Slipknot "Mate. Feed. Kill. Repeat." (1996)

  
Once their debut album, now retroactively labeled as a demo album. Slipknot's original incarnation was a curious machination of Death Metal and the emerging Nu Metal groove. If their masked avatars weren't wild enough, the band periodically burst into bizarre tangents of Funk Metal and Disco. Echo's of the early 90s Alternative linger but MFKR is mostly a dark mysterious beast born of loose experimentation.

With original bandmates Shawn Crahan, Joey Jordison, Paul Gray and Craig Jones all present, its an interesting observation that so much of the identity defining guitar work is present. Josh Brainard and Donnie Steele deserve much credit for laying down those darkly brutal riffs. A lot of their material ends up spread over Slipknot's next three albums, often reshaped, the self titled number sped up for the classic Sic.

Yet to find Corey Taylor, the band have a fine frontman in Anders Colsefni, who introduces those little Rap Metal verses, alongside barrages of brutal guttural vocals and raw throaty screams. His cheesy opening lyrics vent frustrations around the game Ultima Online But beyond this silly oddity, the themes get dark and serious swiftly. Gently, heard later on Iowa, has its meditative catharsis, swaying between calm and unease on the march to its grandiose riff that marks a peak as the song closes.

Do Nothing Bitchslap Is the first song to really test the limits. Dropping into a sly Lounge Jazz Funk groove, the song plays a game of pivoting between Death Metal and this easier temperament which gradually shifts into a disco groove. So too does its heavier end sway into manic guitar discordance and feverish grinding intensities. It plays like a bad acid trip walking among the halls of a carnival house of horrors.

Only One and Tattered & Torn are much like on the self titled record. Both fully written, here they just have a rawer edge which Anders does justice too. Confessions has to be my favorite song. Me and a friend used to listen to its, joking about these masked villains would wear their masks, dressed up in with fancy suits, dancing like it's MJ's smooth criminal video. The song beautifully transitions from woeful expressions to a dancey emotive number with spirited singing and a very 80s guitar solo.

The affair ends with Killers Are Quiet and the hidden track Dogfish Rising. Nineteen minutes of brutal downtrodden Metal that ventures into bizarre realms of experimental Industrial Noise. Atmosphere is the key word. This song really showcases Slipknot's unique yet deranged spirit. It's that side of the band we hear in its rawest form, yet to become the mainstream Metal juggernaut that would dominate this alternate culture.

For me, MFKR was a peculiar entity. A band I adored had sequestered a mysterious history. Back then, it was difficult to learn about and get your hands on. Now it's very accessible. But that mystique I experienced really let me connect with this album's strange character and appreciate its experimental approach. What Slipknot would become to be is genius in its own right, but so too is this alternative universe record where the band could of headed on a different trajectory. A cult like, underground act.

Rating: 8/10

Karnivool "In Verses" (2026)

 
Having been turned on to these fluid branches of expressive Alternative Metal by pioneers Tool, In Verses strikes as a delightfully indulgent yet familiar journey within expansions and contractions. Venturing though rumbles of textural guitar aggression and emotive melodic lines, I hear echo's of Adam Jones' organically moving guitar riffs and Maynard James Keenan's tendered personal vocals. It’s my own narrow point of reference but I’m absolutely loving the exploration of this matured sound.

New to Aussies Karnivool, this is actually their first batch of songs in thirteen years! In Verses being only their fourth album. It seems the lengthy wait is one of authenticity. Nothing about this record feels forced or even rusty, given the time passed. Rather, the lyrical expressions of frontman Ian Kenny has its purpose met by the gravitas of musical swells and flourishes of color his band mates offer instrumentally.

Thus, the elements align for music traversing nurtured dynamics as serene and contemplative acoustics gracefully descend at apt intervals to explore the darker, aggressive side of these themes. I'm fairly sure these worded motifs align across songs with intent. Either as poetic releases of bottled troubles from life's path or something deeper, interconnected, given the grander sentiment of some sentences.

As touched on already, these often repeated lyrical touchstones appear like the driving point of a song. Its a dance that illuminates these songs. Kenny is quite understated in his competency. Its the instrumental unity that elevates his presence. A consistency through a record traversing similar temperaments that are always in motion. It makes every inch of this rich music feel worthy of more attention than your actually giving it. Most lovable are the little creaking's of guitar feedback and acoustical drum stick clicking among other intricacies. Bespoke noises detailing a steadily blooming tone.

