Sabrina Carpenter "Man's Best Friend" (2025)

Striking while the iron is hot, Sabrina swiftly turns around another record. Leaning further into Country vibes with a competent arrangement of tracks, its the subject matter that dominates the albums tone. To a lesser extent, the cover art also provokes similar questions as to whats going on here. The devilishly flirtatious, mildly edgy nature of Short N' Sweet has its charms, elevated by fun instrumentals and joyous hooks. Man's Best Friend skews away from this chemistry. The Country roots less to my liking and its lyrical content slipping from cute and cheeky to crude and cringy.

Artistry is a curious interaction of intention and interpretation. In an attempt to be charitable, one could suggest a lack of context is available, however these things should make themselves self evident in the performance. I'm not sensing substance behind the provocative. No philosophy, food for thought or reflection thrust upon the listener to challenge perspectives. Sabrina's lyrics simply come off as shallow and childish, saying that which crosses the line simply to cross it. I'm all for artists challenging norms but there needs to be an actual reason behind it.

Thus Man's Best Friend tests once tolerance as mediocre Country music rubs up against a care free Sabrina dialing up her overtly sexual persona. Her words drift from cheeky to questionable. At times, this reach for shock value paints an unfavorable image of her values when it comes to relationships. If there is a point being made here, It went right over my head. Tears is the one track I'll come back for. Its Disco groove and comedic hook is crude but mostly plays as harmless fun. 

Rating: 4/10

Skepta & Fred Again.. "Skepta .. Fred" (2025)

The title along says all it needs too, advertising an enticing collaboration between two big UK artists. Dance/House producer Fred Again.. and veteran Grime MC Skepta, a voice I've not heard in some time. I was hyped but to be frank, this mostly feels like padding for the killer track Victory Lap. Hard hitting and obnoxious, its gritty groove rocks off the bold synth baseline and tight drums. Kicking off with a wild monotone hook, the fast vocals chop and change with Skepta filling in a pair of atypical verses.

 

With a sense of adventure, Fred transitions through the first four tracks. Starting with a dirty Grime beat, steadily blending in his signature vocal snippet tunes and touches of House atmosphere. These are tricksy, intricate instrumentals, layered with intimate textures. By Last 1s Left we are fully submerged into the club vibes, holding onto a mysterious urban darkness. 21 Years sheds that Grime hangover, while his partner in crime leans into the sound harder than ever. Its as if their ideas don't quite align.

For me, Skepta is the weak link here. His confident persona an entertaining one, yet his cutting flow and slang laden rhymes feel predictable and aged, lacking a spark of freshness or urgency. Its acknowledged on the aforementioned track, referencing the unchanged nature of this now classic London rhyme style. Aesthetically, the two have chemistry but the overall mood feel somewhat off bar the powerful Victory Lap.

 

Rating: 4/10 

Travis Scott "Utopia" (2023)

Album four and the experience follows a now familiar form, another protracted stream of creativity lacking curation. Once again, sparks of genius emerge within a lengthy escapade touching deeper into the realms of Psychedelia, Ambient and Low-Fi.

Arranging unique aesthetics to conjure estranged and unconventional vibes that fit the trap formula, Travis dedicates a whole track to each idea, forging tame streaks of mediocrity between the bangers. The classic chicken or egg question emerges, as subdued beats devoid of percussive power tend to lull. One wonders if a little oomph from the drums is all that's needed to elevate, as the best numbers have the hardest grooves to propel his curious and distinct atmospheres forward, an unusual intersection of laid back, easy going energy entangled with dark and gritty tensions.

 

The record is star studded, a huge cast of big names reaching beyond his immediate scene on a couple occasions. Despite getting two shots to shine, The Weeknd doesn't have best tracks here, a trend I've noticed with his sublime guest appearances. It speaks volumes to a sense that these features just fill out the space between Scott's unimpressed raps and auto tune tangents. Lyrically, little stuck out within its lengthy runtime, a throwback to the CD filling days where bands would pack out a disc with plenty of filler. That's what most of Utopia was for, tone setting aesthetics with a lack of impetus.

 

Rating: 4/10 

$uicideboy$ "Thy Kingdom Come" (2025)

 

Its a smash! Returning swiftly from New World Depression, cousins Ruby and Scrim spin the wheels recycling their distinct but well refined formula. Now accustom with their gritty aesthetic, I found this thirty minute record to offer little fresh or exiting. Second track Napoleon leans into some classic 90s Southern Hip Hop themes, mustering a momentary flair as the records tone quickly resettles. Later on Grey+Grey+Grey ushers in scary movie soundtrack vibes with a Horrorcore style banger. The following Carried Away caught my ear too. A moody number, leaning on the hazy vibes of its depressing Ethereal atmosphere.

