NTTR - No Time to Review

Planting by the Signs is a deeply immersive roots-rock odyssey centered in Goodman's Kentucky upbringing, characterized by intimate storytelling and vivid character portraits—from a dying pet to small-town tensions—woven into meditative, slow-burning arrangements. Vocally grounded and tremolo-tinged, her style channels Lucinda Williams via Cat Power's introspective edge, riding on sparse but impactful instrumentation that spaces out emotional resonance. The album unfolds like a narrative tapestry: “Satellite” critiques modern disconnection, “Fire Sign” plants celestial metaphors in everyday struggles, and the epic “Snapping Turtle” delivers a shocking act of small-town justice. Featuring Bonnie “Prince” Billy and her co-producer Matthew Rowan, it balances heartbreak, reconciliation, and nature’s cycles in both story and sound—an Americana statement with profound personal and regional roots. Genre : Americana Country : US Final Verdict: 65% (Good Album) Yearly Ranking: 148th ...

Egotrip sees John Michel and producer Anthony James deliver a lush, seamless blend of jazz, soul, and rap that refuses to pause for fillers—every track hits. The production feels expensive and thoughtful throughout, layering warm horns, rich keys, and crisp beats. Michel’s lyricism is polished and introspective, navigating both braggadocio and vulnerability without losing emotional resonance. Collaborations are tastefully placed, enhancing without overshadowing the duo’s chemistry. The result is a focused, fulfilling listen—an underground hip-hop record blending sophistication and accessibility, with only a few moments where familiar patterns emerge. Genre : Jazz Rap Country : US Final Verdict: 67% (Good Album) Yearly Ranking: 87th / 452 Highlight : NOBODY (feat. Kennadi Rose) Made me think of: Kendrick Lamar Mick Jenkins Noname #newalbum #newalbum2024 #albumrelease #newmusic #albumoftheday #nowspinning #NowPlaying #musicdiscovery #JazzRap #JohnMichel #US #LP #Album #release  

do it afraid is a celebration of courage and complexity, delivered through Yaya Bey's smoky, soulful vocals and richly layered production. The album opens with commanding attitude in “wake up b*tch,” transitioning into romantic grooves like “end of the world.” Tracks such as “raisins” and “spin cycle” evoke reflective calm, while “breakthrough,” “in a circle,” and the soca-tinged “merlot and grigio” embrace empowerment, joy, and heritage. Each song threads together fear and celebration—soca rhythms, acid-jazz scribbles, hip-house beats, reggae undertones—into a cohesive journey of resilience. By reconciling grief, desire, systemic pressures, and unbridled joy, Yaya Bey crafts an introspective yet danceable manifesto on being unapologetically human. Genre : Neo Soul Country : US Final Verdict: 59% (Forgettable Album) Yearly Ranking: 390th / 451 Highlight : In a circle Made me think of: H.E.R. Kali Uchis Victoria Monét #newalbum #newalbum2024 #albumrelease #newmusic #albumoftheday #...

Raspberry Moon marks Hotline TNT’s most confident and collaborative effort yet, the band’s first record fully written and recorded as a group. Embracing power-pop sheen while keeping the shoegaze haze, it delivers crisp, emotionally resonant anthems ripe for arenas—led by standout tracks like “Was I Wrong?”, “Julia’s War,” and “Candle.” The band has deftly polished their sound: fuzz now accents rather than dominates, each instrument shines, and frontman Will Anderson’s vocals emerge with newfound clarity. The album balances high-energy singalongs and tender acoustic-tinged moments, capturing both communal joy and introspective depth. With heartfelt hooks, dynamic arrangements, and genuine emotional resonance, Raspberry Moon positions Hotline TNT as one of the most exciting voices in modern indie-rock. The Guardian – Hotline TNT: Raspberry Moon review – love lights melodies through the fuzz Genre : Shoegaze Country : US Final Verdict: 59% (Forgettable Album) Yearly Ranking: 386th /...

