“For New Age radio audiences, Wayo Hogan’s story is an invitation to slow down, listen deeply, and embrace the calming spirit found within Montana Stillwater—and every note he composes.”

So let’s have a listen …

“‘Flathead Lake’ flows with shimmering synths and tranquil melodies that evoke wide-open water and sky.” The track starts off with a nice arpeggiated piano vamp, then the keyboards come in supplying the atmosphere, bass, and drums. The song is a nice listen, very contemplative and serene. There’s a nice instrumental break in the middle of the song, followed by more of a folksy vamp. The song fades out on the lovely piano vamp. Very chill song, I like the composition, but am left feeling that it doesn’t really have a memorable hook, but it is very pleasant to listen to.

“‘Bigfork Bay’ adds a rhythmic undercurrent, capturing the cozy, artsy vibe of the lakeside town at sunset.” This song also starts off with a lovely piano piece, then the strings come in adding a very nice texture to the piece. When the drums come in, so does a very chill acoustic guitar; the keyboard string section definitely adds to the chill mood of this track.

“These instrumental tracks are ideal for chill, downtempo, and ambient-focused radio shows with an ear for innovation and place-based inspiration.” After listening, I would have to agree with that statement. These are very chill New Age instrumental music tracks, well composed and recorded. The mix and master sound wonderful. I like the vibe.

SCORE/Good: While I like the vibe of both songs, I’m left feeling that the songs don’t particularly have a strong hook or melody. The EP is very well-produced. And the performances on the recordings are also very nice. I liked listening to these New Age tracks, and you will too! Much love, Beth

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The album’s inception initially hints at this anarchic sound that feels so textural and physical due to its omnipresence. Surprisingly, the album isn’t rooted solely in gritty, raw sounds—instead, it aims for a seismic yet very polished vibe.

This record certainly could be divided into two separate parts, with the first one having “Higher Ground” and “New Messiah” that aim for this dark, snarling sound, which is much closer to usual hard rock. The artist opts for a dreamlike sound, particularly on “Higher Ground.” During the chorus part, the catchy and captivating vocals with the ominous instrumental present to you an unhinged yet perfectly rhythmic song. What is probably the highlight of this specific track is the outro, where the artist gives you such a dynamic and cinematic experience with his guitar solo closing the track perfectly.

When it comes to “New Messiah,” which is also more chaotic and rapid in its delivery, East of Anthony balances between rough and storytelling-heavy delivery. The sound throughout the track shines the most when you hear an artist getting into the zone closer to the chorus, where you can hear all of the intricacies of the sound with smooth and crisp grooves. 

In regards to the 2nd part, which includes the next two tracks, “Free” and “Fake Faces,” the tracks opt for a more emotional type of delivery, putting a stronger emphasis on this grunge feel that stays hazy. If the previous tracks remotely give you a feel of dystopian chaos that is purely controlled by the artist’s tempo, these upcoming tracks rather represent your hallucinatory aesthetic. With the mind-bending mixture of instruments, epic entrance on “Free,” and a mysterious, slow-paced “Fake Faces,” the record truly achieves an immersive feel. 

Throughout the album, I recognized how well-balanced it sounds. You are not purely getting these mayhem-like sounds but also a mixture of sincere and dark soundscapes. 

Score/Excellent: I really enjoyed this EP. Higher Ground is an extremely balanced and concise release. It truly delivers impressive rock tracks that combine grunge with elements of shoegaze. The tracks mix chaos with a high degree of polish and professionalism. Great EP.

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Many who already know MAN WITH A MISSION, a rock band formed in 2010 in Shibuya, Japan, are likely to merely characterise them by their eccentric look; all five members donning wolf masks to disguise their real identities and play into the band’s colourful backstory. While their unconventional appearance has no doubt contributed to a great amount of publicity and interest throughout the band’s career, the band’s music catalogue is even more enthralling.

Combining nu-metal and dance-pop to create a playful yet adrenaline-fuelled listening experience, the band sound both self-assured and more creative than ever on their ‘XV e.p.’ which contains four new songs followed by eight live recordings of some of their greatest hits from their 2024 North American tour ‘Kizuna no Kiseki’ in Mexico.

