The opening track Lucerna Tenebris immediately establishes a more approachable and human tone compared to the debut album. The deep, foghorn-like drones and suspenseful pacing evoke the feeling of waiting in darkness for something to emerge. When the piano and organ-like surges enter, they feel like sudden jolts of terror, as though one has stumbled into a horror film’s climax. It’s ominous, but not abrasive, and it sets the stage for the EP’s balance between dread and restraint.

Ad Libitum follows with a shift toward medieval textures, its strings carrying the listener into a shadowy masquerade scene where something sinister lurks behind the velvet. The whispered voices threaded throughout the piece heighten unease, fading away as if to dissolve into memory, leaving behind a lingering tension.

Ellen Crone turns toward something more intimate, opening with a retro sci-fi synth that soon gives way to layered atmospherics resembling storm winds. Piano enters with surprising emotional weight, grounding the track in grief and reflection. This juxtaposition between synthetic alien tones and human melancholy captures one of the EP’s most compelling traits: the fusion of digital abstraction with visceral feeling.

With Angels, the EP momentarily ascends into something more radiant, at least on the surface. Choir-like textures and organ resonance give the impression of sacred light, yet the arrangement is infused with dissonance that unsettles the sense of sanctity. It feels like stepping into a cathedral only to find something unholy residing within.

Sanguis Iterum plunges into chaos. It is the harshest track on the EP, brimming with distorted growls, mechanical turbulence, and violent layering. The sheer density of the piece conjures imagery of demons rising from beneath, contrasted only by flickers of helicopter-like sounds that could be interpreted as forces of order struggling to maintain control. It is oppressive, but it never loses focus, demonstrating Prunell’s improved sense of balance in sound design.

The quieter Sons of Shadows acts as a moment of desolate reprieve. Hollow drones dominate, occasionally interrupted by shifting foreground sounds and static distortions that suggest unease beneath the surface. The track captures a haunting stasis, evoking the eerie quiet that lingers either in the eye of a storm or in its desolate aftermath.

The title track Makt Myrkranna closes the release with a return to sheer atmosphere. Static washes, droning tones, and alien frequencies build gradually into something oppressive and foreboding, pushing the listener into a state of heightened awareness. It is tense, suffocating, and appropriately final, a descent into darkness that feels both inevitable and complete.

What makes Makt Myrkranna stand out is not only the conceptual depth behind it but also the care in its execution. Where Stridore’s debut often overwhelmed with sheer abrasive noise, this EP demonstrates restraint and control. The mix is clear and layered, textures are given space to resonate, and the imperfections of the live recording process imbue the music with personality rather than distraction. It is more accessible without losing intensity, more atmospheric without losing its edge, and ultimately a testament to Prunell’s growth as a sound sculptor.

SCORE / Excellent – Makt Myrkranna is a deeply unsettling yet strangely captivating listen, a work that succeeds in marrying experimental sound design with evocative storytelling. It captures the unease of myth and the atmosphere of horror while remaining grounded in a very human sense of expression.

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The band’s approach to production is restrained but deliberate. Grooves pulse in the background, keys shimmer in the foreground, and silences are used with as much intent as rhythm. Each track feels like a staged performance, as though the music is there to create an atmosphere for Russek’s narrations rather than overwhelm them.

“Once a Heart is Broken (Humpty’s Defeat)” begins with smooth keyboards and bass, immediately setting a contemplative tone. Russek’s raspy vocals take the spotlight, sometimes at the expense of balance in the mix, as his voice tends to overpower the instrumentation. Lyrically, it veers toward simplicity, yet lines like “You’re alone and empty on a crowded street” manage to land with resonance. The keyboard work is the song’s strongest element, pushing the track forward when the vocals threaten to stall it.

“Let Down Your Hair (Rapunzel)” leans more into guitar-led storytelling. The guitar solo is easily the highlight, executed with confidence and flair, while the rest of the arrangement is held together by strong keyboard contributions. The lyrics, though serviceable, do not elevate the track, and the vocals can feel repetitive. Still, the musicianship gives the song enough weight to carry its reimagined fairytale narrative.