hopefully ! marks Loyle Carner’s most personal and introspective work to date, a tender and reflective exploration of fatherhood, identity, and creative evolution. Over hazy guitars, soft breakbeats, and dreamy piano, he channels his fears and joys as a new dad, sharing candid moments—from worried musings on “Lyin” to the heartfelt home recording on “About Time.” His newfound singing voice adds emotional depth, giving tracks like “In My Mind” a beautifully uneven, King Krule‑like edge. Though subdued compared to his earlier, more beat-driven work, this album's intimacy resonates deeply, its warmth occasionally diffused by moments of listlessness. It’s a gentle, unguarded chapter in Carner’s journey—intimate, poetic, and quietly transformative. The Guardian – Loyle Carner:Hopefully! review – rap sweetheart faces family, fear and the feels Genre : UK Hip hop Country : UK Final Verdict: 55% (Forgettable Album) Yearly Ranking: 444th / 449 Highlight : About time Made me think of: T...

Aftermath marks Mission Jupiter’s bold reemergence following lineup changes, led by the commanding new vocalist Kate Varsak. The album opens with the atmospheric prog-metal of “Revelation,” then shifts through dynamic emotional landscapes—from the powerful melodic surge of “Sometimes It Hurts” and ballad-like introspection in “Human Nature” to heavier, more intense moments like “Self-Destruction.” Tracks in Belarusian, such as “Jak Spyniajecca Bol,” showcase their cultural roots and artistic ambition, while cuts like “Crippled Country” and “Bittersweet (Love Song)” layer industrial tones and lush atmospheres for depth. Instrumentally, it balances ferocious riffs, sax accents, and thoughtful interludes, all underpinned by tight, polished production. Overall, Aftermath is a confident, expansive statement of identity and evolution—an album that reaffirms Mission Jupiter as a progressive metal force with renewed voice, vision, and emotional resonance. Genre : Alternative metal Country : ...

I Quit marks a personal and stylistic pivot for HAIM, with the sisters exploring themes of heartbreak, liberation, and female empowerment through a lens of classic‑tinged soft rock. Co-produced by Danielle Haim, Rostam Batmanglij, and Buddy Ross, the album pulls from Stones‑inspired grooves, ’90s echoes of George Michael and U2, and warm California rock textures. Tracks like “Gone,” “Relationships,” and “Blood on the Street” combine candid lyrics about breakups with confident guitar hooks and mellow piano licks, creating a balance between introspection and resilience. While some critics view the eclectic mix of styles as uneven, others praise its emotional honesty and summery charm. Ultimately, I Quit feels both a celebration of self‑reliance and a reflective exploration of evolving identity—HAIM at once familiar and newly unshackled. Genre : Pop Rock Country : US Final Verdict: 61% (Good Album) Yearly Ranking: 318th / 447 Highlight : Gone Made me think of: The Go‑Go’s Alanis Moriss...

Genre : Folk Pop Country : UK Final Verdict: 64% (Good Album) Yearly Ranking : 214th / 446 Highlight : Fight For It Made me think of: Gabrielle Aplin Lucy Rose Kate Nash #newalbum #newalbum2024 #albumrelease #newmusic #albumoftheday #nowspinning #NowPlaying #musicdiscovery #FolkPop #LucySpraggan #UK #LP #Album #release  

Dusty House Mix revives and reshapes Caravan Palace’s signature electro-swing grooves through a continuous one-hour mix of remixes—featuring reimagined versions of hits like “Lone Digger,” “City Cook,” “Black Betty,” and more. It unfolds like a high-energy dance party, seamlessly blending vintage swing samples with contemporary house and club beats, giving both old favorites and remixes fresh, dance-floor-ready vitality. The track selection flows with dynamic peaks—the Shiny Mob and Bakermat revamps especially hit with echoing horns, rumbling bass, and playful electronic accents. This mix not only highlights the band’s swinging roots but showcases their commitment to evolution—having fun while pushing their sound into new, dusty corners of the dancefloor. Overall, it’s a lively, inventive journey from Parisian jazz-house tradition to modern remix culture. YouTube – Dusty House Mix video premiere announcement Wikipedia – Caravan Palace (electro-swing origins, French band) Spoti...

