Beneath A Dying Moon act as layered tone setting drones, great for focus and meditative moods. Pathfinder feels like a mastery of texture, guiding its various sequenced instruments through gradual shifts as sharp attack-decay keys and drums exchange over soft elongated synth chords. Its a textural treat but in its lengthy incarnation, this aesthetic class becomes secondary to the musics lengthy trajectory. All in all, an impressive set of songs befitting of my taste right now.

Rating: 7/10 

$uicideboy$ "Thy Kingdom Come" (2025)

 

Its a smash! Returning swiftly from New World Depression, cousins Ruby and Scrim spin the wheels recycling their distinct but well refined formula. Now accustom with their gritty aesthetic, I found this thirty minute record to offer little fresh or exiting. Second track Napoleon leans into some classic 90s Southern Hip Hop themes, mustering a momentary flair as the records tone quickly resettles. Later on Grey+Grey+Grey ushers in scary movie soundtrack vibes with a Horrorcore style banger. The following Carried Away caught my ear too. A moody number, leaning on the hazy vibes of its depressing Ethereal atmosphere.

These where a couple of highlights among a lack of novelty. One of my biggest takeaways was noticing how many beats use the exact same drum kit, often with the same hi-hat rhythm. That lack of variety essentially parallels a very casual approach to songwriting. Hastily produced beats, flexing lyrics that feel expressive of the moment but lack a broader scope. Hooks are sorely missed too. Not a single track lands something truly memorable. Although their sincerity is endearing, that power wears off when the creative process feels routine and dialed in. Overall, a disappointment.

Rating: 4/10 

Old Sorcery "The Lost Grimoire" (2025)

Previously released only under the physical medium of cassette, one can now indulge in what I presume are leftovers of old, given its similarity to the esoteric moods heard on Realms Of Magickal Sorrow. The first of four, To The Infinity Of The Forest conjures memories of A Forest Trapped. Its another slowly brooding enchantment, natural yet steeped in mysticism, led by glacial melody. Groans from a familiar yet mysterious deep bellowing voice eventually cry out to further enrich is curious tone.

 

A shorter piece, Mana Shrine Revisited, focuses efforts on a more abrasive set of instruments. Leading the arrangement, something brassy, woodwind alike that I couldn't nail down. Possibly a murky accordion? As the song progresses, steely yet animated melodies rush in to chime, evoking a classic castly Dungeon Synth motif.

 

Raven's Fortune sparks a little mischief with its opening playful melodies, only for its jollity to give way to a yawning synth string section. We are whisked once again into the ambiguous realms of imagination, laced with ancient, witchcraft suggestions. The playful tone reoccurs on its lengthy closer, The Tranquil. Bell chimes and staccato strings pace themselves as the steady brooding of flutes slowly ushers in strings that build to the tracks fading conclusion with a touch of cinematic scope.

 

These compositions fit in snugly with that classic era but one can see how they perhaps lack a sense of adventure Old Sorcery's album embark on, as pivots and transformations usually serve as the gratifying mystique to tie all this Dungeon Synth inspired imagination together. Either way, The Lost Grimoire is a welcome addition to a fine discography!

 

Rating: 5/10 

Scowl "Are We All Angels" (2025)

Catching my ear with their easy sways between scruffy Grunge chorus riffs and melodic Shoegaze tinged verses, Fantasy served as an intriguing song to pull me in. Sadly, Scowl currently stand as a band with plenty of potential. Are We All Angels' production out paces the bands depth of ideas. Brimming with a fiery aesthetic, their fusion of Pop Punk, Grunge, Hardcore Punk, Alt Rock, even touches of Metal - feels so fitting of this era. The ability to look back a couple of decades and revise such ideas has yielded magic with fresh faced bands like Turnstile.

 

Unlike their contemporaries, Scowl's riffs and motifs lack a spark of imagination. Arrangements and music ideas feel relatively basic, leaning on that stunning aesthetic to get by. Front loaded, the first string of songs will et pumped up but as the record draws on the songs dull into a mediocrity. Singer Kat Moss is the bands brightest light, her voice adds a smooth veneer of color to the crunchy aggression her band mates assemble. Her occasional unhinged shouts froth with an apt angst, anchoring her in this energized setting as she more often plays the counterpart.

 

Their chemistry is strong, the auditory experience is spot on but as stated the songwriting suffers. The record ends up muddling its way through half baked ideas, feeling like either record filler or I'm missing the point. Potential is the word, one to keep an eye on. At this incarnation they are still finding their voice and you hear it on occasion with songs like Special, Fantasy and Not Hell, Not Heaven.

