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.

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

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After returning from his mandatory military service in 2023 and upon his dramatic exit from his previous company S.M Entertainment, things were looking up more than ever for the singer when he established his own company INB100, allowing him creative control over his musical output.

Most recognised as a member of one of South Korea and China’s most successful pop groups EXO, the main vocalist debuted as a soloist in 2019, where he enchanted and thrilled audiences with his powerful and charismatic vocals. Now in his 4th mini album containing 6 smooth R&B/pop-infused tracks, Baekhyun sounds supremely confident in his talents and revels in the new musical freedom he has been granted.

The first of these 6 tracks, entitled ‘Good Morning’, is a dreamy introduction to the suave sound that Baekhyun has been known to deliver through his solo efforts. With a serene, easy tempo and a chill piano-led instrumental, Baekhyun’s honeyed vocals float lazily upon the track; creating a warm and mellow vibe for listeners to sink into. The smoothness of the singer’s lower register is employed to great effect here as his vocals only contribute to the song’s irresistibly tranquil tone. The lyrics could be said to express the soloist’s optimistic attitude to this new beginning in his career (“Hello world, morning has come again…Now our dream will begin”), as well as adding to the soothing ambience.

The album’s title track, ‘Pineapple Slice’, is a delightfully flirtatious dance-pop jam brimming full of addictive sugar-sweet melodies, groovy rhythms and the singer’s signature breezy high notes. Even upon their very first listen, audiences will have to admit that the track has an instantly addictive quality which only grows the more it is played. The old-school synth led chorus beneath Baekhyun’s airy harmonies certainly captures the thrilling highs of love and crushes, while the lyrics portray Baekhyun trying to win the heart of a love interest. The excitement of the chorus is definitely bolstered by the song’s playful lyrics “Callin’ me extra sweet, just one bite, Pineapple slice of me”. It’s no secret that a big part of the singer’s charm is his ability to show off his breathtaking vocal range by mixing his silky lower range with impressive high notes, and ‘Pineapple Slice’ has all this and more.

The singer’s confidence in his vocal prowess is fully displayed on the slick ‘Rendez-vous’, which is characterised by a bright piano melody and Baekhyun’s deeply charming vocals that paint a passionate picture of love. The singer channels his inner romantic with dreamy lines like “Without you, everything is meaningless, You are my only universe”, and the chorus’ tender declarations of a lovesick partner. Fans and new listeners alike will love this song’s easy-listening style that still allows audiences the chance to hear why Baekhyun is considered one of the best vocalists in the Korean music industry.

‘Cold Heart’ is the album’s emotive ballad-esque track which details the painful breakdown of a relationship. Beginning with a sombre piano intro overlaid by Baekhyun’s smooth vocal timbre, the vocalist immediately laments on being emotionally shut off from a partner (“Now left alone in this place, a wall built high”). Imbued with a lulling, sombre tone that will leave listeners rapt, ‘Cold Heart’ is a brooding track overflowing with the singer’s versatile charisma.

The singer switches things up by adopting a sultry slow-burn ambience on ‘Woo’; a silky R&B track that benefits massively from the singer’s soulful croons and effortless vocal runs. Professing his unconditional love for a partner, the singer sensitively sings his way through lines like “When you call my name, for you I can do anything”; his delicate and expressive vocals amplifying the song’s romantic message tenfold.

The album’s closing track ‘Truth Be Told’ is a minimalistic yet edgy track that speaks of the singer’s inability to move on from a toxic relationship. Angsty lyrics in the chorus (“Truth be told, I can’t bear it any longer”) exacerbate the song’s foreboding ambience while captivating audiences with its moody R&B sound.

Score/Excellent: ‘Hello, World’ is certainly the sound of a new beginning for the K-Pop singer, who manages to show new sides of himself as an enduringly successful pop singer, R&B crooner and sensitive balladeer. With his newfound musical and managerial freedom, this may very well spell the start of the singer’s best solo music output yet.

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

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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.

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

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Most known for his position as vocalist in Visual Kei rock sensation ‘L’ Arc en Ciel’, ferocious rock duo Vamps and collaborative project The Last Rockstars, HYDE’s career in music since 1988 has been greatly varied and incredibly successful. Finding not just national popularity with his bold personality, powerful vocals and eclectic music but also widespread international appeal, HYDE continues to thrill new audiences and long-time listeners alike no matter what projects he turns his attention to.

