PeelingFlesh "The G Code" (2024)

 
Has it been a minute since I precariously enjoyed some good old disgusting slam? Or do the fresh faced PeelingFlesh have an ace up their sleeve? This newly formed outfit from Oklahoma City are pulling impressive numbers, gathering attention via a sound I thought was well past its prime. Its album cover may hint upon its uniqueness, paying ohmage to Pen & Pixel's Cash Money album aesthetic. B.G. is a classic example.

The G Code's main musical driver is Brutal Slam Death Metal in its rawest. Invigorated by modern production clarity, all the genres hallmarks remain intake. Assaulting with utterly foul pig squeals and vocal absurdities, they punch like another percussive force. Alongside battering drums, armed with a clanging snare, the gristly guitars slam rhythmic low end riffs which routinely run rapid chops into slamming breakdowns.

Mean pinch harmonics, shattering blast beats and devastating gutturals aside, the bands unique flair emanates from a routine inclusion of street culture. Samples from movies, news reports and the like arrive between low key raps and the occasional use of horror aesthetic synths, the latter being something I would loved to hear more of. Skin Blunt showcases this well, these forces converge on this brief interlude track.

With this unique veneer of Gangster Rap embellishment, I'm keenly receptive to this mashup that keeps itself firmly in the Slam camp. That aspect of the music is some of the best executed I've heard in some time. Usually when Slam comes on, its fun for a moment but PeelingFlesh have managed to sustain my interest for more than the usual dosage of extremity would allow. The G Code certainly has its moments!

Rating: 6/10

Trollslayer "Pharaoh" (2026)

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

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

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

Rating: 6/10

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

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

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

Rating: 4/10

Plini "An Unnameable Desire" (2026)

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

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

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

Rating: 8/10

Këkht Aräkh "Morning Star" (2026)

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

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

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

Rating: 4/10

Little Simz "Sugar Girl" (2026)

I appreciate both Simz' artistic explorations and the willingness to share these creative tangents between albums. Sadly, the four track Sugar Girl makes a mild impression. Its mix of flavours feel mostly derivate of other trendy styles in the modern rap scene.

 

Opening with That's A No No, we find auto-tuned mumble ad-lbs over spacey synthetic beats akin to Yeat. Adding little to the conversation, the mid track pivot to her normal rap person seems stiff in its contrast. This synthy exterior melds with classic 808s and deep base lines on the proceeding Game On. Its underwhelming tone leads onto an under-powered hook, culminating in a rather forgettable stint.

Things perk up on Open Arms. An intriguing percussive groove drives the song, housing an ambiguous yet dreamy atmosphere. Effeminate voices dip in and out of intensities. Curious in concept but it lacks something exceptional to tip it over the edge. Telephone continues with the spaced out, dreamy vibes. Autotune returns, aiding its chilled lean into an Ethereal space. The whole thing drifts by in a soft mediocrity. Intriguing experiments but all of them lack something special.

Rating: 3/10

Jessie Ware "Superbloom" (2026)

 
Now accustom to Jessie's refined 70s revival, this newest installment, Superbloom, spins its wheels on autopilot. A familiar nostalgic cast of aged Disco, Soul, R&B and Pop motifs return revitalized, sounding fresh. Receiving a lavish treatment from modern production and experienced song writing, a stage is set for Jessie to dazzle. Unlike What's Your Pleasure and That! Feels Good, none of these songs ascend their constructs, hitting one with emotionally stirring chemistries or new musical ideas. 

Sadly, Superbloom is just competent. An enjoyable aesthetic treat with cheeky feel good themes and seamless instrumental cohesion. Along this journey, nothing breaks the mold, subverts expectations or executes them at another level. Jessie's empowered singing is on point but cadences, hooks and lyrics feel by the numbers. The sparks of inspiration to ignite magic are sorely lacking despite a stellar veneer. 

A few songs to remark on. Two track felt like favorites to return too. I Could Get Used To This hits a stride with its fusion of Dance and Disco that finds a dreamy peak, pivoting into a nicely executed key raising crescendo. Proceeded by a slower soulful title track, the exotic percussion, perusing baseline and overall tone fondly reminded me of Marvin Gaye. Synthpop akin Ride gets a mention too for its interpolation of some Ennio Morricone western lead. Not a great track, feels like a sore spot illuminating the limitations this nostalgic pursuit imposes on itself at times.

