Health "Conflict DLC" (2025)

 

Having been drip fed half these songs as singles leading up to release, Conflict DLC has been a swift indulgence. The other half of snappy three minute burns carries a continuity which extends from their last album Rat Wars. That record was labeled with sides A and B, this one C and D. The downtrodden mood and aggressive contrasts are very much a continuation of their Industrial gloom I'm still enjoying, however its only Vibe Cop that hits the infectious peaks this trio are capable of. The lyric "Follow your dreams... just keep them to yourself" has stuck in my mind for months now.

The record is a rather consistent brew of pulsating punishing rhythms, pushing against bleak atmospheres of respite. Often led by Jake Duzsik's curious, deeply effeminate voice, these lighter reprisals frame glum disheartening lyrics, the likes of "I wish I'd never been born", among offer depressive motifs. Despairing melodies emanate through effects soaked guitars and power synths woven into the gritty wall of sound.

With all elements working in tandem to serve this sombre vision of Industrial Metal fused with dark electronic elements. The listening experience rests on firm foundations, cruising by on aesthetics revelry to house song writing that don't quite exceed like prior efforts. Despite enjoying every spin, only the aforementioned Vibe Cop made its mark. A cool record to set a tone but suffers a familiar fate double records often do, the second release feeling like a lesser half of this period.

Rating: 6/10

Soul Blind "Feel It All Around" (2022)

 

Stepping back from the metallic grungy raptures of Red Sky Mourning, Feel It All Around plays rather unsurprisingly like its natural predecessor. With less bombast, more shoegaze, fewer grooves and added wallow, the initial shift in intensity ends up churning out a similar emotive tone. Soul Blind have a unique voice emanating through influences from the foundations of well executed songwriting fundamentals.

Similar comparisons to Alice In Chains and the broader Grunge and Alternative Metal scenes can be drawn but within this chapter, their focus turns to dreary downtrodden revelry. Moody, sombre affairs flirting with with both a glum dark and momentary light as chunky power chords inject rhythm between bluesy shoegazing indulgences.

Slower in pace, less theatrical in nature, its songs roll one into the next, each feeling cohesive as its muddy wall of guitar groaning doesn't venture to far from home. Stuck In A Loop and Everyday play as brighter sparks on the journey. Its three closing tracks show the bands hand somewhat. Lead guitar boldly echo The Smashing Pumpkins. Its execution is timely, a fond reminder of the 90s in which these vibes originated.

Rating: 8/10

Danny Brown "Stardust" (2025)

Michigan rapper Danny Brown returns with a highly collaborative record, spotting features to smaller artists on all but two tracks. Still committed to his brand of eclectic experimentation, unhinged noise oriented beats drive the record, contrasted by a brief concept of grandiose sentiment that kicks off and sees out this latest chapter.

Despite affirming his apatite as an artist is intact, I didn't connect with the albums core. Disorienting vibes dominate, snappy glitched electronics and stripped back yet hard hitting jilted percussion dominates. Frequently drifting into the House and Dance lane, a few numbers like Lift You Up brings an easy, conventional energy to the fold. For the most part, Danny's nasal toned abrasive flow paired with frantic instrumentals lacked a charm or even aesthetic intrigue.

Book Of Daniel opens the record with moving 70s Rock acoustic guitar and piano, sentimental vibes, a snug fit for fantastic verses expressing his state of mind as success interacts with apatite in our terminally online environment. A deep reflection reiterated upon through another's spoken word on The End. Its a touch juvenile and fatalistic but offers a curious space for thought emerging from age and success. For me, its the records one merit, a fascinating stem so brief in the albums bigger picture, it couldn't save my lack of connection to Stardust, this one just didn't do it for me.

Rating: 4/10

Blut Aus Nord "Ethereal Horizons" (2025)

 

French outfit Blut Aus Nord have done it again! Sixteen album's deep and still stirring curiosity within Black Metal, a scene which rarely sparkles these days. Ethereal Horizons edges off from the Psychedelic entanglements heard on Hallucinogen. The dense atmospheric design and spiritual melodies abridge an Ethereal realm, obviously suggested in its title. Propelled by frenzied blast beats, the reverb drenched guitar leads shimmer over a haze of dark synths as screams call out from the echoes of this limbic space. This energy between realms, occasionally signals its inspirations as some songs slip into Pagan vibes, a highlands tang, the likes of contemporaries Saor.

