The album kicks off with the versatile and multi-dimensional track “Well Made Play,” which immediately sets the tone with its cacophonous noise, featuring a wailing saxophone, yet it still manages to be catchy enough. The next two tracks, “Purity Drag” and “Kingbreaker,” are among the most accessible on the album, but they are still far from being radio-friendly or predictable. 

Following these, the album dives headlong into a blend of traditional aggressive hardcore and noise rock, perhaps reminiscent of the band’s roots and style. The guitars in “Broken Mirror” are magnificent, and the vocals create an apocalyptic feel with their pathos. “I Steal What I Want” could be material from Queens Of The Stone Age. It’s incredibly catchy and perhaps the most distinct track on the album, yet it finds its place amidst everything else. Towards the end of the album, “Heathen” stands out, which could be the work of post-rock/shoegaze pioneers. It would be easy to end the album here, but I appreciate the idea of one last chaotic ride with “A More Perfect Design.”

The description above may sound confusing, and in part, it is, but this is precisely The Armed’s strength. They can do almost anything, beautifully combining different elements and genres while maintaining a cohesive whole. You never feel the need to skip a track; each one has its own strength and place. The album is full of the finest details and withstands multiple listens because of this. The geniuses were at it again, and everything else surrounding this album has been destroyed!

Release Date: August 1, 2025

The Armed – THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED

Album of the Month by Cuberat

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Arto Karvonen and Markus Myllykangas, the creative forces once known for shaping Finnish post-metal with their band Callisto, are back with an entirely new musical project. Their new collaboration, Golden Wounds, makes its official debut with the single A Promise, out now on all major streaming platforms.

Golden Wounds crafts a rich, cinematic soundscape where melancholic melodies meet the pulse of distant hip-hop and electronic beats. The track merges electronic production with hazy, layered guitars. The song culminates in a stunning, intimate vocal harmony delivered by jazz vocal trio Mimie Moore.

Karvonen handles the project’s electronic production and keyboard work, while Myllykangas brings depth and texture with his guitar compositions. Their synergy resonates in a completely new context, where the electronic and organic meet in both serenity and tension.

A Promise marks just the beginning. Golden Wounds has already written a growing body of new material, with additional singles slated for release in the coming months and a full-length album in the works.

Alongside the track, the duo has released a music video written and directed by Karvonen, so take a watch below.

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Karen Salicath Jamali is a popularly known neoclassical composer and pianist, with over a decade of experience in the music industry “Angel Haniels Clearing” is a serene, dream-inspired piano piece that channels the calming energy of Archangel Haniel. Known for her spiritually driven compositions, Karen Salicath Jamali’s music is clearly designed to heal, uplift, and reconnect listeners with their inner peace, making it a must-listen piece. Listen below

Karen is a self-taught musician who began composing after a near-death experience. And ever since, has performed at Carnegie Hall eight times and created over 2,500 meditative works. “Angel Haniels Clearing” continues her mission to deliver soul-soothing music that feels divinely guided.

Read more of her story here

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Upon the six member group’s inception on the 2023 reality show Dream Academy, Katseye had already started turning heads with their diverse lineup and bold personalities: the group consisting of Latin-American Daniela, Indian-American Lara, Hawaiian-born Megan, Filipino Sophia, Swiss-born Manon and Yoonchae from South Korea. Containing members proficient in professional dance, singing and modelling from a very young age, the girl group seemed set for stardom from the very beginning. Indeed from the bright and irrepressibly catchy 2024 debut in the SIS (Soft Is Strong) E.P, the only way was up for the group.

While Beautiful Chaos may only be the girls’ second E.P offering, many devoted listeners may agree that it serves as a shock to the system after the bubble-gum playfulness of early tracks like ‘Touch’. The reason for this is that the E.P’s five tracks embody the members’ swaggering confidence, forward-thinking style and unadulterated personality to a T, like none of their music has before.

The first track is the incredibly impressionable ‘Gnarly’ – an unabashedly loud and proud hyper-pop track that hits far harder than any song Katseye have previously released. Unsurprisingly, upon its April 2025 release as a single, the song quickly went viral for its bizarre music video visuals, eccentric lyrics and addictively hard-hitting bass track. Playing upon the slang ‘Gnarly’ describing either something cool or repulsive, the lyrics are outlandish on their own and yet sound perfectly thrilling when uttered in the Katseye members’ animated deliveries. Indeed the chorus itself is something to behold; the girls’ fevered chants of “I’m the s***” over a bombastic bass track cementing the band’s unwavering confidence in their skills and will to dominate the charts.

