Mastodon "Marrow Deep" (2026)

 
Crashing in with the lurching Barbarians Blood, a familiar cast of Sludgy Progressive Metal broods a stormy foreboding. Its gradual encroachment resolves with strides of Punkish groove and Troy Sanders' forlorn cries. With a meaty storm of metallic might finding intrigue through avenues other than barbaric brutality, Marrow Deep marks a lengthy wait for these seasons veterans to return. On first listen this cast of tense gloom laden creativity felt deeply satisfying. Its colorful outbursts of Psychedelia and analogue Synth tangents a keen flash of color in a bleak pan. With repetitious listens, the dance between dreary turbulence and melancholic reprieve tires on the Metal riffing front. Perhaps with curation it could be cast as slack that weighs down.

At a meaty sixty five minutes, Marrow Deep is stuffed with magical relief nestled within its elegiac song craft. Harmonious and rapturous, one gets swept up by its subtle shifts to soft luminosity. The songs never gets carried away with their selves, feeling anchored within a musical context yet reaching into expressive strides between the more dominant sombre tone. This counteracting inspirational source feels mostly drawn from the past, adding a mature touch, a sort of nostalgia Rock akin to Ghost yet more from the 70s Prog Rock lane. The frequent arrival of effervescence guitar solos especially reflect allures to that golden era, yet with their own character firmly intact.

Ultimately, Marrow Deep is a wild vision realized by seasoned musicians. With such resonant craft, its magnetic atmospheres seem daunting in duration. It battles the ever hastening treadmill of life, one's own patience worn thin by its shadier lingering passages... Yet when sat down to ponder the experience, analyze and reflect, it's difficult to actually critique. These twelve songs are all unique characters exploring a grandiose that's subtle and buried within the average of its temperament. It's worth the commitment every single time, a great album experience to get caught up in. That being said, its two concluding cuts feel structurally ambitious for what they offer.

Rating 7/10

Machines Of Loving Grace "Concentration" (1993)

In search of a slice of the nineties? Absolutely! Having somehow evaded my radar, Machines Of Loving Grace embrace the lighter side of Metal. An Industrial Rock hybrid with a soft touch of Funk and Electro, spirited by the Alternative movement. They initially reminded me of NIN's debut but more so Head Of David, who two years prior struck a nerve with Seed State. This discovery has been a personal delight.

Machine's merits stem from a slick execution of sharp unravelling guitar riffs and tight percussion patterns rocking a snappy snare that cuts through the mix with intense mechanical precision. Powerful, hard hitting, repetitive, somehow never tiring one out. The pair lay a rhythmic foundation for the record to kick off with drive and groove. Its opening numbers make a meaty offering with amped up Ministry energy bangers.

Pretty swiftly the album dissipates into its diversity. Each sequential track exploring charactered moods as the metallic energy drops out for more variety. Beautifully orchestrated alongside front man Scott Benzel's competent voice, we hear so much chemistry, from Ethereal synths to Trip Hop drums, a cast of 90s scenes emerge. Grunge, Shoegaze & Funk Metal dazzle among many stylistic tropes of the era.

The album caught my ear thanks to its standout track Butterfly Wings. The sliding distortion guitar keenly reminiscent of Michael Jackson's D.S. With some clear Industrial influence, its another trace of musical taste from my childhood. Tangents aside, Concentration is a fine record by talented musicians who explore their ideas with a seasoned maturity and youthful excitement that captures the moment well.

Rating: 7/10

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

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 

Kaosis "Mate. Feed. Kill. Repeat." (2024)

 
Yesterday I laid the groundwork for discussing this record by talking about Slitknot s debut demo album Mate Feed Kill Repeat.. Recorded by original vocalist Anders Colsefni and Aussie band Kaosis, I'll make the assumption that it was a test run for getting back into this material. In recent weeks, Anders has been playing the whole (original) record live in Australia, coinciding with the record's thirtieth anniversary. There is however a twist, this version of MFKR was released without Ander's blessing.

Despite that, it's been a fun listening experience, however, the record does take some creative liberties. It starts off as a faithful recreation of the original material, updating aesthetics with modern production and clearer tone. Either an embellishment or for audible clarity, the more discrete elements of sampling, synth and noises that play under the traditional instruments can be heard. The bomb sirens of Slipknot feel apt, yet synths chime in on its melodies. I didn't get a sense that was originally buried.

