My Day At Sunday Download Festival 2025

Its been six years since I last visited Donnington! What has the pandemic robbed me of? My hesitancy to return to live music feels like a lost opportunity, yet to experience such magic to begin with is a blessing. Magic is what my Sunday at Download gave back, a much needed reminder of the incredible times live performances muster. The day started with Kneckbreaker in the tent, Orbit Culture and Bleed From Within on the mainstage. I caught Municipal Waste and Malevolence too, however the follow were the real highlights of my day.

Amira Elfeky
One from the current wave of BMTH inspired Djent Pop Metal, Amira immediately caught my ear with her pristine voice. I found myself unsure of her authenticity, listening carefully to her breathy articulations between singing. It was no backing track. She just sounded like a studio recording live. Utterly impressive and with such easily enjoyable music, it made for a great show to follow up on.

Power Trip
My first mosh of the day. It had been a minute since I last heard there revival Thrash stomps! With pounding drums and choppy guitars chugging in perfect synchronicity, their grooves were infectious! Not to mention new vocalist Seth Gilmore did a fine job as their new frontman.

Meshuggah
God of metal, masters of my primordial rhythmic soul, It doesn't matter how many times I've seen them, it never feels like enough. This was my "loose yourself" moment, a feeling adored many times over the years. Go wild and bang your head and disappear. That will always happen with Meshuggah. Lethargica on the setlist was a niche touch and ending with Demiurge had me hyped up!

Spiritbox

Seeing them for the third time this year blunted the excitement a tad but that mid day sunshine can be brutal! Melting in the sun, I found myself watching other go wild and having a great time. I got my slice of that earlier in the year. The performance was excellent, It feels like they are on track to become one of metals premier names if they keep pumping out gold.

Lorna Shore

There is nothing quite like an impressive performance to win you over. I liked these guys, but seeing the musical virtuoso in the flesh was something else! The dazzling fluorescent sunburst guitar of Adam De Micco highlighting his incredible melodic through lines. It was also a delight to see them take my least favoured aspect of the music seriously. The breakdowns, exchanging cheeky grins at the sheer absurdity of these stunts was nice to see they don't take themselves seriously.

Novelists

Spotify had recently exposed me to this group. They have some charming songs. With a delayed start, I was delighted to catch them in the tent. Camille Contreras has a lively stage presence and hearing a few familiar tunes between others made for an entertaining set.

Fit For An Autopsy

New to my ears, this band absolutely slapped. You could tell from the crowd reaction they had something to offer. The rhythmic chops caught my ears, an amazing chemistry between guitar and drums that had be head banging like mad. To my unaccustomed ears, they sound like a Post-Deathcore crossover with Lamb Of God and splashes of Gojira. Really impressive, I will be getting into this one!

Korn

Fortunately, I'd seen Korn just last summer, otherwise my heart would of been torn. One of the few bands that always tug hard on the heartstrings, I caught some of my favorite songs in the first seven or so I stuck around for. I could have easily spent my night in the pit, loosing my mind again but alas there was one more act to see. They were phenomenal, a powerhouse ready to put on a show. It sounded great, I rocked out hard but had to move on.

Sikth

Legendary within my friendship circle, Sikth were a one of a kind local band who we saw at our very first Download Festival before they parted ways shortly after. I caught them sound checking at the beginning of the day. They sounded great. It felt only right to see them conclude the night in the tent, putting on a mightily energetic show to a meager crowd of less than a thousand peeps. I thoroughly enjoyed it. No regrets!

Hunt The Dinosaur "Nefarious" (2025)

 

Nefarious made quite the excitable splash upon impact. With my apatite shaped for the lighter sides of music, a throwback to playful extremities was on the cards. Despite having had my fun, repetition has exposed novelty as Hunt The Dinosaur's "over the top" fusion of Metalcore, Djent and rapid fire Rap screams runs its coarse. Sadly, this brief record fails to carve out a classic like Destructo from its octane insanity.

Across its six cuts we are bombarded by barbaric thumps of sound. Low end eight string guitar pound assaulting grooves between splashes of dissonant guitar noise. Snarling screams spit spiteful lyrics, occasionally hurtling into sprints of the distinct memorable shout raps. Lyrics play with foul themes and periodically reference classic Rap one liners and motifs. Ferocious drums rattle like a raging beast, foaming at the mouth, holding firm grooves, then sporadically hurtling into dizzying blast beats. Wedged between it all, alien dystopian synth occasional meld unusual textures, a subtle dressing often understated and easy to overlook among the ravaging madness.

My main takeaway is a lack of memorability. A lack of songwriting fails to land hooks and riffs in a way that sticks. Instead, Nefarious feels like a ceaseless barrage of ideas aimless assembled together, unable to forge a bigger picture beyond the sum of its parts. That, or perhaps I am growing tired of this Post-Deathcore race to the bottom.

Rating: 4/10

Hundredth "Fadded Splendor" (2025)

Shock and awe ensues, as sequenced drum machines and a burly haze of dreamy distortions descend upon the listener. Breaking for a bold singular baseline and tender vulnerable voicing, the sunny emotive sways of Curve had me wondering, which band is this? Last time I checked in with Hundredth, they were reveling in a Post-Rock breed of Shoegazing and Alternative Rock. The latter two genres could describe Fadded Splendor but on this endeavor the band shimmy to the other end of the spectrum. Exploring simple pop harmonies and structures they often skirting that defining wall of sound energy in favor of clear and catchy rhythmic lines.

 

 With Curve and All The Way, the band happily deploy electronic percussion fondly reminiscent of a post Jimmy Chamberlin Smashing Pumpkins'. Hovering up many 90s influences in its stride, much of that distinct Billy Corgan influence pervades in its sentimental side, as the gentler cuts play up evocative vocal croons against Etheral backdrops, ever playing with the beautiful melancholy. Other songs revel in an upbeat energetic charge, pulling dancable motifs from Indie Rock. Never tho do these ideas converge in one moment but serve as complimenting chapters of the journey.

 

Fadded Splendor is a fair stride forward, territory not to dissimilar from Rare's makings. A few songs stand tall among a variety of numbers to give fans of different flavors their pickings. It may be the weather but its emotive sentiment seems perfect for the hot weather, however I could equally picture them feeling cozy in the winter seasons. I love that suggestive power of music... ultimately its up to the listener!

 

 Rating: 7/10

Turnstile "Never Enough" (2025)

 

Dissecting sounds with an analytical scalpel, one can cut critiques upon a lack of overt musical progression. Deploying another bout of their softened hardcore power chord strum sections, recycled riffs and gently expanding the textural pallet their ever emerging keys offer, do Turnstile hit upon a moment of stagnation?