Having released his first solo material back in 2001, HYDE has spent over 20 years dedicating himself to writing music that continually shows new sides to his vocal talents and remarkable prowess in songwriting. The artist does exactly this and more on his new full-length album ‘HYDE [Inside]’ where his sultry vocal performances mesmerisingly permeate the singer’s signature hard-rock sound.

The lullaby-like album opener ‘Inside Head’ delicately lulls listeners with its gentle piano melody and somnolent tempo, which perfectly sets listeners up for a case of major whiplash once the growling guitar intro to ‘Let It Out’ bursts into action. “Wake it up, get it started now” purrs the singer in his unmistakable rasp, as he wastes no time in getting to business and delivering delicious rock jams to his legion of awaiting fans. From this point on, audiences can only surrender themselves to the barrage of noise that builds expertly through the track and flawlessly sets the tone for the rest of this explosive album.

The feverish pounding of the drum intro to ‘Pandora’ soon greets listeners’ ears, along with the song’s rousing guitar-powered sound. Speaking of a deep inner struggle that the song compares to the temptation to open Pandora’s box to relieve oneself from the fear of the unknown, HYDE’s emotionally driven vocals perfectly give voice to this struggle and lend the track both poignancy and rock appeal. The adaptability of the singer’s voice is also used to its best ability in ‘Taking Them Down’ as HYDE snarls his way through the song’s verses which speak of being taunted by others’ negativity (“They love to put me down…Haunting me inside, I can feel them all”). The extremely hummable chorus however is soberly powerful; the vocalist cruising his way through a stirring melody while hailing the confidence that allows him to emerge victorious against naysayers.

HYDE showcases his love of high-energy rock music on ‘Defeat’ and ‘6or9’ with the singer sounding completely at home amongst the fierce guitar riffs and upbeat tempo of ‘Defeat’, and unearthing his playful side on the stimulating ‘6or9′, which is sure to have audiences on their feet and chanting along to the chorus’ hook “Life is a comedy (whoa whoa), unsweet my candy (whoa whoa)”.

The album also includes a heavier ‘Album Version’ of ‘Interplay’, which was previously released as a single along with several of the album’s other tracks. The novelty of ‘Interplay’ and other pre-release tracks such as ‘On My Own’ and ‘Believing In Myself’ is not lost, but rather given a new lease of life when they are interwoven with the album’s new tracks. There is also the timelessness of HYDE’s voice, which ensures that each of his tracks, old or new, remain fondly in each listener’s memory for the years to come. In addition to this, the vocalist’s occasionally delightfully campy lyrics, including ‘On My Own’s tongue-in-cheek reference to HYDE’s band Vamps (“The more you’re sinless, the more I wanna bite, I’m lost inside of the night”), keep tracks sounding fresh and ever repeatable.

New tracks ‘Bleeding’ and ‘I Got 666’ will effortlessly win over audiences with their aggressive sounds and instantly addictive choruses. Bolstered by mighty walls of guitar noise and powered by a break-neck tempo, ‘Bleeding’ is topped off with an enthralling chorus where HYDE delivers hardcore vocals that perfectly complement the song’s bold sound. The firecracker of the song ‘I Got 666′ sums up everything that makes HYDE’s music so satisfying: pulsing drums, growling guitars and charismatic vocals. Indeed, the track pleasingly exposes the operatic side to HYDE’s voice which can be linked to his long career with Visual Kei headliners L’ Arc en Ciel; a detail that many long-time fans will gush over.

Final tracks ‘Social Virus’ and ‘Last Song’ are a perfect example of the singer’s revered versatility both in genre and in vocal performance; the former a fast-paced fist-pumping anthem about rising up against social injustice (“I’m changing this story, won’t give in anymore”), and the latter a delicate piano ballad that swells with the emotional depth that HYDE’s vocals expertly exude. Even the most hard-boiled listeners will not be able to deny the awe-struck feeling inspired by this duality; something that reveals the long years that HYDE has spent as one of J-Rock’s most admired treasures.

Score/Outstanding: You can only ever go into a HYDE record expecting to be thoroughly entertained, and ‘HYDE [Inside]’ will not disappoint. Even after decades in the music industry, the allure of HYDE’s music will never dissipate but only grow stronger.

