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.

I have made it no secret that I have a love for texturally diverse and well-written Pop, it is a pretty consistent running thread in a lot of stuff that I tend to rate highly. This album by Le Aids is no exception, with one major difference. Unlike many of the other albums that celebrate the absurd and simple joys of the world, The Dark Ages laments the fact the world even exists. An album packed with all of the bitter and painful angst of someone who feels truly lost, and the screechy vocals and occasional intense abrasive textures all but sell this. But it doesn't always sound like this, there are moments of real beauty in the instrumentals, yet even these beautiful moments are hidden under the undercurrent of suffering. The bright and cheery 2000s indie aesthetic of tracks like "Middle Ages" is used as a springboard for the artist's self-destruction and songs like "On the Way Home" softly bathe in their pain. The album doesn't come to a happy resolution, at the end the emotions are left at those of complete emptiness. While the emotions are low, the creativity on display is quite the opposite. We have ideas that are so boundless they could have only come from a solo artist. The tracklist jumps from genre to genre while the incredible melodies and satisfyingly busy instrumental palettes keep it always exciting. Despite the variety, the album manages to still feel cohesive, due to the mood and general artistic style that is unmissable. The vocals are also great, with a great mix of softness and power depending on what the song calls for. The vocal melodies are also consistently ear-catching and make these already brilliant songs even better. This is an album that can only come from a singular unrestricted vision and while it can be heavy to deal with, I would recommend this album to everyone with even a passing interest in music, especially since this is going so criminally under the radar.

There has been a pretty sizeable reevaluation of St. Anger. Once regarded as the most well-known hated album a notable chunk of the band's fanbase, and some who aren't usually Metallica fans, have found great enjoyment in this album for its unflinching vision and grit that the band's previous few albums were lacking. This opinion is primarily held by those who also champion the reevaluation of Nu-Metal, a reevaluation I am totally on board with. So this must mean I like St. Anger right? No not really. The album has merit, a number of the riffs are thick and intense and I honestly like the drums, they are a pretty aggressive texture in the mix but with an album that sounds like this they do fit. The problem sits with the songs themselves. For the most part, they are far too long, and length in in of itself is not a problem, but these songs don't do anything with their length. These songs have parts but they just last far too long and lead to most of them getting pretty grating. Not only is the song length a problem but the album length is too. This has been a factor in a lot of the Metallica discography, but the issue is made worse here because the album largely sounds the same, the songs drone on at a similar tempo and a similar intensity, and its length becomes apparent much quicker than on many of their other releases. James Hetfield's vocals are also an issue. I understand the life events that led to it, and with how unfriendly the album sounds the vocals should match, but sadly they mostly just stick out like a sore thumb. There are highlights. The title track is pretty solid and I actually really like "My World", I'm not entirely sure why, it doesn't do much differently to the rest of the record but the riff just clicks. Despite these moments most of the album just winds up okay, outside of the real duds, like the appalling "Shoot Me Again" the album's greatest crime is being boring. On relisten I wanted to be one of the people who praises this album as a secret masterpiece, but I just couldn't. It is absolutely not their worst (I'd say almost everything afterward is worse) but it is okay, and sadly that is all.

