Bladee - Cold Visions 2024 seems to be the year of Bladee experimentation. Not that he doesn't usually but this year we have seen him explore Post-Punk and now Rage. It's a sound that fits him well! This is a really great record for most of its long duration. That is an issue for me, 30 songs is a bit excessive and part of me wishes they had taken the 15 best and made a record of just those because it would be amongst his best albums ever. This isn't to say there are really any bad songs here, despite its sprawl, it is shockingly consistent and Bladee and collaborators (which are all of the usual group plus a random Skrillax appearance) do very well. I will also add that the additions and production provided by James Ferraro are great and give this a real flavour. Another winning record from Bladee. Clarissa Connelly - World of Work Sonically Clarissa Connelly is playing with the sounds and aesthetics of the Folk and Prog Rock of the 70s, readapting it through her own lens and giving us her own vision of the sound, and it is marvelous. As the cover suggests we are greeted to a mostly piano-driven affair but not always, the textural palette is varied and doesn't restrict itself to one thing, each song taking on the instrumental selection most befitting of the given track. Connelly is also an exceptional vocalist, she isn't overly flashy but uses her talent to create some impressive vocal runs which make these songs all the more compelling. This one is not getting the love it deserves and if any of this sounds interesting go and listen to it. Couch Slut - You Could Do It Tonight Couch Slut follow in a long line of Noise Rock menaces and You Could Do It Tonight is a straightforward, evil record. The riffs are that type of pummelling repetition that made bands like Brainbombs pop and the band do well to adapt that style to their own sound. The vocals range from agonised screeching to somewhat disappointing spoken word, I don't love how every Noise Rock band seems to lean into spoken word but even with my reservations, the band do use them effectively. This is a great noisy and horrifying time and if this is something that works for you then you should absolutely listen. Dillom - Por cesárea The new wave of younger Hip Hop artists seem to be molded by their influences. Dillom pulls from a number of artists for his flow, jumping from soft and smooth to punchy and hard to fit the song, there is no attempt to create a singular brand as he is more interested in jumping from idea to idea to show off his skill set. This is apparent in the production too, some tracks lean into Emo Rap conventions but we also have songs that lean into more hardcore sounds and some that have shockingly seamless Rock implementation, Dillom and his collaborators have no interest in being pigeonholed into one thing and while you'd think this would lead this to feel jarring and noncohesive (which it occasionally does) for the most part it feels remarkably together. Again with much Hip Hop in languages I don't speak I will always feel like I am missing a key element, especially here where it seems to be deeply personal but as music, I found this very compelling. This is a varied album that manages the greatest feat for an album like this, feeling whole. Einstürzende Neubauten - Rampen (apm: alien pop music) It's been 4 years since we last got a visit from the boys of Einstürzende Neubauten and they certainly haven't wasted their time away, coming back to us with a 75-minute sonic adventure of an album. They haven't got complacent in their time away either, there are some seriously unreal sounds on display and the band sells the hell out of them. It's always a joy to see a band who have been around so long still have the desire to innovate and this is a whole package of that. LustSickPuppy - Carousel From Hell I have been very excited for this one, the singles had me feeling LustSickPuppy had finally perfected their sound and the album confirms this. Not one to do anything to convention, this 18-minute album is just constantly blasting with digital violence. Musically this is the vicious blend of Digital Hardcore and thick Hip Hop beats that we have come to expect from LustSickPuppy but here more so than previous releases it just feels evil, the album is toying with the listener while also battering them with a hammer. Vocally they remain as charismatic as ever, and their range from melodic singing to visceral screeching has them prepared for every turn the record takes. Each song flies past at a speed that leaves you wanting more but not too short that they don't leave an individual impact. The songs also just, end, without any warning, it gives the feeling of switching through radio stations but being taunted by the same artist over and over. I do wish the album had a few more songs but I appreciate this is how the album is and what we have is exceptional, very excited for more. Maruja - Connla's Well Maruja made quite a splash with their last EP and Connla's Well is already being received just as well as the last one was. I also happen to like it about as much as the last one. A collection of Post-Rock numbers with some intense builds and explosive moments that leave it feeling consistently exciting. Maruja are one of the few bands in this sound in the UK that I feel genuinely provide compelling ideas but I will confess I definitely gravitate towards them in their more intense moments which meant I didn't like the closer as much as the rest of the songs here though thankfully this project contains intense moments in pretty high quantities. Melvins - Tarantula Heart Despite their past as music legends, I feel comfortable in saying Melvins have been treading water for some time now, releasing a series of albums that range from terrible to okay, far from what they were capable of a their peak. I went into Tarantula Heart expecting similar but was honestly pleasantly surprised. That isn't to say it reaches the peak of their best work but it is pretty great! The band plays around with some fun experimental textures here and while they don't all stick enough to make this a pretty rewarding listen. More of this, please! Though I did skip Bad Mood Rising so maybe that one is good too. RiTchie - Triple Digits (112) In his time with Injury Reserve RiTchie has proven himself to be a remarkably talented MC with a unique style and flavour, and his debut solo work is packed with that same style just with more potency. RiTchie and the small set of co-performers all do great work and deliver the package with a delightfully bizarre energy while also just being really funny (especially Aminé on "Dizzy"). RiTchie also helms production on a number of the tracks here and the production is great, some truly mind-melting stuff on these beats. The only real issue I have is there are a lot of interludes on here and most of them don't do much on their own, but they add to the bizarre atmosphere of the whole record in a way that makes me not mind their presence. A pretty exceptional first work from RiTchie, and while I still anxiously wait for what will come next from By Storm, for now, this album has absolutely satisfied me. Vegyn - The Road to Hell Is Paved With Good Intentions The Road to Hell Is Paved With Good Intentions is one of those albums where a producer collects several collaborators to feature on a series of songs. These releases are in their nature messy, and it is how the artist handles that mess that decides whether or not it is a success and this Vegyn album absolutely is one of those successes. The album is very atmospheric, but the Downtempo and Trip Hop influence helps keep it punchy enough to not feel boring. However the record does occasionally feel a bit samey, but these issues are minor on the whole. A great record and one that is ideal if you need something to throw on and get lost in.

In comparison to the drowning of music in the two months prior March felt like a quieter month. That isn't to say it was a bad month, it absolutely wasn't, we were treated to a number of great releases. Gesaffelstein - Gamma Producer Gesaffelstein is back with his first solo album in around 5 years and one that finds him exploring the sounds of EBM cheese of bands of the past. This has to my experience always been an influence on his work, but here it feels like it takes complete hold, it is bombastic beyond belief and I love it for it. The textures explored work wonders, suffocating bass and satisfying unique melodic elements keep it consistently engaging. One bit of praise is that Gesaffelstein works as a vocalist excellently, he has that over-the-top gothic delivery which fits this sonic palette very well. It isn't all cheesy though, songs like "Mania" and "Psycho" dip back into a more menacing sound while remaining cohesive with the rest of the record. In short, this is a great success for Gesaffelstein and something I can see being repeated listening for me this year. Kidnapped - Disgust Just as crushing as the band's previous record, Disgust demonstrates the band's great ability for short but rewarding Powerviolence. Each song flies by in a second but have enough texture to give them sticking power. The vocals are fierce and the riffs are filled with hate. As with several records of this nature, I was left wondering what would happen if the band allowed themselves to write longer songs, but here even with these shorter tracks the band shines, I just wish they'd cut the unnecessary outro from the final song. Kim Gordon - The Collective I am firm in my belief that Kim Gordon is the best member of Sonic Youth and one of the only legacy artists who has a genuine interest in experimentation and The Collective is proof of this. It seems the goal for this record was to develop the concept explored on "Paprika Pony" off No Home Record and I am so glad because this is a sound she pulls off well. Here we have an album of absurdly blown-out Hip Hop instrumentals supplemented by Kim Gordon's signature deadpan, which you'd think would be an ill-fitting sonic touch, but they contrast each other better than you'd think. However, it isn't all one thing, songs like "The Believers" are insane Industrial cuts which lessen the Hip Hop influence to explore new ideas and they work. Two proper albums deep and Kim Gordon is still pushing boundaries and presenting new and amazing ideas. Kyle Gordon - Kyle Gordon Is Great After long delays, Kyle Gordon's debut album is here, with 8 different songs all playing different characters and different genres all broken up by radio skits. The songs do vary in quality pretty heavily, but thankfully most of it is good. "Girls Are the Best" is a ridiculously overblown parody of 2000s country which works specifically because of how far he pushes it. "Planet of the Bass" remains excellent, it is played so straight and lets itself be a really good song even outside the parody. "Crucial Life Lessons for Young Children" is such a fun spoof of children's music, and the violently bad advice provided makes it all the more entertaining, and the advertisements in between skit-esque feel. The album also ends off strong as "The Irish Drinking Song" is a pretty hilarious lampooning of Celtic Rock but in all honesty mainly The Pogues. Kyle Gordon is very talented and has taken a lot from music satirists of the past such as "Weird Al" Yankovic but added enough of his own flavour and style to be individually entertaining. I'm looking forward to where he will go from here. Liv.e - Past Futur.E After a while reigning as Neo-Souls rising star, Liv.e has surprise dropped an album of full-on Synth Punk, a complete tonal and sonic shift from much of what came before. If you think I am kidding, our opening track is full on Egg Punk, and Liv.e pulls it off well, a pummelling song with a killer driving groove. It doesn't stop there, later tracks dip into EBM and Minimal Synth textures with the production following suit. If I were to place a wide net over this album, it feels like one of those Synth Punk tapes from the 80s created by