Gently continues on similar footing, the acoustic guitar tones sound particularly gorgeous. As we get into Do Nothing/Bitchslap, the songs ambition really comes to life. The chemistry of its Funk Metal groove blooms in this aesthetic romp where we hear samples, baselines and synths gel. Only One and Tattered & Torn are pretty hard hitting, direct ragers which mostly maintain that stern brutality. These little Synth embellishments really start to add up at this point. These numbers definitely didn't have those elements buried in the mix somewhere. It softens the harsh vibes a touch.

On Confessions, the creative liberties heighten. Now the keys are really fleshing out the spaces between they can occupy, adding a different flavor to the track. Musically, it's clever, apt, well executed. But in terms of being faithful to the original material, it's veering off course. Additional melodies and chords feel unnecessary despite fitting in. Some Feel doesn't receive this level of attention, yet it's just enough to steer the track away from that darker identity. Killers Are Quiet claws it back. The dark ambient samples within play far more audible. A real delight but with no hidden Dogfish Rising.

All in all, this re-recording is such a fun indulgence. Hearing the additional, rather colorful, musicality is fun throughout. At times it illuminates the eclectic side of an experimental embryonic Slipknot, giving you a sense of what might have been. In other moments, it derails. These musicians get caught up in their own additions. This unsanctioned version doesn't feel as close to the original intention. It was still a blast! I'm glad this exists, It helps illuminate how brilliant the original demo album was.

Rating: 7/10

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

Sungazer "Perihelion" (2021)

 
Kicking off with Threshold to establish a whimsical tone, we embark upon luminous musical crossroads. The duos Jazz Fusion architecture meets modernity as snippets of buzzing IDM energy, tonal Vapourwave synths and a soft Chiptune cheeriness emerges. Perpetually pushed by Neely's peppy basslines and Crowder's ever enthusiastic drumming, the aforementioned accents play second fiddle to their rhythmic powerhouse. The positively charged Perihelion has curious conductive chemistry. This current reflection of electronic trends generates inspired compositions, overloaded by the pairs prime instruments. Songs initially appear to be defined by there synthetic aesthetic but Neely and Crowder end up steeling the show.

Opening instrumentals Threshold and Macchina dazzle but following them, an introduction of pitched Vapourwave vocal snippets sours the rest of the record. Personally I find their moody presence a redundant distraction from the expressive blossom unraveling around their rigidity. Its a personal qualm, one that never quite dissipated. Around these intentionally voiced elements plays an joyous arsenal of ambitious lead instruments and adventurous compositions coming to life. Thicc feels like the one track to embrace it quirky vocal element in a playful cheeky tone. The arrival of that 80s TV talk show Jazz Cheese feels so right for them.

My conclusion lays firmly in the words already written. A fantastic record with a single element that unsettled my experience of a brilliant chemistry. Perihelion unites some trendier sounds with a tried and true sound. Executed by musicians looking to explore their musicality, it plays an animated treat full of twists, turns and adventure.

Rating: 7/10

Akercocke "Choronzon" (2003)

Here is a record I would have enjoyed immensely in decades past. Devilishly artistic, its flourishes of darkly esoteric wonder, today plays countermand to a tired breed of blunt Death Metal akin to Dying Fetus. Tight, dry, anechoic drums batter against dense worming distortion riffs. Over top, the narrow guttural belching pig squeals lack that absurd sense of fun they once bestowed in this listeners enthusiastic youth.

Choronzon is a deeply cryptic record, continuously seeking devious creativity. Defying convention, its architecture continuously meanders through a seemingly unending arsenal of riffs and eccentric musical ideas. This theme remains grim and abrasive throughout, almost confrontational in its extremity. Yet frequently does the record find moments of nebulous worldly sound and shadowy acoustics to venture through.

In these expansive strides, melody and tone tilts to the Doom and Gothic Metal sounds of that era. Despite similarities, Akercocke put their fiendish demonic spin on anything familiar. With unpredictable structure, their songs traverse this hellish landscape with sudden pivots and excursions who's excitement rarely fades. Its simply jam packed with bizarre satanic oddities and sinister guitar bending riifs.