In verses has a lot of musicality, flowing like a river, gushing forth with expression, often sombre, melancholic yet never sullen. Rays of light pierce the cloudy skies in the distance. A lingering hope, colorful and tuneful. Most songs find the connection to this mood through moments of swelling gratification. I'm left with some lyrics stuck in mind. “Feeling alone in a crowded place”, “If i could have one more day”. Universal themes, yet personal. Its a connection I found for much of this fantastic record.

Rating: 8/10

Scarve "Luminiferous" (2002)

 
Stepping back from the exciting discovery of Irradiant, we unsurprisingly encounter perceived familiarities of the musical journey. Decreased production fidelity, unrefined identity, a vague rawness. These initially hold back the music but it only takes a few spins. With Luminiferous we have another intriguing exploration of the early djent influenced European metal scene. Labeled Technical Death Metal, yet experimental, progressive and showing similarities to the "Future Fusion Metal" label yet to emerge.

A far cry from where the extended guitar range sound has landed today, Scarve explored low end discordance, rhythmic treachery and sporadic shifts of blasting drums with a agitated stride. Exchanging guttural roars and raw heathen singing, a dualistic vocal dynamic emerges. Together they traverse an ever unsettled metallic construct beneath, taking a burley limelight, brooding within the ceaseless chaos.

Toying with trading tensions and dances of dissonance is a tricky game. Somehow, these bumpy rides converge onto peculiar gratifications. The ever violent percussion channels their artistic extremity through its Grindcore akin patterns, shuffling them consistently. Its the guitar leads that provides relief from this unending frenzy. Usually in intriguing arrangements, a melodic resolution ties up these unusual soundscapes.

On the other hand, the rhythm guitars stand out too, deploying dated polyrhythmic power chord chugging reminiscent of old school Meshuggah. On Luminiferious' ever animated journey, the ceaseless nature of its energetic lashings make it hard to determine where one is among the wretched, mangled metallic landscape. That is at least the vibe often similar to Mnemic yet not exploring the bombast they offer.

The record evades a sense of peaks or valleys, just a continual unravel of curiosity one moment to the next. Somehow, despite my many spins, its riffs and motifs haven't embedded a solid identity, one it clearly has. Futile resilient and The Day After stand out for their acoustic leaning soundscapes. As do brash moments of punk influences when the band venture into simpler drum drives and power chord strumming. Between the obvious influences, a tangled web of ideas that entertains. All in all, a great listen!

Rating: 6/10

Look Outside Your Window "Look Outside Your Window" (2026)

Technically an album without an artists publishing name, Look Outside Your window Is the so called experimental album recorded by Slipknot members Sid, Clown, Corey & Jim Root. Created alongside All Hope Is Gone, almost twenty years ago, then left in a lengthy limbo, the lack of enthusiasm for its release seems more than reasonable given the general drab mediocrity this gloomy set of mid-tempo sluggers brings.

Hinging on Corey's distinct vulnerable voicings, the music follows his mourning expressions, offering subdued militaristic drum marches under meandering textured guitar noise. This grey chemistry amasses to glum overcast skies and dreary rains as their bleak soundscapes circle themselves. When breaks for sunlight are briefly offered, it does so with minimal melody and an echo of the reverby shoegazing sound.

Some of Corey's hooks have his fingerprints all over it. At least of that era. His natural sway and dramatic pivots could lead into enraging screams and riff eruptions but those feveros elevations never arrive. I often feel left in the lurch by that lack of resolution or release. Its clearly an intentional choice, to ruminate on that dreary tension beforehand, however his band mates never offer up chemistry to engage with.

The record drifts by, these songs seem content wading knee deep in the gloomy amassing of raindrops it gently drizzles upon us. The overall mood never sheds its burden, rarely find relief and thus feels confined to drone by uneventfully. Its bleak, without leaning into its depths that could be. Sadly, a rather tame, disappointing listen.

Rating: 4/10

Dimmu Borgir "Grand Serpent Rising" (2026)

 
This tenth and possibly final chapter of a fine legacy sees inspirations grace a distinct and charactered return to form. The band's stride past the intoxicating Death Cult Armageddon has been a stifled mix of fruits, purposely seeking evolution but not quite encapsulating the enthralling experiences of their post Enthrone Darkness Triumphant run. With eight year stretches between their last two efforts, Grand Serpent Rising seems like a natural successor to that marvelous run over twenty years back.