McMurtry’s The Black Dog and the Wandering Boy captures the raw honesty of aging with unflinching lyricism and sharp character sketches, marking another high point in his career. He voices blue-collar hardships and internal reckonings through vivid storytelling—tracks like “South Texas Lawman” and the title cut explore mortality, memory, and the creeping shadow of time. Backed by intimate, understated arrangements and the return of veteran producer Don Dixon, the album breathes with emotional resonance rather than studio gloss. It’s peppered with both humor and heartbreak, from opioid-lamenting opener “Laredo” to protest-tinged “Sons of the Second Sons” and stripped-down closer “Broken Freedom Song,” a Kristofferson cover. McMurtry stands tall among Americana giants, delivering what many critics hail as his most personal, vital work to date. Genre : Roots rock Country : US Final Verdict: 63% (Good Album) Yearly Ranking: 217th / 444 Highlight : The Color of Night Made me think of: J...

Hiroe’s debut album Wield is a commanding statement from Philadelphia’s rising post‑rock force, unfolding as a six‑track suite of emotional and sonic exploration. From the brooding opener “The Calm” through the thunderous surge of “Tides” and the ten‑minute build of “Collider,” it deftly balances doom‑tinged heaviness with shimmering atmospherics. Tracks like “Dancing at the End of the World” introduce synth and piano, injecting cinematic depth and defiant optimism, while closer “I’ve Been Waiting for You All My Life” lands with poignant, gut‑punch resonance. Across 48 minutes, Wield morphs from introspective restraint to expansive catharsis, cementing Hiroe as a band to watch in the genre and delivering one of the year’s most gripping instrumental journeys. Genre : Post Rock Country : US Final Verdict: 63% (Good Album) Yearly Ranking : 232th / 443 Highlight : The Crush Made me think of: This Will Destroy You Year of No Light Russian Circles #newalbum #newalbum2024 #albumrelease #ne...

Alestorm’s eighth studio album, The Thunderfist Chronicles , is a rollicking celebration of pirate metal with full-throttle humor and instrumental flair, blending folk metal textures and power-metal energy into tightly honed, eight-track group shanties. Each track, from the tavern-ready “Mountains of the Deep” to the absurdly grandiose 17-minute epic “Mega‑Supreme Treasure of the Eternal Thunderfist,” doubles down on tongue-in-cheek storytelling and musicianship. The production is crisp, the arrangements tighter than ever, with even traditional folk elements—like hurdy-gurdy and fiddle tones—cut through with bombastic guitar riffs. There’s a sense Alestorm is having more fun than ever, while still delivering razor-sharp songwriting and arena-ready choruses. Ultimately, it’s pirate metal that doesn’t take itself too seriously—but will have you shouting along by the second chorus. Genre : Pirate Metal Country : UK Final Verdict: 63% (Good Album) Yearly Ranking : 245th / 442 Highlight : B...

No Place Like Home marks Badflower’s most emotionally layered and polished work yet, blending riff-driven rockers with deeply personal narratives. Early tracks—like the cinematic title track—echo the dramatic intensity of bands such as Muse and Royal Blood before plunging into the darker, emo-inflected territory of mid-album highlights like “Detroit” and the heartbreakingly raw “Paws.” The emotional heft deepens in the second half, where the production turns introspective yet urgent, culminating in standout moments of vulnerability and sonic surprise. With solid harmonies and frontman Josh Katz’s earnest delivery, the album weaves themes of grief, loss, and healing with anthemic choruses that land both in rock arenas and intimate listening settings. In balancing commercial polish and authentic songwriting, Badflower have crafted an alt-rock album that hits hard and resonates longer. Genre : Alternative Rock Country : US Final Verdict: 91% (Perfect Album) Yearly Ranking: 2nd / 441 Hig...