On the 18th of November, I headed to the Arts Club in Liverpool for What Music? An event consisting of a wide and diverse number of active bands within the UK scene. The Arts Club is a historic Liverpool venue located on the renowned Seel Street at the heart of Liverpool's music scene and only a stone's throw from the legendary Bold Street. This year it relaunched in full force and this is one of the earliest of a long series of events they have planned for said relaunch. Butch Kassidy I have seen Butch Kassidy once before at the London festival Wide Awake and I was pretty disappointed. The poor sound and weak stage presence led to a pretty limp performance. At What Music? Butch Kassidy was a whole different band. Soundwise they were miles better, their cacophonous wall of sound style thrives in a contained venue, which lets the listener get absorbed into the sound. Their songs build and drone as they bend and twist the motifs and riffs endlessly. As someone who was pretty let down the last time I saw them, I'm glad I gave them another chance. TVAM The second and final of the bands I had seen once before, TVAM who I caught playing a show I had gone to for Squid were a pleasant surprise then and a pleasant surprise now. Their ability to conjure vivid synth soundscapes is their greatest strength, their densely building songs have enough melodic and textural variety to remain compelling. Once again I felt that the lyrics and vocals played backup to the instrumental, as they are pretty basic and act more as an extra texture in the mix. Though it isn't a huge complaint I do wonder if this is the missing link stopping TVAM from becoming a truly essential live act, though they are still great. Their music is dense, compelling, and bizarrely danceable. KEG KEG is a band I almost saw months ago, having planned to see them open for the invincible Brainiac, though I ended up seeing Brainiac on another date. After their performance, I am kicking myself for that decision. The band is a ball of potent energy, if TVAM's music is danceable, KEGs demands you dance, throwing down some phenomenal grooves while remaining texturally diverse from song to song. My one minor complaint is despite the number of people in the band the sound was bafflingly thin, though I think that did leave space for the individual elements to shine. Ditz Ditz is a band I have been somewhat lukewarm on, as I found their album somewhat aimless, so I didn't have the highest expectations going into this show, but I was absolutely blown away. A manic and vicious explosion of energy with some masterful crowd control and stage presence. By far the most sonically visceral show of the night. As I watched the vocalist climb up the entire stage one single thought crossed my mind "I need to give that album another listen". Pigs Pigs Pigs Pigs Pigs Pigs Pigs After a night of phenomenal music it was time for the headlining performance by Newcastle-upon-Tyne natives Pigs Pigs Pigs Pigs Pigs Pigs Pigs and they delivered. The bands sound is as dense as a boulder, the floor rattled with every bass note, and every riff turned the theatre into a musical battleground. Not only did they deliver on the musical front but the vocalist had full control over the crowd, from charming crowd banter to moving from the very first second of the band's set, the crowd was completely under his control. A perfect ending to a great night. All in all, an excellent night of music at an excellent venue. The staff was friendly and the Arts Club was ideal for this show, the two-stage setup allowed for seamless transitions from act to act as you were only a short walk away from another band who were just about to start playing after the last show was over. The crowd was also a delight, at any show in the city the passion of the Liverpool public for the music is evident, at any given performance the audience was packed with people having a wonderful time. If you are looking for something to do in the city, have a look at what they have on at the Arts Club, you are unlikely to be disappointed.

Aesop Rock has finally returned with his first mostly self-produced album in a while and it is a triumph. This one has less self-reflection and more worry for the ever-developing technological world. The concept of the record is interesting, especially with all the controversial technological advancements in the current day it is interesting to hear so many takes on it. The production is fantastic throughout. The mechanical beat on "Mindful Solutionism" not only sounds excellent but also fits the themes of the song excellently. The more restrained and atmospheric beat on "Living Curfew" works as the perfect springboard for billy woods excellent verse. The descending bassline on "100 Feet Tall" makes for a memorable sonic element. The dominating beat on "Bermuda" allows space for Lealani to thrive. The whistled melody on the verses of "All City Nerve Map" makes for a really interesting texture. Finally the beat for "Black Snow" has a scale that makes it feel remarkably conclusive. His voice and delivery are his usual with little variation but when he always has something new to say it remains remarkably compelling throughout. His ear for hooks is also very apparent, with most songs containing a hook that just sticks to your brain, especially the one on the lead single "Mindful Solutionism" which has been stuck in my head since the single was initially released. As mentioned before, despite the small amount, all of the features are excellent, especially billy woods who is such a perfect fit for Aesop Rocks style that I'm shocked they haven't worked together more often. Hanni El Khatib has a nice punchy flow that complements the darker beat and hearing both rappers passing off verses makes the song the best on the album. It is also wonderful to hear Rob Sonic again even if his verse isn't particularly interesting. My main complaint with this album is its length. Though I understand that he wanted to sprawl out, but over an hour of Aesop Rock vocals can get slightly grating, though the length does allow for excellent song after excellent song. This is another excellent work from Aesop Rock who despite being in the game for going on 3 decades is still finding ways to excite.

