I’m sure you’re wondering: who releases a double album in this day and age? The last time I was aware of any kind of double album was Michael Jackson’s double album release with HIStory. Here’s a little scene to help illustrate their intent:

“Is it too late to talk you out of a double?” asked the owner of one of Castlemaine’s finest music venues, worried that in the age of digitally diminished attention spans…“Nobody has the brain space for a double”, to which Castlemaine resident, and Mighty Horse singer/songwriter Tony Jackson dusted down his velvet smoking jacket and proclaimed “we are the f#%king resistance!” True story, except for maybe the velvet smoking jacket.
Rewind to January 2020, Mighty Horse are about to enter the studio to record their 2nd LP when the big C virus shuts down the planet. Fast forward a few years and as the world is released bleary eyed from its prison cell Mighty Horse are faced with an existential crisis. Forced entrapment has produced another swag of songs and now they have two albums to record. “How many times in one lifetime will you have the chance to make a double LP?” questioned a wise voice from the sidelines… “Good point that, let’s get to it!”

Road Movie Dream was also recorded live at Soundpark Studios in Northcote Melbourne, with overdubs and production trickery added at the band’s own studio in Castlemaine. Much like their intimate and explosive live performances, the album is a diverse journey held together by distinctive energy and chutzpah.

Let’s get into the album!

Upon listening to the first half of the album, I can’t help but synthesize this release as the culmination of a lot of alternative rock acts from the early to mid 2000s. The mastering is extremely crisp, but the genres that float throughout this act do not necessarily deviate from musical genres that already exist, facing me with a slight crisis as I don’t think it has enough musical variability. However, I admit that’s just my personal bias. I think the excitability factor will definitely resonate with a lot of people who need music simply to let loose and catch a vibe with others.

There’s fragments of all known rock genres littered throughout the composition of all of these songs, with certain bass clips analogous to 80s rock, some melodic quirks will also remind you of the grungy-kinderwhore aesthetic, and in that sense, it gives the listener a bit of an exciting game to play while listening to this.

In the middle of the album, there’s a switch to dub, which is interesting, but to my ears, it isn’t that revolutionary. I think the gist and marketing arc of this release deals with the INTERSECTION of multiple genres, and I have to commend the artist(s) for executing this perfectly with no real offense, but I don’t particularly hear any compositional innovation to necessarily wow me. Perhaps my standards are a bit too picky, and I acknowledge that while still acknowledging the band’s competency.

If this band wants to stand out, I definitely do recommend employing different quirks that don’t make their music necessarily pigeonholed to a particular aesthetic or varying things like time signatures and grooves. It’s good music, but to my ears and relative to the scope of music out there, it doesn’t necessarily stick out.

However, if you’re simply looking for music that helps you to connect with a variety of stories and emotional troughs while retaining an essence of edge and folkish roots to it, I think this is definitely the album for you. It has tenderness and ferocity mixed into one, a great trait for alternative music acts to display. There is also a lot of competency within the individual instrumentalists, and you can hear that within the solos of each songs and how the instruments blend well with each other- that is the strength of this album.

SCORE/Excellent: Even though I’ve elaborated a lot on the predictability of this release, I still think that ROAD MOVIE DREAM is a wonderfully passionate album that strives to stand out with quality rather than its unique qualities. It has an appeal to people who are definitely looking for alternative/rock music with more safe yet eclectic qualities.

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Truthfully, this album and its rollout have been a complete disaster, and I believe it underwent several reconstructions before seeing the light.

I firmly believe the album’s release was supposed to happen in late 2023 or early 2024, and Carti’s illusory rollout with his ANTAGONIST world tour with Opium was meant to cement a new album. “ALL RED” was initially seen as the first lead single to Carti’s new record. However, just before the advent of 2024, Carti released several singles — “2024”, “H00dByAir”, “Backr00ms” with Travis Scott, “EvilJ0rdan”, and “Ketamine”. All these tracks strongly hinted at a cinematic, dynamic, and dark sound within the trap aesthetic. Funnily enough, out of all those tracks, only “EvilJ0rdan” made the full tracklist. So the whole conversation about the lead single and a sound-representative track is thrown into question.

Many upcoming reviews will focus on whether the record was actually worth the wait, considering his previous full-length album came out four and a half years ago. However, to give this album a fair chance at discovery, I will approach it without any bias or preset expectations.

Let’s get into it.

After some time, Carti’s second album, Whole Lotta Red, received a largely positive reception for its new direction. Since then, every single release has been anticipated to deliver extremely unexpected or mind-expanding sounds. However, I don’t believe that’s really the case with MUSIC.

For a long time, we speculated on what sound Carti would choose for his new record. Would it continue the demonic rage of WLR, or would it circle back to the Cash Carti era? Frankly, MUSIC is not another compilation of vampire music — it still features that immersive, dark rage sound that feels frenetic.

In one way, Carti definitely continues the legacy of WLR with an expansive tracklist, now clocking in at 30 tracks over 1 hour and 17 minutes.

