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

Taylor Swift "Midnights" (2022)

 
Following up on The Life Of A Showgirl, Midnights hasn't exactly illuminated her broad appeal but perhaps such pursuits are an aimless distraction. Its an entertaining record, yet perplexing with its split lyrical directions. Home to my favorite Swift song, the anthemic Anti-Hero, Its introspective maturity and witty sentimentality stand in deep contrast to low point Karma, a spiteful revel in another's misfortune. It plays like a revenge track, harnessing the idea of karma in a rather un-spirited derisive gloat.

This contrast in tone highlights a spectrum of topicality marred by polarization. Taylor grapples with personal battles, fame, stardom and relationship woes from humble points of self critique to then lashing back with jeering ridicules and needling taunts. Fortunately, much of Midnights is the former with Vigilante Shit being a primary example of Taylor slipping into a meaner demeanor. It paints a troubled impression, the drive of emotional weights unable to resolve an anchor in stormy weathers.

That song highlights a reoccurring musical aesthetic of the record, Bedroom Pop, akin to Billie Eilish in my limited range of reference. Its a snug, cozy tone. Stripped back sleepy beats and subtle dreamy synths downplaying melody for dusky twilight atmospheres. Swaying with lunar Electronic tones and Synthpop influences, the music often slips into nocturnal Dream Pop territory with a touch of Ethereal charm. Softened yet modern murmurs of whirling Berlin Synth nestle in the velvet backdrops, playing into a partial minimalism production style as Taylor is given a limelight to shine.

Her singing is quite hit and miss for me. Occasionally striking gold with the whispery mustering magic of Lavender Haze yet much of her deliveries play mediocre. Picking up on more tropes and quirks, the rising vocal inflections at the end of sentences perk the ears. These techniques and others sometimes land but often feel like a bit of a clutch. She can certainly align the stars with impressive magnitude but like on The Life Of A Showgirl, the luminosity sparkles for just a couple of tracks and moments. Her inflections and lyrical cadences seeming like the core chemistry landing inconsistently.

Rating: 5/10

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

Trevor Something "The Anima" (2025)

 

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

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

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

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

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

Rating: 7/10 

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

Magdalena Bay "Mercurial World" (2021)

Dynamic duo Magdalena Bay are swiftly becoming a fascination. Stepping back in time from their ambitious, progressive Killing Time, this debut, Mercurial World, simply plays as a string of tuneful songs. Warm, dreamy and uplifting, cheerful yet quirky, these numbers dance with Electropop and Synthpop foundations, exploring jolts of Psychedelic creativity with blushes of Vapourwave aesthetic and Dreampop mood.

Some of its motifs blatantly pull from Disco, Dance, Indie Pop among other revived Pop music antics. If you've known a lot of music, many echo's crop up, reinvented to their tune. I felt this phenomena on Killing Time but title track Mercurial World's nod to Madonna on its closing lines confirms it. Among its many flashes of influence, Grimes seems another particular influence on Mica Tenenbaum's soft breathy presence.

Such obvious familiarities sometimes dampen the musical experience but fortunately Magdalena Bay have a beautiful, colorful energy emanating from the core. These sounds arrive through an exciting, lively energy, enriching their songs as layers of sound and creative production intermingle for an engulfing experience. Songs play catchy, deploying simple ear worms, yet can deviate from convention at any moment and explore fantastical oddities along the journey. A joyous debut, Mercurial World does indeed feel like a world of its own, set to pull you back over the coming years.

Rating: 8/10

Magdalena Bay "Killing Time" (2024)

Imaginal Disk serves as my introduction to this talented multi-instrumentalist duo Magdalena Bay. Clocking in with a mightily entertaining fifty-three minutes, this album plays like a dreamy journey through the soothing serine, as conceptual narratives punctuate its seamless flow. Pronounced by gorgeous instrumentation, layered yet consistently apt, warmth emanates throughout as the pair explore upbeat vibes, meaningful and dialed in, compared to traditional popular "happy music". Moments of soft tuneful melancholy do arise, finding resolution as breezy winds whist any sorrowful introspective reflection back to the arms of this curious serenity.

