Mastodon "Marrow Deep" (2026)

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

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

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

Rating 7/10

Haken "In A Fever Dream" (2026)

Returning on an EP, modern Prog Metal titans Haken bestow a gorgeous run of five tracks to compliment one another like a single entity. Toning down technicalities, the band shift to the simpler pleasures, focused on swooning melody and tempered groove. Rocking in at a slower tempo, its pacing never hurries itself, even as Delirium whips up intensity with its rapid hit-hat and mammoth Djent riffs. Jennings vocals soar above the frenzied track, maintaining that cool head bangers half-time nod.

Eclipsed By You explores a gentler yet experimental side. Harmonizing voices gel under tone tweaking electronics techniques that lure us from an acoustic guitar intro, subtlety drifting towards Downtempo adjacent territory. That's as far as they push the envelope, the rest of the music resides within a crooning powerhouse of intense Djent groove and luminous melody. In A Fever Dream's power resides in beautifully crafted sways between intensities. A natural flow from power to colour illustrating its lyrical underpinning, amassing its conclusion as the final moments of Lotus sings its name.

A mightily impressive band, putting out a leaner release that feels as if its ambition was reached. Ending on such a dramatic note, It concludes the questions proposed in tensions heard earlier in the record. As previously mentioned, it's like a single twenty six minute track to be appreciated in one sitting. The opening and closing numbers feel deeply linked, while the three snug between explore their creativities. 

Rating: 6/10

Plini "An Unnameable Desire" (2026)

 
Plini's unrelenting mission to seek out utterly gorgeous music and push themselves as an artist is still firmly intact. An Unnameable Desire has been well worth the wait. Although drips and drabs trickle from his well of creativity, the arrival of this third full length solidifies the significance of its format. Clutched by the grip of its stellar forty minutes, we are spoiled to a melodic ooze of spellbinding songcraft. Spinning a dazzling harmony across many lavish instruments, Plini manages to tie core theme and lead voice together, guiding us through dense soundscapes of emotional swells.

Although much of his virtuoso voice remains expressive upon similar motifs, the avenues taken still feel fresh and vibrant as this colorful Progressive Jazz Fusion Djent returns with only a couple of embellishments. A notable lean into an aggressive metallic side sees restraints lifted. Harder grooves, denser walls of sound and the occasional purely riff driven momentum, like the opening of Manala, catches ones ear keenly. So to does a deeper layer of sound emerge. Quite often subtle electronics and arpeggio alike guitars nestle themselves into the quieter spaces. Among with an expanding arsenal of instruments, it feels like an extra layer of gloss has been applied.

If the record lacks anything, perhaps a surprise beyond the anticipated scope of Plini's style would have been nice. That lean into harder metallics was nice but also an area I'm all to familiar with. Lead guitars felt a touch flashier than usual. More moments of synth and strings would have been welcome. They are often used as bridges between the main themes. All this is said with tounge in cheek, seeking minor quibbles among a sea of resonant excellence. An Unnameable Desire simply does it yet again. 

Rating: 8/10

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

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

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

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

Irreversible Mechanism "Graviant" (2025)

My excitement for this album was met with swift shock as Polish outfit Irreversible Mechanism depart from their Symphonic Black Metal foundations. Having released two fine records under Blood Music in the decade prior, the band go it alone with this self released effort. A lack of budget and experience tarnishes Graviant's aesthetics as the muddy production consistently rumbles on the low end. A steadily murky mess but fortunately its emotive musical merits punch through this amateurish recording.

At its offset, one can clearly hear the leftovers of their previous guitar tone. Slowed jabbing riffs and big metallic distortions hold some prior characteristics but as the songs churn by, the influences of Tool and Maynard's vocal style become the dominant theme. Its very much a series of Progressive, Alternative Metal tangents, lingering on emotional pains and exploring them through instrumental ruminations.

Gradual shifts, psychedelic repetitions, rhythmic brooding and percussive excursions forge a tapestry of intriguing songwriting. Armed with time signatures and inspired experimentation, the band take once unusual directions to climaxes that play mildly blunted by the shadow of giants that walked the path before. Its atmospherically intense, a darkly meditation leaving no stone unturned. Hurling itself from the calm before the storm, directly into its eye as aggressive plundering serves its peaks.

Despite this obvious display of excellence, the record is routinely blemished by that muddy production. Blunting its charm and muffling its clarity. A lot of the intricate instrumentation requires a fair bit of focus, thus breaking its spell. Fifth Wall and Croc Hunter served as my favorite tracks, peaks that just about overcome this hurdle with angered intensities illuminating peak progressions within both songs. The band have much to offer with this new direction, its just a shame the budget couldn't support it.