The answer is a firm no, familiarity its welcome weapon. Upon initial impact, the persuasive power of its uplifting dreamy sun soaked moods settle in. The analytics of its simplistic appeals are an after thought. Where Turnstile have excelled is reveling in the vibe, as if they have dug deep to unearth a charm that was resonating all along.

Masked by established conventions, each songs character emerges from its subtle sways of 80s nostalgia. Dream Pop and Shoegaze play on obvious veneers, with other flavors of the era woven in through additional instrumentation. Saxophones and Trumpets occasion between the dazzling shimmer of pedal driven guitar chords.

Never Enough is a familiar beast dialed down to linger on these influences and the vocal energy of Brenden Yates’ soaring soft-side. He frequently charms, his words oozing off a cruising, catchy deliveries that reinforce the feel good sentiment. Oddly, its bursts of raucous Hardcore energy serve to break up the calmer tangents.

The records pacing is sublime. Tracks flow from one revel to another, continually refreshing its breezy tone that sails between those Hardcore sprints and shoegazy bursts of beachy surf rock guitar chords. These musical ideas never complicate and thus simple tunes, melodies and chemistries get to linger briefly at our pleasure.

Vibes is the word of this album. The power of simplicity its champion. Everything feels like a bottled moment in time. Turnstile in a stride, yet pausing to capture the magic. From first spin it won me over. Now on a binge, I feel Ive found the soundtrack to my summer. Heart felt expressions, cozy feel good vibes and bursts of manic energy.

Rating: 8/10

Amos Roddy "Minecraft: Chase The Skies (Original Game Soundtrack)" (2025)

 

Admittedly, I've waited until the drop name had been unveiled to write my thoughts. With that extended exposure, its become clear that Amos Roddy expands on the delightful work of Aaron Cherof, one of my favorite contributions. Dreamy wistful melodies, straddling the serine, conjure introspective moods. Illusive instruments, lurching on the heels of echo and reverberation, blossom into flourishing strides of soothing melody. Reflective of life's passing beauties, these moments swell and pass by, just like many moments that make a memory. Its evocative, nostalgic, a slow brew who's boil creeps up on you. Ghostly pianos, yearning strings, stealthy sunlight synths and brooding atmospheric pads, melding through exquisite composure.

 That's the magic of its five opening pieces. For the Nether, we get another bop! Tears bangs with its quirky melodies of impish fright! Pitch shifted Ghast sounds wedge haunting, spooky arrangements between the crunchy strident groove of its meaty kick drum and snappy snare sway. The concept makes itself known swiftly, repeating again after a mid track melody suggests the presence of a player on adventure. Its a fun and obvious hit, yet perhaps the simplest of offerings on display here.

Rating: 6/10 

Magdalena Bay "Mercurial World" (2021)

Dynamic duo Magdalena Bay are swiftly becoming a fascination. Stepping back in time from their ambitious, progressive Killing Time, this debut, Mercurial World, simply plays as a string of tuneful songs. Warm, dreamy and uplifting, cheerful yet quirky, these numbers dance with Electropop and Synthpop foundations, exploring jolts of Psychedelic creativity with blushes of Vapourwave aesthetic and Dreampop mood.

Some of its motifs blatantly pull from Disco, Dance, Indie Pop among other revived Pop music antics. If you've known a lot of music, many echo's crop up, reinvented to their tune. I felt this phenomena on Killing Time but title track Mercurial World's nod to Madonna on its closing lines confirms it. Among its many flashes of influence, Grimes seems another particular influence on Mica Tenenbaum's soft breathy presence.

Such obvious familiarities sometimes dampen the musical experience but fortunately Magdalena Bay have a beautiful, colorful energy emanating from the core. These sounds arrive through an exciting, lively energy, enriching their songs as layers of sound and creative production intermingle for an engulfing experience. Songs play catchy, deploying simple ear worms, yet can deviate from convention at any moment and explore fantastical oddities along the journey. A joyous debut, Mercurial World does indeed feel like a world of its own, set to pull you back over the coming years.

Rating: 8/10

Behemoth "The Shit Ov God" (2025)

 

Thirteen albums deep, masters of craft, juggernauts within their niche, Behemoth have little to prove. Although the bands efforts have received mixed reactions in recent years, they are always an unshakable presence in pursuit of fresh satanic sacrifices upon the alter of Blackened Death Metal. Yet this latest offering feels surprisingly steady, a routine spin of intelligently composed forays into demonic darkness.

The Shit Ov God entertains us with its competency, setting a grimace tone, exploring its shadowy avenues with a cunning to avoid anticipations. Devilish riffs and ravenous, restless drums brim with creativity, exciting within constraints, yet never straying from a ghastly temperament. The resulting record screams for break aways that never arrive. We dredge through swamps of weighty burden, never to be relieved.

Lacking peaks and valleys on its path, these songs becomes a fierce monotone drone of sinister silhouettes, menacing at a distance, yet lacking that flash of color to bring it all to life. Guitar solo eruptions and breaks for plucked string melodies among other arrangements signal that attention but none of them break out of this sticky nefarious gloom. A solid concise listen but lacks a spark for greatness to define its purpose.

Rating: 6/10

Sleep Token "Even In Arcadia" (2025)

 

 Lingering on the cutting emotive sensations of Vessel, this newest chapter, Even In Arcadia, plays like poetry in motion, a dwell of personal exorcisms originating from a lyrical inception. This impression could simply speak to the frontman's charming R&B leaning vocal inflections. As their key song-writer, this synergy unites voice and instrumental with a deeper, intentional chemistry than most. Its a now familiar formula but on this occasion, Sleep Token nail the album experience from front to back.

Shy of an hour, it breezes by effortlessly. Look To Windward opens, immersing us in artistic heavies as the throws of Djent yield to a grand gravitas carrying its tensions into soaring melody. Emergence and Dangerous lend their swells of momentum to metallic atmospheres as do other songs like the gorgeous Caramel. Concluding with blast beats and shrill howls, its ever curious how they seamlessly bridge such a chasm from their catchy 00s Garage beats with Pop vocals to untethered extremes.

 I'd often considered Sleep Token a stealth vehicle for Pop sensibilities into a genre usually adverse to such musical pleasures. Only its title track passes without a swell of metallic energy, a curiosity given how all my impressions stem from Vessel's delightful voice and the emotive melodies that accompany him. Its a wonderful orchestration of sombre piano that dissolves in tightening airy ambiences as the songs resolves itself in a common swelling. The violin on exit is a fine touch of craft.

