And here we are again! Another month, another album voted on by our beloved users as the best release of the month. November’s winner is Veilburner and our buddy Arthropod has prepared a blurb for us!
Longing for Triumph, Reeking of Tragedy is like a bog: once you’ve stepped in, it’s hard to get out. Except, in this case, you’re going to like it. It’s a 50-minute onslaught of genuinely unnerving vocals and riffs, bone-shattering rhythms and thoughtful unpredictability. Whether it’s guitars going angle grinder mode, suspiciously melancholic leads emerging amidst the extreme metal mayhem or the sheer range of screaming styles, the sound is truly caleidoscopic. And yet, everything here feels perfectly adjusted.
This flaming ride of a record is both consistently filthy and so variable that it’s impossible not to pay attention. –arthropod
It’s about that time boys, its the release of the month for October! The winner for this month is Lachrymose Monuments of Obscuration by Finnish doomsters Hooded Menace! Our very own Dedes has written a blurb for us all to enjoy!
“Hooded Menace are entrenching themselves deeper into the mire of grizzled death-doom while simultaneously zoning in to an EXORBITANT degree their penchant for og 80s metal cheese and I absolutely adore it. This is an evolution that, while having some deeply ingrained roots to start (Fulfill the Curse being decidedly more morbid ofc) really only spread its wings around The Tritonus Bell, and like the glorious valkyrie taking flight, they did so with flash and grandeur. There’s even enough gleam and glimmer for a fucking Duran Duran cover (“Save a Prayer”) to make an iota of sense. I could wax poetic for days on how damn beautiful, fun, grotesque, caveman-gutturaled and riff-chonkified (if skronk is a descriptor so is chonkified, no @’s!!!) but uhhhh idk digs is listz m/m/m/.”
Ladies and gents, another month has passed and that means we have another release of the month! September’s race was close between a few albums, but Crippling Alcoholism’s ‘Camgirl’ has come out on top! Enjoy a blurb about the album from our very own Lasssie!
“Listening to Camgirl is like taking a step into a dark and foggy discotheque of self loathing and looming despair; taking us on a journey through the eyes of the titular Camgirl experiencing the exploitation of the type of entertainment she’s involved in and the kind of crowd that sort of activities attracts.
In other words this is a glimpse into the degenerate nature of the sex industry, a girl who falls victim to it and the men who circles around her like vultures.
The subject matter dealing with parts of the society or flaws with the human nature feels somehow reminiscent of records like “Gods Country” by Chat Pile
Following their impressive second album from last year “With Love From a Padded Room”, which revolves around the psyche of incarcerated criminals, Crippling Alcoholism are not stranger to dark subject matter and don’t shy away from it; in fact they seem to cling on to that darkness with both pride and curiosity. They embrace it all so unabashedly one might mistake these young guys from being old veterans in the music industry by both their lyrical maturity and the fact that the singer sounds like he has been drinking and smoking nonstop for decades.…
It may have been a few months, but we are back with another edition of Sputnikmusic’s release of the month for August 2025! This month’s winner is ‘Willoughby Tucker, I’ll Always Love You’ by Ethel Cain! One of our contributing reviewers, Matty (mkmusic1995), put together a nice blurb about the album for all of you to enjoy!
“There’s nothing like the changing of the seasons; summer to autumn introduces colder breezes, the slow decay of the vibrant greens and yellows into browns and grays and truthfully, no other modern artist soundtracks this time of the year better than Hayden Anhedonia, better known as Ethel Cain. From the gentle plucky acoustic cuts drenched in reverb and dreamy atmosphere to the more tense, visceral monolithic songs that carry the backend of the record, Hayden makes use of all her experiences, pain, grief and love to create something that is immensely gratifying to listen to while being musically and sonically impressive. Following up a beloved record is no easy task, yet Hayden Anhedonia made easy work of it enchanting her rabid fans with a second helping of southern gothic tinged americana. ‘Willoughby Tucker, I’ll Always Love You’ takes some of the most experimental ambient tones and textures from her lengthy EP ‘Perverts’ and applies it aptly to her solidified sound for a dense, nuanced and highly emotive collection of tracks with a whole new story to tell.”
Electronic and dance music are in a great place right now. DJs and producers are increasingly more eclectic and not afraid to incorporate their wide-ranging musical influences in their sets or productions. One of the frontrunners of this mindset is UK producer and DJ Felix Manuel, aka Djrum, who has never backed himself into a corner stylistically. On Under Tangled Silence, we see him blending folk, IDM, techno and bass music together with his own personal twists. On paper this may sound overwhelming, but Djrum weaves everything together effortlessly with live instrumentation and his signature production style. Take a track like “Let Me”, it begins with an improvised piano jam backed by bubbling synths and breakbeat drums reminiscent of classic IDM before releasing the tension at the halfway mark with an explosive jungle break where you can’t help but nod your head to the combo of percussion and subbass taking over your body. This is just one of many examples of Djrum’s extensive sonic palette on this record. I love that every song on here feels like it has its own identity and despite those differences, the album itself is cohesive in its range of influences and continuity.
