Bring Me The Horizon "Count Your Blessings: Repented" (2026)

 

Has it really been twenty years? I'll never forget stumbling upon these black mop headed haircuts in the Download Festival tent. I found myself subsequently getting wiped out in the hardcore dance pit. What an introduction! I instantly took to This Is What the Edge of Your Seat Was Made For, however this debut was disappointing. Their snarling edge traded in for a cookie cutter beatdown-fest. Its quite the curiosity to hear Bring Me the Horizon wanted to rerecord it, considering how far they've moved on from this sound. Its not like they talk about this era with any fondness either. 

Giving it another couple of spins has been reasonably fun, a crisp modern production to sharpen its edges, elevating its impact, especially during their filthy breakdowns. The whole performance sounds tighter, not a surprise considering the time elapsed mastering their instruments. Most remarkable is Olly Sykes, who can still pull off these rotten throat churning howls. The drums pack a punch, guitar tones crooning. It's a fine upgrade to the original aesthetic, with a handful of minor quirks to pick up on.

The re recording really exposes the fragility of these original songs. Pray For Plagues' opening breakdown always lands but as we roll through the punches, the same ideas get recycled. More prominent than I remembered, a plethora of Melodic Death Metal alternate string picking riffs. The Dragon Slaying breakdown still doesn't hit like the Radio One, "witness the fitness" recording. Its isolated pitch perfect pinch harmonics all too clean for comfort. However Fifteen Fathoms Counting, a deliberately juxtaposing acoustic soother, feels genuinely meaningful in this renewed setting.

Ironically, the album's championing moment is the addition of a newly written song, Dehumanized, which the record closes on. Bridging the gap between new and old, it seems the band decided to write a new song in the old Deathcore style. Starting off strictly in that lane, they can't help but expand into a powerhouse. An atmospheric break leads to blazing league guitar solo as crafty use of synths slip in. It's the peak before a fall, as the song rolls into an utterly ridiculous breakdown akin to Slaughter To Prevail. A fine note to end on, a fun revisit not budging my feelings on the original. 

Rating: 5/10

Periphery "A Pale White Dot" (2026)

 
Now eight records deep into their career, A Pale White Dot marks a djentleman's competency within expectancy, a harder to love record in the shadow of familiarity that ran before it. Periphery have firmly established their dexterous identity, leaving little here to shock and awe. That doesn't mean one can't enjoy this latest chapter of low end technical brutality but its sticking power feels diminished in the wake of anthems like Marigold, Remain Indoors or the sludgy barbarian assault of Reptile.

For reasons well known, Spencer's silvery soaring singing, I've always considered Periphery to be a band on trajectory to more accessible leanings. Heaven On High catches limelight with catchy hooks and melodic lines, despite a brief blasphemously brutal breakdown. My ears seem most expectant when their lighter side gets expressed. Despite this, A Pale White Dot shook me with its roaring intensity. A reminder of their commitment to heaviness, written on their lowest tuning yet!

That limelight doesn't stick, leaving the exploration of djent laden aggressive antics as a key takeaway. Most its delights emerge from the stunning production, inching more aesthetic charm from such abrasive noise. Subhuman highlights this, as Will Ramos of Lorna Shore lends his devastating voice on a barrage of dense brutality. Proceeded by the electronic Blackwall interlude, this shift highlights a range much of the record swings from. Often rigid in execution, with little of the middle ground explored.

That speaks to the first half of the record. Three or so tracks in the backend explore this terrain. Switching to dense power chord strumming, Spencer explores the intense cleans, that space between strained screams and smoother singing. The yield is minimal, entertaining but unable to get its claws in. A Pale White Dot is a fine record lacking an evolutionary step to distinguish it from all they have done before.

Rating: 7/10

Olivia Rodrigo "You Seem Pretty Sad For A Girl So In Love" (2026)

 
Going three for three, Rodrigo returns upon intrepid stride. With no shortage of inspirations, this latest chapter documents her life's adventures, mainly dating, relationships and there emotional ups and downs. Opening numbers lean on this infatuated motif through airy upbeat, light hearted Pop Rock romps. A touch to sappy for my appetite but tolerable given how fruitful her collaborations with Daniel Nigro are.

For my liking, Maggots For Brain is where this record finds its voice. In come spangled 80s guitar licks, a strong hint at where things are heading. Olivia explores her relationship vulnerabilities candidly with poetically self depreciating lyrics to romanticize moody longings. From here that broad Post-Punk umbrella, Dream Pop, Shoegaze, New Wave, Synthpop, influence this current craft of intelligent songwriting.