 

 Rating: 5/10

Kae Tempest "Self Titled" (2025)

 The weight of depressive expressions heavies with age, my appetite for hearing such struggles continually diminishing. Self Titled acts as a firm reminder of this personal trend, a brutally unfurled delve into this latest chapter of mental health and gender identity issues. Its tone plays a smothering suffocation, as burdensome lyricism and downtrodden beats unite to paint an artistic doom and gloom matching the pains of this spoken word, rhyme rap poet.

 

 Breaking from the drudgery, Sunshine On Catford acts like a fleeting peak of sun between dreary rain clouds. An inflection of warmth, still lingering on the melancholy of minor chords, tinged by 90s Dance piano melodies in its chorus. A strange sullen lover letter of sorts that finds a similar tonality again on Prayers To Whisper. Otherwise, Self Titled's instrumentals are casually dark, hardly adventurous but competent at assembling percussive grooves with flashes classy instrumentation.

 

Diagnoses stands apart as anthem for self inflicted mental health saturation. Along with another track, a theme of contrast upon these internal obsessions and the world at large emerges. A strange blame game of victim hood that feels confusing as to its purpose. Otherwise the record is pretty coherent, a walk through the current woes of a struggling artist. The expression is powerful but as already stated, this broody temperament has been hard for me to endure these days.

 

Rating: 6/10 

Tyler The Creator "Don't Tap The Glass" (2025)

Arriving swiftly off the back of a remarkable Chromakopia, Tyler suddenly drops this fun fast and loose record. A surprise release, Don't Tap The Glass clocks in as one of his shortest albums under the thirty minute mark. Consequently, this pays without a dull moment, perfect for its restless energy, expressed through quirky tone and playful mood, something familiar of Tyler yet spun again, lively, renewed and fresh.

 

Working with layers of punchy instrumentation, rhythms and melodies overlap in a subtly dizzying frenzy of crunchy sounds, orchestrated with a stroke of class. Jolting grooves rumble with snappy and sporadically off kilter percussion. Plenty of instruments jive in with stabs, strikes and momentary contributions that stack up. It can be quite fun to pay attention and see how many sounds you can single out.

 

Too my ears, the big influences at play are 80s Hip Hop drum machines and 90s Southern Hip Hop melodies, often piano led. Not exclusive, but struck me as part of the approach to many of these tracks, the last three taking on Soul and R&B colors in its temperament. Of course its no surprise, central to it all, written in his name, a ceaseless thirst of creativity flows again. Fresh off a deep, introspective record, Tyler marvelously pivots into a playful avenue with this lively record I'll be enjoying for weeks to come.

 

Rating: 7/10 

Thornhill "Bodies" (2025)

 

Originality is a contestable term, often misplaced by a lack of context and history - something we are all born ignorant to. It leads me to ponder why does this idea of whats "original" influence our personal enjoyment of music? After all, music is all connected, past and present, strong or weak! A fair portion of Thornhill's sound lives directly in the shadow of Djent Deftones, the post Diamond Eyes era. Something that seemed like an issue on first impressions. Fortunately, the power of inspired song writing has prevailed. I've adored Bodies since the second spin, its expressive force a consuming indulgence in the throws of its familiar soft-heavy dynamics.

Songs sway from crushing blows of meaty Djent guitar stomp groove, into shoe-gazing swaths of hazy melancholic colors, as melodies melt in the wall of sound production style utilized. So to does Jacob Charlton's vocals follow this motif, toying with his sensitive, vulnerable tones and pivoting into throat clenching screams, nestled wisely into the dense mix. Operating with fractions of Progressive Metalcore and occasional thematic Nu Metal overtones, the group wear their influences broadly, yet electrify in riots of groove and rhythmic theatrics as their best tricks roll out a treat.

It glimpses a heading towards Argant Metal territory in sparse moments, an insight to emphasize a understated part of their sound design. Synths and production antics shape out the sound to a sonic experience of stylish aggression. Interludes, build ups and breaks meld crafty drum machines into the fold, displaying overt EDM and Trap influences as the group toy with instrumental samples. Its all a firm sign of the talent that goes into shaping up what could of easily been a plain faced imitation game.

