Izaya Tiji - Svelte in Designer (2019)

Styles: Ambient Plugg, Cloud Rap | US

Out of everyone from the American Trap collective SlayWorld - though not my favorite - Izaya Tiji strikes me as the most artistic of the bunch. Prolific from the start of his career, he had an especially notable run during 2019-21. Around that time he released his most essential projects, including the five-track Svelte in Designer. Production is handled by Wifi, Endoh, Litooo and even Tiji himself on the final two tracks. 

Interlude - where do you even start with such a standout? Sampling the production and vocals from Yutaka Yamada's Tokyo Ghoul soundtrack, Izaya softly glides over the cold production. Completing the soundscape are the hard-hitting Plugg elements of the beat, forming a sort of symbiosis between the organic and artificial parts of it. Izaya doesn't say anything particularly emotional, his beautifully melodic rapping is enough to stir up blurry memories and past heart strains. It's a common attribute of his art - evoking things unsaid in the lyrics themselves or expressed in short lines.

How many days have passed like this?

Changed Alot is a faster change of pace, retaining the lush piano-sampling production and lushness of the entire EP's sound. Though a bit short, it shows off Tiji's competency for doing multiple styles while retaining consistency. A lot of that is owed to the mixing, bass being especially deep on each song along with the overly loud percussion. Though I don't mind it too much, I do wish the mastering was mildly better - it often drowns out whatever ambience is going on in the background. Despite this, there's still a deep layer of numbness across the tracklist, never spoken out loud but always lingering at least to a degree. The remaining three tracks are all solid, especially the closer 2016 which is my second favorite off the release. I don't have much to say about them on their own, just solid tracks because of everything I've already mentioned. Unfortunately, the EP really does start with its highlight - making everything after feel slightly disappointing. 

An important release in Izaya's discography and the sound of early Ambient Plugg as a whole, short but sweet. Detachment from reality expressed through the lens of hedonism and usual motifs in Trap.

8.5/10

See also: 1oneam, Shed Theory

Listen here: Spotify, Apple Music, Soundcloud

- kreyzi

Femtanyl - Chaser (2023)

Styles: Digital Hardcore, Breakbeat | CA

When people my age talk to me about newer independent music it tends to fall into one of 2 or 3 camps. It's either another boring wannabe Black Country, New Road type, some Drain Gang or RCB "inspired" Hip-Hop artist and then the final one would probably have to be Internet stuff that's sometimes parasitically tied to either the LGBT, furry, brony comunity or some other subculture that always has 1 million breakbeats layered over itself with scream rapping by a sweaty looking white trans woman. The last part may sound specific but explains about 38 active musicians in the hyperpop-adjacent sphere, one of which being Femtanyl.

Femtanyl (at this point being a solo act) actively made not one single interesting, creative or new choice during the process of this EP even for the time it came out.

The first track in particular sounded like a barely manipulated preset (Damon Albarn would love it), the influences of HexD sounded more like gentrification and watering down than anything, the mixing was ugly at the best of times and was constantly muddy, default piano synth template 1 plays generic chord progressions throughout, we have boring Slipknot-esque scream rapping vocal delivery and was overall generic, but here's my real issue that weighs the whole thing down.

The 2020s music landscape is very obviously skewed towards highly produced, synthetic sounding music. Charli XCX, PinkPantheress, Drain Gang, 2hollis etc. Y'know, shit that people say is Hyperpop but usually isn't (according to who? Mostly trustfund journalists who get paid to overrate the manufactured scene by labels in return for them taking credit for a false narrative they can claim to have coined).

Then there's the sad trend of unsung heroes like $piritgurlz, bliss3three, 999 Heartake Sabileye and others wallowing in obscurity and retiring at like age 21. Meanwhile Femtanyl gets to run around with no influence on anyone, rehashed ideas and not a single catchy tune to their name. Why? Because she's good at drawing and can make cool internet-coded cover arts for her music to exploit a subculture of furries and her song titles are chronically online sounding and sometimes trans-themed. Katamari and Girl hell 1999 have titles with all the wit and creativity you could get out of AI and sound like some trite that'd be playing in the background of the most unfunny instagram reel ever and are apparently some of their better and more popular songs. Just utterly indistinguishable from all the boring overproduced sounding trend-following music that the 2020s will be pointed at and laughed at for decades down the line the same way the 80s is for AOR and New Romantic.

They're running around with borrowed ideas, that sound like noise pollution and get to maintain a fanbase purely off of something you don't even need your ears to observe. We went from hexd and hyperpop being a refraction of the past and a post-modern usage of limitations and production elements imposed on a piece of music for psychedelic and nostalgic purposes, to them being a call and response pavlovian bell for mindless, brand worshipping, clothes label loving dilettantes to activate their narcissistic need for self-validation through overwhelming yet comfortably unexperimental stimuli that evokes rotting in bed all day watching a constant stream of information and getting told who to be by advertising companies. Music is my escape, so why would I wanna fetishize and reenact the saddest parts of modern day living? 

If you can't make music then you're just a Mickey Mouse logo and a few sprinkled queer-baiting titles and scream-rapped trans themed or selfhating lyrics away from a fanbase. Gentrification and pandering at its most obvious. 

Sorry if the criticism of the musical content was brief but it's clearly a second thought to the artist's fashion bullshit they're trying to push. 

See also: Machine Girl, Astrid

Listen here: Spotify, Apple Music, Bandcamp

2/10

- YonDivi

UPDATE: RYM Account Banned

Bad news! The rateyourmusic account for this blog was recently deleted. The reason given was it being an "alt account of a permanently banned user"

RIP @armoryradio 2026-2026

Despite our message explaining it was a group-owned account and us already asking to be deweighted before that, rym mods didn't change their mind.  

The website's mod team isn't perfect but we expected better of them, at least a better explanation to why we were banned. 

Oh well, this is and the Substack [we should really update that sometime...] are the main pages of ArmoryRadio, not the rym account. It was used more so just to have all the release ratings in one compact place.

We apologize for a lack of reviews and interviews lately, but it will change soon! Expect some reviews in the following days.

CountSwagula has been busy personally so he hasn't had as much time for interviews, but they will also return sometime.

Thanks for the support!

- ArmoryRadio

Macabre Unit - 6 Feet Below Sound 2: Buried Alive (2007)

Styles: Grime | UK, England

Macabre Unit formed sometime during the early 2000s - composed of R. Demon, Nines, 9ner and other lesser-exposed MCs and producers. 