Gracefully showing the age and maturity of its composers, the emblazoned thrills and aggressive stunts of Extreme Metal are stripped out in favour of rich atmosphere and grand storey telling. Clocking in at a meaty seventy minutes, all its thirteen songs march on a similar temperament. Mid tempo grinds of darkly wanderings, venturing through forbidden landscapes, immune to its dangers. We join the band like observes of this shadowy landscape, seeing its dramas like observing a battlefield from afar.

Thus its hardest movements tend to rattle blast beats over subdued chord plucking. As forementioned, their are no bombastic eruptions of aggression or pivots into sudden adrenaline. Its aphotic grandiosity emerges from devilish themes and structured composition. Orchestral elements often dictating the nefarious cinema. These are steady journeys, traversing metallic grinds to land on potent expressions of symphonic wonder as breaks in that grueling stride uplift with melodic reprieve.

My weakness as a listener is often lyrics. Well attuned to Shagrath's dense snarling screams, I've picked up on plenty of the words, gathering a sense of overarching theme. Cryptic lyrics of knowledge, secrets, conspiracy, power and truth seem to intersect across songs. References to this arcane union permeates key moments and ties together a sense of "secret society". Sequestered rituals, wisdoms and magics revealed. The records title perhaps suggests such a name for a cultic organization.

As a whole, Grand Serpent Rising doesn't have highs or lows, peaks or valleys. Instead it holds its tone well for a lengthy record, exploring its many ideas with steady measure. That being said, its closing beautiful instrumental Gjoll does feel like a special moment to end upon. I reckon this record achieves what Eonian set out to do, however this time their maturity as seasoned song writers really shows this time. 

Rating: 8/10

Vince Staples "Cry Baby" (2026)

 
Having previously expressed disillusionment with his artistry a rapper, Vince's return feels well earned and keenly authentic, something he's never lacked. This seventh chapter pivots into a fresh, politically charged lane as Staples' lends his laid back demeanor to a distinctly Post-Punk craft. Having previously toyed with Latino, House and darker sounds, this pivot highlights his ability to meet the instrumentals at its level.

On Cry Baby, subtlety reigns supreme! Both Vince and the bass guitar led beats choose to dial back intensity and let their combined resonance work its magic. Where others might channel the heated political themes and anger Punk influence into violent a wall of sound, Cry Baby leans into mood and atmosphere. Props to the various bass players, many of these songs are powered along by keen ruminating textured lines.

Around a core of Post-Punk baselines and raw drum kits, other sounds drift in, often aiding the atmosphere over deploying melody. This leaves space for Vince to shine. His smooth, easy going hooks, tie together the verses lyrical themes with an knack for both a sharp relevancy and catchiness. My personal highlights include Blackberry Marmalade, The Running Man and The Big Bad Wolf. Done with class and style, it joins an endless list of tracks sampling Silk Rick's classic Children's Storey.

With potent expression and no thrills delivery, Cry Baby creates much food for thought as its social and political musings churn the wheels of thought. A distinct, memorable record and a welcome return for Vince, who I feared we might not here for some time. Its only been two years since Dark Times, I'm glad he has found his way again.

Rating: 7/10

My Friday At Download Festival 2025

 
My own navigation fumble led to a late arrival. A rough start to the day, missing out on several exciting bands as I got caught in a wave of Friday attendees. Despite that, still had an amazing time as always. The weather was just right, sun and clouds, a cool breeze to keep one from cooking. I still got around, of the bands not mentioned here, I watched James And The Cold Gun, Paleface Swiss, Creeper and Lake Malice.



Lakeview
Having prior enjoyed their mashup of current low end metallic energy and modern Country Rap, Lakeview were the first to bring the live music chills. Amped up and full of enthusiasm, the duo front act rocked their authentic sing along numbers well, getting the crowd excited, putting on a memorable show with a sound I'm growing increasingly fond of.

Drain
Part Punk, half Hardcore, mostly Metal and a fond Echo of Crossover Thrash, California's Drain brought manic energy and stole the show. Their front man talked up the crowd with an endless surge of energy and excitement. Their songs blazed through fast mosh friendly chops, rocking riffs and headbangers grooves. The crowd ate it up, as did I.

