Willow "Lately I Feel Everything" (2021)

 

Arriving at Willow's third record, endearing blemishes of youthful nativity emerge. Heart-brake pains and relationship woes dominate its theme. Musically, a similar line is tread. Both sway between raw adolescent reactivity and insightful, matured expressions. On its latter half, collaborations with Travis Barker boldly mimic teenage Pop Punk tracks of the early 00s, devoid of originality yet persuasive with repetitions.

The middle of the record is where the bulk of its magic lays. Instrumentals deviate from the opening simplistic pop appeal. Swells of grungy guitar distortions, dreamy acoustic reverberations and creative drum machine arrangements pull these songs to the edges of Shoegaze, Indie Rock and Emo, blurring lines along the way.

Typically, Willow sings from the soul, drifting around the texture of these tracks like a free spirit, often with power over softness, she occasionally roars into life with soft screams. On the softer side, soaring cadences amplify her thoughtful, introspective words. It turns the topicality of once immature anthems into reflective journeys. Its a curiosity to me how a tracks tone shapes ones experience, two contrasting sides of essentially the same expressive coin.

Lately I Feel Everything is mostly an exploration of an alternative umbrella of distortion guitar adjacent music. Willow crashes the party, muddying up ideas with an aesthetic rawness and endearing amateurish aesthetic. A perfect fit for the genre. Not quite as persuasive as whats to follow but also tainted by these interruptions of type-cast teeny bop music I despised in my youth. Naive and XTRA where the highlights for me.

Rating: 6/10

Tycho "Infinite Health" (2024)

  

This release marks a significant return to form. Recapturing the blissful breezy magic once felt on Dive, Californian producer Tycho seems to of found his unique summery vibes again. After a string of mediocre records, exploring unfruitful directions, we return to the soothing chilled out Downtempo charms of his landmark debut.

Indie guitar tone licks and colorful exotic saw synths entangle within a gorgeous production. Instruments come lavished in glossy reverberations, swelling with the musics momentum. Gradual builds of feel good energy pivot into salient melodies. Simple, easy and effective, often infusing brief repetitious grooves in their cadence.

 The percussion is class. A fraction Drumstep in tone with Downtempo intensity and plenty of variety in instrumental tones, Its unafraid of lulls and winding down. Its involvement is dynamic, ebbing and flowing with the overall vision, ready to step into the big clap kick grooves to emphasis a songs main stride and momentum.

Most of the potent melodic magic takes place within these firm rhythmic sways. Colored guitar licks have a habit of striking through the dense dreamy electronics like a human voice. Chanting simple mantras by jostling a handful of notes, its rarely a complex affair and its simplicity revels in the aesthetic chemistry. Its cloudy atmospheric layers border Ethereal at times, always nurturing breezy, clam energy.

Infinite Health brings out the best of Tycho again. Unfortunately, it falls short in consistency. Between well built songs drift in milder tracks exploring interluding temperaments. These toned down arrangements tended to dull the momentum, lacking percussive drive and a sense of destination. Its best songs are a delight, so not all is lost! There is plenty of feel good warmth to be enjoyed here.

Rating: 6/10

Slowdive "Kisses (Remixes)" (2024)

The highlight of last years Everything Is Alive was undoubtedly Kisses! A warm, dreamy track, serine and blissful in its innocent Shoegazing goodness. This EP stitches on three similar length remixes. Surprisingly, they do a decent job furthering the magic of this song. An opening electronic mix trades in walls of Ethereal noise for classic sine wave pulses, a stripped back rendition adding retro flare to the music.

Daniel Avery's remix drops in a pacey Drumstep loop to energize the temperament with stealthy Liquid Drum & Bass vibes. Additional glazier synths accompany too, replacing vocals for the songs later half. A collaboration with Ambient legends Grouper claims the highlight. Dialing up its rumbling ambiguities and retreating percussion entirely, the music becomes washed up in a haze of reverberating clouds.