The E.P opens with the first of the band’s new offerings – ‘Vertigo’. Beginning with a pronounced drum beat paired with punchy guitars, the song instantly captures listeners’ attention with its grandiose introduction and promise of another high-energy MWAM banger. Alongside the song’s pounding beat, singer and guitarist Jean-Ken Johnny begins his signature rap, which is delivered with all of the bravado and cynicism that the vocalist is known to unleash within the band’s most upbeat and attitude-filled tracks. Throughout his swaggering verse, Johnny tears apart the greed of modern people “Go for whatever, lust for the better, We’re all so goddamn hypnotised”, which is only intensified by his razor sharp delivery and sardonic tone.

After a hook-filled pre-chorus, ‘Vertigo’s chorus thunders in on a wave of sound that only MWAM could make sound so charmingly joyous. The deep and husky tone of main vocalist Tokyo Tanaka melding with Johnny’s melodious vocal calls is one of the biggest draws to what make the band’s choruses resonantly powerful and emotionally soulful, and ‘Vertigo’ again takes full advantage of this. Johnny’s rhythmical rap verse immediately after this highlights MWAM’s far-reaching appeal to audiences through their experimentation with genre and their ability to capture the hearts of Japanese and international listeners alike with their bilingual music catalogue.

The second track is ‘Circles’, which encapsulates an entirely different sound from the E.P’s opening track. Starting with a more contained, guitar-led intro, the song is kicked off with Johnny examining the hardships and doubts that we must face in life and ultimately overcome (“Every history and your life is made, Proven and told by your scars and blisters”). The slow-burn build-up of the track through the verses effectively allow for the sentiment within the lyrics to take centre stage, while being passionately delivered by the band’s vocalists. Therefore, the chorus feels undeniably nostalgic and ever more heartwarming sung by this ensemble of soulful voices. Tanaka ultimately reassures listeners that the future is surely bright for those willing to fight for it (“Fear no more nor lament, your life is beautiful”).

The following track, ‘Reaching For The Sky’, which was initially released as a single in January 2025, seems to combine the emotional nuances from both previous tracks on the album while strengthening the song’s drive in a hard-rock arrangement with a hard-hitting lyrical message. Utilising their trademark mixed Japanese and English lyrics, ‘Reaching For The Sky’ is uplifting in the extreme; from the optimistic declarations to live freely and without regrets, to the surprise tempo change-up and breakdown at the end of the track.

The experimental soft-rock ‘Whispers Of The Fake’ will feel for many loyal listeners of the band like an unexpected shift in musical style. Starting off with Tanaka’s unmistakably rich vocal tone over an acoustic guitar backing, the song soon transitions to an irrepressible ear-worm chorus melody, where Johnny and Tanaka smoothly harmonise over a country-esque arrangement. It’s certainly not what fans may be used to, but MWAM easily manage to make this track just as enchanting as any of their hard-rock hits.

The eight live tracks consist of a range of new and old anthems, feverishly backed by the frenzied screams of their live audience. There is one particular stand-out though in the form of ‘Blaze’, which is featured for the very first time as an acoustic version. Originally a powerful rock jam off of 2022’s ‘Break and Cross The Walls II’, the track is toned down to a breathtaking solo stage with Johnny’s sonorous vocals echoing out a passionate tale of determination and inner strength. If this doesn’t tempt you to catch one of their incredible live shows, nothing will.

Score/Outstanding: It feels as if 15 years have blurred by for the fans and for the band, but the ‘XV e.p.’ shows that the quality of MWAM’s music has definitely not diminished, but has rather become more exceptional as the years go by. Here’s to another fifteen years.

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So let’s have a listen …

The first track is title cut Back into the River and nicely sets the pallet for this tasty new release. Very Soundgarden influenced. The voice nails it. Everything is in its place and interesting chord changes. I love the acoustic guitar break in the middle of the song. This is the best song on this EP.

The second track Hell of a Lie is the EP’s single. Has a very in-your-face lead guitar riff. Loving the lead guitar solo 2/3 of the way through the song, particularly as the chord progression in the bridge changes, then back into the chorus. Very nice. Still, I think the first song might make a better single.

In the Middle of Two Worlds has a pulsating rhythmic feel, accentuated by the hard eighth note drum beat in sync with the bass and rhythm guitars. Interesting chord changes in this song. The song fades away at the end.