October was an extremely fruitful month regardless of where your interests sit. Blistering Punk? Sure! Gorgeous Singer-Songwriter? Absolutely! An album recorded in a day at Abbey Road? A bit specific but yes! This year is nearing to a close but we are still getting a high number of essential releases, and here are 10 of my personal recommendations. Ana Frango Elétrico - Me chama de gato que eu sou sua There is an absurd amount of groove on this album, the tight bass work and thick drum patterns get you wanting to dance from the second the album starts. The album is also anything but repetitive, being recorded over a long period we hear many wholly unique textures and aesthetics, yet despite it all there is a general feeling of hope that helps the album feel together. The performances are all excellent, from the immensely talented backing band to the stunning voice of our primary vocalist, there is an incredibly evident talent, but it never feels sanitized. The performances are excellent but the soul is clear in every single note. This is a group of people who meant every single moment, and the album thrives because of it. Going back to the vocalist, their performance truly is excellent, there is not a lot of variety in delivery but the emotion just pours out of every single syllable in a way that is just irresistible. This is just a deeply enjoyable listen, from beginning to end there is not a moment of filler, just excellent song after excellent song. 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. First of October - Across the Road The fifth album by the album in a day duo may be their most consistent tonally and the one I feel comes together the best. On this album, we see the usual blend of genres but unlike the Metal and Comedy Rock of the last few, we instead have Indie Folk and very Beatlesesque Pop Rock, which are sounds that blend far better. This is not to say I don't miss the sheer bizarre eclecticism of the previous work but what makes this one is the far tighter songwriting which leads to the songs being simply better. That is also not to say it is lacking in comedy, as we have plenty of tracks like "Abby Rowed" that keep the tongue-in-cheek energy the band is known for. I also enjoyed the consistent use of the wall of sound technique, as it makes the dramatic builds on songs like the opening track and "Dorian" feel far more emotionally potent and also adds to the Beatles feel the album has. Sure not every song works, "Pretty Raw" doesn't particularly add much but when you are making an album within these time constraints to expect everything to pan out perfectly doesn't make too much sense. In short, this is their best yet, and I hope Rob gets well soon. 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. 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. Reverend Kristin Michael Hayter - SAVED! Kristin Hayter is one of the most talented people in music and the first release of her newest project does not disappoint. There is a haze of hopelessness enveloping the sound on this album, from the occasional crackle of the mix to the whimper in the vocals, the intense fear of her previous work is replaced with this ambient discomfort. This feeling is supplemented by the aesthetics pulled from, music of the South, seen through this more experimental and unconventional lens. This album is quietly harrowing, the lack of any intense builds or crashes makes for a creeping fear that allows the textures and songwriting to speak for themselves and enter your brain. For any who are worried this new approach would be worse than her previous work, there is no need to fear, she has once again proven her immense talent and I look forward to seeing where we go next. Slauson Malone 1 - EXCELSIOR As is to be expected of this artist, this thing is wildly imaginative. A blending of a countless number of aesthetics and textures that manages to work as a cohesive piece while not losing any of its eclectic charm. As is also to be expected the vocals are excellent, carrying a beauty that manages to match the unconventional aesthetic. My one minor complaint is that the structure lets it down somewhat, the amount of tracks means the album flow can occasionally feel stop and start but it isn't a major issue. Also one last note, as a Welsh speaker hearing the chorus of "Yma O Hyd" spoken on "Fission for Drums, Piano and Voice" was a neat surprise. Sufjan Stevens - Javelin Javelin sees Sufjan Stevens once again returning to his uncomfortably emotive Singer-Songwriter side, and just like the last release in this style, Carrie and Lowell, this release is an intense outpouring of sorrow. Loss is a concept Stevens explores a lot and his manner of hyper-specificity makes his words even more heartbreaking. Instrumentally the focus lands on his intimate guitar playing and it is a sound that fits his voice as well as always. However this isn't the only aspect of the instrumental. Elements of electronic instrumentation such as mechanical drum samples and sweeping synth pads give the quaint instrumentals a more dense feel that suffocates the listener. These electronic elements are also met with choral and chamber textures which keep the album feeling sonically interesting and engaging. This is another excellent work from Stevens who is one of the most faultless artists in music. The Mountain Goats - Jenny From Thebes The newest album by John Darnielle and Company is here and it is one of his most engaging of the band period. Here we have a concept album that takes on an Operatic Rock style, one they pull off excellently. All of the songs are engaging and are tightly performed by the entire band. I enjoyed how deeply they went into the aesthetic of this album. While the songwriting is their usual style the elements of horns and strings help give this album a unique feel that sets it apart from their other records, especially the tight horn section on the closing track "Great Pirates". In short, another great success from one of the few acts who feel they can truly do no wrong. Unschooling - New World Artefacts This album seems to exist as the opposite end to the Egg Punk sound while not strictly being Egg Punk. What I mean by this is that while Egg Punk frequently dips into the nerdy and jovial instrumental palette this album gets bleak. In my opinion, this is a decision that pays off, it gives these songs a lot of depth, as they are free to explore whatever direction seems right for the given song. That said I didn't love the slower cut "Excommunicated", it definitely helps to diversify the sound but I also don't feel like it always knows what it's doing, and it also had no business being almost 7 minutes long. But despite that track pretty much everything else here is a winner, a deeply enjoyable and individual Art Punk album that you can't go wrong with giving a go.