All songs lean on its aesthetic construct, tightly woven together, playing as a whole record, setting a distinct mood with each spin. On this journey, plunges into madness and ascensions to melodic glory take place with plenty of luscious interludes to break up the natural intensity. Clean vocals drift in and out of focus like lost souls drifting through the ether. On occasion a stomp of metallic rhythm might rear its beastly head to. Ethereal Horizons has a fair helping of treasures to offer but is mostly subdued by the stretches between its stars. What Burns Now Listens is my favorite track. I also appreciated closer track The End Becomes Grace. It creates a perfect sense of finality, signalling the venture is over as its instruments collapse into an airy descent.

Rating: 6/10

South Arcade "Play!" (2025)

 

Returning with another slice of 00s alternative culture reimagined, this fresh five track struggles to peak the heights of 2005 but builds out the bands setlist with a couple more lively, animated tracks. Supermodels is the standout, a rapid run of semi-rapped verses powered by stop start riffs interwoven with intricate drumming and slamming electronic textures at its crescendo. The influences present from Gwen Stefani's eclectic alternative No Doubt simply can't be unheard from this point onwards.

Fear Of Heights plays on similar vibes with heavy strumming powering forward underneath Cavelle's sailing chorus hook. Oddly it feels underplayed, she has quite the charming voice but sticks to the more casual sing-talk cadence. Drive Myself Home is my favorite, a metallic edged hitter with fantastic production, worming in some timely glitches and dense texture into its wall of sound aesthetic.

Bleed Out plays like a less potent blend of these ideas heard on the aforementioned cuts, its final track Blood Run Warm pivots towards an emotive acoustic torch song. Armed with a country tang on its verses and Emo flavor in its chorus, the band aim well for a diversity that charms despite not being my cup of tea. A sing along for fans who connect with its heart felt lyrics. A decent EP but one step behind the last.

Rating: 4/10

Soul Blind "Red Sky Mourning" (2025)

 

I can't recall the last time I took to a record so swiftly. That's high praise considering my perpetual binging of its ten tracks has yet to dull. Opening up with a classy replica of late Alice In Chains, crunchy guitar grooves and that distinct harmonious singing kicks off a ceaseless run of moody, downtrodden aggressive goodness. With originality absent and familiarities running a mental list of possible mentions, Soul Blind's songwriting speaks volumes. A firm command of atmosphere and momentum seamlessly swings between hazy washes of bluesy grievance and rapturous head banging energy. Tracks tear through by on this engrossing fuzzy guitar noise, with splurges of Shoegaze melody, finding slick pivots into thudding romps of mammoth guitar groove. Sludgy, metallic, grungy and thunderous upon its arrival.

Ultimately, the aforementioned similarities seem skin deep, as emerging through obvious influences emerges a voice shaped to its own expression. Soul Blind house ill emotions. Frustration, sorrow, sadness and melancholy brood within to be exhaled through spurts of channeled aggression. The big riffs are memorable but its magic comes from the moody ruminations between. Early on the record plays these sways within tightly tuned songs. As it grows, more light is given to its aesthetic indulgence, the bluesy side, resulting in some beautifully sullen numbers like its title track. This dynamic keeps the record emotional and engaging till its final note. Its very hard to pick a favorite track, I want to play the whole thing front to back every time!

Rating: 9/10

Rune Realms "The Music Of The Starlit Waters" (2025)

 

Master of scenery sculpting, our beloved Rune Realms turns attention towards atmosphere. With this newest Tolkien inspired chapter, The Music Of The Starlit Waters, a subdued approach lends its gorgeous ensemble of naturalist instruments to lone hums of auric ambience. A craft of nightly beautify bestows one with tranquility, as foundations of murmuring mystic synths drone under fluttering, whimsical harps, flutes and bells. They twinkle like stars through the night sky mist, mystic melodies gracing us with a gentle yet illusive presence. Still with calmness, yet full of secrets.

Its eight numbers play as meditative drones. Ranging from five to seven minutes, each casts a different spell from the same motif. As soothing magics steeped in serenity, they pass with stillness, a restful tone established and dwelled within, as a cast of luscious instruments chime on by. With no grandeur or drama in sight, its subtle bends and pivots serve the quiet ease, keeping motion to its frozen moments.

One half of its casting has a distinct icy chill, reminiscent of snow topped mountains, untouched by man, lit by the moon, beautiful and deathly silent. Cuiviénen, The Water Of Awakening, The Starlit Mere, The Quiet Of The Land Beneath The Stars and Oromë's Discovery shared this captivating magic which brought me much joy. One to return to next time I am abroad in the snow capped winter mountains.