 The thematic dance played between beauty, pain and introspection wrapped in sunny melancholy defines this record. Its reflection from words to sound a delight. On reflection, I appreciate its swells of intensity so much more. Their natural progression had me overlooking the dynamic shifts on a casual listen. That can't be said of closer Infinite Baths. Its groovy revelry in filth, a shock and horror to remember, seeing the experience out as if its all been sucked into a black hole. What a cracking album by a band reaching new heights. Along with the Saturday headline slot at Download Festival, this a moment that could ascend their profile even further.

Rating: 8/10

Magdalena Bay "Killing Time" (2024)

Imaginal Disk serves as my introduction to this talented multi-instrumentalist duo Magdalena Bay. Clocking in with a mightily entertaining fifty-three minutes, this album plays like a dreamy journey through the soothing serine, as conceptual narratives punctuate its seamless flow. Pronounced by gorgeous instrumentation, layered yet consistently apt, warmth emanates throughout as the pair explore upbeat vibes, meaningful and dialed in, compared to traditional popular "happy music". Moments of soft tuneful melancholy do arise, finding resolution as breezy winds whist any sorrowful introspective reflection back to the arms of this curious serenity.

 

Housed by the expansive nature of Progressive music, they aesthetically sit at the crossroads of Synthpop and Rock, with a Shoe-gaze Dream Pop nature, often leaning into melodic influences from Dance, Disco and Funk. Songwriting is king as these identities yield to the dreamy directions their music meanders in. Many aesthetic tangents arise as regular structures give way to swells and subtle crescendos. This ebb and flow keeps the record interesting, swinging through creative strides, offering a playful exploration of expressive ideas packaged in vibrant instrumentation.

 

My initial hurdle with Killing Time was Mica Tenenbaum's singing! Lacking oomph and power, her breathy, shy voice felt tame, limping by on subdued expressions. This impression was emphasized by her wordy interludes, the spoken temperament highlighting a narrow range. With the music calling for grandiosity, I anticipated a powerful, soaring voice that never came. Despite that, repetition has grown on me. She may not have big and bold presence but actually leans into her casual range, finding a soft charming chemistry with lively music which could easily overpower. Her grace and softness becomes a strength playing into the dreamy mood.

 

Stacked with its bangers early on, the record does mellow out as the initial Dance and 90s Alternative Pop energies subside, allowing songs to ruminate on ideas not quite as flashy but equally gratifying. Its an exciting, lively record, rich in musicality neatly packaged, making a bold impression on this listener who will have to dive deeper!

 

Rating: 8/10

Tetrarch "The Ugly Side Of Me" (2025)

Delightfully predictable and thus feverishly indulgent, Tetrarch return armed with another dose of millennial teenage angst, tapping into a personal unwritten nostalgia. The Ugly Side Of Me could have slipped into the turn of the millennium's music scene, a guaranteed hit. As their tightest record to date, these nine pure Nu Metal tracks revel in the Korn The Serenity Of Suffering take on electrified creepy melody and sonic syncopated groove.

Fused with Josh Fore's uncanny Chester Bennington harmonization, the downtrodden, plain faced lyrics hit a tuneful cadence to elevate emotional pains to anthemic levels. Sadly, it lyricism falls shy of greatness but that's likely in my lack of connection to these raw hurtful woes. Their chorus melodies ring of with a shiver reminiscent of the many deeply engrained hooks from Hybrid Theory.

Variety lacks but that's hardly the point. Each track hits with punchy, high octane energy, rolling between brief looping twisted melodies and slamming Nu Metal dropped tuning guitar grooves. Only Best Of Luck stands out for its instinctual post Gold Cobra Wes Borland influences. Given not a single track stetches past four minutes, these numbers make themselves known, not out staying their welcome.

That sharp focus keeps each spin fresh. After a brief binge I feel like this half hour of power will be fun to return to, knowing my teenage self would have lapped this up like a fiend. The singles seem to be the better buts but the margins are fine. With time I'll better figure out my favorites but I have a feeling this one wins the album experience.

Rating: 7/10

Labyrinthus Stellarum "Rift In Reality" (2025)

 

Champions of last years musical discoveries, Labyrinthus Stellarum's exotic take on Atmospheric Black Metal runs its course, returning with little new to offer. Still firmly rooted in its symphonic extremities and songwriting ideals, this fresh crop of void hunting cosmic ventures hurtle by in a hypnotic whirl of colorful astral melodies, furious blast beats and groaning howls to be heard across the vast expanse.

Only title track Rift In Reality breaks the mold. Novel twisted oral distortions on spoken passages arise early on. Seeming cosmic interference, it compliments their drafty clean vocals. The songs conclusion erupts, breaking convention as crashing slabs of distortion guitar break up the gliding gallop of pace these tracks usually embark upon.

Other than that, they stick to their stellar blueprint, delivering face melting bangers like Cosmic Plague and Ravenous Planet along the way. Nirlakh ends the record on a positive. It plays as if guitars and drums were stripped out to be replaced with menacing bass synths. A curiosity driven instrumental interlude of sorts.

All in all, Rift In Reality is a firm record but one that doesn't offer anything new to this fan familiar with their Lovecraftian inspired cosmic horror architecture. Fortunately, my appetite for esoteric other-worldly terror is strong. Having failed to reach new heights, I think the band would be wise to seek an evolution in their sound on the next outing.

Rating: 6/10

Deafheaven "Lonely People With Power" (2025)

 

 Spinning out another web of shadowy shoe-gazing extremity, Deafheaven return from the captivating Infinite Granite with renewed spite. Lonely People With Power leans dark and grizzly, its songs plunder a devilish spell as the sway of shrill vocal howls and dense guitar haze become a routine focal point for its swells. Brooding through unfurling intensities, melancholic acoustic melodies spill into distortions as tensions mount, often arriving upon the dizzying sorcery of barbarous blast beat mania.

This format is true for much of the record, also housing emotive signals of melody that linger within these aesthetic constraints. After several spins, that textural power loses potency in the absence of transcendent song writing. Lonely People With Power plays as emotion entertainment, running its course swiftly as tracks bleed together. There is one exception! At the midpoint, Amethyst acts as a blade, cutting the record in half.

With an illustrious, enchanting melody, this Blackgaze blueprint breaths life, illuminating as the power of key motif swells with utter grandiosity. The tuneful resurgence from apt acoustic lulls between plays a delight every single time. A remarkable track, elevating its touch of genius through the ebb and flow of the music, a feat every other track on the record fails to emulate with exposure and familiarity.