Ending with the original composition affirms its excellence. Somehow spinning this over a handful of times doesn't tire such a beautiful song. Totally worth a listen if you vibed with it in any capacity. I would however critique a lack of daring to stride in search of new terrain. These remixes played it safe and straightforward, which works.

Rating: 3/10

Trevor Something "Archetypes" (2024)

 
My introduction to one man band Trevor Something was through a handful of delightful re-imaginations of 80s Synthpop and Alternative classics. I wasn't pulled into his original music, so this new record of twelve cover songs suited me well.

Trevor's built a unique sound, treading a line adjacent to Ethereal, Synthwave and Electro-Industrial. Like a dream inducing sedative, subdued and sluggish, his soft, distant voice steers us through hazy atmospheres. Layered arrangements of textural synths dance, often with chunky bass wobbles. The usual culprit of echo and reverb masks an otherwise sharp set of steady melodies into a concussive daze.

In this reshaping of originals, a unique soothing, slightly dystopian crooning is birthed. You want to stick around and indulge. Not knowing a track wasn't a barrier to entry either, the warmly dystopian aesthetics, lingering tempo and Cyber-Goth vibes maintain across its duration. Closer and No Ordinary Love where my favorites.

All That She Want's is a surprising throwback but record ends with Change (In The House Of Flies), which I thought would be a lay up. On this occasion, a sterile overindulgence approach lost the original spark. Its smokey, cumbersome stride swiftly dulls. Strange ending to an otherwise unique and enjoyable record.

Rating: 6/10

Hundredth "Rare" (2017)

 

Opening with shiny crimson acoustics, Vertigo croons on contrasting vibes. Its initial Ethereal glaze rubs against a pacey rhythm section. Thunderous baselines rumble, as lively kick snare grooves set a cruising tempo. Swells of overdriven guitar erupt, reveling in their haze of noisy reverberation. Singer songwriter Chadwick Johnson glides in, calming with breezy harmonization, soothing in his softly presence.

Its a chemistry that persists throughout, as this Shoegazing, Alternative Rock hybrid flickers with fondness for a cascade of influences that inspire an inclusive wall of sound production. Forever sounding like a beautiful fever dream, hints of Grunge, Britpop, Post-Punk, New Wave and Dream Pop emerge in subtle suggestions.

Almost all tracks sail with riveting energy. Ebbing and flowing into colorful lulls, dragged by pounding percussion, leaving room to breath and rebound into epic swells of lead melody and momentous guitar riffs. A consistent experience, yielding a monotone expression. Across its forty five minutes its deeply explored yet spinning the same structures in rotation. Fortunately with such blissful energy it rarely tires.

Early on the music feels uplifting and charged with warmth yet as the record reaches its mid point, both lyrics and emotions tilt to darker subjects. Its a subtle shift, a dreary dourness creeps in, the sprint slows. It feels like the same beast yet moodier, as melancholic acoustics drift in and a vulnerability in Johnson's presence grows.

Rare's merits reside on its songwriting and vision. Initially seeming to fit into a familiar umbrella of genres, the record takes on its own memorable character. I do prefer its opening half, the speedy pace a delight that fades into its brooding counterpart. Overall, Rare is a wonderfully engaging set of songs that don't try to rewrite the rulebook but focus on what works and wrap it up into an inspired aesthetic indulgence.

Rating: 7/10

Crosses "Crosses" (2014)

Having enjoyed the duo's new sophomore record, I ventured back to their debut, released nine years prior. Feeling very much fitting of its era, the electronic percussive arrangements tilt in a handful of directions, ta Disco House flavor of Daft Punk rears its head early on. The rest mostly an assemble of sluggish Trip Hop grooves and subdued drum patterns. They mostly stir echos from Post-Punks expansive umbrella, far from the hard hitting, cutting edge that its followup leaned into. 

