[This is a paid review]

Multi-instrumental composer and producer Zaki Ali is back with the re-recorded album experience – The Alternating Universe.

The Alternating Universe has been a long and personal journey for Zaki, built around the expressive range of an 8-string guitar. Ali’s sole creation took a life of its own over the last two years, performing with a live band. The cinematic sound is taking on a new life.

In late 2025, Ali decided to return to the studio and rerecord the album from scratch, using the experience of those live performances. This was no longer just a Zaki Ali solo project, but a Zaki Ali-led collaboration, with key figures from the live shows joining the ranks in the studio. Greg Telfeian on drums and Davor Galavic on bass.

The Alternating Universe kicks off with the ‘137 (The Fine Structure Constant).’ An explosive opening that puts the scale of this project into perspective. From the thunderous drums and pulsing bass notes. To Zaki’s awe-inspiring hooks and solos that let the listener know they are in for a treat.

The album thunders along with huge basslines and the almighty rumble of guitar. Ali takes you on an expansive journey as you move through each section at considerable speed. However, the album is structured in a way that doesn’t feel like you’re powering through tracks on a roller-coaster, but in a rocket exploring space. There’s room to admire each note, instrument, and overall composition of each track.

‘Reign’ is an almighty track opening with a thunderous bass and breakneck drum pedalling before Ali’s 8-string takes centre-stage. A feverish riff that has you wanting to air-guitar along. By far my favorite riffs are here on ‘Reign’.

My only negative is the lack of vocals, as I think back to other great guitarists like Hendrix. Lyrics would have helped add some breathing room between each face-melting riff and captivating hook. There are times when tracks tend to blend into each other, and not always in a great way.

Conceptually, The Alternating Universe is a cinematic instrumental delight. A true tour de force and testament to the years and dedication Zaki Ali poured into this. I, however, wouldn’t return to the whole album, but revisit individual tracks. Overall, if you’re looking for a thunderous instrumental album that’ll take you on a journey, The Alternating Universe is for you.

THRESHLD has dropped their second album, No One Is Coming To Save You, as they confront the listener with their illusions. This is a paid review, but all opinions are my own.

The album opens with ‘LiMinL’, a strong instrumental opening with huge guitars and bombastic drums. You are confronted with a sense of isolation in the expansion of space. You’re left feeling alone when ‘Closed Curtains’ opens, continuing the story. THRESHLD brilliantly crafts a narrative sung through personal experience, connecting with the listener. The vocal shifts from melodic to passive-aggressive with ease.

The album shifts from industrial rock to dark electronic, which reminds me of bands like Motionless in White or Korn’s 2011 album The Path of Totality. Both use layered storytelling to explore trauma, both personal and symbolic. The rough production adds to the imperfections of the illusions THRESHLD is smashing through. The weight of the lyrics carried through the album’s imperfections.

‘Beautiful World’ is a beautiful example of THRESHLD’s ability to blend melodic vocals with aggressive screams in a cocktail of dark metal electronics that explodes through the speakers. A go-to for anyone listening to THRESHLD for the first time. Especially when it follows the haunting ‘Outer Space.’ Here, they showcase their vocal versatility in the most stripped-back track on the album so far. A personal favorite is ‘Neon Graves’ featuring pulsing guitars and THRESHLD’s impassioned vocals. I love the industrial soundscape that gets heavier with a beautiful breakdown.

No One Is Coming To Save You as a title confronts the listener before they’ve even hit play. This isn’t going to be comfortable. THRESHLD confronts the listener but also themselves that you have to take hold of life. No one is going to help unless you help yourself. They do that with brutally honest lyrics and a sonic soundscape that hooks the listener. A captivating listen that has me wanting more.

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On Thursday, April 9^th, I bore witness to two of my new favorite bands. Manchester trio Reve headlined at the Deaf Institute with four-piece Serpents supporting.

I first discovered them thanks to an Instagram suggestion; I wasn’t fully aware of what to expect going in. But I’m safe to say they blew the house down. Going in blind was perhaps my best option as I got to experience both bands’ energy and love for music first-hand.

Opening the night was glam rock four-piece Serpents, on their debut show. Lead vocalist Cerys and vocalist/bassist Eli, previously from BODY WATER, brought that experience to this show. They commanded the stage with incredible displays of control and confidence. Joining them was Josh, on guitar, shredding in the background while making their presence known. The final member, Kian on drums, was awe-inspiring to watch. Playing their 6-track setlist for the first time was incredible to witness. My favorite track from the set would be ‘Midnight Murderess.’

A fantastic set and great to talk with after the show. I’m excited to see where they go next, and grateful I got to witness the start of something beautiful.

That’s the one takeaway from that night: how special it was. Everyone there witnessed the start of two soon-to-be massive bands. Each has great ways of engaging with their fans. Serpents offering starter packs with links to their mailing list, stickers, and a signed setlist. Reve also offers a community from their Discord, to creating physical-only tracks. They love their fans and the fans love them back.

The interaction with their fans was something truly special to see, from the hugs and quick chats at the start of the show. The way they got everyone involved and looked after them if they got hurt during the mosh pit. Also, shout out to the two fans who turned the intermission into a karaoke session.

Reve’s headline set was something incredible to behold. Opening the set with ‘the curse’, a crowd-pleaser, showed everyone they were in for a great set. You wouldn’t know they have only been around for a year with the way guitarist Myles and vocalist Mia command the stage. Unfortunately, drummer Hope was not there, but it’s clear that after tonight, they would have been incredible to watch. Seeing the drum set-up, I could see we would be in for an incredible performance, and the drummer for the night did not disappoint.