The EP’s most compelling moment may be “Say My Name (Rumpelstiltskin).” Opening with a keyboard build, it quickly establishes tension before settling into one of Russek’s stronger vocal performances. There is a noticeable use of autotune, which may divide listeners, but it works as a stylistic decision that enhances the theme of fractured identity. The chorus lingers, and the instrumental rises and falls with precision, making it one of the most polished productions on the record.

“The Sky Will Fall (Chicken Little)” takes a heavier approach with danceable urgency and louder electric guitar. The song manages to balance vocal and instrumental intensity, both working toward the same paranoid momentum. Written from the perspective of Chicken Little, it turns what is usually dismissed as a children’s fable into a frantic call to action.

“Open Your Eyes (Sleeping Beauty)” relies heavily on vocal manipulation, with autotune again shaping Russek’s delivery. While the instrumental textures are engaging, the vocals sometimes lag behind the beat, creating a slight clash in pacing. Still, the narrative approach remains consistent, placing the character in a world more akin to sedation and propaganda than a fairytale castle.

The closing track, “Froggie Went a Courtin’,” is perhaps the most satisfying blend of sound and story. Its bluesy introduction, mysterious groove, and head-nodding beat make it the most audibly enjoyable track of the collection. The guitar solo is restrained but effective, the production is clean, and the vocals sit comfortably in the mix. It feels less like an experiment and more like the band at its natural peak.

What makes Childish Things stand out is not perfection of execution but commitment to concept. The retelling of fairytales through rock, funk, and noir-inspired production could easily have lapsed into novelty, but instead it comes across as darkly poetic. Even when the lyrics feel too plain or the vocals fall flat, the ambition of the project and the consistency of its vision carry it through.

Poets in Heat are not interested in nostalgia. They are interested in revelation, in pulling childhood stories apart to reveal something uncomfortably adult beneath them. Childish Things may not be flawless, but it is ambitious, unsettling, and at times deeply moving. It asks us to reconsider the narratives we inherit, and it does so with art that is raw, intelligent, and unapologetically human.

SCORE / Good – In the end, Childish Things is less an EP to sing along to than one to sit with, a work that unsettles as much as it enlightens.

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Opening with My Angels Will Never Return, Fingret sets a thoughtful and mellow tone. The piano and guitar interplay is emotional, with overlaid vocals giving the track an ethereal quality. The build is subtle but rewarding, and the final lyric landing as the song title is a satisfying touch.

In Shapeshifting, his storytelling takes a darker turn, describing an encounter in a parking lot with a woman who becomes something far more sinister. The lyric “She was feeding on my energy” crystallises the track’s eerie tone, although the consistently steady delivery can feel a little too uniform over its runtime.

They Have My Love leans into sweet guitar work and airy vocal layering that alternates between angelic textures and grounded, emotional solo takes. The sense of being lost is palpable in lines like “Where do I go now,” and Fingret’s narrative instincts are strong, even if the song might have benefited from a tighter edit.

Time is Waiting brings a mysterious guitar lick at the start and a refrain of “We will follow the sun,” echoing the cosmic inspirations that thread through the album. The guitar solo here is a highlight, even as some of the harmonies land slightly flat.

With The Multiverse, Fingret shifts to a funkier, more upbeat groove. The synth textures and bright guitar make it feel like a track built for interstellar dance floors. While the energy is refreshing, there are moments where the instrumental layers do not quite blend seamlessly. The Lonely Satellite reins in the arrangement for a cleaner, more intimate listening experience. The Bowie-esque delivery and restrained instrumentation work in its favour, and the continued space theme helps keep the album’s storytelling cohesive.

Seedship pushes the narrative forward with a mission to find a new home. The simultaneous build of vocals and instruments is executed well, with smooth verses that swell into fuller choruses. Infinite Love follows with a warmer, romantic tone. Its passionate guitar work and sway-worthy beat provide a lighter moment in the journey. This is Transcendence feels like the emotional and thematic peak, as Fingret steps outside his usual vocal approach to match the song’s climactic sense of release.