This splitting of the record feels intentional. The proceeding tracks take a gnarly turn as temperaments plunge further into the black and pale strands of its makeup. Its Extreme Metal makeup gets harder and sections of ambience and acoustic sound dialed into deep rotting pains. Despite this apparent gravitas, I found myself losing connection to songs as they blended together in a haze. Ideas lack distinction over its one hour duration, creating a radical drone devoid of purpose to latch onto.

Rating: 5/10

Ghost "Skeletá" (2025)

 

Without a whiff of precariousness, our beloved titans of Metal return stuck amidst illustrious stagnation. Completely predictable yet joyously delightful, Skeletá spans their history, reveling in the various chapters of evolution. With a mastery over their own song writing motifs, inspiration meets excellence as each song encapsulates an idea and executes it with vision. Tracks like Lachryma and Satanized induce touches of their Doom Metal roots. Much of the record induces a catchy sing along sentiment, Marks Of The Evil One and Peacefield play this up with strong Arena Rock vibes first embellished on Impera. Excelsis and Guiding Lights lean towards ballad territory, with their lightest and yet completely endearing music to date. Then lastly Cenotaph and Umbra. Both whisper bright and bold 70s Rock echos with creative rhythmic drives.

 Each of its various directions play swooning with layers of melody. Papa V Perpetua's devilish crooning, brief eruptions of soaring lead guitar or nestled touches of colorful synth, often multiple overlap to delight one with their melodic pleasures. Each song arrives nurtured with subtle details and iterations to enrich without being obvious. It keeps them sailing smoothly without a dull moment. Thus the record flows like a river of excellent, some how jumping drastically in tone yet feeling completely fitting.

I've binged and absolutely adored Skeletá within the first week of its release. I'm convinced its got legs, however that may depend heavily on ones personal Ghost appetite. Its only in its lightest touches do i get a sense of evolution. Non-metallic 70s and 80s influences feel present in perfect proportion but overall, this is a very familiar Ghost record. I don't think a single fan will be shocked by anything here, unless suffering a lack of exposure to historical musics that informs its song writing principles.

The one blemish that struck me is lyrical cohesion. Excelsis warms the soul with its gentle handling of mortality. Its practically a children lullaby. Perhaps there was an intended cynicism lost within its soothing tone. Other songs also carry a polar sentiment to the crudely poetic tongue in cheek satanic reverence that dominates half the tracks. For someone who often cares little for the weight of words, it didn't stunt my enjoyment but did seem a little odd as the record flows between extremes so well. 

Rating: 9/10

In The Woods... "Otra" (2025)

 

As the years stretch on, I find the frequent return of familiar acts to be hit and miss process. Fortunately for a reunited In The Woods..., passing a decade back together, my apatite for their nocturnal naturalist Pagan Metal is well intact. Although little in the way of surprise lays in wait, their seasoned competency in building strident atmospheres reigns supreme. Songs whisk by on the heels of a gallant rhythmic drive, galloping through the motions, steeped in textures, distortion synth and voice, these songs revel in the glory of the moment, adorned by melody that rarely subsides.

 The lightened heathen drawls of new front man Bernt Fjellestad simply delight in this renewed melodic focus. Between him and a sailing lead guitar, the fruits of rural melody gush with only brief pivots to howling screams and rattling blast beats nestled in between passageways. The Crimson Crown stands out as a fierce number, leaning into that heavier metallic side. It swings to opposition with a touch of intention, as some of the lightest instrumentation emerges, guitars withdrawing entirely. Beautiful acoustics crop up in the mix too as its seven songs explore a range of temperaments.

 Without dawdling into their "progressive" nature, each song masterfully entertains without deviations and tangents, never loosing sight of the overall theme. Thus its songs ebb and flow ever holding one in the present. With strong lyrics, easy flows and the occasional catchy wording, some songs slip into charming sing along moments too. Overall, a really well written record that's a delight to indulge with, never a lull or rushed moment, Otra is a graceful record with a tranquil spell fitting of this summery weather, despite some shackles from its nightly Black Metal influences.

Rating: 7/10

Backxwash "Only Dust Remains" (2025)

 

Taking a step back from the abrasive edges of Metal, Noise and Industrial, Canadian producer-rapper Backxwash returns carrying that stark Soulful pivot heard on Mukazi at His Happiness's conclusion. This new chapter shows signs of growth as Only Dust Remains' eight songs play tight and concise with a refined approach. Toning down aggression, dialing in human voices, choral, gospel and the like, the reoccurring themes of self doubt, identity, guilt, and life's woes wrapped in demonic metaphors, arrive through a shifting lens. Signs of maturity and evolution in perspective manifest through both Her lyrical and instrumental expressions.

Touches of reflection upon these dominant artist defining themes crop up among an arsenal of personal exorcisms. Wake Up plays a focal point, as cries to "wake up" from internalized suffering seem offset by lyrics delving into current affairs of war and politics, as she turns her attention to the pains of external matters. So to does the following Undesirable echo this shift as shouts of "grow the fuck up" cry out over its mellowed instrumental, a voice and string duet adorned by underlying piano chords.

Each song carry's a character best felt by enduring its duration as expressions manifest through the journey, as apposed to simply rocking a wild beat to latch onto. As such, personal preferences will illuminate these nurtured instrumentals. For me, the Dave Gilmore akin unending airy guitar solo of Stairway To Heaven and Dissociation's dreamy build up of uplifting energies were a keen highlight.

So to does its concluding title track turn a similar leaf to Mukazi. The album ends on a gorgeous note, a soothing instrumental encapsulating soulful warmth with a touch of beautiful melancholy. Its chorus hook a blissful one that seems a far cry from this artists roots. Only Dust Remains is a solid record, the brilliant union of expression driven by an artist handling both lyrics and production shines strong. It does however feel like a stepping stone between the past and future if this evolution continues on the next record, which I now eagerly anticipate even if it may be a few years away.

Rating: 8/10

Oscillotron "Cenotaph" (2025)

 

 With lowly expectation, I tentatively picked up this fresh three track from a once adorned Oscillotron. Still rocked by the horrors of an eight year weight, the cursed fuzz of unsavory one hour noise-piece Oblivion still echos in my ears. Cenotaph is another distillation of sound, honing in on tension, dread and menace through the aesthetic powers of masterfully crafted shadowy synth. Some of its tones echo the great astral charms of its predecessors but stripped of melody and percussive groove to shape its form, these synths linger and brood in passing paranoid episodes.

Dystopian in nature, dark nightly settings take hold as its textures conjure a sense of observed dangers in brutalist architectural landscapes. One can imagine futuristic visions of societies obscured by technological integrations run amuck. Lifeless arpeggios spin a sense of cold menace, a watchful automated eye, inhuman authority.