Rating: 6/10

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 

Giöbia "X-ÆON" (2025)

 

Kicking off with Voodoo Experience, X-ÆON conjures a hypnotic, esoteric persona through the lens of its re-imagined instrumental Psychedelic Rock. Atmospheres croon in a hazy wash of colors as delicately incrementing melodies brood whilst entangled by rocking repetitious grooves. A kaleidoscopic swirl of electric energies emerging as lengthy songs venture through gorgeous assembles of dazzling lead guitar and Berlin School era synths. Together, they intermingle with a soothing ease, cruising on the rock steady percussive foundations that root us to reality. This Psychedelic nature has touches of an old spooky horror, a tone from the 60s yet deliciously woven in without cheese or fear. Its subtle organ drones, occasionally warbling, along with these reverb drenched guitars paint a stunning trance. Very fitting of its inspirations but feeling so far ahead of any nostalgia inducing curb.

 Mostly an instrumental rock, the vocals lack a spark. Its the three minute radio friendly The Death Of The Crows confides the progress formula to a brief stint that feels like its crying for more space as its shimmering synth leads sparkle without room to expand, which the formula usually suggests is coming. On the flip side, 1976 is the records best track, a love letter to youthful memories of forgotten music scenes and revolutionary action. Spoken word sections guide us through historical events, with rose-colored impressions of a fond past. Its back and forth exchange between voice and instruments a delight, an endearing number where one can feel the passion.

From this steady start, the record meanders into aimless noodling as its four part La Mort De La Terre descends into jam territory. A curious assembly of sounds, lacking structure and direction. Mildly entertaining but better served in the backdrop as its ebb and flow lacks gratification beyond its immediate aesthetics. Certain themes and moods emerge but mostly this lengthy wanders into obscurity. An impressive album but one stained by its ending which simply fizzles out, exhausting its initial magics.

Rating: 6/10 

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

Prince "Purple Rain" (1984)

With his legendary status firmly intact, jumping into an extensive discography such as Prince's can be daunting. Why not simply start at the peak? After all, Purple Rain is a frequent on top albums of all time lists. I have no excuses for how it took this long to get around to such a classic record but now, I am fully converted. I adore the genius that is Prince, a musical virtuoso channeling his extensive creativity for our pleasure.

 

Kicking off with Let's go Crazy, a clunky drum machine, soft organ keys and Hard Rock guitar licks whip one up into a feel good frenzy. Let your hair down and rock out! Immediately you'll sense eclecticism as each instrument plays like the lead, flashing its vibrancy through a range of influences that will only expand as the record grows.

 

Quite often Prince sings at equal measure to his instrumental pallet, becoming a part of the artistic canvas. His range of temperaments and techniques keeps each track feeling unique. However, he periodically finds apt moments to simply erupt and ascend to the limelight. His remarkable venture from soft tearful vulnerability to an outcry of raw passionate screams on The Beautiful Ones is just unforgettable.

Given my love of Metal, Compute Blue is an unsurprising favorite. Starting out with a plastic assemble of janky synth riffs and funk groove, its unusual charm suddenly pivots into a riot of slick metallic guitar shredding that ticks all my boxes. On paper, its quirky aesthetics and union of genres, including some Prog Rock vibes, shouldn't work. Its a common theme, Prince's compositions bend the rules of convention.

Darling Nikki is fascinating song. Toying with minimal elements, Prince lays out the thrills of his sexual escapade over bare instruments. Building to dramatic swells, his emotive singing follows suit, soaring into another screaming eruption of sensational energy. Alongside big synth stabs, a rapid fire double pedal drum groove rattles the cage. Another example of stitching oddities together with powerful persuasion.

 
A few more cuts roll by, delving into 80s moods better than most have done it. Its a notab aesthetic fit for the decade, however Prince's song writing survives the tropes and cliches. His musical indulgence into the range of these drum machines and chirpy synthesizers ascends through his fantastically adventurous and fun song writing.

Of course the record ends at the alter of an epic. Its title track Purple Rain needs no introduction, a nine minute embark into what I can only describe as beautiful sorrow, the sadness of great loss permeated by the subtly of its spiritual church organ tone. Crescendo' by his crooning howls and glorious guitar leads, the music eventually sees itself out through a wonderful deconstruction that has strings and pianos burying the moment. An epic conclusion to a remarkable record I'll adore for time to come.

Rating: 9/10

Sikth "Death Of A Dead Day" (2006)

A blast from the past! This record I experienced mostly though my friends. Having devoured The Trees Are Dead And Dried Out, I recall not being particularly impressed with this new venture. We saw Sikth at Download Festival and then they split up. Its left this record buried deep in the memories. Unearthing it again highlights its flaws, an underwhelming sophomore from a group who set the bar high for themselves.

