Hello fellow Sputters, we are back with another edition of our contributor’s favorite songs of the month (plus yours truly lmao). Let’s see what JoyfulPlatypus, Shamus and Futures have to say about their favorites from October!

JoyfulPlatypus’ SOTM: Artificial Angels by Grimes

 “Grimes has always been a very (for lack of a better word) interesting figure in the music industry. I could write an entire essay on why that is, but we’re here to discuss her new single, not her controversial public image. Outside of Art Angels, Grimes has never been what I would describe as a “pop artist.” She has always leaned more into the atmospheric side of things, and typically forgoes the big, catchy hooks typical of pop songs in favor of layered, complex synth melodies. “Artificial Angels” takes all the best elements of Grimes’ musical prowess and throws them into a blender. The result is a near-perfect three minutes that combines Grimes’ trademarked zaniness (after all, the song is written from the perspective of a rogue A.I. who is trying to hunt humans) with a sugary sweet earworm chorus. Some may hear this track and think of it as a bit of a clusterf**k, especially with the hyper-pop-esque glitchy vocals in the verses. To me, however, it clicks in a way that only Grimes could pull off. And, thankfully, the song is a perfect length. It’s just short enough not to overstay its welcome, yet just long enough to dig its nails into your brain and make you yearn for more. While I’m not yet convinced that Grimes has it in her to deliver an album that can consistently maintain this high quality, “Artificial Angels” is a damn great launching point for whatever new era she’s preparing for.”

Shamus’ SOTM: Rope by Chrissy Costanza

“Chrissy Costanza came on my radar a year ago when she teamed up with decorated pop punk legends Yellowcard for a gnarly cover of “A Whole New World” from *Aladdin* as part of *A Whole New Sound*, Disney’s very surprising foray into pop punk. The Against the Current frontwoman looks slight and unassuming, but possesses a voice that glistens and shimmers, but also roars and prowls when needed. She’s grown tremendously as a vocalist over the years. Queue up her band’s 2012 cover of Mariah Carey’s “All I Want For Christmas Is You,” and you’ll see shreds of potential buried underneath a wooden and strained performance.

“Rope” is one of several moments on the recent deluxe reissue of *X* that shows us what a powerful interpreter Costanza has become. Backed by sizzlingly catchy guitars and purposeful drums, the lyric sees her reclaim her agency, perhaps from a former muse that took advantage of her. “I won’t bleed out to relieve your drought,” she emphatically exclaims. The song also boasts of an almost nostalgic sort of vibe. I think this song could have come out at any point in the last 15 years and made waves in the Warped Tour sphere. Almost timeless in a way, but also perfectly timed for this moment in Costanza’s arc, where it seems like one of her genre’s most capable but underrated vocalists gets her chance to shine”

Futures’ SOTM: eucharist ii: BLOOD LOSS by The Acacia Strain

“‘You Are Safe From God Here’ features 11 tracks that run 24 minutes and 1 track that runs 14 minutes. This is calling your shot. If the song doesn’t work, it essentially tanks the entire album due to it wasting your time and leaves a sour taste in your mouth. Thankfully, “eucharist ii: BLOOD LOSS” channels the mythical Babe Ruth home run and connects. It will certainly go down as one of the best songs the band has ever written in their over two decade long career. The opening sets the stage through about a minute of a stoner riff drowning in fuzz and distortion. You are then greeted by Bennett at the most vicious and throat-shredding his highs have ever been, sounding completely unhinged rivaling the most biting screamo or black metal frontmen. He pushes himself so far that I was sort of surprised to learn it was him performing them and not another featured vocalist. The raw emotional extremity completely makes sense when you learn the song is about processing the grief of losing his beloved dog. It’s enough heartbreak to drive any person to their breaking point. A true, naked unbearing of the soul. The song picks up the pace with a bouncing riff pierced with a pinch harmonic before slowing down once again, leading into an achingly beautiful clean section with a melancholic chord progression accompanied by a softly ethereally sung feature from Sunny Faris of Blackwater Holylight. This is all in the span of about four minutes. The tight, intricate songwriting and transitions that snap into place are absolutely out of this world. I truly believe if the band is fully committed to this style that they have the chops to craft a doomy, atmospheric sludge masterpiece up there with the likes of Thou.

The song then builds the heaviness back with an atmospheric portion before it decides to smack you upside the head with a groovy, pounding riff that will be rattling around my skull for years to come. Another brief and sorrowful clean section follows with Faris again providing a fascinating musical juxtaposition of beauty in moments of tragedy. These moments only total about a minute and a half, yet they elevate the track to another level artistically. “eucharist ii: BLOOD LOSS” chugs to its conclusion with more monolithic doom riffs, before a longing guitar refrain begs for release as the song slowly fades to black. Take a bow. A true crowning jewel and monumental achievement not just for the band, but for modern sludge and doom metal. It’s not just the song of the month, it’s probably the song of 2025.”

Hawks’ SOTM: Into Haunted Oblivion by Hooded Menace

“If you guys know me well enough by now, you know that I’m a sucker for horror, Halloween, fantasy or anything of the like infused into my metal. Hooded Menace is one of my favorite bands of all-time because they scratch that itch harder than any other artist(s) on the planet. ‘Into Haunted Oblivion’ has everything that I need in this style of gothic-infused death/doom, a completely ghoulish atmosphere, melodic, 80s heavy metal riffage, and a worm-infested guttural vocal performance mixed with some surprising melancholic cleans. This song is like a 10-minute soundtrack to Night of the Living Dead with walking corpses coming at you from every angle. You try to run for your life, but ultimately, those devilishly delicious, harmonious riffs stalk you down every time. It’s simply a sublime clinic on how to create Halloween-inspired metal and the perfect closer to the new album.”