The title track plays a game of starting soft, subtle uplifting choral voices transform in to tense apparitions. Menta revels in its distorted rumbling, a sense of severance pervades as loneliness triumphs. Filter rocks Tangerine Dream inspired sequences, adding a touch of mystique and intrigue to the dreariness. Three classy executions, brief but vivid and engrossing. Could easily elevate visuals as music in cinema.

Rating: 5/10

The Underachievers "Homecoming" (2025)

 

With a golden glossy glow to illuminate prior triumphs in their trophy cabinet, the Flatbush duo solidify a concept hinged on their return. Its a homecoming alright, but this brief twenty minute flash in the pan falls short of a glory its album cover suggests. Its shockingly been over ten years since the peaks of Evermore and Cellar Door with activity dying off in proceeding years. It feels like The Underachievers should have left their collaborative legacy alone. The years of silence have not served them well.

Armed with luke-warm competent beats, the pair step into the booth lacking a sense of hunger or urgency that previously defined them. The grit and vitality is gone, in its absence, signs of age, where earned skills and proficiency carry them by on steady flows running rhymes on routine. Cadences barely shift, the tone is consistent, lacking an emotional attachment to the lyrical content. Things start of fair. Losing Feathers reflects on the past, sharing wisdoms and ripping on the laziness of a stoner lifestyle. Past this firm footing, reflective of the album's theme, songs quickly drift off topic, even straying into marijuana braggadocio, an odd contrast to the uplifting message of ditching this self indulged habit to do something meaningful with your time.

Homecoming is disappointing, a reunion of talented individuals lacking enthusiasm. They step back into their unique sound with no fresh ideas lyrically or instrumentally. After all these years, there was little bottled up that needed to be released.

Rating: 3/10

C418 "Wanderstop FM" (2025)

With fresh flavorful fruits flowing like a faucet, the lengthy quiet since Excursions seems like no absence at all. Creativity has been bottled up and unleashed, as another two hours gets bestowed upon unsuspecting listeners. Complimentary to the traditional, acoustic instrumentation of Wanderstop, a scenic, humble tone setting video game soundtrack, the other side of the coin drops. Caught adrift in nostalgic charm and ambiguous notions, Daniel's melodies arise again with his signature collision of EDM and Ambient. Familiarity runs amuck, as synthesizer tones, bass textures, production techniques and percussive arrangements brood with the fondness of his Minecraft hits and many memorable solo album songs.

 

It is only now, as I fumble over the track listing, I realize the eye grabbing quadrant album art represents four "channels", presumably the games radio stations. These temperament shifts were felt in listening sessions, as its initial run of quirky, upbeat "signature style" songs described above, suddenly pivot to cool mellow ambiences, temporal stints ruminating on the soothing calmness emanating from its core textures. 

 The third channel, "Sugar Cube" takes quite a stylistic leap. Melding its innocent melodies with a rural, farm life flavor. Competent but far shy of remarkable, these themes end up yielding to Daniel's EDM synthesizer instincts, progressing with House inspired beats. We drift further again with the last chapter, which lacks a particular theme or identity, seeming more like the leftovers from ideas explored before.

 

 Wanderstop FM is such a treat for fans. The core soundtrack gave us an particular avenue to enjoy but with these radio stations, we can revel in the broader spectrum of an artist who's set of sounds is always a pleasure.

 

Rating: 7/10

Spellling "Portrait Of My Heart" (2025)

 

Devoid of that alluring magic felt on The Turning Wheel, experimental musician and singer-songwriter Spellling returns with a stiff set songs to lend her hearty, endearing voice to instrumentals simply on a different wavelength. Rife with overt echo's of 90s Alternative Pop, 80s Classic Rock, Glam Rock and flashes of Prog Rock, even Metal in a single moment, these songs crudely show their inspirations. Its rough around the edges, garage aesthetic sounds fantastic yet clashes with a remarkably salient, soulful performance, expressing many personal, emotional themes through lyrical delivery.

I've tried to drill these songs into my mind with repeated exposure, that same gnawing clash barricades a charm clearly aimed for. One can hear the bold conceptual strides these numbers take. Bright ideas, yet lacking novelty in pursuit of convention over experimentation. With this shift in norms, a chemistry between voice and instrument falters, despite either doing nothing erroneous individually, together they lack spark.

This disposition left me with little to say, I could delve into the ideas explored deeper but with a lack of adoration, words for expressing my perception just don't flow. Still one to pay attention to, I hope she finds her way back to the unusual charms again.

Rating: 4/10

Trevor Something "The Shadow" (2025)

 

My introduction to Trevor Something was through his distinct covers of classic songs ranging from 80s Synthpop ear-bugs to 90s Alternative crooners and Industrial anthems. A treacherous terrain to navigate, traversed in complimentary nature to give those oldies a differed flavor. Comprised of original songs, The Shadow has to compete with those high standards. Taking such dreamy aesthetics to his own material, the chasm is felt raw across thirty tracks that fail to illuminate through melody, hook or lyricism. This record falls into the "vibes" category, establishing mood, then ruminating on it endlessly, without any spectacular musical ideas or deviation from the path.

Tracks play slow and sullen like sluggish fever dreams of self indulgent misery. Twisted to melodic might, reverb soaked synths delve into a cold Ethereal melancholy. Soft and soothing by design, these dreary yet absorbing synthetic soundscapes elongate melodies to the tune of sadness. Trevor's ghostly voice echos out above, downtrodden, drowning in the wounds of a self centered lifestyle's emotional loneliness. Heard best in his words, its catchier words echo a crude Manson.

 

The Shadow's architecture lacks diversity, its moods circle the drain. The title track catches an ear with some intriguing repeat cuts, caught between a record skip and digitized glitch, they create a momentary disoriented charm for attentive ears. Occasional vocal warbling encroaches into Mumble Rap vibes. Infrequent but a curious if only brief distinction. Spaced out percussion patterns occasionally go full Synthwave with gated tom drum fills. Once again a brief glimmer of deviation from the overall tone.

 

One can find a few favorite cuts that resonate well within this context. Numb The Pain and Die 1000x stood out for me. They seem a cut above the rest on a record devoid of hooks and memorable moments. Each song tends to melt into the next as feverish aesthetics overpower other fundamentals. A fair and entertaining listen for self indulgence that probably doesn't have the legs to stick in ones mind for too long.