These where a couple of highlights among a lack of novelty. One of my biggest takeaways was noticing how many beats use the exact same drum kit, often with the same hi-hat rhythm. That lack of variety essentially parallels a very casual approach to songwriting. Hastily produced beats, flexing lyrics that feel expressive of the moment but lack a broader scope. Hooks are sorely missed too. Not a single track lands something truly memorable. Although their sincerity is endearing, that power wears off when the creative process feels routine and dialed in. Overall, a disappointment.

Rating: 4/10 

Qendresa "Londra" (2024)

Shifting gears, refining the chemistry, Londra trades in its Vapourwave idiosyncrasies for a dusky flavor. This collection of mellowed out R&B dwellings settle on subdued night light vibes, with a touch of Noir Jazz gloom to it. It becomes more apparent as the record grows, early on moods are brighter. Its opener 2 Much revels in a groovy G-Funk shadow. Its all subtitles tho, as the musics tempo is consistently effortless.

 

 Despite having engaging instrumentals that consistently conjure these slick, dusky spells, its Qendresa herself who breaks the allure as the album progress. Early on her soft singing charms, Sweet Lies reminiscent of Grimes at her best. Toning down the presence of these smooth sung lines, opting in for a casual, spoken word approach to her verses, a social, conflict oriented braggadocio persona steadily emerges.

 

Its this lyrical focus that spoiled the musical magic for me. Status oriented, plain worded ventilations of social dramas and relationship woes cross' paths with seemingly shallow statements of boastful intent, aimed at putting down others. The self indulgence of it all added an unemphatic layer to the music hard to relate with. Otherwise a solid listen but this shift in tone to "harden up" was not to my liking.

 

Rating: 4/10 

Blood Incantation "Luminesecent Bridge" (2023)

  

Written in its name, this two track bridges Timewave Zero and Hidden History Of The Human Race, attempting to conciliate the colossal chasm between sounds. A bold ambition where some common ground gets merged, its two halves simply explore opposing aspects. Obliquity Of The Ecliptic sticks rigidly as the manic splattering of ghoulish Death Metal, transitioning through eerie atmospherics into a Progressive behemoth of sorts, eclipsed by a soaring guitar solo of epic reach. A powerful show of composition, pulling its best moment from the echos of  80s Metallica guitar lead.

The proceeding title track serves to tie its exploration of Dark Ambient with a caustic acoustic guitar phrase. The two meld under the eerie presence of what sounds like estranged bird calls. Building in tension, guitar lead and drums usher in a mystic atmosphere yearning for a grandiosity that never quite arrives. Instead trumpets mark its death as the peak fades into obscurity. It could of erupted into magnificence, yet seemed content on only a glimpse of its mystique. A bridge only partially explored, finding the obvious common connections and executing it with a touch of class.

Rating: 4/10

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

Spellling "Portrait Of My Heart" (2025)

 

Devoid of that alluring magic felt on The Turning Wheel, experimental musician and singer-songwriter Spellling returns with a stiff set songs to lend her hearty, endearing voice to instrumentals simply on a different wavelength. Rife with overt echo's of 90s Alternative Pop, 80s Classic Rock, Glam Rock and flashes of Prog Rock, even Metal in a single moment, these songs crudely show their inspirations. Its rough around the edges, garage aesthetic sounds fantastic yet clashes with a remarkably salient, soulful performance, expressing many personal, emotional themes through lyrical delivery.

I've tried to drill these songs into my mind with repeated exposure, that same gnawing clash barricades a charm clearly aimed for. One can hear the bold conceptual strides these numbers take. Bright ideas, yet lacking novelty in pursuit of convention over experimentation. With this shift in norms, a chemistry between voice and instrument falters, despite either doing nothing erroneous individually, together they lack spark.

This disposition left me with little to say, I could delve into the ideas explored deeper but with a lack of adoration, words for expressing my perception just don't flow. Still one to pay attention to, I hope she finds her way back to the unusual charms again.

Rating: 4/10

Amebix "Arise!" (1985)

Further exploring suggestions of proto-Black Metal coincidences we arrive at Arise! Amebix's sophomore effort venturing in 80s Heavy Metal. Casting of the shackles noisy Crust Punk tonality, stiff power chord oriented songs march through a metallic demeanor skating into Post-Punk territory for its hooks. Cutting riffs rot under tom pounding drums that lack an articulation fit for metallic aggression. Gruff heathen shouts spew forth, lacking charm, crying over a sea of mediocrity making strides for big theatrics. It falls short as repetitive song writing tends to sell its vision short.