Myles was working magic in his little corner of the stage, with their flair and outstanding shredding. The little solos and breakdowns were stunning to witness and even better to hear live.

Mia’s vocals were haunting, as they captured the deep, rich, emotional weight of her lyric. You could see the passion and fun they were having during each song. From their original tracks like ‘the curse,’ and ‘Tear The Ceiling Down’ to their Deftones cover, which got a huge reaction from the crowd.

The two of them put their whole personality on display, from Mia’s expressive facial expressions to their energetic back and forth. You could see they were having fun and that this was more than just performing. This was them being their authentic selves.

Reve are destined for big things, and if I’m honest, ‘the curse’ would have been in my top 10 of 2025. Reve and Serpents are two bands you’ll regret not supporting and being there to witness their rise.

[This is a paid review]

Gunslinger is the latest EP from Toronto-based hard rock band Anger by Design. The four-track EP is an explosive introduction to the band and my first taste of what they have to offer. The four-piece outfit put their hearts into this collection.

The EP kicks off with the title track – Gunslinger. A ruckus ride that hooks you from the start with a smooth bass that is intercut with a deep growl. Going into this blind, I didn’t know what to expect, but the gravelly vocals were both seductive and powerful. There are instances during the pre-chorus of hints of Stone Sour and Corey Taylor on Come What(ever) May. They have me hooked, and the dirty guitar-piercing solos are the icing on the cake: a strong start and perfect introduction.

Music follows and once again opens with a fantastic arrangement of guitars. The instrumentals are by far the strongest aspect of the track. The vocals, while strong, feel weak compared to Gunslinger. For me, this is due to the lyrics, dragging the track. I honestly would have preferred if this were an instrumental track, as they do a lot of heavy-lifting and are the best part of the track.

Shattered (Pieces of Me) is the slowest of the four tracks, but one of my favourites on the EP. The drumming and guitars are once again fantastic. The vocals here are stronger, and the little hint of rapping gives it a little extra something. I enjoy this experimentation, and it doesn’t stop as the final track, Leadership, adds a new layer to their guitars. While presenting as hard rock, here they have a nu-metal feel. This is by far their best guitar work on the EP, leaving nothing on the table.

Anger by Design surprised me with this EP. With fantastic instrumentals and vocals. I’m reminded at times during this EP of bands like Mushroomhead. A band I enjoy. Gunslinger is a great introduction to the band, and I can’t wait to hear more from them.

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Glam Rockers, Starbenders are back with their latest record – The Beast Goes On. The 13-track album delves into themes of loss, identity and longing.

Opening with the title track, a bold start that sets the tone for the rest of the record. Exploring the complexities of love and the shades of grey between love and hate. Kimi presents some compelling ideas that are further explored throughout the record. The swooping guitars during the chorus are particularly memorable.

Nothing Ever Changes ups the tempo, showcasing that shifting styles through the album. Here we get dirty, chugging basslines and fantastic guitars. Instrumentally, this is the strongest track on the record. A perfect track for the moshpit. The upbeat tempo continues on the deviously Chantilly Boy. An instrumentally chipper track with tragic undertones. Exploring the themes of self-acceptance in a world that constantly tries to beat you down. Kimi explores these themes beautifully while remaining hopeful.

Cold Silver follows and was my favorite track of 2025. Hauntingly beautiful lyrics that cut directly into the mental health epidemic. You’re left with a dark shadow as the lyrics sit with you, long after the track has finished. I’m reminded of The Marina’s – No One Noticed for how beautifully both bands explore the feelings of being alone.

The pace and energy are turned up on the fantastic Forever Mine. A fast-paced shot of adrenaline as we explore obsession. Filled with slick solos and chugging bass. One of the beauties of this record is each track’s earworm of a chorus. Each is instantly memorable. A personal favorite is from hello goodbye. A beautiful ballad-esque track exploring themes of longing, love, and being truly seen. I love the drumming here, as they give of a claustrophobic feel, as the protagonist’s world spirals around them.

The excellent drumming continues on the synth-stylises Tokyo. The track oozes 80s glam rock, with bombastic choruses and indulgent guitars. A standout in the Starbender’s catalogue. Following this is the cover of All The Damn Vampires, Saturday, a cover that perfectly fits Starbender’s sound. A beautiful cover that thematically fits the record and acts as a buffer for the darker side of the album.

Summon my Heart plays with pace and tempo beautifully as we go from slow, seductive verses to a bombastic chorus. Brilliantly exploring love, but from the view of loving someone who has distanced themselves from you, and that longing to be obsessed over. This is brilliantly juxtaposed by the dark Somebody Else. The synth-infused track features some fantastic keys as Kimi explores abusive relationships. The lyrics brilliantly explore the internal conflict of wanting to be free and the mask to slip, while also still being in love with them. The complexities and nuances of the situation are explored brilliantly.

The keys continue in the opening of To Be Alright, a hauntingly beautiful track. The exploration of pain, loss, and wanting to go back. The theme continues on June. The one-two punch here is devastating as you become lost in the past. June is a beautiful cautionary tale of nostalgia, to never get lost in the what-ifs of the past, but use the past to change the future.

The Beast Goes On concludes with the fantastic pulse-racing 21^st Century Digital Boy, a hard-hitting, bombastic track filled with shredding guitars and pulsing drums. The exploration of alienation through the impact of modern technology brings the album to a pulsing close.

This was one of my most anticipated albums of the year, and Starbenders didn’t disappoint. The Beast Goes On is their best album to date. Fantastic from start to finish with strong hooks, thought-provoking lyrics, and fantastic instrumentals.