It is a hard album to describe. At first listen, the sound feels hallucinatory and dark, delivering the unhinged energy you expect from Carti — on tracks like “EVIL J0RDAN” and “MOJO JOJO,” where you get a back-and-forth with Kendrick Lamar that constructs an unusual, unpredictable arrangement. Yet alongside those snarling performances, Carti also experiments with dynamic, softer tracks. For instance, on “RATHER LIE,” he effortlessly jumps between a baby voice, a deep voice, and his usual tone, creating a futuristic blend.

However, while he provides some diversity, the production feels oddly looped and repetitive. Certain tracks, like “GOOD CREDIT” or “WAKE UP F1LTHY,” deliver unforgettable highs with their surreal, ominous sound, but the lack of cinematic, definitive moments throughout the album just signals a mess to me.

Quite directly, the album lacks any clear structure. It feels more like a soundtrack — a messy, rage-filled trap record that sporadically shifts into euphoric, experimental sounds, as seen on “BACKD00R,” which then transitions into the bouncy, cyclical “TOXIC.”

What sets Whole Lotta Red apart is its chaotic structure that perfectly encapsulated Carti’s sonic rebellion. With MUSIC, however, it seems rushed. For example, the mixing on some tracks, like the intro “POP OUT” and Young Thug’s verse on “WE NEED ALL DA VIBES,” comes off as choppy and subpar. While tracks like “CRANK” add rawness and madness, others just showcase laziness.

Despite my overall impression of the record as hypnotically rolling and creating a trance-like effect — especially with the high-energy bangers in the second half — the album ultimately falls into a tight loop of repetitive soundscapes.

Carti’s execution and his constant shifts between voices are fascinating and exciting, but not enough to hold the listener’s attention for an hour. His abrasive rhythm and delivery are contagious — when the chorus works, it’s brilliant. But when that aggression and nasal tone fall flat, the tracks feel forgettable.

If you approach the record with no expectations of a cohesive album experience — treating it instead as a playlist of rage and trap music — you might find satisfaction in its sudden bursts of diversity and exciting guest features. However, if you’re expecting the Carti from Die Lit or his self-titled mixtape, MUSIC won’t deliver that same magic.

The album is unreasonably long. We recently saw how length can be managed gracefully — like with The Weeknd’s Hurry Up Tomorrow — but here, the continuous barrage of tracks feels unnecessary. Spending 3000 words on the album instead of 1000 would only make it more monotonous.

Score/Good: Jordan Carter gives you a record that feels more like a playlist of modern hip-hop — a blend of high-energy tracks with dynamic, tactile sounds. MUSIC creates a seismic impact with its haunting delivery, but it isn’t enough to break free from the loop of repetitive soundscapes.

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

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This blend of aggression and experimental notes throughout the record truly solidifies 3peaceX’s next chapter as their signature piece.

From the first seconds, you are introduced to a bold, right-to-your-face sound—a clear declaration: “Hey, we are here.” Aggressive riffs, heavy bass, and pounding drums combine to create the sensation of an impending revolution, offering just a taste of the ferocious yet hazy atmosphere that defines the record.

While the band is known for their aggressive delivery on Plain Ol’ Hot Sauce, they also venture into a more industrial territory, infusing the record with a hypnotic feel. At first glance, their sound remotely reminds me of Green Day, thanks to full yet unhinged delivery at moments.

3peaceX isn’t just here to unleash anarchism with raw madness; they bring a dynamic, vibrant energy that wakes you up and shakes you down with urgent, captivating instrumentals. I also appreciate how they create a smooth album experience from track to track, with seamless transitions that rarely draw attention.

However, it’s worth noting that while the band’s delivery can remind you of aggressive journalists exposing a celebrity, they also explore slower material as the record progresses. A track like “Not All The Love” fuses searing anger with a soft, lush finish. Meanwhile, high-energy bangers like “Pandora” immediately define 3peaceX’s sound and stand out as the album’s strongest moments.

The sound on these frenetic tracks is the band’s unique element, doubled down on, especially in the first half of the album. With palpable, textural beats on “Easy Wind,” the band confidently establishes their identity.

While the fast-paced, vicious tracks are memorable, songs like “This Heart” also strike a chord. They represent a slight deviation from the all-over-the-place sound while maintaining enough industrial experimentation to keep things interesting.

Despite the album’s extensive runtime of just over an hour, 3peaceX delivers a solid listening experience—ranging from hard-hitting tracks to more slow-paced, yet still industrial, compositions. This mix on Plain Ol’ Hot Sauce gives the record a fresh, memorable aftertaste.

SCORE/Excellent: The band sticks to their promise and delivers exactly what they intended: an energetic, memorable, and psychotic album that feels true to its core. 3peaceX focuses not just on raw anger, but also on an intelligent exploration of uncertainty and chaos that sets your emotions free.

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So let’s have a listen …

The album kicks off with the song Between the Lines. An old 60s type guitar riff, reminds me of Garage Rock and a friend’s band, Widdershins. The lead guitar gets its break, would have liked more inventive lead lines. I do like the vocal lyric line about kangaroos.

A heavy riff, but without the heaviness of popular bands in this genre. This one reminds me of Rocky Horror Picture Show for some reason. Without the Meatloaf. The vocalist is ok, a sort of psychedelic 60s voice, but not a standout. The lead guitar lines are just ok, not feeling it.

