28 December 2025 - Coral Fresh (Golemm)

 

Release Date: 14 July 2022

Song Count: 13

Rating: 8.0/10

Description:

From an artist and producer well within the sphere and realm of music I listen to outside of my daily album ventures, today's destination lands us at the second album of Golemm, Coral Fresh. Another relatively short collection clocking in at under half an hour in total in spite of having 13 entire tracks, the album's general motto with its music seems to be "short, but sweet" as none of the tracks exceed a length of three minutes (with some even going below the two-minute mark) but regardless manage to capture attention and presence by their very essence.

Coral Fresh's sound is defined by a bouncing and punchy set of rhythms and a relatively consistent tempo kept throughout all of the songs to allow them to flow into each other smoothly. Progressing alongside the structurally simple yet still effective and captivating melodic instruments and sounds produced fully via digital means, these electric beats end up achieving more with less, showing that crazy compositions and boundless sound libraries aren't needed to create something catchy and memorable.

There is little else to really say about this record beyond the simple fact that it's incredibly impressive how Golemm has put together such a stacked line-up of electronic dance music that floats on realm beyond definition and without the need for conformity to any specific style, all whilst serving for a good time overall with its straightforward yet hooking elements. Definitely a set of songs that will have a presence within my listening sessions in the near future.

27 December 2025 - AVTT/PTTN (The Avett Brothers, Mike Patton)

 

Release Date: 14 November 2025

Song Count: 9

Rating: 7.5/10

Description:

The collision of two grand forces in the music industry has led to the creation of what may possibly be one of the most American records one could ever witness, as around a month back, folk musicians Scott and Seth Avett, known together as the Avett Brothers, released their collaborative project with rock vocalist Michael Patton of Faith No More and Mr. Bungle, titled AVTT/PTTN - a stylisation of their names conjoined together into one grander project name, with this album seemingly being merely the beginning of the journey. Presented as a grand opportunity to experiment with Americana and folk sounds and creatively combine them with not only a heavier and potentially grittier rock-adjacent sound, but also unique mixing and production, this album showcases high promises and aims to produce music that is both hooking and unlike most anything out there in the scene.

Dominated by guitars, electronic harmonious backings, varied percussions, faint hints of further traditional instruments such as strings and keys and strong vocals to match the set mood, what ends up as the product to the 9 tracks is a showing of American folk music with unconventional twists all around. The mood switches from gentle and melancholy in songs like "To Be Known", to powerful and intimidating in the likes of "The Ox Driver's Song" - my personal highlight of the bunch - and a thin air of invisible energy as well as authenticity and passion for the craft of music is carried throughout every track, leading there to be at most minimal moments, if any, of one growing any less engaged during the listen. It is clear that, even with how wide-spanning the album is in terms of sound palette and genres being drawn elements from, everyone involved in the project and the creation of this music not only had a clear vision of what they wanted to end up making and having in their hands, but also had more than enough knowledge and capabilities to do so, and that is essentially what they did.

Though whacky as a premise and not without its natural faults, as not every song in the record is a hard-hitter at the mental forefront, AVTT/PTTN's titular album nevertheless shows the precise reason why both the Avett Brothers and Mike Patton are as respected as they are in their fields by taking a collection of different parts and genres within the world of music, balancing them all on its nose, and using them to provide some very enjoyable and emotion-packed songs that test the notion of what American folk music should sound like whilst also simply appealing and extensively intriguing those willing to listen in. A solid record that has been left sitting on my shelf since practically the day it released, and one that I am glad I have gone back to explore, even if it was over a month afterwards.

26 December 2025 - tomorrow does not exist (I Broke My Robot)

 

Release Date: 4 September 2007

Song Count: 12

Rating: 7.3/10

Description:

Another quick break from others' suggestions to present my own discovery, today's album finds us firmly back in Breakcore territory with an artist I newly, discovered, I Broke My Robot. The Virginia-based producer, who goes by Robert or "Robbie" as his name behind the project, has had a sporadic presence in the particular scene of extreme electronica, only releasing a few projects long after he published this initial record - though that is far from a valid reason to discredit his work within a genre as out-there as breakcore that allows even smaller creators to breathe life into it and make a sustainable impact. Engaging in what is described as a mix-up between breakcore and flashcore, I Broke My Robot dabbles in quickly chopped beats and sounds whilst also adding an ambient and slightly emotive undertone to the project as to weight it with additional meaning beyond merely a result of a sonical experiment.