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Flowers for Juno, the gothic metal and shoegaze outfit created by Benjó James, is back with their latest track – ‘Message to Lana.’

This is their first single since December’s ‘My Bloody Kisses’ and, like that single, showcases James’ growth as a musician. The single was originally meant to be a part of an upcoming EP, but for reasons, will be its own thing.

‘Message to Lana’ from the title and previous tracks has a seance vibe. A vibe and theme that James plays with fully. Their fuzzy, distorted vocals bring a haunting gravitas. The distortion can make the vocals difficult to understand at times. The sense of regret and excess is clear. The track also interpolates samples from ‘Ugly Bitch’ by the Mags, which at first is a tonal shift that comes together with the outro.

The track features a Northumbrian harp performed by Freja Crozier and adds to the haunting presence. While James brings together all the other instruments. The drum programming is steady but drowned out by the fantastic section of keyboards and fuzz bass synthesizers. The instrumentals here are fantastic and leaves me wanting an instrumental version.

Flowers for Juno continue to push new boundaries as they experiment with sound, themes, and samples. ‘Message to Lana’ is a haunting track that showcases their ever-growing talent and is one of their best tracks yet.

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Starbenders are back with their latest single, June, ahead of their new album.

June is the latest single from glam rock band Starbenders and continues their theme of nostalgia and loneliness. All through 2025, I was blown away by every new release from the band, and that continues into 2026.

Starbenders know how to craft a track filled with heavy emotion, and that’s exactly what you get on, June. The track follows a protagonist reminiscing about a person and life, and wishing they could go back. The lyrics tell a haunting story, and Kimi’s vocals sell the haunting longing to go back. Kimi pulls on the heartstrings as we feel the despair and hunger to change what has become of them.

Kriss Tokaji provides a sombre and intricate guitar work that feels like a flowing river. Tokaji’s guitar moves with the listener as we walk down this path. The depth of this tourney is enriched by Aaron Lecesne’s bass and Qi Wei’s drumming. A perfect partnership and heartbeat of the track.

Qi brings a subtleness to their playing style as Starbenders create an acoustic feel without ever being acoustic. June is a haunting track that leaves you feeling empty, in the best way.

The Beast Goes On is shaping up to be a fantastic album, filled with rich emotion and a kaleidoscope of sounds.

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After revealing my top tracks of the year, it only felt right to talk about the ten new albums that made my year. Unlike my top tracks list, there will be no honorable mentions, and instead, we’ll be diving straight in.

10. BABYMETAL – METAL FORTH

BABYMETAL released their fifth studio album, METAL FORTH, this year. I felt it was one of their strongest, if flawed. METAL FORTH isn’t a perfect album, as at times you’re left wanting more BABYMETAL, due to the abundance of collabs. It is, however, a fantastic album that showcases not only their connections but versatility. I’ve enjoyed hearing their evolution and am excited to see where they go from here.

9. HOT MILK – Corporation P.O.P

Corporation P.O.P. is a bold, uncompromising album that breaks the traditional mold when it comes to album length. There is too much Hot Milk wants and needs to say to fit into an 8-10 track album. The unwillingness to compromise to get their message across allows their fury to be fully felt. Hot Milk is an unstoppable force unwilling to compromise. Corporation P.O.P is a blast from start to finish.

8. LIGHTS – A6

Six studio albums in, and no two albums are alike. A6 is another piece in the jigsaw that is Lights. A piece that is alive with pulsing emotions, curiosity, and creativity. A6 explores the human condition. Lights bare their soul in this neon-lit ride that’s a must-listen for everyone.

7. SICKSENSE – Cross Me Twice

There were high expectations going into this album, but Sicksense delivered. It would have been easy for Killer V to repeat her work with The Agonists, but she’s too talented for that. Instead, Sicksense takes from hip-hop and soundscapes from melodic death metal and makes it their own. Nu-metal is having a revival, and this is where it started. A debut album worth the hype.

6. GHOST – Skeleta

Skeleta is an album rich with emotional depth that will have you uncovering something new with each listen. The raw exploration of human emotion gives this album substance and impact. This is my favorite Ghost album so far, with Skeleta starting a fantastic new chapter for Ghost.

5. COHEED AND CAMBRIA – The Father of Make Believe

The Father of Make Believe is a fantastic album that can be listened to as a stand-alone or part of a larger narrative. A wonderful blend with mesmerizing guitars, brilliant lyrics, in a box of chocolate of sounds. I was looking forward to this album, and it did not disappoint. I’m a relatively new fan, but each release continues to blow me away.

4. DANCE GAVIN DANCE – Pantheon

Pantheon takes steps into the heavier side of Dance Gavin Dance, with a sprinkling of other genres. They showcase a powerful sound, bursting with energy and dynamics that leave you wanting more. It’s an album you’ll have on repeat; I sure did. The album was a party that you never wanted to end.

3. TWENTY ONE PILOTS – Breach

My most viewed review of 2025 is my third favorite album of the year. Breach justified the hype and is among the band’s best work. The album is bold, with tracks that invite listeners to uncover new meanings, Easter eggs, and overall enjoyment. A worthwhile conclusion to a story over a decade in the making.

2. MATT FISHEL – Tales of Queer Suburbia

Reaching the number two spot is Matt Fishel’s third studio album, Tales of Queer Suburbia. Released in June, I never got the chance to review the album. However, if you read my top track piece, you’d know this album connected to me. Matt bridges the gap between being queer and a fan of rock music with an album that celebrates both. I described the tile track as a queer version of Tenacious D’s Kickapoo. A beautiful celebration of growing up queer and accepting yourself to an 80s rock soundtrack.

