NataliezWorld

Up and coming emo rap duo Ash and Milo out of sunny California, has gone on to name themselves "ghxstpul$e" in short "ghost-pulse", since forming only a year ago, they have released a debut album "Worse Case Scenario" in 2025, with a sophomore album following that very next year with "Everybody Is The Same" in 2026. The follow-up is slightly longer than its predecessor, being 11 songs total at 25 minutes and 58 seconds, whereas the debut was 10 songs at 20 minutes 8 seconds, so slightly longer which made it more simplified. 

This release does contain some interesting tracks such as "Mummy In A Coffin", "Right Push, Wrong Direction", "Bodybag", "Life Is Special" and 'Shooting Star", are some of the "stand-out" tracks featured, that really embrace the listener. Very meaningful lyrical context, vocalization provided being very dramatic yet intense, not in a screaming sense but emotionally fixated way. If you're thinking this duo is aligned with the likes of Linkin Park or Papa Roach that rap rock style, far from them, they are more that rap emo sense, to the likeness to that of Lil Peep, Lil Lotus, emoflytrap, with many others out there, that's the similarity in style you get with this duo act.

The duo's vocalization methods are solid, creating this futuristic vocal tone, that makes sense in the current time that we are in, with the ways of the future. The voice usage is done uniquely yet fun. They work off one another, blending together to create a vocal working's that makes them sound flawless. The tone for each of the songs mentioned and the album overall, is upbeat and catchy, having me nodding my head to the beats, they are heavy metal "heavy" but still capture an essence of that classic "emo" 2000's era that a lot could pick up on.

In the end, this sophomore album by the likely duo, captures a moment in time, that just works. It has its melodies, energies, and so much else that makes it fall into place. It's a clever piece of work that makes this best friend duo, be themselves, creating an art that people can love and enjoy.

Guitarist Kerry King, best known as forming thrash 80’s legends Slayer way back when, whom had their time to shine until 2019, has decided to go solo after the band’s retirement back then. Until recently when that band actually announced their return, but besides that being a thing, Kerry King has gone solo with his debut work’s titled “From Hell I Rise”, debuting summer time 2024.

Releasing not one, but two single’s off it first called “Idle Hands” and the second being “Residue”, both tracks were well received by the fans old Slayer and newer fans of course. The styling being very much like Slayer’s tone except more vibrant and new. Aside from Kerry being a part of the band on guitars, Phil Demmel is on guitars, along with drummer Paul Bostaph formerly of Slayer, Testament, Forbidden and Exodus, came on board to join, along with Hellyeah bassist Kyle Sanders, and frontman vocalist Mark Osegueda of Death Angel. Together this formation has created a solid piece of work both in band membership and musically.

The album had begun work upon it back in 2020, with King mentioning how he had more than two albums’ worth of music ready for it,  saying that he and drummer Bostaph that this new project would sound like Slayer but not it being Slayer for the most part. With a follow-up album already a work in progress according to King. But regardless, the material with just these two single’s alone, have set up the rest of the album really, a lot of the other stand out tracks such as “Where I Reign”, "Crucifixation", "Everything I Hate About You", "Rage", and the title track "From Hell I Rise", are all collective pieces, that create that momentum that Slayer is best known for except with King at the helm of it. A lot of solo working’s and energy given forth, with both guitarists in Kerry and Demmel going off one another, making such a fuss it makes the music more entrancing. King stays true to his classic rootage with this raw stack of songs, creating something refreshing yet memorable that fans of past work’s and this new material would nod and admire it from all sides.

The production and mixing done on this release is high quality material, that being produced by Josh Wilburm the album is everything Slayer could have been, if the band would have continued. That not being a bad thing, not at all, it is admirable really. Likely the material with these tracks, and the album as a whole, is just that a collect of tracks that I would consider simply as Slayer 2.0.

To never give up, is what got the likes of Crimson Crow together, having so many changes, mishaps, with numerous releases over the span of their music careers as it were. The band would come around in 2020 finding one singer who would fit the mold with Kaisa Kalliomäki. This would have the band go on to release an album called "Silent Before The Dawn".