 

Housed by the expansive nature of Progressive music, they aesthetically sit at the crossroads of Synthpop and Rock, with a Shoe-gaze Dream Pop nature, often leaning into melodic influences from Dance, Disco and Funk. Songwriting is king as these identities yield to the dreamy directions their music meanders in. Many aesthetic tangents arise as regular structures give way to swells and subtle crescendos. This ebb and flow keeps the record interesting, swinging through creative strides, offering a playful exploration of expressive ideas packaged in vibrant instrumentation.

 

My initial hurdle with Killing Time was Mica Tenenbaum's singing! Lacking oomph and power, her breathy, shy voice felt tame, limping by on subdued expressions. This impression was emphasized by her wordy interludes, the spoken temperament highlighting a narrow range. With the music calling for grandiosity, I anticipated a powerful, soaring voice that never came. Despite that, repetition has grown on me. She may not have big and bold presence but actually leans into her casual range, finding a soft charming chemistry with lively music which could easily overpower. Her grace and softness becomes a strength playing into the dreamy mood.

 

Stacked with its bangers early on, the record does mellow out as the initial Dance and 90s Alternative Pop energies subside, allowing songs to ruminate on ideas not quite as flashy but equally gratifying. Its an exciting, lively record, rich in musicality neatly packaged, making a bold impression on this listener who will have to dive deeper!

 

Rating: 8/10

Trevor Something "The Shadow" (2025)

 

My introduction to Trevor Something was through his distinct covers of classic songs ranging from 80s Synthpop ear-bugs to 90s Alternative crooners and Industrial anthems. A treacherous terrain to navigate, traversed in complimentary nature to give those oldies a differed flavor. Comprised of original songs, The Shadow has to compete with those high standards. Taking such dreamy aesthetics to his own material, the chasm is felt raw across thirty tracks that fail to illuminate through melody, hook or lyricism. This record falls into the "vibes" category, establishing mood, then ruminating on it endlessly, without any spectacular musical ideas or deviation from the path.

Tracks play slow and sullen like sluggish fever dreams of self indulgent misery. Twisted to melodic might, reverb soaked synths delve into a cold Ethereal melancholy. Soft and soothing by design, these dreary yet absorbing synthetic soundscapes elongate melodies to the tune of sadness. Trevor's ghostly voice echos out above, downtrodden, drowning in the wounds of a self centered lifestyle's emotional loneliness. Heard best in his words, its catchier words echo a crude Manson.

 

The Shadow's architecture lacks diversity, its moods circle the drain. The title track catches an ear with some intriguing repeat cuts, caught between a record skip and digitized glitch, they create a momentary disoriented charm for attentive ears. Occasional vocal warbling encroaches into Mumble Rap vibes. Infrequent but a curious if only brief distinction. Spaced out percussion patterns occasionally go full Synthwave with gated tom drum fills. Once again a brief glimmer of deviation from the overall tone.

 

One can find a few favorite cuts that resonate well within this context. Numb The Pain and Die 1000x stood out for me. They seem a cut above the rest on a record devoid of hooks and memorable moments. Each song tends to melt into the next as feverish aesthetics overpower other fundamentals. A fair and entertaining listen for self indulgence that probably doesn't have the legs to stick in ones mind for too long.

 

Rating: 5/10

The Weeknd "Hurry Up Tomorrow" (2025)

 

Unleashing emotions raw and aching, Abel's heavenly falsetto collide with misery as Hurry Up Tomorrow paints a unenviable depiction of an artists anguish. Channeled through dreamy Synth-Pop R&B mashups, the limelight suffering, heartbreak woes and substance abuse ripple through this record like therapy. Glued within his mental struggles, suffering is illuminated painfully through direct lyricism and animated interludes set to portray personal, intimate moments and their crushing weight.

Its a strange juxtaposition to the often upbeat, feel good music that has retreated to the sidelines. As such, we embark on a lengthy spell dwelling on this temperament. Instrumentals frequently drift into a dreamy Ethereal sense of limbo. Seeking warmth yet coming up cold. Wake Me Up featuring Justice seems to revive echos of Dawn FM, as if to shut a door on that chapter. Sao Paulo grabs ones attention with its cultured, Hispanic dance floor beat. Infectious, occasionally obnoxious and nightly.

