Honningbarna has already had a relatively long and productive career, evolving album by album into an increasingly unique and innovative group. Up until the 2017 album Voldelig lyd, the band made relatively pure hardcore punk, characterized by rock energy, melody, and a hefty dose of aggression. Their previous album Animorphs retained much of the band’s original style but also took steps in a completely new direction, introducing more experimentation, at times even a mechanical feel, and a greater sense of unpredictability.

Soft Spot strongly continues down this path. The album is full of surprises and unusual rhythms that are oddly difficult to grasp, yet at the same time incredibly intriguing and inviting. Schäfer, which kicks off after the intro, is probably one of the heaviest tracks the band has ever produced, both in sound and arrangement. The album is clearly built on the foundation of experimental hardcore rock laid by Refused. Each instrument shines in its own way, and the vocals sound absolutely amazing. Still, it’s the drum arrangements and groove on Soft Spot that stand out the most—they’re simply phenomenal.

Here and there, Soft Spot introduces even more machine-like effects and soundscapes, at times evoking a distant industrial vibe. The band really seems to be delivering their strongest and boldest performance yet with Soft Spot, without worrying about what traditional hardcore fans might think. This is a major strength that sets Honningbarna apart from many other hardcore groups today.

Amidst all the experimentation, the album still features accessible, so-called old-school Honningbarna bangers. All in all, the band sounds and feels stronger and more relevant than ever. I’d be lying if I said Soft Spot wouldn’t be on my end-of-year best albums list.

Release Date: February 28, 2025

Honningbarna – Soft Spot

Album of the Month by Cuberat

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From the start, the song pulses with powerful, driving drums, setting a relentless pace that pulls you in. The instrumentation feels weightier, with deeper tones and a subtle edge that sets it apart from their past records. And while the overall mood leans heavier, Jackie Miclau’s delicate moments on the keys shine through like brief flickers of light, one of my favorite elements in any Mt. Joy song. Her touches add an almost ghostly beauty to the track, softening the intensity just enough to keep you hooked.

Lyrically, “Coyote” feels introspective, carrying a sense of isolation and longing that fits perfectly with its namesake. Matt Quinn’s vocals hold a certain urgency and grit, delivering the lines with a quiet intensity that builds as the song progresses. It’s less carefree than some of their past hits, but that shift makes it all the more compelling.

I wasn’t expecting this direction from Mt. Joy, but the more I listen to “Coyote,” the more it pulls me in. It’s moodier and more intense than their usual sound, but that shift feels natural rather than forced. The pounding drums and raw energy make it stand out, yet there are still glimpses of what I love about their music.

It’s a bold move, and I must say I do prefer their lighter, feel-good songs, but I’m excited to see them explore something different. I have a deep connection with Mt. Joy, with them being one of the first bands that I saw live and loved. I went to multiple of their last UK tour shows and am eagerly waiting for them to come back. If this track is any indication, the new album could take us on an unexpected ride.

With the album dropping in May, “Coyote” leaves us wondering what musical path Mt. Joy will take us down next. Will they continue this darker, more atmospheric direction, or is this just a glimpse of a broader sonic journey? Either way, this track proves they’re not afraid to evolve, and that’s something to be excited about.

SCORE/Good: If you enjoy moodier folk music, then this song is for you! Or if you are a lifelong fan and just like to be there for the new Mt. Joy song drops, then you will be interested in this new sonic voice they’ve created.

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

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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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One of the most stunning aspects of the song is the way he nails those high notes at the end of some of the lines; absolutely beautiful and so full of emotion. Gossett’s talent as both a lyricist and musician really shines through, proving once again that he’s a poet in musician form. The lyrics feel intensely personal and relatable, touching on themes of growing up and still feeling juvenile, craving parental validation even as an adult. 

The line “the streetlights are turning on a little early, I don’t know if I should get home” struck a chord with me. It captures that feeling of uncertainty; wondering whether you still belong to your parents the way you used to, and whether the people who loved you when you were young still feel the same way. He also touches on the poignant contrast between childhood memories and the reality of adulthood, evoking a sense of nostalgia that’s comforting, but also a little heartbreaking. 