1. AVATAR – Don’t Go In the Forest

My favorite album of the year was Avatar’s Don’t Go In The Forest. A thrilling album that takes you on a journey. Not only on the human condition, but also on the value we place on people. AVATAR weaves entertaining and haunting stories that stir up the imagination. While listening, I felt inspired to create my own stories, but also imagine what an AVATAR comic or comic would look like. This album has plenty of callbacks for diehards and tracks that will become setlist staples.

That’s all from my best of lists for 2025. It has been a fantastic year and one I will look back on fondly. My last piece will be a year in review, so be sure to subscribe to read that or any piece by me first.

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It’s that time of the year again when we look back on what we enjoyed throughout the year. I look forward to writing my top ten lists because I get to talk about the tracks I loved and often didn’t get to review earlier in the year.

This list is my own opinion, and I’d love to see your lists in the comments.

Honorable Mentions.

Before we dive into the top ten, I wanted to talk about the five tracks that didn’t quite make the list.

All-American Rejects – Get This EP

This entry is a slight cheat, but the first honorable mention is the whole Get This Ep. It was tough picking one track as each track has its own unique joy. However, it was the joy of having new All-American Rejects music that was much more difficult. I did review these tracks, and you can check out that review here.

Don Bronco – Cellophane.

Don Bronco returned this year with new music, and my favorite was Cellophane. An industrial, darker, brutal track that reminded me of their pre-debut sound. I love hearing this heavier side of the band. Rob and co sound fantastic, and I can’t wait to see what they bring into 2026.

Sicksense – Throwback

Nu-metal band Sicksense exploded into 2025 with their debut album. An album I loved, and spoiler, made it into my top album list. Throwback was one of my favorite tracks off the album, as it perfectly encapsulated the core themes of the band.

Shinedown – Three Six Five

As you’ll discover in my top ten list, I’ve felt nostalgic this year. Shinedown perfectly encapsulated that feeling with Three Six Five. The slower B-side to their single Dance Kid Dance. The track is a hauntingly good listen about the unpredictability of the future and not letting it cloud our past.

A Tale of Queer Suburbia – Matt Fishel

The final honorable mention is the opening track on Matt Fishel’s album of the same name. A fantastic epic that I’ve described to friends as the queer Kickapoo. A track about knowing you were built for different things and wanting to escape while recognising the past helped us forge this path.

10. Callie – Grady

Callie by Grady made the end of my list due to the connections associated with it. A quick, simple track about being infatuated with someone based purely on vibes. To me ace-coded track exploring attraction. The track also reminds me of someone close, who became an important part of my life this year, in the same way Callie did in the track.

9. In the Name of the Father – President

Newcomers President exploded into 2025 with an incredible marketing campaign, which led to an incredible amount of hype before their first single. From experience, hype of this magnitude has left me disappointed with the result. However, when their first single In the Name of the Father dropped, I was blown away. An impressive mix of cathartic rage and personal introspection that leaves you wanting more.

8. My God Has a Gun – Vukovi

Vukovi’s album of the same name has stuck with me this whole year. The title track, in particular for its raw, unapologetic curtain pull of depression and the emotional weight we place on ourselves. You can check out my full review here.

7. Peacefield – Ghost

Peacefield, the first track off Skeleta, is a hauntingly beautiful track that sticks with you after the last note is played. The gospel open to the crescendo riffs. Ghost knows how to create epic-sounding tracks, and this was my favorite.

6. Tally – Twenty One Pilots

A track that wasn’t meant to be on the album has become my favorite from their entire discography. A beautiful encapsulation of the unconditional love our loved ones give when we feel like we don’t deserve it. To know they’ll be there, even when we’ve lost it all, it’s what resonated with me.

5. Don’t Forget Your Mask – Neon Oni

Another new act for 2025, Japanese metal duo Neon Oni, stood out to me. Their combination of high-tempo beats and periodic screams reminded me of Doll$boxx. Their single Don’t Forget Your Mask was an instant earworm. The thunderous riffs and thumping drums put this single above the rest.

4. Artificial Infinity – M83

Over the last few years, instrumental tracks have grown on me. A huge factor as to why is M83. They know how to craft a track that takes you on a journey. Artificial Infinity does just that, slowly building, changing tempo until they reach the crescendo. One of my favorite M83 tracks.

3. Parachute – Hayley Williams

Controversial opinion, but I haven’t been a huge fan of William’s solo work, only liking tracks here and there. However, Ego Death at the Bachelorette Party, is my favorite by far. One track in particular, Parachute. A beautifully raw and emotional track that you can’t help but connect with. It takes me back to my favorite Paramore era, After Laughter, for its honesty behind an infectious beat.

2. Don’t Go Into the Forest – Avatar

Missing out on my top spot is the fantastic title track from Avatar’s latest album. Honestly, any track from the album could have taken this spot, but the title track takes the spot for its beautiful storytelling. Johannes Eckerström’s lyrics craft an entertaining and thrilling story, and Simon Andersson’s bass is beyond fantastic.

1. Cold Silver – Starbenders

Taking the top spot is the beautifully unapologetic Cold Silver by glam rocker band Starbenders. For a long time, Starbenders were higher up the list with Chantilly Boy, but Cold Silver changed all that. A brutally honest self-reflection exposing the sadness we try to hide. Kimi Shelter sings with a haunting sadness and anger that is both soul-crushing and relatable.

That was my top tracks of 2025. To listen to these and the rest of my top tracks, you can check out my playlist below. What did you think, and what were yours? Comment below, I’d love to hear them.