This left Crosses with an expression rooted in the moment, something about arriving ten years late has been tricky to reorient. Led by Chino's charm, that inescapable Deftones feeling is prevalent but this time his partner Lopez crafts moody textural passing of mellow sound. Drenched in ambiguous, airy, soft design, many sounds emerge. Gentle guitar licks, plucked strings, a groaning Sax, broody pianos and riveting organ shimmer, with the occasional metallic riff dialing down its intensity.

The two fall into a sway, grooving on sullen, melancholic strides, mustering occasional bursts of energy on odd songs. The Epilogue was my favorite, cruising with pace and bustling in gated toms for a lively energy, the guitar lick and vocals made for a catchy hook. A rarity, much of the music focuses on mood, highlighting a lack of connection in its absence. Ultimately, the duo focus on a side of their chemistry that doesn't quite tick all the boxes for me. A fair listen but not one I'll come back to often.

Rating: 5/10

Graywave "Planetary Shift" (2021)

Enthralled by Rebirth's swelling descents of darkly Shoegazing magic, Planetary Shift has lingered in its shadow like an egg ready to hatch, not yet finding a final form. Fortunately, I've gotten past this notion. These five tracks are further from the dense, engulfing aesthetics of its successor, they reside closer to the "traditional" Ethereal, Shoegaze, Dreampop soundscape. Crooning in the sombre resonance its shimmering guitar chords echo, each song runs a dreamy trip, usually steering into a familiar distress, yet exploring uplifting phrases too, like on the opening Dreaming, which gleams with a kind warmness. The following Swallow toes the line with soaring ascents to glory before a dreary, distant title track sets up its final two stints.

 

The arch peers into darkness on conclusion, as Like Heaven's catchy chorus bleeds a sombre melody to hint at its closing struggle, which Before delves into. Bringing back that alluring engulfing darkness heard on Rebirth, It is perhaps the catalyst for Jess' natural progression. After establishing its verse chorus loop, the later half ignites with a ferocity as she dials the soaring vocals to another plateau. The music swells, riding its decent into a the void. Stunning music, which again starts from a brighter place. This side has much merit but I find myself magnetized to the darker expressions.

Rating: 5/10

Graywave "Rebirth" (2022)

 
Illuminating attention with an engulfing dreary charm, Graywave, brainchild of Jess Webberley, intensifies their dense Shoegazing Ethereal haze with bustling over drive guitars that swell and shimmer in flushes of bleak beauty. The instruments roar with inviting texture, baselines rumble, showing cracks and grooves, the drums strike with piercing clarity and crispness. Around them a glory of sombre tuneful sounds ripple and shimmer in waves, losing themselves in copious echos and reverberations.

Crudely Dream Pop, oddly catchy by design, these illustrious melodies lure one into its haunting spell. Each track casts its bait, then reels one into thick, heavy surges of descending imminence. Emotions suffer dark and burdensome, yet glimmer with soft introspection. Often feeling like a cathartic release of internal demons and personal grievances that run deep. Its stunning how each song sways in and out of this radiant hell, retaining its alluring colors and selling one on its shadowy descent over and over.

The magic ingredient is Jess' voice who has stunning softness in strength, her gentle tone can ascend and roar with the swells of instrumental gravity beneath her. Its a stunning chemistry from a multi instrumentalist honing in on a purity of self expression. Five fine songs, with the opening Build a masterful ear-worm to binge. This is about as heavy as Shoegazing gets before you call it Metal. To my ears, its akin to Autumn's Grey Solace on steroids. Absolutely loved this, Ive found my next journey it seems!

Rating: 6/10

Crosses "Goodnight, God Bless, I Love U, Delete." (2023)

 

I was drawn to this project by Chino Moreno of Deftones, the vocal half of this dynamic duo. Drawing inspirations, moods and textures from the likes of Dream Pop, Electro-Industrial and Gothic, Ethereal adjacent music, the pair attempt to carve a distinct niche. Crosses, however, seem inescapable of Moreno's instrumental chemistry. His harmonies relate to melody and rhythm with an all to familiar cadence.

