Little Simz "Sugar Girl" (2026)

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

 

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

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

Rating: 3/10

Jessie Ware "Superbloom" (2026)

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

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

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

Rating: 6/10

Enter Shikari "Lose Your Self" (2026)

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

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

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

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

Rating: 9/10

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

Gate Master "Hidden Mysteries" (2026)

Concluding this journey on a more positive note, Hidden Mysteries houses one or two moments of esoteric magic alongside a baffling set of extreme experiments in noise and abrasion. Starting at its lowest point, the concluding Sonic Cleansing Final Movement fumbles through cryptic dirty analog distortions to no avail. Just a pointless romp of aesthetic disgust. The prior trio of movements lack offense, yet fails to evoke the vivid terror these scenic Dark Ambience pieces can so often do. Title track Hidden Mysteries try's it hand at harsh obscure horrors via low fidelity Drum N Bass percussion loops, mixed with harsh dissonant screams for attempted mystique.

Positives start with The Palace, venturing into quirky synths akin to Труп Колдуна, we drift through a limbo like dimension as soft airy synths cushion the unsettled lead melody and droning drums beneath it. A Perculiar Pathway ventures into Dead Can Dance territory, favouring an unsavory darkened tone around these arcane chants bellowing out from the dark. Very much akin to the voice of Brendan Perry.

Lacking a vocal element but continuing in their shadow, opener Enlightenment hits a high note, perfectly emulating Dead Can Dance's worldly magic. The string lead tone is apt, suitable for any imagination or mood. Personally I'm reminded of sun soaked deserts and decimated pyramids, despite a like of melodic flavour in that cultural direction. Its bespoke meditative mood will likely meet you where you're at.

Rating: 4/10

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

Gate Master "Relics" (2025)

 
The acute mystic tone struck on In Pursuit Of Forbidden Knowledge seems absent elsewhere in Gate Master's discography. Perhaps the lengthy escaped through cloudy ambiguous fog drenched synths on the closer My Journey To The Stars shares some spirit. However, its dreamy tone and airy hum feels closer to Brian Eno than our cryptic Dungeon Synth. Its also devoid of any progression, just a droning loop glistening in its own reflection, chewing up fifteen minutes of time aimlessly.

This project feels like more of a dumping ground for experimentation. The opening Relics blatantly derivative of Emperor's masterpiece In The Nightside Eclipse. Utilizing the chemistry of its pioneering symphonic extremity, even lifting a riff directly. This imitation however, lacks charm. Following it, a dreary dark ambient piece lacks depth.

Its two other cuts feel like crude experiments with dirty harrowing noise and Black Metal's harsh ugly aesthetics. They seek an abrasive disgust yet perhaps miss the point from this listeners perspective. That darkness needs to be driven by something truly musical, otherwise it remains a bleak noisy mess of discomfort and chaos.

Rating: 2/10

Cult Of The Damned "Simony" (2026)

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

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

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

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

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

Rating: 6/10

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

Gate Master "Gate Master" (2020)

Mightily impressed by In Pursuit Of Forbidden Knowledge's clandestine spell, I had to return to this projects origin four years prior. Sadly, this obscure record doesn't yield much beyond the opening Dungeon Synth track, Tides Of Aeons, a lonesome rumination on esoteric melody, powered by distant drums and a dank airy drone. Its atmospheric spell is intriguing, balancing mysticism with a sense of distant danger. 

Beyond it, the intent feels clear, to use harsh low fidelity aesthetics as its weapon of wonder. The clattering drums and wretched vocals of Sacrificial Summoning come with little musical strength to back it up, simply deploying played out Black Metal tropes. After it, the rest of the music focuses on atmosphere through unsettling noise and dense drone. Obscure fuzzes, obtuse distortions and sizzling static fill out space.

I appreciate the effort but these cheapened sound design choices didn't chime bright. Rather, they become its biggest burden. Exposing a lack of thematic depth to inherently explain these choices. With little to latch onto beyond its strange and soothing opening ambience, I had little investment in continuing to listen.

 

Rating: 3/10

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

Atlantean Sword "Ironmaster" (2025)

 

Adjacent to our beloved Dungeon Synth niche comes another genre microcosm! Inspired by Conan The Barbarian, we get a stream of Fantasy synth music akin to Might & Magic. Its safe, heroic, triumphant. Honour conquers evil without indulging in the menace of such an infernal foe. So much so that Atlantean Sword's music carves itself a clear distinction. One perhaps overpronounced on this, their latest record.