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                                                           [This is a paid review]

Independent Symphonic Metal Band Divine Martyr has recently rebranded and is ready to hit the stage. Following the rebrand, they are set to release their upcoming album in 2026. Before that, they’re debuting their first single and new vocalist, Kassandra (Kassey).

Resistance is the first single of the upcoming album and a statement piece. A standout of the track is the phenomenal drumming from Mark McKowen. The drums are the perfect backbone with a rhythmic, ethereal beat. McKowen is also responsible for the orchestral segments. Segments that are subtler and used sparingly compared to other Symphonic metal bands.

Woody Hughes on bass and Jason Hyde on guitar bring a thunderous sound that drives home the impact of Divine Martyr’s lyrics. There’s an incredible opening bass line that’s both technically fascinating and a joy to hear. Hyde’s guitars bring the track to awe-inspiring crescendos on the pre-chorus. I’m reminded at times of Visionatica in the way they create hype through their tracks and end with haunting vocal harmonies.

Kassey is a great addition to the band, bringing gravitas to their sound. I enjoy her vocals throughout and the way she stamps her mark on the genre. A lower vocal pitch gives Kassey the edge, complementing the instrumentals.

My one issue is that the choir harmonies feel underdeveloped. I prefer either more voices harmonising or replacing them with orchestral instrumentals. Their inclusion doesn’t take away from the track; it’s just the one area I’d tweak.

This was my first time listening to Divine Martyr, and I’m deeply impressed. When I think of Symphonic metal, I tend to think more Eastern European, so it’s refreshing to hear this type of music from a band from Indianapolis, IN, USA. Showcasing that there is a larger audience, and one Divine Martyr can tap into. I’m interested to see where they go from here, as they set themselves apart from others in the scene.

Resistance Release on December 19^th, with the music video dropping on December 20^th. You can follow them on Facebook, Instagram, and X to stay informed and listen to their music here.

Gothic metal and shoegaze entity Flowers for Juno are back with their latest single ‘My Bloody Kisses,’ released 3^rd of December 2025. The entity is fronted by vocalist and producer Benjó James. This is their first single release since their cover of Wednesday 13’s ‘Morgue Than Words.’

This latest single, titled ‘My Bloody Kisses’, is the sole creation of vocalist Benjó James. The track opens with a solid drum loop that forms the track’s heartbeat. A tempo driver, but the least interesting thing about this mostly instrumental track.

What is interesting is James’s use of electric sitars and bottle synths to create an unsettling sound. Opening with a darker, slower beat that over time mellows. The synths take the listener on a journey from gothic gloom to tranquil realization. James takes you on a spiritual journey that is stuck on repeat.

‘My Bloody Kisses’ features lyrics that are muffled and remind me of Paramore’s ‘No Friend.’ A track I enjoyed for its clever use of production to carry the message of the track. That’s one reason I enjoy this, as the blurred and drowned-out lyrics give them a sense of longing and yearning from the listener. With audible vocals and lyrics, I don’t think the track would be as haunting or impactful as it is in its current state.

As with any Flowers for Juno track, there is a B-side, noticeable on the Spotify version. ‘Pink Noise’ closes out the track with a haunting hum that prolongs the yearning created through ‘My Bloody Kisses.’

I’ve said it before, but Flowers for Juno gets better with each track. ‘My Bloody Kisses’ is one of their best to date and a testament to how good they can be. Benjó James is a true talent.

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[This is a paid review, but all opinions are my own.]

Cabbage Patch Kill Dolls is the solo project of musician Zachary Chacon from Lawndale, CA, USA. They use a selection of music programs to aid in their creations, including Logic Pro X, GarageBand, and Magix Music Maker 2014.

On March 5^th, they released the single ‘Born’ on YouTube, Spotify, and across music platforms. The single is an impressive 4-and-a-half-minute instrumental interlude that sends you on a journey. This was my first time listening to Cabbage Patch Kill Dolls, and I wasn’t sure what to expect. With the title, I was picturing something heavy, maybe metal. So, I was surprised when ‘Born’ sounded like a psychedelic rock instrumental.

The surprise initially caught me off guard. However, as the song progresses, the feel of the guitars underlying the subtle effects of the electronics transports you into a new state of listening. Chacon has you experiencing a wave as you flow with the motion, constantly moving to the rhythm of the sampled drums.

Zachary does a great job of keeping the sound interesting and flowing, but the only drawback is the runtime. Towards the end, the track does feel like it’s running out of steam and on the verge of overstaying its welcome. Although I do enjoy the slow fade out, ‘Born’ does juxtapose the single’s title.

Cabbage Patch Kill Dolls won’t be for everyone, but if you enjoy psychedelic instrumental, I recommend checking them out. ‘Born’ is an interesting single and one of a selection they’ve released this year.

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All American Rejects are set to release their first album since 2012’s Kids in the Street in 2026. Before that, they’ve released the 5-track EP, Get This, to whet our appetite.

Now, if I’m honest, I’m not usually a fan of releasing a portion of an album as an EP. I tend to find myself enjoying the full album less as a result. However, this feels different, and I believe it’s because this is the first collection of new music since 2012’s Kids in the Street. An album I hold dear to my heart.

Get This opens with the title track, the last track to be released on the EP. A fun, heart-warming opening. Filled with little hooks, this song is pure fun and a wonderful opening. This is followed by Eggshell Tap Dancer. Now, it took me a while to get used to the track, and I think partly because I was comparing it to the other three previously released tracks. This is the slowest of the tracks, but that slow burn pays off wonderfully. Ritter’s vocals are the best here as you hear his sincerity and slight humour.