Next comes ‘Gabriela’, a satisfyingly stylish Latin-inspired R&B song that opens with a Spanish-tinged guitar riff and a swaying mid-tempo beat. The lyrics concern someone trying to defend their lover from the clutches of a seductive woman. The main line in the chorus “Back off Gabriela” also serves as a message to fans of the group that pit members against each other to stir up imaginary drama; letting them know that nobody and nothing can stand in the way of the close group connection they have formed. The smoothness of the track also allows for singers Lara and Manon to show off sleek and seductive vocal tones and for member Daniela to include a part of her culture in an alluring Spanish-language verse.

The Katseye members change it up again with the breezy pop offering ‘Gameboy’, where the singers’ airy vocal runs and subtle vibrato mesh pleasingly with the song’s easy-listening yet trendy vibe. Lyrically, the girls poke fun at a love interest that plays hard to get (“You, you keep on pushing my buttons”) and sing about the playful back and forth of their relationship through sugar-coated harmonies and teasing calls. To some fans, this song may align more so with the sound of the group’s previous hit ‘Touch’, which employs a similar upbeat pop formula to deliver a feel-good track that may arguably appeal to a wider audience.

The fourth track ‘Mean Girls’ is the closest that Beautiful Chaos gets to a ballad; the song contains a pointed message toward the people who continually spread targeted hate towards the group. A sombre vocal melody (“God bless the sweet girls, God bless the dream girls…”) starts off this introspective pop track, which is led by a glitchy string sample and an understated beat. That’s because to Katseye, ‘Mean Girls’ is by no means a hate anthem, or even them being hung up on past difficulties, but a determination to move forward by spreading love, kindness and positivity in the face of adversity. This self-awareness to the dark realities of the entertainment industry and unwavering resolve to remain close-knit as a group will surely continue to endear Katseye to fans as an unshakable unit set to conquer the global music industry.

The girls can’t resist ending their EP on the irresistible bass-heavy dance track ‘MIA’, which from the start captivates listeners with the members’ commanding calls of “I’ll go MIA” and a thumping instrumental that will get audiences bopping in no time. This is undoubtably Katseye at their most comfortable and formidable, delivering powerfully upbeat jams that show off their well-balanced combination of sultry and sweet vocal colours. The pre-chorus line “No, you won’t put a leash on a b****” is probably the most suggestive of all by highlighting that Katseye are here to stay and will not be contained.

Score/Excellent: 2025 has already turned out to be a massive year for Katseye, with their swaggering style cementing their viral status. It doesn’t take a genius to figure out why the boost in popularity – these girls, while bringing together diverse cultural backgrounds, are immensely talented and stand out for their ability to unite listeners from all around the world to let loose with their empowering music.

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

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This was followed by “GREY Area,” which was much more experimental and diverse, with a somewhat darker tone. The 2021 release “Sometimes I Might Be Introvert” was truly massive with its orchestral arrangements. “NO THANK YOU” came relatively soon after and felt much simpler, leaning heavily into the traditional hip hop realm. “Drop 7” was once again highly experimental and diverse. This list is just to show that you never really know what Little Simz will offer, but regardless, her music always delivers strongly, no matter the direction she chooses.

“Lotus” is a versatile album that leans heavily on organic soundscapes and band performances. The backgrounds are stunning, and Simz’s flow is once again remarkable. The opening track, “Thief” almost sounds like it could be a masterpiece from a British rock band, but instead of singing, the vocals come out with an incredible flow. “Flood” continues the somewhat rocking line with a strong bassline and drum track. The creeping track strongly reminds me of Young Fathers’ droning and intriguing soundscape. “Young” is something I don’t recall hearing from Simz before. 

The spoken-word verse and vaguely British punk-like chorus remind me of The Streets and Gorillaz. “Only” stands out from the first tracks as a beautiful, soulful, summery piece. The rest of the album continues to balance different genres. Despite its diversity, the album is a cohesive whole and one of Simz’s best and most interesting releases. Simz is undoubtedly in the lead role, but the diverse and extensive list of guest artists definitely adds to the interest. Special mentions go to Moonchild Sanelly, Obongjayar, Lydia Kitto, and the always reliable Michael Kiwanuka. 

