Kae Tempest "Self Titled" (2025)

 The weight of depressive expressions heavies with age, my appetite for hearing such struggles continually diminishing. Self Titled acts as a firm reminder of this personal trend, a brutally unfurled delve into this latest chapter of mental health and gender identity issues. Its tone plays a smothering suffocation, as burdensome lyricism and downtrodden beats unite to paint an artistic doom and gloom matching the pains of this spoken word, rhyme rap poet.

 

 Breaking from the drudgery, Sunshine On Catford acts like a fleeting peak of sun between dreary rain clouds. An inflection of warmth, still lingering on the melancholy of minor chords, tinged by 90s Dance piano melodies in its chorus. A strange sullen lover letter of sorts that finds a similar tonality again on Prayers To Whisper. Otherwise, Self Titled's instrumentals are casually dark, hardly adventurous but competent at assembling percussive grooves with flashes classy instrumentation.

 

Diagnoses stands apart as anthem for self inflicted mental health saturation. Along with another track, a theme of contrast upon these internal obsessions and the world at large emerges. A strange blame game of victim hood that feels confusing as to its purpose. Otherwise the record is pretty coherent, a walk through the current woes of a struggling artist. The expression is powerful but as already stated, this broody temperament has been hard for me to endure these days.

 

Rating: 6/10 

Tyler The Creator "Don't Tap The Glass" (2025)

Arriving swiftly off the back of a remarkable Chromakopia, Tyler suddenly drops this fun fast and loose record. A surprise release, Don't Tap The Glass clocks in as one of his shortest albums under the thirty minute mark. Consequently, this pays without a dull moment, perfect for its restless energy, expressed through quirky tone and playful mood, something familiar of Tyler yet spun again, lively, renewed and fresh.

 

Working with layers of punchy instrumentation, rhythms and melodies overlap in a subtly dizzying frenzy of crunchy sounds, orchestrated with a stroke of class. Jolting grooves rumble with snappy and sporadically off kilter percussion. Plenty of instruments jive in with stabs, strikes and momentary contributions that stack up. It can be quite fun to pay attention and see how many sounds you can single out.

 

Too my ears, the big influences at play are 80s Hip Hop drum machines and 90s Southern Hip Hop melodies, often piano led. Not exclusive, but struck me as part of the approach to many of these tracks, the last three taking on Soul and R&B colors in its temperament. Of course its no surprise, central to it all, written in his name, a ceaseless thirst of creativity flows again. Fresh off a deep, introspective record, Tyler marvelously pivots into a playful avenue with this lively record I'll be enjoying for weeks to come.

 

Rating: 7/10 

Thornhill "Bodies" (2025)

 

Originality is a contestable term, often misplaced by a lack of context and history - something we are all born ignorant to. It leads me to ponder why does this idea of whats "original" influence our personal enjoyment of music? After all, music is all connected, past and present, strong or weak! A fair portion of Thornhill's sound lives directly in the shadow of Djent Deftones, the post Diamond Eyes era. Something that seemed like an issue on first impressions. Fortunately, the power of inspired song writing has prevailed. I've adored Bodies since the second spin, its expressive force a consuming indulgence in the throws of its familiar soft-heavy dynamics.

Songs sway from crushing blows of meaty Djent guitar stomp groove, into shoe-gazing swaths of hazy melancholic colors, as melodies melt in the wall of sound production style utilized. So to does Jacob Charlton's vocals follow this motif, toying with his sensitive, vulnerable tones and pivoting into throat clenching screams, nestled wisely into the dense mix. Operating with fractions of Progressive Metalcore and occasional thematic Nu Metal overtones, the group wear their influences broadly, yet electrify in riots of groove and rhythmic theatrics as their best tricks roll out a treat.

It glimpses a heading towards Argant Metal territory in sparse moments, an insight to emphasize a understated part of their sound design. Synths and production antics shape out the sound to a sonic experience of stylish aggression. Interludes, build ups and breaks meld crafty drum machines into the fold, displaying overt EDM and Trap influences as the group toy with instrumental samples. Its all a firm sign of the talent that goes into shaping up what could of easily been a plain faced imitation game.

The record has an interesting structure, its more emotional, atmospheric edges start and close the record, leaving its explosive numbers in the middle. Tounges, Nerv and Obsession erupt with countermanding violence, a reversal that pulls its dynamic ends together, amped up and invigorated as this string of songs fires off with the low menace end of their down tuned Djent guitars. Bodies is a cracking listen, yet to tired on me, indicating this band may have a lot to offer. Another journey begins now!

