Fucking hell this sounds like the result of staying awake for a week listening to The Jesus Lizard on a loop. It’s snarling, sludgy, intense, vicious and very out of the ordinary. The vocalist at times has an air of Keith Morris yelling into the void, and the dissonant guitars and pounding drums behind create an intensity that leaves me on edge but in the best way. I dont know when the urge to listen to this album in full will next hit me but it absolutely will, and Ill welcome it when it ... read more

If this were just a Lightning Bolt record it would be scoring significantly higher. And probably if OOIIOO took these two tracks and developed them into a more sprawling listening experience like they have done in the past, then that would also probably score higher. Unfortunately the choice to begin a very solid Lightning Bolt release with two of OOIOOs less interesting tracks is a little odd. OOIOO end up sounding very tame in comparison to the intensity of Lightning Bolt. Being a huge fan of ... read more

This is goooooood. Dance pop-meets-rave-meets-electro pop-meets-trip hop. It’s addictive, even mesmerising at times. I can’t deny the fact that after a while it does seem to tread its own ground, I don’t think it needed to be nearly an hour long, but the chemistry is undeniable, the production is impeccable and the highs are verz verz high indeed.

Non English speaking music is a blessing and a curse. It is such a wonder to be able to experience projects such as this more easily than in the past, but the language barrier inevitably means that there is a whole aspect of the songs that I am missing. Of course, that is a me problem, and not something that I think any artist should adjust their output in order to cater to, but it does mean that with records like this all I can judge my opinion on is how it sounds. Which is pretty good, i like ... read more

Picked it up in a bargain CD sale because I liked the cover and it was a euro. Didn’t expect to like it this much. It doesn’t exactly push any boundaries in today’s context but back in 2011 who knows, maybe it did. It’s pretty inoffensive but certainly a fun listen.

I missed this last year but i checked it out since they are appearing at a festival I’m going to in the summer. I really enjoy the vibe, its hedonistic, fun, energetic and promises a really fantastic live show which i am undeniably looking forward to. As an album listening experience it absolutely has its time and place. I’m not going to be relaxing anywhere near this record, it will be saved only for a time when maximum energy is needed. It’s daft fun that doesn’t take ... read more

This is so good. Half spoken, half rapped poetry that explores love, life, friendship, community and all that goes with it, set to optimistic sounding electronic beats. Infectious positivity punctuated with moments of clarity through spoken word interviews allowing the contrast to build a kind of euphoria. I love it.

A truly beautiful slow jazz funk album. Passionate performances, brilliant playing, the voice of a man passionate about his message.

It’s not bad. In fact there’s some stuff on this record that are pretty flipping great. Unfortunately there are also parts that meander along at a pace that just loses my interest. He is clearly a talented dude, and I will absolutely be following to see his future output. I love the more lo-fi production, I do think the vocal could have been mixed better though. Currently there are parts where it seems to sit on top of the mix, and when you’re working with a vocal sound like ... read more

This is frigging great. Twinkly, maths guitar-work combined with powerful vocals from two very distinct voices, well complimenting each other in both aggression vs clean. The production is very polished which is a gripe i have with a lot of modern releases of this genre. It’s not that it makes it sound bad, but I feel a little rawness in the mix gives the final work a bit more character. Overall though it’s pretty dang awesome, not a song that i would skip.

Pretty cool to be honest. Vibrant, fun, well produced. The first half of the album is way more intense than the second, and it does get quite exhausting after a while. This is a genre of music that I find works best in smaller doses so that’s very much a me thing. Overall it’s goofy and fun and quite enjoyable.

The eternal conflict of even the most amateur music reviewer. How much of the review is weighted on expectation? Without hyperbole, M.I.A is responsible for some of my favourite albums of the 2000s (especially Arular and Kala). However how fair is it to hold a 2026 M.I.A album to those early releases. It would be insane to hope she is the same firebrand that she once was. However, whatever angle I look at this album, I hate it. In comparison this sounds so weak. The Previous releases have see ... read more

This is classic, brutal, relentless death metal in its purest form. They may have lost some of their rawness from the earlier years, that’s to be expected from an aging death metal band. It’s not as good as older releases by them but it’s still a banger.

I’ve been looking forward to new Babyfather for a minute, I’m a fan of Dean Blunt so new music from him is something to get hype about. This project is such a tease. It’s good, but it hints at so much more. Blunt sounds good, but the other mics mix (Escrow?) is quite poor. Also it’s SO SHORT. A longer and better produced record would be better but it’s still pretty fire.

This sounds insane. Weird, groovy, doom-laden, absolutely one of the most intriguing things I’ve heard this year. As long time fans of both of these bands I was really looking forward to this and it didn’t disappoint. I do see it as much more of a Melvins project, since aside from backing vocals by Barney I’m not sure what Napalm Deaths input looks like, but I trust that this is both of their baby and I’m just looking in the wrong places. Very very cool.

It’s whatever. It’s nothing special. Boring production, boring rapping, it sounds robotic and based on the AI he uses in the lead up to this album maybe it was used in the creation? I may be wrong though. Anyhow, it’s not necessarily bad but it’s just totally forgettable. Honestly I just finished it and I barely remember it. Snoop is a just a famous guy now who drops rap albums.

This is beautifully chaotic. Something like 120 different stringed instruments, wild instrumentation, crazy borderline genius instrumentation. Listening to black midi you can hear the cogs turn in the individual members, and listening to this you can hear what those cogs were working towards. It’s not perfect, there are some spots where maybe it jumps between ideas a little much and becomes a little messy, and there are some lulls, but in general this is pretty much a triumph. Annoying ... read more

This is cool. I love the original album, and this remix album is a really fun way to listen to it. I love the extra layers of instrumentation throughout, it’s chilled, it’s stripped back, it’s fun to listen to. A good time all round.

This is unashamed, unabashed, fist pumping, triumphant, relentless noisy garage rock. Chaotic lo-fi production, performed brilliantly, this is a storming debut record. If I were to pick a gripe it would be that the vocals do tend to get lost, which I know is a stylistic choice but if it weren’t quite so ubiquitous across the record I think the vocals would feel more dynamic. Reminiscent of older Big Black if they went on a King Gizzard binge. By the end of the record it seems they may be ... read more

Ambitious and powerful, huge sounding from the get go. They play violent music but with a technicality that betrays their but three bodies. The album is immersive and introspective, and the twists and turns it takes in terms of instruments used surprise throughout (brass/woodwind/choral) and I love the mathcore guitars.