Album Review

Beneath the parallels of sport, Brandon Mitchell’s newest album Gametime carries much more depth and meanings. The album is a collection of 15 tracks featuring several artists with different styles of hip-hop. It carries resilience, faith, and positivity over trials and tribulations, perfectly wrapping each song with its sports and athletic-like concept. It takes you […]

Blueprint Tokyo is back with more cinematic soundscapes and anthemic tracks with their newest album Neon Circuits and the Mission of Hope. It features 16 tracks that highlights the band’s music identity with their excellent fusion of indie rock, textured layers of synths, along with vibrant pop sensibilities. If you’re ever interested in artists like

Zach Tabori’s Attack of the Clout Chasers is what happens when a prog-rock gremlin reads too much Guy Debord, gets permanently brain-wormed by late capitalism, and decides the only way to cope is to record a concept album using jazz musicians, conspiracy boards, and a very large hammer. This isn’t an album. It’s an act

Grunge has always been thriving with its presence and energy — less about approval and pleasing, it demands to be felt and lived through. A Greek band GUS SEVENTY SEVEN unearths this depth with their newest self-release album NINE PATHS IN ONE DIRECTION. This project is the manifestation of the band’s passion for music and

Some albums feel like celebrations. Some feel like statements. Eric Sleeper’s Beautiful Lies feels like the emotional equivalent of finally pulling the plug on a relationship that’s been on life support for far too long. It’s not triumphant. It’s not loud. It’s a long exhale after years of holding your breath. And that’s exactly why

Ready for almost an hour of fun? This amazing album, with three singles out prior to the official  release on April 11th, showcases musical capacity and songwriting expertise to a whole ‘nother level in the context of proper disco and nightclub music. Manu Chevalier wrote, arranged, mixed – he’s basically the mastermind of the entire

Starchild’s Butterfly is what happens when you take queer joy, emotional trauma, and a stack of dance-punk records, throw them into a glitter cannon, and aim it directly at your heart. It’s loud. It’s messy. It’s absolutely trying to make you cry on the dance floor, and it will succeed; not because it’s manipulative, but

Geoff Westen’s MUSIC FOR MY FRIENDS is one of those records that shows up, entirely uninvited, kicks down the door of your carefully curated lo-fi playlist, and loudly declares, “Remember when songs used to be songs?” And before you can reply, it’s already halfway through a synth solo. It’s loud. It’s glossy. It’s borderline ridiculous.

There’s a particular kind of bravery in writing an instrumental concept album about inevitability. It’s one thing to scream about the void. It’s another thing entirely to sit down, look it in the eye, and try to transcribe it into 7 tracks of progressive metal and ambient textures without saying a single word. And yet,

Let’s set the scene. You’re in your early twenties. You just screamed into your steering wheel. You haven’t really slept in two days, and your best friend just sent you a song that somehow gets it; that weird, vibrating ache of being alive in the year of our lord whatever-this-is. That band? It might be