Ukraine offers a more grounded and topical reflection, perhaps an address to the ongoing war. The sentiment is heartfelt, though its place in the album’s spacefaring storyline feels somewhat detached. Still, the calm delivery and Elliott Smith-like softness give it an emotional weight.

The closing title track, You’ll Always Be a Human to Me, wraps the album’s arc with simplicity and sincerity. The guitar solo feels like a fitting final statement, underscoring the human core beneath all the cosmic imagery.

Fingret’s album plays like a long-form space odyssey with shades of Bowie’s visionary style. The balance of progressive arrangements, imaginative lyrics, and personal introspection makes for a compelling listen. While a few tracks could be tightened and some vocal moments sharpened, the album succeeds in building an expansive, interconnected world that invites listeners to step inside and explore.

SCORE / Excellent – You’ll Always Be a Human to Me is both a cosmic voyage and a deeply personal reflection, proving that even among the stars, Fingret’s music keeps its heart firmly rooted in humanity. Give it a listen!

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At its core, the song remains a meditation on longing, quiet presence, and spiritual resilience. In this new form, it takes on a global dimension, linking continents and traditions in a single breath.

The production team is an ensemble of remarkable international talent: Tatiana Kritskaya (cello, Moldova), Ajay Singha (producer, India), Shomu Seal (guitar, India), and Andrei Pidkivka (flute, Ukraine; GRAMMY® winner 2020). Their contributions are more than accompaniment, as they shape the emotional landscape of the track.

Musically, the arrangement thrives on restraint. The guitar, warm and sweet-toned, feels imbued with nostalgia. Its phrasing has a conversational quality, offering gentle counterpoints to the vocal line without ever crowding it. The flute enters like a soft breeze, airy yet purposeful, adding a dreamlike dimension that deepens the emotional pull. The cello, rich and resonant, lends a grounding pathos, its timbre evoking both intimacy and distance. The instrumental interplay is fluid and organic, with each voice in the arrangement given room to breathe.

Aninda Bose’s vocals are the anchor here. They are emotive, deliberate, and steeped in thought. Even for listeners who do not speak Bengali, there is an undeniable depth in his delivery. His phrasing has a meditative patience, encouraging reflection rather than rushing toward resolution. This is a performance that asks you to sit with it, to feel rather than merely hear.

From a production standpoint, Ajay Singha’s work is exemplary. The mixing is immaculate, with audio levels perfectly balanced so that no instrument overpowers the other, and the vocals sit naturally in the sonic space. The overall soundscape feels expansive yet intimate, with a clarity that allows every nuance to shine. In addition, “Ajay Singha has reimagined this century old classic melody with a new structure and musical arrangement that speaks a world language. He has nicely blended a beautiful mix of eastern and western classical style music with a modern sound.”

The accompanying music video deserves special mention. Rendered with an aesthetic that feels like a moving illustration, it adds a visual poetry to the experience. The imagery of mountain landscapes and a beautiful woman running toward the singer evokes themes of journey, reunion, and emotional arrival. Even without understanding the lyrics, the visual cues suggest a narrative of departure and rediscovery.

This rendition of Tumi Robe Nirobe is more than a cover. It is a conversation across time and geography. Tagore’s original essence is preserved, but the collaborative artistry here has amplified its universality. In an era where cultural expression often fractures along regional lines, this recording serves as a reminder that music is the most borderless of languages, one where even silence resounds with devotion.

SCORE / Excellent – This recording lingers long after its final notes fade, its carefully balanced production, emotive vocals, and exquisitely layered instrumentation weaving together an atmosphere so immersive that the listener is left carrying its quiet beauty, reflective stillness, and timeless reminder that the most profound emotions often speak most clearly in silence.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The song opens immediately with sombre piano chords and a later melancholy vocal line: “Can’t you stay just one more day.” It sets a tone that’s introspective and raw, evoking shades of Ricky Montgomery with a similar emotional edge and understated theatricality in the vocal delivery. DeAngelis’s voice has a storytelling quality to it, something you’d expect on a dimly lit stage, where every lyric is felt as much as it is heard.