It probably has been dark outside for a couple of hours already. I haven’t really been paying much attention to the outside conditions. Not much daylight filters through the plastic covered windows anyway. The only source of light I have is a construction lamp placed in one corner of the room and the only source of heat available is a small heating fan I’ve placed on the floor on the opposite side of the room. If the frequency with which the fan starts and the prolonged periods it stays on is anything to go by, it’s probably getting below zero (that’s Celsius for ya, you Americans) outside.
I’ve recently bought a house in the middle of nowhere, originally built in 1876 and judging by the state it’s in, that’s about the last time someone took care of it. I have taken two weeks off from work to get some things done around the house. It’s late, I’m tired and this is the last Sunday before I’m supposed to be back at work. I haven’t gotten as much done around the house these past two weeks as I initially hoped I would. But before I call it a day, I’d really like to get the roof painted in the nursery.
I decide it’s time to listen to Goldstar. I’ve been wanting to do that for the last week, but I haven’t really been in the mood for what I imagine is…
SAYA wasn’t the album I was expecting from Saya Gray. Given the direction of her QWERTY EPs, it seemed like she was diving deeper into the fragmented songwriting approach of 19 Masters—instead, she took a different route. Sonically, SAYA still plays in the same blurry space between r&b, pop, electronic, and folk, but where her past work felt like a chaotic patchwork of ideas, this album has a clear throughline. The genre-hopping, effortless melodies, eccentric vocal yips—it’s all still there, but every twist and turn feels deliberate.
Tracks like “PUDDLE (OF ME)” and “H.B.W.” showcase her ability to turn eccentric vocal patterns and unconventional structures into something that fits seamlessly within more traditional frameworks, while lead single “SHELL (OF A MAN)” offers a calmer, more streamlined indie/pop sound without compromising the emotional depth of her songwriting. There are only 9 proper songs on this album, but they all work to form a cohesive sound that balances the quirky with the accessible. And sure, one could make the argument that in so doing, Gray loses a bit of the unbridled creativity that her previous stream-of-consciousness approach to songwriting afforded, but it’s hard not to be impressed by her ability to channel all her creative chaos into something so deliberate and guided. In hindsight, SAYA seems like the logical evolution of Gray’s sound; it takes fewer risks than its predecessors, sure, but as a result, it refines her vision into something more focused and palatable.
In many ways, Kadath is the culmination of everything The Great Old Ones has done up to this point. We have the mysterious H.P. Lovecraft storytelling at the bottom of it all…but what we have behind it is even more glorious. In some way, this is the most progressive TGOO has ever been. Kadath feels almost theatrical in nature. The core of their sound is still that glorious mixture of haunting, horror inducing and blistering black metal and atmospheric sludge/post-metal but the album feels like an opera of sorts. No better example of that than the 15 minute instrumental mammoth that is (song of the year) “Leng”. The build ups, and ultimate tsunami, of the dense and tar induced riffage blended with that ever-present atmosphere weighing so heavily on you that it almost brings the listener to tears. Kadath is a monumental album full of twists, turns and eerie dread around every corner. 2025 is still in its infancy but The Great Old Ones have dropped an AOTY contender here.
Bello & Shem’s “Original Flavour” presents a fascinating, albeit brief, sonic expedition worthy of any Hip Hop connoisseur’s consideration. This EP, defying categorical conventions, showcases a duality emblematic of contemporary anxieties regarding artistic authenticity. The seemingly unstructured lyrical dissemination, at first, suggests an absence of overarching thematic coherence. However, a more meticulous investigation uncovers carefully constructed narratives, often employing unconventional rhythmic implementations. The production, simultaneously nostalgic and futuristic, appears deliberately ambivalent, preventing facile interpretation.
The artists’ intentional obfuscation of meaning requires a sophisticated analytical framework to deconstruct their nuanced commentary on musical inheritance. The listener is compelled to navigate a complex labyrinth of intricate wordplay, mum jokes, and deliberately repetitive sonic passages, demanding a multi-perspectival understanding. “Original Flavour,” therefore, transcends typical genre classifications, functioning instead as an intriguing experiment in postmodern performativity and the obfuscation of universally accepted sonic parameters. Its enigmatic nature necessitates subsequent scholarship with potentially transformative consequences for understanding the evolution of contemporary hip-hop.
Although Bloodflowers has its champions, The Cure released what many considered their last great album in 1992 with Wish. Robert Smith had been promising new material, but few were optimistic that we would ever again hear anything worthwhile from the legendary band. And then new songs began creeping into live performances: in October 2022, Latvia witnessed the debut of two tracks that would eventually bookend the new album – “Alone” and “Endsong”, which opened and closed their main set in Riga, and surprisingly, they didn’t sound out of place at all. Two years later, Songs of a Lost World was released, and Cure fans were almost uniformly satiated: “Their best since Disintegration,” was the general consensus, and after living with the album for two months, it is hard to argue the sentiment was hyperbolic.