This is their third full-length - originally released on MySpace, removed and then reissued on Demon's SoundCloud as a single track in 2015.

Skeletonz immediately opens with one of this tape's hardest beats, showcasing its dark soundscape and mechanical production. The rapping on tracks is split between mostly Demon and occasionally Nines, who unfortunately aren't on any tracks as a duo. They're both amazing MCs (or rappers, if you want) who not once let up this superb tracklist's flow and pacing. Many songs directly transition into each other, them seamlessly trading verses over ever-changing beats. They're lyrically vicious, staying aggressive while delivering some humorous lines. It almost veers into Horrorocre like on the violent exclamations of Gangsta and other tracks;

„If you're a Christian, pray I'm a cannibal

You're not my victim, you're my prey

So rest in pieces, you're beneath us”

-Dance wit da Devil-

It's difficult to emphasize just how consistent they are, especially with the mixing being fluid this could comfortably function as a one-track mix like how it was later released. Throughout its 44 minutes it keeps the pressure up the entire time, making up one of the tightest tracklists in this era of Hip-Hop. Some variety could be nice, but I greatly appreciate a group that knows their skills and execute them effortlessly. To help with that, besides the main two MCs a whole circle of people are featured - 9ner, Loq, Nuse, N-Do, Genesis and Brutkid. They help immensely with songs not blending in together and have nice verses in their own right. Everyone's flow across this is unrestrained, shockingly fast yet also deeply technical all wrapped up in the nice bow that the production is. With how tiny the breaks in between songs are I assume this was all recorded in one take, especially crazy considering how layered some of the rhyme schemes are.

For as much as I talked about the vocal performances, this tape's production is also incredible - handled by the main MCs themselves - its bass is rumbling with a notable Dubstep bent on a lot of it. The synths also help plenty with the almost heavy atmosphere these songs reside in.

There are some mild detours from the main experience though, like the strange extended remix of Sunshine which I assume is from the reissue or the outro remix of Juggernaut.   

6 Feet Below Sound 2: Buried Alive is a landmark release in Grime and the UK in general. Every element of it is extremely well-done, even down to the amateurish yet competent mixing. Unrelenting brutality, vocally and instrumentally - just as it should be. 

9/10

See also: Ruff Sqwad, Dizzee Rascal, Wiley

Listen here: YouTube, YouTube [Instrumentals]

- kreyzi

Annotations of an Autopsy - Welcome to Sludge City (2007)

Styles: Deathcore, Brutal Death Metal | UK, England

Annotations of an Autopsy were a notable British group in the crossroads between Myspace-era Deathcore and Brutal Death Metal. They were hated by many metalheads during their heyday - to be fair, imagine being into Slam and adjacent sound and suddenly scene kids are at your shows. This is their debut release, a short four-track EP serving as a good introduction to their sound. 

The intro is a short Industrial-esque interlude that serves no purpose, especially for such a short project. 

Steve "Sewer Mouth" Regan is an entertaining vocalist, delivering enough sewage-tinged 'bree' vocals to keep this debut chugging along the whole way through. It's probably this release's best component, standing as some of the best in this period's style. He's a great force on each song, also occasionally using more shrieked vocals or being joined in by group vocals. The latter is most infamous on the title track, featuring the hilarious "SHE BLED FROM EVERY FUCKING HOLE!" and "WHEN I'M DONE WITH YOU, YOU WON'T HAVE A CUNT LEFT!" gang vocals. They help plenty with the songs' energy - even more so in a live setting. 

Of course though, the vocals aren't the only good element here. There's plenty of Slam-influenced guitar chugging and breakdowns present, made especially good by the band's tight playing. This EP's guitarwork in general is hard-hitting - mainly consisting of tremolo, chugged riffs/slams with a sporadic use of pinch harmonics. The drum and guitar are decent, though the drums coudl've been louder in the mix. Although this is a mostly constant musical bludgeoning, there is some mild melody during certain moments which gives this some edge over its peers. For example, around the 3-minute mark on Gore Gore Gadget the riff is almost epic-sounding until it's devoured by another chunky breakdown. There's plenty of beefy breakdowns and slams here, not a dull moment on it. It definitely leans more into the brutality than other releases in the genre, achieving something more palatable. 

Welcome to Sludge City is a short but satisfying release, likely one of the best Deathcore x BDM crossovers of the 2000s. They released a few albums and EPs after this, even reforming after a breakup in 2013. 

7.5/10

See also: Waking the Cadaver, Misericordiam 

Listen here: Spotify, Apple Music, Bandcamp

- kreyzi

𓁼𓁼𓁼𓁼 - i cant even (2026) [single]

Styles: Internet Rap, Experimental Hip Hop | US

Emerging on SoundCloud with a distinctly glitchy, anxious sound, Houston native 444jet has made a name for himself as a producer within the 2020s SoundCloud sphere due to working with the likes of Xaviersobased, Nettspend, Bleood (formerly defficile), and snoa, whom he released a collaborative tape with in July 2025. Released under the (old, though sparsely-used) alias of 𓁼𓁼𓁼𓁼, i cant even, released August 7, sees 444jet stepping into both the role of vocalist and songwriter, something which 444jay alludes to finding stressful in the SoundCloud description of the track. This desire to not release vocal tracks consistently is, however,--and with all due respect--a damn shame. i cant even coins a hazy, claustrophobic blend of jerk, the dark electro-rap of Ruben Slikk's Elegant Living, 2k19 tread, early digicore, and Newgrounds game soundtracks, all whilst maintaining the feel distinctive of 444jet's production style. The result is gloriously cryptic and nocturnal, evoking fragmented memories of 2000s nightclubs and trapping the listener in a deep, yet off-kilter trance state one can indulge themselves in for hours; the effect of looping the track is akin to that of entering a black hole. In contrast to Slikk's growls on Elegant Living, 𓁼𓁼𓁼𓁼's flow on i cant even is floaty and smooth, easily being the sweetest part about the track's otherwise abrasive soundscape. 𓁼𓁼𓁼𓁼 sings melancholically of being stuck in a destructive loop, knowing nothing on how to break the cycle and hoping for some miraculous solution. The anxieties expressed in the lyrics compliment the already nervous beat, creating a track that would feel like a nervous breakdown if not for how restrained the vocal performance is. i cant even is certain to be one of the highlights of 2026 and it cannot be missed by any fan of 21st-century internet music. 