 

Death Of A Dead Day yields its twelve cuts to the metallic kneel, choking their own peculiarities as creativity gets channeled into what feels like convention. Despite being loaded with spurious fret tapping melodies, complex harmonies and the occasional poly rhythm, Sikth under deliver on what made them stand apart. The enigmatic beast is present but the compositional approach leaves ideas underwhelming.

 

With all that said, this is a very enjoyable record, full of musical virtuoso and chaotic melodies you wont hear elsewhere. An entertaining listen where twists and turns come fast and frequent, a restless nature always embarking on the next musical idea. Led by the exchanges of their duo front act, its what you'd expect from Sikth.

 

Having given it a bunch of spins once again, I'd discovered Summer Rain and As The Earth Spins Round to be exception cuts, the latter ending the record with a fantastic outro riff uniting a pacey choppy rhythm guitar with epic melancholic lead melody. These peaks are comparable with their best output but the record plays a clear grade below that fantastic debut album. Approaching twenty years, Its been a nostalgic trip.

Rating: 7/10 

In The Woods... "Otra" (2025)

 

As the years stretch on, I find the frequent return of familiar acts to be hit and miss process. Fortunately for a reunited In The Woods..., passing a decade back together, my apatite for their nocturnal naturalist Pagan Metal is well intact. Although little in the way of surprise lays in wait, their seasoned competency in building strident atmospheres reigns supreme. Songs whisk by on the heels of a gallant rhythmic drive, galloping through the motions, steeped in textures, distortion synth and voice, these songs revel in the glory of the moment, adorned by melody that rarely subsides.

 The lightened heathen drawls of new front man Bernt Fjellestad simply delight in this renewed melodic focus. Between him and a sailing lead guitar, the fruits of rural melody gush with only brief pivots to howling screams and rattling blast beats nestled in between passageways. The Crimson Crown stands out as a fierce number, leaning into that heavier metallic side. It swings to opposition with a touch of intention, as some of the lightest instrumentation emerges, guitars withdrawing entirely. Beautiful acoustics crop up in the mix too as its seven songs explore a range of temperaments.

 Without dawdling into their "progressive" nature, each song masterfully entertains without deviations and tangents, never loosing sight of the overall theme. Thus its songs ebb and flow ever holding one in the present. With strong lyrics, easy flows and the occasional catchy wording, some songs slip into charming sing along moments too. Overall, a really well written record that's a delight to indulge with, never a lull or rushed moment, Otra is a graceful record with a tranquil spell fitting of this summery weather, despite some shackles from its nightly Black Metal influences.

Rating: 7/10

Spellling "Portrait Of My Heart" (2025)

 

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

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

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

Rating: 4/10

Blood Incantation "Absolute Elsewhere" (2024)

 

 

A record to turn heads, or ears, Absolute Elsewhere dazzles with esoteric evocations whilst conjuring unexpected tangents aeons apart from its Technical Death Metal foundation. Fortunes favor this enduring tangential nature, its forays into 70s Electonics and classic Progressive Rock yield a lasting spiritual satisfaction.

Often stiffly parted from its Extreme Metal counterpart, the sways of intensity sound like shuffling tracks between two entirely different bands. From pounding drives of aggression, grisly outlandish riffs, incessant blast beats and elongated howling guttural growls, we drop into lengthy persuasions of melodic musical indulgence.

Familiarity runs strong. It hits me on first listen as the lead guitar leaps into a slick crooning solo... Pink Floyd. This architecture is all to obvious but superbly executed. The following track follows in similar footing, the whirl of psychedelic pulsating synths reminiscent of Tangerine Dream... who actually collaborated for the song.

Later on echos of King Crimson play into its lighter side through acoustic guitars and soft organ drones. With Metal, the spurious chaos of Morbid Angel lay in its extremes. Flickers of Egyptian cultural tones pioneered by Nile and oddly Saor as its final track toys with heathen melody and an epic Black Metal touch to its percussive drive.

 

Absolute Elsewhere is a riveting listening, striding for new ground and showing its inspirations front and center. For me, its metallic side was mostly a familiar snore, only brightened by a few maddening riffs. I'm firmly captivated by its Prog Rock tangents, still enjoying them. Greatness was insight but the musical meld plays a stiff mix.

Rating: 7/10

Opeth "The Last Will And Testament" (2024)

 

This fine record has brought several weeks of routine enjoyment, however the latest offering from these veterans suffers its own familiar identity. Having toyed with distancing themselves from metallic roots, the journey back to aggressive aesthetics, befitting of their early days, brings little freshness to their distinction. The Last Will And Testament attempts to layer in a richer symphonic tone, which often gets swept under its gallivant lead guitar melodies and grandiose riffs. So to does a clear concept about class and inheritance get thrown around in spoken work sections between salient singing and meaty death growls. Neither of these elements seem to break the familiar spell Opeth cast, with their usual touch of majestic spirit. Thus the record spins its wheels through grand constructs of Progressive Metal that often feel recast from the depths of their extensive back-catalog. Strident and assured, the record plays exquisitely, its lead melodies often catching the ear as expressive motifs to set the tone for its big vision. Continuously we weave through intensities but sadly, all in the shadow of comprehension. For all the magic this band have bestowed, it lacks anything new to say. Enjoyable but none of these tracks leap from the page.