Yungblud’s Idols (released June 20, 2025) marks a bold evolution: front‑loaded with the nine‑minute rock opera “Hello Heaven, Hello,” it embraces British musical heritage—from Britpop swagger to orchestral drama. Emotionally raw tracks like “Zombie,” inspired by his grandmother’s struggles and featuring Florence Pugh in the video, underscore themes of identity, loss, and self‑reclamation. Recorded in Leeds, the album digs into his roots, blending dynamic guitar‑driven energy with reflective lyricism exploring masculinity, mental health, and personal growth. This is Yungblud unfiltered: ambitious in scope, cohesive in vision, and assured in tone—his most mature and self‑claimed record to date. It balances arena-ready thunder with intimate confessions, solidifying his place as a British rock voice with depth. Genre : Alternative Rock Country : UK Final Verdict: 88% (Excellent Album) Yearly Ranking : 3rd / 440 Highlight (all added to my 2025 best of) Hello Heaven, Hello Zombie War Made ...

Smerz’s Big City Life is a masterclass in fragmented urban storytelling—its slinky art-pop and alternative R&B textures whisper of fleeting nights and fractured conversations. The album feels like voice notes from city nights: beats arrive late and leave early, melodies flicker in and out, and vocal delivery is intimate, droll, and emotionally precise. It balances club-adjacent energy with introspective downtime—deadpan piano-driven tracks like “Roll the dice” contrast with torchy trip-hop moments in “You got time and I got money.” Invoking the thrill and hush of urban youth, the record effortlessly blends avant-garde minimalism with rich emotional undertones. It’s Smerz at their most nuanced, forging a sound that is both cool and confessional, breezy yet profoundly resonant. Wikipedia – Big City Life (Smerz album) Genre : Art Pop Country : Norway Final Verdict: 64% (Good Album) Yearly Ranking: 201th / 439 Highlight : You got time and I got money Made me think of: Tirzah Erik...

Addison Rae’s debut album Addison signals a confident transformation from TikTok personality to serious pop artist, casting off expectations for polished artistic intent. The record blends club-ready synth-pop tracks like “High Fashion” with nostalgic, dreamy moments such as “Diet Pepsi,” giving a nod to ’90s and early ’00s pop icons. Vocals are intimate and gently layered, creating both whispered emotional resonance and bubblegum brightness throughout. Critics note the production is cohesive and finely tuned, crafting a unified pop soundscape that feels both fun and reflective. While some question the depth beneath the surface gloss, many agree that it’s one of the most promising pop debuts of the summer. AP News – Music Review: On Addison Rae's 'Addison,' a new pop powerhouse is born Washington Post – Addison Rae is making the pivot from influencer to pop star look easy Pitchfork – Addison The Guardian – Addison Rae: Addison review – from influencer to impressively assur...

Fallujah’s Xenotaph is a cinematic and cerebral expedition into the human psyche, weaving intricate technical death metal with progressive, dreamlike interludes. Spanning eight tracks with a runtime of around 42 minutes, it melds razor-sharp riffing, punishing rhythm sections, and soaring clean vocals, all underpinned by pristine production that highlights both brutality and nuanced atmosphere. The conceptual themes—life, death, reality, and illusion—are woven through shimmering opener “In Stars We Drown,” dynamic centerpieces like “Kaleidoscopic Waves” and “Labyrinth of Stone,” and the epic title track, which encapsulates the album’s full emotional spectrum. While rooted in their legacy, Fallujah push into new territory, blending cerebral musicianship with unsettling ambience and bold experimentation, making Xenotaph as emotionally resonant as it is technically dazzling. https://en.wikipedia.org/wiki/Xenotaph Genre : Technical Death Metal Country : US Final Verdict : 63% (Good Album...

Lifeguard’s debut album Ripped and Torn bursts forth with youthful intensity and meticulously woven hooks, channeling the spirit of Chicago’s DIY art‑punk scene. Across its concise 30‑minute runtime, the trio—fronted by 20‑year‑old Kai Slater—harness frenetic post‑punk energy, dub‑inspired basslines, and atonal guitar shards balanced by pop sensibility, crafting tracks like “It Will Get Worse,” “France And,” and “Under Your Reach” that shift between tight groove and chaotic release. The band’s deep reverence for zine culture, punk history and diverse influences—from Wire, Gang of Four, This Heat, to dub and Krautrock—infuses the album not with cliché nostalgia but with razor‑sharp originality. Produced by Randy Randall of No Age, the record finds a raw yet cohesive sonic identity, with sonic shards deleted from noise but stitched together into propulsive, anthem‑like indie‑rock moments. Ripped and Torn is a thrilling, essential debut that stakes Lifeguard’s claim as passionate torch‑...