The record has an interesting structure, its more emotional, atmospheric edges start and close the record, leaving its explosive numbers in the middle. Tounges, Nerv and Obsession erupt with countermanding violence, a reversal that pulls its dynamic ends together, amped up and invigorated as this string of songs fires off with the low menace end of their down tuned Djent guitars. Bodies is a cracking listen, yet to tired on me, indicating this band may have a lot to offer. Another journey begins now!

Rating: 7/10

Potatohead People "Emerald Tablet" (2025)

 

 In collaboration with a sleek yet little known rapper Slippery Elm, producer duo Potatohead People return with a soothing set of sensuous songs. Delving into the love of their matured Jazz Hop craft, these beats emanate a loving nurture. Every inch of its aesthetic range feels dialed in. Snappy percussion locks in alongside warm grooving baselines. Ambiguous dreamy instruments drift by in the backdrop, swirling softly exotic melodies behind its upfront tuneful lines. Together they form a breezy listening experience, persuasive and classy, nothing but feel good vibes.

 

Emerald Tablet's lyrical element does little to swing it in either direction. Slippery's steady cadence and spoken demeanor a firm fit but far from offering substance to perk the ears. A lot of verses run expressive to his own experiences but fall shy of pulling one into that world. A few lively rhyme schemes emerge but its mostly a tame ride. Where he shines is with these casual lapses into singing. His sung lines feel effortless yet charming, melding into the instrumentals breezy stature.

 

 With an expanded instrumentation pallet of strings, harps, bells and orchestra adjacent sounds, this inspired "leveling up" may have a direct artistic origin, To Pimp A Butterfly. Nightbird tips this hand as its foundations play all to similar to song of that record. Spinning them back to back you can hear all the ques, ideas rippling out from that classic into the composition of this record. Some of its melodies are uncannily alike. Not a blemish but something to be enjoyed. That's mostly my impression of Emerald Tablet, enjoyable but not much is sticking beyond enjoying it in the moment.

 

Rating: 6/10 

Qendresa "Londra" (2024)

Shifting gears, refining the chemistry, Londra trades in its Vapourwave idiosyncrasies for a dusky flavor. This collection of mellowed out R&B dwellings settle on subdued night light vibes, with a touch of Noir Jazz gloom to it. It becomes more apparent as the record grows, early on moods are brighter. Its opener 2 Much revels in a groovy G-Funk shadow. Its all subtitles tho, as the musics tempo is consistently effortless.

 

 Despite having engaging instrumentals that consistently conjure these slick, dusky spells, its Qendresa herself who breaks the allure as the album progress. Early on her soft singing charms, Sweet Lies reminiscent of Grimes at her best. Toning down the presence of these smooth sung lines, opting in for a casual, spoken word approach to her verses, a social, conflict oriented braggadocio persona steadily emerges.

 

Its this lyrical focus that spoiled the musical magic for me. Status oriented, plain worded ventilations of social dramas and relationship woes cross' paths with seemingly shallow statements of boastful intent, aimed at putting down others. The self indulgence of it all added an unemphatic layer to the music hard to relate with. Otherwise a solid listen but this shift in tone to "harden up" was not to my liking.

 

Rating: 4/10 

Little Simz "Lotus" (2025)

 

Simz is one to deliver a slice of life within her ambitious records, however Lotus is precisely that slice alone. With little beyond delivering ruminations on life's current struggles, one sorely senses the absence of an anthem like Venom or Woman. I suspect Young may have been this intended beat, however its overt British jibe and cheeky tone plays like an echo of Blur's Park Life, lacking that oomph to sell itself.

Free strikes me as the records high point, a mellow spell, uniting Soul and Jazz Hop with periodic flashes of serenading string sections. Simz's expressive yet plain spoken raps make for easy listening through a soothing aesthetic chemistry. This however becomes the records fatal sticky point. So much of Lotus' affable energy fails to surpass itself and muster a meaningful gusto that can break this eternally gentle tone.

Enough comes close, livening up with a firm percussive dance beat. Frolicking hooks and mischievous baselines create a playful tone among its sporadic splurges of zany synth. So to does the records title track strive ambitious and bold with its big instrumentation. Simz' raps a firm source of intrigue and emotive release, yet the jazzy instrumentation feels underwhelming in comparison to the fires set in her lyrics.

Other chapters of Lotus' mellow out into scenic lulls, comparable to spoken poetry. Simz's lyrics feel more like intimate journals or exhaled thoughts than composed verses in a structured song. On one hand, a curious experience, on the other, repetition breeds a dullness as familiarity makes for a mostly uneventful album.