I am going to take this month as an apology for the drought of albums in August because this has been one of the most excellent months of releases of the whole year. Every single release day came with stacks of releases that would be in any of my other monthly lists that got knocked out by others. 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 features are also excellent, a cast made up of some of the usual suspects like Pink Siifu and some less common collaborators like El-P, everyone does amazing work both on the mic and behind the board. Every single individual aspect comes together on this album, it is composed of individually phenomenal aspects that come together to create this brilliant whole. The winning streak continues. Club Casualties - Bridge Underwater There is so much happening on this album yet it still manages to feel cohesive. A big part of that cohesion is the incredible album flow, every song moves to the next as if the whole album is actually just one huge track that moves organically from idea to idea. This structure works especially with an album as adventurous as this, there is a wonderful amount of experimentation and the use of Chamber orchestration in conjunction with the tighter Electronic Dance Music is a combination they pull off expertly. The experimentation throughout the album is also balanced with the quality of the songwriting, every track is memorable melodically and rhythmically and it keeps it feeling very satisfying. The highlight for me is the imaginative "Walk The Plank" where the bouncy and rhythmic instrumental undergoes a shift up in the second half that feels looser but manages to work just as well as the tighter opening half and the song structure feels perfect. This is a brilliant album, it is a bit short but I feel that decision was made to ensure the flow of the album stays as great as it is. I highly recommend it. Dying Fetus - Make Them Beg For Death Dying Fetus stand strong as one of the most consistently respected Metal bands of the past few decades, especially in the Extreme Metal field, I have never really listened to them, but on Make Them Beg for Death they show why they have that respect and make me regret not hearing them sooner. The riffs are absolutely killer and so varied, it doesn't feel content sticking in any lane as every song is blasting you with a new riff every minute or so. The vocals are also so tight blasting with intensity matching the mania of the instrumentals perfectly. 2023 has been a great year for Metal so far and this is yet another release to add to the pile, don't skip this one. The songwriting is tight and compelling, the album is paced really well and the few weaker tracks are outdone by the amount of great ones. 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. 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. As with most EPs, my only real issue is the material here is so good that I'm left wanting more, but here I think it is less of a problem as this is very much the blueprint for what is to come next, and I cannot wait for whatever it is. 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. Joey Valence and Brae - Punk Tactics This album is oozing with personality, especially in the Mid-School Hip Hop vocal delivery. They take the Beastie Boys comparisons in stride and have the charm to elevate them out of any form of ripoff area. Some of that charm comes from their unapologetic nerdiness, with moments like the Monty Python sample on "DROP!!" and the Talking Ben sample on "DANCE NOW" showing just how much fun these guys are having while making this and that joy is infectious. The production is also killer with highlights including the insane rumbling beat of "STARTAFIGHT" which sounds like an earthquake, the retro Boom Bap inspired beat on "KILL BILL", the jazzy groove of "DANCE NOW", the wild horns of "TANAKA 2" and the Punk instrumental of "STREET PIZZA". "TANAKA 2" also has the distinction of having by far the best Logic Verse I have ever heard. I do think it was a weird move to put out most of the album as singles but I suppose that is just a consequence of the single cycle. But this aside, this is a deeply admirable first effort. There is stacks of charm and an insane amount of potential, I am beyond excited to hear where they go from here. 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. Monopoly Child Star Searchers - Barbados Wild Horses Repetition and eclecticism are on the surface, opposites, but on this album, both are combined to hypnotic effect. This whole album feels like a world of its own, this tropical land, both inconceivable and jagged, the music conjures images of being truly lost. The textures here are so varied and compelling, from the practical instrumentation to the programmed elements, it all comes together in this one central atmosphere. The only real issue I have with this is I feel like it occasionally feels musically stuck and doesn't progress in the way it should. In short, this is such a captivating piece of music that is wholly unique and singular. If you are in the mood for a great album that will be unlike anything you have heard in a while, check this out. Nihiloxica - Source of Denial Thumping and pummeling, every blast from the hypnotic rhythm section feels like it is dragging you deeper into a trance. The thick electronic textures present on much of the album slice through the fierce rhythms and occasionally take center stage such as on "Source of Denial" where the synths take control of the groove. The album also takes a break from the intensity on the more ambient track "Trip Chug" which gives the album a stronger sense of diversity and stops it from getting stale and repetitive. However