Yeule’s Evangelic Girl Is a Gun is a meticulously crafted, genre-blending soundscape that merges trip-hop’s brooding beats, gothic industrial textures, synth-pop sheen, and glitch-infused electronics into a compact yet emotionally charged 31-minute opus. Balancing sleek, pitch-shifted vocals and icy rhythms with cinematic sound effects—like camera flashes and gun clicks—the album evokes the melancholic nostalgia of ’90s Bristol trip-hop while layering a modern “cyborgian” aesthetic over it. Despite top-tier production from notable names like A.G. Cook, Clams Casino, Mura Masa, and Nat Ćmiel themself, the album occasionally feels subdued and uniform, leaning heavily on stylized atmosphere rather than raw emotional impact. Highlights like “Tequila Coma,” with its bluesy basslines, and the dark intimacy of “VV” reveal Yeule’s talent for striking textures and haunting lyricism, yet tracks like “Skullcrusher” and “Dudu” suffer from repetition and overuse of vocal filters. Ultimately, Evang...

Pigs Pigs Pigs Pigs Pigs Pigs Pigs’s Death Hilarious is a monumental sonic whirlwind that smashes together crushing sludge riffs, frenetic tempo changes, and unapologetic experimentation, all underscored by a mischievous sense of dark humor. The album's nine tracks—ranging from the blistering opener "Blockage" to the seven-minute epic "The Wyrm"—showcase the band soaring into new territory with raw energy, featuring collaborations like El-P’s gritty verse on "Glib Tongued." It balances punishing heaviness with dynamic shifts and occasional genre-bending twists, proving that Pigs x7 aren't just delivering brute force—they’re crafting unpredictable, full-throttle soundscapes that thrill as much as they overwhelm. https://en.wikipedia.org/wiki/Death_Hilarious Genre : Sludge Metal Country : UK Final Verdict: 60% (Good Album) Yearly Ranking: 351th / 434 Highlight : The Wyrm Made me think of: Mastodon Electric Wizard Baroness #newalbum #newalbum2024 #a...

Matt Berninger’s Get Sunk is a reflective and deeply personal follow-up to his debut solo album, merging brooding baritone and alt‑rock sensibilities reminiscent of The National with fresh inflections of folk, country, and mellow piano‑driven moments. Written during a period of depression and a major life reset—moving from California to Connecticut—it balances melancholy with glimpses of optimism, as heard in introspective tracks like “Inland Ocean” and acoustic duets such as “Breaking Into Acting.” While some songs lose energy mid‑tempo, snippets like “Bonnet of Pins” and the closing “Times of Difficulty” offer moments of organic warmth and communal uplift. The album’s strengths lie in Berninger’s vivid lyrical vignettes and intimate instrumentation, even if it occasionally feels like ideas left half‑explored. Ultimately, Get Sunk stands as a testament to emotional healing and artistic growth, albeit with a few roads less traveled to full potential. https://en.wikipedia.org/wiki/Get...

caroline's caroline 2 is a masterfully crafted, emotionally resonant exploration of collective creativity, building on their debut with richer textural depth and adventurous experimentation. The album pulses with organic unpredictability—shifting tempos, scattered analog improvisations, unexpected Auto‑Tune, brass crescendos, and layered vocals—yet always maintains a human core. From the disorienting opening of "Total euphoria" through the elegiac beauty of "Song two" and the glitch‑tinged intimacy of "Tell me I never knew that" featuring Caroline Polachek, the record weaves tension and catharsis with cinematic precision. It’s a statement of intent: post‑rock not as background ambience, but as a communal, living conversation. At once cerebral and deeply felt, caroline 2 transcends the genre’s clichés, blossoming into something vividly alive and profoundly moving. Genre : Avant Folk Country : UK Final Verdict: 63% (Good Album) Yearly Ranking: 250th /...