These days, I'm instantaneously partial to its lighter touches where raw aggression subsides. The constant scowling and traumatic blast beats taking a measure longer to come around to. Although burned out on this brutal sound, I'd have to admit the record houses some of the genres better riffs, especially when breaking the conventional mold and looking for a vicious, snarkier peruse into that dimension of extremity.

Lurching between its obvious metallic constructs are the keys, either Symphonic or Electronic in texture, they play a fantastic yet easily overlooked role in characterizing its best departures from extremes. I would have loved to hear more of this strand. As the record grows on, its form tends to condense more into that brutal form. However, it closes on Goddess Flesh, a short composition showing off the talents of keyboardist The Rizz. Intriguing record, as already stated, I found it at the wrong point in time.

Rating: 7/10

Nils Frahm "Spaces" (2013)

One for your tone tweaking, mood mellowing, ambience altering playlists, German composer Nils Frahm's "Spaces" turns an approach to traditional Piano music on its side. Harnessing a traditional aesthetic beauty the timeless instrument offers, then yielding its charm through a structure more common to electronic music. With droning repetitions of boldly struck notes and melancholic chords, the music gradually drifts its way through soft lush groans, vivid harmonious blooms and dense emotional swells.

Some of its songs end to applause from a live audience, the authenticity of these performances and analog tape recordings reinforce its organic nature, only amplifying the exquisite performances on display. In dexterous strides of swift complexity, one could mistake the seemingly robotic execution of notes for virtualization. Even within these strides of virtuoso, the endearing imperfections only humanize its dynamic.

Counterpart to its animated flushes, the record will happily croon into elongated explorations of ambiguous sound, where the piano takes a backseat through this unique exploration of sound. The exchange is masterful, never rushed yet can ruminate with class, venturing to all temperaments between. At seventy six minutes, its a rich offering of ideas, feeling more like a compilation of ideas than a full cohesive vision. Give it a spin and within you'll find your moments of magic to revel with.

Rating: 7/10

Gate Master "In Pursuit Of Forbidden Knowledge" (2024)

Gate Master makes an impressive introduction attuned to my tastes! In Pursuit Of Forbidden Knowledge plays as a mysterious exploration of esoteric fringes. Pulling at either ends of the spectrum, spurts of ferocious low fidelity Black Metal chime off against lonesome Dungeon Synth wanderings. Accompanied by worldly renaissance voicings strikingly akin to Brendan Perry of Dead Can Dance. Such a treat!

So to does guest vocalist Anabelle Iratni conjure such immersive suggestions. Her record opener performance of wretched witchy howls and spectral screams over haunted gong strikes creates a bold opening statement. Proceeded by the title track, we are plunged into a raw descent of gritty distortion, some Sabbath-esq evil melody lurches over its sluggish Doom guitar riffs that erupt into a frenzy of 80s extremity.

These shades of darkness do return again. The Parallax fuses some classic heathen Bathory vibes into its stride. However the rest of these blasphemous offerings drift into a meditative strain, where its mystical instruments skirt the occult, landing within an arcane, curious limbo. A niche that gets me every time, especially when so masterfully executed as done here. In Pursuit Of Forbidden Knowledge may be rough around the edges, a blemished gem but what lies beneath its rugged exterior, entrances and encapsulates one with excellent song writing and a distinct vison of darkness.

Rating: 7/10

Scarve "Irradiant" (2004)

Browsing the depths of the metal scene, with the blink of an eye this album cover threw me back to my youthful years. Perhaps it once adorned my Nuclear Blast Records magazine? I was exposed to so much great music through that free mail-in mag. Scarve also happen to fit right into the European scene of that era. Perhaps best labeled as the "Future Fusion Metal" genre that never quite took hold, they sound like a soft fusion of early Mnemic and Meshuggah with touches of classic Darkane in their melodic musicality. All these bands I adore, Its no surprise I had little trouble taking a liking to Irradiant, the second album a brief existence that ended a few years later.

Pulling from the power and menace of Metal in its extreme forms, French musicians Scarve stretch apart those frays, extrapolating melody and dissonance through shifts in momentum. Thus its songs explore the ridges of aggression, flirting with rhythmic experimentation and quite often retreating into calmer spells to introduce metallic acoustic guitar melodies or unusual lurches of "the riff". In some instances they go hard, like the Death Metal inspired pummel and pound of a vicious Molten Scars. On the following Fireproven, we unseemingly drift into an Industrial atmospheric break to showcase some lead guitar flair before flashes of color erupt in a magnetic closing riff.