Rating: 7/10

Clipse "Let God Sort Em Out" (2025)

 

I Initially passed on this one. Nominations for rap album of the year pulled me back in. Brothers Pusha T and Malice both share cold blooded tones, sturdy and steady, highly articulate lyricists, delivering calm and collected comprehensible raps. Their cool and casual flows breeze by with the serious undercurrent easily overlooked on first pass.

With more spins I got deeper into these tracks, their veterans status swiftly emerging. Expertly architectured verses stack up crafty rhymes. Between them, all manor of puns, cultural references, innuendo and double entendres snuck in between straightforward raps. Lines roll back to back, slick and swift, pushing a variety of narratives. A classy affair always steeped in the air of status affirmation.

Behind the word play run dynamic instrumentals, Not shy of downplaying percussion to a minimal form, obscured sampling constructs slick beats, birthing engrossing moods where the hooks often skirt conventional melody. Its not all spun to this degree but even its more traditional approaches seem to find a distinct manipulation. Let God Sort Em Out plays smooth with streaks of aggression in its lyrics reflected in the beats. Some degree of Mafioso with one touch mystic and another of wealth, class and extravagance. Only POV hits like an obvious banger, the rest play on subtleties.

In conclusion, I'm glad to have returned to this one. It deserved more attention. A slick run of feisty substance stuffed raps not aiming to shock or rock but play braggadocio on the merits of its own sleek articulations. Feature from Tyler and Kendrick are an obvious highlights among a star studded cast of guests from Nas to Neptunes and Stevie Wonder. Within its 13 tracks every hip hop head will find a few to tickle your niche. For me, that was Ace Trumpets and All Things Considered.

Rating: 7/10

Howling Giant "Crucible & Ruin" (2025)

Its been a while since I last checked in with Howling Giant. Turning an ear back to The Space Between Worlds, an evolution in song craft and aesthetic balance becomes undeniable. As part of the nostalgia revivalist Metal scene, Crucible & Ruin sees the band downplay imitations and embark on a tale steeped in inspired vision. Best expressed over its two part Beholder songs, all tropes and characteristic of the genre blend serve an expressive purpose that easily lulls one into the albums flow.

 

Capable of toning down its heavy moments without loosing momentum, these songs intertwine melody and groove together for an inviting froth of naturalistic scenery. Expressed through the lens of Rock and Progressive Metal, touches of Sludge, Doom and Psychedelic worm their way into this colorful brew. Subtle melodies weave around the rhythmic section, forging a gentle power. Heavy yet smooth, bright but hazy.

 

Only on Scepter And Scythe do the band overplay their hand. The chorus borrows a familiar cadence from Ghost's Papa Emeritus. Its a stark reminder of the bold vocal influence. The rest of the record navigates its lyrical delivery wonderfully, but once you hear this track it blemishes the spell somewhat. Otherwise, Crucible & Ruin is a fine record, not quite to my personal preferences but one can appreciate how well crafted its mood is, playing strong front to back with every spin.

 

Rating: 6/10

Austra "Chin Up Buttercup" (2025)

 

Austra always spark a curiosity. Now in fifteen years deep, this fifth full length record lacks the surprise and originality of earlier releases. Stelmanis' unique vibrato voice shines bright again, a charming presence illuminating these competent electronic numbers. The record starts off leaning into its House, Dance, Downtempo and EDM influences. Sharp beats cut for the club mingle among airy expressive tangents into the whims of spirited creativity. On this journey, a few songs embrace the usual tropes, snare build ups, drops and the like. Its the most defining attribute of Chin Up Buttercup, its safe and steady proximity to the Electronic music scene.

Rarely straying into unusual territory, the record plays a fair indulgence but lacks surprise. Think Twice stood out for its quirky intro and playful childish melodies. It immediately reminded me of Kero Kero Bonito. The rest of the music felt so familiar that its fun mostly resonated from this harder lean into influences that have been present for a long time. Chin Up Buttercup has been a pleasure to enjoy but one to move on from after a few spins.

Rating: 5/10

Trevor Something "The Anima" (2025)

 

Quick of the heels of The Shadow, Trevor returns with a classy record, honing in on indulgent moods and soothing tones, executing this concept in confident stride. The Anima plays a tribute to love, lust and relationships, matters of the heart both painful and endearing, a sensual journey drifting through Ethereal emotive spaces.