8/10

See also: Zatru

Listen here: SoundCloud, YouTube

- stillbeaches

krezyi's rating: 8

A Conversation With STRFLL

STRFLL is an electronic artist who has been making music under the name since 2023. Her music is inspired heavily by witch house but has also taken a turn towards a heavier sound as of late.

BONES - PaidProgramming (2013)

Styles: Cloud Rap, Emo Rap, Trap | US

BONES along with his collective Seshollowaterboyz - led the way for Cloud Rap's transition into a more Emo Rap adjacent sound during the early 2010s. It spans 27 tracks, most of them being around two minutes long. 

After a short interlude, JonathanTaylorThomas immediately shows all this tape's strengths. Bones' rapping is slow but steady, having a deadpan energy that has become a staple across his music. He also often sings on this, heard on the sappy WakingUpCrying or cheesy yet fun RotatingBed.

I'm mixed on his singing on this tape, it often feels unnecessary however it helps with song diversity. The production on this is varied, mainly switching between dreamier beats to vaporwave-influenced ones. The uniting element is the cold, at times dark mood presented here coupled with Bones' simple yet effective rapping. Bars that could otherwise be too tryhard if said by someone else, he delivers with enough confidence to make them work. I wish there were more emotive cuts that ditch the melodramatic singing like Cut, they complement the harder songs a lot instead of feeling unnecessary. The best songs here are easily the ones with darker Vaportrap beats such as FlashFloodWatch - a style of production that immensely enhances his rapping. Alongside the posse of usual producers there's also a few songs produced by notable Vaporwave artists like the prolific Luxury Elite, Contact Lens and Infinity Frequencies. Really the biggest problem of this tape aren't the individual tracks, just the sequencing feeling janky at times because of the constant mood shifts. But wow, many of these tracks are just amazing on their own. The contrast of tones is what makes this such an interesting, deeply layered mixtape. With it do come some issues as mentioned, but it isn't massively detrimental to the tape's quality. Through the frigid indifference emotions sometimes come to the music's surface, keeping it interesting rather than monotonous. 

PaidProgramming could benefit from a trimmed and smoothed out tracklist - but as it stands it's still a highlight in Bones' discography. He's a great rapper and an okay singer, collaborating with a team of producers that make his vision complete. It's my favorite of his tapes from 2013, despite it being the 8th one he released that year. Three years later he released this tape's sequel, which I haven't listened to yet but will eventually. 

8/10

See also: Xavier Wulf, Chris Travis

Listen here: Spotify, Apple Music, SoundCloud

- kreyzi

Ramleh - Hole in the Heart (1987)

Styles: Death Industrial | UK, England

Ramleh were one of the first bands to experiment with Death Industrial, a more darkly brooding offshoot of Power Electronics focused on atmosphere rather than pure aggression. They released many solo and split cassettes before this one, but this is their most acclaimed release from this period. It was later reissued in 2009 with an hour of added music, while the original tape is only four tracks. 

Spear Flower is the most brazen song here, opening and continuing with chaotic analog synths and feedback with distant yelled vocals eventually starting to fade in and out. It and this release in general feel like a deconstruction of Power Electronics' concepts. Underneath each layer of rage is a profound sadness, a lack of belonging to the normal standards of society. Even if some of that wrath is carried over into this, it feels much more cold and subdued. Much of the atmosphere is apocalyptic-sounding, almost ethereal at times with how many layers of sorrow are present here. Through only a handful of tracks it explores a wide torrent of emotions, encompassing in each track a sense of defeat after loss.

The title track is a more daunting listen, filled with raw industrial noise - all led by a heavy, distorted guitar that hopelessly repeats over and over again with mild improvisation. It ends with a short cut to generic Rock, which feels like a satirical break from this album's woe. 

Product of Fear stands as the most emotive part of this release, even if it may be the simplest track here - just comprised of layers of distorted synths yet it carries with it so much grief. With no words at all, it's one of the saddest songs I've ever heard. At times this album feels haunted, a recording of something or someone that's been wiped away by the passage of time. 

Grazing on Fear 2 has what almost sounds like an organ covered by a thick layer of noise and distortion. Instead of the usual sadness of the previous tracks it's much more mechanical and intimidating. I'd say it's my least favorite on the tracklist but it's still very good and serves well as a final song.

One of the most beautiful listens in Industrial music, simple in its instrumentation but deep in terms of production. The rerelease is great too but I think an element of the original album lost with it is the succinct nature of just four tracks expressing so many emotions. 

I feel so much sorrow, even with a hole in the heart.

9/10

See also: Genocide Organ, Atrax Morgue

Listen here: Spotify, Apple Music, YouTube

All these links are the 2009 remaster

- kreyzi

T.I. - Trap Muzik (2003)

Styles: Trap, Dirty South, Gangsta Rap | US

T.I. released his debut album a few years before this, featuring popular artists like Pharrell, Too $hort and others - yet it was met with mixed reviews from critics and poor commercial performance. It was still very much rooted in Dirty South, sometimes flirting with other sounds too.

His sophomore album Trap Muzik shows him finding his footing and becoming the main pioneer of Trap. It has a packed tracklist, only a few features but 16 tracks stretching to over an hour of music. Four singles were released for it, including a music video for 24's. Production is handled by many people but notably DJ Toomp, Sanchez Holmes and T.I. himself.

"It's called trap music, so you know it's gonna be dealing with all aspects of the trap. And if you don't know what the trap is, that's basically where drugs are sold. In this country, the majority of us live in a neighborhood where drugs are sold, whether we like it or not. Whether you in the trap selling dope, whether you in the trap buying dope, whether you in the trap trying to get out – whatever the case may be, I'm trying to deal with all aspects of that lifestyle."¹

The title track is one of the best openers to a Trap album during the genre's early years - including a solid verse and chorus from T.I. along with a feature from fellow Atlanta rapper Mac Boney. After a beat switch near the end T.I. does a short verse about his first album, stating it didn't succeed because it wasn't accessible enough but that he won't change his style for the industry. 

I Can't Quit showcases another element about this album I love which is the production's depth. Though it's still grounded in Dirty South, serving as a transition into the Trap sound - it has surprisingly layered instrumentals often with guitars, bass or amazing sampling. It prevents the album from getting tiring considering its length while still serving as a good basis for everyone it influenced. 