The cuts, chops, distortions and mixing frame the general sound of 'tomorrow does not exist' as not only machine-like, but also piercing with many of the sounds being chosen and utilised being quite sharp on the ear. The machinations created within the album contain fast, harsh and unpredictable beats and what can best be described as micro-rhythms that at times go far beyond the comprehension of most who may not be used to these speeds in any elements of electronical music. Underneath these percussive jumbles are occasional glimpses of dramatic drones and other sorts of tools and effects to be found that then provide an icy and haunting edge to the tracks that almost seem to tell a story within them - or at least, vaguely express subtle emotions that could be associated with one another and stitched together into a narrative when combined with some of the tragic-sounding titles of the tracks. 

The latter effect is one that could be debated on its true presence within the music, however, as the sheer extent of how layered and "read-between-the-lines" it appears to be could make it pass off as simply imaginations running wild on some sort of meaning that the original artist may not have initially intended. To try to definitively point at a deeper understanding beyond just sidelined melodics playing around with each other and titles that hint at a greater picture is not something one can truly do with this album, and so the best way to mentally extract the most out of the listening experience is to go at it with a simple expectation of a series of hardcore, old-school breakcore tracks that do what the style characteristically does - nothing more, nothing less.

The specific track "Fear, Love and the Endless Suffering" is the one where both the percussioning and the background composition work best in tandem with one-another, and could be considered the closest thing to a track in the record attempting to invoke emotions in the form of expressing tragedy, dread and other charged sensations in a breakcore-ified way. But even aside from the named song, there is plenty here to dig into for fans of electronic extremities that get a mental itch scratched by the sounds of impossibly rapid beats and sounds whirling around. Overall, a decent listen if you're into this kind of stuff like yours truly is!

25 December 2025 - Tudo Que Eu Sempre Sonhei (Pullovers)

 

Release Date: 1 January* 2009

Song Count: 13

Rating: 5.7/10

Description:

Switching back to the regularly scheduled reviews of personal requests, today's record comes from Brazilian rock band Pullovers and marks the first entry on the site sung fully in Portuguese, even in spite of not being the first one from the country itself. Pullovers initially started off making music in English in their inception, switching over to their native language an entire 10 years afterwards with this very album - a change that would stick around through their recent releases following Tudo Que Eu Sempre Sonhei (as well as a 14-year hiatus). This album remains to be the band's most successful work to this date in terms of recognition and number of plays of its tracks, likely due to its musically accessible nature and - from my best understanding, using personal limited knowledge of Romance languages as well as translation tools - lyrically connecting thematics.

The sound that greets the listener upon opening the album is a softer rock sound incorporates guitars, drums, bass and occasionally other instruments, most notably a contrabass at the start of the titular track opening it all, all to create a greater scape that sounds harmonious and widely appealing, treading lightly on every front and segment as to not end up slipping towards any directions that could deter from this aim. Together with the gentler vocals to match the set mood, the music seemingly smoothly glides around the ears of the listener to induce a sense of familiarity, comfort and light warmth with its careful yet simultaneously graceful progression.

That is mainly where the bright side of things cease to shine, however, as beyond the radiation of mildly positive emotions on the whole, the tracks appear to fall relatively stale after only a short amount of time, with little to differentiate them in terms of melodic approach and style. The initial charm of the sound is lost by the time only a couple of songs have rolled around, finding itself transforming into bearable yet unadventurous monotony that continues on its path well after, up until the very end of the 42-minute experience. With little to interrupt this pattern aside from shifts in time signatures at a couple of points and one interlude between tracks 8 and 10, it is practically safe to say that once one has heard one song from the record, the rest don't really offer enough that is different from the last to listen further in.

Though far from an unqualitative or poorly crafted album by any stretch of the imagination, Tudo Que Eu Sempre Sonhei didn't manage to mark much of a noticeable impression with its musical contents - in other words, while it's a fair record to put in the background, it ultimately doesn't stand for anything that hasn't been heard of prior, at least in terms of its sound. Nevertheless, the band has proven themselves to be one that is more than capable of producing something that encapsulates the pleasant mellowness as showcased in this album whilst also taking turns towards a more intriguing way of structuring songs and overall leading to songs that can reach to achieve more of a memorability factor than a simple fade into the sidelines. A valiant effort from Pullovers overall, even if one that ended up as far less impressive of a work than what could have possibly been.