 

Rating: 5/10

Doomsday "Never Known Peace" (2025)

 

A few weeks on from discovering Crossover Thrash outfit Doomsday, a new record drops! In fact, Never Known Peace is their debut "full length", a trim, lean, concise thirty minutes of fiery metallic blasphemy! With a tight production in place, the band straddle Slayer worship with a modernized arsenal of slick sprinting riffs and roaring, evil evoking lead guitars. The latter aspect gets nail to the cross. Echoing King and Hanneman's dueling, unhinged guitar solos, the record's ten cuts flow with melodic chaos as the arrival of spurious shredding illuminates the tone, a consistent high point.

Oddly, its high tempo rhythm guitars chug and gallop chops to a lesser luminosity. They serve as the mood's aggressor, continuously grinding out stomping grooves in a menacing formality. Lacking surprise or novelty to seasoned ears, the ceaseless flow of rhythmic assault runs warm. When set up for a big breakdown, it lands somewhat soft. When the rhythm guitars aren't accompanied by face melting leads, things feel thin despite continuously punishing with notable touches of Hardcore dance groove.

 Stepping back from my analytical dissection, Never Known Peace is a heck load of fun. Despite being one mean best, its tone feels fun and uplifting, a dark demeanor for show, not to be taken seriously. The thirty minutes blaze by without a foot step wrong. Its surprisingly consistent, without a dull moment and nothing truly remarkable to rattle off on, although whiffs of potential linger. Only instrumental interlude track Extinction's Hymn gets a mention for its utilization of a sinister synth to add a textural flare to its main galloping guitar riff. A small footnote on a record that sticks firmly to its design.

Rating: 7/10

Nobuo Uematsu "Final Fantasy VII Original Soundtrack" (1997)

As the peaks of youthful adoration converge on true musical magic, the stars aligned. This form of wonderment, powerful and persistent, has shadowed me like a ghost, unveiling its brilliance at every return to the epic. Mirrored alongside an unforgettable storey told through the medium of RPG, Nobuo Uematsu's genius provided a deep imagination to enrich format constraints. Low polygon graphics and narratives projected through text on cathode-ray tubes, his soundtrack brought the vision to life. So too were orchestrations shackled to the eras technology. Despite compact discs offering outsized audio fidelity, producers opted for MIDI driven synthesizers that have stood the test of time. It speaks volumes to the fundamentals of melody, harmony and rhythm in the face of artificial aesthetics, which do have a charm.

Housed within a mammoth four plus hours, the music is remarkable absence of filler. With intent to imbue the storeys many twists and turns, characters and settings, each of its ninety songs come sharpened by vision and intent. Tone and temperament are always aptly poised to illuminate the emotional narrative told through its charming melodies and emotive backing tracks. From emphatic portraits to mischievous sketches, Nobuo brings these characters to life. Glorious battle tracks and luminous Fanfare victories reign supreme, undoubtedly deeply engrained by there repetitive placement in the game, these galloping riffs and triumphant tunes are utterly iconic.

So too can this soundtrack cut into sombre, shadowy, esoteric corners when called upon. Sometimes with a majestic utilization of minimalism, its often these dark compositions that show the power of balance. Nobuo is wise to hear the strengths of timely quietness. At its opposite end, a large collection of playful, quirky songs, upbeat in nature and warm spirited await within. The delights of the various Chocobo tunes and storeys happier grooves swirl with joyous melody, often dressed up by creative rhythmic hilts and inspired backing instruments. It gives an unusual sense of depth to what can seem simplistic on first glance. A subtle brilliances resonates on every track.

Having heard these songs re-imagined on the recent FF7 Rebirth remaster, I am transported back to that youthful magic that seems ever more evasive as the years grow old. These freshly updated tracks are fun but the originals still hold a nostalgic power. Although I'll yield to the notion that my epoch of exposure greatly amplifies my connection to it, I do not doubt the excellence on display here. Given how many casuals mention this soundtrack in comparison to other games speaks volumes to the genius operating behind it. For anyone who has never heard it before, Its a quirky listen in original form. I only hope you hear the magic FF7 fans were bestowed with.

Rating: 10/10

Krusseldorf "Laidback" (2017)

For now, our Krusseldorf venture concludes at a lower altitude. Distant are those charmed curiosities that drew me in. Laidback is certainly calm in demeanor, easy on the ears but much of its lengthy runtime circles over dulled ideas and bland aesthetics. It suggests the artist enjoyed the subtle details of its sound design much more than this listener. Lacking melody and groove, the focus seems to lay in the textural craft of these dreary downtempo drives. They Fall conjures a soothing mood with its dreamy warmth. The following Rebuilding Icarus flips the script for a lean cut, darkly intent with sharp brittle beat. From those distinctions, the record drifts into obscurity. Tracks drone on, seemingly fixated on strange Industrial like samples and breathy snippets. These ideas are scant, ruminated on endlessly, A tired slump I didn't enjoy much.

Rating: 3/10

2Pac "Me Against The World" (1995)

Some might praise this an instant classic. With an incarcerated 2Pac sailing to the top of the charts, increasing controversies in the public spotlight only fueled its stature. Time has served Me Against The World well. Thirty years on, it plays as a brilliantly articulated slice of life, a moment in time reflecting the duality of man. Caught between a thoughtful, poetic soft-side and hardened realities of a fraught world unfolding around him, our enigmatic artist walks a tightrope, delving into the details of these juxtaposed sides. Understanding the broader context around this record is practically futile given how well his timeless cadence effortlessly walks you through particulars.

 

Songs run as a play by play of dark events, exposing his character and passionate, empathic political views. Tracks individually cut direct into a concept, expressing inspired and coherent without a wasted breathe. Upbeat G-Funk oriented production echoing shades of 70s R&B and Soul music breathes life into the lean, attitude driven vibes. Joining the emerging crisp and clean production style of this era, Shock G and his crew leave loops and samples in the dust. Melodies and beats come tightly arranged through sequencers composing snappy percussion and memorable tunes to stick with you for a lifetime. One will find plenty of favorite cuts among its fifteen.

 

 The album flows superbly. Intro samples snippets of news reporters remarks to firmly establish the setting. If I Die 2Nite kicks off a string of bangers, leading up to the mellowed soulful classic, Dear Mama, a beautiful timeless love letter to his distanced mother. The next couple of songs lean on this smoother temperament, a calm spot before Old School perks the ears with its appraisal of 80s Hip Hop. It plays like a checklist of shout outs. For a young me, this was a treasure trove of names to explore.