 Deeper into the record, flavors of Synthwave, Trap and Soul emerge, characterizing some big name collaborations. Between them, these mid-tempo, toned down swells of ease and chilled temperament arise. Seemingly unhurried, I sense our artist is trying to linger on every expression felt, as if to be aired out thoroughly. With such stellar production, the glossy sound carries stripped back, simplistic melodies quite far.

Clocking in at eighty four minutes, Hurry Up Tomorrow plays like a limbo mood to sink into, with a foot in each camp. Articulations endures wounds whilst its hazy synth driven instrumental charm pass by like a trip. This dreariness lingers as the record winds down, seemingly without a resolution. I'm left thinking this was all intentional, despite an inclination for curation, The Weeknd was leaning into this moment fully.

Rating: 6/10

Poppy "Negative Spaces" (2024)

 

 

Plagued by the inconsistencies of searching for an identity, exploring genres, never settling on a sound, it seems that Poppy has finally found a firm footing following a fruitful collaboration with album of the year contenders Knocked Loose. Now honing her screams into frightful territory, ranging from soft, harmonious and sweet to roars of unrelenting rage feels an apt for this endeavor. Foraying into the current trendy Pop Metal dynamics, contrasting stomps of Djent brutality exchange with sways of warm catchy melody. Its a dominant theme among other ideas, conjuring echo's of Spiritbox.

The record flows smoothly despite some turns. Crystalized makes a sudden deviation to explore driving dance-floor grooves and Synthpop melodies masked in nightly Synthwave vibes. Vital dials in subtle Emo and Pop Punk influences through its guitars before Push Go jumps back to the dance-floor. Poppy's approach conjures echos of Madonna in here prime and 90s Brit Pop in its soft siren chorus.

The next two tracks get us back on track, going hard as ever on its mammoth guitars. Big grooves stride in anger as raw throaty screams erupt with vitriol. Its a wild ride juxtaposed by the dreamy interlude Hey There, a crash to the ground as the final stretch retreads these ideas already explored. New Way Out notably deploys the Argent Metal formula with that signature Mick Gordan guitar and synth aesthetic.

All in all, Negative Spaces is a really good listen from start to end but perhaps lacks in offering something truly new to take away. Its as if these songs might fade from memory given the overt influence that fail to ascend expectations. On the other hand, its the most consistent record from an artist still seeking out a sound to call their own. It lays a promising foundation for the future after the sorely disappointing Zig.

 

Rating: 7/10

Rina Sawayama "Rina" (2017)

 

 It turns out Sawayama was not Rina's debut. This one flew under my radar, a twenty four minute EP released a few years prior. Self funded and independently released only piles on the praise for what initially felt like a tacky take on 00s Pop. Getting past a couple of mediocre tracks, familiarity revealed the subtle powers of brief tuneful melodies and glossy aesthetics centered around her persuading voice.

Early themes paint a sense of glitz and glam, ambitions of a rising star. Cheery, upbeat production with punchy drums drawing on touches of 80s Synthpop and soft Alt Rock guitars opens the record. These nostalgic reaches into the past reoccur through classy production. It flows through a variety of song ideas, none feel original, yet an intriguing assembly of ideas pulling from the past thirty years of Pop music.

 Tunnel Vision drifts into a dreamy avenue, shifting to introspective thoughts. Deploying vulnerable expressions makes for awkward lyrics hinting at smartphone addiction among relationship woes. Its a muddled message. Much of the record has this ambiguous feeling as to which way her words lean. Presenting a bold face with a hint of distress. This lyrical fuzziness is more likely to be at fault with me.

Overall, I'm impressed. This Rina EP strikes me as a leap of faith, a talent unleashed raw and keen, simply getting started and turning up trumps. It doesn't coalescing around a specific vision yet its best songs achieves their own merits. Its been a joyful dive into ideas reminiscent of great songs without being specific.