There's a good mix of moods here, you get hard cuts like the previously mentioned ones along with melodic, Chipmunk Soul ones like Doin' My Job. The tracklist is generally very smooth, making even the longer tracks go by quickly and not ruining the pacing. T.I. carries each song with such confidence, consistently delivering amazing rapping both in terms of lyrics and flow. He's a great storyteller and always maintains a strong presence on each song, not just in the rapping but also his memorable choruses. Even on the longest tracks here that are around five minutes long, being quite repetitive, he still carries them seamlessly across their runtimes. Bezzle is another highlight, a hard posse cut featuring other Southern legends Eightball, MJG and Bun B. The two tracks after it are too slow-paced for my taste, but the outro track Long Live da Game is a decent albeit short ending to the album.

There aren't many albums of this century that are influential to the degree of music released decades before it. Trap Muzik, despite being released in 2003, represents the transition from the old school of Rap to the new school. Trap has often been criticised as killing the standards of Hip-Hop but it undeniably started as a continuation of the genres that came before it. It represents an artist finding their footing in the genre while also pioneering something new - not just T.I. himself but also the talented set of producers who help execute this album's vision. This record stands as a sort of rebirth for Rap, at least to a degree - there's nothing quite like it before or after.

9/10

See also: Gucci Mane, Jeezy, [late] Juicy J

Listen here: Spotify, Apple Music, YouTube

- kreyzi

A Conversation With VANDUR$KI

VANDUR$KI is an Australian witch house artist who has been making music under the moniker for over a year now. He recently released an EP titled Into Tha Mist. His sound is dark and gloomy, reminiscent of the more experimental side of groups like GothBoiClique.

"The moon hung low like a warning sign

White as bone through the tangled pines"

- Sick Love

 CountSwagula: How long have you been making music?

 

VANDUR$KI: I’ve been making music since I was 11-12, starting on SoundTrap if you know, you know it’s horrible. I was using loops making off-key ass beats, but I started taking this seriously in 2024 when I was 15-16
 

Q: How did you come up with your name?

 

V: Well, the 'Durski' part in my name is part of my actual last name then the Van part is from Van Gogh. Kinda funny now I think about it, but I always thought I'd put out quality music and not get the attention I wanted for it, kinda like Van Gogh.

 

Q: That's really interesting to me! Would you say Van Gogh has any influence on your art? 

 

V: Hmmm. I feel like he definitely expresses his self identity through his paintings, and with my music I’m pretty open lyrically and I’d say my stuff is fairly unique, so I guess in a way, yes he does.

 

Q:  What was your upbringing like? Where are you from?

 

V:  My upbringing was fairly normal, I’d stay with my mum during the week and off with my dad during the weekend but he wasn’t around much, so it was just kinda me and my mum and she worked all the time for us so I was on the internet a lot finding all of this music that was blowing my mind like Peep, Kray, Wicca, Spooky Black (Corbin) and I’ve loved all that stuff ever since, I'm from Australia and there’s never really much to do but the nature here is beautiful. I gotta get out more fr.

 

Q: Who are your biggest aesthetic influences?

 

V: Ohhhhh that’s a hard question. I definitely take a lot from my environment. Rn I live in a boring ass area and it’s pretty dodgy in most bits of this area and can be kinda depressing sometimes. I’m a big fan aesthetically of Harmony Korine's film style. But sometimes I’ll take inspiration from Wicca and Spooky Black. Man, that Without U video is so good. I love a lot of just like low quality videos filming kinda absolutely nothing something nostalgic in a way.

 

Q: I really liked your new single Sick Love. What was your creative process like when making it?

 

V:  A light way to put it is I can be a bit stupid sometimes, I was putting faith into things that I shouldn’t. at the time I was drinking a lot all the time and I was lovin that more than it loved me haha, it's also about a few toxic relationships I've been in. I've been on both sides of that it’s kinda about a pushing and pulling feeling between someone or being like that to someone. I produced that song outside on this covered area I got in my backyard on a rainy ass day, then I was like yo this is hard as hell and went inside asap and recorded. Kinda makes sense with the gloomy sound.

 

Q:  I was shown an unreleased music video that was aesthetically similar. Should fans expect more music like your last few singles? Where do you plan on going stylistically?

 

V:  Definitely, my new music is kind of like the Into Tha Mist… single but with a lot more mixed into it, I got country mixed into it, I got shoegaze mixed into it as well all mixed in with witch house of course. kind of a harsh sound but atmospheric too. I have an outro song on there with no drums and just vocals and surround sounds and FX. it’s really cool, couple of music videos too where I can show some of my editing talents which you can see a lot of my influences. I got some rapping on here too it’s pretty cool and fairly refreshing and unique for the witch house subgenre I'd say. It’s definitely the direction I want my music to go and I'm really proud of all the mixing I did. 100% all me except for that outro song being mixed by someone else.

Q: I'm excited to see where you take your sound! Speaking of, what is your favorite song that you've made?

V: Unreleased and coming I'd say is In Tha Mud and In This World. For released songs I'd say Leave Tha House, IDRK, Echo, and Country Boy which was a song I featured on by a dude called Forester he makes dope music and that song is beautiful, he prods all of his stuff and I have a few songs I produce and mix on his upcoming project.

Q: Do you have any advice for other small artists?

V: Be yourself, Copying someone else is boring. There’s only gonna be one you and you gotta do what’s true to you don’t fake it for anybody, you can tell when people copy the music just doesn’t feel real at all. I feel that it’s quite emotionless..  BE YOURSELF!!!! and just keep making shit even if it takes 1000 years to blow up if that’s what you want. Don’t make it for views make it for you.

Q: Is there anything you'd like to promote or shout out?

V: Fuck data centres shoutout Forester, shoutout Smog, fuck the Oasis Index, shoutout my cat he cool as hell he’s sitting with me rn head butting my phone.

Grausamkeit - Pink Green 666 (1997)

Styles: Symphonic Black Metal, Dungeon Synth | DE

Grausamkeit along with his many aliases has been a staple of Germany's Black Metal scene since the mid-90s - releasing a constant stream of demos, EPs, albums and more. This along with the Angeldestruction demo of the same year are some of his most defining works, showcasing his skill for theatrics and varied instrumentation.