Not intent on exploring new vocal territory, the best of the twos chemistry aligns in the same space Deftones' magic sparks from. The record's most striking tracks could be mistaken for Deftones remixes. Is this a complaint? Absolutely not, just a clear observation. One half of whats to enjoy is firmly rooted in a familiar setting, which Moreno executes with that typical alluring charm. His brilliance never seems to tire.

Crosses' other half, Shaun Lopez, brings character and distinction. Exploring the aforementioned genres' moods, he guides songs with bold, striking percussion. Modern in crisp intensity and rhythmically jolting, groove or bounce aren't words that comes to mind. Steady tempo and snappy aesthetics seem to be key motivators. Shuffling crisp, bold strikes, they land resolute on swift attack and minimal reverbs.

These drum lines come counteracted by melancholic melodic instruments, often virtual but housed in enough echo and reverb to paint ambiguities. The atmospheric touch leans towards soft and darkly shadows, breeding self-indulged emotion reflections. Often Ethereal in tone, they brood without catchy melodies. That falls to Moreno, who most often plays a role of light peaking through sombre clouds.

This chemistry varies track to track, almost all its ideas evoke loose relations to the broad spectrum of Post-Punk evolution in music. For all its explorations, this seems just shy of greatness. Invisible Hand, which plays like a Deftones' remix, sets a high ceiling the rest of the record doesn't live up to. When it comes close, its Moreno's mainstay I'm reminded of. EL-P turns up for a fantastic collaboration. I'm sure he had a hand in the tracks baseline. A cracking listen for fans of anything mentioned here.

Rating: 6/10

Turnstile "New Heart Designs" (2023)

 

Today I've stumbled upon a pleasant surprise, a trio of Turnstile songs re-imagined on this latest single. Teaming up with Badbadnotgood, the bands songs get reworked into dreamy mellow alternates. Turns out Yates' clean singing is a supple match for these Psychedelia tinged instrumentals composed of soft pianos and woodwinds drowning in reverberating ambiences. His original takes having an inspired, ample chemistry.

It feels like a happy accident, a curious collision that's led to reworking three tracks from Glow On in a complete u-turn. Mystery gets an airy treatment, a relaxing stroll through an ethereal garden that some how mellows out the stained shouts. Bringing in soft percussion, Alien Love Call turns Lounge in demeanor, squeezing in some free flowing Jazz improv jams between the main vocal sections. Underwater Boi looses me a little as things turn tripy and exotic. Still decent but dang the first two cuts are magic!

Rating: 3/10

Slowdive "Everything Is Alive" (2023)

With an Ethereal haze of gristly guitar distortions casting adoring shadows across humble origins, Shanty sets a shimmering Shoegazing tone, justifying the six year wait since the return of Slowdive. What follows doesn't delve deeper but strips apart the opening ideas. The smothering meld of soft electronic melodies, contrasting lush acoustic guitars and dreamy voices housed within its dense aesthetic are explored from different angles. The following songs explore crevasse of this sleepy haze, drifting through its mellow moods gracefully with thoughtful craft and intent.

 The upbeat rhythms were a driving force for satisfaction. Subdued percussion lent a soft sullen glow lurching behind its shimmering exteriors. Alife but more so Kisses benefited from the drive of kick snare grooves, giving pace and direction to its indulgent aesthetic reverberations. It was in these moments that the music animated into life, yielding one to its magic. Otherwise, its slightly broodish temperament leaned to beautiful shades of sadness that lacked a commanding grip on ones attention.

Chained To A Cloud was an odd song, its sorrowful looping melody mesmerizing, pulling one through a gentle gloom inescapable of sorrows. I would have once adored such a downer. Its likely my appreciation for the composition reflects my distance to darker cuts these days. I used to revel in such moody music but with age it feels more burdensome than relatable. For me, this record steered into subtly sombre places I didn't connect with despite it being such a wonderfully curated aesthetic treat.