Touches of something medieval, barbaric, even tribal emerge through lyrical suggestions and pounding repetition. Devoid of melody, this idea mostly emanates from front man Rob Miller. His rural presence conjuring similarities to an early Bathory. Songs could swiftly be transformed into grand visions with outbreaks of triumphant lead guitar melody, however they remain confined to the grinding shred and gallop of Heavy Metal rhythm guitar. Although to dated for my taste, it has some curious merits.

Rating: 4/10

Burzum "Et Hvitt Lys Over Skogen" (1998)

Paired with yet another demo of Lost Wisdom, Et Hvitt Lys Over Skogen reaches us via bootleg release. Its a nine minute epic pulled from Hvis Lyset Tar Oss. Why it was removed? A total mystery. This is a mighty fine song, heard through a muddied recording. One can imagine its aesthetic matching that fine record. Musically, Its construct has a foot in each camp. Some riffs conjure the metallic temperaments of his earlier works. The other revels in harsh naturalistic atmospheric. The pivots between these halves flow wonderfully. Approaching its midpoint, power chord arrangements coalesce with a triumphant chest thumping march. After, blast beats erupt and shadowy riffs call with nefarious inclinations. Another enchanting song but on this analytical reflection, I see how Varg may have felt the song repeats ideas explored before, only partially realizing the visionary direction of that record.

Rating: 4/10

Paths Of The Eternal "Esoteric Rites" (2024)

 

Esoteric Rites caught my ear with its fragrant attempt to establish fresh fantastical territory within a tired genre. For that, I commend the effort, however it falls short of clicking into place. Seeking out unusual aesthetics, estranged synth tones clash through both melody and tone. These wild compositions rest upon musical theory, as instruments dance is a peculiar limbo, absent of chemistry. Drums bang away, stiff and jolted. A sense of tribal influence permeates some of its percussive lines. The basic samples and swift attack delivery lacks a nuance to sell us on its purpose beyond keeping pace. Around them, a cast of lead melodies from fantasy, to eerie, esoteric and mysterious, plunder away through its curious make up.

Across its twelve track a few bright sparks bluster but its mostly blunder as atmosphere rarely settles into distinction. One can hear the allure of certain visions accustom to Dungeon Synth and Fantasy music but core themes are dragged through a dimensional paradox of crossed wires and inverted tensions. I'm most fond of the opening title track, a fever dream collapsing into itself. Here the unusual temperament yields a riveting peculiarity but beyond this first impression, the music is lacking a deeper substance. It entertains, a handful of melodies charm but as a whole Esoteric Rites fails to land its flight with gratification.

Rating: 4/10

Burzum "Demo II" (1991)

 

Depending on where you venture to hear this follow up to Demo I, the quality varies greatly. This fidelity mess is further muddied by its complied nature. Including Depressive Visions Of The Cursed Warrior, later omitted to not be a Burzum song, leaves an unsolved mystery as to where this music actually originates from. I couldn't find an answer online. The other ten tracks are pulled from various rehearsal sessions of varying quality, some with drums, some without. Also present are the three songs from its predecessor. This makes for a messy listen. Three tracks appear twice but so do two songs from later releases that proceed his debut full length.

Essentially, four new tracks. Only two have drums. Between them we are showcased to the oddity of Varg's esoteric guitar riff visions. Linear movements shuffling from the dark eerie to strange metallic grooves, much like before. Only A Lost Forgotten Sad Spirit hints towards the acts future trajectory, something to be discussed later on. Stuffed with aesthetic blemishes from audio drops, swells of bass noise and playing off beat from a click track, a lack of vocals doesn't give this messy release a specific purpose. It ends up feeling hastily assembled to throw something out into the ether.

Rating: 4/10

No Cure "I Hope I Die Here" (2024)

 

 Ears perked by Spotify's shuffle of heavy freshness, No Cure's brief 8 track, twenty minute EP I Hope I Die Here has been a curious listen among a sloth of modern aggressive music. Much of it lacking sparks of originality. Hang Me From The Bible Belt, the track that drew me in, fires up this romp of sludgy brutality with a bold mix of Metallica Hardcore and Melodic Death Metal. This feels like a misnomer as the annals of a tired Deathcore swiftly reveal their ugly head on following tracks. Gruff deepened guttural shouts, gritty low-end axe grinding riffs and filthy pig squeals light up the aesthetics among obnoxious angular harmonic pinches and other genre tropes.