Rating: 7/10

Potatohead People "Emerald Tablet" (2025)

 

 In collaboration with a sleek yet little known rapper Slippery Elm, producer duo Potatohead People return with a soothing set of sensuous songs. Delving into the love of their matured Jazz Hop craft, these beats emanate a loving nurture. Every inch of its aesthetic range feels dialed in. Snappy percussion locks in alongside warm grooving baselines. Ambiguous dreamy instruments drift by in the backdrop, swirling softly exotic melodies behind its upfront tuneful lines. Together they form a breezy listening experience, persuasive and classy, nothing but feel good vibes.

 

Emerald Tablet's lyrical element does little to swing it in either direction. Slippery's steady cadence and spoken demeanor a firm fit but far from offering substance to perk the ears. A lot of verses run expressive to his own experiences but fall shy of pulling one into that world. A few lively rhyme schemes emerge but its mostly a tame ride. Where he shines is with these casual lapses into singing. His sung lines feel effortless yet charming, melding into the instrumentals breezy stature.

 

 With an expanded instrumentation pallet of strings, harps, bells and orchestra adjacent sounds, this inspired "leveling up" may have a direct artistic origin, To Pimp A Butterfly. Nightbird tips this hand as its foundations play all to similar to song of that record. Spinning them back to back you can hear all the ques, ideas rippling out from that classic into the composition of this record. Some of its melodies are uncannily alike. Not a blemish but something to be enjoyed. That's mostly my impression of Emerald Tablet, enjoyable but not much is sticking beyond enjoying it in the moment.

 

Rating: 6/10 

Little Simz "Lotus" (2025)

 

Simz is one to deliver a slice of life within her ambitious records, however Lotus is precisely that slice alone. With little beyond delivering ruminations on life's current struggles, one sorely senses the absence of an anthem like Venom or Woman. I suspect Young may have been this intended beat, however its overt British jibe and cheeky tone plays like an echo of Blur's Park Life, lacking that oomph to sell itself.

Free strikes me as the records high point, a mellow spell, uniting Soul and Jazz Hop with periodic flashes of serenading string sections. Simz's expressive yet plain spoken raps make for easy listening through a soothing aesthetic chemistry. This however becomes the records fatal sticky point. So much of Lotus' affable energy fails to surpass itself and muster a meaningful gusto that can break this eternally gentle tone.

Enough comes close, livening up with a firm percussive dance beat. Frolicking hooks and mischievous baselines create a playful tone among its sporadic splurges of zany synth. So to does the records title track strive ambitious and bold with its big instrumentation. Simz' raps a firm source of intrigue and emotive release, yet the jazzy instrumentation feels underwhelming in comparison to the fires set in her lyrics.

Other chapters of Lotus' mellow out into scenic lulls, comparable to spoken poetry. Simz's lyrics feel more like intimate journals or exhaled thoughts than composed verses in a structured song. On one hand, a curious experience, on the other, repetition breeds a dullness as familiarity makes for a mostly uneventful album.

Rating: 6/10

Hunt The Dinosaur "Nefarious" (2025)

 

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

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

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

Rating: 4/10

Hundredth "Fadded Splendor" (2025)

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

 

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

 

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

 

 Rating: 7/10

Turnstile "Never Enough" (2025)

 

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

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

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

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

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

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

Rating: 8/10

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

 

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

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

Rating: 6/10 

Behemoth "The Shit Ov God" (2025)

 

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

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

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

Rating: 6/10

Sleep Token "Even In Arcadia" (2025)

 

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

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

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

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

Rating: 8/10

Tetrarch "The Ugly Side Of Me" (2025)

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

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

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

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

Rating: 7/10

Labyrinthus Stellarum "Rift In Reality" (2025)

 

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

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

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

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

Rating: 6/10

Deafheaven "Lonely People With Power" (2025)

 

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

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

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

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

Rating: 5/10

Ghost "Skeletá" (2025)

 

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

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

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

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

Rating: 9/10

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

 

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

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

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

Rating: 7/10

Backxwash "Only Dust Remains" (2025)

 

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

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

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

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

Rating: 8/10

Oscillotron "Cenotaph" (2025)

 

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

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

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

Rating: 5/10

The Underachievers "Homecoming" (2025)

 

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

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

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

Rating: 3/10

C418 "Wanderstop FM" (2025)

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

 

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

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

 

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

 

Rating: 7/10