Bittersweet starts off with a slow piano vamp then drops the piano in exchange for a psychedelic guitar vamp. I like this song so far. It has a nice flow and a revolving chord progression. I think the song should be titled “Easier”, again the lead guitar line is ok, but not brilliant. I keep wanting more out of this lead guitarist.

The fourth song How Wrong You Were starts off with a nice rhythm guitar riff. The rhythm guitar sounds good in this one. I’m getting used to the 60s psychedelic nature of the vocalist. The lead guitar even sounds good on this song. Best song on the album so far.

The fifth song Final Chance starts off with an atonal guitar riff, but the vocals kick in nicely. I don’t know why this band says they sound like the Deftones, they don’t. They should be pushing their psychedelic genre vibe. Anyway, this song is in the better camp. Very psychedelic lead guitar vibe, even if the playing is simple. I keep wanting more out of this lead guitarist.

The production on this album is sub-par, feels like it was recorded in a home studio. The guitar playing is ok, but clumsy in ways.

Last Memories starts with an Indian (the country) type guitar vibe, but soon gets back to a power alternative chord riff. I like the vocal effect in the bridge of the song. They should consider using that as the primary vocal effect in all the songs. 

The eighth track Hardest Goodbye starts off with a nice short guitar solo. Kira’s vocals sound good in this song. I like the chord progression. I’ve been aggravated by some of the arrangement choices on other songs. Still, this band is missing out on their identity by not taking advantage of their 60s psychedelic renaissance sound. It’s a popular genre currently.

Every band, like this band, claims that it’s “indie rock” and “alternative rock” nowadays, but those terms have become truly meaningless. Anyway, Hardest Goodbye is my second favorite song on this album. Love the slowed down ending.

Red to Black starts with drums, bass, and rhythm guitar. Power riff. Then the vocals kick in. I think the lyrics are interesting on most of these songs, although it’s hard to tell as the instruments sometimes overwhelm the vocals. Still, I hope this band starts advertising themselves as 60s psych.

They do not sound like Evanescence, Fleetwood Mac, or Foo Fighters. Nice lead guitar solo and tone in this song. Would prefer more vocals in the mix. I like the B3 keyboard that comes in later in this song.

Insomnia – “I’m doing anything to keep awake”. Feels like me listening to this record, LOL. The recording or mix of the guitars seems like they’re just missing some edge out of the amps, maybe need more mix compression. This band definitely has a 60s psychedelic vibe, it dominates their tonality. Really not digging the alarm clock that goes off at the end of this song.

The tenth track on the album Phobia starts off with a slow but interesting guitar riff, then the band joins in and simplifies the riff just when it was getting interesting. I’m getting used to Kira’s voice. Very psychedelic, have I mentioned that before? A heavily effected background voice in this song, which sounds good in the mix. The lead guitar sounds nice in this song.

Delphi Raven is the album’s title cut. Starts off with drums and a feedback-induced guitar. Simple rhythm riff. A repeating guitar solo. Very simple two chord riff, finally joined by the vocals 2 minutes into the song. I like the heavier reverb on the voice in this song. The song then gets into a heavier version, with a quicker cadence. I like the backing vocals in this song. Maybe my third favorite song on the album.

Justify, the twelfth track, starts off with a bass solo. The riff is old-style rock. I’m not digging this song/arrangement. It sounds like an old-late 50s rock song, keep wanting the song to do something more interesting.

The album’s final cut Take My Hand starts off with a really nice arpeggiated guitar riff and a slow wistful vocal, which feels like keyboard strings in the background. The drum fills, and then the song straightens out and becomes less interesting. The song gets more interesting with a string section at the end before finally resolving back into the initial arpeggiated guitar riff to end.

I think the band needs to work on their song arrangements. They could be making better choices. It’s like they have pieces of doing the right thing, mixed in with pieces of not making the right choice. Not sure if this is a limitation of skill or imagination. Almost there, but not quite. Like a cliche.

SCORE/Good: Good, but not great. The notes are all in their place, but the production on this album is sub-par. The band has a very 60s psychedelic genre sound, even if there’s a bit of crossover. The band should capitalize on this new genre classification in their marketing. The guitars could have been even heavier. This is a solid record, but needs better production and songwriting choices. Much love, Beth

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

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It should be noted that Alpha Sub has a popular slang meaning typically referring to an “alpha submissive female”, defined as a person that rejects popular opinion, yet is not afraid to assert her needs and desires. She finds happiness in submission, but only when done on her terms. “This form of submission is not about giving up control, but rather about willingly choosing when and where to relinquish it.” So basically, a rebel. Which is, of course, very punk. To rebel against society’s norms. Fuck the man!

From the band’s bio: “Alpha Sub started at the bottom and stayed there. Incorporating themes of economic disparity, conformity to religion, and general disdain for the ruling class, Alpha Sub is like a skater who found an issue of The Atlantic and a thesaurus at the skatepark. If you want a pop-punk anthem, harmonized shredding, or just some good punk rock, all with high-energy vocals that simultaneously make you think and spit out your drink, Alpha Sub’s self-titled debut album is for you.” Interesting.

So let’s have a listen …

The first song on the album is Alpha Sub, by the band Alpha Sub, on the album Alpha Sub. A quick one at only 1:18. Very punk way to kick off. “Try as you might you’ll never get above, you’re just the Alpha Sub!” Very punk. A reason to rebel. I really like the fast punk riff the band plays on this song. Catchy!