I had the chance to catch his free show at Omeara recently and let me tell you; this song does not disappoint live. If anything, the acoustic version was even more powerful and raw than the studio cut. Hearing it live for the first time, well, I’d be lying if I said it didn’t bring me to tears. There’s something about the stripped back arrangement and the way his voice resonates through the room that makes the emotion hit that much harder. It was one of those shows that’s going to stay with me forever. 

If you’re looking for a song that perfectly balances tenderness with a sense of longing, “Like I Do” is it. Dylan Gossett continues to prove that he’s more than just a talented musician. He’s a storyteller who knows how to make you feel every word. 

Overall, “Like I Do” is more than just a song; it’s a vulnerable confession wrapped up in a beautiful melody. Dylan Gossett’s ability to turn deeply personal experiences into universally relatable art is what sets him apart as a songwriter and musician. This track not only highlights his growth as an artist but also cements his place as one of the most promising voices of his generation. I can’t wait to see where this new direction takes him.

SCORE/Outstanding: If you want to feel like you’re in the back of your parent’s pickup truck in summer, looking through childhood photo albums, this song is for you. It’s a little sad, about wanting your parents to want you the same way they did when you were younger, but it’s not an inherently sad song. If you like bittersweet country music, check out this song!

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

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

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

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

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

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

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

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

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

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

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

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“THE SECOND P” hits you from the start with a more hypnotic and dynamic performance compared to “WITHSTAND THA FIRE,” pushing its bizarreness to a new level.

The same chaotic, abstract energy K2 Cocky delivers on the track is reflected in the visuals, which hit you with everything at once—blending adventure and madness through rapidly shifting shots. These feelings dominate the song, merging quirkiness, curiosity, and an infectious energy all in one.

The melody K2 Cocky dictates is raw and harsh, keeping the listener engaged with every new layer of its glitchy, droney sound that lingers from the artist’s first whistle.

Truthfully, you can’t even fully pin down the track’s genre—it teeters between alternative hip-hop, shimmering loops, and experimental elements. The video mirrors this unpredictability; rather than going for a polished aesthetic, K2 Cocky leans into a glitchy, mesmerizing vibe paired with a pounding, distorted sound that feels warped yet free-flowing.

I really admire his frenetic delivery throughout the track, which he reinforces later in the music video with all its psychedelia and noise. From scenes that seem straight out of an American block to the graveyard gives the track this raw and unpolished feel.

Score/Good: To sum it all up, K2 Cocky’s “THE SECOND P” is crazy, and off-kilter, yet the straightforward energy he brings to the track is both memorable and fluid, emphasizing eerie intensity. This track is a strong addition to the original SOCIAL STUDIES, reinforcing his signature sound but in a bigger, more unhinged context.

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

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The duo has an incredible ability to blend electronic soundscapes with more organic instruments, like unforgettable guitar patterns, string arrangements, and various percussions. Their sound is effortlessly smooth, flowing forward like a sailboat in perfect sunny tailwind.

This time around, their arrangements are a bit more engaging, and at times, the groove even brings to mind Jungle’s upbeat, danceable tracks. A great example is Otherside, where Holly Walker’s vocals are absolutely mesmerizing. Another standout is Dance on the World, featuring North Downs’ slightly soulful and smoky vocals.

That said, Maribou State certainly hasn’t lost their touch when it comes to evoking deep emotions. The album is packed with beautiful melodies and intricate details, especially in the guitars—something that has always been a signature element in their music. My personal favorites from the album are Bloom, where the soundscape and Gaidaa’s vocals create a stunning combination, and Eko’s, an incredibly hypnotic, forward-driving track that I could listen to forever.

All in all, this album is an absolute pleasure to listen to. But hopefully, we won’t have to wait another six years for the next one!

Release Date: January 31, 2025

Maribou State – Hallucinating Love

Album of the Month by Cuberat

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JVKE is a new pop artist from Rhode Island, and is also a master in the new subgenre Cinematic pop – a kind of pop with a lot of synths and cinematic, lush, strings. His hit song golden hour peaked at number 10 on the Billboard Hot Charts, and his debut album this is what ____ feels like (Vol. 1-4) peaked at 40 on the Billboard 200. It has been at least six weeks since his latest release, so let’s have a listen to his new single.

