Category: Reviews

After the Snow (original cover)[/caption]Released in May 1982 on 4AD Records, After the Snow marked a pivotal evolution for Modern English, the Colchester-based post-punk outfit. Following their abrasive debut Mesh & Lace (1981), this sophomore effort softened the edges, embracing melodic new wave sensibilities while retaining a shadowy, introspective core.

Produced by Hugh Jones, the album’s eight tracks clock in at just over 30 minutes, blending driving rhythms, atmospheric keyboards, and Robbie Grey‘s haunting vocals into a cohesive, if occasionally eccentric, soundscape.

The album opens with “Someone’s Calling,” a brooding call-to-arms with pulsating bass and urgent percussion that sets a tone of existential unease. Tracks like “Life in the Gladhouse” inject funky tom-tom beats and serpentine bass lines, evoking a paranoid dancefloor vibe reminiscent of early Talking Heads. “Face of Wood” delves into darker territories with its ominous intro and melodic undercurrents, while “Dawn Chorus” offers a pretty yet melancholic interlude, showcasing Stephen Walker‘s prominent keyboards for a grand, romantic sweep.

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Wallice‘s debut album, The Jester, released on November 15, 2024, marks a bold entry into the indie pop landscape for the Los Angeles-based singer-songwriter.

Clocking in at 14 tracks and around 46 minutes, it weaves a tapestry of eclectic sounds and introspective themes, drawing from her previous EPs like Off the Rails and Mr Big Shot while expanding into more ambitious territory.

Wallice, known for her witty lyricism and raw vulnerability, channels the chaos of young adulthood into a sonic circus that’s equal parts playful and poignant. The album’s sound is a genre-hopping delight, blending shout-along indie rock with hypnotic synth-pop, grunge edges, folk introspection, and even jazz flourishes.

Opening with “The Opener,” a theatrical burst of energy that sets the stage for Wallice‘s hunger for recognition, the record shifts seamlessly between moods. Tracks like “Gut Punch Love” deliver dreamy, feel-good pop with a punchy narrative about familial heartbreak, while “Clown Like Me” – co-written with Albert Hammond Jr. – features catchy guitars and circus metaphors that capture imposter syndrome with infectious hooks.

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Bria Salmena‘s debut solo album, Big Dog, released on March 28, 2025, via Sub Pop and Royal Mountain Records, marks a ferocious entry into her individual artistry.

Best known as the frontwoman of Toronto post-punk band FRIGS and for collaborations with Orville Peck, Salmena channels years of personal upheaval—including the pandemic—into a 13-track chronicle of transformation and resilience. The title, inspired by finding inner strength and support from loved ones, sets the tone for an album that’s raw, unpredictable, and deeply intimate.

Sonically, Big Dog is a shapeshifting beast, blending hazy indie rock, alt-country twang, krautrock pulses, and cabaret flair. Salmena‘s voice—powerful, hypnotic, and laced with a deadly hunger—anchors it all, drawing comparisons to Ethel Cain‘s grit and Lana Del Rey‘s romance.

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Public Enemy‘s Black Sky Over The Projects: Apartment 2025, their 17th studio album and first in five years, arrived as a surprise Bandcamp exclusive, embodying the group’s unyielding spirit of rebellion.

Released on June 27, 2025, without fanfare and initially pay-what-you-want, it harks back to their golden era while confronting contemporary chaos.

Chuck D and Flavor Flav, at 65 and 66 respectively, deliver with undiminished fire, proving ageism in hip-hop is a fool’s errand.

Musically, the album recaptures the Bomb Squad’s dense, layered sound—think serrated guitars, chopped samples, live drums (courtesy of Tré Cool on “Fools Fools Fools”), and analog grit—handled by producers like C-Doc and DJ MROK. It’s not bloated; every beat pulses with purpose, blending old-school drums, funky basslines, and rock textures for a potent, urgent vibe.

Themes tackle political dysfunction, media decay, gun violence, social media frauds, and the erasure of elders in a youth-obsessed culture. Chuck‘s commanding bars call out corruption and complacency, while Flav injects chaotic energy, trading verses that affirm their legacy as the “last of a dying breed.”

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Released on August 1, 1982, Rock in a Hard Place marks a pivotal yet precarious chapter in Aerosmith‘s storied career. As the band’s seventh studio album, it arrived amid chaos: lead guitarist Joe Perry had departed in 1979 following onstage tensions, and rhythm guitarist Brad Whitford followed suit during recording.

Replacements Jimmy Crespo and Rick Dufay stepped in, with Crespo handling most guitar duties under producer Jack Douglas. Frontman Steven Tyler, grappling with severe drug addiction, struggled through sessions that ballooned to a $1.5 million cost. This backdrop of instability permeates the album, making it Aerosmith‘s only release without their classic lineup.

Musically, the record blends hard rock grit with experimental flourishes. Opener “Jailbait” kicks off with frantic energy, recalling the raw punch of Toys in the Attic, driven by Crespo’s edgy riffs and Tyler’s snarling vocals.

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