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

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Led and organised by Mah, the charismatic frontman and singer of ska/rock outfit SiM, the Redline Dream Band was formed for one very significant purpose: to honour Redline festival’s 14 year run since its formation in 2010, which allowed Japan’s live music scene to flourish and reach new audiences. In addition to a final celebratory live event titled ‘REDLINE ALL THE FINAL’, Redline Dream Band, which is a collaboration between 24 members of some of J-rock/J-Metal’s most genre-defining bands, is here to demonstrate how much the festival has meant to each and every one of its participants.

Despite featuring 19 vocalists, 3 guitarists, bassist Chiyo from rock band SPARK!!SOUND!!SHOW!! and drummer Tatsuya from electronicore band Crossfaith, the track Redline never feels like an overwhelming grapple for the spotlight between its incredible group of artists, but rather a wonderfully harmonious effort that displays the prowess, skill and camaraderie between every collaborator. Within the track’s hardcore sound, audiences, whether Japanese speaking or not, can appreciate the song’s heartfelt tribute to the festival within the song’s powerfully delivered lyrics.

The song thunders into action with a killer drum fill courtesy of famously energetic Crossfaith drummer Tatsuya Amano. Similarly, guitarists YD, Daidai and Kazuki bring the fire by unleashing a brutal wave of sound to the beat of Amano’s frantic drumming. This perfectly sets the scene for this hyperactive track, which runs with the fevered intensity of a freight train. The track’s ferocious tempo will immediately be a hit with listeners, who will be caught up in the track’s carefree sound right from the word ‘go’.

The guitars begin to quiet their frenzy as the first upbeat notes of Redline’s first verse are cleverly shared between 04 Limited Sazaby’s Gen, Man With A Mission’s Jean-Ken Johnny, FACT’s Adam and SiM’s Mah. The rapid-fire shift between Gen’s higher-pitched croon, Johnny’s soulful calls, Adam’s fiery growl and Mah’s husky vocals is nothing short of thrilling, particularly for so many loyal listeners of the J-Rock scene, who perhaps never dreamed of hearing these legendary vocalists sing side by side. The lyrics maybe even mirror the current emotions of audiences (“the street, the heat, I feel my heart start beating”) whose attentions are instantly captured by the electric synergy displayed within this track.

After passing through the vocals of several other incredibly skilled and beloved singers, Crossfaith’s Kenta Koie continues to heat up the track by interweaving his brutal screams in the mix, which are afforded more depth next to the enthralling vocals of Mah, and then echoed by the strangled cries of Paledusk’s Kaito.

The chorus itself is enchantingly joyous and will for many listeners be a worthy tribute to the project’s resolve to bring together some of the genre’s most acclaimed musicians. Delivered by the captivating chorus of vocalists, the lyrics are uplifting and powerful (“Don’t stop, don’t be afraid to bleed, for the life, life on the redline”) and are a wonderful ode to the music and spirit the festival has inspired over the years.

Dragon Ash’s KJ opens Redline’s swaggering second verse with a blistering rap (“Cross the redline, let me show you something like a headline”), which feels like a direct reference to many of the contributing bands’ Nu-metal/Punk-rap roots. In this fury-filled verse, where Noisemaker’s AG, The Bonez’s Jesse and Man With A Mission’s Jean-Ken Johnny each deliver assertive raps, audiences will be bouncing in their seats in time with the song’s heavy guitars and grooving beat. In this part especially, it may feel for many like coming full circle; not just celebrating an institution that holds the J-Rock scene together, but celebrating the very fibre of the music it has helped champion.

After a deadly breakdown which is bolstered by Koie and Coldrain’s Masato’s lethal screams, and a delightfully satisfying reggae-tinged middle-eight punctuated by Rottengraffty’s Naoki’s rhythmic rap, comes the song’s final triumphant chorus. There’s a genuine sense that every single musician featured here is giving their heart and soul to this song and project; something which is evidenced in the soulful vocals and profound lyrics that speak of the festival’s bittersweet farewell (“This one last time…This is the night”).

The song fades out to the singer’s poignant calls of “I know I’ll see you again, so I won’t call it the end” over the top of a nostalgic guitar riff, which only heightens the emotions that this song carries from start until finish.

Score/Outstanding: This is music with real heart and passion, straight from some of Japan’s most talented rock musicians. What’s not to like?