With a woven tapestry of nostalgic influences, Synthwave and Dream Pop merge into an 80s fever dream, re-imagined for the modern day. Drifting by on easy tempos, touches of breezy Trap percussion drive its laid back engine. A Cloudrap akin ease brushes its lyrical casualness, as direct themes cross paths with the lingo of youth.

These eleven tracks feel naturally cohesive, each plays a different fracture of an overall chemistry. The albums spectrum feels built off simple beat production, looping instrumentals exploring vibes, occasionally crossing into grander territory as choruses and motifs elevate tracks, feeling like vague echos of unwritten Pop classics. 

Its reverb drenched nature, conjuring Vapourwave energy, possibly holds its melodies back from punching through. They and the gentle vocals meld into a singular flow, cloudy, melting forth as the minutes tick by in limbo, a precarious place of ambiguity between sorrow and sunshine. I personally interpreted this one with positivity.

Although darkness is housed within, rearing itself in Trevor's vulnerable singing, The Anima plays like intoxication, a smothering blanket luring one into its embrace. With each spin, a spell is cast, a sleepy trance of easy energy gushing forth. Its a delight tone but I could see how others might tap into deep pains with this one.

Rating: 7/10 

Kauan "Wayhome" (2025)

 

Gently swain by the soothing return of this moving ethereal melancholy, Wayhome's first spin deeply captivated. Shimmering guitar licks revel in dense reverbs as soft atmospheric synths brood, swelling into stunning passage of dreary melody, beautiful yet sullen. Guided by simplistic glacial percussion, a cast of gentle instruments are invited to croon in textural pleasures, as minimal compositions amass in swells of volume. At its most intense, distant guitars distort and crunch metallic chops. This edge melts away into the ever present hum of its cloudy keys. Voices come and go, some harmonious and Folkish, occasionally shouts of a softer nature. In its best strides, ritualistic chanting conjures familiar suggestions of rural nostalgia. Pianos drift in and out of focus too, another tuneful arm to deploy subtle spellbinding arpeggios.

On second and third listens, the magic fades. Kauan have refined their Post-Rock/Metal motif to a mastery but one lacking fresh ideas. The absorbing nature of this aesthetic indulgence always packs a punch after an extended absence. Yet only two tracks had stand out moments with an impactful Black Metal tinged mid track crescendo on Leave / Let Go. With a lull before the storm, Haste / Ascend brought a touch more grove and momentum than the slower songs, giving its opening stretch much gravitas as the back of the song mellows out. Many of the tracks carried heavy moments between quiet stretches. Perhaps speaking to a concept behind its duel track names. Either way, its beautiful nature couldn't mask how routine this felt.

Rating: 6/10

Steve Roach & Soriah "Curandero" (2025)

 

Still pumping out records and seeking fruitful collaborations, ambience master Steve Roach returns with a spellbinding record conjuring echos of his classic Dreamtime Return with a devilish twist. Absolutely suggested by its plunderous album art, one senses a Caribbean flavor of pirate mysticism and a tropical occult. These are worshiped gods of death, a darkly vein heard best in its curious voices that whisper in cryptic chants throughout the record. Curandero starts strong, Analog Cave, Citla & Shadow Current brew entrancing rhythms within dense nightly atmospheres. These are welcoming numbers, strapped with a strange sense of safety and tribal spirituality, despite dancing with estranged dangers. Perhaps its trippy psychedelic nature suggests its all in the minds imagination.

Stars Of Darkness takes a turn, a duller affair of droning ambience to bridge into the back half of this hour long record. Steppe Traveler goes hard on a shivering 70s synth arpeggio. Its abrasive, maddened by its own jolty nature, too much for indulgence with a now familiar sound design constructed around it. Shard Tribe showed promise with a striking Ethereal, shimmering synth, woven between cryptic chants, a power emerges but then sadly collapses into another dull drone. After a handful of spins, this sense of two halves is confirmed. A fantastic trio to start with but a swift drop off after.

Rating: 6/10

Trivium "Struck Dead" (2025)

In this age of drip feeding album hype cycles with a growing string of singles, its unclear if Struck Dead is a standalone EP, or the lead in to a full length. Unable to find mention of a new record, I thought these three tracks deserved a few kind words. Balancing punishing monotone grooves with melodic inflections, an act of swaying between the two plays a prominent theme. More so on its first two cuts are we treated to impressive stomps of guitar brutality that build tensions to be unleashed as Heathy rocks in with crooning guitar leads dripping with lavish color and his ascending voice.