Ironmaster oozes with heavy layerings of metallic synth. Gleaming horns, militant percussion and organ drones pack together a dense atmosphere. Rigidly marked by the clattering of metal strikes and deep gongs, its aesthetic design lumbers along within its own crammed production. Intention is clear but often feels smothers by its own tone. The finer persuasion of melody struggling to break the massed mold.

Lead instruments do arise, hearty harps and fulgent flutes sparkle animated melodies. There sudden emergences also feel somewhat stiff and cramp. The music ebbs and flows with sudden dramatic shifts that lack a charm despite serving the bigger picture well. Its progressive nature plays into the unfolding Fantasy narrative. Epic chord arrangements can be heard evolving a songs direction yet often competing for focus.

For this sorry listener, Ironmaster never quite pulls one into its clearly vivid, fully realized world. Aesthetic design and musical intent is clear. For whatever reasons, it comes together a touch forceful and overplayed. Hard hitting instruments, lacking subtleties, rubbing up against starkly repetitive percussive strikes. It dispels a magic that could have been. A fair, intriguing listen but not much to return for.

Rating: 4/10

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

Heriot "Devoured By The Mouth Of Hell" (2024)

Deep from the depths of metallic stagnation comes a rapid fire record I would have swiftly passed over if not for catching Heriot's energetic live performance. Devoured By The Mouth Of Hell also received some critical acclaim, convincing me to give it a proper go. I'm left convinced the Metal scene is lacking fresh innovation, as the genre matures into its sixth or so generation of existence, where does it venture next?

Described by Blabbermouth as "post-everything", one can hear a slew of subgenre ideals getting picked apart, then reassembled in this beastly collection of spiteful aggressive slogs. Focused on a mood of rage and tone of dread, its often a lurching background synth or atmospheric guitar distortion that glues together a songs identity. In barrels rumbling barrages of barbaric sound, dense with roaring bass but often devoid of much beyond amassing a terrifying textured vehicle of assault.

Thus its ten tracks aimlessly roam a desolate wasteland of destruction, sporadically lashing out in any available direction. Conceptually, it does sounds brilliant but in experience, most its songs lack a true musicality to latch onto. The dialed back, sullen Ethereal gloom of Opaline packs a genuine punch but its one cut from the many. The so called "post-everything" feels like a intentional choice to skirt prior conventions in search of something new. Only in brief glimpses does this search connect.

Rating: 4/10

Allan Holdsworth "Secrets" (1989)

Here's one for the record keeping, an entry which I couldn't possibly comment on its relevancy to late 80s Jazz Fusion. As a passing fan of the genre, Secrets has been a pleasurable soothing mood setter, one I discovered through reading on Fredrik Thordendale of Meshuggah. You can clearly hear a bold influence on his zany alien guitar leads. Allan lays a foundation for the dexterous dance of swift notation, a flashy guitar virtuoso seemingly orchestrating its charm through an arcane balance of tension and resolution in motion. Melodies drift by, casting spells through norms and a familiar charming dissonance that Jazz music loves to explore in earnest.

Allan finds a particular curiosity theorists could easily dive deep on, exploring odd tensions and easy tunefulness across eight tracks fitting of the decade. Slightly cheesy in its glossier incarnations, yet devilishly engaging from a performative perspective, these are dazzling displays of creative genius simply swirling in the magic of the moment. Its softer touches lull into the decades tropes whilst its musters of momentum mesmerize on a rousing journey to the unworldly stars above.

The record has variety within its tone, lending the spotlight to other instruments and singers on occasion, keeping dynamics in healthy motion. Opener City Nights is the standout track, one that packs a heavy lead guitar punch. A self evident influence on the aforementioned, as well as some bands I've listened to in the Progressive Death Metal scene. Secrets has been an impressive find to treasure, one that suits my tastes and further illuminates the rich tapestry of music and its many, many overlaps.