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

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Even after dropping a record-breaking mini-album, a supercharged full-length Japanese effort, multiple chart-topping collaborations with internationally renowned stars and contributing to the soundtrack of movie ‘Deadpool & Wolverine’, the 8 member boy group have no intentions of slowing down towards the year’s end. Instead, the self-producing group set out to refine their abilities by dedicating an entire album to their love of hip-hop music. Long-time fans may remember the band’s ‘Mixtape’ album back in 2017, which was released even before the group’s official industry debut. Back then, the boy’s passion for music was clear, and now in 2024, the group is back to demonstrate just how far they have grown as idols and musicians.

‘Walkin’ On Water’ is the thrillingly loud and brash number that opens this 12 track mixtape, and what a ride it is. Experimenting with the 90s sounds of boom-bap, the track explodes onto the scene backed by thunderous percussive beats and rapper Felix’s unshakably smooth bass vocal tone. The lyrics speak of an inner strength and self-confidence “Crashing waves but I’ll never fall… Thrashing rain I’ma bring the storm”, which hit particularly hard against the track’s savage instrumental. The chorus’ call of “Water water walkin on, water water walk it off” certainly carries the group’s enthusiasm and confidence that nobody can bring them down. The mixtape also features an alternate ‘(Hip Ver)’ of ‘Walkin’ On Water’, which further focusses in on the bombastic 90s sound that will have listeners bouncing right from the start.

‘Bounce Back’ and ‘U (feat. Tablo)’ are the two other tracks that feature the whole group’s efforts, with both songs playing around with elements of hip-hop and contrasting emotional nuances. While ‘Bounce Back’ contains a powerful message of resilience in the face of adversity (“Stray Kids rock the world, bow your heads”) set against an imposing hard-rock tinged instrumental, ‘U’ sensitively showcases the members’ softer sides while championing their penchant for melodic rap alongside Korean hip-hop royalty Tablo from rap trio Epik High.

From here comes all 8 members’ solo songs that frame their individuality and songwriting skills in a practiced and suave fashion. Group leader Bang Chan is up first with ‘Railway’; an edgy English track that displays the singer’s comfortability with sultry dance-based numbers. “Yeah, this train never sleeps, brace yourself, take a seat” the vocalist warns, before smoothly delivering a melodic chorus that will have listeners swooning in their seats. In contrast to this, ‘Railway’ is followed up by Australian rapper Felix’s sentimental offering ‘Unfair’, whose lyrics riff off the story of Beauty and the Beast to wondrous effect. With a lilting melancholic edge, Felix’s slick vocals flawlessly convey a story of longing for love set against a piano-led hip-hop backing track.

Youngest member I.N delights with his luxurious siren vocals on top of a trippy dance track on ‘Hallucination’. Within this minimalistic song, I.N’s haunting vocals are guaranteed centre stage and lend the track a cool, chic vibe. Lee Know is perhaps another member whose vocal talents were in the past overlooked, and hence his solo ‘Youth’ will capture fans’ attentions with a fun and uplifting sound that perfectly complements the singer’s sweet vocal tone. With its bouncy tempo and energetic vocal delivery, ‘Youth’ naturally brings out the singer’s hidden charms. Both ‘Hallucination’ and ‘Youth’ are a tribute to Stray Kids as artists; celebrating each others’ versatility and displaying their strengths through innovative and arresting musical productions.

Charismatic rappers Hyunjin and Changbin turn up the heat with their songs ‘So Good’ and ‘Ultra’, where each bring their unique vocal tones to the forefront of their mixes – Hyunjin pairing his husky croon with a striking dance beat, and Changbin opting for an intense mix of hip-hop to bolster his fiery rap verses. Both tracks are incredibly cool in their own right, and offer listeners thrillingly original takes on hip-hop.

Rapper Han and singer Seungmin both offer delightfully nostalgic tracks that take flight with a distinctive rock sound. Han’s emotive vocals soar boundlessly on ‘Hold My Hand’, which triumphs with its comforting lyrics (“I wanna make you the happiest one…Hold my hand now”) and instantly joyous instrumental. Similarly, Seungmin’s ‘As We Are’ will charm audiences with its rousing tempo paired with the singer’s honeyed vocal performance, as he recounts his emotional journey on the way to becoming a musician. It’s the perfect way to round off a mixtape that overflows with the versatile talents and passions of all 8 members, who come together to continually create powerful music filled with soul.