Rating: 6/10

Post Malone "Austin" (2023)

 

Returning swiftly from the lukewarm reception of Twelve Carat Toothache, Post Malone returns with a notable progression in his persona and musical identity. Austin, named after himself, is a traditional leaning Pop record that initially disappoints with its generic withdrawal from what made him standout as an artist. Flushing out percussive Trap influences and stepping back from the embellishment auto-tune offered, this new direction withdraws into pleasing practices and sensibilities established for years now.

With a lack of aesthetic novelty to draw one in, Its with repetitions that one gets to know these songs. Humble and sincere, Post revels in his emotions with an authenticity complimented by his voice. Ditching auto-tune for the most part, merits emerge in his singing that prove this talent is beyond gimmicks. The melodic lines and catchy lyrics are illuminating when they land. Backed by subtle swooning instrumentals, the union lands songs sweetly when the stars align.

With less hands involved in the records production, the trio emerge with a cohesive vision pulling on a little kick clap of coffee shop Rock, the shimmer 80s Synthpop and dreamy touch of modern Pop. Compositions are apt, purpose built, across a range of tones all lavished in gorgeous aesthetics. Its builds a summery indulgence of warmth and good times masking an underbelly of sunset reflections on masked pains.

Brushing aside the false start of the self-pity opener Don't Understand and yearning Gospel cries of Something Real, an arc emerges from upbeat to introspective. Early on the best tracks arrive on pacey percussion tempos and cool breezes. As the record matures, the calmer acoustic leaning expressions steadily shift its focus. Its a decent trajectory but given only a handful of songs really pulled this listener in.

I found Austin's lulls to highlight how well its uplifting choruses landed. Early on, every other song croons and grooves on its slick impressions. As moodier acoustics roll in, mediocrity rises. Curation is often a pitfall on lengthy records. At an hour long, its clear a concise expression of Post's warmth would have rocked strong. The reveling on melancholic vibes didn't land with the same infectiousness. This could of been something special but its retained to a handful of songs that stand apart.

Rating: 6/10

Tamaryn "Dreaming The Dark" (2019)

  

Embarking on a forth of four records, Tamaryn's linage becomes crystal clear. From her patchy embryonic origins, The Waves roots in Shoegazing noise steadily blossomed. Culminating with an arrival of infectious Synthpop suggestions on Cranekiss, Dreaming The Dark is a natural conclusion. Steered away from ethereal ambiguities and dense guitar textures, this record lands firmly on the catchy synth driven sound of 80s. As a retroactive sound, it embraces all the glories of modern production, carving ear worms with courageous singing and jiving keyboard melodies.

Angels Of Sweat roars out the gate with an empowered stride, setting a striking tone. Soaring vocals scale the octaves, animated with emotion as Tamaryn lends her words to wild hooky inflections. Hard hitting saw waves bustle and punchy percussive rhythms rock to form a united front, executing this fantastic song writing boldly.

As great records do, Dreaming The Dark explores temperament and mood narrowed to nightly vibes. The shadowy allure of melodies shimmering in cold resonance broods. Stiff drum patterns loop, charging vivid synth leads with a subtle curation of hazy steel guitars in the backdrop. Its a key chemistry, chaining Tamaryn's energetic, upbeat presence. Leading her through shrouded, dreamy drifts into darker spaces.

On occasional, this spell is broken. Victim Complex amps up bold synths, jiving hard on a vibe. Her singing explores a multitude of catchy deliveries, the chorus erupting with charisma. The Jealous Kind hits a similar cheery tone while offering a broody plunge between its bright lead melodies. Another song of note, possibly the records best, is Path To Love. Possessing a beautiful instrumental chemistry, a duet with a brief male counterpart gives it another riveting flavor that gels smoothly.