Little Simz also brings a lot of influence from modern African music into her work, making her productions even more diverse and interesting. Her ability to blend elements from different cultures and musical styles is one of the reasons why her music resonates so widely with various audiences. In Simz’s music, you can hear influences from afrobeat, afrofuturism, and other African genres, which bring a unique rhythm and energy to her tracks. 

This multicultural approach not only enriches her music but also highlights the diversity and vibrancy of modern African music. Simz has managed to create music that honours her roots while being innovative and fresh, making her one of the most significant artists of our time.

The most incredible thing about the album, which continues to amaze me time and time again, is how artists can reinvent themselves and release something this great even after so many releases.

Release Date: June 6, 2025

Little Simz – Lotus

Album of the Month by Cuberat

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The album is a beautiful whole in terms of its soundscape, blending electronic ambient moods with more melodic, grand moments of post-rock and dreampop. The concept of a soundtrack might first bring to mind massive, cinematic arrangements—but this one actually includes many relatively traditional song structures and a band-like approach.

At nearly 50 minutes long, the album never becomes boring—largely thanks to the impressive balance between cinematic scoring and more conventional music. The tracklist and transitions are also extremely well-crafted, building—unsurprisingly—a film-like experience without the need for any actual visuals. Still, A Necessary Escape manages to paint magnificent landscapes for the listener, where only the imagination sets limits once you close your eyes.

One of the most stunning moments is the emotional swell of the track Echoes. Until that moment, the album has been subtly building up, with only a few brief interludes offering glimpses of what’s to come. But when Echoes finally erupts with breathtaking beauty, it feels as if previously unseen galaxies are revealing themselves to us.

One of the album’s strengths is also its small sense of playfulness amidst all the emotional weight and atmosphere. A good example is Artificial Infinity, where horns, flutes, and bass lines playfully compete with each other around a catchy drum groove.

A Necessary Escape is an album that, in the midst of all the shit in the world, can bring something truly beautiful and positive into it.

Release Date: May 9, 2025

M83 – A Necessary Escape (Dakar Chronicles Original Soundtrack)

Album of the Month by Cuberat

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Joseph Michael Poole, known by his stage name Wednesday 13, has been an iconic staple of the horror punk scene since debuting as the vocalist of his first band in 1992 in North Carolina. After building up a multifaceted repertoire of music through his time as vocalist and frontman of bands like Frankenstein Drag Queens From Planet 13 and a partnership with Slipknot’s Joey Jordison in Murderdolls, the singer soon focussed on a solo career. The artist’s most recent solo output ‘Mid Death Crisis’, whose title is a tongue-in-cheek reference to the singer approaching his fifties, contains 12 riotous and outrageously fun tracks that will delight listeners young and old. Released just after a stint of successful shows around the globe celebrating the music of Murderdolls, audiences will find that much of the aggressive attitude and razor sharp riffs have translated well onto this album.

The album is introduced through the deeply atmospheric ‘There’s No Such Thing As Monsters’; a spoken intro that features Wednesday’s voice distorted and warped into a sinister whisper that rousingly calls to the artist’s legions of loyal listeners. After this, ‘Decease and Desist’ thunders in on a furious chorus of guitars and a pounding percussive beat before launching into the track’s punchy main riff. Wednesday 13’s unmistakably savage vocals power this forceful blood-fest, which unleashes a torrent of roaring horror-rock into listeners’ ears. This is what the vocalist does best: delivering an addictive blend of heavy punk-rock and gruff vocals as well as some particularly memorable lyrics (“Creature feature, Victims of the night!”).

The bombastic ‘When the Devil Commands’ begins with a chugging opening riff that sets the scene for this mid-tempo rock bop. The song’s lyrics are gloomy but in Wednesday’s sly fashion, with the vocalist choking out the pre-chorus’ catchy refrain “The devil made me do it, I’ll do it again”; crafting a rebellious anthem for audiences to passionately chant along to. ‘Rotting Away’ also picks up on this boisterous energy that makes the singer’s songs so great, but this time providing audiences with a triumphant ‘hate anthem’ that celebrates the downfall of an enemy (“I can’t wait til you’re in your grave and you’re cold and rotting away”).