one science-fiction-obsessed nerd in their bedroom, adapted for the modern day, and it works. There are occasional moments where it gets a bit much, especially the high-pitched sounds on "$$$$ $" which is never texture I love, but these moments are limited. I doubt this will happen, but if we were to get more music of this style from Liv.e I would be delighted. But if any following new music, no matter the direction, is done with this much creative spark I am not going to complain. This is a great and short project with some killer ideas executed very well. MIKE & Tony Seltzer - Pinball After an incredible last record, Pinball sees a Trap turn for MIKE with producer Tony Seltzer and he absolutely sticks the landing. MIKE's hazy style of delivery may seem as if it would contrast against these more punchy beats but it's a pairing that works exceptionally well. This whole project has the potent energy of a late night at the casino, where you no longer know what time it is or how much you've spent. Our features here, while in limited amount, add to this energy well, especially Earl Sweatshirt who feels so at home in this aesthetic. Fantastic production and excellent performances make Pinball another huge win from MIKE, and another reason for me to just get around to the rest of MIKE's discog. Roc Marciano - Marciology Marciology's greatest strength is just how terrifying it sounds, the production is intensely sinister and Roc Marciano's deadpan delivery makes this a deeply unnerving listen. This atmosphere isn't all that makes this a worthy listen though, we have some great verses here from Roc Marciano and the other performers with no verse not working for me. This is one of those albums that is great but I find myself struggling to say much about, it's great but of course it's great, what else would it be? Rx Cowboy - COWBOY KILLER If there is one thing I continue to make clear, it's that I love loud and blown out Hip Hop and my god COWBOY KILLER delivers. Drawing from the stylings of Digital Hardcore Rx Cowboy crafts an intense and menacing collection of tracks that manage to be both texturally fascinating and also just really entertaining. These songs pretty consistently have a great driving groove which allows our rapper to deliver some great verses, he has a flow reminiscent of other lethargic Industrial Hip Hop MCs but with enough unique style to separate him from his contemporaries. This is a must if you are into Hip Hop of this style, this project is delivered with a natural talent and I look forward to what comes next. Turnabout - Obscura Noctis Mortis Here Turnabout has given us an EP of intense and suffocating Witch House with some great Industrial flavour to keep it exciting. Our vocalist also does well, giving a pained vocal delivery. "Better Off Alone" is an excellent cover as well, giving an intense misery to the original that fits better than you'd expect. I was massively impressed by the production and performances here and I am excited to hear more. Yung Lean & Bladee - Psykos Psykos sees an Alternative Rock turn from Yung Lean and Bladee, and while a sonic aesthetic Lean has explored in side projects, we are now in primary project category. But do they deliver? Yeah! The style the two go for is a very reverb-heavy blown-out one focused more on sound than structure and it isn't a style I gravitate toward so that was working against me here. That said the sounds here really are good, and are good enough that I did greatly enjoy myself here. Especially in the second half, the first half is okay but the second is excellent and makes the album. I was shocked at this because I was ready to write this off at the start but I am all for more of this.

February was another great month for music, and a month for comebacks! A lot of long missing bands came back with a new release for the first time in years and they pretty much all did well! Chelsea Wolfe - She Reaches Out to She Reaches Out to She Chelsea Wolfe investing completely in her Industrial side is not what I had anticipated but I am glad it happened because this winds up being a pretty great album. The soundscapes are menacing and suffocating and her voice sounds excellent on top. The album is slow yet manages to be consistently engaging and compelling, with huge escalations and constant bombardment of new ideas. I hope she continues to play in this space because Industrial clearly suits her very well, and I have a feeling her next could be a real masterwork. This is great and I hope is a sign of things to come. Friko - Where we've been, Where we go from here I had a slight worry that this album would lean too much into lushness and lose some of the songwriting I found exciting on their EP but they have not. Each song is packed with intense builds and incredible choruses. It is amazing how much more fully formed they sound on this, they have such a distinct aesthetic here and it works wonders. For a debut project, this is remarkably impressive, they have set forward a clear and distinct sound that shows off their influences while bringing in so much of their own flavour and building from what they have done before, if this is what they can do this early on, this is a band who must be paid attention to. From intimate piano ballads with great driving grooves to intense fiery guitar riffs that fling themselves upon the listener, Friko have a lot going for them, and "Get Numb To It!" is one of the best Indie Rock songs of the decade so far. Grandaddy - Blu Wav It has been 7 years since the last mainline Grandaddy album and after a long time away Jason and company are back and have not lost a thing. This album is packed with beautiful, emotive, and tight songwriting. The band's skill at balancing gorgeous and lush textures with an exceptional skill for memorable melodies is as strong as ever, and the vocals are as good as ever, his voice hasn't aged a day. The elements of Psychedelia and Country are pulled off with the skill the band are known for, and while the album feels tonally consistent, there are a lot of unique ideas going on in each song which keeps the project exciting. I've been nervous about getting to the band's later work because I hold their core 3 as some of the best music ever but if it reaches this point then maybe I'll have to get to their last two albums before this. This is another massive win from them. meth. - SHAME As suggested by the name of both the band and album this thing is pretty vicious. The atmosphere is suffocatingly evil throughout, with all of the instruments coming together into this noisy soundscape which manages to feel overwhelming while not feeling cluttered. The vocals are also great, adding an extra dissonant layer to this. Something I expected to be an issue is the song lengths, they are long, which the band pulls off, and the songs both manage to go in plenty of unique directions while not feeling aimless. While not every song is amazing, this is a great record with plenty of imagination and rage pumped in. Planet B - Fiction Prediction The most underappreciated The Locust side project Planet B is back after years of absence with a new album. As is expected from these musical lab rats this follow-up project is as bizarre as you could ask for and Sass Rap is a genre that works better than you'd expect. The production roams around without a care in the world trying out every idea it can as long as it is strange. I'm glad that these people even after years of making music have no interest in reaching a comfortable mediocrity and still want to experiment and all of their experiments here work. This is a manic, synthy, sassy journey that excites constantly and is very much worth a listen. Sleepytime Gorilla Museum - Of the Last Human Being I am always wary of reunion albums, even with bands I adore a lot can be lost after some time away, whether it is losing edge or losing direction for the project. So I went into this new Sleepytime Gorilla Museum record with an air of uncertainty, but found myself pleasantly surprised! The band's signature sound is still extremely apparent but they have definitely learned a thing or two in their years away, especially in the additions of more Brutal Prog touches, which supplement their sound well. The most extreme example of experimentation is the manic Zolo-esque nightmare of "Save It!" which they pull off very well. Our vocalists still sound great, the sinister theatricality of their voices is still here and has barely aged at all. One of my biggest points of praise here is that the album flow is exceptional, at times it feels like one large ongoing piece that is constantly shifting. All in all this thing is outstanding. The band hasn't lost a thing in their absence. Spectral Voice - Sparagmos Sparagmos is an album of slow and intense Death Doom, and it works, it really works. The band have a murky and discomforting sound that weighs heavy on the listener over its duration. Dissonant riffs and suffocatingly overwhelming drums come together amazingly. I was shocked by how relatively new this band is because they explore this sound with what feels like many more years of experience. This is another great Metal record to come from this year and I recommend it if you want something that seems to hate the listener. STOMACH BOOK - Sophomore Slump Callithump Of this new wave of maximalist bedroom Emo STOMACH BOOK is the one I was most excited to hear more from, the debut was great and the singles for this second album were shaping up to be even better and now the album is here that is absolutely the case. The album is ridiculously texturally diverse, with every song running free to try out as many ideas as possible and these ideas pretty much always work out. The sass-fueled mania of "METANOIA" moves at a million miles an hour and packs in thousands of ideas in that time. The vocals whether screeched or sung add to the overwhelming nature of the music, having a theatricality and off-kilter style that complements the instrumentals excellently. The one complaint I have is that sometimes the mix is a bit compressed, but it isn't too intrusive overall. They have outdone themself here, after proving their potential on their debut this sophomore album is anything but a sophomore slump, we have an album that has improved all of the best qualities of the debut album and if this is proof of what is to come, then STOMACH BOOK is in for a fruitful career. Tha God Fahim & Cookin' Soul - Supreme Dump Legend: Soul Cook Saga Cookin' Soul are primarily known for a series of Instrumental Hip Hop and Mashup works and this is the first project I have seen from them working with another rapper and oh my god it works. These excellent and varied Boom Bap beats with some extremely satisfying sample work make for a perfect springboard for Tha God Fahim to just shine. On Tha God Fahim of course he is good, his flow is perfect on these beats, and throwing in some classic references make this a compelling listen, but honestly I would be surprised if he didn't kill it. The few features we have here are also great, especially Raz Fresco, who kills it with a more muted flow that contrasts Tha God Fahim well. This is just an ideal fusion, these classic-sounding and captivating beats combined with some great verses make this a tight and excellent listen. If Cookin' Soul can do this well on their most high-profile collaboration yet then I am very excited for what may come next. Toadliquour - Back in the Hole Probably one of the biggest surprises of this year so far, cult band Toadliquor have put out their sophomore record... 30 years after their debut. You'd expect this to be a messy comeback album but god it is not! The band are on top form here, while not as utterly crushing as the debut, this is an album of incredible Sludge Metal. The performances are killer on here, every member of the band kills it. For a band who have spent the past 30 years not existing I am frankly stunned they have come back this strong, I just hope we won't have to wait another 30 for the next one.

