Sungazer "Sungazer, Vol.1" (2014)

 
Arriving upon its origin, Sungazer's brief debut plays like an assemble of short conceptual experiments. Brimming with a ditzy glitched electronic aesthetic, its two opening cuts conjures a Chiptune dial up modem mash up. Spritzed on by craftily spun rapid melodies, they toy with rhythmic shunts and subversive tunefullness in disorienting yet soothing ways. The tone turns gentle with more traditional instruments arriving on the mellow afternoon stroll of Ether. Level One feels like a bridge to bring back some of the original aesthetic, baking in its video game adjacent culture.

Featuring human singing, its final track mixes all elements with a bold Drumstep drum groove. Justina's voice as quite the hook but the songs vibrant chemistry is so brief, its as is if the song doesn't get a chance to evolve. Instead, its shut down in the mania of stunting synth sounds. Volume one is impressive as a conceptual debutant but in the shadow of greatness to come, it shows the duo's humble original have been carefully nurtured over the years, from experimental to fully realized ambition.

Rating: 4/10

Enter Shikari "Lose Your Self" (2026)

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

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

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

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

Rating: 9/10

Dave Mackay "Three: Vol.3 [Utopia]" (2022)

Completing this triumphant trilogy of trinities, we temper tranquil trails as these three threads delve upon magical mellow moods. Wedged in the middle, Oog arrives a stiffer act, its melty instruments river around against the sticky shuffling rhythm of its gentle yet ever-busy percussion. It carries an airy colorful spirit through this ceaseless rigid pacing, a beautiful contrast to its melodic flavors oozing in sun soaked scenes.

Utopia leans in to its gorgeous reverberations. Again, the ceaseless drums hit this unshakable drive, more subdued in presence. Around it, a cast of instruments croon, melting in a roomy ambience, an aesthetic delight. An impactful piano arrive in waves, striking tuneful notes in succession. Illuminating, then dissipating into warm currents.

Impulse rounds up the record with an emotional stride. The welcome smoothness of this Jazz Fusion affair encroaches on a magical sentiment as the pivot a third in stirs spirited feelings. Its soft piano keys suddenly dance with the stars, as synths fall from the heavens. Its a lovely movement, revisited again a third later to climax the song, then suddenly drop out into attention breaking ambience. Really classy music.

Rating: 5/10

Sungazer "Sungazer, Vol.2" (2019)

 

Further approaching the duos origin, this sophomore EP fits a snug five track format of snappy, "to the point" tracks, clocking in at around three to four minutes each. This second volume's scope feels narrowed, as does the stylistic pallet, however this reduction is its strength, an ambition channelled. Fusing a shimmering Vapourwave mystic and joyous Chiptune cheeriness as its key electronic tone, their Jazz Fusion foundation often takes a healthy backseat to these grabbing glitchy production stunts.

Busy baselines and animated percussion are an excellence you'd expect of these passionate professionals. So to does the cast of other traditional instruments have moments to shine, however they come rather understated in the shadow of this fever dream whirl of colorful electronic mania. Ostinato is the one track to ditch this element.

The other four cuts solely focus on its quirky uncanny valley personality. Its lead keyboard solos and intriguing manipulating production elements dominate the show alongside these glitchy sampled vocal snippets that tie in theme and feel nicely. Altogether it creates a sense of exploring crossroads between robot and human. A distinct character making this brief record more impactful than I initially thought.

Rating: 6/10

Dave Mackay "Three: Vol.2 [Nashville]" (2021)

 
What a delightful stumble upon this has been. The threesome return with another trio of classy Jazz Fusion tracks that revel and ooze within its own exquisite veneer. Prophecies kicks off measured and gradual. Soft, gorgeous instrumentation swelling in harmony as lively shuffling percussion guides passages for all its elements to shine. With melody, texture or sudden roars of synth jive, the subtleties of craft slowly amass as baseline exchanges lead us through a gradual amass of layers that croon together.