Beneath the vocals, a steady drum beat keeps the song grounded, providing momentum without overwhelming the arrangement. It’s a subtle but effective element that drives the track forward. The production overall is impressively balanced. Every instrument, from the piano to the restrained guitar lines, sits comfortably in the mix, giving DeAngelis’s voice the space it deserves while supporting the mood with intention.

The chorus is a standout moment, both catchy and emotionally resonant. The lyric “I’m just the keyboard player” explores feelings of invisibility or inadequacy within a group dynamic, hinting at deeper themes of self-worth and identity. It’s a powerful metaphor that will resonate with listeners who’ve ever felt overlooked or underestimated, and DeAngelis delivers it with a conviction that feels deeply personal.

After the chorus, there’s a brief but beautiful moment where the keyboard takes the spotlight, underscoring the emotional weight of the song’s title. The guitar work is equally restrained, slow, and thoughtful, complementing the vocal phrasing and adding to the track’s overall cohesion. As the song progresses, it gradually builds in intensity, especially as it approaches the final chorus. This sense of build gives the track a natural arc, keeping listeners engaged and emotionally invested through to the final note.

DeAngelis’s passion for songwriting, mental health awareness, and climate advocacy shines through in the authenticity of his music. “I’m Just the Keyboard Player” feels like more than just a rock song; it’s a heartfelt expression of personal struggle, artistic purpose, and the quiet strength found in vulnerability.

SCORE/ Outstanding – This track marks another strong step in DeAngelis’s evolving catalogue, and it’s a clear reflection of an artist who isn’t afraid to turn life’s challenges into something beautiful. If you’re a fan of that, give it a listen!

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Hailing from the US, Not Another Playne Jayne delivers a sound that’s dark, yet not without moments of redemption, which is a stylistic signature they’ve become known for. “Liar” leans heavily into this identity, echoing influences from 80s metal legends and early hard rock pioneers. There’s a nostalgic weight to the track, yet it doesn’t feel recycled. Instead, it sounds like a song that could have been born in a smoky club in 1986 and still somehow feels alive and relevant today.

Lyrically, “Liar” explores the sting of betrayal, the painful realization of discovering someone is just like everyone else who’s let you down. This theme is given visceral energy through vocals that oscillate between clean lines and a well-executed dry or fry scream; a technique that’s popularised in more extreme subgenres like death metal and screamo. It’s aggressive without being overbearing, and emotionally charged without losing clarity. The screams don’t just add noise; they add texture, amplifying the disillusionment in the lyrics.

The band’s three-piece setup doesn’t limit their sound, if anything, it sharpens it. Each member pulls their weight, and the chemistry is undeniable. The vocals sit perfectly in the mix, locking in with the pounding rhythm and distorted riffage in a way that feels effortlessly cohesive. Backing vocals, delivered in a higher register, give the song extra dimension and provide brief moments of contrast against the otherwise brooding tone. It’s subtle, but essential and a reminder that even in anger, there are layers.

Guitar work on “Liar” is particularly noteworthy. It’s not just loud; it’s emotionally articulate. The playing feels like a clenched fist, tense, furious, and never quite letting go. Whether it’s chugging through the verses or screaming through a solo, the guitar communicates just as much pain and betrayal as the lyrics do.

SCORE/Good – With the band now beginning to release music under their new name Hunter Down, “Liar” feels like a compelling closing chapter for Not Another Playne Jayne, a sonic bridge between past and future. It’s a track that doesn’t just showcase technical proficiency or genre knowledge, but a deep emotional authenticity that elevates it above many of its peers. “Liar” doesn’t whisper its message; it shouts it, and it dares you not to feel something.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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This collection of songs, born out of a long creative gestation and interrupted studio plans during the pandemic, feels raw and meticulously crafted. Each track unfolds like a scene from a forgotten film, it’s moody, reflective, and steeped in a dusty elegance.