Electric Callboy
Watched from a far, I got to enjoy the impeccable sound engineering of Download's main stage. It sounded so crisp and clear! I'm not overtly keen on Electric Callboy and their comedic party vibe antics but the live show always brings one closer to what a bands about. Mixing up their set with some vibrant European Gabber and Rave influences, the show became quite the surprise hit. I was thoroughly entertained and would be happy to catch them again sometime.

Cypress Hill
What a nostalgia trip! Sing along to every lyrics, I was reminded of my youthful love for this act with a flood of memories rushing back. Their age is starting to show a little and Download felt like the perfect opportunity to dust of the amps and bring back their Metal crossover era but that will likely be an unfulfilled dream for the Rap Metal obsessed teen in me. Anyways, great show but the energy was tame compared to other acts.

Limp Bizkit
They are my reason for attending this Friday. Immediately after seeing them at Reading last year, I knew I wanted to see them again. This time without Sam Rivers, RIP. Its my tenth time seeing the Bizkit. I went wild, as I always do. These songs just hit that teenage nostalgia different. I jumped, moshed, sung my heart out and ruined my voice. What a great time! I must say, the set felt light, lots of drawn out moments and even some extended downtime. It mostly felt like the same set I saw them do last time in thirty minutes less. It would have been nice to have gotten a few deep cuts but it is what it is. I'm sure I'll see them again in the coming years.

Blood Incantation "All Gates Open (Original Motion Picture Soundtrack)" (2026)

 
In a rather meta move, Blood Incantation release All Gates Open. A soundtrack to their homebrew cinema on the recording process of the critically acclaimed Absolute Elsewhere, a stellar gem that's grown on me immensely. The documentary itself is enriched by these soothing contemplative drones that meander among its backdrop.

As Berlin-School tinged ambiences, they lend power and gravity to band led discussions about the music's creation and capture. Immersed in a historical studio once home to the like of Brian Eno and Tangerine Dream, it feels rather likely that specific immersion led to the creations of these wonders lengthy pieces.

Temporal in nature, often still and reflective, moments of change feel like gradual drifts through the cosmos. Balance offers twenty minutes of deep droning with insignificant astral synths passing overtop. Flight births a touch of movement as grandiose melodies conjure awe and wonder, transitioning into a hurried percussive section which stalls its astrological allure. The five minute Dawn ushers in heavy hearted organs for an emotional rally which never finds any cadence. One can hear echo's of Pink Floyd's Any Color You Like being toyed with among its aesthetic density.

Rain closes up then run with another adrift song. Colliding with whirling synths and disconnected acoustic guitars, it lingers in this drawn out tempo-less space, like all its songs do. A curious listen, brilliant for the background yet on closer inspection its ideas evade magic in the moment. Perhaps that is precisely its purpose, to really lean into spanning those lengthy durations. This is one for the drones playlist.

Rating: 5/10

My Weekend At Fortress Festival 2026

 
Trekking up north for a niche musical festival on the costal town of Scarborough was quite an unusal adventure! Catching the last of the heatwave made for fantastic weather, we had time to enjoy both music and the local area. Although the lineup mostly consisted of modern Black Metal I'm exhausted with, the spectacle of a Dungeon Synth stage and return of favorite Old Man's Child pulled me north.

I'm glad I invested time into Choronzon. Before seeing It performed in full, we attended the interview talk on the side stage. That added such depth to the experience, giving additional insight and context to its creation from the band themselves. Their show was fantastic, a riot of enthusiasm for this eclectic assemble of extreme oddities. It was the one time I saw a mosh pit, which speaks to the frotress demographic, unsurprisingly mostly men my age and older. No teenagers in sight!

Flooded with feelings, memories and ecstatic musical magic, finally seeing Galder's Old Man's Child was blessing. A "bucket list" band I didn't think I'd get to cross off the list. Their show was a fun nostalgic romp. Playing favorites plucked from many possible candidates. Far from a band in their prime, they act pulled of these songs well, in the process stirring many memories as these old riffs and melodies unlocked parts of my brain from decades gone by. At the time, I didn't think this could be topped.

I'm not sure if I caught the announcement because Fief's inclusion was a joyous surprise. Relaxing in the theater to these jovial medieval dances, I was impressed by the impressions these often atmospheric songs had made on me. Usually, I'd consider this tone setting music, a ken ambience to spark ones imagination but I found myself remembering all melodies and transitions between. I loved every minute of the show!