Mute echo's sentiments of Vol.1, its dusky contemplative piano refrains balance beauty and tension with an unshakable familiarity. With a smidge of Noir Jazz flavour, the nightly flavour simmers down to a cool, finding a soothing stride, opting for a soft surge in conclusion that dreamily backs out, winding down with Ethereal grace.

Cassette Culture conceptually focuses solely on its lead, a bold, plastic like synth tone, singing a tuneful dance with expressive dynamics. Volume and tone pedals shape its intensity upon a curious, slightly quirky escapade lacking direction as it meanders in the whirling moment. All three tracks are such easy pleasures to enjoy. The short duration and high bar for excellence really empowers this format.

Rating: 5/10

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

Dave Mackay "Three: Vol.1 [Los Angeles]" (2019)

 

Dear reader, you'll have to tell me if you've heard this before. I cannot shake this feeling I know the first two cuts from somewhere. My gut tells me these themes have been interpolated into a Rap song, or perhaps vise verse? Either way, from the instance I first heard All The Same, a shudder went down mine spin. Its six minutes of beauty start gentle, steadily crooning into gushing spell of melancholic delight.

Along the path, a matured Jazz architecture blossoms as the talented trio revel in the motifs drama, a radiant sunset, warm, enduring yet a sense of closure lingers in this bitter sweet moment, tilting to the later. Its an exquisite sound informed by deep musical understanding and aesthetic craft. This continues excellence with Outlines, a more subdued number, alluring and dreamy, it kicks off with a prominent rhythmic groove fit for a healthy Hip Hop sampling. The mid section ventures into a quiet realm, its deep hurried baseline murmurs a pacey strut with minimal accents placed above.

Foreign Transmissions has less of this magnificent charm. Its sleepy fundamentals get violently awaken by distortion rock guitar, warbling away with an Avant-Guard flare. This snarky lead is quite the abrasive juxtaposition, peaking with luscious organs synth swells, yet lacking gratification upon that union. Conceptually interesting yet in execution, misses a personal connection for me. Despite that, its first two cuts are ones to remember and enjoy again and again for time to come.

Rating: 5/10

Dance With The Dead "Malombra" (2026)

As a listener for whom lyrics can often fly over ones head, it may seem ironic that my main critique of Malombra is its lack of oral presence. Although this duo flesh out their upbeat numbers with interchanging lead expressions and melodic focal points, the verse-chorus structure sets a limelight for a personality to shine who never emerges.

Armed with lush, oozing nightly synths and rounded Industrial Metal guitar grooves, neither musical mechanism manages to fill that vocal void. These instruments are, however, aesthetically sublime. United with crisp punchy drums executing tight attack tones, a mastery blueprint returns for yet another ghoulish forty minute party.

Despite the excellence, I'm left with little to say given a lack of stylistic divergence from Driven To Madness. Dance With The Dead keep pumping out their nocturnal inspired Synthwave but with a lack of new ideas or progressive song writing it feels like a return to a familiar mood. Malombra is simply a good fun for a fair few spins.

Rating: 6/10

Sungazer "Against The Hall Of Night" (2024)

Late to the party but happy to have finally arrived, my years spent following Adam Neely's explainer videos and showcasing of prodigy percussionist bandmate Shawn Crowder seem unforgivable in the wake of such a delightfully warm and musically riveting record. Perhaps its this latest chapter of bright, cheery Jazz Fusion that lured me in. Armed with an arsenal of well educated professional musicians, Against The Hall Of Night sails through vibrant excellence, a gorgeous aesthetic production, dazzling one with a snug fit of crisp instruments expressing emotions boldly.

Earmarked by intravenous illuminations from lead solos, song directions house these expressive delights through intriguing foundations. Experimenting with odd grooves, time signatures and an adventurous opposition to popular convention, song structures bustle from their power house rhythm section, gushing forth with stellar musical ideas. Crowder's crisp and clean drumming a continuous pleasure, as no beat ever seems to rest on its laurels, always finding a angle from which to spice up the pizzazz. 