Krätze [Scabies] is an epic composition, retaining the usual instruments and vocals of raw Black Metal but complemented by the grandiose synthwork. It begins with an out of tune guitar but quickly stabilizes, the drums being especially punchy giving the demo added energy. After a few minutes the synths become the focal point of the track, the drums and guitar still persisting through it all. Succeeding the immense buildup the piano weaves itself into the song, wrapping it up after a few minutes of beautiful playing. Although it often tries, music in this sound rarely achieves the pure passion that this release exudes within every layer of its composition. The way it blends the agressive side of Black Metal with the neoclassical influence is superb, so much emotion contained in only a pair of tracks. It's some of the most adventurous music I've ever heard, impressive considering it's all done by the Black Son of Darkness himself. It could honestly be a one-track demo and would likely still have gained its legendary status with how good it is. 

Jahr 2000: Weltentod [Year 2000: World Death] is again daring, though with a more bold approach and rhythm than the first one. It feels like a more a simple combination of this demo's ideas but sacrificing the fervor in return. The vocals are also more apparent on it, something in which Grausamkeit excel at throughout his discography. They're distant shrieks, direct but quite intense. Despite this simplicity it is still a very well done song and a good ending to the release.

Pink Green 666, even under all the corpse paint and macabre thematics stands as one of the artistic releases in each subgenre it encompasses. With only one cassette side it takes the listener through a journey of epic proportions and diverse emotions. 

8.5/10

See also: Azhubham Haani, Mütiilation, Mooncitadel

Listen here: Spotify, Bandcamp, YouTube

The Spotify upload is slightly pitched up 

- kreyzi

Seven Minutes of Nausea - Our Culture is Boring (1988)

Styles: Noisecore | AU

Seven Minutes of Nausea are a beloved Australian Noisecore group. From 1985-90 they were originally a duo with Scut on drums/bass and Mick Hollows on vocals until their breakup and eventual reunion. This EP is comprised of a gimmicky 300+ tracks at 13 minutes in length. 

What you'll immediately notice differentiates 7MON from their peers in the genre is the production. The drums are impressive in how flat they sound despite the fast playing and attempt at intensity. Instead of a standard electric one, they're well-known for using an acoustic guitar instead. It's certainly an interesting sound but it just isn't good at all, lacking the necessary severity a release in this sound needs. I don't doubt it's probably fun as a live experience though. Mick is an okay vocalist, delivering some harsh vocals though he can't save the rest of it. A few times there are parts where the playing slows down and he sounds more intelligible which is neat, at least serving as a break from the usual sound.

Our Culture is Boring is a strange release, at times charming but doesn't grab my attention outside of its novelty. I will say though it's one of the more experimental releases in this section of Punk but it's not worth it being bad. 

3.5/10

See also: Deche-Charge

Listen here: YouTube

- kreyzi

Biobreaks - Tenebre (1995)

Styles: Jungle, Breakbeat Hardcore, Darkside | DE

Biobreaks is one of the many aliases used by German DJ Martin Damm, this being the debut EP under the name. It's comprised of four extended tracks stretched to about 20 minutes.

Move serves as an energetic opener, being a hybrid of Ragga Jungle complete with a Jamaican vocal sample and some crunchy Breakbeat Hardcore. This is a consistently relentless release, never letting up with its intensity but staying light-hearted throughout. It's dense with hard synths, melodies and samples leading to an almost claustrophobic listening experience. At times it feels like proto-Breakcore, coming shortly after the classic Alec Empire EPs a year before.
What Is That Name? is the most industrial track here, the bass being especially present along with the choir sample that's repeated a few times during it really making it a chaotic song. It could be split into a few movements with how layered it gets but stays smooth throughout always keeping the intensity. The breaks on this record in general are so satisfying, giving each track an insatiable vigor.
Fat Girls shows much more restraint than previous songs, being a more atmospheric one although still sample-focused with solid production. It's a good change of pace, leading into the similar but better outro track.
Phenomena is an again relaxed, more futuristic-sounding cut with the best bass of this whole release. The distant samples vibrate in the background while the main show are the synths and bass.

The difference between the A and B side of this is substantial, definitely an intentional choice to make it more varied while keeping the pacing consistent. I prefer the first side for its anarchic nature but you really can't go wrong with either. It's an underrated example of the various genres it does, doing some of them very early. 

8.5/10

See also: DJ Bleed, DJ SS, Lemon D

Listen here: YouTube

- kreyzi

Shizuka - Heavenly Persona (1994)

Styles: Slowcore, Psychedelic Rock | JP

Shizuka were one of Tokyo's most beloved underground bands in the city's Psychedelic scene. This is their only studio album, though before and after it they had many other types of full length releases.

 十 [10] is a brazen opener led by Maki Miura's incredible guitarwork and Jun Kosugi's frantic drumming. Other instruments try to fade into the song at times but it's no use against the cacophony present. It calms down halfway through and helps transition into the next track, one more emblematic of the album. Pandora's Box is a dreamy song whose melody is slowly carried by the cello and Shizuka Miura wistful vocals. Her singing across this album is sparse but always a gentle presence on each track, shepherding every instrument along the way. This album especially excels at longer tracks, notably Plan For Solitude - having some of this record's most beautiful lyrics;

„Flowing into my wounds,

A beauty so close to death

A prayer in my blood

A cry in my blood

When my veins burst and everything crumbles,

When everything goes mad”

The guitarwork on this album is exceptional, not surprising considering Miura was a member of the legendary Les Rallizes Dénudés and Fushitsusha before this. It's constrained when it needs to be but at any moment can burst into something passionate and booming. The other members are of course important too, Hayakawa's bass and cello with the scattered piano by Nagahara along with everything previously mentioned combines to make something very brooding, often depressive. 

6 Gram Star is a 10-minute ending, nestled by Shizuka's repetitive singing until the eventual crash into one finale noisy breakdown. It makes me wish there were more aggressive moments like that, but then they wouldn't be as special.

Heavenly Persona is one of the most beautiful Slowcore records I've heard, blending it with a Psychedelic direction along with masterful musicianship, vocals and production. Despite the sparse nature of many of its elements, it manages to feel incredibly dense with emotion. 

9/10

See also: Les Rallizes Dénudés, Fushitsusha

Listen here: Spotify, Apple Music, Bandcamp

- kreyzi

stillbeaches' rating: 4

Juvenile - 400 Degreez (1998)

Styles: Dirty South, Bounce, Gangsta Rap | US

Cash Money Records were one of the leading record labels in Rap during the late '90s, pumping out a new temporary star every few months. Some of them actually stuck though, including Hot Boy$ and later Rich Gang member Juvenile. This is his 3rd studio album, with features from B.G., Lil Wayne and others. Production is handled by Mannie Fresh. 