“Alone” and “Endsong”, like most of the songs here, feature extended instrumentals before Robert Smith’s ageless voice enters, evoking desolate portraits of loss, isolation and mortality. I read somewhere that Smith now looks indistinguishable from the writer’s “ageing, alcoholic great-aunt”, but whatever pact he made with demonic forces to keep his voice sounding so young is clearly working, it is truly astonishing how vital his vocals remain.
While the album lacks a pop highlight like “Just Like Heaven” or “In Between Days”, it doesn’t need one – it’s not that kind of album. The placement of “And Nothing Is Forever” early in the tracklist is a masterstroke;…
By all accounts, what Blood Incantation has done with Absolute Elsewhere shouldn’t work. A core of sophisticated, tasteful death metal (yes it exists, shut up), a big gulp of Pink Floydian psychedelics and a cheesy science fiction sauce, blended together roughly and without much stirring. It has all the ingredients for a disaster that’s just sour all over. Yet apparently yuck-face and stank-face are in close proximity to one another, because despite its shortcomings, it delivers a fucking marvel.
You could make the argument that a lot of good parts individually does not a good album make. The metal and ambient parts aren’t so much mixed together as bluntly glued in a way that shouts whiplash city for any other band with even a smidge less skill. It creates heroes out of riffs and passages that border on the grandiose. I could go on, there is a lot to critique here. And yet it’s still a close frontrunner for my album of the year. The normal rules go out the window when everything on my plate just tastes so god damned awesome. Whether it’s the breathtaking conclusion of “Stargate [Tablet III]”, the fast drumming over the clean broken chords sprinkled throughout “The Message [Tablet I]” or the blissful guitar solos in multiple songs, Absolute Elsewhere has so many highlights on offer that it doesn’t need to become more than the sum of its parts to be amazing. Yet it still manages to become more by…
If the terms and sentiments of love and peace have an official sound yet, I propose Nala Sinephro’s latest to be its edenic image. At every possible turn the album swells and swirls like pacific waves, conjuring occasional electronic sharpness to break up the otherwise breathless flow of calm. It is the sound of a desert in an 80s movie, peaceful yet showing the potential of a menace. There is a sweaty underline caressing every note, every new instrumental lick, every harmonic sway. I love how the album ramps the subtlety like it is the most sensitive TNT explosive known to man. I adore its gentle touches on the spiritual, as if divine sorcery were a commonplace occurrence. Within the modernist techno-religious leanings the album takes, the main thread oscillates between transcendental zen and a digital night-(mare/dream). Herein comes the album’s most daring proposition: what if beautiful, but 8-bit? And all horrifyingly in-the-now gorge ensue. Nala Sinephro makes this look easy. Her punks of jazz cohorts help the effort. We can only sit back and be transported to a technoutopian domed world of pure beauty and peace, where the airy weightlessness of our dreams is tangible and the future with all its possibilities is endless.
If birdwatching on a brisk morning could be broken down and translated into audio frequencies, it would sound like Alora Crucible. The haunting melodies whirl and dip and ascend in their own imperfect weather, fighting the wind for just a moment before it turns ally and allows for soaring once more.
Gentle mists creep over the landscape and the promise of snow looms over the heather as each songbird mourns in its own special way the falling sun beyond the frosty mountain peaks.
Alora Crucible’s Oak Lace Apparition represents 80 minutes of alluring hope, 80 minutes of teasing an adventure in the clouds and beyond, 80 minutes of inward birdwatching that satisfies the mind, body, and soul with each flap of its unerring wings.
State Faults’ newest album Children of the Moon is so immediately classic that it’s hard to put into words. The evolution of this band from the lofi, unhinged sound of Desolate Peaks to where they are in 2024 is staggering. At their core they’re still that emotionally draining band, hitting you with songs fueled by distorted riffs and banshee shrieks such as (my personal favorite) Divination and Transfiguration, but now also being able to pull off a 10+ minute behemoth such as No Gospel. A track that takes you through every high and low, every desolate peak (pun?) to every epic mountain top with influences from prog rock to post-hardcore. Or a ballad such as Bodega Head that REALLY gets you in your feels with its soft acoustics and melodic vocals. State Faults have crafted a perfect album that will indeed go down as one of the best screamo albums of all time. But to pigeonhole Children of the Moon as just “screamo” would be a huge disservice. This album transcends any genre tag. So get off your ass and jam this beast. You will not regret it!
The collective of Aaron Turner (ISIS), Nick Yacyshyn (Baptists), and Brian Cook (Botch) have once again proven there is such a thing as beautiful bleakness.Too often as bands progress through their careers they take the comfortable, digestible, and tried-and-true elements of their sound and pair them down into cohesive, intimate, and relatable vignettes of their former selves. SUMAC has achieved the opposite with The Healer, a sprawling 75 minute behemoth built on the assumption the listener is both patient enough to allow the band to stretch out, and eager enough to explore alongside the musicians as they dig down deep into chasms of dissonance, dread, and finally catharsis.