A specific type of release I have a fascination with are ones that function as a full and thorough showcase of an artist's work over the years. Previously I saw this on Bob's Old Songs 1982-1993 which is a release I have had a long love for. However on the surface, this Eilir Pierce release doesn't seem like one of these, as you look at the back of the CD you see 10 songs listed, but upon putting it into your computer the truth is revealed, an additional 90 songs from several homemade recordings from various bands, solo projects and collaborations that Eilir Pierce took part in. The music of Degawdawns takes many forms, it's pretty clear to the listener that Eilir Pierce had no interest in locking himself into a specific sound or aesthetic. The album starts with the bedroom Indie Rock of "Stop and Come with Me to the Pub" where Eilir's distinct off-kilter vocal style comes in for the first time, as is the case with many home recording lab rats, Pierce is not the most objectively talented vocalist but his tone and voice fits this style of music exceptionally well. But even with this more conventional start, we are given a taster of what the record is going to be capable of as we fly into the Dance Punk of "Carrot" which batters the listener. But it doesn't stop there, we see the Indie Folk of "Caroline the Tart", "Ble Gysges Di?", "Laura" and others which is pulled off well, the instrumentals are usually simple but he manages to do well in this more sparse space and often (like with "Caroline the Tart") bring in new textures to keep it interesting. These songs stand in contrast to the more intense songs like the Industrial dance track "Fish", the distortion of "Get off My Head" and especially the frantic eclectic Punk of "Hot Cross Buns" which Pierce describes as an attempt at the stylings of Melt-Banana. There are also more experimental cuts. The sinister string-based soundscape created on "Llaeth" creates a more uncomfortable atmosphere and Pierce's whimpered vocals sell it. "Angor" is this bizarre bit of sound design. "Fun" has some hypnotic-sounding drums over this building instrumentals. "Keep In Touch" is a mixed-up ambient track based around a sample of a phone call. One of the most interesting is "Loping but Grinning" which was remixed and mangled in a really interesting way. Probably the most personally disturbing was "No One Could Understand Why She Could Not Move" which is a whispered spoken word story over a bass-driven instrumental. We also have plenty of total sonic diversions. "Laundry" is a Funk Rock-focused cut with a Pop core about opening up with more charm than you'd think. "Life Too Early" is almost a Lullaby with Pierce whispering over a quiet instrumental and "Lullaby" is a Lullaby! "Man on a Beard" has a prominent saxophone for the first time on the record. "One Two Song" has some deliberately sloppy instrumentation as the song develops. "She Paid Me Five Shillings" swings into a pretty solid Country pastiche. "Thank You for the Trees" is a cute Childrens Music number that is not played straight in the slightest. All across the album we see Pierce playing with different textures and it pretty much always works. It's hard to pick out highlights on a record this long and storied but there are a high number of songs here I would say are perfect. "Manmade" is definitely one of those, this thick and dense distorted soundscape is held up by some vocal and beatboxed segments, and delivers an amazing hook. "ELEO" is an excellent synth cut with a great driving groove and some fun growing textures. "I Met Jesus and He Was Crying" is a great Minimal Wave track with some great melodies. "If You Wanna Be With Me in the Summer" is a great Indie Rock track that shows off Pierce's influences. "Little Blue Stars" is an uncomfortably intimate track that works. "Little Manger" has an exceptional ending as it sprawls out. "Seedless" is a strange song with plenty of fun ideas. "Sycamore Tree" is a cute little Pop track. And "The Weather" is an excellent 2000s-style Indie song with some amazing synths among plenty of other highlights. All through the record, we see Pierce's excellent ear for hooks, practically every few minutes you are presented with a hook that burrows its way into your head, and by the end of the record your brain is filled with these assaulting you at once, goading you into considering putting the whole thing on again. An area of this release I found especially compelling is that after the first 10 songs, every single song has a bio custom written in, not only presenting why Eilir made these songs but presenting a full image of where he was in life. You see information about his friends, his hobbies, places he liked to hang out, and his insecurities, his personality exposes itself and this collection not only gives you a full view of the man's songwriting but also his whole person, which is something you rarely see in music. Is it perfect? Absolutely not. There are songs here like "Irish Song", "Mawr" or "Cheating Heart" which I think are pretty bad and despite being otherwise great "Plastic Man" has some really unpleasant synths, but like the weaker tracks on The Beatles White Album they strangely serve to make the whole more interesting, showing every facet of the musician, not just their best moments. It is one of many things that helps to give this album such a unique charm. The albums a number of these songs were initially available on are not accessible, made in what I assume are short runs and only given to people Pierce knew personally, but Degawdawns is, and I am so thankful. It isn't perfect by any means, it's loose, occasionally ugly, and often a bit full of itself and that makes it all the more fascinating. Packed within this 100-song gauntlet are some of the most entertaining and endearing songs I have ever heard and even if it has its weak moments they are outnumbered by the amount of brilliance on display.

The Last Dinner Party have already made themselves known as a very hyped act within the UK music scene after seemingly appearing out of nowhere. Prior to listening to this, their debut album I hadn't really looked into them, I was already getting my Glam Rock fix at the time and didn't feel the need to check these out, but since the album is here I thought I'd give them a chance. So this album is a lot of things but key among them is a bit shallow compositionally. That isn't saying there isn't any good here, "The Feminine Urge" is one of the best tracks on the album, it has a really solid rhythm and every build feels rewarding and "Sinner" is another success, some great group vocals and some great melodic touches. Nothing else here is especially bad but it all feels a bit, lacking. The band wears their influences pretty firmly on their sleeves, "Burn Alive" is a very Kate Bush sounding slower cut (down to directly using a pretty identifiable drum pattern), it is pleasant and has an interesting driving groove but I feel it builds to a pretty unsatisfying conclusion. Showing off your influences is by no means a bad thing but I feel like most of what this band has taken is surface level. The other songs don't fare too much better. "On Your Side" feels a bit directionless but is nice sounding enough. Most disappointing to me personally, "Nothing Matters" the album's most successful song is one where I felt that despite a solid rhythm it was missing some more impassioned delivery. The band have a pretty solid grip on how to make a song sound great on the surface but I consistently felt that the melodies were lacking in a way that led to it feeling consistently unmemorable. On the whole here we are left with an album that I understand the appeal of completely but one I still found myself pretty disappointed in. The band clearly have the chops to pull off music that sounds huge and potent but behind this, I often found the songs at their core to be pretty weak. I still feel like I could eventually love this band and it is just their debut but I wasn't sold here.

January is always an exciting month for new music releases as it is a complete russian roulette of quality. Hundreds of artists throw their hats into the ring at the very start of the year who I probably wouldn't have got to in a more crowded release period but I'm glad I did because I ended up discovering a lot of really great stuff this month. Heres to another year of excellent music. Apollo Bitrate - Despectral Maid The joy of the solo producer is that they have full control over the direction that they wish to take. This leads to a lot of things on this record, the first and clearest are some wonderfully diverse and fun textures. Chaotically chopped-up beats and some melodically captivating Chiptune leads makes for an effective pairing. The other thing that comes in is its length, which leads to a slight feeling of quality inconsistency, and I mean slight, for the majority of its runtime this record is utterly captivating, but some of the slower cuts feel a tad directionless. On its whole, this is a delightfully overwhelming and extremely unique record that excites around almost every turn. If you can survive it for its whole length there is something quite special here. Arcwelder - Continue For a band who, while always excellent, tended to stick to their guns, I was surprised by the fact this album deviates and is full of new sounds for the band. "Take it Slow" is different than their usual sound, a slower thoughtful track that the band pull off better than you'd expect. The biggest sonic shift is "Paul's Song" which has an upbeat feel with a percussion focused sound. Another surprise is that vocally, they have barely aged a day, Bill and Scott sound as fresh as they did in the 90s and the slight roughness that their voices have acquired adds to the maturity they have been displaying on this record. What hasn't changed is the tightness of performances, the band have always been a remarkably locked-in group and that hasn't shifted at all, they are as in sync and tightly manned as ever. After years of being gone, Arcwelder have returned with a diverse, brilliantly written, and tight record that both works as an excellent work on its own, but also stands toe to toe with the band's best work. CONNIE - Hi_Tek Mzk, Vol. 1 I'm honestly not sure why Drum and Bass and Hip Hop isn't a more common combination, every time I have heard it done it has been killer and that is absolutely the case here. This short record is packed with some joyfully imaginative Hip Hop production, ranging from absolutely pummeling to melodically compelling. This whole album is a showcase of production skill and it is extremely interesting. CONNIE is backed up by some great features from artists such as RXKNephew, Zelooperz, and more which give this some real flavour. For a debut project, this is a hell of a statement that gets me excited to see what comes next. Every guest delivers in full force and CONNIE has immediately become a producer to pay attention to. Emperor X - Дуже чудове Різдво From the Shoegazey atmosphere created in the intro that barrels into Drum & Bass as he sings Christmas standards