The album opens with “Overboard,” a delicate, emotional invitation into Machell’s world. It begins with a lone Spanish guitar, soon joined by his silky vocals. The track builds in intensity, but never overwhelms, preferring to smoulder rather than burn outright. The outro circles back to its quiet beginnings, a full-circle moment that sets the tone for the album’s cyclical structure.

“Saving Grace” shifts gears slightly, with an upbeat edge and a clearer sense of rhythm. Machell’s raspy delivery brings a rock sensibility to the folk foundations, offering something reminiscent of Nick Mulvey. It’s guitar-heavy and rhythmically rich, showing early on that this album refuses to stay in one lane.

The first instrumental, “Pastures Skewed,” follows a slow fade-in of drums and guitar that feels intimate and immersive. Without lyrics, the track leans heavily on mood and texture, and it works. The absence of vocals gives listeners a moment to breathe and absorb.

“Just Out of Aflou” introduces a Saudi-inspired shift in tone. This brief, atmospheric piece acts almost like an intermission, a sonic detour that hints at the album’s broader geographical and emotional range.

“Ghosts” is the album’s heart. It’s long, slow, and utterly captivating. Here, perhaps Machell is leaning into Appalachian folk influences, building a landscape with just guitar, voice, and ambient vocal flourishes. It feels like a spiritual journey, the kind of song you’d want playing as you ride horseback through the desert at sundown.

“Still the Same Day” brings a darker, bluesier energy. The vocals are more assertive here, breaking away from the introspection of earlier tracks. When the guitar drops out mid-song and leaves Machell’s voice exposed, it’s a moment of stripped-down vulnerability that hits hard.

From here, the album begins a series of interspersed short instrumentals, such as “Over-Shoulder Glance,” “Tail Across the Square,” “Overbackwoods,” and “Alleyway Chase”, that act as palate cleansers. They’re never filler. Each one adds a unique emotional beat, like visual montages in a film, separating and enhancing the longer, more narrative-heavy pieces.

“Clock of Fools” dips into sorrow and weariness, a slow builder with a subtle payoff. While it may not grab attention immediately, the second half proves worth the wait, especially with its intricate guitar work and restrained emotional arc.

“Come In, Echo Bravo” is the album’s most cinematic track. It evokes post-apocalyptic imagery, something that could easily belong on a Last of Us soundtrack. It’s dark, poetic, and quietly powerful. I would argue that it’s the emotional centrepiece of the record.

“Searching Heroes” stretches out again, allowing the album to breathe. It’s a slow-burn triumph that shifts from introspective calm to soaring finale, proving once again that Machell excels when given space to explore. It’s one of the most affecting tracks here, it’s haunting, expansive, and unforgettable.

The album ends with “Outpost,” a perfect curtain call. Opening with a thunderstorm, it slowly unfolds into a melancholy guitar melody layered over ambient rain. The nature sounds persist until the very end, grounding the album’s spiritual highs in something elemental and real. It feels like the credits rolling on a story that, while deeply personal, resonates far beyond the self.

SCORE/Outstanding – Saudi Shakes is a remarkable album, one that doesn’t just entertain, but transports. Ghost Carnival has crafted something timeless and placeless, rooted in folk but branching into something far more cinematic and borderless. It’s not just an album, it’s a journey.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The progressive, acoustic rock duo the Arcane Insignia, has finally showcased and presented their long-awaited album, A Violent Whisper, which was this close to not even seeing the light. The record is fully led by the multi-instrumentalist Lodrö Nyima and cellist Noah Heau, which combines profoundness and honesty.