(Thanks for the recommendation!) 

[*taken from date as showcased on Spotify, as I searched around for an exact release date and couldn't find anything verifiable]

24 December 2025 - ¡Feliz Navidad!: Mexican Baroque Music for Christmas (Kölner Akademie, Michael Alexander Willens)

Release Date: 24 October 2025

Song Count: 21

Rating: 6.7/10

Description:

Oh, look, another two albums in a row released on the exact same day - and two that could not be more different in terms of genre. Of course, this is not the reason I chose to listen to this album today, but instead due to someone requesting that I review a special Christmas-themed album for this day and occasion (at least, where I'm from, as families open presents and engage in all of the main traditions on the evening of the 24th, rather than the 25th like a lot of English-speaking countries do) and me managing to find this rare and out-there gem in the wild to listen to.

This peculiar record is a recreation of a collection of pieces from historical Italian, Spanish and Mexican composers from the baroque era of classical music, replayed and reconstructed by the Kölner Akademie, an orchestra from Köln, Germany led by Michael Alexander Willens since 1996. Released pre-emptively for the holiday season, the album contains pieces from Ignacio de Jerusalem, Manuel de Zumaya, Francisco Corselli and José de Nebra, all composers who have released and developed their musical works in the same approximate time period as all-timers such as J. S. Bach, but were comparatively largely left unappreciated in the mainstream conscience revolving around classical music.

Though my ear for classical music is yet untrained and so the commentary on the music itself may appear to be relatively shallow compared to more familiar and near genres, it is still undeniable that the work and dedication put into these recreations are beyond remarkable in terms of quality. From the strings, pianos and blowing instruments to the resonant opera styled singing and harmonious choirs, every aspect of the orchestra aims to faithfully restore the seemingly simple yet musically and culturally rich and vivid compositions of the original musicians from centuries ago that have passed the torch over. The different ways in which these moving parts all interact with each other in the music itself adds a further level of complexity and artistry into the grand scheme, from layering above each other and syncing in spite of the different melodical lines being followed at certain times to reflecting a classic call-and-response sort of dynamic and order at others.

Listening to a full hour of this specialised compilation from some mostly forgotten yet still talented composers has revealed two things: one is that I not only should, but also have a wish to listening to more classical works in the future for the sake of this project so I can assess music in unfamiliar territory better than I currently am able to; the second is that orchestras, academies and other sorts of groups like these that seek to revitalise older and lesser renowned pieces from long ago and bring them to further public light deserve far more respect and credit than is commonly given to them. And even without extensive exposure to this particular style of music in general, it would be wrong to claim anything other than the fact that this album is a greatly made project that embodies the spirit of the holidays in a less conventional yet nevertheless delightful manner.

Merry Christmas, Frohe Weihnachten, and Feliz Navidad.

23 December 2025 - PsychoWarrior: MG Ultra X (Machine Girl)

 

Release Date: 24 October 2025

Song Count: 14

Rating: 7.2/10

Description:

A project of many labels and transformations, Machine Girl has been in the scene of extreme electronic music for close to 14 years now, dancing on the line between technical innovation and unbridled chaos and noise within their work. Created by New York's Matt Stephenson and later taking in two other members, the solo-project-turned-band has released a whole array of music with varying styles and levels of extremity and have 11 albums to their name - the latest one being today's object of focus, PsychoWarrior: MG Ultra X, a work pulled in many directions but one that yet refuses to crumble or fall apart through the many routes and turns it takes.

Describing the sonical composition of the tracks within this album is a challenge in of itself - besides loud, fast beats, hard-to-comprehend vocals filled to the brim with aggression, emotion and power that tether between spoken word, yelling and at times even growling akin to metal genres, complex electronic production and mixing, and a general lack of will to conform to musical norms in any way, there is little tying the songs together in that regard. The general picture PsychoWarrior: MG Ultra X paints is brash, unfiltered, expressive and simply just wishing to be itself; it bounces between sounding hyper yet melodic and being coated with noise that transcends rationality and reason, and uncaring of how wide its range of appeal is with its rather niche musical palette, it fully leans into its sound and experimentation. From unconventional time signatures to meticulous sampling and the use of all kinds of different electronic sound to build up its tracks, the album is down to use everything it has in its arsenal to piece itself together.