On the journey of its nine chapters, familiar themes of bold, cheesy 80s gameshow Jazz "done right" frequently emerge, alongside other motifs within a broader Jazz Fusion landscape. Always seeking to expand horizons, much of the music has room for modern Electronic key tones, delving on occasion into the Synthwave style, retro Chiptune 8bit melody and in another realm of the spectrum, crunches of Metal groove. All classy and well executed, every idea feels fully fleshed out, expressive, matured, yet most of all, emotionally entertaining, gratifying and endearing.

To layer on at least some critique in the wake of my applause, the record does feel somewhat front loaded. Its opening half feels a grade above what proceeds but that could be personal preference. The latter songs seem to lean more into the Jazz side of the project. Lead instruments dance out melodies with less personal resonance. Even so, I like these numbers very much. What a cracking record, Bravo!

Rating: 8/10

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

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

Matte Blvck "I'm Waving Not Drowning" (2020)

Stepping back from the impressive Vows, this debutant record suffers a retrospect, lingering in its shadow as an inferior product. Despite that, its an enjoyable record, a competent execution of ideas forging nightly Industrial Synthwave hybrids dwelling in pain and beauty. This tone is punctuated by the shy and meager vocals of Alex Gonzales. His range lacks the power its in reach of, opening up a continual sense of tenderness and vulnerability that actually plays rather well into the overall mood.

His appearances can be sparse as instrumental numbers break up I'm Waving Not Drowning's easy flow. Focusing on their merits and embellishing the power of rhythm, synth hit hard on tracks like Casa Blanca and Panic Room, spicing up aesthetics with a little novelty given there time in the limelight. This comes to fruition on closer Rye Fire. The arrival of its angelic vocal synth jostle plays in mechanical juxtaposition, cementing a dystopian atmosphere between heavenly piano melody breaks.

 As already mentioned, this one felt a firm step behind its predecessor. The bands proximity to my favorite Depeche Mode era lured me. This album houses a rather underwhelming cover of their classic Stripped. The vocals feel shaky, the synths underwhelming and the added percussive might adds little to the original. Its a difficult song to match and sadly this cover just makes you want to put on the original instead. Despite this, Matte Blvck are a solid listen, a group with potential ahead of them.

Rating: 6/10

Matte Blvck "Vows" (2024)

 

My allure to this record arrived through Midnight & Angel. With tender voice, tight electro percussion and nightly synth melodies, this song conjured a kinship to Black Celebration, a record I adore and have always wanted to hear more of. Vows delivers that magic in moments but between its flushes of human emotive touch comes a mechanized industrial delve into aesthetic and groove that leaves a bold impression.

From Electro-Industrial to Noise, Synthpop to Darkwave, the California trio Matte Blvck command a spectrum appealing to both pop sensibilities and challenging aggressions. These songs revel in sharp potent synthetic aesthetics, assembling a gorgeous yet dystopian soundscape. Its vivid, striking, a crystal clear exploration of darkly futurist sci-fi imaginations, reflective of the modern state of music production.

The records structure is impressive, voiced tracks alternate with instrumentals that lean on percussive might and groove. Serving as shows of force, they signal talent, craft and care as its magnitudes shift focus. As a result, the album experience wins out. On the journey through its visions, strong touches of Synthwave, Techno, Trance and even a whiff of 90s Big Beat emerge. Vows is simply a delightful exploration of expression. A trove of treasures to return to and enjoy again. Truly impressive.

Rating: 8/10

Apashe "Renaissance" (2020)

Stunned by its impactful predecessor Antagonist, Apashe's debutant Renaissance lingers in a shadow yet cast, a cruder amalgamation of Classical eclectic crossover with an urban grit. I'm shocked to learn its taken me two years to follow up on this bespoke Baroque bombast, a riveting union of classic aesthetics produced with hard hitting heretic percussion. Three years its junior, on this outing, one can hear a vision yet to craft a cunning to evade listeners from overt dissection of its element1s.