The album’s only guest featuring track, ‘No Apologies’ featuring Taime Downe from band Faster Pussycat, is a riotously upbeat affair that buzzes with Wednesday and Taime’s electric synergy and back and forth vocals that is sure to leave fans thrilled. Wednesday delightfully dresses down an opponent in typical sardonic fashion (“I’ve got no apologies, you won’t hear sorry from me”), as energetic guitars duel in the background. Similarly, Wednesday voices his distaste for someone on sixth track ‘Decapitation’, which ironically may be the album’s sonically brightest track. Amidst bouncy guitars, Wednesday’s fevered growls stutter the title before transitioning into a trippy surf-rock post-chorus. It’s fun all round.

The eerily brooding guitar intro to the album’s second single ‘In Misery’ thrillingly crescendos into an intensely melodic main riff that is sure to leave listeners’ hair standing on end. The song is crowned with an ear-worm chorus that combines the song’s gloomy soundscape with some equally impressionable lyrics that tell of the singer’s damaging infatuation with a toxic relationship (“We’re the worst thing for each other… I always knew we were meant to be”).

‘Blood Storm’ rushes in like a freight train with its fevered tempo and its stirring “Whoa-whoa” calls that punctuate a punkish chorus which is brought alive by the singer’s impassioned cries. ‘Xanaxtasy’ carries the same kind of energy and unruly spirit that the vocalist pulls off with his gravelly screams and abundance of attitude. The lyrics are as singable as ever (“Am I insane? Or am I just crazy”); providing the perfect opportunity for fans to let loose and mindlessly rock out. Additionally, the thumping beat and irrepressible chorus of ‘I Hurt You’ (“There’s no one that hurts you, the way that I hurt you”) may very well be a new fan favourite and will have audiences pumping their fists in droves.

The Duke of Spook dreams of death as the way to escape the hardships and annoyances of life on the darkly comedic ‘My Funeral’, which puts the singer’s colourful lyricism centre stage (“It’s a good day to die and it’s a wonderful life”), which oozes with the devilish melodrama that has been known to make Wednesday 13 such a great showman and performer.

In typical Wednesday fashion, the singer closes ‘Mid Death Crisis’ with one of the wildest hate anthems on the album in ‘Sick and Violent’, which is led by a furious riff and a breakneck tempo; signalling to fans that just because the singer is approaching middle age, the spark that he ignited 20 years ago is still alive and will continue to burn for many years to come.

Score/Outstanding: Wednesday 13’s career has been long and immensely rewarding, and with ‘Mid Death Crisis’ the singer proves that he hasn’t lost his music’s most attractive quality – it’s fun as hell.

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

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However, with this new record, Kali seems to continue what she started, yet to evolve in a new, unique way.

What is precisely that unique way?

Sincerely, is something that is not similar to Red Moon In Venus, nor her critically acclaimed Isolation; rather, it finds itself in its own soft, smooth loop.

The record commences with Kali’s usual lushness of vocals, which grants you that immersive sincerity that she teases with the title. What Kali usually showcases on her records is the sense of mystery — whether it is the uncertainty mixed with amour or her touch on psychedelic soul — but here it just plays out a different picture with a bigger angle on her vulnerability.

In some of her later works, her charisma and captivating confidence were the attractive factors within her singing, like on last year’s track “¿Cómo Así?” Here she fully embraces the angelic aspects of her singing that are so euphoric and simply scream Kali’s distinguished feminine energy. While you may think that, the album just dives into her nocturnal side, filled with nighttime tracks that feel slightly zoned out.

While, to a certain extent, the album does give you the chill music mixed with smoothness throughout it, it also demonstrates some hypnotic soul aesthetics. The instrumental accompanying the album is simply breathtaking, mixing the warmth of Kali’s vocals with distant, trance-like sounds that feel breathy.

Talking about Kali’s known strength — vocals — they are lush, expressive, and uplifting. She felt the most emotional to me on this album in the way her heartfelt vocal style completely overshadowed the seductive side of ORQUIDEAS. It feels dramatic, intricate, and very poignant.

Kali is also usually familiar for using synth sounds here and there, and while Sincerely, is no exception, the aesthetic of crisp and slightly murky instrumentals creates a new aural feel on the album. On the “For: You,” we hear how the artist’s usual synth style is incorporated into this looped groove that feels so fluid.