that song isn't boring by any means, it gradually unravels over its runtime and becomes more complex, and eventually, a rhythm returns which brings the album back. One thing I will complain about is that the interludes do not add much, they feel like a waste of time in all honesty but luckily they take up barely any of the time. With that said this is only a minor issue and this is still a great release that is worth your time. Simón Campusano - Sobre habitar la depresión intermedia I feel a lot of newer Neo-Psychedelia stuff can fall into this trap where the atmosphere takes over, and the songwriting falls apart, but this EP manages to balance both elements excellently. Tracks like "Esta profunda pena me va a dar de comer" have gorgeous sweeping instrumentals and impassioned vocal deliveries but manage to hold everything together with varied instrumentation and compelling structure. Those previously mentioned vocals are a really strong element here all the way through they manage this balance between sounding pretty while having the strength and emotion to set them apart. The only track here that doesn't work for me is "Compañía" which is paced in a really awkward manner and drones on for most of its duration. If it leaned into the drone or the introduction more then I wouldn't mind, but the indecisive element is what hurts it. That said, all in all, a great EP. There is so much beautiful creativity at play here and I highly recommend it to anyone looking for music with a psychedelic atmosphere with the songwriting to back it up. Sparklehorse - Bird Machine It has been over 13 years since we lost Mark Linkous and this lovingly crafted posthumous album just speaks to the once-in-a-lifetime talent he was. There is so much musical variety here, from raucous and gnarly Slacker Rock jams to gorgeous Chamber Pop suites. We see all the different facets of what made his style so unique. That uniqueness is what ties the album together, despite the differences in genre it all comes together like a multimedia canvas by an artists whose touch is so clear it all connects. The songwriting here is also so varied and tight, every song feels the perfect length, and the escalations and builds help keep every song feeling engaging and enjoyable. His voice and words are as emotionally potent as ever and only give the music an even more intense and bittersweet beauty. The album knows it's the end, and that finality only makes the experience even more heartbreaking. The silver lining to it all is we finally got to see his final vision complete, and I think that it was worth the wait.

Before this album's announcement, I thought we had finally moved past the era of excessively long and elaborate album rollouts, but this album had one that was especially self-indulgent and tedious. "This is the new Doja Cat" she has constantly yelled down the road, "Everything I made before was fake and awful" she called again. So after all that build up how is it? Well, it certainly starts badly. "Paint The Town Red" is pretty horrible in my opinion, the hook is obnoxious and it feels like it runs around two times longer than it should. Even worse is the following track "Demons" a miserably try-hard song with a pretty annoying beat. The opening three-track run feels bordering parody, they are so poorly thought out and executed and they drag down the album horribly because they are absolutely the low point. This trend ends at "Fuck the Girls (FTG)" which is pretty solid, the beat has a solid main melody that gives the song an unsettling feel that works with the aggressive tone, and her vocal delivery works here. Following this track that quality continues to be the case, pretty much every song after this works. "97" is a more mellow cut sonically which is especially bitter tonally, and I think it works. Another production highlight is the tight Trap instrumental on "Gun" which she works off excellently. "Often" is another great song, it has a jazzy feel that gives it a unique energy to the rest of the track list, that isn't to say it is the only song with Jazz influence but it is the only one that executes it in the way this one does, though a bit of that energy transfers to the slightly weaker but still good following track "Love Life". The album also ends excellently, both closing tracks embody a great amount of energy and have great beats and delivery. To my knowledge there are no features here, I assume this is due to her treating this album as less a single work and more an avenue to try and prove herself in the eyes of people who never respected her. I think this element works here, she gets an opportunity to show off what makes her unique, especially her versatile vocal skills as she can jump from intense rapping to soft sung vocals making it so there is no real need for features. The production as mentioned, is consistently solid, beyond the rough opening every beat works to some degree. Despite this praise not everything after the opening works. "Go Off" feels like a worse version of ideas that are executed better elsewhere on the album, "Can't Wait" feels a bit lacking in the momentum it's going for and falls a bit flat as a result and a few others fall a bit below expectations, but nothing reaches the low the album hits at the start. At the end of this album, one question remains, did Doja Cat prove herself? In my opinion, yes, however, the album is still flawed. As previously mentioned the album starts horribly and it does weigh down the album, as it makes for an entire fifth of the album. Had this album been cut down to the 10 best songs we would be looking at a truly great release, but as it is it acts more as a somewhat messy blueprint for what will come next.