Rating: 6/10

Willow "Empathogen" (2024)

 

Daughter of famed rapper slash actor Will Smith, the last I heard of Willow were remarks on her adolescent entry into pop music on Will's autobiography. It wasn't an appealing reason to check in, and according to critical pundits, It seems I've been spared this misfortunes of a youthful musician maturing from shaky foundations. Empathogen serves as my introduction to an artist who's not only found her voice, but expresses it with freedom, led by emotion and passion, venturing into curious spaces.

Elements of Progressive Rock, R&B, Soul and Jazz Rock emerge on a fruitful journey. Leaning into its oddities, dwelling on unconventional melodies, the record gracefully swings between jam session chemistries and structured Pop convention. Creative percussion has much of the record feeling playful and expressive. Willow layers her voice in riveting self duets, chiming in, spinning simple hooks into exciting swells.

It all feels so genuine and expressive. Songs naturally pivot into different vibes. Often upbeat in tone with differing rhythmic drives, her lyrically reflective presence anchors every song. Swaying into curious oddities like the catchy humming of No Words and a moody, esoteric Ancient Girl, the contemporary compositions get consistently exposed to an ear for infectious melodies and keen aesthetics to reshape its own mold.

Empathogen feels effortlessly accessible yet drifts slightly to the Avant-Garde from a Pop perspective. Lyrics play relatable through their abstraction, each empowered word and cry of feeling wrapped up in a breezy momentum. Best of all, Willow fits snugly with these stellar backing musicians who craft a compelling listen from start to end. I've been unable to put this one down for a while, each spin is still riveting.

Rating: 8/10

Sithu Aye "Kindness" (2024)

 

After a few years absence, our dexterous dazzling guitarist Sithu Aye returns on a charmed spirit. Armed with the cultured croon of slick melodic licks and lively rhythmic grooves, a matured venture into Jazz Rock unravels through Zero Sum Groove and Obsidian. Intensities unravel and acoustic aesthetics intervene, as subtle strings and mellow pianos guide his expressions into classy swells of thoughtful instrumentation.

Akin to the highly disciplined curation of fellow shredder Plini, Kindess delivers five fine stellar cuts with a compositional complexity that has each contributing sound seeming meaningful. The drums are livelier, full of shuffles and creative fills. Metallic tones transition into acoustics with soft atmospheres to let the creativity flow like a gushing river. Its effortless, as are frequent springs into guitar solos yearning to sing.

The thrashes of Metal are still present on its other three cuts. Sounding rigid in comparison, slabs of meaty low end noise bust out stiff chops. Occasionally the two gel but it leaves blemishes of an old style rearing its head among fresh ideals. Familiar Anime theme song inspired melodies linger too. Shining bold and bright with their catchy tunefulness, a welcome reminder of the Senpai series is captured. All in all, Kindess is a bright spark for a seasoned musician aspiring to new heights!

Rating: 6/10

Justice "Hyperdrama" (2024)

Still lingering in the shadows cast by Woman, an eight year wait hasn't yielded much excitement. The Disco-Funk inspired French duo return crisp and clear with a tight production to dazzle with stunning aesthetic clarity. The record sounds utterly gorgeous, rich in texture and smoothness. Its samples croon and instruments strike with fidelity and groove. A sweet indulgence but that can only take it so far.

Front loading the album with its best leaves a mediocre trail of songs experimenting with overt influences. Thumping dancefloor Disco sensibility, jolting Funk grooves, flushes of Progressive Rock melody, Classical frameworks and 70s Electonic music intersect with modern synth tones just short of the finish line. Every song feels unique, charactered and interesting but lacks the claws to sink their grip in.

Hyperdrama's Merits lay in the voices that illuminate a handful of collaborations. They add a dimension sorely needed on its instrumental counterparts. Two unions with Tame Impala strikes chemistry perfection! Kevin Parker's cloud sailing voice a snug fit for their tone. He, Rimon, The Flints and Miguel are classy fits that finish off these fine instrumentals, sounding utterly fantastic with an array of tender performances.

I have no complaints, perhaps my taste right now wasn't apt for this nostalgia tinted offering. Enjoyable, yet lacking a deeper connection after a fair few spins. One instrumental that struck gold was Generator, a Dubstep reminiscent nightly assault of unhinged jagged synths colliding with a dramatic string section. Reminded me of Carpenter Brut. I find myself desiring to enjoy these tracks more than I do. Strange.

Rating: 6/10