Rating: 6/10

Sungazer "Sungazer, Vol.1" (2014)

 
Arriving upon its origin, Sungazer's brief debut plays like an assemble of short conceptual experiments. Brimming with a ditzy glitched electronic aesthetic, its two opening cuts conjures a Chiptune dial up modem mash up. Spritzed on by craftily spun rapid melodies, they toy with rhythmic shunts and subversive tunefullness in disorienting yet soothing ways. The tone turns gentle with more traditional instruments arriving on the mellow afternoon stroll of Ether. Level One feels like a bridge to bring back some of the original aesthetic, baking in its video game adjacent culture.

Featuring human singing, its final track mixes all elements with a bold Drumstep drum groove. Justina's voice as quite the hook but the songs vibrant chemistry is so brief, its as is if the song doesn't get a chance to evolve. Instead, its shut down in the mania of stunting synth sounds. Volume one is impressive as a conceptual debutant but in the shadow of greatness to come, it shows the duo's humble original have been carefully nurtured over the years, from experimental to fully realized ambition.

Rating: 4/10

Enter Shikari "Lose Your Self" (2026)

 
With unshakable identity, Shikari return on another rousing record to reflect upon our troubled times. Spouting unabashed articulate words to address the current zeitgeist, Rou's lyrics cut deep. Led by emotion, raw authentic messages of worry garnish each track with urgent meaning. Touching on the erosion of institutional norms, growing wealth inequality, increasing climate fears and the ubiquitous influence of silicon valley tech, we embark on a fever pitch. One to always grab my attention, Rou's finger is firmly on the pulse again, crafting his passioned cries into anthemic bangers.

Obviously, this is no one man show. His band mates of twenty five years plus fire on all cylinders. Together, charging their genre soup of majority British musical influences with a vibrant, colorful, ceaseless energy. A keen apatite drives these songs with pace and blazing spirit. Spliced with chunky rhythmic chops, electronic stunts and subtle layers of tantalizing details, a constant thrust of anticipation keeps excitement stirring.

The albums structure is fantastic, between anthemic ragers, Shikari switch up the flow. Spirits are soothed on the juxtaposed Demons, exchanging its mellow lulls with a rapid Drumstep groove. Flick Of A Switch's second part calls back to the first incarnation, revisiting it with a mammoth zany spaced out breakdown, its sliding synths and detailed percussion is a treat. Closing on the trilogy Spaceship Earth, their song writing expands to Symphonic scope, yielding a glorious conclusion. A sentiment of visitors leaving our pale blue dot emerges, leaving its lyrics lingering with meaning.

Unironically, the aforementioned songs are not even my favorites. This album was pure class. Perhaps their best since The Mindsweep? Only the brief 90 seconds of an erratic I Can't Keep My Hands Clean felt a bit stale, perhaps an attempt to capture the abstract comedy of Slipshod... but probably not upon hearing it again after so many years. Shikari albums have a habit of feeling like strong connections to their era but losing a little potency over time, this one however feels like it has true lasting power!

Rating: 9/10

Dave Mackay "Three: Vol.3 [Utopia]" (2022)

Completing this triumphant trilogy of trinities, we temper tranquil trails as these three threads delve upon magical mellow moods. Wedged in the middle, Oog arrives a stiffer act, its melty instruments river around against the sticky shuffling rhythm of its gentle yet ever-busy percussion. It carries an airy colorful spirit through this ceaseless rigid pacing, a beautiful contrast to its melodic flavors oozing in sun soaked scenes.

Utopia leans in to its gorgeous reverberations. Again, the ceaseless drums hit this unshakable drive, more subdued in presence. Around it, a cast of instruments croon, melting in a roomy ambience, an aesthetic delight. An impactful piano arrive in waves, striking tuneful notes in succession. Illuminating, then dissipating into warm currents.

Impulse rounds up the record with an emotional stride. The welcome smoothness of this Jazz Fusion affair encroaches on a magical sentiment as the pivot a third in stirs spirited feelings. Its soft piano keys suddenly dance with the stars, as synths fall from the heavens. Its a lovely movement, revisited again a third later to climax the song, then suddenly drop out into attention breaking ambience. Really classy music.

Rating: 5/10