Rating: 6/10

Ulver "Locusts" (2024)

 

With a strident return to form, Ulver delivers again on his intelligent renditions of matured Synthpop. After a couple of shaky releases, Locusts rediscovers balance. Steeped in dusky atmospheres, classy compositions layer up dreamy instrumentation for his voice to shine like a light guiding the way forward. Steady baselines peruse and pristine keyboard tones shimmer in a dense dance, lush and brim. Melodies play fractured, subdued, diverse, allowing emotion to amass from its parts, without steeling focus from our front man who steps into the stage light, suited up and proper.

Its a smart, intelligent set of songs with a soft city nightlife vibe reminiscent of an older generation. Accents of New Wave, Art Pop and Dance music show distinctive influences, perfectly reworked to suit this breezy pace. The record stars slow and withheld, a minimal take on the formulae to come. The opening title track lunges into its big synth kicks towards its conclusion but the proceeding Nocturne #2 reminded me of Peter Gabriel, a Worldbeat influenced tangent slow and meandering. Its a great conjuring of softly esoteric mood yet halts the show from starting somewhat.

The other installment of Nocturne interjects between these snugly paired songs with a broody rendition of droning synths. Powerful, dark and dreary yet adrift from the records overall tone. The rest of its songs play an effortless pleasure, dazzling and soulful in their own way. Very enjoyable yet feels a little light in variety. What detours it does offer drift from its solid foundations. Curation is possibly its culprit.

Rating: 6/10

Aurora "What Happened To The Heart?" (2024)

 

 What Happened To The Heart will likely be my album of the year. I've sat on this one for months, hitting a curious writers block when wanting to put my emotions to words. Initially the record seemed transient, subdued yet as familiarity crept in, a magic emerged from its dreamy charm. A sleepy aura persists throughout, songs teeter on cloudy ambiences, percussion softened as Aurora dances with her voice like an angel emerging from a soothing fog. So often does this enchanting music lure you into its passive persuasion, pivoting temperament to lunge into passionate swells of harmony.

This talented cast of song-writers and producers pay quite the compliment to her strengths. Songs flash suggestions of Disco, Synthpop and Electronica, all bellowing out there aesthetics through the atmospheric power of understated rumblings. These more obvious influences linger in the shadows of airy reverberations and soundscape design. These compositions blur boundaries, whipping one up in a feverous dreamy momentum led by Aurora, who often arrives in tandem with herself. Layering up her fantastic vocal ranges, an enchanting sway unravels that is utterly contagious.

The mid record stretch often feels spiritual, tribalistic, as surges of steady deep bass percussion drives wordly tones and burred melodies with suggestions of broadened cultural horizons. The opening and closing phases hold the animated tracks that pivot into House, Dance, Techno and Indie Pop with broad creative strides. There stylistic emergence from the ether, alongside such a spectacular voice, gives the whole record a magic I've felt with other artists but barely in this unique avenue. With Aurora's voice on full croon, I feel swallowed up by her immaculate performance. This record is a gem you don't want to pass up, undoubtedly her most inspired music to date.

Rating: 9.5/10

 

Sabrina Carpenter "Short N' Sweet" (2024)

 

Currently topping the streaming charts, this former Disney star charms with her strong soft voice dynamic. Backed by a seasoned production team, who have handled many big names, the instrumentals of Short N' Sweet croon. Pulling from Country, Soul and Rock, one half of its runtime paints a earnest singer on stage, armed with acoustic guitar and small town Americana charm. The other half gracefully pivots from emotive expressions with energetic bursts of Dance, Disco and Synthpop, armed with sharp wit and knack for hooks. Its fondly reminiscent of Jessie Ware's nostalgic revival.

Sabrina has a wonderful voice, easily slipping between temperaments seamlessly, she colors many a song with subtle shifts that elevate the chemistry. For me, its her sweet falsetto's that perk my ears. The lyrics however, mostly play a hormonal mess of youthful love and relations channeled into cute, quirky expressions, often juxtaposing the warm delivery tone against lyrical content. Its charm is flirtatious, playful, teenage. Fun, mostly harmless but nothing much to latch onto for this listener.

The record is solid from front to back, a breezy, warm, uplifting thirty six minutes that finds a fantastic stride with Bad Chem, Espresso and Dumb & Poetic. The vocal hook on Bad Chem, descending in a dance from breathy high notes is an utter joy. The closer Don't Smile might be joining this list too, another highlight on a solid record that indicates Pop Music is in much better shape than the boy/girl band tripe of my youth.