Through the glitchy, distorted soundscapes and raw, loud voices, PsychoWarrior: MG Ultra X stands out amongst many works in the music scene as a work that is tough to acquire a proper taste for to many unfamiliar with extreme electronic genres such as digital hardcore, drum & bass, jungle or breakcore, but once looked at with a different lense, shows itself as an extremely expressive piece, and also a unconventionally catchy and enjoyable listen. Amongst Machine Girl's many dabbles into different sorts of wacky and experimental digital mixing, this shot of theirs seems to have largely paid off overall, and to think that this is merely a small fraction of their whole assortment of works gets one excited to witness what else there is to explore with their involvement in it.

(Thanks for the recommendation!) 

22 December 2025 - Running On A Cloud (Night Talks)

 

Release Date: 5 December 2025

Song Count: 7

Rating: 6.6/10

Description:

Today's album, and most likely also a few of the upcoming ones, are a series of personal recommendations from friends and acquaintances that I will be going through in order as to not make them wait another month for a suggestion of theirs to finally hit the front page of this site. Now, Running On A Cloud, the second album of up-and-rising indie pop-rock band Night Talks, presents itself right away as an interesting case, as it quickly cements itself as one of the shortest albums I've reviewed thus far, clocking in at only around 26 minutes. In their official advertising, the three-man (or rather, three-person) show promises a listening experience reminiscent of "the first time you stayed in your room all night listening to a record" and overall seems to aim high in their ambitions in the music scene, but just how far they have actually stridden towards those goals lies within the shot taken by their actual music, as with Running On A Cloud.

The aural colours of the seven tracks contained within generally draw in a catchy and pop-like yet also at times melodically intricate quality, building up an instrumental groove through the guitars, bass and mixed-in drums and working from that foundation to add a touch of glamour and nostalgia through intonations and influences from popular late 20th century music. Together with singer Soraya Sebghati's lively vocals topping things together, what comes out as an end result is a series of widely appealing, bright and vivid songs that capture the starry-eyed optimism and positive emotions the band itself wishes to radiate with their presence and work. It's describable as a rather feel-good style of music, putting the "vibes" and mental impact on the listener at their forefront above all else, even when it does lead to the tracks themselves following a noticeably more formulaic pattern overall in terms of song structure - a showcase of artistry and subjective meaning trying to trump out simply sheer technicality and the aim of "impressing" with skill.

What Running On A Cloud could use more to go up higher in the ranks are two tweaks: variation between songs, and more importantly, simply more time allocated to it - though its headed direction and approach is a way that could find itself winding towards a path of success, the truth of the matter is that it is simply difficult to leave much of a lasting impression with less than half an hour to work with. For the short time it does get to shine, however, it does what it attempts well - this is most certainly a style music that could remind some listeners of their "first time listening to a record" with the way it is crafted, and so it is fair to say that Night Talks has, in a way, succeeded in their mission overall with this album.

Thanks for the recommendation! 

21 December 2025 - He Who Shall Not Bleed (Dimension Zero)

Release Date: 22 August 2007

Song Count: 13

Rating: 7.1/10

Description:

Back to some good-old harsh-sounding metal music, our ventures land us to the last release of the inactive melodic death metal band Dimension Zero from Gothenburg, comprised of several musicians from multiple well-known groups in the Nordic metal scene, including the likes of In Flames, Marduk and Amaranthe - which is simultaneously also the reason the band has never released any music since, as the focus on those acts proved itself to be much stronger than the continuation of a comparatively newer and lesser renowned project. Still, it is an interesting prospect to dive into the sound of what can be described as a - at least, conceptually - notable collaboration between Swedish metal musicians to put together music that blends winds of multiple subgenres together into one storm.

The storm crashes onto the shore albeit with a bit less impact than initially forecasted, as while the aural pallette of He Who Shall Not Bleed is certainly brutal and heavy in almost every sense of the word, it tends to shy from fully treading many lines that set any boundary between it and setting new grounds with their sound, though usage of alternate rhythms, structure and melodicism is at play in some of the tracks which leads them above the rest. Inspirations and awareness of metal styles beyond the confines of death metal are also very noticeable, often noted as elements of thrash and black metal, likely through the many backgrounds and different bands the members behind the music also involve themselves in; these influences are nevertheless kept subtle enough to which they don't take over the general scape of the album at all. It is clear that there was no shortage of ideas or intrigue during the process of making this music by any stretch of the imagination - as evidenced by the inclusion of a literal metal cover of Bee Gees' classic hit "Stayin' Alive" as the penultimate track, though to rather subpar overall quality that makes it feel like the song is being speedran more than anything - the main issue lies simply with the lack of willingness to utilise said ideas to their fullest potential, commit to them wholeheartedly and "use them up" to make the tracks feel more alive on the album of what is ultimately a side-project for most of the Dimension Zero members.