Thus the seams of ageless string sections and renascence orchestral tonality peal, riding upon rigid waves of obnoxious, dance floor pounding beats. Leaning into its own absurdities, stints of slickness unravel as tight, lean instruments, polished to a fault, create walls of stark rhythm. Its modern, flashy, often devilish when bass drops echo the vulgar machinations of Dubstep. Fortunately, this execution caries itself well.

With its foundations firm and fair, the record benefits from a routine cast of guests brining much need distinction to these numbers as several instrumental ideas get recycled. Insane catches my ear as a keen collaboration, veteran rapper Tech N9ne lending credibility to a crudely demonic instrumental. His snappy flow outshining the all to sinister obvious drop arriving past the songs midpoint.

You'd be hard pressed not to find some enjoyment here, however the evolution in sound tainted my experience. The craft will evolve however at this point of inception, the ideas are keen and potent, explored with a vision evoking intrigue and curiosity. My biggest takeaway is a renewal of excitement for what Apashe will do next!

Rating: 6/10

Master Peace "How To Make A Master Peace" (2024)

 

Cruising by on sing along anthemic vibes, Master Peace's debut delivers a riot of carefree youthful energy, an unapologetic love letter to the highs and lows of responsibility free young adulthood. Powered by gritty baselines, sharp rhythmic chops and catchy guitar riffs, their brood of Indie Rock echo's a spirit the best of Britpop once had to offer. Blur's Park life comes to mind, with many of these lyrics cutting resonate insights into modern British life. So to do melodies and grooves also evoke vague memories from our countries musical history. More notably, a few familiar The Prodigy synth tones crop up on its aptly integrated Dance Rock numbers.

This is all high praise, without a touch of plagiarism, Master Peace writes a new chapter of British Rock, every track hitting with an infectious intent. The song-writing is class, tight catchy songs with purpose. On occasions they play rough around the edges, peaking instruments ruffle the feathers with a shirty attitude. As the singer, Peace handles the grit and sleaze of shouty, loud speaker hooks, pivoting to smooth tuneful singing and all in between. Swaying between obvious influences, Indie Rock, Punk, Dance Rock. Soft flashes of Shoegaze, EDM and UK Hip Hop add to the mix, a fun upbeat party concoction, both serious and cheeky. A good listen front to back.

Ones personal taste will influence the album experiences topography. The warmth of Panic101, Start You Up and Happiness Is Love were peaks. Shangaladang and its reprisal Santiladang were valleys. I could see what they were going for, just not quite my cup of tea. How To Make A Master Peace is a fast and brief record, a half hour of power totally worth checking out if you're fond of British sounding music.

Rating: 8/10

Health "Conflict DLC" (2025)

 

Having been drip fed half these songs as singles leading up to release, Conflict DLC has been a swift indulgence. The other half of snappy three minute burns carries a continuity which extends from their last album Rat Wars. That record was labeled with sides A and B, this one C and D. The downtrodden mood and aggressive contrasts are very much a continuation of their Industrial gloom I'm still enjoying, however its only Vibe Cop that hits the infectious peaks this trio are capable of. The lyric "Follow your dreams... just keep them to yourself" has stuck in my mind for months now.

The record is a rather consistent brew of pulsating punishing rhythms, pushing against bleak atmospheres of respite. Often led by Jake Duzsik's curious, deeply effeminate voice, these lighter reprisals frame glum disheartening lyrics, the likes of "I wish I'd never been born", among offer depressive motifs. Despairing melodies emanate through effects soaked guitars and power synths woven into the gritty wall of sound.

With all elements working in tandem to serve this sombre vision of Industrial Metal fused with dark electronic elements. The listening experience rests on firm foundations, cruising by on aesthetics revelry to house song writing that don't quite exceed like prior efforts. Despite enjoying every spin, only the aforementioned Vibe Cop made its mark. A cool record to set a tone but suffers a familiar fate double records often do, the second release feeling like a lesser half of this period.