 

 Its closer, Six Walls, blurs boundaries as harsher tones meld with choppy melodies echoing classic Metalcore guitar riffs. Its a more ambitious song, seeking an epic structure as gleaming guitar solos amp up the energy for a closing chorus repeating to a fade out. Impressive but often leaning on the lessons learned by a seasoned song writer, it lacked a vibrancy I heard bold and loud on Struck Dead with its ferocious guitar solos making quite the impression given how little room for originality there is in this performative art form. A short, welcome listen reigniting my curiosity in Trivium.

 

Rating: 4/10

Anna Von Hausswolf "Iconoclasts" (2025)

 

A far cry from the darkly mesmerizing dread of Dead Magic, Anna pivots her devilish leanings to ancestral charms, her voice finding its Folkish power in warmer territory. Continuing with lengthy temporal progressions that gradually groan and smother, her broody organ drones still evoke esoteric spirits as new musical ideas gently steer its destination away from the pale. That descent into unwinding madness always lingers but the plunge evaded, as some of these numbers flirt with a stern unease.

As a dense record of seventy two minutes, no song hurries itself. Iconoclasts meddles through its ideas, ruminating on notions, soaking in its own atmosphere. So often do passing moments linger on Anna's witching voice. Tribal percussion drifts in and out of focus around heaving walls of sound that assemble from humble origins, the string sections often leading charge. Its not until Stardust that we get a standout track.

Kicking off with a persistent rolling drum loop, it powers the core driving baseline. Instruments gradually chime in as organs, synths and Anna's luminous voice swell around this central pounding notion. The break and return of its main riff towards its conclusion plays a gratifying one. This architecture is sorely lacking throughout the rest of the record as other songs drift and linger. This one feels purposeful, with direction, still carrying the organic feel all these numbers flow with.

 Struggle With The Beast is another highlight. Its jolting, animated jazzy Saxophone dances with the devil on the records darkest track. That however is just two standouts among Iconoclasts twelve which stokes an indulgent atmosphere for one to soak in its ambience, yet its flavor rarely find the rapture to whip one into its spell. I'm left a bit bewildered by how such beautifully inspired music doesn't quite strike the nerve without that dark focal point. This chemistry isn't quite attuned to more worldly leanings.

Rating: 6/10 

Tame Impala "Deadbeat" (2025)

 

A lengthy five years on from The Slow Rush, Kevin returns armed with the charm of his voice and a lack of direction. Gone is the defining entanglement of Psychedelia and Synth that electrified his prior works. Only Dracula and to a lesser extent Loser, conjure those dreamy upbeat vibes. The rest of this tame record meanders through electronic aesthetics seemingly inspired by the breezy night life House of Fred Again.. for lack of a better reference given my limited scope. Tracks No Reply, Not My World, Ethereal Connection and End Of Summer are the biggest culprits, the last two drifting into pounding bass drones reminiscent of Underworld's timeless classic Born Slippy.

 Its not to say these aren't entertaining tracks but one can hear a competent musician exploring the realms of musical ideas and exiting with little new to offer. These more blatant flavors come mingled between numbers leaning into Disco, Dance and Funk, always with a jiving modern synthetic angle. Then you have Obsolete, where a synth jam leads into a tangent on Bach's classic Toccata and Fugue. This sense of exploration without finding a unique freshness permeates much of Deadbeat.

Its left me with a few vague flashes of "what could have been", wondering if imposed pressures to release new material had Kevin scraping together whatever was left lying about from jam sessions. Despite that, his lyrics hit a personal and meaningful tone. A depth of emotional expressions with crafty hooks and apt messaging overshadowed by instrumental mediocrity. Ive given it many spins and so little has sadly stuck.

Rating: 5/10 

Giöbia "X-ÆON" (2025)

 

Kicking off with Voodoo Experience, X-ÆON conjures a hypnotic, esoteric persona through the lens of its re-imagined instrumental Psychedelic Rock. Atmospheres croon in a hazy wash of colors as delicately incrementing melodies brood whilst entangled by rocking repetitious grooves. A kaleidoscopic swirl of electric energies emerging as lengthy songs venture through gorgeous assembles of dazzling lead guitar and Berlin School era synths. Together, they intermingle with a soothing ease, cruising on the rock steady percussive foundations that root us to reality. This Psychedelic nature has touches of an old spooky horror, a tone from the 60s yet deliciously woven in without cheese or fear. Its subtle organ drones, occasionally warbling, along with these reverb drenched guitars paint a stunning trance. Very fitting of its inspirations but feeling so far ahead of any nostalgia inducing curb.

