Scarve "Irradiant" (2004)

Browsing the depths of the metal scene, with the blink of an eye this album cover threw me back to my youthful years. Perhaps it once adorned my Nuclear Blast Records magazine? I was exposed to so much great music through that free mail-in mag. Scarve also happen to fit right into the European scene of that era. Perhaps best labeled as the "Future Fusion Metal" genre that never quite took hold, they sound like a soft fusion of early Mnemic and Meshuggah with touches of classic Darkane in their melodic musicality. All these bands I adore, Its no surprise I had little trouble taking a liking to Irradiant, the second album a brief existence that ended a few years later.

Pulling from the power and menace of Metal in its extreme forms, French musicians Scarve stretch apart those frays, extrapolating melody and dissonance through shifts in momentum. Thus its songs explore the ridges of aggression, flirting with rhythmic experimentation and quite often retreating into calmer spells to introduce metallic acoustic guitar melodies or unusual lurches of "the riff". In some instances they go hard, like the Death Metal inspired pummel and pound of a vicious Molten Scars. On the following Fireproven, we unseemingly drift into an Industrial atmospheric break to showcase some lead guitar flair before flashes of color erupt in a magnetic closing riff.

These complexities and technical nature delight but have a simplistic appeal on the surface. The best songs deal with the collapse of aggression they march from the relentless into curious expanses of atmosphere. Asphyxiate plays a highlight, starting off with a meaty Meshuggah chug riff and eventually featuring a solo from the legend Fredrik Thordendal himself. Irradiant is an all round excellent showcase of boundary pushing songwriting, at least for the time. A delightful discovery slipping into my nostalgic sweet spot. Highly recommended for fans of the early "Djent" frontier.

Rating: 7/10

Crag Forge "Forbidden Crags" (2019)

 
Blessed be, either in absence of, or excellence in, the solemn epics of these Forbidden Crags has scratched that itch again. Understanding both purpose and composure, Crag Forge previously felt like a settled matter. Alas, here I venture again, engulfed by these seven enchanting meditations. Deep foggy synths brooding on their unmoving might, the music of mountains still and unconquerable. Earths upheaval of stone, a violent movement of mass on timescales beyond our mortal comprehension.

The music elicits that calm and tranquil nature mountainous terrain evokes. A humbling magic from its dwarfing scale and seemingly eternal presence. Hidden brass melodies lurch in the dense atmospheric bass, like a rumble of clouds clashing into the unshakable landscape. It stands ancient, unending, suggestions of sequestered secrets lining the caverns hidden within. The occasional percussive strikes reinforce this sentiment, the sounds of miners seeking fortune echo through the distance.

Whatever sentiments the music evokes, it plays a wonderous treat for focus and meditative moods. Turn on and dial in. This record has been a wonderful tone setting. Mystic, evocative, natural but most off, safe and comforting, fondly reminding me of adventures on the slopes of rocky beasts. This is certainly one for the focus playlist.

Rating: 6/10

Carpenter Brut "Leather Temple" (2026)

Possibly completing some form of "leather trilogy", Carpenter Brut returns with album three after a lengthy four year absence. Armed with a fantastic, theatric, stage setting opener and closer, the seven tracks between bust out fast paced, snappy electronic numbers barely reaching the four minute mark. Assailing with an expectant nightly neon lit arsenal of finely tuned Synthwave instruments, Brut delights in a meaner tone, taking on some overt influences from the DOOM soundtrack in darker moments.

Tight in tonal execution, it plays an aesthetic treat. A cruising barrage of rapid slick melodies, pounding bass and body moving dancefloor energy. Despite being brilliantly composed, these song structures are crying out for a voice to lead the charge. Each song comes lined with lead instruments, places to focus your attention. However, the ebb and flow of intensities feels so fit for a singer to soar into the lime light.

Track after track entertains, vivid visions of a dystopian fantasy world we venture through. Personal highlights include the intense, demon annihilating title track. Neon Requiem's revel in spinning an 80s cheese motif into a delightful mood. The Misfits flirtation with Drumstep percussion goes down well. The End Complete wraps it all up nicely as the music swells for a dramatic farewell. All in all, one classy record.

Rating: 7/10

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

 

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

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

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

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

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

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

Rating: 9/10

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

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

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

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

Rating: 4/10

Autumn's Grey Solace "The Neverending" (2026)

I'd passed over journaling the last couple of Autumn's Grey Solace releases. Years of stagnation left me with little to remark upon. Always a pleasure yet rarely a surprise, what separates The Neverending from recent mediocrity is its "return to roots" approach. On a handful of tracks the illusive magic of those first impressions gets recaptured. Tones, textures and the musical blueprint from their classic debut Within The Depths Of A Darkened Forest resurface on within these eight numbers.

In gentle temperament, the return of ghostly melodic guitar echo, darkly strolling baselines and subtle groaning strings evoke a soothing Ethereal bliss of old. In particular, Erin seems to turn her voice back to that youthful charm. Lurching in a tender high range, she finds her way back to words. Their natural rhythm and wordy cadences rebirth a character missing from recent records. Its a curiosity how the presence of lyrics steer her performances into this special, otherworldly place.