Notable tracks here in terms of quality include "A Paler Shade Of White (A Darker Side Of Black)" as a general all-rounder of a song, "Deny" with its switching rhythmic percussioning and time signatures between 4/4 and 6/8, and the overall smoother sounds and well-crafted song structures of "Way To Shin" and "Hell Is Within", with the latter also taking the additional step to hit hard and amplify the harsh sound in a way that works with the comparatively more unique way it is built as a 3-minute piece.

The relegation of this work and Dimension Zero overall as of lower importance than the main works of the talented names representing the band is ultimately what led to the entire band being largely forgotten about by much of the metal scene and community - a tragic fate, given the amount of potential within the band's tunes that has gone untapped but could have been developed into legendary pieces of melodic death metal music with additional care and motivation. As is, even with plenty to enjoy in this 13-track collection, one cannot help but notice a certain spark or piece of the metaphorical puzzle missing to make He Who Shall Not Bleed anything more than simply another pleasant-sounding melodeath album.

20 December 2025 - Badlands (Magic Sword)

 

Release Date: 12 April 2023

Song Count: 21

Rating: 8.1/10

Description:

For today's musical venture, we head towards Boise, Idaho as a trio of mysterious musicians and producers by the stage names of the Keeper, the Seer and the Weaver, together making up the group Magic Sword that has provided with their fifth album: Badlands. This 21-track piece, in spite of being fully instrumental with zero inclusion of vocals or voices, takes the listener through a fantastical journey led through the tracks' titles, atmospheres and connections to one another and fully immerses them in an experience like practically no other.

On the surface, the tracks mainly just consist of a synthwave soundscape with electronic percussion, keys, guitars, and of course synths leading the way - but once one looks into the finer details and intricacies of the way the tracks interact with each other, the metaphorical magic inside of the album truly shines. Every transition between the individual songs is carried out smoothly and flowingly; the different moods and temperaments all help to carry along this unspoken yet enticing narrative that is being told, and the ambiguous slate that each song provides through this approach leaves much to the beholder's imagination to fill in the tactically placed blanks. Even if there may be a lack of a directly told story or even a voice to characterise the happenings, the subtle tone shifts and musical elements within the tracks are enough to invoke a sense of wonder, adventure and a wish to see what comes up next on the journey.

Though I've come in with lower expectations for Badlands, thinking it to be no different from most other synthwave albums out there, the masterful craft behind it that is noticeable throughout its entire 54-minute runtime was a pleasant surprise to witness. Going into it for a full run of each track is the ideal way to go for this work, as to experience the full extent of what synths, drums and enough creativity and willingness to go all in are capable of making - a near concept album-like work, all without one sung or spoken word. A very well-done job from Magic Sword!

 

19 December 2025 - CONFLICT DLC (Health)

 

Release Date: 11 December 2025

Song Count: 12

Rating: 6.7/10

Description:

(Note: Written and reviewed past midnight.) 

As a result of me making a streaming platform collection of the highlight songs from all of the albums I have reviewed over the course of this challenge, I got this album recommended ruthlessly around the platform and the "You May Also Like" section, so here we are. Health is an industrial rock band from Los Angeles that has been in the scene slowly rising to recognition for 20 years now, have had a breakout song in the form of a remix of "Crimewave" by Crystal Candles, and have had a hand in making songs for several well-known video games, including Ultrakill and Cyberpunk 2077. This newest album is considered a sort of continuation of their previous full release, Rat Wars, from two years prior, and follows a similar sonical style of industrial metal elements combined with electronic mixing.