Wake Up, the fourth track, starts off with a funky acoustic guitar then is immediately joined by the rest of the band. I would have preferred the acoustic guitar riff to get more sunlight at the beginning of the song. You can still hear it in the mix, but a bit drowned by the other instruments. The chorus hits at about 1:40 reminding us all to “wake up.” I’m really enjoying the female vocalist singing background vocals in this track. Very epic!

Back into the River II (Alternate Version). This version focuses on the acoustic rhythm guitar. You can hear the vocals better in this version, though I really liked the first version. More of a songwriter’s version. Still a great song. Digging the lead guitar solo on this version and the brain-challenging complex chord progressions and arrangement in this song.

This EP features an impressive lineup of musicians on select tracks:
“Jon Button on bass (Sheryl Crow, The Who), Nik Hughes on drums (Bush), Mike Smith on drums (Chayce Beckhamm, Trapt, Tantric), and Lea Cappelli on vocals (L’FREAQ). The first single, “Hell of a Lie,” was also mixed by legendary producer Gordie Johnson (Big Sugar, Grady).”

SCORE/Excellent: The songwriting and song arrangements on this EP are top-notch. Excellent production and musical performances! I really love the title cut and think it should be its own single. If you like the grungy sound of the early 2000s, get this EP and see if you agree! Much love, Beth

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

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So let’s have a listen …

The first track on the album Dub to Speed is a dub beat with clips from his prior songs interrupting the flow. Unfortunately, the clips are not mixed as well as the beat, so not sure this works as the artist intended. Would have liked to hear a vocal flow over the actual dub track. This track goes on too long at 4:50.

Worth the Wait starts with a shimmering electronic keyboard riff. Funk beat. I’m surprised I like the vocals so much. That’s always a good sign for a hip-hop album. And the rhymes reverberate. The sign of a teacher.  I really like this song. No wonder the artist chooses it as his featured track.

The Game features a sports theme, as the song’s title would imply. I like the rhymes in this song, which is all about athletes and sports. The Game. Nice flow to the vocals. I’m not bonding with the cheesy keyboard drum beat though.

The fourth track Now and Then features a soul type beat, loving the saxophone. The vocal flow is really nice, got to give props to the artist, has a nice voice for this type of music. The words compare the artist’s past life to his current family life. The music is very simple, but effective. I like the record skips used in this one.

Track five Globetrotter starts off with an airplane sound which leads into lyrics about airplanes. The vocal flow on all these songs has the same rhythm, I would have liked to hear a little more variability from the artist. I do think the lyrics, however, are really well-written. I like hip-hop that makes me think. You too?

SCORE/Good:  I really like the lyrics on this release. The voice sounds nice and that is a plus sign for this type of hip-hop album. I do think the songs employ the same vocal flow, just set to different rhythms. I also would prefer live drums to the programmed ones. Worth the Wait is a killer song, maybe should be released as a single. Much love, Beth

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

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The first track on the album is the title cut De-Evolution starts with a Doom power chord, slow chord riff. Very doom vocals kick in – hard to hear the words against the heavy mix of guitars. Trailing lead guitar riffs take us into another slow bridge. The vocals sound like they fit the mix though. I like how the chord riff climbs up the scale. If you’re into this genre, you’ll dig it.

The next song The Fall starts off with a very nice alternative rock riff, much faster tempo over the powerful fast single note riff. I like it. Still doom metal in its essence. I like the arrangement of the bridge, devilish vocal rages litter the soundscape. I really like the guitar playing on this song, lots of great single note lines. It’s a bit of a long song, clocking in at 07:09.

The next song Lies starts with a slow arpeggiated guitar riff. Nice chord progression. I keep wanting this song to take off. Do wish the artist would post the lyrics as they’re a bit hard to understand against the mix. I overall like the sound of this track. Not sure about the bridge, but I like how things devolve into a heavy droning power chord and then back into the main riff. The sound of the rhythm guitar power surge towards the end is epic!

The final track is called For Ever and starts with a nice arpeggiated riff, then into heavy power chords. I like the repeating lead guitar vibes in the middle of the song. The changes are very doom metal, nice. This track is mixed like most songs in this genre, though I would mix the vocals louder, especially if the lyrics are important to the listener. I would like to know.