over the top, it is clear that this release explores areas completely alien to Emperor X's usual sonic palette and honestly, he does it pretty well. His signature vocal melodies and songwriting style are still evident even in this more adventurous package. There are also no shortage of individual highlights, from the sparse instrumentation of "Дуже Дуже Чіназес Різдво" which while minimal has some great atmospheric touches in the background of the track, to the more conventional "Christmas Morning in My Girlfriend's Car (Ding Dong Ding Dong Ding Dong)" which is a more electronic take on what could have been on The Lakes of Zones B and C the best songs take on many different forms. The strongest track however is the dense and brilliant "Щодо Невідомості Дивана Ксенії (Regarding the Unknown Status of Kseniya's Couch)" which stands toe to toe with his best work. From Folk to Indietronica to all-out Drum and Bass, this EP proves that Emperor X is no one trick pony and this is another collection of great songs showing his no-miss record. Eye Flys - Eye Flys Eye Flys are a key example of the benefits of playing well in the space you are in. There is nothing innovative about the band but they take the sound they work with and run with it. This short record is packed with some incredible Sludge Metal tracks, with perfect production and thick riffs. The vocalist is also great, howling and screeching over these instrumentals with the weight of a planet. If you are in the mood for some Metal that wants you dead, get to this. Gumshoes - Cacophony A lot of independent Pop in the current day reaches fully into maximalism (which I do greatly enjoy) so I was quite surprised to find this isn't the case here. This is some well-arranged and performed Pop music with a killer ear for melody. Not only that but the instrumental palette, mostly consisting of a select few instruments, lend themselves to the vocalist's voice excellently, and everything feels locked in for the album's whole duration. Something I don't often get to praise is the plot of the record as we have a concept album here, as we see the story of the members of the fictional punk band Cacophony and this plot manages to be well executed but not intrusive to the quality of the music. This is always a tough balance to achieve when one is making a concept record as too often artists get absorbed by the plot, but that is not the case here, the songs all manage to stand on their own. On the whole, we have a great record here, whether it is the frantic piano playing or the vocalist's killer melodies there is always something to enjoy. While not every song is excellent and occasionally the textural palette does get a bit repetitive, most of it is, please get to this record if you are in the mood for some well-made Pop. Ὁπλίτης - Παραμαινομένη It isn't often we are given an album this good in the first month of the year but Hoplites has given us a furiously creative and relentlessly hard-hitting Metal record. The addition of unconventional textures such as the spiky synths in the penultimate track, only adds to the structurally eclectic mayhem on display on this record. Every second there is a new idea and yet everything manages to segway from one idea to the next feeling like one cohesive vision. The horns here are also great, they are played in an exasperated manner which creates a great feeling of anxiety whenever they come in. In short, this album is the best kind of anomaly, a real masterwork at the very start of the year and I am so glad I heard it. Radical Kitten - Uppercat Radical Kitten are one of the most slept on bands right now, their previous record Silence is Violence is one of the best records I have heard and I was awaiting the follow-up. This second album, while not quite as good as the debut, is still an excellent manic and energetic time. The band have a hefty sound that benefits the hyperactive instrumentation and all of it is tied together by the excellent vocalist. If you are in the mood for some high energy with a real weight to it, get stuck in, my only real complaint is I wish it was longer. Static-X - Project: Regeneration Vol. 2 The death of Wayne Static will always loom large over this band, in their marketing, in their writing but most obviously in how fans receive whatever they will make. This album contains what are the very last vocal recordings by the band's late frontman and as expected they have the energy and grit that fans have come to expect from Wayne over the years of music he gave us. But the instrumentals are what I am most interested in, have the rest of the band been able to deliver? Yeah honestly. It is still pretty obviously Static-X and it is a bit by the numbers but this is a sound I am a sucker for and the band still know how to rip it. I'm glad that we got Wayne's last recordings and I'm even more glad that they turned out well. I don't know what is next for Static-X, whether they want to call it and become a touring act or if they will continue as an active release band, either way, this is a worthy addition to their discography. twikipedia - Still-Life I don't know much about twikipedia, all I know is they are known primarily in Digicore circles, so I was surprised to see this Indie Pop EP appear on my rym. I was even more surprised to hear that it is great! Some of the artist's previous style has fed into the textures used, but they are surprisingly at home with this sweet little Pop release. The songwriting is tight and effective and while not every song is a win this is a really solid EP that I would recommend if you are in the mood for something small but great.

As far as active bands within the UK music scene go Courting have long been my band. I've seen them live more than once, followed their every move and Guitar Music was my second favourite record of the year of its release. This excitement extended to their follow-up album and as the singles rang in I became more excited. "Flex" was a great success, an excellent track that develops exactly how it should, but then "Throw" came out and something changed. This was the first Courting song I found poor, the hook was weak and the song felt as if it went nowhere and my expectations for the album shifted. So how did this extend to the album? In a sense, New Last Name features an inconsistency that up until this point has not been in the band's music. As previously mentioned opening track "Throw" is the band's weakest song, their usual knack for a killer melody just isn't there, and "The Wedding" feels inessential in a way none of the band's work has before. But that isn't to say there isn't good and to be frank the majority of the album is good. "We Look Good Together (Big Words)" is one of the poppiest cuts on the record and works pretty well with a pretty engaging guitar motif and some fun electronic inclusions. Songs like "Flex" and "The Hills" make great use of explosive horn-carried finales which make the songs feel very rewarding. Electronic-driven tracks like "Emily G" have a killer atmosphere which make the songs. The closing two-song run initially shows the band at their most bombastic and it is a sound that works before ringing out emotion before blasting right back into a pummeling explosive conclusion to the final song, a worthy closing track. There is a very particular type of album, it isn't quite a disappointment because it is still good, but there is still a potent feeling of it not quite living up to what came before, New Last Name is one of those. The band still have it, the majority of the album exhibits an embrace of more conventional textures and 2000s nostalgia in the band's signature style in a way that works, it's just a shame that not all of it works to that extent. This band are still great and have a mountain of potential but I can't help but find this a lesser project than what came before.

Green Day have long occupied a weird spot in popular culture. As one of the most famous bands in Punk as far as numbers go, they have long been under a high amount of scrutiny, accusations of being posers, selling out, and playing it safe, have been a relentless thread throughout their career. However, this needle shifted as the 21st century has progressed, as to many (myself included) the band have just simply got gradually worse as the years have gone on. Whether this is a product of their older age or the complacency that comes with stardom their edge has been long gone. This brings us to Saviors, the band's first album since the disastrous Father of All... and has the long hiatus allowed the band to hone their skills and deliver a genuinely great late career record? Not quite, but it is good! There are plenty of highlights. "One Eyed Bastard" is basically "So What" by P!nk but has a very distinctly American Idiot era sound to it that I feel works. Both the title track and the closer are great tracks that play into each other well. But the album's greatest moment is "Dilemma" which in my opinion is the band's best song since the 90s, this came as a massive shock to me. The band randomly pull out this phenomenal Power Pop track that feels like it could have come off of a hidden gem record from the late 90s. Several other songs almost reach a point of greatness but falter in small areas. The primary issue with the album is that the band have a habit of cutting themselves short and some songs would have benefited from a longer length. "Coma City" is a pretty adventurous track that I honestly feel would have benefited from that longer length, had this been given the space to sprawl this could have been a phenomenal track. Not only that but "Look Ma, No Brains!" which is otherwise a pretty solid uptempo track with decent energy, only really finds its swing as it screeches to a halt. I'm not suggesting the band write exclusively 10+ minute multi-part suites but almost every song here is under 4 minutes, I think a few of them could have been given more room to breathe. Sadly, like a lot of the band's work, inconsistency finds a way to creep in. The opening track "The American Dream is Killing Me" is a fairly average Green Day stomper with a pretty weak vocal performance and the vocal performance is a consistent issue. You feel the age in Armstrong's voice. It isn't so much that he sounds bad, he doesn't, he sounds good, but his distinct sneer is gone. However, the album's worst moment is the atrocious "Corvette Summer" by far the worst song on the record, a Hard Rock stomper that feels like it could have been one of the lowlights of the trilogy. All of this and what does it leave us with? Not the masterful return to form many fans and critics were hoping for, but what it is in my view a pretty solid album that shows that the band still care. While they are far from their peak, Saviors prove that the band can still try out new ideas and succeed. There are glimpses of their past glory and songs like "Dilemma" prove that the band can still write songs that stack up to their best work. While I don't think this is the later-period masterpiece that we were hoping for, I wouldn't rule out the idea of it happening someday.