Reverbed, tonally mostly unwavering vocals with occassionally altering singing styles - such as metal growls and yells - sweep over all of the tracks as the instrumentals behind them implement distorted electric guitars and consistent, machine-like industrial drumming into a very stylised sort of chopping, mixing and production to create an experimental audial palette that yet carries some amount of potential wider appeal within it. An artsy and alternative album that is marketable to a very specific and certain audience who would enjoy this type of music, Conflict DLC offers a highly sought-after sound with its twelve tracks that speaks to the wish for angst and grit of many younger listeners and takes elements from their previous work and, in the words of some, "purificating" them to get them to sound more natural, emotionally expressive and "fun" to listen to.

This type of song, while widely appealing and simultaneously creative enough to stand up on its own two feet, is also one that the album is shy to stray away from in any way, causing a lot of tracks to sound very similar to one-another and even blend into one-another, which as a factor making it tough to make out particular highlight tracks within it. With a wider catalogue of songs for its length, Conflict DLC could have used with some additional experimentation, variety and willingness to make each song seem particularly special amongst the others; though a struggle many acts may have trouble with, it is very possible to circumvent whilst also keeping the signature sound and "magic" of the well-struck balance between sounding widely listenable even to those unfamiliar with more niche corners of music and having enough going on to make a name in the scenes where underground genres and sounds are more welcomed and appreciated.

While a good work overall, Conflict DLC lacks a certain tinge to make it truly stand out as an alternative, moody, emotional and rich album with many kinds of tracks to offer. Part of this may come with repeated listening and time, but there is only so much that can "grow" with a lot of albums, so whether or not this one will manage to do so is a question one can only answer far later down the line. Still, Health has done a remarkable job refining their soundscape from previous works into something likeable and hard-hitting, and seem to be rightfully proud of their efforts, so the final verdict is: good on them for their improvements! 

18 December 2025 - West End Girl (Lily Allen)

 

Release Date: 24 October 2025

Song Count: 14

Rating: 6.7/10

Description:

A renown pop artist's fifth album after seven years, Lily Allen's West End Girl is a project that is deeply personal to the singer's life, a fact that is striking from the very beginnings of the opening track. Following a narrative story of Lily, from whose point of view one experiences it, trying to deal with an unsatisfying marriage, her partner's infidelity and the subsequent fallout that her love life and mentality goes through as a result, the album is, in a sense, a 14-part piece of artistic self-expression for Allen's own experiences, wrapped together in a mostly slow and chilled pop-sounding package for an audience to witness.

With the nature of West End Girl primarily being focused on telling a story through its lyrics, the instrumental aspects of the tracks are naturally never at the forefront, often reserving itself to low contrast, quieter beats, simple theoretical compositions often just following four chords, and an overall "chill" and at times even wistful energy. On their own, there's little differentiating these tracks musically, save for Lily's differing line deliveries and the different emotions she puts into each section of what forms the overall narrative, altering between fast and snappy, auto-tuned, and slow and somber styles of singing. Certain tracks also dare to inject in elements or influences from alternate genres of music, such as Latin pop, music from the 1950's, R&B, and even collaborating with artist Specialist Moss in a dancehall-infused track, "Nonmonogamummy".

The real meat and potatoes of the album, however, lies with the way the aforementioned story of Allen and heir failing marriage is told, drawing on her real-life divorce with a famous actor early this year. Lyrics portray the singer's thoughts, emotions and reactions towards the revelations happening around her in a direct and explicit manner, leaving metaphoricism or any sort of verbal "coating" aside to express her perspective in a raw manner that leaves little room for any misinterpretation of the words being sung. The effectivity of this approach varies between songs, with some instances making this no-nonsense style come across as oversimplified or otherwise insufficient to convey the full complexity of the described situation, and some other moments acting as more suitable backdrops leading to the unfiltered verbal expressions swing in with power and a similar force to hearing a cold, hard truth that is difficult to accept but even more difficult to deny. 

West End Girl is an album that, even with its mainstream appeal and approachable sound, may not be to the liking of all due to its more stylised nature that lies more close and personal to Allen, but that is far to say that there is no sort of valuable artistic credibility or even just simpler enjoyment of songs relatable to many individuals who may be struggling with their own romantic partnerships. To me, these tracks with their consistent main sound yet flexibility with external inspirations and experimentation, seem relatively well-crafted and cared for, and even hold a lot of further potential into positive musical developments for Lily Allen's music in general, though lack a certain small factor to elevate them to that higher point they are reaching for. Still, this may be a piece worth checking out if you're interested in a retrospecting piece on heartbreak and processing tough emotions, or are even simply just interested to see what the star of the 2000s has been up to in her career in recent times.