These complexities and technical nature delight but have a simplistic appeal on the surface. The best songs deal with the collapse of aggression they march from the relentless into curious expanses of atmosphere. Asphyxiate plays a highlight, starting off with a meaty Meshuggah chug riff and eventually featuring a solo from the legend Fredrik Thordendal himself. Irradiant is an all round excellent showcase of boundary pushing songwriting, at least for the time. A delightful discovery slipping into my nostalgic sweet spot. Highly recommended for fans of the early "Djent" frontier.

Rating: 7/10

Carpenter Brut "Leather Temple" (2026)

Possibly completing some form of "leather trilogy", Carpenter Brut returns with album three after a lengthy four year absence. Armed with a fantastic, theatric, stage setting opener and closer, the seven tracks between bust out fast paced, snappy electronic numbers barely reaching the four minute mark. Assailing with an expectant nightly neon lit arsenal of finely tuned Synthwave instruments, Brut delights in a meaner tone, taking on some overt influences from the DOOM soundtrack in darker moments.

Tight in tonal execution, it plays an aesthetic treat. A cruising barrage of rapid slick melodies, pounding bass and body moving dancefloor energy. Despite being brilliantly composed, these song structures are crying out for a voice to lead the charge. Each song comes lined with lead instruments, places to focus your attention. However, the ebb and flow of intensities feels so fit for a singer to soar into the lime light.

Track after track entertains, vivid visions of a dystopian fantasy world we venture through. Personal highlights include the intense, demon annihilating title track. Neon Requiem's revel in spinning an 80s cheese motif into a delightful mood. The Misfits flirtation with Drumstep percussion goes down well. The End Complete wraps it all up nicely as the music swells for a dramatic farewell. All in all, one classy record.

Rating: 7/10

Willow "Petal Rock Black" (2026)

Ill confess, on first impression, Petal Rock Black felt like a series of Avant-Guard Jazz experiments. This dubious outset was reinforced by its short tracks, averaging two minutes each. The recycling of lyrics from Empathogen and even Prince's I Would Die For You also aided this skepticism. Predictably, with each recuring spin, its treasures unearthed themselves as each brief constructs own magic steadily charmed.

All of Petal Rock Black's songs are devoid of traditional song structure. Each stint serves its own purpose, a swaggered union of layered vocal indulgence, steely Jazz piano and raw roomy percussion, all rocking to its own groove. Lacking progressions and pop sensibilities, they at first feel like aimless moments from improvised jam sessions but with familiarity, one grows to love the moments Willow revels within.

Her lyrics and poetic tangents between songs heighten an awareness of conceptuality that probably adds depth but flys this inept listeners ears. In its absence, the flavor and texture of her ever playful vocal swoons play a treat. Creative, adventurous, she expresses through range. From strength and power to whispers and laughs, Willow can pivot into a soar at any moment. The variety gushes forth rapid and effortlessly.

On the instrumental front, I would have mistakenly commented on a cast of classy seasoned professional behind her. Thanks to the artist credits, I've learned this musical montage is mostly her own multi-instrumentalist creation, briefly blessed by a couple of big heavy hitter names, George Clinton and Kamasi Washington.

That first impression is a misnomer but also a hint as to what may condemn the record to some negative reception. It lacks a glue to piece it all together. Despite loving it front to back, Petal Rock Black feels like its missing something. That Avant-Guard embrace turns these unusual songs into isolated islands of musical wonder in need of a throughline. You can't fault any of its numbers, these are all beautiful expressions!

Rating: 7/10

Stormkeep "Tales Of Othertime" (2021)

 

In our age of nostalgic recreation, here comes another classy modern Metal band turning an ear to a Nordic past. Comprised of experienced musicians from the Colorado scene, Stormkeep ventures boldly into the late 90s Symphonic Black Metal sound. With a snarling groans akin to an early Shagrath, Otheyn Vermithrax arms the outfit with an added charm I personally adore. Behind his beastly wretched howls play anthemic marches of triumph and conquest. This is victorious battle music, fresh from fantasy realms, channeling its majesty into extremes maligned by magnificent melody.

