NTTR - No Time to Review

A competent but relatively conventional collection of epic pagan metal compositions, combining traditional heavy metal melodies, black metal aggression and melancholic Nordic atmospheres. On their third album, German duo Ash of Ashes continue exploring a musical language strongly influenced by Bathory, Falkenbach and Moonsorrow. I appreciate the melodic guitar arrangements, the contrast between aggressive and atmospheric passages, and the occasional moments of genuine emotional intensity. However, the songwriting rarely moves beyond established genre conventions, the vocal performances are somewhat uneven, and the extended closing composition suffers from excessive repetition. All Must Wither is a good album whose instrumental craftsmanship is more convincing than its originality or lasting emotional impact. With All Must Wither , Ash of Ashes return to the epic pagan metal traditions that have defined their previous releases. The project, led by multi-instrumentalist Skaldir alongsid...

An eccentric and occasionally entertaining collection of American folk compositions, combining traditional country instrumentation, Appalachian influences, Cajun rhythms and experimental arrangements. Produced by Tyler Childers, Willi Carlisle's The Universal Bubba explores the contradictions of contemporary American life through seventeen songs populated by unusual characters and frequently absurd situations. I appreciate the distinctive storytelling, the instrumental variety and the occasional moments of genuine emotional sincerity. However, the album is considerably less convincing musically than lyrically, with relatively limited melodic development, uneven compositions and an excessive duration. The Universal Bubba is a decent Americana album whose personality and ambition are more impressive than its actual songwriting. With The Universal Bubba , Willi Carlisle presents an expansive collection of songs exploring ordinary American lives through humour, social observation and...

A direct and energetic collection of hard rock compositions that sees Royal Blood returning to the aggressive bass-driven sound of their earlier albums, but without consistently recovering the inspiration that made those records so appealing. Mike Kerr and Ben Thatcher concentrate on distorted riffs, powerful drumming and compact arrangements, largely abandoning the electronic experimentation of Typhoons . I appreciate the instrumental energy, the raw production and a few effective songs, particularly "Dead Company", "Ten Over Ten" and "Ride". However, the songwriting is relatively predictable, the melodies rarely stand out, and the limited variation makes several compositions difficult to distinguish. Dead Company is a decent rock album that delivers some immediate enjoyment but offers relatively little beyond the band's established formula. With Dead Company , Royal Blood return with their fifth studio album, three years after Back to the Water Belo...

An ambitious but rather uneven combination of progressive metal, symphonic arrangements and theatrical storytelling, documenting the live premiere of Devin Townsend's long-awaited rock opera The Moth . Recorded in Groningen with the Noord Nederlands Orkest, choir and a full progressive metal band, the performance demonstrates considerable instrumental ability and an impressive sense of scale. I particularly appreciate the orchestral integration, Townsend's expressive vocals and occasional moments of genuine emotional intensity. However, the fragmented structure, excessive theatricality and relatively limited melodic memorability make the complete experience considerably less rewarding than its ambitions suggest. A good but somewhat disappointing live album whose technical and conceptual achievements are more convincing than its songwriting. With The Moth (The War – Live) , Devin Townsend presents the March 2025 Groningen premiere of a project that occupied him for almost a deca...

An atmospheric and occasionally impressive collection of Celtic black metal compositions, combining expansive guitar arrangements, traditional Scottish instrumentation and melancholic melodic developments. Rather than presenting new material, Andy Marshall revisits five songs from Saor's first three albums, completely re-recording them with improved production and more elaborate arrangements. I particularly appreciate the integration of whistles, pipes and violin, the contrast between aggressive black metal passages and gentler folk melodies, and the greater instrumental clarity. However, the extended compositions occasionally become repetitive, and the new recordings don't always introduce enough substantial changes to justify their existence alongside the originals. Caledonia is a very good album whose atmospheric qualities and instrumental performances are more convincing than its contribution to Saor's musical evolution. With Caledonia , Scottish musician Andy Marshall...

An elegant and emotionally compelling collection of alternative pop compositions, combining delicate electronic arrangements, atmospheric synthesizers and Ane Brun's immediately recognisable vocal performances. Moving further away from her acoustic folk origins, the Norwegian singer explores trust, betrayal and personal reconstruction through eleven carefully produced songs, including collaborations with Röyksopp, ARY and Emilie Nicolas. I particularly appreciate the intimate vocal delivery, the sophisticated electronic textures and the subtle emotional progression, especially on "Hold Me", "Eat the Fruit" and "Can We Go Back". Although some compositions rely more on atmosphere than memorable melodies, the consistency of the songwriting and the sincerity of the performances make I Thought We Were the Same a very strong and rewarding album. With I Thought We Were the Same , Ane Brun returns with her first collection of newly written songs in six years,...