Rating: 7/10

Rina Sawayama "Hold The Girl" (2022)

 

Following up on a smashing debut, Hold The Girl's antidote lays in repetition as first impressions come stiffly poisoned by uncanny familiarity. This is Pop music after all, its broad appeal conjures the best radio has to offer. Admittedly, it took time to flourish into the ear worm monster it has become. Trading in the eclectic ensemble of debut Sawayama, Rina commits to an intoxicated romp of glossy bangers pulling from across the spectrum of popular music's finer offerings. Showing her hand, an obviously play is made for high octane Dance-Pop that also ushers in mild echo's of 80s Synthpop and driving percussive energy of the 90s UK Electronic scene. Along the way were treated to crooning ballads, a touch of Country Pop, R&B and Soft Rock.

Uncanny in nature, lacking originality, yet sparkling with a touch of magic, its Rina who makes the record whole. Track after track delivers stunning performances, soaring vocals, emotions flowing in infectious cadences. An emotional weight grips her lyrics of struggle and expression, entangle in the moment. Your Age hits hard, an anthemic reflection on predatory abuse. A dark undercurrent manifests into a shudder of glitched vocals. It plays beautifully against ascending cries on the tracks chorus hook.

She is simply on fire, as are the instrumentals. Most songs play fleshed out with charisma and craft, leaning hard into the concept at hand. Occasionally flaring up with a Glam Rock guitar solo. Dense and powerful, subtly is not the intended direction. These tunes know themselves well. Some tracks however boarder "plagiarism". Americana inspired Send My Love To John feels all too familiar. Perhaps a victim of is stripped down acoustic simplicity, if I had a broader recall, I feel as if I'd put my finger on it. Quite a few songs do this, however Catch Me In The Air's guitars are blatantly derivative of The Smashing Pumpkins' 1979. Holy is another ghost of the 90s Electronic scene. That Ethereal piano melody over the thumping bass is uncanny.

Despite all this, the record is utterly brilliant. More the half the songs hit like classics and the trailing tracks ain't far behind. Hold The Girl plays with fire. Does it get burnt? Yes but I couldn't care. Perhaps had they been a little less overt with influences, such thoughts could have been avoided. Lastly, I'd like to end on the album's closer, To Be Alive. Such beautiful lyrics, blossoming out of the darkness of youth, warmth emanating from within, a platonic love song of life. Its emotional build, shoegazing blurs, dance pianos along with the lofty choral voices is simply blissful.

Rating: 9/10

Rina Sawayama "Sawayama" (2020)

 Arriving at the cutting edge of contemporary Pop music, singer-songwriter Rina casts an excitable web of diverse musical influences. With dexterity fondly reminiscent of Queen, her execution plays effortless, a graceful genre gallop between Pop Rock, Disco, J-Pop, R&B, Synthpop and even Nu Metal? An obvious favorite of mine, the latter broods its menace on STFU! Unleashing the era's groove through a mammoth, lunging riff, the growling guitars get across their point without need for excessive distortion. Creepy Korn alike melodies linger in the backdrop as the song sways between this aggressive energy and a twinkling dazzle of glossy melodic relief.

Its a keen example as to how Rina hones in on the essence of appeal, each song could merit such discussion as particular eras and genre distinctions meld into an engrossing listen. Other highlights include Comme Des Garvons, a stylish strut of attitude and glamor. Love Me 4 Me revels in the cheese of 80s attempts at bold punchy instrumentation, steering its bright melodies and chirpy nature to an endearing infectiousness. The "fake live" fanfare of Who's Gonna Save U Now? plays a genius touch, elevating this Arena Rock anthem as Rina sails her voice to new heights.

Tokyo Love Hotel woos with soft touches of Synthwave and Vapourwave. A breezy cruiser fit for the cities night lights. I could continue with my praises. Only mid track Bad Friend landed sour. Its spacey, Ethereal Electropop aesthetics feel lost on its own topicality, a "woe is me" self pity anthem. Conjuring the hurt of relationship wounds, its confessions of wrong doing seem a strange fit for its mood. An odd one but aptly fitting of the overall theme, a self oriented set of expressions felt direct with plain, connecting language that rarely feels deeper than its straight forward nature.