SCORE/Excellent: I’m going to go ahead and rate this as Excellent, even though I couldn’t really understand the lyrics. It’s mixed perfectly for this Doom genre and the guitar playing is really excellent. The album musically flows like a raging river, full of heartfelt emotions. The vocals match the power and aggression of the heavy guitar riffs. If you’re into to Doom Metal, I would definitely check out this new EP.  Much love, Beth

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

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So let’s have a listen …

The EP kicks off with gentle strings accompanied by an arpeggiated bubbling piano that sounds very nice against the string section. Eventually, the drums kick in. Finally, the vocals come in, and I’m getting sort of a Middle Eastern vibe from the vocal melody over the song’s instrument bed. Not sure that was intended, but that’s what I’m hearing. This is a 7-minute song. At first, I was unsure if I liked the voice, but it really starts to fit together well with the song the farther you get into the track. The first track is strangely titled The End. Starting the album at “the end”. LOL

The second track Sometimes, has a nice drum beat, loving the groovy bass line. The voice soars in this track and sounds epic against the track. I like the harmonics on the electric guitar. This track should be a single. Very well crafted song. It makes you want to listen to more from the artist. Which I think, is the point. Sometimes. The digital keyboard waterfall riffs at the end of the song are a very nice twist! A very well constructed song.

Forbidden Fruit, the third track, starts off more somber and dark. The vocals are very heavily affected and remind me of the vocal sound in Pete Yorn’s single Life on a Chain. Fits the song composition. It’s not quite as catchy as Sometimes, but fits in the overall sound of the EP.

The next song Soon Be There starts off with a very nice acoustic guitar line and I’m really digging the mix of the vocals on this song. Very James Bay. This is my second favorite track on the EP.

Not Much Left in Me closes out the EP. Starts with a gentle, broken, piano melody followed by drums, and then enters a massive slow bass groove. Not really digging the vocals on this song. Sounds a bit like a church hymn, vocally and melody-wise. The lyrics tell a good story: “It is painful to believe.” I like the lead guitar that comes in later in the song. And the bass line on this song is really worth a listen. The song concludes with heavy orchestration fading into the vocal and a lone piano going back to the song’s beginning.

SCORE/Good: I’m ranking this EP as Good Plus. I think the song sometimes is truly excellent. And I also really like Soon Be There. I didn’t quite make the same connection to the other three songs on the album. The musicianship on the album really shines! And the mixing and mastering is top-flight. Check out the song Sometimes! Much love, Beth

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

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Moe Carter is a rapper based in NC/NJ who recently dropped his new EP called Insert Coin Here 2. Just from the title itself and the cover, we can see that Insert Coin Here 2 is a mesh of gaming and street culture, where Moe draws on his inspirations, ups and downs, and experiences of the concrete jungle and its struggles.

Moe usually gives you a nice mix of East Coast rap with classic Southern hip-hop, featuring hard-hitting instrumentals, nostalgic samples, and crispy drums. I had not heard about Moe Carter before this EP, but the artist has already been around for some time, so without further introduction, let’s jump into Insert Coin Here 2:

After first listening to the tracks from the album’s start, I had some mixed feelings.

When you get into the project with the intro track “Lifeline,” you can’t help but notice the prominent inconsistency in mixing and mastering of the track.

While the rapper’s cadence and flows are certainly sharp, the mixing and mastering issues make it sound extremely off the beat undercutting the rapper’s punch. With those hard-hitting elements on “Lifeline,” where the piano part builds that haunting yet repetitive atmosphere, it’s hard to stay fully engaged. However, later the rapper introduces you to some of the better-mixed tracks, which we will get into later.

With that point out of the way, I must say that the rapper is quite adept at experimenting and trying different sounds. Whether it is the trap-infused “Lifeline” or the heavily Southern hip-hop-esque “Purple Hearted,” Moe Carter offers a solid diversity throughout the record. Additionally, most of these tracks are filled with a certain substance and narratives that deviate from the usual modern repetitive rap narrative.

On a track like “Purple Hearted,” the rapper gives you a nice bridge to the previously introduced piano-haunting atmosphere, reminding me of the hardcore hip-hop style you get from artists like Denzel Curry, which, frankly, the artist mostly nails.

Funnily enough, the further you go into the record, the more melodic Moe Carter becomes—whether it is circling back to a melodic Southern hip-hop influence on “Black Bentley” with a fusion of conscious hip-hop, or the outro track “Speed Bumps” with its jazz influence. However, while “Black Bentley” gives you a lot of familiar elements that people love within this hip-hop lane, “Swahili” definitely remains one of my favorites on this EP.