The album featuring some of the songs of previous vocalist Mikko Hölsö, being the lead/backing vocals, taken from rehearsal recordings in 2017. The album has a lot of rock, melodic rock, with elements of progressive tones, acoustic guitars, with lyrical context covering life, love, sorrow, and humor as well. The album has 11 tracks of the actual release with bonus tracks included with the addition of five more tracks, in total 16-tracks of material that is gripping yet mellow.

Some of the stand out tracks include such as "Hold On", "Yesterday's Rain", "Wicked Heart", and "Dying Love". Each of these being fierce, catchy, yet meaningful. Melody-wise the instrumentals are catchy throughout, whereas the vocals provided brings a more 70's to 90's tone, sounding a lot like Cinderella crossed with the band Heart ever so slightly. The material is indeed filled with numerous guitar riffs, solos, with a voice that makes the album soar yet dramatic. Each of the tracks mentioned and altogether really, has this release just send chills through and through really. 

Everything works so well together, each of the band members does their part in proper roles, providing works that connect well with one another meshing well enough; that they balance and connect to each other really nicely. It's an album that blends the classics with a modern era of the here and now, that many music listeners shall enjoy.

Sonik G or Sonik Garcia known for his early working's work his previous band Fallen Figures, later filling in temp for As Blood Runs Black, he has continued his pursuit with music. Going as far as releasing a solo album titled "Made In Los Angeles" released in 2020. In fact a time in which Los Angeles and the entire world was in a bit of a crisis at that time of year. But any who this release has 10 tracks upon it, including a very "nice" cover track of the pop idol icon group the Backstreet Boys titled "Everybody (Backstreet's Back)", heaviness, flawlessness, and just downright aggression. Another track worth mentioning would have to be "Hollywood (Defamation)", another heavy hitter, with straight up force, aggression provided by the vocal chords, instrumentation and just all else really. The song is catchy, upbeat and just packs it in that you can't but find yourself nodding your head to it. One of the tracks that has an interesting title to it is believe it or not titled "Fallen Figure". Now is this a track a tribute or connected to his previous band perhaps so. Like the others already discussed, this track has it's entertaining moments, vocalization is heavy, pitched well with the instrumentals done superbly well. Sonik himself expressed this about this album saying "It’s basis is about the city that build me and without haters I wouldn’t be the person I am today. Their words fueled my desire to prove them wrong." The rest of the album remains heavy with has it's moments with such tracks as "Hurricane" and "The World Keeps Turning", as well as the title track. These being heavy lifting material but has a light-sided effect, meaning they are heavy enduring but keep the works more mellow yet heavy if that makes sense. The trio of tracks mesh well and make the album as a whole, with the leftover tracks present contract this release as a finishing piece of art and just heaviness through and through. If you like the heavy with the light then think any modern deathcore band meets post-hardcore band such as Dayseeker. 

During the summer of 2020 Fear Incorporated went on to not only write but record an all new album titled "Of Nightmares And Strychine". The 12-track release consists of the usual formula that Fear Incorporated is known for, take alternative, goth, industrial, dark wave, post punk, with some theater thrown in for good measure. It's been provided across the array of content released through the years. One of the tracks is dedicated to someone named Steven C Davis from GASP (The Gothic And Progressive Steampunk Show), who has been around promoting the band for quite sometime. The track being titled "The Djinn", this number being quite interesting. The vocals are downright eerie yet captivating; whilst the instrumentation is more or less just noise but it has a tone that keeps it creepily entertaining. A few of the other tracks off this release like “Red Baron”, “Possessed”, “The Mortician”, and “Troll”, are probably some of the more interesting to say the least. These assortment of tracks just provide such an interesting tone of art, it’s hard to depict how to really describe them. Some are brief others linger onward, with the remainder being present. It’s an album that captures a style of sound that brings remembrance to the mind and the ears. It’s how most if not all of Fear Incorporated’s works tend to work out in the long run. Let it be remembered after being heard all the way through.

Seven years to their namesake, Ruins Of Elysium have released three full-length album's to date, including their most newest and recent calling "Amphitrite: Ancient Sanctuary In The Sea". An array assortment of 12-tracks that span of what is said to be eight different languages. The assortment of languages includes; English, Chinese, Latin, Spanish, Japanese, Portuguese, Hindi and more. As the band puts it, it is simply a round the world like trip from the comfort of your ear sockets. 