Score/Outstanding: If there was any doubt that each and every artist within Stray Kids was destined to follow the path towards music, then ‘Hop’ stands as a testament to each members’ hard work and unfailing passion for their craft. ‘Hop’ demonstrates that the boys will only continue to excel and conquer the world with their music, by showing that they are truly in a league of their own.

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

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Since the 2019 formation of boy group Tomorrow X Together, known as TXT, the quintet immediately found fame with their fresh, groovy pop sound and their versatile vocal talents. As the second boy group under HYBE Entertainment after industry juggernauts BTS, TXT was subjected to immense pressure from audiences to succeed and possibly even equal the popularity of their predecessors. Despite this burden however, the members have continually proved their musical prowess and ability to shine bright even under the most scrutinous of industry gazes.

‘The Star Chapter: Sanctuary’ is only another gem in the group’s practically flawless discography. The members turn their angelic vocals to six dreamy tracks about the joys, excitements, and adventures of love.

The album is kicked off by ‘Heaven’, a glitzy pop track characterised by a retro synth sound that perfectly showcases the members’ nimble vocal performances. The song presents a blissful image of love which is displayed through the song’s lyrics “Heaven is not far away now, the moment we kissed”. To pair with these wistful lyrics, vocalists Hueningkai, Taehyun and Soobin execute some delightfully smooth vocals which effectively accentuate their practiced falsettos. Even rapper Yeonjun taps into a honey-sweet tone that beautifully complements that of the vocalists’. Ultimately, ‘Heaven’ is a gently joyful track that succeeds in lulling listeners into the gleeful pop tracks that make ‘The Star Chapter: Sanctuary’ really stand out.

Next comes the album’s title track ‘Over The Moon’, which is just as breezy and charming as it sounds. Starting with a soothing guitar intro underneath the members’ graceful vocal runs, the track instantly crafts a suave sound that only bolsters the group’s confident vocals. The song links itself to the album’s comforting concept as a whole (“Beyond the moon farther still through our dreams, sanctuary”) while contributing the sentiment that love has the potential to be magical and all consuming (“Over the moon, over the stars, I soar when you’re in my arms”). Audiences will likely be swaying along to the song’s easy beat and humming to the track’s enchanting melodies; all aspects that rightfully mark out ‘Over The Moon’ as the album’s most promoted track.

TXT return with renewed energy in the cool ‘Danger’, in which the group sing of a dangerous temptation towards a love interest. Accompanied by a catchy bass guitar riff, the song will capture audiences’ attention from the start with its hip and sultry ambience. The lyrics also overflow with romantic drama in lines like “wrapped up in a crime called emotion, I can’t see anyone but you”, which are delivered with plenty of creative vocal flourishes and a general air of swaggering self-assurance. Alongside its memorable chorus, fans will also enjoy Yeonjun and singer Beomgyu’s post-chorus, where the two use their charismatic low-tones to sell the suggestive line “What are you doing to me?”

From the very beginning of the bouncy ‘Resist (Not Gonna Run Away)’, the members’ accomplished vocals are on proud display on colourful vocal lines such as on the song’s opening line “When I see you, I can’t resist, you’re my one and only”. With thumping percussion and playful synths setting the scene for this bubbly pop number, the singers’ comfortability within their soaring higher ranges is really used to its full potential, as both rappers and singers come together to weave stunning harmonies and arresting melodies.

Slick R&B track ‘Forty One Winks’ highlights the subtle yet skilled nuances in the group’s vocal performances, with all five members slipping into pleasantly hushed croons that pair stylishly with the song’s low-key, leisurely tempo. The lyrics speak to the deep-rooted connection between two lovers, where words don’t need to be used to express love and affection for the other (“Send a signal, forty one winks, it’s like morse code”). This elegant track may not be as energetic and upbeat as the album’s other offerings, but it will captivate listeners all the same with its idyllic, somnolent vibe.

‘Higher Than Heaven’ seems like the perfect track to leave listeners on a high after the culmination of ‘The Star Chapter: Sanctuary’. The mid-tempo track’s euphorically charming lyrics, joyful guitar accompaniment and the members’ stirring vocals will appeal to audiences looking for a feel-good track to help warm the winter months.

Score/Excellent: Though all of the tracks on the album are under 3 minutes, all of them will bring listeners some moments of joy, who will find it hard to resist the sweet sentiment that this album explores. It’s a certified winter warmer that will appeal to all ages.