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. Well, the album isn't exactly a covers album, it's a blend, some covers, some reinterpretations, and some originals. None of it works. Especially the covers. Some of the worst are the utterly terrible reinterpretation of "Good 4 U" that jumps between terrible idea to terrible idea making you just wish they'd stuck more to the original, the Eminem cover "The Way I Am" which is genuinely horrible, the lyrical changes are embarrassing and the vocals are truly atrocious, the Unpleasant and uncomfortable "California Girls" cover that does nothing but make the song difficult to sit through and finally, "You Should See Me In A Crown" has a terrible instrumental and is produced horribly, it just sounds so half-assed despite the overly dramatic vocal performance trying its best to convince you otherwise and finally "Star Shopping" a more Pop minded track as it is a Lil Peep cover and it does not work, the constant poor production makes it sound so pointlessly dense and makes their attempt at being open feel very hollow. Sadly the originals do not fare much better. Especially on Eminem homage "Exit Wounds" which is embarrassingly amateurish, it feels like a first attempt at making a Hip Hop song, and it is really hard to stomach. I have mentioned this a few times already but the already bad performances are made so much worse by the production, it is so thin feeling. During my listening I left a column open titled "Good Covers" and that column stayed empty until the end of the listen. The closest thing to a cover that works is the cover of "Territorial Pissings" which stands above the rest of the covers because they play it mostly straight, there are no pointless rewrites to make the song worse, it's just a basic Nirvana cover with unnecessarily complex drumming and thin production. It still isn't good, and it is just depressing that they couldn't even get one win on here. The album closes on the title track "The God Slayer" which is a mess of its own, with an attempt at an atmospheric choir that is muffled by these pulsating bass notes as she speaks spoken word awkwardly. It is a sonic combination that comes across as very try-hard, like a final moment of desperation as they try to hold onto any level of respect they had before this release. As the album closes we have a sample where someone discusses her incoming success, which after this album comes across as saddening. This is the first album in a while to leave me well and truly bewildered, nothing here works, how did nobody hear that? 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?

Olivia Rodrigo has cemented herself as one of the most important artists in the mainstream, exploding into the public consciousness with her debut SOUR. Not only did she make herself a titanic presence, but it can also be argued that she has been mostly responsible for bringing more rock-driven sounds back into the mainstream, whether that is for the better or the worse is up to you. Her follow-up GUTS has her delving even deeper into those sounds, this time directing her angsty energy more towards Alternative Rock sounds, particularly those of the '90s. It doesn't always work, I'm still not that into leading single "vampire", it feels very lethargic and the hook feels limp to me for the intensity it is going for. The build-up in the second half comes too little too late. On the whole, I'm not sure the slower cuts work. She can pull off rocking but the restrained Singer-Songwriter side I'm not so sure. A lot of the ballads have an issue of overblown production touches, the worst being "the grudge" which sonically lifts from the orchestral intensity of trailer music. I also feel like the production could do with some more grit, I didn't expect it but with the intense sonic style a lot of these songs pull from a slightly rougher sound would suit it well. But while a lot of this doesn't completely work for me, there is an equal if not greater amount of stuff that does. "bad idea right?" is definitely the better of the two singles, feeling like a modern take on the sounds of The Breeders, and it is a sound that fits her songwriting style very comfortably. "get him back" has a Riot Grrrl esque vocal punch in the verses and it works with this fuzzed out backing instrumental, even if I think the vocals on the chorus are a tad ill-fitting. Also "ballad of a homeschooled girl" and a few others have great instrumentals, that barrel in power. Olivia Rodrigo has a great and distinct songwriting style, you can immediately tell her touch on any song here, though I do wish her vocals were a tad more distinct. That isn't to say they are bad, not at all, they are very good and fit any sound they are going for but there isn't a clear individuality in her voice. At the end of this, I'm not sure Rodrigo has hit her creative core yet, but she is getting close, this album is full of tight songwriting and an enjoyable variety. The problem is that variety causes the album to lack a bit of identity, as it is torn between the 90s Alternative Rock stylings and Singer-Songwriter balladry. The album is good for sure, but I think she still has a lot of room to grow.