Two Handed Piss is about this size of his … well, you get the picture. Clever lyrics. Reminds me of early KISS. Complete with Ace’s solo.

Stepdad Goatee, another song about sex. She’s in the market for a “Stepdad Goatee.” Very punk vocal delivery. Very punk sound. I like the lead guitar in punk music. A lot of punksters leave it out, they shouldn’t.

Nobody is a great song. Very catchy right from the start. Great riff! Loving the bridge, and the intentional slow down, that goes into ghost vocals with the chorus hook, and quickly finds it’s way back into the main riff. Great writing, this tune. I love the vocal echo at the end of the song. Well done!

Fuck the Police! Very punk. Not digging the song as much though. An album cut. But you’ve got to give the band props for naming this song!

Proud Boy Buffet. It’s a very political message. Nice punk riff underneath. Straightforward lead guitar lines. A pacifist’s anthem.

Peaked in High School is about a girl who peaked early in her career. This tune reminds me a lot of Green Day, definitely the same energy and song structure. The lyrics are sort of funny, and rebellious. Love the “na, na, na na, na na na” followed by a fiery lead guitar solo to close out the song!

Loving the riff that kicks off Downhill Battle. Green Day with Black Flag. The lead guitar performance in this song is top-notch. Very well done. The bridge is interesting and kicks into a very energetic pre-chorus and chorus.

Soapbox starts out with a Ramone’s style mid-tempo riff. Very Ramones. Except the lead guitar solo is very melodic. The song envisions “A part-time revolutionary” on his/her “social media soapbox.”

Agenda has a very country-punk feel to it. Very tight guitar riffage. Sounds like Charlie Daniels fiddle, but being played on the lead guitar. Loving the riff. “Fuck!” A song about indoctrination of the news media. Very punk!

No Friends. Satirical. I’ve got no friends, I’ll be just fine. Starts off campy. But quickly gets into the punk. Reminds me of the Sex Pistols. Funny!

SCORE/Outstanding: Well, there you have it. This punk record is outstanding! If you love punk, you’ll love this album. The vocalist has got a really nice voice for this genre of power punk, very Billie Joe Armstrong. The songs are all interesting and I love the incorporation of a lot of very tasty lead guitar licks on this record. I can see why Philly loves this band! I do too. Much love, Beth

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He was born in Manchester in 1956, and set his artistry in stone by being an eclectic composer drawing inspiration from a myriad of sources such as landscapes, nature, as well as historical events. His compositions span various styles and formats, creating distinct moods and atmospheres.

His repertoire also includes Concerti for Orchestra, Symphonies, chamber music, and vocal works. Notable works include the Double Concerto for Bass Tuba and Contrabass Tuba, the Bass Clarinet Concerto, Aubade Pastorale, and the Sanctus for female voices, strings, and piano.

In terms of recognition, he earned an award from the Paul Hamlyn Foundation in 2020 and was runner-up in the King Lear Arts Competition. He is currently working on this Third Symphony, which is dedicated to Sir James MacMillan, and future orchestral works. Naftel’s music has been praised and lauded for its eccentricity, individuality and distinctive voice in contemporary music.

The release this review will centre upon, ‘Orchestral, Chamber and Instrumental Works‘ marks as a showcase of his evidently eclectic compositional style. It houses 4 legacy recordings: Pascal’s Victim for Tuba Quartet, Song of Songs, Villancico for Guitar and Small Orchestra, and Aubade Pastorale for String Orchestra as well as 3 premiere recordings: Aphoristic Impressions, Naftel’s String Quartet No. 2, and The Folksong Suite for String Orchestra and Timpani, all of which will be expanded upon throughout the sequence of this review.

The music is accessible here for your listening comfort:

Pascal’s Victim for Tuba Quartet

It was composed for the North West-based Tubalaté, featuring three movements based on the Gregorian Chant Victamae Paschali. It starts off immensively pensive, before building up to a stable motif that’s marked with slight mystery and distrust. It is expectedly fragmented, but it also evokes the feel of a chaotic situation that envelopes you in- with slight chromatic notes sandwiched in it. The second movement reminds me of the midsection of the composition ‘Dance of the Knights’ by Prokofiev, with the slight mellowed-down motif apparent as opposed to the first one. It features gently shifting harmonies and peaks with a crescendo, before returning to its mellowness. The third motif amps up the motif of alertness, not straying from the compositional intent of paying homage to the chant. I think this movement itself is quite fascinating.

Aphoristic Impressions

It was composed in 2023 for the American pianist Haley Myles. It intends to capture the essence of various landscapes through five short piano pieces. These pieces intend to evoke images of the underwater church at Dunwich, Suffolk, the eruption of an Icelandic geyser, the indigenous wildlife of the Australian outback and Uluru/Ayers Rock, a peaceful night-time portrait of a Japanese garden, and Whirlpool Rapids Gorge on the Niagara River.

Approaching Bell: It gives off a very slight atonal feel, while still commanding presence with its compositional techniques. This segment is incredibly jarring, but also intensive and ‘pulls you in’, in a certain way, expecting more through the flow of motivic variation. It has a suspense-like filter to its approach, as the notes only get louder before going through a sequence of recurrent notes in various reiterations.