Rating: 8/10

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

South Arcade "Play!" (2025)

 

Returning with another slice of 00s alternative culture reimagined, this fresh five track struggles to peak the heights of 2005 but builds out the bands setlist with a couple more lively, animated tracks. Supermodels is the standout, a rapid run of semi-rapped verses powered by stop start riffs interwoven with intricate drumming and slamming electronic textures at its crescendo. The influences present from Gwen Stefani's eclectic alternative No Doubt simply can't be unheard from this point onwards.

Fear Of Heights plays on similar vibes with heavy strumming powering forward underneath Cavelle's sailing chorus hook. Oddly it feels underplayed, she has quite the charming voice but sticks to the more casual sing-talk cadence. Drive Myself Home is my favorite, a metallic edged hitter with fantastic production, worming in some timely glitches and dense texture into its wall of sound aesthetic.

Bleed Out plays like a less potent blend of these ideas heard on the aforementioned cuts, its final track Blood Run Warm pivots towards an emotive acoustic torch song. Armed with a country tang on its verses and Emo flavor in its chorus, the band aim well for a diversity that charms despite not being my cup of tea. A sing along for fans who connect with its heart felt lyrics. A decent EP but one step behind the last.

Rating: 4/10

Esoterica "Ether Metal" (2025)

 

Its title may just suggest a new genre of metal but no such concept awaits. Conjuring a compliment to its balance gentle melodies, metallic punchiness and emotional tenderness, Ether certainly suits the resulting chemistry. Frontman Tobias Keast remains king, his vulnerable voice and dramatic range serves as a focal point, breathing life in any instance from casual, to shouting or sailing on smooth soaring inflections. Like always, he is the illumination that gives Esoterica their distinct identity.

Working on an Alternative Rock / Metal temperament, a slew of soft Djent grooves and downplayed stomps whirl in the backdrop between power chords. Alongside its main leads, grandiose strides of symphony, united choral group shouts, flashes of nightly electronics, airy synths and other sound design elements forge succinct visions. Moody, slightly downtrodden, in search of reprieve, its tone appeal to the hurt within.

Its not until the halfway point with Heathen that a dystopian, disinformation and antiauthoritarian themes emerge, giving this stretch some lyrical unification. A play on words, Track Dysutopia seems to miss the definition of dystopia as the opposite of utopia. A minor blemish leading to the excellent closers Paper Skull, a Mental Health stint referring to a mind of holes, and the dramatic, swelling, upheaval of Burn.

Despite its clear excellence of execution, Ether Metal didn't exactly suck me in. Always a fair, enjoyable listen without weak points but unlike there prior effort, nothing grabbed me hard, got stuck in the mind or lured me back in. Its a curious takeaway from a clearly inspired and passionate record but sometimes the whims and inconsistencies of the human experience leave us in such strange places.

Rating: 6/10

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

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

 

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

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

 

Rating: 4/10 

South Arcade "2005" (2024)

 

I can't get over how young and fresh faced this English four piece appear. Reminding me of how the years have gotten paste me, they look straight outta the alternative scene of my youth. 2005 is their only non-single release, a twenty minute EP who's title speaks to the sound and aesthetic their emulating. South Arcade look like post Tony Hawk's skater kids, birthed from a time capsule. I love it, my youth is cool again!

Aesthetic and appearance aside, South Arcades sharp ascension is based on merit. They have amassed almost a million monthly Spotify listeners off the back of this six track and a string of singles. A strong debut record could rocket them even further.

Its exciting and I'm hopeful they have it in them. Although influences are stark and obvious, even overtly stated through their intentionally imitating music videos, the band have enough individuality and expression of their own in the mix to define these songs as South Arcades'. Mainly a breed of Pop Punk, Nu Metal Alternative Rock, the fond influences of Linkin Park, No Doubt and Avril Lavigne are striking.

 Alongside its anthemic title track, Nepo Baby and How 2 Get Away With Murder have a similar magnetic pulls. Warm grooves and catchy hooks, with Harmony Cavelle's, note the name, easy voice leading a colorful aggressive charge. Powerful and poppy with these occasional dives into rapped lines, she seems like the magic ingredient.

The production style is loud and punch, fondly reminiscent of the heavier edged Ocean Grove. These bands actually share a lot of similarities. A tour together would be quite fitting. Tangents aside, South Arcade are a delight. Given their so young, the potential that comes with musical maturity is something to watch out for!

Rating: 6/10