Album Review

There’s something charmingly audacious about an artist calling their project Epic Scales. It’s like naming your first novel Profound Literature; it’s a title that either crashes under its own weight or earns the hell out of it. Luckily for Samuel Yuri, his album does the latter. Across five tracks, this Brazilian composer, guitarist, and DIY […]

If okay(K) presents: Modest Tyler proves anything, it’s that okay(K) is less interested in fitting into a scene and more interested in seeing what happens when e dissolves one. His new project sounds like what would happen if Young Thug and/or Lil Yachty decided to front Silent Alarm-era Bloc Party; an unlikely fusion of yearning

There’s something inherently ambitious about The Mysterons, the kind of album that could only be made by someone who’s spent years living inside both their record collection and their imagination. Devon-based artist Ollie K’s latest project isn’t just a record; it’s an experience, a transmission from a parallel universe where Captain Scarlet, MF DOOM, and

 It’s rare these days to find an album that feels lived in. So much of modern rock is polished within an inch of its life; auto-tuned, compressed, and algorithmically optimized until every trace of humanity has been surgically removed. Until They Burn Me want absolutely nothing to do with that. Their new record, A Carnival

Some records take months. Others take years. Kill Me Kate took fifteen. The band’s long-gestating self-titled debut isn’t a revival or a reunion; it’s more like a resurrection of sorts. A raw, emotional, and unflinching punk record, it’s built from blistering riffs, bruised honesty, and the kind of persistence that only comes from heartbreak and

Every once in a while, you find an artist who sounds like they’re trying to soundtrack the end credits of your emotional breakdown. Belgian artist Florent C. is one of those people. He’s been floating around the alt-pop/electronic scene for a while now, quietly producing tracks that sound like they belong in the trailer for

Campfire Stories by Haus of Sound isn’t your standard “we jammed in the garage until we found our sound” narrative. Haus of Sound started as a cover band, which usually means doomed-to-mediocrity bar sets and endless requests for “Free Bird.” But instead of collapsing into irrelevance, they somehow converted that origin story into something interesting:

Cover albums are always weird little artifacts. They’re not quite nostalgia, not quite reinvention, but something awkwardly in between, like borrowing someone else’s clothes and hoping people compliment you on your taste. Weezer’s infamous Teal Album proved that if you lean hard enough into karaoke-level sincerity, you can make an entire generation simultaneously roll their

Listening to Gothic Aesthetic’s debut Tales of the Dark Forest is like being handed a script to a play you didn’t know you’d been cast in. Every track feels like stage directions written in eyeliner; every riff is a velvet curtain being yanked open by someone who definitely owns a candelabra. It is gothic metal

Every once in a while, a band comes along that doesn’t just write songs; they build confessionals and then dare you to step inside. Love Ghost’s Gas Mask Wedding is one of those albums. It’s raw, often chaotic, occasionally melodramatic, but in a way that feels earned rather than indulgent. The whole thing reads like