Dreaming The Dark reshapes the best attributes of 80s Synthpop into its glorious dreamy sway. Tamaryn swoons on a high, backed by a contrast of bright, cheerful infection and hazy Ethereal wonder. It hangs in a cunning balance. When locked in by grasp, the record feels reminiscent to the sways of classics like Black Celebration. Yet in its latter half, a couple songs loose pacing, finding a lull. Otherwise this would of been near flawless. One to come back to again in the years to come for sure!

Rating: 8/10

Tamaryn "Tender New Signs" (2012)

This second foray into revivalist Shoegazing takes a matured aesthetic leap, leaving behind the stiff disappointment of debut The Waves. Armed with strong guitar melodies, the wall of sound is penetrated with quite a distinct tang, vague echoes of Country and Americana from its lead guitar licks. Often melting out of bendy shimmers, their moments of articulation bring a necessary melody to the dense breeze of dreamy, foggy warmth this colorful sound indulgently basks in.

Yet to truly dabble with the Pop sensibilities of Cranekiss, Tamaryn rarely emerges front and center, rather she is shy and reserved. Lowered in the mix and competing with the thick echos of effect smothered guitars, she blends into haze. Even on a more dynamic Transcendent Blue, she sings only in crowded spaces despite plenty of lulls. It creates a sense of intention to have a continuously deep tone for all of its songs.

This single minded approach breeds a lack of distinction. The mood of Tender New Signs is warm, a cozy space to curl up in yet it barely breaks for anything spectacular. Not even an alteration or deviation. Some melodies may be more distinct but they all follow a hazy path of bleeding instruments and dreamy aesthetics continuously fall into one another. Reasonable as a mood setter but in the forefront the album plays dulled and tired. Definitely a step in the right. The best yet to come.

Rating: 5/10

The Veldt "Afrodisiac" (1993)

Memory is a thickle thing. Essential, yet always fading, it shapes our reality in many ways. Fortunately this was harmless, a little shock to stumble over a record I thought could not exist. Seems I forgot of their history on my previous encounter with The Veldt. Their return fusing Dream Pop and Trap was a passing enjoyment. Its a farcry from Afrodisiac, a record fitting snugly into its era, without seeming remarkable or impactful. So far Its stuck me as the sort of album that just gets lost with the times.

With a lurch of early 90s Alternative Rock and Shoegazing distortions, the group fuse timely over-driven guitars with the sparse echos of Funk Metal groove. Its also a textural experience, sliding into dreamy spaces with glittery acoustics. The occasional fusion of Trip Hop drum loops proves expansive as the record sways between styles. Consistently singer Chavis's bold charismatic voice resembles an 80s ballad singer.

His presence is swell, a delight when the vibe clicks but often it arrives with friction. Its this contrast that all of its elements have in some degree, giving it a sense of "almost genius". The songwriting plays into this, ideas merging from different directions, a lot of material exposes its origins and the union doesn't quite find the apt chemistry.

That being said, its an exploration of ideas that has plenty of engaging moments in its lengthy hour long stay. Heather strikes me as a peak, a broody dark wailer of a song powered along by its Industrial percussive thuds. Ultimately, Afrodisiac strikes me as a clear product of the times, not quite finding a way for its unique overlaps to blossom. That being said, it gave me a sense that continued exposure would grow on me more.

Rating: 6/10

Autumn's Grey Solace "Therium" (2022)

Another year, another album but alas, my wishes have not come true. Therium continues firmly rooted in an unchanging Ethereal form. Anticipating a familiar lack of novelty and surprise, I approached this newest installment of eight soothing tracks with nothing but warmth for enjoying Autumn's Grey Solace's charm once again.

Shimmering crimson acoustics gleam tranquil melodies once again. Erin offers her sweet wordless drifting as a human compliment to the serinity. Washes of ambiguous guitar effects sparsely chime in. The base guitar occasionally busies upfront with plodding rattles. The percussion keeping pace with simple patterns lacking theatrics.