Fresh in the mind, Emyn Muil's emotional motifs really came to life on stage. Preformed as a trio, some songs were stripped of their metallic core. This absence was felt when the distortion guitar was brought to the stage, suddenly, the magic elevated. I believe this approach was adapted for the Dungeon Synth stage but it felt like these songs needed to be in their final form. Either way, fantastic to see live!

Stealing the weekend comes Old Sorcery's first ever live performance. I hadn't even considered this a possibility, I was buzzing with excitement. Undoubtedly the genres top talent, I was astonished to see how well this translated to the live setting. It was if another element of magic emerged through this scenario. There was the mystical wizard himself, conjuring other words and occasionally commanding cryptic chants into the bellowing reverberations of his mic. It blew my mind, these already mystique drenched numbers hit me hard. Incredible show, one among the all time favorites.

Emyn Muil "Afar Angathfark" (2020)

 
Emyn Muil's own epic Middle-Earth trilogy ends on a high note, coming full circle in a feat of utter mastery. The stars align as spirited composition and aesthetic vision converge across a mighty sixty eight minutes of galvanized Summing inspired magic. Making no strides to escape their shadow, the record revels in that Tolkien vision, perhaps giving melody a more luminous presence for most of these lengthy tracks.

With measured pace, carried along by the grandiose thunder of tom drums, these songs brood a steady intensity. Straddling orcish howls and snarling tremolo guitar, the clouds of darkness frequently part for good and glory to victor. Firm strings set a tone for triumphant horns to pierce the sky, as a whole cast of instruments dampen the rains with their uplift. Bells, Harps, Flutes paint warm color over grim Black Metal.

Infrequent but adored upon each arrival, a warm effeminate voice invokes a subtle natural crescendo. Her arrival often plays conclusively, at the end of a song or as resolution to the melodic emergence from darkness. Its a keen highlight alongside the adorning string sections which lay foundational chords for the fantasy to unravel.

Afar Angathfark is a stunning listen but does wear itself out with a couple of weaker tracks towards the end. It may suffer a lack of transitions and bold pivots, lacking events and theatrics beyond its musical foundations. Songs tend to stay fervent in stride, same pace, same shifts between the sides of its casts, often leading to fade outs. Despite that, its rich dramatic atmosphere reigns supreme. A peak achievement.

Rating: 8/10

Karmanjakah "Diamond Morning" (2026)

Diamond Morning's stunning display of summer soaked melancholy immediately perked my ears. Within awaits a power struggle. Extreme Djent antics face off against melodic Post-Rock aesthetics, creating a beautiful tangle of opposing ideals. Those often rapid polyrhythmic stunts the likes of fellow Swedes' Meshuggah would deploy, get eased into crawling unravels, a gradual cadence to revel in rhythmic elasticity.

Eyes Seeing Eyes exemplifies much of the records magic. Opening with tender expressive vocals and serene noir pianos, a vulnerable emotive atmosphere is set. In fly the low end guitars, juxtaposed by higher register tremolo picking. Thumping drums deploy the bare minimum groove in apt measure. This restraint allows a sway between extremities to scintillate. This song leads to one of the albums best moments, a climatic polyrhythm! Spanning multiple bars on a delicious leisurely pace, It illuminates the power of such rhythmic oddity when slowed to an accessible clarity.

Much of the records allure revolves around these brilliantly realized dynamics. A gorgeous play of bittersweet uplifts, oscillating between intense elements. On this luminous journey, acoustic guitars adjoin its softly pianos that rest over either lofty airy synths or dense enriching reverberations. It creates a luscious tapestry for angular Djent guitars to collide with on many occasion. Their drummers' orchestration of these key moments is utterly inspired. Its the glue that holds this chemistry together.

On a couple of occasions, the music breaks down into soft spoken acappella raps. Its casual vulnerability feels apt but plays rather underwhelming in the shadow of this gleaming construct. Its presence feels like a footnote. Diamond Morning concludes with a self titled trilogy of tracks, bowing out on a high for a record that ebbs and flows wonderfully. Every listens rocks and croons. Its been one of the most impressive listens in recent memory. Contender for album of the year in my journal.

Rating: 9/10

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