17 December 2025 - KaKi Hard Trance Collection (KaKi)

 

Release Date: 16 December 2025

Song Count: 11

Rating: 7.3/10

Description:

And here is a second album released yesterday! This one is from Japanese hard trance producer KaKi, and is a project spanning across almost the entire year of 2025, each track having been dropped on the 16th of each month in order - a unique way of releasing an album's worth of songs. KaKi Hard Trance Collection came into my radar through the collaboration done with DJ Noriken, an artist I've known of prior, in the closing track "Nocturne".

Hard trance is a subgenre characterised by strong and pertruding kicks, relatively straightforward beats and percussioning, resonant basslines and fast melodies, often also from electronic sounds, built on top - and if there is a need to find exemplary music that fits this definition to a T, there is no better source than this collection. The beats are loud, jumping and energetic, and invoke further excitement, focus, drama and tension using musical components from their melodies as well as song structure to their advantage. Though sitting through a straight 43 minutes of this genre and this constant level of energy may admittedly become tiring, at least on the initial listen, the songs on their own deliver exactly what they promise, and especially when keeping in mind the originally intended and executed medium of one song arriving every month, it all works itself out in the positives overall.

The genre, to me, is reminiscent of soundtracks from fast-paced racing games or otherwise action-packed media - one can easily imagine speeding in a highway with this blaring from the car's radio, the wind blowing across and the sense of speed and invulnerability being absolutely unmatched. It's a specific energy that is especially tough to replicate with any genre that isn't some form of trance music, and it pertrudes all around KaKi's work.

With a bit of added variety in song structure and flunctuation of the amount of volume the tracks take up, this album could be elevated from a good one to an absolute genre-definer. As it stands right now, however, KaKi Hard Trance Collection is still an enjoyable and fun listen for fans of high-tempo electronic music designed to be danced to, and is a good showcase of what trance music, specifically hard trance music, is all about.

16 December 2025 - Emergence (ONE ARC DEGREE)

 

Release Date: 16 December 2025

Song Count: 8

Rating: 7.8/10

Description:

Surprise! A rare occurence of an album being reviewed on the site on the exact same day it was released - and this time from a Greek electronic music duo that has already been featured previously, as ONE ARC DEGREE has put out a brand new album, Emergence, with a new batch of 8 songs in their signature space-like ambient style. Fun fact: this album is so recent that, combined with the duo in general being rather niche and unknown, I actually failed to find an image of the cover art online, and had to resort to putting my own screenshot of the cover into an image uploader to get it onto this Blogger post. It is a bit of a shame, given it is a very visually pleasing album cover.

Similar to a lot of the project's previous releases, Emergence is an album that radiates peace, lightness and tranquility through its sound without sounding overly caught up in its own energy or negatively lulling. The theme of simple dance beats and rhythms coexisting alongside stretched-sounding synths and electronic bits continues as the entrancing and floating melodic musical layers ebb and flow along like calm waves of the sea, all culminating together into another instance of the music feeling naturally ambient and suited as a backing soundtrack without outright boring the listener or making its prolonged exposure unpleasant over time like a lot of other ambient projects can end up becoming. 

In this way, it fits right into the style ONE ARC DEGREE has established for itself over the course of its existence; the soundscape the album provides feels like a natural continuation of the duo's honed-in style of longer cosmic ambient songs with relatively quiet techno-esque beats on top. The best examples of this sound within Emergence include the tracks "Omniverse", "Stellarator" and "Celestial Wheel" - all three being songs where the rhythms are most prominent and playing a dominant role in the music whilst still not taking away from the meditative sound overall, instead synergising with everything else at play matchingly.

I would rate Emergence roughly to the same level as their 2023 work The Forest and the Milky Way, as it naturally shares much of the same elements within its music and grants an equal level of enjoyment, which is especially an impressive feat coming from albums made for purposes of ambience like these, as they rarely end up in the sweet-spot where they both feel ambient and simultaneously enrichening to listen to for longer than one song's worth of length, but both albums manage to pull it off quite well. I have said previously that I was "interested in the past, present and future endeavours" of ONE ARC DEGREE as a result of listening to and rating their release from two and a half years ago, and the subsequent verdict of mine upon checking out this one is that it more than paid off overall.