 Its various shades and timbres seem like a deck of cards shuffled from the back catalog. So to do vocals and melodies conjure deja vu like symptoms. I wouldn't be surprise if previous riffs and notation were simply lifted and interchanged. I'm not suggesting its so but the experience of a new AGS record has become pretty much that. Always welcome but it seems they do not want to explore any new directions.

Rating: 5/10

Tamaryn "Cranekiss" (2015)

 

It took but one listen of Cranekiss's euphoric Shoegazing title track to win me over. Spotify's algorithm has figured me out! Serving up a slice of the finest Dream Pop, I felt the warm fuzzy charms of Cocteau Twins alongside an effeminate apparition resonating an eerie similarity to Erin of Autumn's Grey Solace. Those heavenly fragile breathy voicings, ascending over top the bustling baselines and stiff drum machine grooves gave me chills. The song is awash with shimmering reverbs its melodies get lost in. Best of all, the song comes in hard with dense bendy effect drenched guitars, a fond reminder of ideas introduced with My Bloody Valentine's influential Loveless.

Cranekiss is an 80s love letter. Its aesthetics rears the nostalgia with a lean grip. The brilliant song writing captures all the charms of Art Pop and modern conventions. On its venture, the crevasses of influences part. Post-Punk, Ethereal, Synth Pop and all others mentioned so far unravel on catchy songs ripe with stark punchy melodies woven through a dreamy web of ever shifting reverberated sounds. The wonderfully indulged singing makes for many a memorable chorus on the Cranekiss journey.

 With a strong Electronic maturity in composition and execution, Tamaryn reaches into the past for inspirations, shedding her music of any cheese and dates ideas. Although it lacks originality at every turn, the nostalgia dance is a beautiful one. Its vague and shapeless rumblings create a mask for potent percussive grooves and dazzling instruments to punch through, best of all her voice sits central to all the wonder.

Its emotions are powerful, a curious love, often emanating a contagious warmth yet peering off into ambiguous moods of unsettled footing. As the album plays its deviations and themes keep the tone flowing with fantastic cuts Softcore and Sugarfix to be found towards its conclusion. The last of which has an uncanny resemblance to Elizabeth Fraser's wordless musings, followed by a lush, smothering choral hook.

I've sung Cranekiss's praises. That's because all its avenues of sound touch on my favorite ideas within these overlapping genres. It has a handful of songs a grade above the rest but not every track needs to be a hit when the mood flows so slick. It may lack surprises but the main show is the excellence in which ideas from a few decades back are executed. For me, this will be a great record to return too.

Rating: 8/10

Doja Cat "Planet Her" (2021)

 

With slick easy vibes, smooth breezy aesthetics and sweet yet spicy persona, Doja Cat lends her sharp harmonious chords, breathy voicings and quirky raps too a dreamy psychedelic Trap and R&B experience. With a team of over ten plus producers, a surprisingly cohesive mood emerges across the record. Led by the cutting percussive presence of shuffling hi-hats, snappy claps and crunky snares, deep bass hits punch and rumble below. It leaves space for tinges of Ethereal and Dream Pop instrumentation to usher a spin on the trendy popular sounds of the times. The contrast between rhythm section and everything else is surprisingly inviting.

Planet Her plays with a sense of depth as Doja is central in shaping her songs with hooks, choruses and raps over the deliberately underwhelming roll of traditional melodies. Her personality manifests, at times highly sexual and literal far beyond suggestive, into a variety of topics, often dealing with fame, prominence and perception. Her performances felt like thee endearing factor. Especially so when her voice shifts up pitch. Navel, quirky, swift, the cadence, creative inflections and self assured attitude reigns over lyrical content, although the value of words is a common pitfall for this listener who feels the melody and aesthetic far more so.