The 4th track, “Swahili,” is simply exceptional; it gives you that ferocious sound of Moe combined with a snarling delivery and a mysterious beat, which certainly stands out as the most memorable and raw performance from the artist on the EP. It not only finds itself in a space of substantial conscious hip-hop and storytelling but also matches the energy of the build-ups within the beat.

With the outro track “Speed Bumps,” you are in for the sweet and nice touch that wraps up the EP with a melodic, boom-bap-type vibe that finally transitions into jazz rap. If “Black Bentley” only gave you a slight hint of the jazz rap style with its surrealistic sound, “Speed Bumps” fully embraces that sound as its fate.

Insert Coin Here 2 is a solid listen, although it feels as if Moe Carter is stepping into his artistic journey. While some of the tracks definitely have strong elements, the inconsistent vocal and beat mixing lowers the project’s quality and replay value. The rapper clearly has potential and deserves recognition as an emerging talent, but the ups and downs of the mixing and watered-down sound of the vocals keep Insert Coin Here 2 from being the best record by any means.

Score/Good. I believe this record certainly deserves a good score, as the rapper has a solid flow and bars that can immerse you in his narrative—especially in the latter half, from track three to the outro. However, when the album dives into those hard-hitting, dynamic sounds like “Lifeline” or “Purple Hearted,” the echoed-down vocals detract from the album’s stronger aspects.

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Marcus: the Apex Predator! is a Detroit-based indie/post-hardcore outfit. Formed in 2015, Kevin Watts (guitars, vocals, writing) teams up again with Float Here Forever bandmate Nick Marko for the band’s Newborn Fossil EP.

Newborn Fossil marks the first EP from the artist in a long time, as the previous record from Marcus: the Apex Predator! came in 2018 with The Fury of Almost, which delivered that Detroit-style hardcore rock that the artist continued to pursue and develop on the brand-new EP.

Sean Bondareff (Kind Beast) lays down the bass, and the tracks were recorded and mixed by Jake Shives and mastered by Grammy-winning Detroit legend Dave Feeny at Tempermill Studios. All of these collaborations, brought together on the EP, hint at the solid mastering and mixing that contribute to the overall excitement of the new record.

Marcus: the Apex Predator! prides itself on representing Detroit by existing in the in-between, finding a niche between the melodic and the aggressive, with a thoughtful yet fun sound that hits your ear.

So, without further ado, let’s see what the new record has got:

From the beginning, you get a nice kick to the sound with a solid mixture of raw rock that truly finds itself between rawness and thoughtfulness. On intro tracks like “Newborn Fossil,” you get a blend that reminds you of a brooding and dynamic soundscape while sticking to a minimalistic and restrained aesthetic.

However, on subsequent tracks like “Plenty & Shine,” the artist steps out of minimalism, jumping into a vibrant dynamic that has a fun kick to it. The textural, shimmering sound of guitars throughout the record throws you into a palette of quirky yet somewhat unhinged tones.

On the album, you also encounter a more predictable sound—a “what you see is what you get” approach. Some tracks give me the feeling of what would happen if Black Sabbath tried to hit you with a brighter, melodic sound while still embracing an off-kilter vibe. Despite the big names mixing and mastering the record, you don’t always get the metronomic, perfectly paced songs; instead, it feels like the creative mess one might have in a room. Although the record sometimes sounds all over the place, explosive as it may be, it still maintains a certain pattern.

Closer to the end, with the track “No Fraction,” the momentum of quirkiness and melodic aggressiveness starts to feel stale and a bit too gritty, slightly taking down the overall listening experience.

The new EP from Marcus: the Apex Predator! finds itself in an interesting place. It is not the usual, direct rock sound; rather, it represents a sound with a grain of bizarreness and quirkiness. At times, the wrenching and snarling aesthetic of the artist makes the track sound more prolonged than it actually is, tiring the listener instead of delivering the full brightness of the sound.

Score/Good: This EP is solid. It has some excellent rock tracks with angular riffs that worm their way into your ear, giving you that slight feel of excitement and craziness. While I would not call this the top-notch rock performance by any means, I believe the overall essence and rough energy of the EP offers more than enough for a rock fan.