Rating: 6/10

Sikth "Death Of A Dead Day" (2006)

A blast from the past! This record I experienced mostly though my friends. Having devoured The Trees Are Dead And Dried Out, I recall not being particularly impressed with this new venture. We saw Sikth at Download Festival and then they split up. Its left this record buried deep in the memories. Unearthing it again highlights its flaws, an underwhelming sophomore from a group who set the bar high for themselves.

 

Death Of A Dead Day yields its twelve cuts to the metallic kneel, choking their own peculiarities as creativity gets channeled into what feels like convention. Despite being loaded with spurious fret tapping melodies, complex harmonies and the occasional poly rhythm, Sikth under deliver on what made them stand apart. The enigmatic beast is present but the compositional approach leaves ideas underwhelming.

 

With all that said, this is a very enjoyable record, full of musical virtuoso and chaotic melodies you wont hear elsewhere. An entertaining listen where twists and turns come fast and frequent, a restless nature always embarking on the next musical idea. Led by the exchanges of their duo front act, its what you'd expect from Sikth.

 

Having given it a bunch of spins once again, I'd discovered Summer Rain and As The Earth Spins Round to be exception cuts, the latter ending the record with a fantastic outro riff uniting a pacey choppy rhythm guitar with epic melancholic lead melody. These peaks are comparable with their best output but the record plays a clear grade below that fantastic debut album. Approaching twenty years, Its been a nostalgic trip.

Rating: 7/10 

Qendresa "Midnight Request Line" (2020)

Dropping in with a sleek 00s R&B voice, London singer Qendresa distinguishes herself from the crowd with genius instrumental chemistry. Its seemingly obvious in retrospect but I'd yet to hear this combination before. Given that Vapourwave often pitches samples from the umbrella of Soul, Funk and Disco, this is an obvious fit.

 

Taking the foundation of R&B, these instruments play slowed and slurred. Melodies and tempos descend into a dreamy Ethereal realm, as the breezy Vapourwave aesthetic emerges from this approach. Armed with slow G-Funk era baselines, the likes of Ice Cube's You Know How We Do It comes to mind, the music croons.

 

At a short twenty minutes, the craft blooms on tracks Real Luv and Be Mine, whereas the rest of the record descends into a vibe over substance tangent. Midnight Request Line exposes this fantastic chemistry, yet struggles to explore its potential depths, leaving one with a solid apatite for more. However this vibe is undeniably on point.

 

Rating: 6/10

My Day With Deftones At Crystal Palace Park

 
What a wonderful day! A sun soaked revel in live music, cooled by a gentle breeze flowing across the Crystal Palace Park hill. The event made for a fantastic day out, one which initially started with anxieties of Deftones' presence at the show, having pulled out of a big Glastonbury slot the day before due to illness among the band.

Qendresa
Clearly both humbled and overwhelmed by the occasion, local London musician Qendresa charmed with giggles between songs, reveling in this opportunity to express and entertain as her cool tempered, mellowed out moods brought a colorful warmth to the crowd. Armed with a sleek, easy voice, she put on a great opening act.

HEALTH

One I've wanted to cross of the list, this Industrial trio put on a fair show competing with the sun. Clearly more fitting for a dark club setting, their barrages of mechanical rhythm and dystopian synth assult brought a frantic energy nailed down by the "fallen angel" voice of Jake Duzsik. His peculiar register, effeminate, vulnerable and deeply hurt, has a magnetism that pulled it all together for the live show.

High Vis

British Hardcore, tinged with 90s Oasis vibes, a touch of Post-Punk melody and Indie Rock overtones, these guys brought passion and energy in abundance. Front man Graham Sayle poured himself into the moment, an emotional front, dripping with a sense of urgency. Splurging his politics between songs, one could not deny the underlying empathy and social care his views stemmed from. Giving their set steam.

Weezer

Weezer were the clear highlight of my day. A recent set-list binge of a band I'd passed over in my youth has paid dividends. Their presence added an exquisite sense of personality and occasion colliding, as these recently familiarized songs ascended to the another level. The genius of Rivers Cuomo and his bands mates made itself know, as the stunning live aesthetic showcased their virtuoso. Even if much of their music is simplistic, it was executed flawlessly. The guitar solo's were a pleasure to behold.