In particular, the guitars take on this chorus tinged broody aesthetic, playing warm soulful melodies and gentle chord strumming. A beautiful resonance is struck, soft melancholy lingers never intruding on an upbeat underbelly. Every downtrodden notion feels as if resolution is insight. Olivia's words and voice carry a soft catharsis through this exercise of musical exorcism. Her lyrics expressed relive the burden.

A fascinating stride of songs bloom as Purple's playful vocal inflection's conjure favorable impressions of Elizabeth Fraser. The magnetic The Cure swoons. Surely an intention nod to the act with Robert Smith appearing on What's Wrong With Me, a dreary minimalist number for rainy days. Between them, a beautiful vocal oriented song, showcasing Olivia's talents, her voice holds a limelight harmonizing with herself.

It sets up a beautiful stride to the records dramatic conclusion. Expectations proves relief, a fun, quirky number with punchy chiptune baseline. Its playful, cheeky, chirpy, a bright radio track similar to My Way earlier in the track listing. In fact, there's a handful of song styles here that are on rotation from front to back. Together, they signal obvious 80s influences and structure a cohesive fifty minute album experience.

This third installment, You Seem Pretty Sad For A Girl So In Love, gracefully moves forward feeling fresh, fun, and interesting. Although I've only spent a few weeks with it, it already feels like the soundtrack to my summer. Each returning spin a delight, despite being lukewarm on the first couple of tracks. Unlike Guts and Sour, it seems to lack that one killer track. A mild critique, given how much this one offers.

Rating: 8/10

Devin Townsend "The Moth" (2026)

 
Forever a legend with permanent home in my heart, a dwindling appetite for new material stalls as Devin's unwavering musical identity returns on a new frontier. I may have skipped this if not for its grand spectacle, an opera of sorts, thee orchestral Prog Metal epic! That being said, It feels less metallic in nature, rather Dev's charactered antics and productive impulses spun to familiar motifs fit for a theatrical stage show. At times so vividly cinematic, you may wonder where to go to see the show! 

Its been a long time in the making, around a decade, performed and composed in mind with an actual orchestra. Fortunately, the Noord Nederlands Orkest reached out to help bring this impressive feat of work to life! Both thematically rich and a textural treat born of Dev's wall of sound production mastery, The Moth lives as a journey of orated emotions. A stream of ebb and flow, finding swelling peaks and luscious valleys. The latter lulls often home to an aesthetic adventure of dazzle and wonderment that lurks in every inch of this mighty seventy minute behemoth.

That density can make it hard to comment on specifics. The Moth takes many twists and turns but its pacey nature means we never reside in one stride for long. Able to swiftly transition from lullaby to churning rhythm with sinister streaks and playful jollity on route. Through listening but also studying track titles, one sees the structure of the story. It's drama and tensions leading up to a big battle that leaves a turmoil to be resolved in its wake. Stained Hearts feels like that gratifying swell to conclude upon.

Having devoured the near thirty records of Dev's career, I felt as if there wasn't much left to unearth but whatever the challenge, Dev's rises to the occasion. The Moth was massively ambitious and did not disappoint. So much more than your regular album experience, its proved his brilliance once again. I do hope he will continue to seek avenues that push the boundaries of his comfort zone. Well done Dev, take a bow!

Rating: 9/10

Floating Sun "Pelagos" (2026)

 
Here's another lofty ambience record, the likes of which I sift through on a regular basis. I've been waiting for one to perk my ears. When one catches my attention, I'm sometime alluded as to why? After all, the foundations for these meditative sounds were laid down a long time ago. Every inch of this record feels familiar. Perhaps unlike others Greek producer, Floating Sun, strikes an alluring balance carved to my taste.

Clocking in at twenty minutes, Pelagos is comprised of five dreamy chapters. Each drifts by in temporal ambiguity. A cast of reverberated sounds explore the seas. Subtly woven in the mix, seagull squark, winds blow and waves lapping rhythmically against the shoreline. Around it, a construct of dense cloudy synths allow for creaks of light to shine through in the form of electronic sounds, sometimes with a hint of chording.

Soft and subtle in nature, the music ebbs and flows undramatically, letting us enjoy its gradual shifts and aesthetic textures. One is lured into its immersive atmospheres, serene, ethereal and contemplative. A meditative feeling fit for deep focus and thought. Why this particular incarnation struck a nerve? I think it shares a soothing charm akin to Marconi Union's Weightless. A piece studied for its effects on anxiety.