I said in the worst list that what tied together the worst of this year was disappointment but I'd say what tied together the best was surprise. A surprise release from a legacy act that wound up being good, an act I had been following releasing the album I knew they were capable of, all elements of positive surprise. I would say on the whole this year was really great for music, and now I am going to celebrate the very best of it. 25. Silicone Prairie - Vol. II The Hypnagogic Punk project Silicone Prarie is back with a second album and one that I think is just as excellent as the first. This one leans into a more eclectic blend of sounds and tones than the first and what it lacks in the sheer hits of the first, it makes up for in a more compelling blend of different styles. The vocals are as wonderfully weird as ever and the instrumentation is an absolute blast. My only real issue is that the two interludes don't add much but they are so brief they don't impact my enjoyment too much. It is nice to see the softer side of the Silicone Prairie sound along with the punchier Punk. 24. billy woods & Kenny Segal - Maps billy woods has firmly cemented himself as an artist who can do no wrong, after an unbelievably excellent pair of releases in 2022 his return in 2023 comes complete with another excellent release, now with producer Kenny Segal on board for the whole project. These two complement each other excellently, Segals sinister jazzy flair matches woods' husky delivery in a way that elevates the power of both. Not only that but billy woods is expectedly on top form here, his flow and darkly political storytelling are always a treat and here there is not a bar that falls flat. The production here is also extremely effective. Though the beats lack some of the consistency of tone of other billy woods releases it makes up for it having the feel of an improv session by a jazz band at the seediest coffee shop in the world, which of course, suits billy woods very well. On the whole this is another excellent project, both of these performers are on top form and they are a pairing that work wonders together. It lacks some of the liquid cohesion of Aethiopes but its frantic energy makes for an almost equally great record. 23. hemlocke springs - going...going...GONE! From the very first single hemlocke springs has stood out as one of the most exciting and energetic artists in the Bedroom Pop space and her debut project going...going...GONE! delivers. On every song on this release, there is a charming off-kilter feel to the songwriting while still keeping the hooks and structures tight and memorable. Not only this but hemlocke springs possesses a vocal delivery that radiates personality, too many artists nowadays lack a real personal touch to their vocals but it is here in spades with hemlocke springs. The instrumental palette is also vast and varied, from the Devo-esque bass synths on "heavun" to the sparse funky instrumental on "pos". The creativity on display with the songwriting is matched with the sounds on display. Despite its eclectic style, the flow here is incredible, it feels cohesive in tone and ethos but not cohesive in style. This is a star-making release for hemlocke springs, from the very first release this is an artist who I am certain is going to go on to do great things. 22. André 3000 - New Blue Sun When this was announced and shortly after release the music community joined together in shock that this is what the first real solo album by André 3000 is. What this says to me is that people haven't been paying attention to what he has been doing for the past couple of years. I was surprised for sure, but I was surprised that we got an album at all, I knew if one ever came, it would be exactly like this. Now what isn't surprising is that this is excellent. The soundscapes here are gorgeous the whole album makes you feel like you are floating on light. André is a remarkably talented multi-instrumentalist and the cast of additional musicians do excellent work as well. Some may be worried that there isn't much happening in the mix but that is not true, there are countless amounts of interesting textures and motifs that keep the album continuously engaging. The thick bass hits on "Ninety Three 'Til Infinity and Beyoncé" act as an ear-catching melody that drives the song. The greatest highlight however is the textural buffet that is "Ants to You, Gods to Who ?" which makes it the best song on the album in my view, it is such an excellently executed work. This album is just such a gorgeous project, if André 3000's career from this point onwards is more albums like this I would not complain. 21. Meaningfound1 - Tell Me When You Find It Hunting for unspoken gems is pretty much always rewarding, and that is without question the case with this Meaningfound1 album. From the abstract artist name, an impression of the energy of the music could potentially be inferred but I do not think you could imagine the lengths this goes to. This album gets weird, it has a complete disregard for conventional structure and melody, instead taking on this jovially explosive style of songwriting, where the artist bombards you with ideas that don't always seem to connect but just, work. The strange choices don't end with the songwriting but also the textural choices, you will hear harsh midi instrumentation that does not blend into the mix, a lot of the individual instruments are garish and ugly but they all combine in this absurd tapestry of mayhem. You will be greeted by constant diversions, the artist seemingly dropping the idea they were pursuing for another, especially in the ever-changing "So Many Things To Say" which feels like surfing TV channels late at night and hearing these bursts of genius on every station. In short, this is one of the most creative albums of the year and the fact this artist only has 5 monthly listeners at the time of writing is a travesty. 20. Frog - Grog I have been discovering that Frog are one of the most underappreciated acts of the past few years and this newest record adds to that. The songwriting is as tight as usual, with the bands shifting yet endlessly memorable style of songwriting oozing from each track. What makes this one is the textural variety, while the band's past albums have not shied away from this diversity, this one feels especially adventurous, shown in moments such as the Funk Rock groove on "Black on Black on Black" or the joyous bounce of "Maybelline", the album isn't afraid to experiment with rhythm or tone and it makes for an engaging listening experience. While I don't think this is their best work (it will be quite hard for any of their stuff to beat Kind of Blah for me) this is another excellent project that proves that this band deserves to be huge. 19. MIKE - Burning Desire I think I can officially call 2023 the year of Hip Hop, the number of essential albums this year that are in the Hip Hop world is absurd, and on Burning Desire, MIKE has made an album to join that list. This album has a pretty loose structure, it jumps from song to song, thought to thought, giving us just enough time to enjoy the song we are on but also just the right amount to make us excited for what comes next. The production is thick and psychedelic, matching MIKE's deadpan delivery perfectly, it gives it a, not relaxing, but laid-back energy. But that doesn't mean it can't go hard, tracks like "African Sex Freak Fantasy", "Do You Believe" and others show MIKE at a more energetic delivery that combined with the other styles helps it feel tonally diverse. Equally, it leaves room for gorgeous cuts like the stunning "should be!", and with all these different tones the album never gets stale. There is just a unique energy to this album, it feels like floating through space unsure of when you are going to find somewhere to stop but you are just in awe of the sights. 18. Circuit Circuit - Body Songs I think I can officially put Circuit Circuit right at the top of the priority list for bands to keep an eye on. Of all the modern Sasscore this band do it the best, the energy is on point and it never gets stale even for a second. This thing is brutal all the way through, the riffs are wildly engaging and pummeling and it works wonders with the consistently brilliant vocals. My one comment is I thought the snap cut in the final track was a mistake on the first listen, it seems like a weird decision but doesn't detract from the song's otherwise greatness. Circuit Circuit have not only managed to make another excellent EP but have outdone their last, please pay attention to this band. 17. Tarrkam - Fresh Grad Okay, I must admit where my biases lay, I love Egg Punk, pretty much always. So if you are making an Egg Punk album I am probably going to like it. Lucky for me not only is this an Egg Punk album, but it's a great Egg Punk album. This album has an amazingly off-kilter style that keeps your attention the whole way through, bouncing from odd idea to odd idea and I love it. This thing is also packed with memorable moments. "Produk-Produk Mutakhir" is utterly insane, and the excellent vocal melody and memorable synth line make this a deeply enjoyable listen. The bizarre rhythm on the intro to "Kameleon" that explodes into this intense pounding groove is probably my favourite moment on the album, as well as the song being one of my favourites on the record. This is an amazing and unique album in the Egg Punk sound and if you have even a passing interest in the genre, check this out, you will not regret it. 16. Water From Your Eyes - Everyone's Crushed As someone who loves the more unconventional and angular side of Pop this is exactly up my alley. The album starts off great, with constantly shifting and wonderfully creative song after song, but really steps it into high gear for the second half starting at "Everyone's Crushed" and gives the listener one of the best runs of songs of the entire year, with some of the most mind blowing tracks you will hear. The chaotic energy of the instrumentals is perfectly complemented by the vocalist, who's monotone, uncaring delivery gives a sense of normalcy that just makes the music itself even more exciting. One of the most innovative and creative albums of the entire year, absolutely check it out. 15. Luge - I Love It Here, I Live Here I haven't been the biggest fan of Luge's previous work despite my love for all the aesthetics they pull from, I liked the self titled but I felt something was missing, they have however completely won me over on this release. They keep outdoing themselves with each song that comes up, every single one has a perfect balance between eclectic freakiness and an off-kilter hookiness that keeps them all feeling individually distinct. The vocals are also excellent, all the way through they perfectly capture the intense energy of the rest of the release. The energy is infectious and the songs are great. This is the exact style of modern Zolo that I gravitate to, it takes the best elements of the genre structurally and adds its unique style and charm to it. If you are in the market for some unique and entertaining music to overwhelm and delight you, check this one out. 14. Godflesh - Purge Industrial Metal icons Godflesh are back with another project, and their style of EDM flavoured Industrial Metal, last seen in the 90s is back in maybe its best form. This album is filthy, it is dense and murky in the best possible way, you feel as if you are being drowned in a swamp of nails for the whole release. The instrumentals here are absolutely crushing, from start to finish these instrumentals are some of the most vicious of the whole year, and the vocals are somehow just as evil sounding as they were at the band's beginning. After a 6 year break, Godflesh have come back swinging and are here to show that they are still able to contend with everyone else and this incredible album is absolutely proof of that fact. 13. Katie Dey - Never Falter Hero Girl I'm beginning to wonder if (and hope that) the dominating trend in underground Pop is going to be a full plunge into textural exploration. This album fully dips into this, while also keeping its extremely engaging and compelling songwriting as the primary focus. The album feels like being trapped inside a painting, the aesthetics are so colourful and vivid, you get lost in them. That is not to say the instrumentals are the only appeal, Dey's distorted and electronically warped vocals act as the guide through this abstract world and they are extremely effective. From potent energetic cuts to the atmospherically brilliant slower ones, this album is fully formed and utterly brilliant and the multifaceted vocals play a big part. As someone who is only really familiar with Katie Dey's work with Devi McCallion, this has absolutely blown me away, this is not only one of the finest Pop albums of the year, but also one of the finest albums of the year in general. 