 

Deftones

One of a few bands deeply entangled into my youthful soul, hearing their arsenal of emphatic, timeless songs will always stir that freeing revelry of the moment. Despite having a fantastic time, one could not ignore a troubled performance. Still getting over the illness that stopped them from playing Glastonbury, timing mistakes, warping tempos and a general struggle to keep it together a times stained the show. Waiting for a riff to drop, only for the tempo to slow can pull one out of the magic. Fortunatly, they seemed to get it tighter as the show went on, ending with a banger, 7 Words.

Blood Incantation "Luminesecent Bridge" (2023)

  

Written in its name, this two track bridges Timewave Zero and Hidden History Of The Human Race, attempting to conciliate the colossal chasm between sounds. A bold ambition where some common ground gets merged, its two halves simply explore opposing aspects. Obliquity Of The Ecliptic sticks rigidly as the manic splattering of ghoulish Death Metal, transitioning through eerie atmospherics into a Progressive behemoth of sorts, eclipsed by a soaring guitar solo of epic reach. A powerful show of composition, pulling its best moment from the echos of  80s Metallica guitar lead.

The proceeding title track serves to tie its exploration of Dark Ambient with a caustic acoustic guitar phrase. The two meld under the eerie presence of what sounds like estranged bird calls. Building in tension, guitar lead and drums usher in a mystic atmosphere yearning for a grandiosity that never quite arrives. Instead trumpets mark its death as the peak fades into obscurity. It could of erupted into magnificence, yet seemed content on only a glimpse of its mystique. A bridge only partially explored, finding the obvious common connections and executing it with a touch of class.

Rating: 4/10

State Azure "80s Ambient Reinventions" (2024)

 

 

Further exploring the "inconsequential" landscape of Psybient and Cosmic Ambience music has led me back to State Azure, an artist with a distinct approach to acute minimalism, crafting ambient tunes that simply captivating one in its moment only. 80s Ambient Reinventions caught my attention for its inspirations. Five big hits from the decade past, re-spun by glossy keyboard synths to linger in a incidental space.

 

The record starts steady, gradually building. Brief echos of motifs and melodies guide the music, borrowed from the original songs. As the album progress track by track, so to does its connection to the original source, deepening that connection. Opening with Save A Prayer, inspired Berlin School arpeggios drone in a melodic trance, propelled by a lean and hard percussive force. So to does With Love Comes Quickly.

 

Running Up That Hill and In The Air Tonight play soother cuts, calming renditions. The latter extracts distinctions like the 80s epic lead guitars and classic gated tom sound, pivoting them into an atmosphere roll. The enigmatic chords of the song linger in the fold, completely reshaping the original. Its a wonderful creation. So too is another 80s classic, Tears For Fears' timeless hit, Everybody Wants To Rule The World.

 

This one feels closest to its origin, the melodies play distinct, with similar aesthetics, yet appear spaced out, slowly merging closer together as the song grows its layers. This measured build up creates tension, an anticipation for some sort of crescendo that never arrives. Its my favorite of the five! Feeling like an endearing echo of the songs spirit, observed across time and space itself. A wonderful little record!

 

Rating: 7/10 

Blood Incantation "Timewave Zero" (2022)

Curious to hear more of Blood Incantation's fresh and exciting take on the tired Death Metal genre, Timewave Zero shocked me with its radical shift to a sound I'm fond of, perhaps even obsessed with! Comprised of two songs, both split into four movements, It wasn't to long into Io's dramatic shadowy tensions, did I realize this was no gradual build up to an eruption extreme metallic aggression. This was in fact an Ambient piece of work, dialed to a gravitational degree between the dark, eerie side of the genre and my beloved Cosmic Ambience. I knew immediately I would enjoy this record.

 

Devoid of any vivid animations, both halves play adrift of dramatic event or suggestive theatrics. The music stay resolute in a gentle journeying through its tensions and suggestions. To my ears, both Io and Ea explore similar deviations from their original impressions. Subtle arpeggios drone with a touch of Berlin School, swells of brooding ambiguity emerge and sullen synth strings yearn within its lengthy progressions.

 

Io feels like the "spacier" half, capturing a mystique devoid of intent yet both dangerous and mesmerizing, the strange allure of cosmic wonders visible only where no eyes wander. I find this sentiment mirrored in its fantastic cover art. A inhospitable landscape orbiting a giant red sun. Ea feels a touch more animated, as if observing similar places which have a history of failed life. Its touches of murmuring voices, Dungeon Synth and acoustic guitar give a sense of cultural echo to the astral sight seeing, Its fourth and final movement melting all this suggestion into a dense swell. This record fits perfectly into my growing collection of ambient works.

 

Rating: 7/10