REVIEWS

Sir+’s “Dinosaur Blues” is a wild, funky ride that proves growing older doesn’t mean slowing down—it means turning up the volume. From the first strum, this blues-rock anthem kicks into gear with gritty guitars, a stomping beat, and a swagger that feels like it’s been aging like fine wine. The track leans into its theme of feeling out of step with the fast-paced modern world, but instead of brooding, it throws a party.

The guitars are raw and crunchy, backed by a rhythm section that swings hard and keeps your feet moving. There’s a loose, live-band energy to it all—tight enough to groove, but gritty enough to feel human. Sir+’s vocal delivery nails the balance between playful and powerful, with lyrics that poke fun at aging while wearing it like a badge of honor.

Lines brim with tongue-in-cheek humor and clever wordplay, turning the idea of being a “dinosaur” into a bold statement. This isn’t about staying relevant—it’s about owning your space with flair. The chorus is instantly catchy, begging to be shouted back with a grin and a stomp of the foot.

“Dinosaur Blues” continues Sir+’s streak of tracks like “Bad Hotel” and “Smiley’s Tune,” keeping that same charm but dialing up the rock energy. It’s loud, it’s proud, and it’s impossible not to dance to. Whether you’re young or just young at heart, this track invites you to let go, laugh a little, and rock like the end of the world’s a party.

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Wildersky’s single, “Can I Call You When The Winter’s Done?”, is a heartfelt indie folk rock piece that captures the essence of enduring winter’s emotional and physical challenges. Crafted in the solitude of Wiltshire, England, this home-recorded track resonates with authenticity and introspection.

The song opens with gentle guitar strums, setting a contemplative tone that mirrors the introspective nature of winter. As the track unfolds, subtle layers of instrumentation, including echoing drums and melancholic vocals, build a soundscape that feels both intimate and expansive. This progression reflects the gradual transition from the cold stillness of winter to the hopeful promise of spring.

Lyrically, the song delves into themes of memory and hope, portraying the act of reaching out as a beacon during times of isolation. The chorus, described as lifting “like early spring light,” embodies a sense of renewal and the enduring human spirit. The composition’s masterful layering ensures that each element contributes to the overall emotional impact without overwhelming the listener.

Critics have noted the track’s ability to evoke vivid imagery and emotions, with one review highlighting how it “wraps around you like a flannel blanket in the dead of January” . Another review praises its tender and introspective nature, emphasizing its capacity to resonate deeply with listeners.

“Can I Call You When The Winter’s Done?” stands out not only for its lyrical depth but also for its rich, home-crafted sound that rivals studio productions. It’s a testament to Wildersky’s ability to transform personal experiences into universally relatable art, offering solace and connection through music.

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“St. David (Alternate Version)” by Alexander Joseph is a calm and emotional indie folk song that feels personal and peaceful from the very first note. Originally written in 2011, this newer version offers a more mature and intimate take, allowing listeners to really feel the heart behind it.

The song begins with a soft guitar riff that sets a quiet, thoughtful mood. As it moves along, a gentle piano slowly joins in, adding depth without ever overwhelming the calm atmosphere. Together, these instruments create a peaceful background that feels like a warm breeze or a quiet walk in nature.

The inspiration behind the song came from a real-life trip Alexander took with his sister to the small coastal town of St. David’s in Wales. The cover image for the song was even taken during that trip. This connection to a real place and memory brings a layer of honesty and depth to the music. You can feel that this isn’t just a song—it’s a personal reflection.

Alexander’s voice is soft and steady, matching the quiet tone of the song. His lyrics gently explore themes of peace, faith, and finding stillness in a noisy world. There’s no rush in his delivery, just a steady invitation to slow down and listen.

“St. David” feels like a moment of calm in a busy day—a comforting and sincere track that offers space to breathe and reflect.

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Avenues’ EP Off The Lanterns offers a poignant exploration of memory and emotion, with the title track standing as its centerpiece. Originally penned in October 2020 during the pandemic, “Off The Lanterns” was first recorded live during the “Live in Studio: 10/19/2024” sessions. This latest version introduces delicate piano arrangements, adding a new layer of introspection to the composition.

The song’s lyrics delve into themes of disorientation and the search for clarity amidst uncertainty. Lines like “But the all time upside down” evoke a sense of being unmoored, reflecting the emotional turbulence experienced during challenging times. The instrumentation complements this mood, with acoustic and pedal steel guitars weaving a melancholic tapestry that underscores the song’s reflective nature.