The record mixes deep, personal reflections on Lodrö’s 20-year musical journey as a tribute to his late partner, Cynthia. Spanning 10 tracks, the album is equally divided into two halves, whereas one finds itself in a ‘violent’ place and another takes a ‘whisper’ approach. Over the years, the album has undergone several major changes and transformations, evolving from a metal project to hardcore to now combining a genre-breaking musical execution. The reasons this record has finally seen the light are the dramatic moments in Lodrö’s life.

Due to the passing of a partner, the artist finally found the strength and motivation to finish the record. As the artist himself highlights: “Her passing gave me the motivation to bring this vision to its fullest form. It stands both as a dedication to her and a reflection of my legacy as a musician over the past two decades”.

After such a descriptive background, and with no understatement, a tragic event in one’s life, a Violent Whisper is a combination of potent sounds that infuse the silence, and declare one’s presence. 
From the first full listen, I have clearly seen that the album follows a logical step in its progression, sonically fixating on the different aspects of music. Particularly, after the “Pyramid Eyes” album deviates in what seems to be the second part titled “Whisper,” which was followed by “Violence”. While the names are quite accurate in the atmosphere the album evokes, let’s dive deeper into the record part by part.

The album’s first part combines strong elements of metal and alternative rock, giving it an extremely Nordic feel. A slow build in the songs eventually envelops you with haunting violins, creating an immersive and cold experience. The orchestrated significance that is so bright with sporadic bursts of raw energy on tracks like “Vagrant’s Throne” truly captures the feeling of aggression.

Instrumental parts that feel grandiose and monumental bring a significant and melancholic touch to the first part of the tracklist. It is purposeful and intentionally punchy to its core. The way the artist flows between instrumental and emotional value, he executes on the song, truly gives you an unpolished and raw vibe. I can’t even explain how the imperfections from the artist himself in the vocals, combined with so metronomically calculated instrumentals, work so well. However, those touches truly deliver unfiltered sincerity.

It feels berserk. It feels bizarre. Most importantly, it feels revengeful and gritty. Such roughness is produced by the heavy instrumental switch the narrative to an extremely contemplative and thunderous atmosphere. The energized and rapid vocals on the track, like “The Violence Within,” pick up even more when the violins come into play. Overall, the first half feels untamed with uncontrollable violence that feels so powerful and sincere.

But it is the track, “Humo de Vela,” that continues this mysterious Scandinavian tone, but introduces more of the acoustic and classical musical influence. Interestingly, this track was actually composed in 2003 during the album’s various transformations.

In the second part, the emotional side of the artist is bolstered not by rage, but by guilt, melancholy. The chords on the guitars sound as if they are looking for redemption, enhancing the emotional impact of the record. In a similar way to the first part of the record, it follows a slightly nonlinear arrangement. You can’t surely declare where the album is going to go, or what turn it is going to take. However, the only thing you are certain of is that it is going to be authentic.

The dark feelings on those vivid sounds mixed with poetry truly highlights the strengths of this record, overshadowing some of its weaknesses, like an over 1-hour run-time. If in the first disc, The Arcane Insignia was to create fire, rapid and to an extent wild flows in the second, the whispers and maturity come.

The artist perfectly maintains tension from the first second and sustains it throughout the tracks. Whether it is the soft start like in “En Tinta y Sangre ( Líadan), or the heavy and direct “Pyramid Eyes,” in either way, the dynamic and spaciousness of the record is noticeable.

While for me, some of the tracks like “Windmills” or “Humo de Vela” are the clear highlights, and some of the tracks out of the tracklist don’t feel on the same level, the quality is undeniable. Every single instrument is responsible for intention and a particular instrument. It feels potent and definitely cathartic.

The length of the record is also quite a strong thing that hinders the overall emotional outburst. It feels as if the record could have been stronger if it had been shortened, as some of the narrative and tones seem to recur.

Score/Good: Despite those moments of critique and some lowlights, the way this album creates a tension and holds it throughout with a pacing really demonstrates musical experience. It is wailing, loud, and it is direct. This record is here, and right to your face, while being sincere and raw.