It plays out among a reasonably excitable mix of influences, from Hardcore gang-shouts to Metalcore grooves and Slam Death Metal breaks, the record picks up some character in brief moments. No Cure bridge minor stylistic gaps that seem obvious in hindsight. The collaborative nature of this EP may explain its inconsistency in tone as songs sway between engaging constructs and the "race to the bottom" filth of Deathcore. Each track includes another band, presumably of the local music scene.

Sadly, only its opening track won me over. The rest of its heaviness played mostly as a curious throwback to Deathcore records now approaching twenty years old. In contrast, there are signs of promise, moments of light, however it doesn't come to fruition in a flavor I'm looking for right now. To much grime, not enough substance!

Rating: 4/10

Novelists "Okapi" (2024)

 

Spotify is doing a mighty fine job figuring me out with its algorithms. Lurching in the shadows of Deftones, Lacuna Coil, with flashes of Prog guitar reminiscent of Plini, French outfit Novelists bring the stunning voice of Camille Contreras to this current Pop Metal trend. Contrasting heavy Djent tones with shimmering melodies, their songs sway from soft and serine to punchy and powerful with great conviction.

Contreras is the main charm, her compassionate lyrics and dynamic voice guides the instrumental gracefully. Bellow her, a similar yet toned down creativity akin to yesterdays Chaosbay. Part of the "Progressive Metalcore" crowd, its a seamless fit, leaning more on the traditional guitar virtuoso side. Prisoner's a keen example pivoting from a typical aggressive Metalcore track with a wild burst of dance-floor rhythm.

It ends up exploring an expressive, flamboyant side, with lavish fretwork - something each of these four tracks finds its way to. They are all individual, creative tracks, moving from typical constructs to vibrant compositions with an effortless ease. Not as fiery as others in the scene do it, however its better suits Contreras' temperament.

Rating: 4/10

The Madd Rapper "Tell Em Why You Madd" (1999)

First surfacing on Life After Death, Producer Deric Angelettie's agitated alter ego has appeared on a spread of Bad Boy records. The frustrated character, running his mouth, serves well to sprinkle comedy between the music. Having laid the groundwork for this debut, it could have been something special. Instead, skits and jokes land flat, unable to flesh out his personality to comedic effect. So to do the Madd Rappers' verses lack a spark to muster humor. Unless this persistently irked personality is your comedy gold, the joke will get beaten to death across its CD filling seventy minutes.

Its clearly ambitious, bringing a massive array of guests beyond his record label peers. Featured routinely come armed with slick mafioso adjacent lyrics, painting flamboyant lifestyle pictures with their lyricism. It sands in stark contrast to the central theme. Eminem however, meets him at his level, the unhinged Slim Shady persona has the two aligning their lyrics on self destructive energy. Given the date, this flow is a gem for fans, hearing Eminem evolving into his classic Marshal Mathers flow.

Fun fact, a young Kanye West produced that track! Its a rare highlight among an endless string of average bears. Its other merit belongs with 50 Cent on the criminally unabashed How To Rob. Fifty name drops a lot of big names years before his breakout. Other than that, its sadly a missed opportunity to do something unique. Poor execution on a wonderful idea. It seems the last of The Madd Rappers steam was spent on the first Big Boy hits compilation, where his player hating energy musters amusement between the East Coast's record labels greatest songs.

Rating: 4/10

Thirstin Howl The 3rd "Skilligan's Island" (2002)

 

Named after a Gilligan's Island character, this Brooklyn rapper has quite a rugged, playful appeal. Hitting hard rhymes with aggressive enthusiasm, a variety of verses occasionally plunge into impressive strings of mischievous wordplay. Often comical, routinely absurd, Thirstin grabs attention but lacks lyrical depth and flow to bring one back. Unfortunately, Skilligan's Island is as inconsistent too. Plowing through punchy 90s inspired beats, mediocrity compounds as short chorus hooks come obnoxiously repeated, grinding my enjoyment to a halt. A stylistic choice I am totally at odds with.

In stints, the lyrical content gets deplorable too but not to dwell on negatives, what kept me around for a couple of spins was the curious recycling of memorable Hip Hop beats, including one from fellow Brownsville veterans M.O.P. The best of Thirstin's rhymes come out The Polo Rican, yet the show is unsurprisingly stolen by Eminem on Watch Deez. Its how I discovered the record, a classic Slim Shady flow telling tales of deranged individual collecting prescription drugs with a severed limb. How I wish for more of that era. Sadly there isn't much else to take away from this flawed record. I was entertained along the way but that's about it. Thirstin has potential but this ain't it.