Last month I complained about it being a bit of a slow month and after August, I wish I hadn't. This was absolutely the slowest month of the year, to the point that I didn't find enough music to fill my usual ten entries and had to lower it to five. That said all of the projects on this list are excellent and absolutely worth your time, I am just hoping that September is more fruitful as far as releases go. Earl Sweatshirt & The Alchemist - Voir Dire The long-awaited collab album by Earl Sweatshirt and The Alchemist pretty much lives up to the status both names hold. The production is killer, it has this loose and lo-fi jazzy bounce that acts as a perfect springboard for Earl to work from. The short lengths of each track also help keep each beat feeling exciting, as they never get an opportunity to get stale. Speaking of Earl, he does amazing work, his lyricism is layered and detailed and his delivery is punchy yet apathetic. This on its own isn't surprising, it's what his general appeal is but here he is just on top form, every verse lands and he has your full attention from the second the album starts to the second it ends. I have some issues with the short length in that it leaves me wanting more as what is here is excellent, but I suppose that is also to the project's benefit as it remains exciting all the way through, on the whole, this truly is an excellent album and if you care about Hip Hop this is a release you need to give your attention to. Genesis Owusu - STRUGGLER After an excellent debut Genesis Owusu has been one of the most promising newcomers in music and on his sophomore work he absolutely delivers. This one dives deep into the thick intense Punk that only appeared in short moments on the debut, but here he runs with it and it is a sound he does excellently. His performances, and especially his vocals are brilliant, his charismatic performance carried much of the previous album and they do the same here, giving a real sense of style and personality to these tracks. This is another excellent release from Genesis Owusu, proving that the debut was not just some stroke of luck and that he has the skills to carry a career and I am so excited to hear what comes next. Me oh myriorama - Iris I've made it no secret that I love creative and unconventional Hip Hop, as an album that fits that description 1 Above Minus Underground is as of the time of writing, my favourite album of the year, and this Me oh myriorama album is absolutely no exception. The production here is phenomenal, from the intense Footwork-inspired fury of "Southbound" that builds into this deeply uncomfortable drone that brings the song to an intense climax, to the slippery synth work on "Fanta seaworld" which gives the beat the feel of music from a forgotten Wii title where the synths eventually unravel and consume the song, to the absolutely dominating almost Power Noise ending to "Dissociation", the beats here make constant use of creative and imaginative techniques that help them feel wholly unique. The vocals here are also equally fantastic. They feel intense yet deeply unusual, with a sinister whimper that under pens the otherwise punchy delivery. This album is an angular and beyond phenomenal work that challenges what Hip Hop can be in a way I just adore, if you are a fan of unconventional Hip Hop like I am, you should listen to this. My only complaint about this album is that it should be longer. MIDI Bunny - MIDI Bunny EP MIDI Bunny is the collaborative project of Cecily Renns and Biddy Fox, two creatives whose output I have enjoyed but had mixed feelings about while valuing the genuine emotion and creativity they always have on display. Because of these mixed feelings, I did have concerns going into this project but yet they come together becoming something far greater than the sum of their parts. The compositions here are expectedly very creative, pulling from a wide range of aesthetics and sounds in a way that manages to avoid feeling aimless and scattershot. The vocal performances here are also really solid, both delivering a great performance. To sum it up, this is a great little EP, it has its occasional flaws (like the anticlimactic ending) but feels like a stepping stone to whatever they make next, and I hope they do, this project has so much potential and it would be a shame to see it end here. Even if it does, what we will be left with is a creatively written and excellently performed EP that is packed with emotion that everyone involved should feel very proud of. Penalty Kill - Crooked The second quick blast of Hardcore Punk by The Garden side project Penalty Kill is here and like the last, this is pretty much the best their side work gets. The bass work here is excellent, the tone is thick and the lines it is playing are always vicious. The vocals are also fantastic, probably the best harsh vocals on any project related to the siblings. In short, everything here works and I think this is a bit better than the last, the songs are punchy and exciting and it never gets a chance to get old. It's never fantastic but it is always really great, definitely check it out if you are in the mood for a short and loose blast of Punk.