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Right from the opening seconds, “Mend My Soul” grips the listener with a punchy, powerful guitar that feels almost reminiscent of twenty one pilots, gritty, urgent, and full of character. As the track unfolds, DANAMA’s voice carries a compelling emotional weight. You can hear her desire to heal, to grow, to rise above; this makes the lyrics not just words, but a lived experience.

The repetition in the lyrics works to the song’s advantage; it reinforces the message, makes the track instantly memorable, and frankly, it’s the kind of chorus that’ll loop in your head long after the song ends. The instrumentation is tight and cohesive, with drums, guitar, and subtle layering all working together to drive the emotional arc forward.

One of the most striking moments comes at the end, where the intense swirl of guitar and drums falls away, leaving DANAMA’s voice isolated and exposed. It’s a stark, vulnerable contrast that beautifully encapsulates the inner solitude of mental health struggles; like the noise fades but the weight remains.

“Mend My Soul” isn’t just a song; it’s a story of progress, growth, and learning to shine through darkness.

Rating/Good  – A deeply personal anthem that feels universal, it’s a promising statement from an artist who’s clearly got something meaningful to say, and knows how to make you feel it. If you want to connect on an emotional level to a song, this is your best bet! Go give it a listen.

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12 O’Clock Club is a new jazz project launched by Antonio Val, marking his entrance on the big scene once again with this three-track collection of singles. Never heard of them before?

Let me quickly introduce you to this contemporary jazz project from London, whose ambitions are to make waves in the scene with live recordings, new releases, and festival appearances in 2026. Originally, the project seemed like a remote collaboration between different artists; however, the numerous sessions with an outstanding cast truly elevated its significance—whether through the collaboration with multi-instrumentalist Lewis Taylor, slated for release in June–July 2025, or Val’s acceptance of mentorship inspiring him to switch to in-studio recording.

And after three remotely recorded singles, it was time:

Before that, Val took a decade-long hiatus from the music industry, focusing on family, life, and adrenaline-pumping activities like motor racing and skydiving—experiences that became the emotional foundation of his work. As he reflects, “There was something unresolved from the past—and I finally had something to say.” He continues, “These compositions are rooted in real life: joy, contradictions, grief, even parking tickets. It’s all in there.”

After such a quick rundown of the band’s history, I think we’re finally ready to dive into what 160 to Cairo presents—and from the very first listen, it feels absolutely cinematic.

The self-titled track “160 to Cairo” instantly immerses you in a grand soundscape, softly supported by illuminating instrumentals. With subtle orchestration and a steady growth from strings that smoothly transition into horns and other jazz-inherent accompaniment, 12 O’Clock Club demonstrates rhythmic perfection.

I absolutely love how improvisational yet intentional these tracks sound. On “160 to Cairo,” Val cascades from an epic brass section to a slower, more delicate passage. That mix of intention and fluidity makes listening almost kaleidoscopic.

In the next track, “The Document,” the artist continues dominating the free-form jazz vibe, adding a call-and-response structure that feels like a conversation between drums and those lush horns. Throughout my listening, I couldn’t help but notice how smooth and elegant it sounds.

Val highlights uplifting tones through a driving structure that easily mixes subtle psychedelia. It’s not just a regular jazz vibe echoing older legends; instead, he adds minimal touches that bring texture and sophistication.

The outro, “Classy Joint,” steps away from the free-flowing structure and driving sense of “The Document,” opting for a silkier, velvety tone. However, don’t get me wrong—12 O’Clock Club still builds tension effectively, especially after incorporating guitar, giving the track a balanced feel. While it nods to the head-bobbing structure of earlier tracks, it feels more like a resolution to a larger narrative.

I must say, after discovering this band, I’m absolutely in love with how Val creates and builds tension so effortlessly. Those jazzy extensions, with repeated, motif-driven bridges, present a richly melodic and stylistic sound.

Score/ Excellent: “160 to Cairo” offers a fresh take on jazz while retaining beloved elements of the classics. Its minimalism creates a brooding, grand atmosphere, previewing comforting melodies that feel hypnotic.

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