Search Party! is my favorite track off the EP. A brilliantly witty track with fuzzy guitars, hypnotic drums, and an earworm of a chorus. Followed by the fantastic East Come, Easy Go, originally a track from Ritter’s side project. A bombastic track that reminds me of Someday’s Gone. An energetic track filled with heartbreak and self-acceptance.

The EP concludes with the album’s title track – Sandbox. Another bombastic track that looks at nostalgia without the rose-tinted glasses. The vocals here are fantastic, along with the drums, a true standout.

Overall, Get This offers a vast array of All American Rejects, enough to whet our appetites for the upcoming album. An album I have a feeling will be one of my favourites of 2026.

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The gothic rock band Flowers for Juno is back with their latest single, a cover of Wednesday 13’s ‘Morgue Than Words.’ The track was released on October 31^st, 2025, and features the bonus interlude ‘Say No Morgue’. The single is their first since the September EP ‘Norturntables.’

Wednesday 13 is the perfect artist for Flowers for Juno to cover. The combination of romance and death perfectly encapsulates the Flower for Juno vibe. They are one of my go-to artists, so I was intrigued and excited when I saw they had produced their own cover of ‘Morgue Than Words.’

Flowers for Juno’s version opens slightly differently with Eine Kleine Nachtmusik by Mozart, a nod to Wednesday 13’s other band Murderdolls, before Jack Reed on guitars and Mark Crorigan on bass explode energetically, keeping up with the pace of the original. However, whereas Wednesday 13’s version has a quick tempo throughout, here there are slower moments that give the track an added flavour.

Robert Grayson’s drumming is constant and a steady foundation for the track’s tempo. They don’t really add anything extra to the track, but that’s fine. Benjó James adds extras to this track to make it their own with the reverbed vocals and subtle keys that add an atmosphere. The haunting ambience improves on the original.

Flower for Juno’s version isn’t as bombastic as the original, but the haunting atmosphere they do add suits the lyrics much better than the original. Also, the ending interlude is a beautiful touch that plays seamlessly, which almost feels wasted being its own song. The end narration of ‘Say No Morgue’ by Yasmin Herati is a nice tongue-in-cheek easter egg.

Benjó James is slowly crafting a signature sound that can elevate and improve covers for the better. I’d be interested in them covering other Wednesday 13 tracks or bringing what they did here into future single releases.

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Swedish metal band Avatar returns with their 10^th album, Don’t Go In The Forest. An album that struggles with pace but shines with substance.

Opening with the tin whistles of the rousing and rowdy – Tonight We Must Be Warriors—a rally cry as Avatar begins with anthemic fashion that continues to ramp up from there. The guitar work is beautifully subtle with a stunning solo that amps you into the follow-up track In The Airwaves.

A brutally Avatar track, filled with gritty guitars, guttural screams surrounding a catchy chorus. The intensity here is at odds with the opening, and juxtaposition continues with the sea shanty Captain Goat. Collectively, the sounds clash with no natural transition, but it’s hard to deny that individually, these tracks work.

That’s the thing you have to overcome with this album is the whiplash between styles. However, it’s easy to see the fun and intensity they were going for, so the pacing mismatch becomes only a minor nitpick.

Title-track Don’t Go In The Forest might be my favorite Avatar of all time. A fantastic romp with bouncing guitars, pulsing bass, and Eckerström’s colorful lyrics. Avatar tracks work best when they are telling a story, and this album has plenty of them, from the title track to the bombastic Death and Glitz. A scathing look at our fascination with death and emotional detachment from it.

The intensity continues with Abduction Song, a classic Avatar track filled with intense riffs that pound away as the lyrics paint a rich tale. While Howling At The Waves is the one tonal shift that is new for an Avatar album. Now they’re no stranger to the slower track. A Secret Door is a highlight from Hunter Gatherer.

However, while this is a slower track, the style is more pop-rock than expected. The piano gives the track an unexpected bounce that vastly contrasts the rest of the album. The track with be dividing opinions, as while it’s a departure, there is potential. I wouldn’t be opposed to them releasing it as a single.

Dead and Gone and Back Again feels like the opposite of Howling At The Waves. Delving into the darker tones nd operatic sounds. Showing their versatility, as monstrous Take This Heart and Burn It, revitalizes their Black Waltz sound. A brutal track with guttural verses, rallying choruses, and haunting instrumentals.

Closure Magic Lantern continues with the experiments, opening with a sound that feels at home on an Avenged Sevenfold album. While the guitar work doesn’t fully work, the lyrics keep you hooked as we drift towards the end.

Don’t Go In The Forest is a worthy while journey filled with haunting imagery, blustering sound, and willingness to expend. This album has plenty of callbacks for diehards and tracks that will become setlist staples.

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BAND-MAID is one of the hardest-working bands out here, and this year, they show no signs of slowing down. Contributing to 3 anime tie-in songs, tour, and producing the EP SCOOOOOP. 8 tracks that sit at an impressive 28 minutes, verging on full-length territory. BAND-MAID put their all into each project, and SCOOOOOP is no different.

As mentioned, their anime escapades appear on this EP. Ready to Rock [from Rock Is a Lady’s Modesty] is full of lavish guitars, feverish pacing that feels like a throwback to their early days. Kanami Tōno is a riff queen as she is unleashed here with the feeling of controlled chaos. That continues, with What is justice [from Tougen Anki]. Misa’s bass and Akane’s drums take center stage, continuing with the thrash tempo. The two tracks back-to-back are arena-worthy hits that keep the tempo high. Zen [from Zenshu] diverts from the heavy, trash, hard-rock sound, stripping it back to add pop influences. You still get the bouncing energy from the other tracks, with Saiki’s vocals shining.