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Since his stint on the 5th season of American Idol in 2006, Chris Daughtry has become one of the most enduring and beloved musicians to ever emerge from the show. After forming his own band later that year, appearing as frontman, lead singer and guitarist, the world was in the palm of the singer’s hands as he continued to charm thrilled audiences around the world with his catchy radio-friendly rock tracks.

After landing several number 1 albums on the Billboard charts, the band started leaning towards a more pop-oriented sound, with Daughtry’s powerful vocals fuelling emotionally charged ballads that effortlessly flaunted his impressive vocal range. With the band’s new E.P ‘Shock To The System (Part One)’ however, Daughtry makes a triumphant return to hard rock with 6 energetic tracks that spark with zippy tempos and ever moving emotional cores; a sound that will no doubt appeal massively to fans of the band’s heavier debut album ‘Daughtry’.

The band wastes no time in getting to business in the opening track ‘The Reckoning’, which begins with a rousing guitar riff and an upbeat drum beat. Daughtry’s famously husky vocals are introduced to listeners as he sings “This is for the sorrow, this is for the rage”; a line that soon ignites the singer’s fervour and wakes the beast behind his initially restrained vocals. The powerful resonance of his voice is fully awoken within the song’s fiery pre-chorus where guitar, bass, drums and vocals are turned up to eleven while heading towards the song’s extremely singable chorus. Daughtry sounds both proud and furious as he leaves nothing behind on lines like “I’m face to face with the demons inside of me, they won’t be the death of me”. ‘The Reckoning’ is only the very start of the singer’s emotional celebration of his inner-strength and resilience, but it is nevertheless no less mighty than the album’s other offerings.

First released in August 2023, the second track ‘Artificial’ is a rip-roaring hard rock track with a vengeance. Transitioning epically from a restrained, tension-filled verse, to a tumultuous chorus where the vocalist sneers “Welcome to your worst nightmare, days are gettin’ dark you should be scared”. The song goes on to compare the actions of an estranged lover to that of something “Ice cold, mechanical, artificial”, and erupts with the unholy vigour and rage that the singer is truly capable of when returning to his heavy music roots.

The following track ‘Pieces’ is entirely sobering in its inspirations – written after the artist’s devastating loss of two close family members. The vocalist doesn’t hesitate to lay himself completely bare within deeply introspective lyrics (“I’ll never get over it, it’s hard to move on, But I’m learning to live with the pieces of me”); allowing himself to use music as an outlet for his pain. It’s not just the band’s stunning songwriting that is on show here, but also the true emotional force of the vocalist that is unleashed from the beginning of the track, hitting listeners like a wrecking ball of pure anguish.

The singer revisits these forlorn feelings in ‘Shock To The System’, where he recalls the need for “something to bring me back to life” after times of great heartbreak and change. An anthemic chorus carries the commanding air of this sentimental message and bolsters it with thunderous riffs and bubbly synths. Many listeners will be able to relate to these feelings of losing control and feeling helpless and will therefore be comforted by this hopeful track. If not, there is still an undeniably moving element to Daughtry’s voice and lyrics that will speak to people from all walks of life.

The subdued yet piercing ‘Nervous’ provides a stimulating change of pace for the album, as well as being an affectingly reflective track exploring the headspace and feelings leftover after suffering through trauma. “Will I ever be the same? No, I’ll never be the same” Daughtry sings, revealing that these experiences will leave a person irrevocably transformed, yet stronger for pushing through the trials that life deals us. The singer’s transition from soft and mournful tones to rage-filled will be enough to raise goosebumps on listeners’ arms in rapt fascination at this song’s haunting beauty.

‘The Dam’ has more than enough power and energy to close ‘Shock To The System (Part One)’ on a high. The vocalist takes advantage of ‘The Dam’s hardcore sound to release a barrage of pent-up emotions into the ether as he switches between smoothly delivered clean vocals and strangled shouts of angst. “The dam’s about to break, I’m standing on the brink” he calls in the chorus; reminding us that music can be the best kind of tool to arrange and express our feelings during our most trying times.

Score/Excellent: After almost two decades doing what he does best, Daughtry is still worthy of widespread recognition for how far he has come since his whirlwind beginnings. His music has also grown far past his earlier days of pop-rock; ‘Shock To The System (Part One)’ showing to fans that the singer is at his best singing fierce hard rock with an outstanding emotional core.

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