12. Alice Low - Transatlantic Sugar Alice Low is a genius and one of the most promising musicians in the world right now. No I am dead serious, across this debut EP we some of the most wildly creative music of the year, melding modern off kilter aesthetics with a clear love for the Glam Rock era of the 70s. For a debut release this really is exceptional, each song is wonderfully engaging while being sonically diverse and leaving so much room for future development. I have full faith that Alice Low is going to become one of the greatest artists of all time and I cannot wait to see her career progress. 11. Arthur Russell - Picture of Bunny Rabbit Arthur Russell is one of the saddest what-if's in music for me. Someone with boundless creativity, a unique sound, and a fierce work ethic was taken away before they were able to express their full potential. Thankfully for those of us still mourning what could have been there has been a steady stream of respectfully delivered and thoughtful archival releases that capture snippets of his incredible back catalog of recordings. This newest one is once again excellent, every song here is gorgeous and is even further proof of the excellence of Arthur Russell's songwriting. This whole album feels like a comforting embrace with a loved one that leaves both of you crying by the end. For anyone who enjoys any of Russell's previous releases you are doing yourself a disservice by not checking this out, it is beautiful and wonderfully creative. 10. Jeromes Dream - The Gray in Between It is extremely rare for a band who have been gone on a long hiatus to ever release a great album after their reunion, however on this album Jeromes Dream do something even more impossible, they make an album better than their debut. There is a manic and ferocious rage that permeates the record, from the vicious pinching guitars to the suffocating lower end, the drums pummelling as the vocalist yelps in agony, it is a fantastic sound through and through. Unlike a lot of Screamo it never feels too short, songs have the ideal amount of time to execute their ideas and they never get stale. The song writing really is on top form here, taking the expected viciousness and supplementing it with quieter moments that give the entire record a real sense of balance. I never thought I'd say this, but Jeromes Dream have made an album that is not only better than Seeing Means More Than Safety but one that stands shoulders above it, I cannot wait to see what they do next. 9. El Michels Affair & Black Thought - Glorious Game Last year Black Thought was half of one of the best Hip Hop albums of the year and here he is, doing it again. Black Thought is expectedly on top form, at this point he is one of the most reliably excellent rappers in Hip Hop so his immense talent on this project is really no surprise. The beats he finds himself on however are wonderfully unique, with lush instrumentation that gives off a dream like and psychedelic quality, while still being wonderfully punchy, with the tight percussion fitting Black Thoughts delivery brilliantly. This is a wonderful album and I really hope that this group work with Black Thought again because there is a stunning synergy here. 8. Cherry Cheeks - CCLPII Egg Punk has quickly become one of my all-time favourite sounds and Cherry Cheeks may be the best act to ever do it. This second album is an explosive blast of Punk mayhem. Each song falls into this wonderfully unique style while feeling individually delightful in songwriting. Sure the album is short at a miniscule 20 minutes but I am very used to short lengths within the genre. Sure I would like more but when the songs I have been provided with are this good I can't complain. The vocals are perfect, the instrumentals have the garagy and intense feel I love and there is not a second wasted. While it is a bit of a downgrade from their debut this is another incredible album from Cherry Cheeks, how this is the work of one person I have no idea. 7. Rebecca Black - Let Her Burn Of all the artists to make a fantastic Pop album, Rebecca Black was maybe the bottom of my list, but after being completely blown away by "Crumbs" I was excitedly anticipating the full release. And it does not disappoint, the album is a tight 10 tracks and each delivers with some wonderful creativity and exceptional hooks. Rebecca Black has really came into her own vocally and has a powerful grip over every song on the album. "Sick To My Stomach" is a bit underwhelming but every other song is brilliant. If there was an award for most improved over the period of a career I think Rebecca Black would win it because this is a triumph. 6. Brainiac - The Predator Nominate EP As a writer I feel it is important for me to make my biases extremely clear, Brainiac are at this point my favourite band of all time. Every single thing that has ever been released under the Brainiac name has been at the very least great, and that extends to the archival releases that have been steadily released since the resurgence of the bands popularity. So I was pretty excited to hear this was coming, the last release to ever be put out under the Brainiac name. What a way to go out. What we are greeted with is by far the most synth driven Brainiac release, bordering once again on the sonic palettes of EBM and Synth Punk. I was astounded mainly by how complete these songs sound, if you gave this to me as the secret unreleased Brainiac EP, I would believe you, each song feels fully formed and wonderfully crafted, with Taylor's unique brand of song writing oozing from every element of each song. As a fan this is the best ending I could have possibly hoped for, an unbroken expression of the bands creativity and a real glimpse of what could have come next. Despite it's short length and despite it's rough recording this is just what I wanted. God bless Tim Taylor. 5. Armand Hammer - We Buy Diabetic Test Strips Here is a phrase that should immediately convince you to listen to this album, it is an Armand Hammer album. E L U C I D and billy woods are both on top form, as they always are and the production is just as excellent as it always is on any project that involves either the two. That isn't to say this isn't doing anything new because that would be a lie because it absolutely is. This is seen most clearly in the fact that this is the most texturally diverse production I have heard on any of their releases. The production seems to cover every single mood and genre but it always feels distinct to their overall style. The chemistry between the two is of course excellent, they bring out the best in each other on every track here, they are both individually some of the most uniquely talented people in music right now as far as flow and lyricism is concerned and together they are even stronger. The winning streak continues. 4. Xiu Xiu - Ignore Grief On Ignore Grief Xiu Xiu have successfully created one of the most manically sinister albums I have ever heard. The whole album is packed with off kilter instrumentation, suffocating drones, horrifying vocals and utterly hopeless sounding strings, and all these elements come together to create something wholly unique in its musical horror. A further point on the vocals, Stewart and Seo both take half of the album each and their unique voices complement their songs in unique ways, with Stewart offering a more hopeless yelp which gives his songs a feeling of writhing pain with Seo bringing in more foreboding powerful presence that gives a wildly different effect to the overall sound of her tracks. A lot of people have complained about the lack of cohesion between the two sides of this album but I think it only helps to further alienate and unsettle the listener and helps to make the elements I love about this all the stronger. 3. Beloved! Paradise! Jazz!? From its opening moments, this album feels special, the droning instrumentation and the novel excerpt reading set up the mood for the rest of the album. For every moment after this, the album is beautiful. Instrumentally this is some of the most incredible Jazz in Jazz Rap I have ever heard; every instrumental is dense yet never too busy. The performers on top of these instrumentals are what matters here however. Mckinley Dixon is a captivating performer throughout, with richly detailed lyricism and a fantastic flow. He not only grabs your attention but keeps it for the projects whole duration, and I found myself always focused and engaged in his performance. The features here are also great, whether they are here for backing vocals or to add a verse, they all add so much to the album. In short, this album is brilliant, whether it is it's usual gorgeous or harder such as on "Mezzanine Tippin'" it all comes together in one genius whole. I am kicking myself for not giving McKinley Dixon attention sooner. 2. MSPAINT - Post-American This project is a lean, no nonsense collection of brilliantly written and tightly performed Synth Punk. The bands style of impactful riffs combined with fantastic hooks that immediately drew me to them has only been made even greater than it already was, as they have practically perfected that sound on this release. They don't stay in their own lane though, they are always finding new ways to excite, from the infectious confidence of "Information", the ball of energy that is "Acid" which feels as if it is constantly ramping up more and more, the anthemic scream of "Hardwired", the angular synths and manic vocals of "Decapitated Reality" and the fiercely powerful vocal delivery on "Titans of Hope" the band constantly find new ways to pummel the listener. MSPAINT have a level of power and energy to them that I feel has been sorely lacking with a lot of Punk this year. Each song feels like an exercise in vigour that never lets up for its whole duration while remaining fiercely imaginative and wildly creative. As far as I'm concerned, that makes it pretty much the ideal Punk album, if you are even remotely interested in Punk and especially if you are interested in Synth Punk this is one you need to check out, you will not regret it. 1. Kœnig - 1 Above Minus Underground Possibly the most imaginative Hip Hop album I have ever heard. Every beat on here is unreal, meshing organic sounding instrumentation with alien accents that give the entire project a wonderful creeping and uncomfortable atmosphere. An example of this is the wild, bending and pulsating synth that blasts in a minute into track 2, which creates an unnerving feeling in the mix, as it feels as if an unknown creature is wailing in pain, and textures this fascinating are all over the project. To add to these incredible instrumentals, the majority of these songs have features and every single one kills it. From the immediate, punchy flow of Sensational, to the winding tone of Moor Mother to the always fantastic Dälek, every single feature adds so much to the record, even the extremely unconventional feature from Elvin Brandhi which sounds unlike anything I have heard. In short this album is phenomenal, 2023 was an amazing year for Hip Hop and this album stood shoulders above the rest, as a titanic and monolithic testament to sheer creativity.