When I mentioned the loop part in the beginning, it was not unintentional. The more I listen to the album, the more it feels as if the whole record revolves around Kali’s unique universe, which speaks to you with unresolved tension, adding a hopeful, jazzy structure. Somehow, she manages to amplify this crystal-clear sound with a velvet welcome and transport you even more into Sincerely,.

A track like “It’s Just Us” perfectly catches on where “Lose My Cool,” left off, enhancing and speeding up the tempo with soft, elegant drums. Those small moments where Kali perfectly captures the pacing — making it seem more restrained on tracks like “Heaven Is a Home…”, then later developing into a more driving, heart-wrenching sound — will impress you again and again as you progress.

Most importantly, this pacing doesn’t purely feel languid like a slow album. It picks up when it needs to and stops when it needs to. Examples include “All I Can Say” and “Fall Apart,” which sit at opposite ends of the record. With “Fall Apart,” she jumps into a more driving rhythm, developing an emotional build-up with a vocal crescendo in the end. Whereas “All I Can Say” slows things down, releasing tension and creating an improvisational form of soul with Kali’s usual dreamlike qualities.

If Red Moon In Venus felt cinematic to me and ORQUIDEAS slightly more high-energy, Sincerely, feels perfectly rhythmic and yet incredibly human. Its intricate structure, mixed with Kali’s free-flowing performances, adds a touch of surrealism and something deeply emotional.

It is certainly not something I have heard from her in a long time. When I first heard Kali, her confident, seductive, omnipresent voice was felt and intriguing, but did not lean into fragility. This new persona — melancholy as another instrument — delivers an ethereal experience that is still mystical but more mature now.

In my opinion, she presents not her most “artistic” work but her most well-written one, intentional from every angle. The seamless transitions and Kali’s sincerity (no pun intended) produce one of the gentlest and most impressive pop records of 2025. The starry atmosphere and soulful sounds really do their job here.

Score/Outstanding: Sincerely, is definitely a concept album that is transportive, meditative, and, to an extent, healing. It presents a space where you step in with a touch of vulnerability and softness and enjoy it as a state-of-the-art. The record creates great thematic cohesion and sticks to it without ever feeling boring or overdone, developing incrementally song by song and sometimes introducing improvisational influences here and there.

If I had to describe it in one word, it is “charming.”

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

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While Ghost has continually faced criticism throughout the years by genre purists for their classification as a ‘metal’ band and their Satanic lyrics and imagery, the band have never failed to keep their heads held high while putting out some of the most striking music in recent memory. Formed and masterminded by singer Tobias Forge in 2006 in Linköping, Sweden, the devilishly charismatic masked group captured audiences with their signature doom-metal style, haunting vocals and gloriously bombastic choruses. Now in the midst of their 2025 ‘Skeletour’, Ghost release the ethereal Skeletá; a ten track rollercoaster through epic stadium rock highs and moodily introspective metal ballads.

The album starts with the stunning and uplifting ‘Peacefield’, whose deeply stirring vocal chorus in the beginning of the track sets the tone of grandeur for this larger than life album. Designed as an anthem to inspire hope in listeners while facing hard times, the bold opening riff is deeply moving and thrilling in equal measure. Utilising the classic 80s rock/metal guitar work for the tracks on Skeletá, singer Tobias Forge crafts a sound that will be profoundly nostalgic for many while infusing Ghost’s sinister lyricism and ineffable charm. This is definitely felt in ‘Peacefield’s wondrous chorus, which is currently used by the band as the opener to their spellbinding Skeletour shows, and which thrums with a jubilant and infectiously driving energy.

Next comes the album’s second single release ‘Lacryma’; an 80s rock banger that opens with a synth intro that quickly transforms into a chugging riff. The song cleverly builds tension through the verses and pre-chorus amidst the band’s head-bopping guitar work and creeping bass. This all cumulates in another incredible ear-worm chorus, a well-known staple of Ghost’s music catalogue by now, which is crowned by Forge’s effervescent vocals that overflow with charm and emotion as he compares a dying love to the draining effects of a vampire (“I’m done crying over someone like you…hope you’re feeling it too now”).