 Mostly an instrumental rock, the vocals lack a spark. Its the three minute radio friendly The Death Of The Crows confides the progress formula to a brief stint that feels like its crying for more space as its shimmering synth leads sparkle without room to expand, which the formula usually suggests is coming. On the flip side, 1976 is the records best track, a love letter to youthful memories of forgotten music scenes and revolutionary action. Spoken word sections guide us through historical events, with rose-colored impressions of a fond past. Its back and forth exchange between voice and instruments a delight, an endearing number where one can feel the passion.

From this steady start, the record meanders into aimless noodling as its four part La Mort De La Terre descends into jam territory. A curious assembly of sounds, lacking structure and direction. Mildly entertaining but better served in the backdrop as its ebb and flow lacks gratification beyond its immediate aesthetics. Certain themes and moods emerge but mostly this lengthy wanders into obscurity. An impressive album but one stained by its ending which simply fizzles out, exhausting its initial magics.

Rating: 6/10 

Sabaton "Legends" (2025)

Sabaton peaked my interest with two mighty world war one themed records, Great War and The War To End All Wars. New and naive to their sound, it was an enthralling introduction to their militarist take on Symphonic Power Metal. With this newest chapter, Sabaton's stylistic depth reveals itself, that warm welcome wearing itself thin. Lacking fresh ideas, Legends feels by the numbers, a cookie cutter, cut and paste approach to songwriting that has numbers like Hordes Of Khan conjuring Deja-Vu.

The broad historical theme delving into eras and figures doesn't steer the band in to new territory. On all fronts, the exact same approach is undertaken, assembling the range of intensities, melodic forays and vocal cadences for a soft, mildly entertaining eleven songs. Its all to familiar, fun, generally upbeat, fitting for history nerds but as a now seasoned listener, the lack of novelty or progression dulls its presence.

Rating: 4/10 

Труп Колдуна "Eternal Prisoner" (2025)

 

Despite the shoddy stark presentation and tacky musical quirks reeking of "low effort", my time with Eternal Prisoner has taught me that Труп Колдуна does indeed posses a curious charm that empowers an otherwise "cheap" sounding musical project. This machination of Dungeon Synth and off-kilter vibes leans on the unusual, an exploration of mystic atmospheres from alternative realities adjacent to whats previously been established as "the norm" within this Low Fidelity environment.

 The occasional splattering of Black Metal highlights this shifted vision. The menace of snarling screams on Black Throne, Cursed Circle cue this difference, housing the genres extreme riffing ideals on dusty Synths instead of frothing distortion guitars. On a similar oddity, Eternal Prisoner, the underlying fundamentals constructs a misdirect as its main moods mostly borrows an 80s Post-Punk tone. Its this subversion that consistently suggests subtle Vapourwave and Witch House influences from the keys.

 Each song plays as its own little isolated craft, a brief two to three minute venture, mostly oriented around one or two musical ideas born from antithetic experimentation. As a whole, variety keeps it interesting, paced well by intervals where percussion and vocals erupt. Only Gloomy Sanctum stuck with me, something about its strange warbling synth and the soft Egyptian suggestions had me lingering on its vibe.

 Rating: 5/10

Author & Punisher "Nocturnal Birding" (2025)

 

Contender for album of the year, Nocturnal Birding leaves me with a sense of guilt. As a renewed appreciation of brilliance settles in, I ask, how is it I don't return to their records? Once again, an uncompromising pursuit of crushing expression transfixes. A unique, dystopian breed of imposing brutality. A harsh design melding bleak aesthetics and rhythmic led musicality. Every aspect of this witchcraft serves its purpose, to burrow into the darkest recesses of ones mind and expose the suffering.

Achieved through dense industrial slabs of distortion guitar and bleeding synth, the battering drums perpetually bang and crash with such momentous force, a sluggish beast of enormity crushing all in its path. Most its pacing tends to be mid-tempo, feeling slower, with spurts of collapsing pulse like on the devastating end to Titmice.

Textural pleasures emerge as crashing walls of sound bend with malice, intermittent with quirky, unhinged melodies lurching in the spaces between. Overtop, siren synths cry out in pain, danger imminent. Through it all, ferocious screams and brooding shouts of anger shimmer in what little space this claustrophobic wall of sound offers.

Nocturnal Birding is a gripping experience, bleak visions exhaling demons brought to life in its unrelenting intensity. Author & Punisher continues on a predictable path yet finding the fruits of creative labor as the resulting songs bewitch once again. At thirty five minutes its a perfectly lean slice of mania served on a hot plate. Just stunning!

Rating: 8/10