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

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The post Tomorrow X Together – The Star Chapter: Sanctuary (E.P Review) appeared first on Music Review World.

After wrapping up their SYNK:PARALLEL LINE tour which enchanted fans across the world and gave the group ample opportunity to display their prowess at live performance and singing, it feels like aespa have barely had time to breathe before being thrust back onto the industry stage once again with new music. Nevertheless, the group’s 5th mini album ‘Whiplash’ sounds neither rushed nor compromises the group’s trendy, yet boundary-pushing sound. Instead, ‘Whiplash’ offers listeners even more evidence that aespa are capable of putting their mark on any genre and triumphing in the process. In the album therefore, fans can expect the group’s usual futuristic hyper-pop bops as well as smooth ballads, pop-rock anthems and dreamy R&B gems.

Title track ‘Whiplash’ comes storming into the fold with an instantly addictive dance beat that will get listeners bouncing just seconds into the track. With an accompanying music video that features members Karina, Winter, Giselle and NingNing strutting like supermodels, the sassy minimalism of ‘Whiplash’ would certainly sound at home in the background of a luxury fashion show. The arresting mid-tempo track is an ode to the group’s supreme self-confidence with a chorus refrain that boasts lines such as “One look give ’em whiplash”; in turn encouraging fans to embrace their unique selves and revel in the newfound confidence that this track will inspire in many. With both the singers and rappers in the group being afforded enough room to showcase their abilities, the catchiest part outside of the chorus may well be vocalist NingNing’s cool rap in the 2nd verse. Utilising her undeniable charisma to sell the track’s hip ambience, the singer raps “Keep it right, I know it, keep it classy”, while proving that each member’s fixed positions in the band are mere guidelines for the aespa members, who continually excel in their versatile talents.

Long-time fans of the group may liken the experimental hip-hop of ‘Kill It’ to 2021’s slick hyper-pop track ‘Savage’ which both divided and thrilled audiences with its alternative sound. ‘Kill It’ is not too dissimilar to ‘Savage’, with a return to aespa’s signature take on hyper-pop including repetitive lyrical refrains (“I-I-I-I-I I kill it”), unconventional harmonies and a futuristic electronic-based instrumental. Using this formula, ‘Kill It’ will be another high-calibre banger for fans, who will simply lap up this track.

aespa once again change up their sound with the retro-inspired R&B/hip-hop track ‘Flights, Not Feelings’. With a laid-back and even tempo, the song adopts a glitzy and fresh sound, laying a chill foundation for rappers Karina and Giselle to expertly play around with the beat and execute a satisfyingly suave vocal performance. The lyrics talk of a need to protect oneself from the unpredictability of love, as the members express “Catching flights not feelings, I’m not tryna hurt myself”. Winter’s airy, yet husky vocals also work wonders on this type of track; carrying the song’s light melody like a soft summer’s breeze.

4th track ‘Pink Hoodie’ sees the members flaunt their down-to-earth preference for comfort and practicality over flashy and “suffocating” fashion. The track, which plays out over a glitchy bass-heavy hip-hop instrumental, is both playful and ultra sleek in its combination of a swaggering beat and the girls’ cooly casual delivery. The song reminds us that behind the daring hooks and razor-sharp looks of the girl group, 4 supremely talented women stand embracing their unique selves to fans, no matter what anyone has to say about it.

‘Flowers’ is aespa’s enchanting take on slow-burn R&B featuring a leisurely guitar accompaniment and a subtly sultry ambience. This is where dexterous sopranos Winter and NingNing are given wings to soar within this track; unearthing a dreamy vocal performance that sounds straight out of heaven. The lyrics themselves are suggestive in their depiction of falling deeper in love with vivid sensory descriptions of desire in lines such as “Locked away forever in my garden, show me your flowers”. The entire track is softly lulling and will mesmerise fans upon the very first listen.

The album’s closing track “Just Another Girl’ is another triumphant take on an old-school pop-rock sound, characterised by a euphoric, upbeat instrumental, and an extremely catchy melody sung with an abundance of playful attitude. It’s definitely going to be nigh on impossible for listeners to make it through the track without at least humming along to the chorus, which details a girl’s dismissal of a love interest who has been unfaithful. At the heart of it all though, is aespa’s message to keep being unapologetically you, no matter who tries to bring you down.