Opening track Present Perfect delivers a riff masterclass, with each one faster and more impressive than the last. You’re in a tornado of riffs, enjoying the ride you’re on. Once you get past the anime tie-ins, you’re hit with the bouncy and bombastic SUPER SUNSHINE. The toe-tapping chorus with Misa’s funk-influenced riff is delightful.

Just past the halfway mark is where things slow down. SION is BAND-MAID’s ballad, and Saiki’s vocals soared to new heights. The harmonized chorus adds flair. A perfect pallet cleanser from the fast-paced rock with a soulful aura, centering track.

Band-Maid is a band filled with versatility, and they demonstrate that on Dilly-Dally, a departure from their usual sound. Opening with EDM and a bouncing bass before it explodes into a rap-rock fusion that feels like something only Miku could conger. The experimental track works beautifully. The EP ends with the prog-influenced Lock and Load. The EP ends with a rumbling instrumental that feels like each member trying ot outdo each other. I’m not typically a huge fan of the over-indulgent instrumentals, but here it works. The energetic track will have your jaw on the floor with the skills on display, and a joy to whoever gets to see this live.

SCOOOOOP is BAND-MAID flexing their strongest assets, technical musicianship, and joy to create. BAND-MAID doesn’t deny they dream of world domination, and it isn’t hard to see why. With an impressive back catalog that only seems to get stronger with each new release. SCOOOOOP proves there is no stopping BAND-MAID.

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What did you think of the EP? Tell me in the comments below.

The gothic rock band Flowers for Juno is back with their first single since the release of “When it comes to weaving tales, I’m like a demon with a tapestry needle” demo compilation in July 2025. The latest single, “You’re So Beautiful It Makes Me Sad,” was released on August 1^st, 2025.

“You’re So Beautiful It Makes Me Sad” opens with a simple yet hypnotic drum beat from Robert Grayson, before Jack Reed on rhythm guitar and Mark Crorigan on Bass step into frame with a haunting hook that lead vocalist Benjó James amplifies with his sultry and melancholic performance.

James’ lyrics are simple, consisting of only a few lines repeated throughout the track. However, where you’d think that would get tedious, they inflict emotion and a haunting beauty. Leaving you feeling the same sadness James sings about.

This, however, wouldn’t be a Flowers for Juno track without a slowed and reverbed version. The slow drums didn’t work for me, but the chugging bass line and keyboards slowed down to make this version worth it. The vocals lack the same haunting gravitas the original version had, and I’m wondering if a version would work with slowed instrumentals with unchanged vocals.

The single concludes with the spoken word thank you message “tysm.” Slowly becoming a hallmark for any Flower for Juno track.

Overall, “You’re So Beautiful It Makes Me Sad” is a beautifully haunting track that builds upon what I loved about “When it comes to weaving tales, I’m like a demon with a tapestry needle.” There is beauty to their sound that leaves you craving more.

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Dance Gavin Dance’s Pantheon was released on September 12^th via Rise Records. This is their tenth album, formed in Sacramento, California, in 2005. I, however, have only been listening to the band since their 2020 album Afterburn.

Since then, I’ve recognized their blend of experimental sound, melding funk, pop, rock, metal, and more, into one album. Dance Gavin Dance have aimed to return to their root-more experimental, heavy, and eccentric, all things I believe they achieve.

Animal Surgery opens the album with a mellow build of bass, guitar, and emphasized synth that bursts into harsh screams and hard-hitting drums. The chorus is a catchy pop-driven earworm that has a mix of modern metalcore and prog-rock. A pumping start that only gets better with Midnight at McGuffy’s.

Eidola frontman, Andrew Wells, takes over clean vocal duties and beautifully slots into place. The lead single has an unpredictable song structure that spans multiple genres, a common trademark throughout this album. The standout here in the guitar, the technical supremacy complements the song’s vocals perfectly.

The Robot with Human Hair: Rebirth took me out for a second with the shoegaze synth-driven opening before the instrumentals come together on the poppier tracks on the album so far. The chaotic sound lends itself perfectly to the atmosphere of the track and a prelude to the more experimental The Conqueror Worm.

Auto-tuned vocal opening lends toward a reggae-rock mix before exploding into a hard-rock-pink fusion. An energetic-filled track that, while the vocals are distorted, you can’t help but sing along.

Trap Door is a pure drum show bringing the punk sound that feels ripe for a mosh pit. The instrumentals are phenomenal as we progress from punk to a jazz-rock fusion. Wells’ vocals are phenomenal here, but it’s on the more hectic tracks that the vocals truly shine.

Jon Mess also lends his veteran vocal talents that really explode on Strawberry’s Daughter. The reggae-style vocals paired with Wells’ pop-driven sound leave listeners questioning what they’ll hear next. The same goes for the sonic jazz from lead guitarist Will Swan.

The band goes full funk on Space Cow Initiation Ritual, featuring iconic funk innovator George Clinton. The grooving funk melodies and bouncing bass lines are a surprising reset bit from the metalcore-pop. The slowed pace allows for the album to settle down as we’ve reached the mid-point of Pantheon.

The pace is played with again on All the Way Down, opening with the Mario Kart start beeps, before racing into intense drums, and guitars that don’t slow down; the instrumentals go from 0-60 and stay there. The vocals contrast the infectious melodies with an addictive, slowed-down chorus, highlighting Pantheon’s charm.