There's no point in going into individual tracks much, as they're all very samey and the quality is consistent too. Juvenile delivers decent verses accompanied by plenty of features. His flow is steady though occasionally faster depending on the songs, on which he usually maintains a good presence.

Normally I'd think this has too many features but with an album like this any variety is welcomed, even if it's the same few people on tracks. Even if the songs themselves are good, it does start to all blend in after a few of them with how similar everything is. Lyrically it's standard topics for this type of album but there are good hooks and choruses throughout and some clever bars.

The production is clean, mostly built around repetitive loops and simple melodies. Despite its plainness, there's plenty of hard beats on this album like on the finicky Lil Wayne collaboration Run For It or the catchy Ghetto Children. This album's choruses are also appealing, making this an engaging listen despite the mild monotony of it sometimes. 

700 Degreez is an entertaining listen and one of my favorites from the Cash Money label. The rapping and production are good though it could've been shorter but that's a common critique of '90s Rap albums in general. Cash Money and No Limit really gave people a CD worth the money.

7.5/10

See also: Hot Boy$, Big Tymers, B.G. 

Listen here: Spotify, Apple Music

- kreyzi

Yen - You Owe Me (2026)

Styles: Punk Rock, Garage Rock | US

Since around when Count Up Dracula released in mid-2024, Jaydes has been experimenting with Punk and Rock. As of late he's been working with an actual band instead of just taking other bands' instrumentals, releasing it under the group name Yen. This was leaked a few weeks ago and then officially released in almost the exact same state it was before. 

In Your Face opens up with an actually catchy riff, until Jaydes starts yelling and ruins the track. Of course it's expected to be badly recorded but this album just feels so tryhard in every element including the recording quality. With some harder hitting mixing some of these tracks could maybe be salvaged despite their many shortcomings, as it stands the songs generally feel very flat. Jaydes occasionally has a nice performance like on Not a Phase but for most of the tracklist incoherently stumbles through the songs. I wish he did more melodic songs like the aforementioned one because when he's doing the rougher voice it gets miserably bad. The mixing or lack thereof takes away all the possible punch the vocals could have though they might just be completely unfixable. The lyrics are mostly just Punk-drivel with none of the energy to back it up, not even saved by the production. Nothing special, very forgettable and pathetic. Finna Fuckin Throw Up is one of the few tracks that are different from the leaked version of this album, the change being that its audio is just reversed now. I understand trolling leakers but the album is too short to throw away a whole track for it. 

I get the impression Jaydes just doesn't care anymore and is making music purely for himself, resulting in some of the laziest music I've heard in a while. A big chunk of his fanbase will still eat it up though because it's 'intentionally terrible'. 

3/10

See also: Dead Kennedys

Listen here: Spotify, Apple Music 

- kreyzi

September - Zadnja Avantura (1976)

Styles: Progressive Rock, Jazz Fusion | SI [Yugoslavia]

Yugoslav-era Slovenia had a pretty big Prog. Rock scene especially in the 70s. I'd go as far to say they had the region's best bands in that sound out of all their neighbors. Though there were groups like Korni Grupa and Time, Slovenia was more western-oriented than the rest which let it be varied musically. This is September's debut record, spanning seven tracks across half an hour. 

Vrijeme Gospodar [Time Master] just like most of this album is slickly played, bordering on Jazz-Fusion with how clean it is. Along with the standard instruments also present are an electric violin, multiple drummers and a keyboard. The fast drumming and violin especially often add a sense of urgency to these tracks, keeping the album smooth throughout. Not all of the members are Slovenian, like the Croatian Tihomir "Pop" Asanović on keyboard and Ratko Divjak on drums. It's a instrumentally packed release, feeling like a collaborative effort the whole way through. It's a consistently fast-paced set of tracks only occasionally taking a moment to breathe like one of its highlights, Ostavi Trag [Leave a Mark]. A memorable example of their musical prowess is the prolonged drum intro on the title track, transitioning into another light-hearted track. On vocals and bass is Karel "Čarli" Novak, who has a nice presence on this album with his singing and even more so bass-playing. He gives the tracks an important sense of direction even while they experiment with the song structures and playing. 

Zadnja Avantura [Final Adventure] is one of Slovenia's best Rock records I've heard so far, brimming with fun production and a polished tracklist. I'll review more of this scene's bands too eventually, as they deserve more attention online.

8/10

See also: Izvir, Boomerang, Sončna Pot

Listen here: Spotify, Apple Music 

- kreyzi

Protect - Ball Hog for Life (2024)

Styles: Trap, Rage | US

Protect gained decent popularity with this tape, though it was also quite polarizing among underground Rap fans. Most of the songs are pretty short, largely being less than two minutes long. 

„Niggas sayin' this, niggas sayin' that

I don't really give no fuck 'cause at the end of the day, I'm Ball Hog, like Ball Hog or die, like, it's no extra shit, I'm not rockin' with no nigga

Niggas know how I'm comin', niggas know I stand with the guys

Ball Hog shit, nigga, 'til I die, pussy“

The rapping on this is similar to many of his peers in modern Rap, slurred and at times off-beat. It can work but Protect is so lifeless on much of this album, his flows and melodies are just boring. He sounds like he's about to fall asleep on some tracks like Ion Wanna Talk, really though you pick a random track from the album and he'd probably have that issue. Production-wise this isn't anything special either being composed of echoed, basic Trap and Rage beats with no flavor to them. Fall Guys infamously uses a beat originally for Osamason until that song was leaked, leading to Protect unfortunately getting the beat instead and selling it. I'd be open to a modern-sounding Rap album that's 40 minutes long if it was just hit after hit or had a good variety of tracks but this album has none of that, aimlessly going through the motions for the entire runtime. Hotspot has a great beat produced by CXO and thankfully one of Protect's better performances on the album, making this track a highlight. 

This record isn't terrible but most of it is too devoid of interesting ideas, production, flows or lyrics for me to have any fun listening to it. It's an example of how quickly Rage was being overdone as a genre before it evolved into the more noisy variant that's big now. 