Score/Outstanding: It isn’t easy for artists to keep outdoing themselves again and again with every new release, and yet aespa achieves this with no lack of self-assurance and confidence in their ever-growing abilities. Listeners can rest assured, knowing that these 4 girls will never let them down.

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

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First announced at the band’s very own ‘Silver Scream Con’ in September 2024, the project between Ice Nine Kills, a metalcore band from Boston, Massachusetts formed in 2000, and director Damien Leone’s new addition to the extreme horror franchise Terrifier left fans waiting on the edge of their seats for another legendary collaboration that would go down in modern horror/music history.

Known for their obsessive dedication to incorporating horror into high-octane metal music, clever lyrical references and their theatrical live shows and music videos, whenever Ice Nine Kills announces new music, it’s a big deal. With the debut of the boundary-pushing Terrifier 3 in cinemas featuring ‘A Work of Art’ as a staple of its soundtrack, all eyes are now on the band, and according to expectation, the song is visceral, exhilarating and crammed full of references to the movie.

The song is introduced through the ear-worm melody of the chorus sung hauntingly by vocalist Spencer Charnas, who is renowned for his impressive vocal range and seamless ability to switch between strangled screams and lullaby-like melodies. The lyrics are immediately gripping in their playful references to Terrifier villain Art the Clown (“The art of dying brings me to life, death by design, tongue tied and you’re terrified”), as well as his mission to inflict pain and suffering on those around him. The following breakdown featuring a brutal clash of stuttering guitars and manic drums, feels so right to characterise a film that sends audiences into overdrive with its gory premise.

The punchy, staccato first verse perfectly highlights Charnas’ gravelly tone, which is complemented by the instrumental’s chaotically hyper-charged tempo. The lyrics continue to resurrect blood-dripped images from earlier films in the franchise such as the villain’s apparent demise (“Don’t you dare say Art is dead”), which audiences will no doubt appreciate. The pre-chorus serves as another tonal shift to a much more melodic refrain with Charnas thrillingly showcasing his vocal duality.

The chorus, now boosted by a powerfully bouncing riff and a striking drum beat, proudly displays the band’s talent at writing hard-hitting, instantly iconic choruses, which is only bolstered by the song’s tongue-in-cheek lyrics. The most memorable hook comes towards the end of the chorus, with Charnas spitting “T-t-t-t-t tongue tied and you’re terrified” which surely fans of the movies and band alike will be chanting throughout the coming weeks.

The track’s constant switch between hardcore and humorous is only exacerbated within the second verse, where Charnas impressively turns vicious deathcore growls into light-hearted “na na na na” vocalisations. This plays upon the character of Art the Clown, who both horrifies and entertains audiences through the jarring contrast between his comedic body language and his pursuit of torture and violence. It is musical details such as this that really help to amplify the creativity of the band and their obvious passion and enjoyment of horror movies.

There is a brief spoken interlude, phrased like a news report that seeks to further entangle the world of the movie with the band’s sound, which warns audiences of the terror awaiting them at the hands of the movie’s antagonist. A truly unforgettable bridge then commences with guest vocalist Leah Voysey, whose sweetly youthful voice intensifies the menace of her cleverly written verse (“Beauty’s in the eye of the beheader for tonight”).

Audiences are therefore again given whiplash in the ensuing breakdown, which sounds like a devilish wall of sound smashing into unsuspecting listeners. The song fully takes advantage of guest guitarist Shavo Odadjian from the legendary metal band System of a Down, who helps the track reach its fever pitch with his technically manic playing. There is still a tie-back to the movie in all the madness though, with the comical inclusions of horns, which Art the Clown is seen to carry.

Charnas’ commanding vocals emerge from the chaos, with his choked screams transitioning smoothly into the addictive chorus refrain. The final chorus seems as imposing as ever, shifting to a higher key and the return of the song’s harmonious yet still fierce main riff. Charnas makes full use of the track’s new energy; belting out some striking adlibs that allow the song’s crescendo to be both thrilling and satisfying.

Score/Excellent: As the band’s first major collaboration and the first single off the band’s upcoming album ‘The Silver Scream 3’, ‘A Work of Art’ is a song that flawlessly illustrates why Ice Nine Kills are currently one of the most exciting bands in the industry. If you’re a fan of horror, metal or both, look no further than this band.

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

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The post ICE NINE KILLS – A Work of Art (feat. Shavo of System of a Down) (Single Review) appeared first on Music Review World.