Fuck The World and Death Around The Corner have a fearful 2Pac dialing up aggression, turning to a darker side, foreshadowing his paranoid temperament heard loud on the next records. His anger seems righteous but the cracks in his duality start to fray. These songs contrast the overall upbeat mood. The closing track Outlaw serves as an introduction to the Outlaws crew, a concept he would go on to grow. This direction plays a mild blemish on an otherwise superb record, never failing to woo.

What I've always adored about Tupac is his ability to illuminate the problems of crime, poverty and racism from a perspective often ignored. Retrospectively, Me Against The World is the boiling point before his embellishment of Thug Life loses its potency under the pressures of Death Row records. Given the drama and controversy around him at the time, the stakes are raised. He meets it with his words. Me Against The World is undoubtedly a classic, his most consistent and concise record. A must hear.

Rating: 10/10

Krusseldorf "Cloud Songs" (2020)

 

Still charmed by Krusseldorf's curious demeanor, we venture further down the rabbit hole. Cloud Songs' titling nods to its lofty ambiguous nature. Quirky compositions, delving into a haze of softness, lazy, relaxed and inviting. These cozy tracks meander through inconsequential landscapes of melting melody and circling rhythms that evoke Pysbient suggestions when percussion hones in on Downtempo templates.

Despite getting off to a strong start, establishing soothing vibes and cruising through chilled melodies, the tides turn in its second act. Dub For Slouchers hits a high as the records best track, cohering the classic Dub baseline to its whimsical follies, ushering in dazzling arpeggios near its conclusion. After this, the mood shifts, dramatic, subtly sorrowful, with a sense of abandon, proceeded by chemistries brewing unease.

Between them, Dance Of The Sleeper revels in that winning Dub formulae again but otherwise the record fizzles out as emotional narratives fail to resonate within the soft obscurities electronic music can offer. This is oddly punctuated by the arrival of dreamy, Ethereal effeminate singing, which had previously done the music wonders. This outing they played into the diminishing flow. Cloud Songs had immense promise but simply drifts out of focus after a strong start.

Rating: 5/10

Clipping "Dead Channel Sky" (2025)

  

 Leaning hard into their distinct jilted abrasion, experimental Hip Hip trio Clipping return armed with an arsenal of rapid fire razor sharp rhymes, accompanied by cyberpunk dystopian disjointed beats. Its a despairing, paranoid journey, showcasing the unrivaled talents of Daveed Diggs, who blasts vivid lyricism through an effortless cold, monotonous delivery. Poetic and descriptive, he arms this unsettling soundscape of buzzing computer electronics with moments of clarity, cutting through the rumpus and adding a dispirited human element to the already dejected temperament.

 Lyrical themes resonate with defeatism, reflecting current social-political concerns. Early on, dexterous rhymes charm through ambiguous, artistic, storytelling motifs. In its second half, clearer concepts are depicted with plainer language. The emergence of AI, growing wealth inequality, the harms of social media, disinformation and internet related corrosive forces. Its in the latter half that these clearer expressions, the conceptual nature of Dead Channel Sky, takes form for this lukewarm listener.

Mediocrity stems from its dredging, drawn out nature, tediously slow burning through cyber-industrial soundscapes. Short interludes and key songs play drowned in an endless string of aesthetic ideas which only reward when converging upon groove and rhythm. This mostly happens at the heels of 90s House rhythmic energy and signature waveform leads from the era's blossoming electronic scene. In these moments, much is borrowed from the past. The dystopian aesthetic a thin veneer atop what works.

Entertained by a couple of spins, the search for depth has alluded me in becoming numb to its admittedly impressive arrangements of dial-up inspired internet glitch-synth. So to did Diggs' rhymes flourish food for thought initially. That persuasion has swiftly evaporating in this artistic vision mostly devoid of the simple pleasures required to bridge the avant-garde. Dead Channel Sky lacks the curation to drive home its vision, instead flooding us with an indulgent revel, not quite to this fans taste.

Rating: 5/10

C418 "Wanderstop" (2025)

 

Clocking in with a verbose 195 minutes of fresh instrumentation, C418's latest video game soundtrack is understood mostly through its soothing vibes and cosy moods. A safe feeling in which to curl up inside, as its soft fuzzy warmth, painted by classical instrumentation, works claming wonders. Adorning strings, chiming bells, felt pianos, a magical xylophone and lean cello bass, blush harmoniously in delightful ambient reverbs and crafted echoes. All these sounds arrive luscious and clean, with occasional touches of subtle electronic synths woven within its pristine chemistry.

Its a mastery heard before on both Beta and One, now restrained by its core focus on traditional instruments. One will also hear intermittent echo's of the classic Minecraft Alpha soundtrack in its meandering piano motifs. I'm perhaps now re-realizing how much similarity to the likes of The Plateaux Of Mirror this iconic sound of C418's has.

Wanderstop sets itself apart from familiarity through reoccurring themes and melodies that shift with the record. The deeper in you get, those recurrences subside for fresh ones. A few darkly passages emerge mostly between in usual crooning and quirky expressions. All are likely shaped by the timing of their appearances in the game.

Its nice to see Daniel has been busy with no shortage of inspirations. Assuming this has kept him busy for some time, I hope we will hear a new full length original soon. Its been seven years since the last! This however is a separate project, one that stands on its own two feet well and hopefully serves the vision for this game as well.

Rating: 7/10

Spiritbox "Tsunami Sea" (2025)

Once highly anticipated, now sorely devoured, binging Tsunami Sea left me with a simple sentiment - these numbers could take many moons to fully internalize. Often cloaked by its own steely downcast expressions, LaPlante's stealthy Pop inspired vocals play second fiddle to a dominant theme of dejected aggression. Manifesting in temperamental sways between songs, angers climax upon the altar of monstrous hatred that is Soft Spine's mammoth onslaught. Moments before, a tuneful Perfect Soul embellishes their gentler side, reveling in the timbre of a classic pop song's hook.

Front loaded by a heavy assault of elasticated eight string guitar grooves melding with the subtle texturing of eerie atmospheric synths, cracks emerge as tracks occasionally mellow into doleful melancholies. Ride The Wave plays a keen example, cloudy mediocrity overcomes its hurtful emotional resonance. This sombreness leaves me with that aforementioned sense of needing more time to internalize its curious yet depressive persuasion. In conclusion, Tsunami Sea has one to many songs that drift by, failing to wrangle me into its allusive charm, unlike Eternal Blue was able to do.

To sing its praises, Tsunami Sea pushes the envelope of their sound. Seeking subtle inclusions of percussive sounds from the 90s explosion of electronic music, songs arrive fleshed out with links to tie its textural depth through the sways of intensity. Meager drum grooves holdover transitional moments a seamless fit. So to do hidden layers of trancey electronic synths weave in subdued soundscapes around the mostly metallic music that occasionally drifts into a Shoegaze and Ethereal territory.