The first single of the album, ‘Satanized’, also greatly makes use of this song structure in a track that speaks of a love so passionate and all-consuming that it is mistaken for demonic possession. “There is something inside me, and they don’t know if there is a cure” sings Forge over the top of the unapologetically captivating croons of guitars and thumping percussion. The chorus’ outraged calls of “Blasphemy, heresy!” bolster ‘Satanized’s already fevered acclaim, as it draws listeners in with haunting melodies and serpentine harmonies.

All of this does not mean that Skeletá’s B-Side tracks should be overlooked though. Both ‘Guiding Lights’ and ‘De Profundis Borealis’ are powerhouse tracks that overflow with emotional sensibility through their juxtaposition of soft piano melodies with bold guitar riffing and Forge’s coarsened vocals. With both songs referring to finding one’s inner strength through either a loved one’s passing or general hardship in life, many listeners will ultimately be able to relate to these tracks.

‘Cenotaph’ is perhaps the album’s most upbeat offering even though it also deals with losing a loved one and processing that loss. Forge puts an optimistic spin on it though, with ‘Cenotaph’s up-tempo beat, boppy rhythms and Queen-esque riffs putting into perspective that those that have past on are always with us in spirit.

Both ‘Missila Amori’ and ‘Marks of the Evil One’ begin with colossal, swaggering guitars that carry the weight of the songs’ old-school metal appeal. While ‘Missila Amori’, meaning ‘Rockets of Love’, illustrates love turning slowly to hate through a spirited chorus punctuated by groovy guitar calls, ‘Marks of the Evil One’ is characterised by a rousing opening riff that transitions into an addictive, harmony-riddled chorus (“There, there, the marks are spreading everywhere”).

The final two tracks, ‘Umbra’ and ‘Excelsis’, are nearly worlds away from each other. The former track is a vivacious rock banger filled with bubbly synths, lyrical innuendos and a euphoric chorus that is sure to have audiences bouncing on their feet and singing along in exultation. ‘Excelsis’ on the other hand, is a stunning six minute epic that lulls listeners with a delicate acoustic arrangement and a beautiful lullaby-like delivery from Forge. Thus Skeletá ends on an introspective note; the singer soothing listeners with the assurance that death is not to be feared, as it is just a natural part of the tremendous cycle of life we all must experience.

Score/Outstanding: Long-time Ghost fans may hold the hope of the band returning to their heavier musical roots, but the group’s trial of 80s revival on Skeletá certainly is not style over substance, but rather carries powerful emotional and societal messages many people may need to hear. Skeletá is indeed a new era for Ghost, and is therefore something to be cherished.

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

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In 2021, however, the band took a bold step towards a lighter sound with Infinite Granite, leaving behind the black metal growls in favor of melodic, stunning vocals. The album balanced elements of shoegaze, dreampop, and post-metal. It didn’t seem to be particularly well-received, and perhaps because of that, Lonely People with Power marks a return to a somewhat more brutal approach.

The album is a strong, cohesive work from start to finish, with hardly any weak or dull moments. The songs are emotional and catchy, easily sticking in your mind even though they occasionally unleash full-on sonic assault. The guitar melodies grow into massive, towering waves, and just when you think they’ve reached their peak, they climb even higher.

The record manages to be both tight and brutal, yet also beautiful and sensitive at the same time. Magnolia delivers the heaviest material on the album from beginning to end — a track that could almost have been written by any black metal band, complete with classic heavy metal guitar riffs. Heathen occasionally flirts with the melodic and clean vocal elements of the previous album. It’s a song that encapsulates everything that makes Deafheaven such a remarkable band: stunning melodies, grand emotions, sensitivity, and ferocity.

One of the band’s strengths has always been their ability to combine memorability with unpredictability. At times, especially in the longer tracks, you find yourself completely immersed in one section — only to be pulled back up by a surprising detail or a full-on shift in direction. Incidental II, featuring Jae Matthews from Boy Harsher, offers a refreshing detour amidst the intensity, embracing a more industrial and noisy soundscape. It would be fascinating to hear Deafheaven explore more of this territory in the future.

The way the band’s latest album weaves together various elements from their earlier work makes it perhaps the most cohesive and best overall record in their entire discography.

Release Date: March 28, 2025

Deafheaven – Lonely People With Power

Album of the Month by Cuberat

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