Mini Magma: Expanding upon the thematic feel of jarringness, matching the ferocity of eruption and magma, the notes of this piece hit you right at once going up in multiple transpositions. It is short, but it delivers its message and imagery effectively well.

Roo Awakening: This track, although in intent, is meant to mirror the indigenous wildlife of the Australian outback, reminds me of the superposition imminent within quantum mechanics. However, I see a similarity between the motor flexibilities of wildlife being expressed through sonic motifs and the fluidity of quantum mechanics- just as this track takes you through a journey of different melodic themes to what I interpret as the steadfastness and jumpiness of wildlife. It also reminds me of Stockhausen’s compositions.

Japanese Gardens: Immediately I can sense the scale it is played in- it is evidently Japanese and pentatonic, but bears compositional similarities to certain Indonesian and Ethiopian scales. It has a sense of serenity to it, but also a depth that is quite hard to translate into words- existential, almost, before it erupts into a wonderful flow of notes descending and ascending almost in a polyphonic fashion. I find this recording to be more complex than actually described.

Whirlpool Rapids: The initial dual-note motif helps to bring a sense of urgency to this track, with the occasional spars of notes to accent it in the beginning. It is intense, but also fluid, just like the gorge it intended to represent. It’s chromatic, but also stark in its delivery, and the juxtaposition makes it intensely delectable to listen to.

String Quartet No. 2

This piece was composed during the initial Coronavirus pandemic, reflecting the era’s tumultuous nature. It is a single movement but divided into 5 sections with an epilogue. From the first section itself, you can feel the inherent oscillation between tranquil static passages and furious, violent sections marked by intervals of a major 7th chord and a minor 2nd chord.

It starts off tranquil, almost, but goes choppy and intense with the drone of a string in the background, aiding the feel of anxiety and discomfort throughout the duration of the piece, reflecting the intersecting worlds of unsavoury emotion and bursts of solitudinal bliss in the midst of global consciousness ripping itself by its own shreds. The Allegro feroce is indeed, ferocious, but also overwhelming.

The Adagio Sostenuto that follows afterwards presents a solitary aftermath to the chaos of the previous movement, without sacrificing the underlying drone mechanism employed by the strings. It is a very airy composition that also makes you contemplate between each movement. It then transitions to the Prest Furioso, a return to the steadfast motif that characterises this piece. Each pizzicato helps to create an effect of pure shock and boldness, all while a series of cyclical notes color the timbre of the piece. The epilogue in return, closes out the track with a distinctly distant compositional feel with strings that feel airy and worn out, reflecting the state of society after having gone through such a terrible pandemic.

Song of Songs: Rhapsody for String Orchestra and Harp

This piece was intended to be an ethnic-flavoured rhapsody based on Hebraic chants and original material, featuring melodies like ‘Yigdal‘ and ‘Hatikvah‘. It begins with a very hijaz-esque melody through the strings, creating a source of mystery but also invitation as it goes on, with the harp sequence accenting its main melodic presence. The harp’s lone pieces give the track a feel of tangible sparkle, before going back to join the main stringed melody. This piece goes through a couple reiterations of the theme, almost like a delayed call-and-response, oscillating between motifs that are more surreptitious and serene. I have to say, there are a lot of similarities to my ear with the composition Valse Sentimentale by Tchaikovsky.

Aubade Pastorale for Strings

This piece is a short tone poem depicting a hazy day in the English countryside, using original themes inspired by the English Pastoral School, particularly Ralph Vaughan Williams. It is stated here, that ‘The association of music with landscape is essentially a Romantic phenomenon, a departure from the Classical conception of music as an abstract language concerned in a general way with the expression of feeling but with no particular relation to the external world.’ within the context of the music of English Pastoral. Likewise, I think this track thematical relates to the voices apparent within this movement- reflective, contemplative, impressive, all while transporting you into a world that is quite vivid and moving all at the same time.

This is all achieved by the wonderful segments of each stringed segment, some lending credence to the depth of the track while some sections play the motif of wonder and longingness- making you feel like you’re staring straight into the haze, eyeing your fate.

The Folksong Suite for String Orchestra and Timpani 

This piece draws on six English and Scottish folksongs, including John Peel, Early One Morning, Ca’
the Yowes, Loch Lomond, Dashing Away With The Smoothing Iron, and Lincolnshire Poacher. It is very vibrant, as with the tone and intent of most folksongs within that genre. It is separated into three movements, Rondo, Lament, and Country Dance.

Rondo: I find the structuring of this track quite unique, owing its dynamicism to the timpani section within the entire duration of the segment. It’s almost like a silent framework, giving it slight bass but also structuring each part with its intensity. The strings, once again, present a stellar soundscape.

Lament: This movement begins with a bit more seriousness than the other ones, making a scintillating piece out of the ups and downs that the notes go through within the sections of the strings. It has the most ‘unpredictability’ within all of the movements, changing its emotional tone pretty drastically throughout the track. It reaches a loud singularity at some point of the track, making sure to take you, as the listener, along on the emotional highs and lows of the track.