I think the word that most describes the worst of 2023 is "disappointment". Whether it is a long standing act releasing their worst album in years, or promising act fumbling the bag, this year at its worst gave a feeling of true disappointment. While I do think that this year was good for the most part, not all of it can be good and here are my 25 least favourites. 25. Macklemore - Ben This exhaustingly long project rides a fine line between Macklemore continuing to try to be taken seriously while bringing back some of the energy that made him appealing to people in the first place and it ends up as a mess. Inconsistency is the core of the problem here, songs range from good (Tracks 6 and 7 are surprisingly solid) to absolutely atrocious like the entire first 5 song stretch and especially the obnoxious "Lost/Sun Comes Up" which thinks itself as a genius for making the observation that Pop is formulaic. The features here are strange, a weird mixture of decently sized names like NLE Choppa, Tones and I and DJ Premier and an ocean of no names. The saddest part is almost none of these features bring anything new to the table, they are pretty much all here to sing the hook in a way that feels as if it is aping the style of another artist and it gets tiring very quickly. On the whole this album feels sad. Macklemore is really trying to break out of the rut he has found himself in but his attempts come across as desperate. This album isn't terrible, but the lifeless performances on some songs and the weak features just turn this into a slog. 24. Swizz Beatz - Hip Hop 50: Vol 2 The first volume of the Hip Hop 50 project ended up being one of my favourite EPs of that year, it was packed with excellent production, energetic verses and felt like a genuine love letter to Hip Hop. This second volume is pretty much the exact opposite. Pretty flat sounding production met with verses that feel pretty effortless and soulless. The closing track is a big highlight but I can't see this project as anything more than a disappointment. 23. Connor Price - Spin the Globe Conceptually I like this idea. Getting artists from all over the world and showing their unique skills and exposing them to a new audience, and most of these artists do really well. Each of them have a unique flow and delivery which makes all of their features interesting and fun. Sadly Connor Price himself has one of the most uninteresting flows I have ever heard, and his production is mostly mediocre, and sadly he dominates most of this project. When the other rappers come up it is pretty fun but most of this project is uninteresting and self impressed. 22. Inhaler - Cuts & Bruises Y'know what, I have to say it. Inhaler are a band, and a band who have, multiple members, and those members have instruments, and oh the things they do with those instruments! On this album you can hear them: playing notes, hitting drum, singing words. Those elements are put together into songs and eventually those songs were put together into an album, which has a cover and a name. Surely this will be an innovation in the world of "music". I praise Inhaler for their daringness to make an album that I have this little to say about! 21. Dream - To Whoever Wants to Hear You'd be hard-pressed to find someone with as poor an internet presence as Dream. The entire brand he has cultivated is one of obsession or hatred. The album winds up painfully generic, tracks like "Kind of Love" have completely ordinary instrumentals that don't impact me in any real way; they aren't pleasant enough to be good nor are they notable enough to be truly bad. What is bad however is a quirk that this album pulls several times, snap cuts. Moments like this can give a punch to big explosions in intensity but when they occur this often they just don't keep the power they should. The only point where the instrumental is poor enough to be interesting is the half-hearted attempt at Breakbeat drums on the opening track. While he has shown some vocal improvement, his vocal melodies are poor, especially on tracks like "Invincible (Like U)" where they are practically nonexistent. For a man who inspires such strong contrast in reception, I find myself depressingly close to being neutral. 20. Theory of a Deadman - Dinosaur This ended up being one of the most bizarrely bad albums I have ever heard, it has a feeling of slap dash chaos that makes it feel surprisingly entertaining despite its low quality. Of course the normal Theory of a Deadman pitfalls pop their heads, the terrible lyrics and rough vocals are on pretty much every song and do make every track worse. But despite me still thinking this album is bad, I have some bizarre respect for it, it embraces a number of styles and while almost all of them fail, I have to give props to the band for trying to do something this wildly different. 19. Gorillaz - Cracker Island Wow, what a disappointment. The album starts with its best foot forward with the excellent "Cracker Island" and then immediately takes a nosedive and is unable to capture any level of quality until "Skinny Ape". The whole album feels lazy, songs either lack energy completely or have weak and lazy hooks. Considering how long this album cycle lasted I can't help but feel completely and utterly disappointed in the heartless and soulless mess that we have been delivered. The two solid tracks do save this from being a complete wash but this is probably their worst album in a while. 18. Babytron - Out on Bond Babytron is a charming presence on the EP, he has a lot of charisma and his flow is solid. But the beats on this are terrible, all of them, they are utterly thin, beyond generic and extremely cheap sounding. This seriously has some of the worst production of the year, it is never good at any point in time and it really lets BabyTron down which is a shame. He is good enough to stop the EP from being terrible but not good enough to stop it being bad. 17. Iggy Pop - Every Loser Iggy Pop has been very out of his prime for a while but that did not prepare me for how bizarrely dated this album would be, and to the 2000s of all decades. All throughout this album you will be greeted with songs that take from the sonic palettes of Velvet Revolver, Buckcherry and other various artists who have been well and truly abandoned. It doesn't help that Iggy Pop has lost a lot of vocal prowess so these over produced and very synthetic instrumentals aggressively clash with his rugged and aged vocals. I respect Iggy Pop for still going for it despite his age, and sometimes he lucks upon a sound that works more, but maybe a different avenue would be more suited to him than this style he is attempting on this album. 16. Godsmack - Lighting Up the Sky Just painfully uninteresting and repetitive Rock that feels as if by constantly recycling well worn ideas it can find itself back on its feet again. The vocals are uninteresting, the instrumentals are bland and repetitive and the lyrics are absolutely nothing even remotely interesting. Every song sounds pretty much identical and none of these songs have any draw or soul. Why Godsmack are still necessary in 2023 I will never know. 15. Metallica - 72 Seasons This album screams disappointment. This album comes years after Hardwired...to Self Destruct and the glimmers of hope seen in that albums highlights are pretty much gone here, replaced with a wall of uninteresting, unflinching, Dad Rock filler. For a band who used to be hailed as one of the best of all time within Metal circles, this is some of the most unengaging music I have heard all year. But hey, I'm sure the tour following this will be good, and the album will probably sell fantastically so I guess I am in the minority here. I am just personally disappointed that a band I have loved for as long as I can remember care so little about their music. 14. Sleaford Mods - UK GRIM I like Sleaford Mods, or rather I liked Sleaford Mods. My experience with the duo is the pretty solid Divide and Exit, some newer singles and now UK GRIM, and I have disliked everything after Divide and Exit. This album is packed with boring instrumentation, lifeless vocals and weak lyrics that barely resembles anything they have done before. If it weren't for the surprisingly solid "On the Ground" this would be a complete waste because every other song is terrible. 13. Circa Waves - Never Going Under Extremely boring Indie Rock that tries to pretend that it does new and interesting things but stays under every single Indie Rock cliche under the sun. Being cliched isn't in itself a bad thing but when the songs are this boring then it really just seeks to make it all the worse. The production is also pretty bad, with a level of pointless polish removing any bite the songs could have. Every now and then it does something vaguely interesting and there is promise here but it mainly remains entirely unremarkable and exhausting. 12. Pitbull - Trackhouse When was the last time you listened to Pitbull? For most people, I'm sure the answer is somewhere between the mid to late 2010s. Well, would it surprise you that he has not changed in the slightest? The music surrounding him has, somewhat, the Reggaetón influence is something to grab onto but that isn't what I meant. Pitbull has not changed, remotely, his lyrics are the same as ever, and his flow is the same as ever, it feels as if this man has been frozen since I last heard him. As far as the instrumentals go, a consistent element is the reuse of music and melodies of the past, the House of Pain sample on "JUMPIN", covering the 4 Non Blondes for the hook on "Let's Take a Shot", the extremely lazy sample on "Roof on Fire" among many others, it all comes across as lazy, hoping the good memories attached to what is being sampled will transfer to the music. The other tracks don't fare much better, "Suave" has a deeply unpleasant beat, it is far too busy and just feels exhausting. On the whole, did Pitbull need to make new music this year? In my opinion no, but if you are really in the mood for Pitbull, well he is the same as ever. 11. TX2 - Randy McNally (No Love Like Christian Hate) TX2 made themselves known to me due to the storm of mockery received by their song "I Would Hate Me Too" and sad to say I happened to agree. That song's empty-brained stomping instrumental with the complete lack of interesting melodic additions and poor vocal performance left it feeling pretty unbearable. Those same complaints go across this whole EP, as most songs tend to follow the same miserable structure. The lyrical topics are generally progressive and pro-lgbtq+ and I align myself with the artist's views, but agreeing with an artist isn't the same as liking their music so, sad to say this project does nothing for me. For a final note, I will comment on the surprisingly out-of-place and okay final track, which sounds like the artist's attempt at making a modernised take on "Brick" by Ben Folds Five, and while it is nowhere near as good as that song, it is definitely the highlight. 10. Kevin Abstract - Blanket Each song feels like an unfleshed-out idea rather than a song, tuneless and hookless. Kevin Abstract's vocals, famously versatile and ever-changing lock themselves into this one soft delivery and never leave, and combined with the bland instrumentals it all comes together in this one monotone slog. On the base level, these songs sound nice, they are decently performed and the aesthetics blend well, but on a songwriting level, they are beyond shallow, with practically no definable elements to grab onto. Even the brief moment we get some more energy on the track "Mr. Edwards" is short-lived as it is a 52-second long interlude. You may think it is extreme to dislike a release this unremarkable this much but I feel that being boring is the worst thing an album can be and this album truly bored me to death. I have hope that Abstract could make good music again and hell I think this direction could work, but the songs here just aren't good enough. 9. Roger Waters - The Dark Side of the Moon Redux This is one of the most self-indulgent products of the year, from his melodramatic spoken word to the bland and directionless new instrumentals, this all feels like this was made for only Waters. Most of the songs have been made worse but "On the Run" has been truly butchered, the iconic synth line is practically unrecognizable and replaced with this lifeless pulse, of course existing as nothing more than the bed for more of Roger Waters's terrible poetry. If Roger Waters's goal for this project was to make everyone hate The Dark Side of the Moon as much as he does he almost succeeded, however the version he managed to make everyone hate happened to be the version he deemed an improvement. For me I struggle to hate this, I am just horribly bored by it, and honestly, in my view, that is worse. 