Paying closer attention to the music through the lens of its inspiration, the ocean. One hears thought and intent behind its aesthetic design and implementation of certain sounds. Warbling oscillations take on an aquatic quality. Deeper synths often swell and contract like waves at the shoreline. Electronic wind chimes conjure a breeze. It's all quite brilliant. In conclusion, I need to explore more of this artists works.

Rating: 7/10

Fief "VII" (2026)

 
I'm always overcome with a wave of joy by the sudden surprise of a Fief record drop. Better yet, to enjoy its soothing cinema on a beautiful day, walking alone in natures woods. Then it hits me, Song Of Some Deed Or Other, what is this track? Instantly my mind is cast back to Fortress Festival, where I had the honor of seeing Fief perform live. This track is the first to really emphasize an extra depth VII explores.

Samples! From subtle background sounds of wildlife and natures breeze, to the industry of medieval life, Feif fleshes out their arsenal of timely instruments weaving wondrous melodies. It's a soft touch that occasionally really breathes life into the music. The jovial song Fool's Licenses starts out as a playful jesters show. Cutting away for a vocal snippet from some Medieval era movie, the music kicks back in full tilt, with vigor, gusto and spirit! Birthing one of the most dense musical dances yet.

Much of the record plays as expected. An all too familiar interchange of layered instruments, navigating chords, arpeggios, and scales with grace. A comforting atmosphere for Fantasy led historical romanticization of what was in all likely-hood a rough and difficult time to be alive. But alas, these things are somewhat relative. I mention this because on tracks like Echoes Of The Apse and Peasants Vigil, darker tones are explored. This expanded vocabulary enriches the album experience, paving for a more diversified nostalgic setting, in which our artists' musicality flourishes.

The majority of this material is of that medieval jovial nature. We sit at the King's court, the Queen of hearts hosting. Dinning with fine wines, fresh fruits and mince pies for all royalty attending. Minstrels dance and pleasantries exchanged as Harps and Flutes, Guitars, shakers and Bells, filling pristine gardens with simple melodic joys.

Thus VII lives up to the richness of its evocative period-piece album cover. Where previous records felt like a collection of songs built out of the same set of instruments, this one has more dynamism, more territory to traverse. It does so with spirit and inspiration, the shifts in tone and world building samples gave it an edge. Its lovely to hear their grand musical ideas evolving. This was a firm step in the right direction.

Rating: 7/10 

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

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

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

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

Trollslayer "Pharaoh" (2026)

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

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

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

Rating: 6/10

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

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

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

Rating: 4/10

Plini "An Unnameable Desire" (2026)

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

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

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

Rating: 8/10

Këkht Aräkh "Morning Star" (2026)

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

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

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

Rating: 4/10

Little Simz "Sugar Girl" (2026)

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

 

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

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

Rating: 3/10

Jessie Ware "Superbloom" (2026)

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

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

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

Rating: 6/10

Enter Shikari "Lose Your Self" (2026)

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

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

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

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

Rating: 9/10

Cult Of The Damned "Simony" (2026)

 
Still topping my "ones to watch" list, UK Rap collective Cult Of The Damned return on auto pilot, dropping a record that mostly serves to house singles Car Park and Sapnin. These are slick numbers, the group fire on all cylinders, delivering aggressive, gritty, unhinged raps spiraling out erratically in wild directions. Predictably unpredictable.

Simony's atmosphere plays dreary, dark, spooky. Instrumentals focus on unsettled scenic sounds and crunching slippery beats to paint gloomy backdrops for mean, dissenting raps, often springing an air of tongue in cheek self depreciation. Dim and Dingy from front to back, drums bring enough punch and power to keep a bounce.

In moments, the theme encroaches on subversive spycraft, a sense of conspiracy and coercion pervades its shadowy ambience. Its driven by BeTheGun's intersecting monologue's. His suggestive lines border brilliance but mostly play dialed in with plain language. Its a missed opportunity to embellish theme and do something unique.

Blackburn's Bill Shakes continues to illuminate. His verses are a routine highlight, the loose vocab rhyme style delights with rhythmic creativity. Unfortunately no one else stood out quite the same. Many of these songs raps feel generalized, with the group kicking in feisty verses linked by tone but lacking a deeper thematic concept.

Ultimately, the bleak and eerie Simony entertains but creates a sense the gang could easily elevate their game. As mentioned, those superb highlights create a gulf from the bulk of tracks. In comparison, those cuts feel routine and unfocused. Despite this, Cult Of The Damned remain thoroughly entertaining and morbidly intriguing. 

Rating: 6/10