A bit of a slower month all things considered. We got a lot of major releases and a lot of smaller gems but this month lacked the volume I felt from a number of other months this year. This is by no means a bad thing, it allowed me to focus on the best stuff I heard and here is a collection of 10 of those. Better Lovers - God Made Me an Animal This Metalcore supergroup, as seen by the caliber of musicians at play, is great, of course, it's great. After a slightly rough start with a somewhat uneven opening track, this EP kicks it into high gear and delivers pummeling track after pummeling track. Puciato is phenomenal here, this is his most ferocious and hungry vocal performance in years, he sounds primed to kill and it works wonders over these unrelentingly brutal instrumentals. I do wish the opening track was better but everything else here is excellent, an absolute recommendation if you are in the mood for a quick but potent bite of aggression. 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. cori&her - Anadromous Squelch A particularly inspired debut album here, the use of sounds and textures that when isolated would be sweet. whimsical and comforting to make something that is more uncomfortable and complex is particularly interesting. Not only is this album interesting but it is also deeply enjoyable, the artist has a wonderful ear for hooks on occasion especially on tracks like the delightfully infectious "I'm Evile" and the especially memorable instrumental on "Merfreak" which has a delightful rolling groove. This album is extremely entertaining and fascinating, it is a work that could only come from a single genius mind, and for that, I think you should listen to it. Crisis Sigil - God Cum Poltergeist The proper debut by Ada Rook side project Crisis Sigil is finally here and it has absolutely lived up to my expectations. Not only does this release continue on this project's title as Ada's most intense project but it feels like it has also worked out the best way to execute said intensity. There is a lot of textural variety here and it is very welcomed, and Rook's fantastic harsh vocals tie it all together. She is seemingly on a no-loss streak this year as this and her previous earlier in the year have both been great but this is the best. It's aggressive, it's furious and it will not meet you halfway, but once you come to it you will find a lot to love. George Clanton - Ooh Rap I Ya The long-awaited George Clanton album Ooh Rap I Ya is out and I have to say, much like Slide, this album is excellent. This album is dense, not tonally or structurally, but musically, this mix is thick and overwhelming and it works for me. However, despite this overall syrupy sound, the rhythm section punches through and gives it a way more impactful overall feel, the drums pummel you on here and it is exactly what this sound needed. There is also space for specific sonic highlights, especially the super satisfying and squishy synths on "Punching Down" which do a lot to make that song my favourite on the album. To some, I imagine this album can feel somewhat one note as it has one trick it goes back to for the overall sound, but what an excellent trick it is. Gezebelle Garburgably - Gaburger I have had an awkward and complicated relationship with Gezebelle Gaburgably's music. Generally, I will really love a few songs and then nothing else does anything for me, this is the first album to break this trend. The only clear weak spot is the overly drawn-out "Birdbath", but otherwise this is extremely tightly written, engaging, and hooky music that keeps your attention throughout. Every song feels unique but it doesn't feel scattershot and jarring, this is the album I have been needing from this artist, highly recommend it. JPEGMAFIA & Danny Brown - Scaring the Hoes: DLC Pack A short little EP of leftovers from the great Scaring the Hoes here and unsurprisingly it is also great. The production is exciting and innovative, especially in moments like the breakdown in "HERMANOS" which sounds insane. What I appreciate most about this EP are the moments of calm, of drawing back, it gives the impactful moments even more of a punch, and for that, I may prefer it over the album. What it lacks in the explosive highlights of the album it makes up for in its better use of its intensity. 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. Travis Scott - UTOPIA UTOPIA is an album of inconceivable scale and a status that only the biggest stars can manage. Despite the consistent excellence of his vocal performance, what makes it shine is the fantastic production, with the main star of the production being the synth work as a huge chunk of the album makes fantastic use of these piercing and angular synths that give it a uncomfortable feel. This is an album that earns the intense and monolithic status it has built for itself, it feels like an event in a way few albums can manage and I am sure it is going to become a permanent stay of modern music discussion. What we have here is an intensely ambitious, fantastically produced, and excellently performed album that in my eyes lives up to the status its name has had in the months leading to its release and is absolutely one of the best albums of the year. Welcome to Berlin - ...And It's Blinding A great Emo album and an even better example of an ideal debut. This album has its flaws, some filler and overly bloated tracks but the sheer amount of cool ideas and great moments more than make up for it. This shows off all of the best aspects of this project and also where they have opportunities to grow in the future on their follow-up projects. The vocals here are an especially great element and an example of this, they are mostly extremely effective but the harsh vocals could do with a little bit of work that can likely be done on follow-ups. This album is a labour of love and it shows, I am very excited for what they do next.