“Off The Lanterns” serves not only as a bridge between the past and the future for Avenues but also as a testament to their ability to craft music that resonates deeply with listeners. The track’s evolution from its original live recording to this refined version showcases the band’s commitment to artistic growth and emotional honesty.

In the broader context of the EP, “Off The Lanterns” sets the tone for a collection that traverses personal histories and shared experiences. It’s a compelling invitation to reflect, feel, and find solace in the shared human journey.

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Ben Rankin’s latest single, All Is Well In Hell, is an explosive addition to the Australian artist’s growing repertoire. Released on March 14, 2025, this track merges powerful metalcore elements with melodic rock, creating an anthem that demands attention. Fueled by hard-hitting breakdowns, sharp guitar riffs, and Ben’s passionate vocal delivery, the song is a true reflection of the energy and emotion that metal fans crave.

The track opens with a slow, melodic guitar before quickly ramping up with a shout of “BURY ME,” signaling the intensity to come. As the song progresses, Ben blends clean and harsh vocals to craft a dynamic soundscape that mirrors the song’s themes of frustration and personal struggle. The verses are raw and unapologetic, with lyrics like “I’m sick and tired of losing all my f***ing self control” and “A demon disguised as an angel,” which perfectly capture the angst and defiance of the modern metal scene.

The production is top-notch, with tight rhythms and bold breakdowns that keep listeners engaged from start to finish. Ben’s DIY approach to the recording process, along with his innovative use of plugins during mixing, has resulted in a sound that is fuller and more dynamic than ever before. The song’s structure is designed to keep you on your toes, with unpredictable shifts that maintain tension while offering moments of release.

With All Is Well In Hell, Ben Rankin proves himself as a force to be reckoned with in the metal world. The song not only showcases his talent for creating intense, raw music but also reveals his ability to infuse emotion into every note. This track is a must-listen for fans of early 2010s metalcore, and it solidifies Ben as one of the most exciting new voices in the genre. If you’re into bands like Asking Alexandria and A Day to Remember, this song will definitely find a place in your playlist.

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With Cheap Japanese Bass, Steve Lieberman, also known as The Gangsta Rabbi, continues to push boundaries with the same wild intensity that has carried him through a staggering 85-album career. Labeling his style “militia punk,” Lieberman blends raw sound energy with an unapologetically DIY spirit. This album, which also serves as the project’s first single, doesn’t hold back — it hits hard and fast, propelled by sheer creative force.

Listeners can expect a sound that is both chaotic and captivating. According to early impressions, the track impresses through its simplicity and natural feel. The bass stands out as the track’s gritty anchor — not just present, but commanding, giving the music a rough, almost abrasive edge that fits the punk ethos perfectly. Rather than cluttering the space, the low-end pulls the listener into a heady mix of fluid textures and dense sound layers.

What separates Cheap Japanese Bass is its unrelenting energy. Lieberman’s long experience as a bassist and singer — dating back to the early ’70s — comes through in how instinctively the track moves. It’s not polished or over-produced, but that’s the point. It’s meant to overwhelm and drag the listener into something bigger, even psychedelic at moments.Lieberman’s use of 25 instruments promises range, and while this single doesn’t parade every element, it lays the groundwork for an album that could veer in many unexpected directions. Cheap Japanese Bass doesn’t ask for your attention — it grabs it.

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Anti Lag’s latest single, “Michael Bichael”, is a slick, charged-up dive into the more seductive end of the electronic music spectrum. From the opening moments, the track establishes an atmosphere of tension and intrigue, starting with a near-whisper and gradually building into a throbbing, dancefloor-commanding crescendo. It’s a deliberate, calculated escalation — one that mirrors the moment in a night out when a casual glance becomes something electric.

Rooted in club-ready beats, “Michael Bichael” fuses synth-driven tension with a playful sense of rhythm. The production is tight but not overly polished, letting each pulsing element breathe while still maintaining momentum. Anti Lag, known for their roots in chiptune and gaming-inspired music, leans into a more fleshed-out electronic palette here, signaling growth without abandoning their high-energy origins.

The track “sears dancefloors with fizzing oil, a knowing smirk, and hips that won’t quit.” That may sound hyperbolic, but the track genuinely does carry an undercurrent of playful menace, as if it’s in on the joke but still dead serious about moving the room. The synths climb steadily, creating a mounting pressure that breaks in a payoff designed to hit hard in a live set.

There’s a distinctly visual feel to the production — like a slow camera pan in a dimly lit club, where colors blur and attention locks on a single figure across the room. Anti-Lag taps into that cinematic energy and translates it into sound with impressive control.