8. Ghost - Phantomime This is a collection of sterile AOR covers that never do anything to engage in anyway other than genuine disgust. The EP opening with a 1980s workout music flavoured cover of a song by Television immediately sets the tone for the consistent misery that this EP has. Every song is frustratingly overblown with Tobias Forge refusing to use any form of delivery other than the most overdramatic wails. Beyond the songs that are genuinely painful everything else falls into a slop of nothingness with nothing of note to latch onto with the prevailing polished production soaking everything in this air of borderline stock music. 7. DaBaby - Call da Fireman Why does DaBaby have no personality? Throughout this extremely short project that question was right at the top of my mind, his delivery is absolutely sterile outside of the occasionally interesting adlib and his lyrics are painfully standard, not just in choice of topics but the way he discusses the topics are also played to death. The production here tries its best to set itself apart and to make up for DaBaby's complete lack of any defining aspects but mostly comes across as annoying and tedious. The most damning thing I can say about this release is it gets tiring and it is only a bit longer than 6 minutes, avoid this. 6. Bilk - Bilk A very uniquely dislikeable Indie Rock album. Instrumentally it is solid enough, the riffs and patterns are bland but competent, but the real issue here sits with the vocalist. Firstly with their lyrics, they are utterly hollow, relying on the most shallow references that never go any deeper than the most surface level mention. But it isn't just the lyrics, its how they are delivered, with the most bizarrely stilted rapping I have heard all year, it feels more like someone you know doing a mock rap voice than someone who actually earnestly wanted to. The parts of the vocals where they ditch the terrible rapping are okay and that combined with the fine but uninteresting instrumentations stop this from being truly awful and instead it just lands up being very bad. 5. Moon Hooch - My Head & My Heart Some of the most utterly vapid music I have ever heard. It offers nothing of substance, it is nothing but generic stock music drums with the most safe, joyless sax playing of all time, with occasional additions of synths so basic that they could be found as a preset on every DAW in the world. This bland covers album is so devoid of anything that I genuinely want to believe this is nothing more than a spotify hack because there is no way a respectable band could put something like this out and be satisfied with it. Beyond its basic, pleasant, friendly sound this is utterly worthless, skip this one. 4. Otep - The God Slayer Cover albums are bad. I know that is a bold statement to make but I'd say 99% of the time it is true, it is the final refuge for a band or artist who have run out of ideas and need an easy release to pump out to leech onto the relevance of whoever they are covering. This is absolutely true with The God Slayer. Otep has not been relevant for a while now, mostly due to them putting out a series of especially poor releases and it only makes this album feel all the more desperate and sad. While the album isn't exactly a covers album, it's a blend, some covers, some reinterpretations, and some originals. None of it works. This is the first album in a while to leave me well and truly bewildered. I have been struggling to understand how and why an album like this would even be released. The vocals are bad, the production is bad, the writing is bad, the choice of covers is consistently questionable and more than anything the songs are just poorly made. Otep have done good things in the past, it was a while ago but they have, what happened? 3. Lukas Graham - 4 (The Pink Album) Lukas Graham are responsible for one of the most detestable one hit wonders in history with the utterly soul sucking "7 Years", the most impressive accomplishment of this album connects directly to that song, in that every single song on this album is somehow worse than it. This is some of the most vapid, flavourless and lifeless music I have ever heard, every single aspect of it feels as if it is doing the bare minimum to be considered music as it repeatedly lazily riffs on the sonic palettes of AJR and Maroon 5. The idea that this is a band is equally confusing to me. A group of people sat and wrote these songs? I find that extremely hard to believe. This sounds like the product of one writer who has to turn in their final draft the day before the deadline because they spent the rest of that week writing for another artist they like more. Some of the few breaks to the monotony of this album are the features, and this isn't a complement frankly. Khalid and Mickey Guyton are fine, they do their job well enough and give a well needed break from the lead vocalists voice. G-Eazy is a different story. G-Eazy has been making music for well over a decade now, so how does he still sound like he just started yesterday? There is an air of inexperience in everything he has ever made and it even comes across in his features. 2. Sleep Token - Take Me Back to Eden It's been a while since I was reminded of the horrible state that the metal mainstream is in, and Sleep Token might be the most horrifying reminder of said state. This blend of soulless Art Pop combined with the most generic and empty Metal chugging is never once seamless, it always feels flabby and abrupt in how it jolts and shifts and even when it is blended effectively it still sounds terrible. The worst aspect however are the vocals, which take on this tone of yarling melodrama, which sounds absolutely insufferable and the painfully generic rough vocals are just as insipid. The only upside I can see to this album is that it may be a good gateway into metal for someone unfamiliar, but otherwise this feels pretty worthless to me. This is pretty much everything I dislike about modern Metal rolled into one release. 1. Måneskin - Rush! Rock has been a joke in the mainstream for years. People who are self proclaimed "Exclusively Rock Fans" will flinch at admitting this but they know it is true. Institutions in the mainstream eye have long rewarded the work of nostalgia miners and the creatively bankrupt. Mainstream Rock never evolves because to evolve is to stop being supported by Rock fans and radio, so bands must remain firmly and unremarkably in their own lanes in order to stay relevant. Rush! sees a band at their most derivative. Complete with atrocious lyrics (especially on the agonising "Kool Kids") and uninspired instrumentals. This album fails as both a Rock album, as it lacks any grit or intensity and as a Pop album, with some of the most appalling and repetitive hooks I have heard from any band. Especially apparent in painful songs like "Bla Bla Bla", with noxious onomatopoeia being used in the place of any form of clever song writing to create its atrocious hook. Another thing that weighs on the listener as the album continues is it's crushing length. This album doesn't seem that long, 52 minutes isn't too much all things considered. But what makes it feel like an eternity is its 17 tracks, and when you have 17 tracks that all sound either the same or make no impression it gets agonising extremely quickly. When a song is a "Rocker" it is nothing more, when a song is a ballad you can be assured that it delivers it in the most plain and empty way possible. The albums one redeeming element is found in the song "Gasoline" which is the only time the band manage to find themselves a decent groove, and even then it is spoiled by the vocals. On that topic, vocally this album is equally frustrating. Damiano David has one of the most hateable and snide voices of any frontperson, with every word having the self impressed sneer of the worst of the Hair Metal vocalists. You get the impression that he doesn't feel the need to try because by appealing to close-minded rock dads and hate listeners (which I am sadly feeding into) he knows he can continue to rake in lucrative profits.

Hearing the first album by an artist with such a defined formula is always interesting in two ways. One is to see the birth of the formula, and here we see Yankovic's first collection of his signature musical parody style combined with comedic originals, with one big exception. This is where the other cause of interest comes in, where the album differs from the usual formula. Generally, the style is a lot rougher and looser with a pension for unorthodox sonic additions and also the complete absence of a polka medley (to my knowledge the only album of his to not feature one). But how are the songs? Pretty alright! Not his best work but there is some great stuff in the tracklist. "Ricky" is immediately dated being a direct reference to a pair of characters from over half a century ago, but has enough charm to somewhat work on its own. "I Love Rocky Road" would be a fun track but the squelchy noises in the mix are pretty unpleasant on the ears. While not the most iconic track "Stop Draggin' My Car Around" is probably the best parody, it takes the original and crafts a pretty funny narrative. "My Bologna" and "Another One Rides the Bus" are both obviously iconic but I tend to prefer the former, as the latter is a bit overly sparse, but both are solid. This album is also less than half parody! As with most of his albums, we have a fair selection of originals, "Gotta Boogie" is a great high-tempo cut. "Buckingham Blues" was supposed to be a parody but here it is a pretty okay if basic track. "Happy Birthday" is a great track, probably the best original on the album, a cynical twist on a birthday song that is gleeful in its bitterness. "The Check's in the Mail" is a fun track with a very bright and cheery style, but honestly doesn't leave much of an impact. "I'll Be Mellow When I'm Dead" is a great track with a fittingly hectic sonic feel. "Such a Groovy Guy" is a pretty mediocre track but at least has the benefit of having a pretty great chorus. The album does end on a high though, "Mr. Frump in the Iron Lung" is probably the darkest cut on the album but it revels in it and has a great melody. The main thing you can say about this album is that it is definitely a debut album. While the record has some of Yankovic's best work it also has a fair bit of material that feels either unimpressive or noticeably rough. I would also add that the original material on this album is probably the strongest element so if you only come to his work for his musical parody you will probably have an even harder time with this one. This is the blueprint of Weird Al but as it is it is a good if flawed record. If you are interested in how his career started or are just in the mood for some silly music you can't go wrong here.

Blockhead is a great producer, I don't think there is much doubt about that. On this album, Blockhead shows off the range of his talents, from soft Jazz Rap to tense and winding beats. Some production highlights are the buoyant and energetic "Mississippi" which acts as a perfect springboard for Aesop Rock to go insane with one of his most lively verses in a while, the dark beat on "Lighthouse" greatly benefits UGLYFRANK's sinister delivery, "Give Thanks" has a detailed beat with great percussion that makes for amazing accompaniment to the Armand Hammer feature, and "Sad Vampire" has a texturally interesting but sparse enough beat to allow Brian Ennals to be the driving force of the song which is delivered on with one of the best features of the record. The real sell of this album is the feature list and it is stunning, it is essentially a best-of-list list of alternative MCs with some incredible highlights. As I expected billy woods (both alone and as part of the Armand Hammer feature), Quelle Chris, Aesop Rock, RXKNephew, and other big names did great work but I was most surprised by the work of those I am less familiar with. The strongest of those being UGLYFRANK, Brian Ennals, and strongest of all AKAI SOLO who I have heard elsewhere but blew me away here. Sadly it isn't all wins, a few of the beats feel a bit overly busy and The Koreatown Oddity and Bruiser Wolf feel like they are slightly lagging behind the other MCs as far as verse quality goes, but for the most part, I was surprised by how consistently great this album is. The album ends with a killer posse cut featuring a number of the features from the record including a much better verse from Bruiser Wolf and expectedly excellent work from billy woods, Danny Brown, and Despot, for an album so packed in varying energy a posse cut with such vastly different MCs felt like the perfect way to draw it to a close. Even with its weak spots Blockhead has proven himself as a producer and brought along a slew of amazing talents to seal the deal, check it out.