Country Dance: It finishes with a piece full of flair and velour, coming in strong with motifs that ooze pride as well as strong, deep-rooted culture. You don’t have to know much of the traditions of English and Scottish music to feel this particular song, it presents itself to you with so much gusto from the mixture of different types of modes of playing throughout the strings and the wonderful oversight of the timpani for structure and depth.

Villancico for Guitar and Small Orchestra 

This track aims to bridge the music of the Spanish Renaissance and Joaquin Rodrigo in a charming and lyrical Rondo form. It makes itself apparent within the first few notes of the Spanish guitar, and the oboe and the flute follow suit, expanding upon its motif. The flow of the track definitely follows suit with the rondo format, and I have to commend the attention to detail, especially with the snaps in the background. This track is quite beautiful if I must say so myself. It has a sentimental and romantic (not in terms of the musical movement) quality to it.

All in all, this album was a wonderful delight to listen to. It contained a large number of compositional influences and structural styles, leading credence to Frederick Paul Naftel’s repertoire for being an extremely eclectic and competent composer. Each track really played itself out as a wonderfully expressive attempt at trying to expand thematic motifs into full, engaging pieces and I think as a composer, he did it quite well. I also have to commend the great selection of people chosen to play these pieces as they truly helped to bring all of these compositions to life, being sensitive to every coda.

SCORE/Outstanding:  Orchestral, Chamber and Instrumental Works by Frederick Paul Naftel is a wonderfully engaging album that seeks to take the art of transforming an idea, scenery or motif into a full bodied piece of classical music very seriously. It oscillates between many different motifs, voicings and even scales to keep anyone seated and does not leave any space for inferiority. A work well done.

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Born George Kusunoki Miller on September 18, 1992, in Osaka, Japan, to a Japanese mother and an Australian father, it’s wild to think this is the same guy who once had the internet in stitches as Filthy Frank. His career kicked off in 2011 on YouTube, where he launched the channel DizastaMusic, creating absurd, comedic content featuring characters like Filthy Frank and Pink Guy—think rap songs, rants, and bizarre skits that exploded in popularity, even sparking the viral Harlem Shake craze in 2013.

Back in 2017, he ditched the comedy mask for music, starting with lo-fi beats that quickly evolved into something deeper. By 2022, with this release, he’s carved out a space all his own, mixing haunting melodies and slick production into what I’d call a masterpiece of modern melancholy.

What makes SMITHEREENS work so well is how it pulls you in, whether you’re after something to wallow in or just a spark to feel alive. Starting with “Glimpse of Us,” a slow, piano-driven gut punch that climbed to #8 on the Billboard Hot 100 with a fragile, yearning quality that sticks with you. This is followed by “Feeling Like The End,” setting a dark, simmering tone with heavy bass and resigned vocals.

Then “Die For You,” bringing a rich, layered sound with synths swelling around tender yet desperate lyrics. “Before The Day Is Over” layering soft piano with an achingly personal plea with a few cinematic synths.

“Dissolve” throwing in a hypnotic, almost eerie vibe, “NIGHT RIDER” cruising with sleek, nocturnal energy, “BLAHBLAHBLAH DEMO” keeping things raw and experimental, “YUKON (INTERLUDE),” a quick, chaotic jolt of glitchy energy that shakes things up, and “1AM FREESTYLE” closing it out with a loose, introspective late-night feel. I’d call it excellent—perfect for anyone who loves music that hits hard and doesn’t let go.

Joji’s got this knack for blending dreamy, atmospheric vibes with raw emotion, and it’s all over this album. It’s short, sure, but every track lands like a carefully crafted moment, from the aching simplicity of “Glimpse of Us” to the restless edge of “YUKON.” Even if I grew up on more classic sounds, this won me over—it’s honest, it’s striking, and I can’t get enough of it.

One thing I like about SMITHEREENS is that everyone can enjoy and resonate with the music, or cry with the music, because he uses universal languages of heartbreak and sadness. The only thing that I thing lacks in this album is the diversity of style. I find every song pretty much in the same gloomy mood, which, if you listen long enough, could make you quite sleepy.

SCORE/Excellent: If you want a soundtrack for late nights or heavy feelings, this album is it., SMITHEREENS delivers.

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

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The post Joji – SMITHEREENS (Album Review) appeared first on Music Review World.

As the band states on Bandcamp: “It was a cold and rainy November night when Greg Roensch, Jules Leyhe, and Elisa Wendell performed two sets of original music (plus a handful of covers) at Tiny Telephone recording studio in Oakland, California. Here’s your chance to listen to a show that audience members referred to as magical, unique, and fun – which is exactly what you’d expect when entering a rock-n-roll oasis. Welcome in.Feel free to listen for free, but please note I’m donating 100% of my proceeds from all sales in February 2025 to MusiCares for fire relief support for music professionals impacted by the Los Angeles wildfires.”

So let’s have a listen … and buy the album to support the fire relief fund!

The album starts with The Dream with a heavily reverb-drenched electric guitar joined shortly thereafter by a rhythmic acoustic guitar. Rock and Roll Oasis is the first vocal track with Greg and Elisa joining together – their voices blend well. The star of the track, however, is Jules’ lead electric guitar work. Greg has a voice that reminds me a little of Tom Waits.  Nice track. [Author’s Note: After finishing the review, I finally figured out who Greg’s voice reminds me of … and it’s Gordon Lightfoot.]