The Seer opens and sets the tone, acoustic guitars and folksy synths cast its Fantasy setting, erupting into scaling tremolo riffs soaked in dank synth. Melodic and upbeat in nature, its darkness feels rapturous, full of adventure, as if partnered on a plundering adventure. Its calls back to Medieval times with its Heathen visions, a forgot rural time ruled by myth and magic. The track goes on to toy with groove riffs, thunderous blast beats and symphonic breaks, deploying all the classic hallmarks of the genre.

Structured between four lengthy epics and two non-metallic interludes, the album wastes no momentum in exploring its ambitious song writing. It avoids repetition as A Journey Through Storms and Eternal Majesty Manifest lean towards a Folk Metal motif, exploring Pagan tones fitting of another European scene that emerged at the same time. Its forty plus minutes reign supreme, a superb execution of ideas heard before but delivering them with a grace befitting of the clear vision they had putting this fine record together. An easy recommendation for fans of these genres.

Rating: 7/10

Poppy "Empty Hands" (2026)

Keeping up the impressive pace, Poppy swiftly returns with her seventh full length album. Empty Hands is another amalgamation of Alternative Metal, Pop Metal and Djent, emulating the modern scene, still struggling to surface an originality to call her own. Consistency strikes well in the album's opening half, a firm grip on bombastic guitar tones paint dense atmospheres for her singing to cut through. The opener Public Domain chops this up with a blatant ohmage to Manson's 90s Industrial style.

Diversification unravels in its second half, Eat The Hate delves into revival Grunge. A well executed song that cant quite escape her presence. The Wait, Blink and Ribs toy with Electro Pop beats and dreamy Synths, a vibe switch up I can't help but feel is closer to Poppy's voice as an artist. This is my gripe with her persona in the music, the instrumental influences of Metal and Alternative don't meld with her expressions.

On the vocal front, she is certainly working on the aggressive intensity of her shouts and screams, amping up the energy with crude throaty roars on brutality tracks Dying To Forget and Empty Hands. The latter plays a vibrant meaty Metalcore number spliced with a Pop Metal chorus. Empty Hands containing throwbacks to the late 00s Deathcore scene, peaking with an ever cringy and hilarious bree pig squeal.

Most likely thanks to switching songwriters, Empty Hands has been the easiest of her records to get into. Despite that, I still don't feel a strong connection between voice and instrumental that has been a continual pain point across her records. Its the same issue that lets these songs fade from memory, so I'm left with a familiar sense of enjoyment in the moment, but no idea which tracks will stick over time.

Rating: 7/10

Zander Parks "Light Years Away" (2025)

A casual obsession of recent weeks, Light Years Away presents itself as an emotive exploration of life's many journeys. Personal, pensive, thoughtful lyrics navigate poetic expressions with a touch of maturity. At a meaty fifty plus minutes, its twelve tracks traverse an Alternative Rock landscape, dipping into Post-Rock and Folk Rock. A flash of Glitch in opener Machine, lesser so on Vastness, alludes to a modern "in vouge" sound that swiftly gets drowned out by a more traditional song writing approach.

Leaning on the atmosphere conjured by its instrumental textures, these numbers craft melancholic moods fit for softly sung words tackling, struggle and regret. The duo exchange a spotlight, offering tender relief, channeling human motions into storeys. Our unnamed effeminate companion takes center stage for most of the record but its best runs evolve from the exchanges where voices crossover in smooth duality.

Its best cuts, Event Horizon, Letters To Nowhere, Voltage and Leave The World Behind, all share something in common. A musicality that ebbs and flows, swelling into theatrical through lines that punctuate a songs intent. Its gratifying in comparison to the rest of the music, which tends to lingers on calmer energy, not quite finding a suitable climax to peak its intent.

Far from perfect yet brilliant in its channeled focus on songwriting, Light Years Away serves as a set of beautiful expressions. Its compositional chemistry exploits dynamics, texture, atmosphere and tone from a varied cast of instruments. Perhaps a detractor is the lack of potent melodies to settle in like earworms. Much of that role comes from the hooks which leave a firm impression. This is a firm record well worth ones time, I'm sure you'll find a few favorites among its cast.

Rating: 7/10

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

 

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

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

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

Rating: 7/10

Clipse "Let God Sort Em Out" (2025)

 

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

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

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

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

Rating: 7/10

Trevor Something "The Anima" (2025)

 

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

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

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

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

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

Rating: 7/10