“Michael Bichael” is another step forward for an artist who’s steadily scaling from underground oddity to national name. It’s sleek, sultry, and unmistakably built for the night

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Goddamn Wolves’ “So Long,” the closing track of their DOOM EP, offers a poignant blend of indie rock infused with emotional depth. Emerging from the solitude of the COVID quarantine, the song captures a sense of wistful melancholy, reflecting on themes of departure and longing.

The track opens with jangly guitar strums that set a reflective tone, complemented by the harmonious interplay between Chris Weilding and Laura McCullough. Their alternating vocals create a conversational dynamic, weaving a narrative that feels both personal and universally relatable. The inclusion of live drums by Drew Foglia adds a fresh energy to the song, distinguishing it from earlier demos and providing a rhythmic backbone that propels the track forward.

A standout moment in “So Long” is its outro, where all three band members converge in a three-part harmony. This culmination evokes a sense of unity and closure, resonating with listeners as a heartfelt farewell. The song’s lyrics, while not explicitly detailed here, are noted for their introspective quality, inviting listeners to reflect on their own experiences of change and letting go.

Critics have highlighted the song’s ability to balance melancholy with melodic charm. Obscure Sound describes it as swelling from “folk-touched intrigue into a sweltering dual-vocal farewell,” emphasizing its dynamic progression. Similarly, You Hear Us praises the track for turning “a shared global melancholy into something deeply personal and undeniably catchy.” Hot Dog Music Blog notes the song’s “tight rhythm section, jangly guitars, and dual vocals,” which together create a “punchy yet melodic ride.

In “So Long,” Goddamn Wolves encapsulate a moment of collective introspection, delivering a track that is both sonically engaging and emotionally resonant. It’s a fitting conclusion to the DOOM EP, leaving listeners with a sense of closure and contemplation

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“Gone,” the opening track of I, Captain’s latest EP, EP 1 (One for the Money), showcases the band’s adeptness at fusing diverse musical influences into a cohesive alternative rock sound. Drawing inspiration from artists like Nomeansno, Primus, and Pink Floyd, I, Captain delivers a track that is both nostalgic and refreshingly innovative.

The song begins with a compelling rhythm section, where the bass lays down a groove that is both steady and dynamic, setting the stage for the intricate interplay of instruments that follows. The drum patterns are tight and purposeful, providing a solid backbone that drives the song forward without overpowering the other elements.

Guitar work in “Gone” is particularly noteworthy. The riffs are sharp and angular, reminiscent of the punk energy of the Minutemen, yet they also exhibit a melodic sensibility that adds depth to the composition. The layering of guitar lines creates a rich tapestry of sound that keeps the listener engaged throughout.

Vocally, the track maintains a balance between raw emotion and polished delivery. The lyrics delve into themes of loss and introspection, resonating with listeners on a personal level. The vocal performance complements the instrumental arrangement, enhancing the song’s overall impact.

“Gone” stands out as a testament to I, Captain’s ability to blend various genres seamlessly. The track encapsulates the essence of alternative rock while incorporating elements of funk, punk, and progressive rock. It serves as a compelling introduction to the EP, inviting listeners to embark on a musical journey that is both familiar and uncharted.

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With El hombre que soñó el fin, Alma Lunar crafts an immersive and chilling soundscape that blurs the line between reality and the abstract. This isn’t a conventional song—it’s an auditory experience. From the very first unsettling textures to the final echo of a gunshot, the track unfolds like a psychological thriller trapped inside a dream.

The composition is built through layers of digital synthesizers, field recordings, and advanced sound processing, all orchestrated by Esteban Mauricio Soria. The result is a sonic labyrinth—low, rumbling basses set a tense foundation, while eerie ambient sounds drift in and out like distant memories. Sparse percussion emerges in unpredictable pulses, further destabilizing the listener’s sense of rhythm and place.

Processed vocals are used more as atmospheric elements than traditional lyrics, distorted to the point of becoming ghostly whispers. The inclusion of non-musical sounds—like footsteps and a gun cocking—adds a cinematic realism that heightens the piece’s narrative tension. These elements suggest a story unfolding in real-time, or perhaps in a dream on the verge of collapse.

What makes this track deeply effective is its emotional duality: it invites both fear and fascination. There’s beauty in the way dissonant elements are layered, and an artful control in how each sonic texture ebbs and flows. It’s hypnotic, dark, and introspective.El hombre que soñó el fin doesn’t just ask what happens at the end—it dares you to feel it. Alma Lunar delivers a daring experimental work that resonates long after the final sound fades.

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