Kathryn Joseph’s WE WERE MADE PREY. is a visceral and haunting exploration of raw emotion and survival instinct, set against stark, experimental soundscapes. Her tremulous, breathy voice carries impressionistic lyrics rich in themes of fur, blood, bones, and death, conjuring an atmosphere that balances menace and fragility. The production—crafted with longtime collaborator Lomond Campbell—blends electronica, piano, and other organic instruments to weave together moments of intimate delicacy (“DEER”) and cinematic drama (“ROADKILL,” “FIRE”). This album is an intense, immersive 39-minute journey, unreserved in its emotional weight and haunting beauty, with Joseph embracing both her hunger and tenderness throughout. https://en.wikipedia.org/wiki/We_Were_Made_Prey Genre : Indie Folk Country : UK Final Verdict: 65% (Good Album) Yearly Ranking: 147th / 431 Highlight : DARK. Made me think of: Adrianne Lenker Anna von Hausswolff Tori Amos #newalbum #newalbum2024 #albumrelease #newmusic #albu...

McKinley Dixon’s Magic, Alive! is a deeply immersive concept album that navigates themes of grief, resurrection, and childhood wonder through the stories of three boys coping with the loss of their friend. Over just 35 minutes, Dixon blends live jazz‑funk arrangements, gospel‑infused choruses, and orchestral flourishes with powerful features (including Quelle Chris, Anjimile, Blu, Pink Siifu) to conjure a vibrant yet reflective sonic world. The album pulses with layered instrumentals and nimble, emotionally resonant bars, centered around motifs of magical realism—attempts to literally resurrect a lost soul. While a few passages veer into chaotic experimentation, the overall cohesion, lyrical depth, and warm grooves showcase Dixon at his most ambitious. Magic, Alive! feels both intimate and cinematic—a heartfelt, high‑concept exploration of memory, loss, and the living spark of communal magic. https://en.wikipedia.org/wiki/Magic%2C_Alive%21 Genre : Jazz Rap Country : US Final Verdict:...

Turnstile’s Never Enough marks a bold evolution from their hardcore roots into a genre-blending statement full of melodic ambition, emotional intensity, and stylistic diversity. The album marries raw mosh-ready riffs and thunderous rhythms with surprising layers—electronic textures, jazzy horns, flute solos, and introspective vocal melodies that echo ’80s new-wave and Sting-esque phrasing. Tracks like “Birds” deliver pure adrenaline, while “Look Out for Me” and closing “Magic Man” expand into serene synth-laced soundscapes, encapsulating both catharsis and communal release. Brendan Yates’s vocals veer between melodic grit and soaring purity, carrying lyrics that explore vulnerability, self-worth, and emotional growth. Although occasional genre detours feel less cohesive, the album’s unwavering energy, innovation, and giant-hearted spirit power Never Enough into a triumphant, boundary-pushing record that captures the exhilarating tension of contemporary hardcore. https://www.theguardi...

Neil Young’s Talkin’ to the Trees —his 48th studio album and first with The Chrome Hearts—finds the iconic singer-songwriter moving between intimate folk reflections and pointed sociopolitical commentary, all wrapped in his signature raw, one-man-band aesthetic. From the affectionate domesticity of opener “Family Life” (“might be short … but I’ll be singing my new song!”) to the searing protest of “Big Change” and “Let’s Roll Again,” Young’s voice feels equally worn and defiant. Acoustic tracks like “First Fire of Winter” and “Bottle of Love” provide tender counterpoints to the gritty electric textures and harmonica-driven grit, making the album feel both familiar and freshly urgent. At nearly 80 years old, Young leans into imperfections with a reflective soul, proving that his voice—though weathered—still carries the weight of hope and critique. Talkin’ to the Trees succeeds in offering simple pleasures, heartfelt storytelling, and a quietly blazing political edge. https://en.wikiped...