5/10

See also: Osamason, Hardrock

Listen here: Spotify, Apple Music, SoundCloud 

- kreyzi 

Ache Hour Credo - Discography (2010)

Styles: Emocore, Slacker Rock, Post-Hardcore | CA

Ache Hour Credo were an Emo band who lasted from 1994-96. They were formed by David Wegner with a few of his friends including Frankie Sparo who was also in M Blanket with Wegner. It was a transitional phase between David's other bands - the breakup of Breakwater and formation of Daddy's Hands. They unfortunately didn't release anything while active but this bootleg compiles all their known songs. Two of the songs here were also featured on V/A compilations.

Sadly the recording quality of the songs is subpar, covered in a thick layer of low fidelity. It's not terrible though, everything is still relatively discernible and emotionally potent. Depending on the track the band setup changes - David Wegner is the primary vocalist but is sometimes joined by Chad Jones (who's also on bass) or Emily Bauslaugh who was later in Daddy's Hands. Whatever format it is there's abundant emotion to each song, though they sound a bit too distant at times likely due to the audio quality. Instrumentally it's also top-notch, it reminds me of Unwound or at times something from the Revolution Summer movement. Despite my comparisons, it really does sound fresh containing an energy rarely heard in '90s Emo. Depending on the track the lyrics range from cryptically emotive like on Benju & the Pig Man:

„Wishing I could cuff up to these addictions

Wishing I could cuff up to these... addictions

Knife, eye, double try

I cut out my eyes and glue them to your own

Would you see me better?

Would you? Would you?”

Or sardonically nonsensical like on Straight Edge Revenge:

„Met Jesus in a penis dream

He cured my herpes, then he tried to fuck me

Didn't know all the right things to say

To a man, wonderful as Jesus”

Although the tracklist is quite consistent, I'd say my favorite track is Give Fascism a Chance. It builds up with a moody set of riff until bursting into a whirlwind of noise and angst, featuring the compilation's best vocal performance. 

This is an amazing discography compilation, one of the best I've heard in Emo. It's a shame it didn't release while the band was still active, even if they didn't release anything after it still probably would've been very beloved at the time. A few songs here do have available master tracks so there is a small chance this gets remastered and officially released one day. 

9/10

See also: Daddy's Hands, M Blanket, Indian Summer

Listen here: SoundCloud, YouTube

- kreyzi 

Jackzebra - The Bow is Stretched (2024)

Styles: Trap, Cloud Rap | CN

Jackzebra is one of the newer rising artists in the Chinese Rap scene, collaborating with people from the western scene like Lucy Bedroque and Evilgiane. This is a short four-song EP that dropped on New Year's, 2024.

How do you know is a great intro, showing off the appeal of this era of his music. The rapping is melodic and slurred paired with cold Trap beats. Translating the lyrics, they vary in themes but are often suprisingly thoughtful. He strikes a good balance between more conventional writing and the more introspective side. 

"Didn't get 60 on the exam,

So I don't want to go home

Life is a game..."

-If you serious you lose [认真你就输了]-

It's interesting to hear music that reflects a very different reality than Western Rap. Jackzebra and others help bridge the gap of scenes while keeping their uniqueness.

The Bow is Stretched of course goes by quickly because of how short it is, but regardless it's a fun release. His full-length releases are even better, which I'll get around to reviewing sometime too. The best song is the one whose lyrics I quoted.

7/10

See also: Bloodz Boi, Bladee

Listen here: Spotify, Apple Music, SoundCloud  

- kreyzi

Death Souljah - Snuff Tapes (2024)

Styles: Electroclash, Electropop | MN

Death Souljah is someone I've wanted to review for a while now. Though he was originally a Cloud Rap artist, he's been experimenting with various sounds the last few years including this Electroclash approach. All of it is sung and produced by Death Souljah himself. Like most of his releases it's short, clocking in at about 20 minutes. 

Serein is a decent opener, a quality that's kept for the release's entire tracklist. There aren't any duds on it, though it struggles with the songs blending in together because of how similar they are.

Although it also shows some of this tape's weaknesses. The sound here is glossy and synthetic, a satisfying style that comes with some problems. The production often feels a bit thin, understandable as it's the artist's first time doing this genre. Souljah's vocals are clean as is the mixing in general though they blend in too much into the production for my taste.

Maybe it comes off like I dislike this tape but that's not true at all. Songs with more distinctive melodies and vocals like Rotten and Hurt are solid for what they are. Another highlight is Spider in her Hair, whose vocal chops I wish he did more across the tracklist. 

This is an enjoyable release, containing a style I hope Death Souljah expands more on in the future. Despite my critiques, this is still good albeit somewhat forgettable.

The appeal of this music is how sugary it is, even if it's also full of empty carbs. 

7/10

See also: Snow Strippers, Bassvictim 

Listen here: Spotify, Apple Music, SoundCloud 

- kreyzi

Erik Juno - Birch Pollen Nova (2024)

Styles: Cloud Rap, Art Rap | SE

I was recommended this album by Stillbeaches a few weeks ago. It struck me as a very underrated tape from a small artist. All of it self-produced by Erik Juno himself.

„1 man project all prod by me

 Certified emerald by billboard in every country #1 charting album every year”

Ceramicks opens with a dreamy beat transitioning into a solid verse from Erik. This tape, especially in production feels quite Yabujin influenced. It's also very influenced by Vaporwave while staying rooted in Trap production, making for an enjoyable sound. It's otherworldly but accessible, staying varied throughout the whole tape. 

Juno is a fun rapper, his flows are bouncy and the lyrics are playfully nonsensical. Terrraria is a prime example of this - with him rapping about his musical skills, Mario Kart and a bunch of other things. 

This album's track sequencing is unexpectedly satisfying, keeping a rhythm of ambience followed by a hard-hitting Rap song. Inside is a great example of this, having maybe the best verse on the tape followed by a strange instrumental bit. The tracklist is succinct but fun. 

Birch Pollen Nova is a strange, short journey into a very foreign atmosphere. Erik Juno often wears his influences on his sleeve but nevertheless maintaining his own personal style. It's been two years since this tape, I hope it's not his last. 

7.5/10

See also: Yabujin 

Listen here: Spotify, Apple Music, SoundCloud 

- kreyzi

stillbeaches' rating: 6

Current 93 - All the Pretty Little Horses (1996)

Styles: Neofolk | UK, England

Current 93 are another significant group in the British Neofolk scene. It's always been centered around David Tibet, collaborating with people such as Steven Stapleton and Douglas Pearce. Unlike many of their peers however, on this album they present a much more mellow yet still unnerving experience. This is the second part of the Inmost Light trilogy, being the only full-length album in it.