We can first hear his dreamy voice with a synth guitar at the background. Also noticeable is the tuning – 432hz, which was also used in golden hour and a whole lot of other songs. This gives his music an “old feeling”, or a style more like Tin Pan Alley, with the clinky-clonky piano.

After the short intro, we hear the Verse I. I really feel that his lyrical skills have improved over these years. The Verse I is filled with lush synths, and we can also hear him singing those difficult leaps. The First Chorus is the same as the intro, but adding a few more verses. After that, we can hear an inversion of the accompaniment of golden hour. I really like the mention of golden hour in his songs, and this isn’t the first time he did this.

After this bridge, we can hear the Verse II. This time he added a beat under the new golden hour inversion accompaniment. Then there is the pre-chorus, where he hits some pretty high notes. JVKE is the master of high notes, as you can hear them in this is what slow dancing feels like. His control is just amazing.

Finally, there is the second chorus, which is a mash-up of all the elements in the song. He usually does that in the second chorus. What’s NOT usual is missing of the usual long outro. But I also like how the song just fades away.

SCORE/Outstanding: If you are looking for dreamy and happy songs, you have come to the right place! Pretty will make you “float” after you listen to it!

[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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Tyler and Harlow are clearly writing from a place in their heart that appreciates being from where they are from as they like to mention the cold weather of Atlanta a lot throughout their songs, specifically starting this EP with Sick Dogs.

Sick Dogs emulates the panic of not knowing the right thing to say with the almost nervous and questioning lyrics which is generally spread through the whole EP. This song shows the anxieties of once being known by somebody who doesn’t know you anymore; you were once known wholly and now you don’t know whether it’s even okay to speak to them anymore. Once again with the idea of texting an ex and then regretting it; their band name perfectly captures the vibe of their music. It’s almost overwhelming in the way every lyric is framed as a question, you begin to question everything you’ve ever done mid-song. It’s a pretty upbeat song during the lyrical breaks, and yet the lyrics are depressing and pessimistic, until the end where there is a hopeful tone shift. 

Next up in the EP is a gem called Barn Nursery which is an authentic and truthful song that feels like we are getting a snippet of their souls woven through the melodies; they have problems with moving on. Then it goes on to If It’s Not, which brings the idea of how naivety comes with being young and how naivety can make you uncertain about everything. 

This is carried on through 33° which presents anxieties about not knowing what your future could hold but still being naive about it. Can the same problem happen twice? You would assume so if you were a pessimist and I simply have to assume that these artists are the peak of pessimism. But the fact that their lyrics imply that the ice can’t crack twice implies that they are naive and adolescent in their ways of thinking about bad things that could happen. However,  with Death Song, this EP ends on a pretty positive and hopeful note considering everything. 

The instruments feel nostalgic to me for a time and place that I didn’t experience; they take me back to the early 2000s and the rise of midwest emo music and drinking beer you took from your dads’ collection in the basement with your friends. 

Overall, this EP is filled with ideas of being stuck in time, not being able to travel back to return to how things were before but also waiting for the same person from your past which is preventing you from moving forward into the future. In their lyrics, there is a person who is willing to change themselves for someone, at least to some extent. They perhaps grew up too soon and are stuck in a horrible place between childhood and incapability of moving on from 

bad people and bad things that have happened. So, they are stuck at this metaphorical ‘red light’ that is brought up in multiple of the songs in this EP. This EP is not one to listen to if you want to feel happy; it is a sad and pessimistic collection of music with themes of anxiety and self-doubt. 

SCORE/ GOOD: If you’d like to feel like you are a delinquent teen boy in a dingy basement drinking with your friends, look no further than this album. It’s full of concepts of anxiety about being uncertain and being stuck in the same place, not able to go back, but also not being able to move on and move forward. Although, I will say that some of their songs can feel repetitive of each other, but in my opinion, that doesn’t take away their ability to make you feel.

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

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