‘Silk Sox & Cognac’, a taste of Razor’s upcoming E.P ‘Trapsoul 101′ and Dopeazzmuzik’s ’50 Cal’, is both bold and polished in its collection of smooth yet savage hip-hop tracks that dabble in R&B, trap and soul.

Dopeazzmuzik, from Oakland California, is known both as a soloist and as one half of the hip-hop duo Westside Konnext. However, this certainly isn’t the first time the rapper and Razor, an actor, singer-songwriter and producer from Miami, have collaborated. With Razor having appeared on Dopeazzmuzik’s solo material and featuring on a Westside Konnext record, the two multitalented artists have by now refined their sound and continue to display their knack for putting out high quality material with the bombastic ‘Silk Sox & Cognac’.

‘Since 93’, the first of the album’s seven tracks, introduces an old-school hip-hop sound with Dopeazzmuzik’s verses and Razor’s vocals bouncing atop a trap beat that will instantly get listeners bopping. Dopeazzmuzik flaunts his dexterity as a rapper with his skilled flow and lyrics singling him and Razor out as no-nonsense artists who worked hard to earn a reputation in the scene and are more than happy to revel in the fact (“I’m forever winning”). Razor’s suave voice cuts through the beat like butter, with him proudly stating “Got it all but came from nothing, Sky’s the limit watch me touch it”. It’s clear that these two laser-focused musicians are dead-set on achieving greatness in the industry, and listeners will agree that they have the talent to go far.

The thrill of ‘Back In The Days’ is ignited by Razor’s velvet croon in a chorus that reveals more of the singer’s childhood dedication to aim high when starting out in the music industry (“Sometimes I wonder how I made it, it’s amazing”). With Razor’s laidback chorus contrasted with Dopeazzmuzik’s staccato bars, this back and forth affords the song an exciting buzz as listeners can indulge in the artists’ differing vocal textures and techniques. Though the track may be shorter, it’s certainly memorable in its powerful sentiment and energetic vocal performances that flow wonderfully over a subtle bass-led instrumental.

‘No Patience’ compares the artists’ pasts to their present, and details how it made them how they are today. With a sweeping piano-led backing track, Dopeazzmuzik lays bare his earlier hardships that he was able to overcome (“You seeing all these scars cause I earned them, all the painful lessons in my life I learned them”). As a result, listeners will have a newfound respect for both musicians’ self-made journey and the realistic struggles that they had to go through. Razor’s clever crafted line “They say that patience is a virtue, I say that patience could hurt you” gives a new meaning to the realities of the industry straight from two of its brightest hip-hop stars.

‘Real One’ may be one of the highlights of the album, naturally due to the duo’s vocals and hard-hitting lyrics, but certainly due to the track’s striking composition. Starting with a delicate piano melody, the track’s manipulation of its hip-hop beat allows the artists to change up their flows and play around with the rhythm of the track. This is really only to be expected from these seasoned producers, who have built up years of experience exploring the music from their respective areas.

Both ‘The World Is Yours’ featuring Nah Black and ‘Upper Echelon’ with Smooth Tha Dude are upbeat hip-hop jams with lyrics that boast of Dopeazzmuzik and Razor’s acheivements and reputations as industry stars. On ‘The World Is Yours’ Razor sings “No Need for stressing, they fear your presence”; highlighting the duo’s pride at their status and desire for world domination with their music. The cool ‘Upper Echelon’ is an unapologetic ode to the musicians’ hard-earned lifestyles, with Dopeazzmuzik commanding “Put some respect on my name when you say it”. When you’re at the top of your game like these artists, there’s really no room for doubt around these kinds of statements.

The album is drawn to a close with ‘Silk Sox & Cognac’; a delightfully dreamy fusion of hip-hop and R&B. Razor’s soulful vocals are in full swing here as he dips into an airy falsetto that sounds both effortless and charming. The song’s understated but groovy bass accompaniment is a perfect match for the track’s sultry lyrics; ending the album on a stirring and seductive note.

Score/Excellent: Dopeazzmuzik and Razor sound self-assured and swaggering on their collaboration album, while once again showcasing their masterful touches in production, songwriting, singing and rapping. While there appears to be a plethora of influences from hip-hop, soul and R&B in this record, the duo ultimately succeed in bringing the music from both the West Coast and South Coast together in a combination that sounds simultaneously sentimental and savage.

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

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