Speaking on aesthetics, the housing of her various voices, through reverberation, panning and placing, is a constant delight. So often does the handling of her singing seem to elevate what she expresses. Its as if their is a great understanding between artist and producers. Some highlights include the anthemic opening Woman and a great feature from The Weeknd. Wherever he goes, his take on the Synthwave genre seems to follow. The tone fits well into the variety of temperaments offered, leaning into aggressive Trap rap grooves and opposite the fiesty, hints of R&B, Soul and Dream Pop grace the modern Pop music sound with a gentler touch. All in all Planet Her is a fantastic record from a young artist with style and persona in abundance.

Rating: 7/10

Warpaint "Radiate Like This" (2022)

 If this title were literal, then one would glow. With radiance in abundance, a deep warmth, a crooning sway, Warpaint resonate sensuality with this casually persuading swoon of blissful songs. Its ten cuts ooze with luscious ease as dreamy aesthetics drift by. Captive to Emily Kokal's gentle endearing voice, she rides the soulful breeze her compassionate presence creates. This performance makes the record whole. For all the gorgeous instrumentation, vibeing in the lofty heat of an easy chemistry. She steps boldly into each song with a tender soul, soft in tone yet powerfully charming.

Once labeled as a Post-Punk band, its only the forward baselines, punching high notes on the fretboard that resemble the umbrella sound. With calming beats, loose grooves and shuffling hi-hat rattles, a subtle percussive performance houses all other instruments from a quiet yet foundational roll. The acoustic guitars, in dense washes of reverberation, gel with keys and electronics. Swept up in a swelling production, the atmosphere of each song punctuates a soulful, dreamy mood with stunning ease. Its tone is part Ethereal, part Dream Pop with a light touch of Shoegaze indulgence.

Radiate Like This is far from perfect however. Navigating all ebbs and flows, frequent detours into halve measures of the magic occur. Often when Kokal is withdrawn the spark is dulled. Despite this, the allure is ever present. A soothing persuasion pulls one in as simple melodic loops revel in the dense ambience they sink through with echos and reverb effects dialed to perfection. The aesthetics and textures are stunningly captured by the group who self produced the record. Its a triumph, as the best cuts, again championed by Kokal, hit the sweetest groove after every repetition.

Rating: 8/10

Kero Kero Bonito "Time 'N' Place" (2018)

 Going forth with a bold stylistic shift, Kero Kero Bonito introduce a rather gristly over driven guitar tone into the mix! Not only do they dial back the childish quirk and charm established prior, the keys too recoil from punchy unabashed aesthetics. Time 'N' Place has the trio trying on new shoes. When sticking to their guns, they find a glossy, serine temperament stepping into classic Pop vibes with a modern edge. On the other front, hints of Grunge, Indie Pop and Shoegazing push them towards the uncanny valley as creative ideas clash with a touch of imposter syndrome lurking nearby.

Alongside the strives into guitar driven territory, the group take failing inspiration from the abrasive scenes of Glitch and Noise music. Three tracks in and Only Acting grates away with intentional CD skips leading into a ear aching assault of sharp fuzz on the listening. It seems so pointless, a barrage of disorientation that doesn't resolve to anything of interest. Fortunately these grating oddities are few and far between.

It doesn't look good among a series of misses. Opening with Outside, the Shoegazing kicks off on an odd note, not quite gelling with the sparkling synths found glittering around its chord progressions. From their most the songs land on odd footings, just not landing a charm as they low through a string of simple themes and old timely vibes. Late in the track listing, Sometimes is another stride beyond means. Aiming for a youthful, folksy pub sing along, the brash acoustic guitar strumming clashes with unrehearsed singing. The VGM 8bit synth jam that takes place alongside sours too.

Most the songs are inoffensive but oddly mediocre in the shadow of their other works. It makes for a dull, lukewarm listen that often drags. Bit of a shame considering how interesting I've found this group up to this point. In fact what comes after with Civilization II is remarkable, a major difference from whats to be heard here. Time 'N' Space feels like the new ideas they brought to the mix didn't have the chemistry.

Rating: 4/10