A stunning debut, Sawayama plays front to back like a seasoned musician reveling in creative strides. The music is effortless, exploring all curiosities seamlessly, avoiding an "eclectic" label despite clearly fitting that frame. All ideas explored simply click into place. Many of these ideas hail back to the early 00s, the years of my youth. Frank references to MSN messenger amused me greatly, I remember those Windows XP days with distain but the music has always been a consistent source of meaning. Its no surprise this record resonated with me. I haven't put it down for months!

Rating: 9/10

Kyros "Mannequin" (2024)

 

Is this our first heavy hitter? An obvious contender for my album of the year, Kyros deliver on an enticing Esoterica teaser. All three tracks our found nestled snugly among this lively set of exuberant songs bursting with colorful energy. After a quaint, folksy introduction - reminiscent of classic Prog Rock acoustics, the album roars to life with Showtime. Steel drums rapid a melody suggestive of time passing by, in chimes a big aggrandizing tune fondly reminding me of Genesis in the late 80s and one by one the instruments pile in. Grooving baselines, bustling drums patterns and dazzling keyboard leads paint a theatrical thunder birthed in cheese decades ago.

Kyros however, embrace this bold, tenacious execution of punchy note-to-note refrains and execute them with stunning swagger. Each track brings flavor and distinction, their commonality an undying dexterity of craft that fleshes out many sections with animated instrumentation. That's not to suggest the record doesn't have its timely lulls and respites. The balance is wonderful, a fruitful execution of ideas.

Ghosts Of You has become my standout track. Again the 80s reign supreme with big grinning melodies. One could re-imagine this as an ear worming theme song from a daytime television show. Again, executed with class, the lyrical tone and cadence chimes with its punchy percussion reminiscent of Michael Jackson's Bad. Its a common theme for the record but this modern vibrancy invigorates these old themes.

Its final two songs take a subtle departure, focusing on big metallic stunts between more middle of the road arrangements. Although great entertainment, the increased aggressive might, reminds you of a coming end to the session. Not a blemish but observation as that 80s cheese I'm so fond of gets stripped back. This foursome are awsum and I'm not surprised they have pulled together such a strong cohesive album.

Rating: 9/10

Trevor Something "Archetypes" (2024)

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

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

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

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

Rating: 6/10

Gunship "Unicorn" (2023)

 

Five years proved a worthy wait, Unicorn returns riding into a surreal synthetic sunset of its own design. Fully focused on fundamentals, the British duo Gunship fine tune their classy Synthwave sound, pulling no new strings and sticking to proven ideals. To achieve this, songwriting must reign supreme. That challenge is met with an impressive cast of musical genius. Returning unions with Tim Cappello and Carpenter Brut prevail again, alongside giants like John Carpenter and Dave Lombardo, once of Slayer. An impressive roster, who admittedly appear on the records stronger tracks.

Its catchiest hooks, the lyrically infectious cadences and tantalizing neon synth melodies, a fruitful yield of collaborative chemistry. A delight early on within its loaded roll out. Vocal variety proves a strength, former Fightstar band mate Charlie Simpson, one of the best fits among a talented cast. The band Health bring keen Prodigy flare to the fold and Power Glove seems the most subdued arrangement given there reputation for lively retro VGM inspirations. Ghost plays a sleepy lull between the energetic dance-floor thrusts of Weaponised Love and Darkness For Dreams.

 In this final stretch the record steadies into a soft groove, arriving with less flash in the pan. Focused on its lyrical manifestations of nostalgic imaginations, the lengthy hour traverses its final temperaments with moody indulgences and subdued flavors. The love of craft and care in handling these inspirations percolates its glossy aesthetic, bowing out with strides for anthemic heights that landed off a little to my ears. Unicorn is a brilliant return. Not a perfect record but seemingly the best of their three chapters.

Rating: 7/10

Post Malone "Austin" (2023)

 

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

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

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

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

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

Rating: 6/10