Lacking any freshness and new ideas, The Neverending still strikes a mood much closer to their origins, an area that feels now underserved on its arrival. A fair record but not all tracks hit the sweet spot. Each track tends to cycle through a single set of ideas. The weaker chemistries swiftly make themselves known, however one will definitely find a few personal gems to cherish, if your a fan of this niche.

Rating: 6/10

Will Smith "Based On A True Story" (2025)

 

From one Smith to another, I couldn't help but vent my frustrations at this surprisingly bright and cheery Pop Rap album. Will assembled a competent team to deliver snazzy beats lined with harmonious voices embracing a Gospel lean on many occasions. A solid foundation for a comeback record I'm no longer surprised I didn't hear about.

Unable to shake his ego-centric relationship with fame, Will opens by stepping straight onto an almost comical landmine, if not for a tragic lack of tone. Fists swinging, armed with cheap rhymes and inserted critical remarks, he address the fumbles of recent years with braggadocio, lacking sincerity, humility and reflection so sorely needed.

As the record progresses, song concepts play shallow with cheesy hooks. Dotted throughout, attempted inspirational moments arise, Will puts on a voice as giving a sermon to save the masses. Its utterly tone deaf. It feels like Will is trying to engineer the reception of his return, as opposed to having genuine expressions as an artist.

As a Rap artist, he used to drive in his own lane. Likable, goofy, fun and uplifting but now, all that's gone and Based On A True Story confirms it. This was an opportunity for a genuine moment of self reflection and personal growth but its clear the man still has many egotistical issues to work through. To throw it a bone, You Can Make It and Work Of Art have really warm vibes. Decent tracks among the horror.

Rating: 3/10

Willow "Petal Rock Black" (2025)

Ill confess, on first impression, Petal Rock Black felt like a series of Avant-Guard Jazz experiments. This dubious outset was reinforced by its short tracks, averaging two minutes each. The recycling of lyrics from Empathogen and even Prince's I Would Die For You also aided this skepticism. Predictably, with each recuring spin, its treasures unearthed themselves as each brief constructs own magic steadily charmed.

All of Petal Rock Black's songs are devoid of traditional song structure. Each stint serves its own purpose, a swaggered union of layered vocal indulgence, steely Jazz piano and raw roomy percussion, all rocking to its own groove. Lacking progressions and pop sensibilities, they at first feel like aimless moments from improvised jam sessions but with familiarity, one grows to love the moments Willow revels within.

Her lyrics and poetic tangents between songs heighten an awareness of conceptuality that probably adds depth but flys this inept listeners ears. In its absence, the flavor and texture of her ever playful vocal swoons play a treat. Creative, adventurous, she expresses through range. From strength and power to whispers and laughs, Willow can pivot into a soar at any moment. The variety gushes forth rapid and effortlessly.

On the instrumental front, I would have mistakenly commented on a cast of classy seasoned professional behind her. Thanks to the artist credits, I've learned this musical montage is mostly her own multi-instrumentalist creation, briefly blessed by a couple of big heavy hitter names, George Clinton and Kamasi Washington.

That first impression is a misnomer but also a hint as to what may condemn the record to some negative reception. It lacks a glue to piece it all together. Despite loving it front to back, Petal Rock Black feels like its missing something. That Avant-Guard embrace turns these unusual songs into isolated islands of musical wonder in need of a throughline. You can't fault any of its numbers, these are all beautiful expressions!

Rating: 7/10

Matte Blvck "I'm Waving Not Drowning" (2020)

Stepping back from the impressive Vows, this debutant record suffers a retrospect, lingering in its shadow as an inferior product. Despite that, its an enjoyable record, a competent execution of ideas forging nightly Industrial Synthwave hybrids dwelling in pain and beauty. This tone is punctuated by the shy and meager vocals of Alex Gonzales. His range lacks the power its in reach of, opening up a continual sense of tenderness and vulnerability that actually plays rather well into the overall mood.

His appearances can be sparse as instrumental numbers break up I'm Waving Not Drowning's easy flow. Focusing on their merits and embellishing the power of rhythm, synth hit hard on tracks like Casa Blanca and Panic Room, spicing up aesthetics with a little novelty given there time in the limelight. This comes to fruition on closer Rye Fire. The arrival of its angelic vocal synth jostle plays in mechanical juxtaposition, cementing a dystopian atmosphere between heavenly piano melody breaks.

 As already mentioned, this one felt a firm step behind its predecessor. The bands proximity to my favorite Depeche Mode era lured me. This album houses a rather underwhelming cover of their classic Stripped. The vocals feel shaky, the synths underwhelming and the added percussive might adds little to the original. Its a difficult song to match and sadly this cover just makes you want to put on the original instead. Despite this, Matte Blvck are a solid listen, a group with potential ahead of them.

Rating: 6/10