The third track Come On Over (and I’ll cook some chicken). I love the lyrics on this one. However, the lead guitar again steals the show. The next song, the David Byrne cover “Heaven” starts with a beautiful acoustic guitar strum. About a bar named Heaven. “Heaven is a place where nothing ever happens.” The group’s performance reminds me of acoustic Neil Young.

“Get the fuck out of my kitchen!” is how the next song introduces itself with Elisa taking the lead vocals. She has quite an engagingly sweet voice. Best song on the album so far. The song immediately captures your attention with a nice vocal rhythm and an engaging vocal rap delivery.

I’m Eating In My Car Again is the next song on the album. I probably would have left this song off the album. Very hard sonic transition from My Kitchen (above) to this song which is more in the red-dirt country folk vein. Have You Seen the Loveliness follows up in the same musical genre. I like the reference to Pinball Wizard. It’s a bit more interesting than Eating in My Car Again. I’m not really digging the lyrics. The lyric rhymes seem overly simplistic. Nice lead guitar work though.

The next song Grasshopper starts off with a nice arpeggiated acoustic guitar. This song is a vocal duet featuring Greg and Elisa. The lead guitar is drenched in reverb. This is a nice song. “Grasshopper, hop along …” Elisa’s voice really makes the song.

Nobody But You is a common folk chord progression and sounds like countless other folk tunes. A very Neil Young/John Prine type vibe. The electric guitar literally sings in this tune, sounds like a lap steel guitar, very cool. Nobody listens … Nobody But You. Clever lyrical structure here.

The next song Magnolia is a JJ Cale cover. Greg’s voice does not quite have the character of Neil Young or JJ Cale, but with it’s raspy nature, falls in that same category. I like Elisa’s “whoo, oooh” vocals later in the track.

Elisa’s song Pay Attention 2 Me is a killer jazz vamp with Elisa’s vocal timing stealing the show. She definitely needs to be singing lead more. This song is sonically interesting and I particularly like her jazz vocal off-beat timing. The lead electric guitar competes for audience attention. I feel like I’m in a movie theatre watching Jessica Rabbit. LOL. Very nice tune.

The next song E is for Elephant is another campy track in the folk-style of Eating in my Car Again and Have You Seen the Loveliness. This one has audience participation answering back in the chorus “E is for Elephant.” I really enjoyed the country-style lead guitar work on this tune. A Blackbird Flies starts off much more somber with an arpeggiated acoustic guitar against the singing electric lead guitar, maybe a lap-steel guitar. “Give peace a chance, children are dying.” A song about war and peace. Very Tolstoy. The lead guitar steals the show on this tune. Very nice picking.

The next song You Never Know features the lead electric guitar sailing through the verse, again a slide or lap steel guitar sound. I like the lyrics on this song. Has a Tom Waits edge to it. I love the lead guitarist’s tone here.

Next up is a Neil Young cover Cortez the Killer. One of my favorite songs. The two guitarists blend their parts really nicely during the long intro in this song. If you can imagine Tom Waits singing a Neil Young song? This is it. The lead guitar work in this song is exceptional, as it has been the whole album.

The sixteenth song on the album is The Last Day of Our Acquaintance, a Sinead O’Connor cover. Very somber beginning. Getting church vibes from the instrumentation – the arpeggiated acoustic guitar, the very atmospheric electric lead guitar soundscape, and the ethereal blend of Greg and Elisa’s vocals.

The Dream Returns is a sequel revisiting the opening track. Same song, different version. I like Elisa’s ethereal backing vocals on this track. The album finishes off with the original tune I Heard the News. A nice acoustic guitar riff opens the song, with a singing slide or lap-steel guitar. I really like it when both Greg and Elisa are singing together, very nice vocal blend.

This album is a very nice live performance. And I’m impressed that it sounds so good, with no mistakes from the band, and the engineering, mixing, and mastering make you feel like you’re in the room with the band. My favorite two songs are both Elisa’s originals, which I can hear on radio. Perhaps the band can release clean radio edit versions of both her songs?

SCORE/Excellent: Hats off to Jules Leyhe! The lead guitar work on this album is exceptional. Just the right atmospheric sounds. And I also really dug Elisa’s vocals on the album, particularly on her two original songs. Even though there’s a song or two that maybe should have been left on the cutting room floor, the lead guitar work and Elisa’s ethereal and jazzy vocals sell me on this album. They’ll sell you on it too. Take a chance and listen to this unique, inspiring, live album! Much love, Beth

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

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The album starts of strong with a sick beat and keyboard riff with the song Trending Topic, about what you think it is about – trending on social media. Nice rhymes by Natalac, Benzino, and Mr Smith Aka Bo$$ Money. They manage to rhyme “topic” with “poppin”. This is a nice track, makes me want to hear more from this artist. The performances and mix are dope. And true to form, they manage to reference their Jacksonville roots.

The next track Jacksonville News isn’t a song, just a short news interview. About a rapper (Foolio) who was shot and killed. It’s included as a lead in to the next track Jacksonville Hip Hop, which kicks off with an eerie keyboard riff and has Natalac telling a story about the hip-hop scene in Jacksonville. I don’t like the vocal on the “Jacksonville, Jacksonville” bit at the start of the song, but once the beat drops at 00:40 into the song, the melodies and rhymes start to flow from the heart. “Then the RICO case is dropped.” I like how the song ends on the word “church” just out of the blue.