The opener, The Long Shadow Falls is a simple track with the repeated lyrics of:

„Why can't we all just walk away?“

There's a distinct tone to this album I've never heard on anything else, a childlike sense of curiosity and fear. Tibet softly whispers over these acoustic lamentations, the lyrics feeling like they're taken from bedtime stories. It's mostly very simply produced with the acoustic guitar, bass and David Tibet being the centerpieces of most tracks. However, at times it does get more grimly layered such as The Inmost Light's dark piano, strings and other instruments. Tibet is really amazing here, between tracks constantly switching from hushed to yelled vocals but always being the song's highlight. He exudes such passion throughout the album there's not a second it's uninteresting, always telling some kind of twisted childhood lesson or character. There's often mystical Christian undertones to the writing, reflecting Tibet's experience with both eastern religions like Buddhism and with the Abrahamic Christianity. 

The inmost light 

The inmost light

The inmost light 

The inmost light...

What even is the inmost light?

A consistent theme of this record is innocence. The beauty associated with it - childhood, curiosity and purity. The Frolic, one of the best tracks here, is inspired by an experience from David Tibet's adolescence. At 8 years old while he was still in Malaysia - he was at a party and another child ran onto the road, getting his legs crushed by a steamroller and later dying in the hospital. Trying to assure himself he asked an adult if they were having fun, "No, no we're not.".

With the period of youthful innocence  eventually comes the loss of it.

All the Pretty Little Horses is a beautiful album, a captivating performance complemented by simple yet rich production. One of the best Neofolk albums I've heard so far, I'll definitely listen to more of them soon.

9/10

See also: Death in June 

Listen here: Spotify, Apple Music 

- kreyzi

Death in June - The Wörld Thät Sümmer (1986)

Styles: Neofolk, Darkwave, Post-Industrial | UK, England 

Death in June have been an important group of the British Neofolk scene for the last 4 decades, anchored by Douglas Pearce and a rotating cast of other artists. This record marks a pivotal phase in their discography, transitioning from their Post-Punk roots to something closer to Neofolk. At around 70 minutes, it's spread across four sides - each containing a phrase etched into the vinyl.

"One is the number...."

Blood of Winter is a dramatic mood-setter, with Pearce's almost falsetto delivery giving it an uneasy atmosphere. The cold drum machine marching on as the guitar and trumpets seep in. As their music often is, it's theatrical yet subdued. 

Hidden Among the Leaves is a slowly building one, centered around a sample of a Japanese woman speaking. Unfortunately there isn't a transcript available of her but it's often thought to be something relating to Yukio Mishima. The choir and bells give a serene feel, something like a funeral. 

Torture by Roses is more direct, Douglas brooding over again martial, ethereal production. The songwriting on this album is really something, beautiful in a vaguely war-torn way. 

Come Before Christ and Murder Love is more of the same with some Pagan-like lyrics, reminding me of this statement from Pearce from a 1998 interview:

"Yes, obviously. I feel it is part of my duty to be part of the process of resurrection for want of a better word of my indigenous religion. The Christ-time is nearly over and it’s important to awaken the old Gods."

Love Murder is one of the eeriest tracks present, the drum machine and synths shuffling along according to Douglas' vocals. 

"Anonymous in glory...."

Rule Again is a triumphant intro to this side, again filled with the distant drums of previous tracks. This side in general is more straightforward vocally but experiments more with drum machines, synths and the atmosphere in general. Definitely some highlights on it even if it's a bit weaker than the previous one.

"In this earth, in this town

In this land, in this hour

In this time, for this age

In this flesh, in this joining

Break the black ice

In this spasm, in this jerk

In this cry, a little death

For this boy, little screams

A little blood, a tattooed rune

Break the black ice..."

-Break the Black Ice-

"Love is now empty..."

Only composed of the 15-minute composition Death of a Man, the third side is easily the most nightmarish part of this album. It's a Sound Collage piece that combines a British documentary about Yukio Mishima with spoken material by French writer Jean Genet overlayed. I'm not too familiar with either of them outside of knowing they exist but Douglas has cited them as influences before. The track is unnerving, a massive change of pace from the preceding album. Though it could've worked well as an outro, there's still one more side left.

"And incomplete! For BC, Y.M. & J.G."

The shortest side of the album, only 3 reprise tracks. They're simpler than the rest of the release, only making up about 15 minutes. The songs are pleasant, but there wasn't much of a point to them being on the album. Should've just ended with the previous side. 

The Wörld Thät Sümmer is sadly often undermentioned in talks of DiJ's discography. It's a very layered record, consistent in atmosphere but brimming with ideas. I don't yet have much exposure to Neofolk outside of a few artists however I'm sure this will stay one of my favorites in the genre. 

9/10

See also: Current 93, Boyd Rice, Rome

Listen here: Spotify, Apple Music, YouTube 

- kreyzi

in53ct - Rainy Day, Paper World (2025)

Styles: Emo Plugg | CA

In53ct is a smaller Canadian rapper, being a leading figure in the relatively new Folk Plugg sound. This is his last tape of 2025, mostly produced by i.v.

Rainy Day, Paper World is defined by its production and In53ct's vocals. The songs are short, feeling more like snapshots of distant memories than fully-formed tracks. The only features are fellow Emo Plugg artists Swords2 and Xxffcyuvcui, delivering short but sweet verses. In53ct himself softly mumbles through this album, sometimes singing or rapping but always with an underlying vulnerability present. Lyrically he's again simple in a very nostalgically homesick way, a mood I rarely hear in the underground as a whole. His flows are melodic, stumbling across the beats. I.v. and the other producers deliver great production, Plugg beats under a layer of acoustic instruments and wistful vocals. A highlight in every aspect being the Swords2 collab Doorstep, with one of the softest beats and the two rappers providing great verses. It's a quite consistent release, never losing its footing or pace. 

One of the most endearingly honest Rap albums in recent memory, characterized by the pure emotion in every facet of it. A promising release in in53ct's relatively young career and an important work in the emerging Folk Plugg sound. 

7.5/10

See also: Swords2, Xxffcyuvcui

Listen here: Spotify, Apple Music, SoundCloud 

- kreyzi