November 2025

There’s a certain swagger that only comes from a band that’s been through hell, scraped themselves back together, and then decided the flames might as well be repurposed as stage lighting. A Light in the Darkness, the second full-length from Lisbon’s The Bateleurs, is that swagger weaponized. Not self-destructive, not nostalgic, but sharpened into something […]

There’s something almost poetic about Aeons landing in a world that feels like it’s collapsing and rebooting every other week. Esprit D’Air; the eternally DIY, never-quiet, never-dead metal project has always sounded like it was forged in the middle of an existential crisis, but this time, the crisis feels mutual. Where Oceans (2022) and Seasons

Luke Pacuk’s 1983 isn’t just another artist raiding the thrift shop of eighties nostalgia. If anything, it’s a full-scale reconstruction project. This record doesn’t merely wear its influences on its sleeve; it embalms them, reanimates them, and sends them staggering into the modern world with unnerving confidence. The result sounds less like a retro pastiche

It makes a difference when an artist wants you to feel something instead of just shoving their sound at your ears for streams and plays. Elion Melody’s “Engraved Onto Infinity” does exactly that, inviting you to sit with his curation that feels like a love letter showcasing his suave confidence and vulnerability. Originating from the

Heartbreak albums are nothing new. Everyone from Adele to your coworker with a ukulele has made one. But The Crumble, the debut full-length from Georgia-born singer-songwriter Avaraj, isn’t just about heartbreak. Rather, it’s about the aftermath when the love songs stop working and all that’s left is the noise in your head. Written in the

Matt Chabe’s debut as Sleeping Fits feels like the kind of record you stumble across by accident; an unassuming Bandcamp upload that turns out to be a miniature world of fuzz, heat, and human messiness. It’s the product of a one-man operation based outside Guadalajara, Mexico, recorded with what Chabe calls “busted amps and cheap