Rating: 4/10

 

Clown Core "Toilet" (2018)

 

 

Predecessor to a similarly structured Van, Toilet's waning novelty grounds its impact, having listened Van prior. Elapsing from crunching bursts of garbled Grindcore mania into esoteric Jazz and beyond, the blaring toy horn, jolted timing stunts and frenzied ghoulish growls sadly fall short. On a joke turning stale, the moments of musical magic shy from a curious wonderment achieved in its successor. The many pivots into bass drum grooves or scenic Smooth Jazz interludes have charm but lack a maturity.

Toilet, possibly recorded in a porta-loo, reeks of youthful adventure. A bold plunge into a vision, mostly realized but leaning on its own oddities too much. Jarring synth noises and unhinged blast beats drop all to frequently, the counteracting moments of gratification only mediocre. Although I have hindsight tainting my perspective, it really feels as if Van is a rework of this piece, going back to the architecture for a redo.

Rating: 4/10

Soley "HEX" (2024)

 

Its been a minute since we've heard from Soley. This short movie soundtrack lures us back into her creepy side. The opening theme conspires a soft whirl of 60s sci-fi horror synth with haunting layers eerie voices. It has just enough strangled percussion to muster a Victorian freak show theatrical charm. Powerful but brief. After a stint of tense dark ambience, Entering Of The Witches reignites this flame, a spaghetti western guitar spangle soured by mischievous choral voices floating through limbo. It to is halted by short duration not looking to flesh out the experience into a full song.

Desert is different, starting out a quirky oddity of childlike innocence, colliding with thee obscure. Soley's voice enters tame and gentle, getting lost as atmospheric ambiguities melt into the forefront with cursed shapeless intensities. As crescendo approaches, never arriving, she disappears, only for the cackle of crows to cry through the eerie ether. Her return brings harmony to this restlessness, a powerful resolve.

Nostalgia briefly dabbles in spooky de-tuned piano melodies but ambles back into the shadows swiftly. The nature of this format forces Soley into brief compositions, complimenting the cinema setting. Even with those limitations, flashes of brilliance still arise, a reminder she has much to offer. A craft still strong from chilling inspirations.

Rating: 4/10

Knocked Loose "Pop Culture" (2014)

 

You Won't Go Before You're Supposed To has become a recent obsession of mine. Its been years since a band has pushed the envelope on the extremes of "heavy" music. Logically its time to do the deep dive, starting with bands first release, a five track EP.

 Entertaining but far from memorable, Pop Culture only has retroactive flickers of a genius yet to unravel. Playing like typical beat-down Hardcore, the group barrel through angered stampedes of syncopated rhythmic assault. All roads lead to Rome, each song finds climax through slam grooves fit for hardcore dancers swinging limbs.

With knowledge of whats to come, one can hear their subtle rejections of typical song structure flow. Taking apt opportunities, linear strings of dissonant riffs often divert from anticipated grooves. Lacking the gravitas to rip up the rule book, they sound off-kilter but yet to evolve into the unhinged beast frothing anger at the mouth.

Aesthetics and production suffer too, dulling their intensity, a amateurish affair typical of debut low budget records. The ending of All My Friends offers a whiff of textured atmospheric chaos to come but its brief. Most of the time, power chord guitars fall into cushioned palm muted distortions that lack teeth for a sharper bite.

Its lyrical themes mostly hinge on conflict with religion, unanswered questions stiring deep unrest. Garris' high pitched shriekish bark is still jarring but yet to encapsulate that livid frustration put forth later. Its clear he and his band mates have much maturing to do but their is no denying the foundations of whats to come were laid here. I'm seeking a tipping point in their evolution! However this didn't win me over.

Rating: 4/10

Gothminister "Pandemonium II: The Battle Of The Underworlds" (2024)

 

Excitement swiftly squashed, another cast iron installment diminishes my faith once again. In retrospect, my expectations were unreasonable, considering this is a direct follow up to Pandemonium. Unable to grow past this Gothic symphonic Trance fusion with Rammstein style Industrial Metal, Gothminister recycles their blueprint with even less pizzazz than usual. Scenic interludes play underwhelming, attempting to raise theatrical stake yet any deviation from the tested formula sadly felt stale.

 The word of the record is "we". More so than ever, this perspective illuminates itself, a Gothic horror inspired realm of witches, demons, ghouls, zombies and monsters of the underworld. These flag waving war cries paint a protagonist's voice for these unsavory beings, rallying them together in the shadows. Its fun but at this point driven into the ground. Repeated lyrical cadences and thematic stagnation churn the whole anthemic angle into rigmoral, as track after tracks repeats itself with little new to offer.

When bands fail to evolve, they run the risk of writing themselves into a corner. It's a shame, a few albums back they hit a nerve. That spark is lost. Every song here lingers in its shadow, saying nothing new and often making you feel a sense of Deja-Vu.

Rating: 4/10