The heaviest track on the album A Shoulder to Cry On, pulls no punches. The mixture of shrill screams and theatrical screams makes for a powerful performance that adds edge to their funk sound. The vocal fade-out leaves you wanting to stay with the track a little longer to take it all in. However, we’re hit with the complete opposite. An energetic, fun, funk influenced the Peak of Superstition. Wells and Mess are the perfect vocal due to bouncing off each other, raising each other’s energy. The juxtaposition of this track makes sense as a buffer for the brutality of The Stickler. Slamming breakdowns, hard-hitting instrumentals, and ferocious vocals would lose all impact if directly preceded by A Shoulder to Cry On.

The penultimate track, Yikes! Gives the listener a rest bite, changing things up with a stripped-back sound that baits the listener into a false sense of safety. Mess and Wells jump between brutality and melody like a game of tennis as they do it with ease.

Pantheon concludes with, Descent to Chaos, a perfect descriptor for the track. The band amalgamates Pantheon’s cocktail of styles and sounds into one beautiful finale. Ending with a bang.

Overall, Pantheon takes steps into the heavier side of Dance Gavin Dance, with a sprinkling of other genres. They showcase a powerful sound, bursting with energy and dynamics that leave you wanting more. It’s an album you’ll have on repeat.

Let me know what you thought of the album in the comments. Don’t forget to subscribe and tell me what albums you’d love me to review.

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Miami-based electronic music producer and DJ LAMEBOT is regarded as an avant-garde figure in the Drum and Bass scene. He flexes that title on his latest EP ‘Only Way is Thru’ from label EC Underground.

LAMEBOT has already made himself known to EC Underground fans performing at a few of their shows, but this is his first release under their label. The three original tracks showcase his versatility within the scene and his flair for experimentation.

The EP kicks off with the title track and continues his video-game influence, like on the track ‘Amanda Grymez.’ The introduction beat sounds like an ‘80s arcade console. The arcade sound is juxtaposed with the ethereal beats and sub-bass sound. Having not listened to a lot of Bass-driven tracks before, I was blown away by how LAMEBOT captivated me with their sound.

The EP also features two remixes of the title track, the first by Pablo Funk, who slows everything down. The tempo and pitch are heavily reduced with the introduction of a reverbed video-game sound. Pablo’s influences dramatically change the vibe of the track. This can be said for Madsavvy’s remix that turns everything up while adding effects that give you the impression you’re listening underwater. Two unique approaches that add new dimensions to LAMEBOT’s already incredible opener.

‘Quiet Miles’ follows and is the most laid-back of the three tracks. The beat is simple, but it’s what LAMEBOT does with it that hooks you in. Featuring a melodic bass, balances the manic beat of the drum machine with the sample vocals, giving off a Gorillaz vibe. It felt like the perfect palate cleanser between opener and OG track closer.

‘Rebota Riddim’ closes out LAMEBOT’s EP before the remixes. A face-pace drum-machine intro that would have been perfectly paired with a guitar. Instead, LAMEBOT pairs the beat with a series of polyrhythmic melodies that alone feel like coloring outside the lines. Together, however, come together like a masterpiece you have to step back from to see the vision truly.

As mentioned, Drum ‘N Bass and Trap music are not my typical genres, but LAMEBOT has created something captivating that I find myself wanting to come back to. “Only Way is Thru ” is one of my favorite EPs of 2025. LAMEBOT is something special in this scene.

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Twenty One Pilots are back with their eighth studio album, Breach, an album that beautifully ‘concludes’ their story.

Breach, is a record that, for me, took two listens to fully understand the lore and decisions behind the album’s production. Upon first listen, I felt disappointed and underwhelmed by the hype built around how this record would end. That’s one of the beauties of Twenty One Pilots: the lore they’ve built and have been built by the fans.

This comes to a head with the opener ‘City Wall’, which, like a majority of this record, takes on a grittier, darker tone, both musically and lyrically. Tyler Joseph’s vocals are impeccable throughout the album, with the uncanny ability to jump back through the band’s eras with ease. There are subtle vocal callbacks, something that’s visualised in the accompanying music video.

It’s understandable why ‘City Wall’ is both the opening track and the last music video before the album’s release. They both tell the audience where we’re going and why this whole experience has been about.

Like previous Tøp albums, there is no one genre or sound explored, and while at times it can feel tonally at odds with the rest of the album, it is. Collectively, it’s trademark Twenty One Pilots. A track that gets a lot of love is ‘Drum Show’, which has a stunning bass line, perhaps one of their best to date. The track is Tøp's ‘Pulse of the Maggots’ with the affection not to the fans but to Josh Dun. A fitting love letter that further exemplifies the themes of this record.

Joseph’s lyricism has always been on point, and that’s the case on Breach. His skills as a narrator are turned up to an eleven. Painting, expansive worlds, and pictures as we explore themes of self-reflection, friendship, and self-acceptance.

A personal favorite and highlight for me is ‘Tally.’ One of the best tracks on the record. Dun’s drumming is pulsating; Joseph’s vocals hit like a sledgehammer as you feel the foreboding finality of things. The keys are also haunting, as with their upbeat sound juxtaposing the theming of the lyrics.

Twenty One Pilots promised that, Breach, would end the story. However, in true Twenty One Pilots’ fashion, they know this story never ends. A beautiful metaphor for the cyclical nature of mental health, that there is never truly an end. Perfectly represented by the closer ‘Intentions’ and the lyrics “I am starting it all over once again. Did I learn a thing?” There is no ending, only learning from the experience. Although Breach, is also about thanking those who stand by us through this journey and are there for us when we have to start again.

Overall, Breach, justifies the hype and is among the band’s best work. The album is bold, with tracks that invite the listeners back to uncover new meanings, easter eggs, and overall enjoyment. While it’s unknown where they’d go next, it’s evident that Twenty One Pilots aren’t going anywhere.

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