The construct is masterful, giving listeners added depth to explore on an intensive listen. Seemingly straightforward, the instrumental ideas struck are enriched by this tapestry of passionate sound. Elevating the core of their musical identity, its a step in the right direction. On its best tracks, undeniable. As a whole album, the experience dips in spots. There is much to be enjoyed here. I hope it continues to grow on me.

Rating: 7/10

Doomsday "Depictions Of Chaos" (2022)

 

 

Having recently unearthed a modern scowling scene of Groove laden Thrash, tinged in Death and Crossover, Doomsday stuck me as pick of the crop. Breeding fast, ferocious, fiery bestial incarnations, their hellish forays of 80s inspired Metal re-imagined play a delight to this Slayer fan. With lead guitars wailing demonic sirens and galloping rhythm guitars balancing groove and sprint, Doomsday hit hard.

 

These six songs run an infectious route, endlessly pivoting from one riot to the next. Despite being dramatic, sinister and darkly, with front-man Carlos Velazquez howling graven pains, Depictions Of Chaos is upbeat and fun. The routine stints of groove an invitation to rock out on a hellish ride. Its a vision cast by legends before them, yet this classy updated execution attracts one to revel upon its ripe aesthetic foray into evil.

 

Rating: 6/10

Old Tower "The Trench Pilgrims" (2025)

Commissioned for the "Grimdark Compendium", Old Tower lends their craft to a presumably fitting tone for table top game Trench Crusade. Its setting in 1914 explains the quirky archaic musical sample that aids this five tracks opening Introduction. The sample disappears into a gloomy fog of atmospheric synth and chilling horns echoing a haunting wreckage left by battles carnage. From here, we descend into darkly meditations, spiritual yet steeped in an eerie inclination. Chorals led by loose and worldly percussive instrumentals chain us to its rhythmic trance. The subtle entrance of Berlin School synths paint a suggestion of something cosmic lurching beyond.

A similar spirit guides the lengthy, hovering Anchorite Shrine. Its soft Piano notes, buried in a smokey haze, conjure an alluring crime novel danger akin to Noir Jazz. I heard touches of this motif earlier in the records opening. This mysterious lean is particularly befitting of Old Tower's cool temperament. The closing track Revelations twists that tone to sinister as a calculating drum pattern softly beats its menace. The tension rises but far from conflict, the song suddenly drops its grip, reminding one of the captivating power music, that is often relegated to the background, can have.

Rating: 7/10

Saor "Amidst The Ruins" (2025)

With foundations of extreme and cultural aesthetic resolute and intact, Saor embarks on this latest venture through the shackles of familiarity. Thus initial listens spun a lukewarm drone of routine blast beats exchanging duties with its symphonic layer. Comprised of strings, Violin, Cello and effeminate voicings, this heathen tapestry enriches Saor's music with the spirit of Scottish highlands and its cultural heritage.

The metallic counterpart, comprised of pummeling drums and angular distortion guitars, stands somewhat in contrast as expectant extremities offers little to the embellish narratives and server as obvious amplifications of intensity, swelling energy but rarely feeling warranted in contrast to the rich underlaying musical themes.

Thus we have a record in peculiar imbalance. At a frequent pace, the collapses of roaring aggression give way to stunning arrangements of beloved highland melody. Beautiful in flow and holding grace with mother nature, a reoccurring sense of longing persists in these spirited melodies. They are the highlight in which to endure.

Sadly the majority of these earthly musical motifs rest in tandem between the two, layering in this gorgeous vision with familiar aesthetics that offer little new. Tired of bellowing screams and blazing blast beats, I found myself chiming with the serine acoustic guitar tones and cultured instruments, an aspect stunning on its lonesome.

The records most passionate passages emanate on their acoustic reverberations, often to be enveloped by that roaring beast. My tolerance of its metallic components rested on the whims of personal appetite. Sometimes energizing, at others a drain. Saor has matured strongly on a cultural  front to deeper meaning but foundations strip this expression of greatness in my opinion. However, its still a very enjoyable record.

Rating: 6/10

Krusseldorf "Fractal World" (2014)

Winding back a decade from a recent curiosity Mushroom World, this record plays out in its imaginative shadow. Resting on mellow laurels, these harmless ambient soundscapes exchange sleepy, murmuring lethargic melodies against busied yet often aimless glitchy drum grooves. This percussive aesthetic finds itself in vogue with similar trends of the time. The ten tracks that make up Fractal World, mostly shuffle through subdued instrumental chemistries, painting soft welcoming atmospheres.

 

Devoid of human emotions, songs jostling soothing oddities and ambiguous expressions through its synthetic instruments. The result is soothing, indulgent yet misses a power to make deeper impressions. Lacking definition, music passes by in a pleasant, disconnecting haze, pierced only by the occasional human voice. South Of The Sky Temple is a shining example. An effeminate, Ethereal voicing drops in to contextualize the curious atmosphere with humanity. A magic that could have been.

 

What will proceed finds depth in yielding these strange instrumental textures to a higher purpose but in their infancy, Krusseldorf has only aesthetic charm, missing on purpose beyond the slightly psychedelic mellow hallucinations this chilled out record provides. A fair listen, sorely lacking a magnetism to pull one back for more.

 

Rating: 5/10

 

Sundial Aeon "Analysis" (2014)

 

For a while now, I've found myself drawn like a magnet to what I describe as "inconsequential music". That realization helped this latest discovery click swiftly. Far from the meditative ambiences I usually associate with these inconsequential moods, Sundial Aeon's bustling electronic soundscapes carry a similar sentiment. Mid-tempo tracks drift by with a casual ease as layers of chirping synths harmonize without grandiose melody, scale or direction. Instead we embark on curious escapades through synthetic equilibrium that evokes astral, futurism and technological vibes.

 

Analysis plays out through a Trance architecture, dialing its temperament towards ambience, backed by often understated percussion. The motifs and themes explored sway dramatically away from dance floor rhythm towards a tone I adore. Pioneered by Carbon Based Lifeforms and further diversified through the likes of Timewave, Andrew Odd and Dreamstate Logic, these introspective, astral vibes fit snugly with my taste.

 

The ten songs found here all swell into welcoming moods, every track meandering through a whirl of instrumental overlap that rarely expressive individual ideas yet becomes bigger than the sum of their parts. Its an entrancing listen, evoking focus and calm through a rather busied wall of sound that relents in its expectant ebb and flows that are navigated gracefully by these two accomplished composers.

 

Rating: 6/10