Scam Likely (SpamRisk) is a lively track about Duval County where Jacksonville sits. I like the soundscape created by this song. It’s interesting to listen to, your ears are like “what the hell is going on?” I love the phone call ending to this track. This artist has a sense of humor.

D.U.V.A.L. repeated over and over. How many ways can we say Duval? I like the Gator Bowl reference, the city of Jacks, I like the flow in the song, but I’m not really liking the D-U-V-A-L as the hook of the song. Truth. But I suppose if you’re from Duval County, you’d probably like it at the show. I like the Boss Pimpin Mix of this song included as a separate track at the end of the album (track 12). Nice flow by YATBAT. Diggin’ the speed of it.

The next track One Two is only available if you buy the album. Mystery?

The seventh track Rich Niggas features Natalac and Benzino again. This track has a nice vocal mix, and I love the rhythmic nature of the vocals. They pop. All she want to do is fuck with Rich Niggas. Lots of anatomy, LOL. I really like the sound of this Pimp track. The song could be longer.

She Was Made for the Streets off with a speech about women taking over your world and the declaration that some women are made for the streets. But after the speech, it falls into a nice flow. The song is all about sex. Definitely explicit. I like the “milk and cereal” reference at the end of the song. “Just another hit, smoke that shit!” I can dig it, even if it is racy.

The ninth song is Right By You with Natalac and Ronnie Real. I like this song once the flow gets going. Nice East Philly rhythmic style to the vocals. I think the vocals during the “right by you” chorus could be better aka more sonically pleasing. But then the song drops back into a nice flow. Pimp song. I like the variation of the rap flows, keeps the song interesting.

Duval Dade (Damn Pimp Mix) with Natalac and JT Money “Duval Dade, OG Pimp Getting Paid”. Very interesting mix. I love the female vocals. “Is that one of them damn pimps?” LOL. The beat track seems to be a bit distorted, so I would fix that in the mix.

And really, how many songs about Duval can you put on one album? I suppose in this genre you get street cred by referencing your hometown. I’m imagining a hip-hop Super Bowl with artists from one city on a stage in one end zone, and artist from another city on a stage in the other end zone competing to see who gets more of the crowd’s attention, trading rhymes.

A.T.M., the eleventh song has a very Middle Eastern instrument track. The track features Natalac and Haze Karolina. Really nice flow on this song. Another song about sex and a girl who has a lot of boyfriends. “Welcome to the party, come please me with your body.” I like the chorus in this one.

SCORE/Good: I really liked the first song on this album Trending Topic. And the album is full of nice interesting flows. If you’re from Jacksonville, you’ll probably dig this album. I really liked most of the performers on this album over a nice collection of beats and mixes. There were times when I didn’t particularly like the scratchy vocals or the distorted mix which keeps me from rating this album as Excellent. Curious about Florida Pimp-Hop sounds? Check out this new album. Much love, Beth

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

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The album is described by the artist as having written in a dark dystopian future by his future self, sent back in time for him to release it now as the most important moment in our history. It’s also described as a call for those who can hear and for those who can see. As quoted, ‘Separation is illusion. There is only One. Merge with Nature, NOT technology. Find the balance.’ With this album, he presents his bare, naked soul.

The album honestly is appealing but concerning in a multitude of ways. It definitely is fresh in the sense of a revival of a style of rap that is no longer popular in the mainstream, but in terms of musical composition, it lacks any new motifs for it to be revolutionary or new.

I admit though, that that statement itself may cause some issues between the artist and I. I understand the intent of the album is much deeper, as the lyrics suggest, but one has to ask about the lines between depth and empiricism at some point. When songs become the sonic allegory to books, should all books be read because it’s in the form of a book?

When you consider the reasoning and truth-value of some of the songs aside, they are very adequately produced and executed. The artist has a bold voice that paints the narrative in most of these tracks, setting the foundation for the soapbox on which he metaphorically stands. I think the album could do with a little bit of newer production techniques, but that would thematically go against the artistic value and intent of the album itself.

the techniques and delivery within this album also reminds me of a lot of big acts associated with the old New York rap scene, such as characters like Ol’ Dirty Bastard. I think people who grew up in that era and reminisce on such musical acts would definitely revel in this album as a ‘return’ to their roots, and what they feel works.

I do have to commend the artist on his vocabulary. Rap albums are often meant to be judged on the linguistic prowess behind the work, instead of the music as an isolate- and I do have to say, he uses a higher standard of vocabulary and probes deeper into certain hypotheses compared to acts today. The branding behind the artist also helps to seal the deal, especially within the context of this release.

SCORE/Good: If you’d like to re-live an era of conscious rap without the need for an overreliance on race politics, this album is definitely for you. It’s chock-full of concepts and thematic tropes that will fuel your imagination, or ‘open your ‘eyes’. I don’t mean to hate, and please do not take this the wrong way, but the lack of innovation within the composition does not make this exceptional.

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

Check out ArAfAt’s link directory to keep up with him.

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