Tenor being the styling of vocalization provided from Ruins Of Elysium's frontman Drake Chrisdensen, where his styling takes on a classical approach, with a vocal range that intertwines the countertenor and baritone voice types. In short, it is one of the highest voice types for a male vocalist to perform. Drake here does flawlessly, combining not just good tenor stylistics but with the genre choices of epic symphonic metal, this album brings forth the likes of folk metal as well as some Celtic folk as well as traditional metal. It combines an ethnic element from not just vocal chords but the instrumentals too, as they are used to contemplate to numerous cultures and folklore's from across the globe. 

Very much all of this can be heard within the first couple of tracks including opening track “Alexiel An Epic Lovestory”, following up with “Queen of The Seven Seas”, and then “Belladonna”. Each play well into one another. Vocalization provided is done quite well, whilst the instrumentation is superb and catching. Some portions provide a rather fast paced effort, whereas other parts keep a steady beat that keeps the music together, but has it sink in making it sound gripping yet soaring at times.

Other notable tracks off this release likely consist of such as “”Atlas”, Book Of Seals”, and “Cathedral Of Cascades”. These resemble such an epic presence that is purely majestic yet heavy through and through. It is the sound that Ruins Of Elysium has always been able to craft and create since their forming so long ago. This album is merely a treat for many in all shape and form of its creation. 

If an epic tale of adventure is what you seek within the form of music; then perhaps seeking the likes of Ruins Of Elysium is for you. Otherwise this band is without a doubt one that will not be forgotten but cherished and remembered for many years to come. 

Angelspit's ninth album "The Ignorance Cartel", is the latest addition to the Angelspit extensive catalog. Across this assortment of what is 14-tracks comes an array of material that is solid yet catchy. Take for instance opening number "Eat the Children", it has a build up that creates edginess. It’s heavy yet plays out like a lot of industrial types of material does, being very catchy yet upbeat as well. The same goes for a lot of the other tracks that come off this release like "Ammosexual", "Love to Watch", "Don't Say", "Comply or Die", and "Live Fast or Die",  capture just this weird but unique noise of ultra sound that has brutal beasts that could be heard within the walls of all goth club setting. It's industrial techno beats straight out of the 90's cyberpunk scene, with bits and pieces of distortion and mixes that make even the production value sound crisp yet dense. Pretty much the entirety of this release is mid-temp electro punk tracks, that has the fans of Angelspit devouring every inch of it. Each and every one of the tracks can simply be felt with the beats and have you dancing along whether that be in your sit or on the dance floor if you posses one. Otherwise Angelspit’s latest addition is just chalk full of working’s that will make it a piece of work, that will have you leaning in for more to keep you tame yet relaxed as well.

Duo band Petals And Thorns have not one but two albums under their belts. Their debut album "The Broken Mirror", released back in 2014 is where the band left things. Taking some time to focus upon themselves and what not, they would go on to write and record material later on leading up to what is their follow-up sophomore album titled "The Maid And The Blacksmith" released this year that is 2020. Perhaps the 2020 year of downtime for everyone, had them get into the urge of creating music once more? Perhaps so or perhaps not. Nevertheless though, Petals And Thorn's newest offering, offers 8-tracks, opening up with "Digital Religion", a rather captivating tune that sets the album straight away. Whereas "Through The Shadows" and "Echo Chamber", capture a more toned down effort. Sounding more doom and gloom as it were. Think if Evanescence had returned to their roots sounding more goth and experimental that is how these two tracks sound much like really. Their style is a lot like theirs except adds the added flare of dark wave and alternative making their style more upset yet mellow.  Other tracks like “Lost In A Dream”, “Behind The Curtain”, and “Burning Within”, each have their uniqueness but do sound much alike. It’s not a bad thing, just more or less has such a smooth performance structure done by the duo with an added production value, that makes this sound stunning if not amazing at times. Whilst it may have taken some time for it to be done and released, it is an enjoyable piece for the ears, not just originality but it done from the get go that makes Petals And Thorns soulful and fun to hear from any release released.