Rating: 6/10

Danny Brown "Stardust" (2025)

Michigan rapper Danny Brown returns with a highly collaborative record, spotting features to smaller artists on all but two tracks. Still committed to his brand of eclectic experimentation, unhinged noise oriented beats drive the record, contrasted by a brief concept of grandiose sentiment that kicks off and sees out this latest chapter.

Despite affirming his apatite as an artist is intact, I didn't connect with the albums core. Disorienting vibes dominate, snappy glitched electronics and stripped back yet hard hitting jilted percussion dominates. Frequently drifting into the House and Dance lane, a few numbers like Lift You Up brings an easy, conventional energy to the fold. For the most part, Danny's nasal toned abrasive flow paired with frantic instrumentals lacked a charm or even aesthetic intrigue.

Book Of Daniel opens the record with moving 70s Rock acoustic guitar and piano, sentimental vibes, a snug fit for fantastic verses expressing his state of mind as success interacts with apatite in our terminally online environment. A deep reflection reiterated upon through another's spoken word on The End. Its a touch juvenile and fatalistic but offers a curious space for thought emerging from age and success. For me, its the records one merit, a fascinating stem so brief in the albums bigger picture, it couldn't save my lack of connection to Stardust, this one just didn't do it for me.

Rating: 4/10

Austra "Chin Up Buttercup" (2025)

 

Austra always spark a curiosity. Now in fifteen years deep, this fifth full length record lacks the surprise and originality of earlier releases. Stelmanis' unique vibrato voice shines bright again, a charming presence illuminating these competent electronic numbers. The record starts off leaning into its House, Dance, Downtempo and EDM influences. Sharp beats cut for the club mingle among airy expressive tangents into the whims of spirited creativity. On this journey, a few songs embrace the usual tropes, snare build ups, drops and the like. Its the most defining attribute of Chin Up Buttercup, its safe and steady proximity to the Electronic music scene.

Rarely straying into unusual territory, the record plays a fair indulgence but lacks surprise. Think Twice stood out for its quirky intro and playful childish melodies. It immediately reminded me of Kero Kero Bonito. The rest of the music felt so familiar that its fun mostly resonated from this harder lean into influences that have been present for a long time. Chin Up Buttercup has been a pleasure to enjoy but one to move on from after a few spins.

Rating: 5/10

Tame Impala "Deadbeat" (2025)

 

A lengthy five years on from The Slow Rush, Kevin returns armed with the charm of his voice and a lack of direction. Gone is the defining entanglement of Psychedelia and Synth that electrified his prior works. Only Dracula and to a lesser extent Loser, conjure those dreamy upbeat vibes. The rest of this tame record meanders through electronic aesthetics seemingly inspired by the breezy night life House of Fred Again.. for lack of a better reference given my limited scope. Tracks No Reply, Not My World, Ethereal Connection and End Of Summer are the biggest culprits, the last two drifting into pounding bass drones reminiscent of Underworld's timeless classic Born Slippy.

 Its not to say these aren't entertaining tracks but one can hear a competent musician exploring the realms of musical ideas and exiting with little new to offer. These more blatant flavors come mingled between numbers leaning into Disco, Dance and Funk, always with a jiving modern synthetic angle. Then you have Obsolete, where a synth jam leads into a tangent on Bach's classic Toccata and Fugue. This sense of exploration without finding a unique freshness permeates much of Deadbeat.

Its left me with a few vague flashes of "what could have been", wondering if imposed pressures to release new material had Kevin scraping together whatever was left lying about from jam sessions. Despite that, his lyrics hit a personal and meaningful tone. A depth of emotional expressions with crafty hooks and apt messaging overshadowed by instrumental mediocrity. Ive given it many spins and so little has sadly stuck.

Rating: 5/10