meltreviewsblog

Album Review: Deli Girls – Losing State

Rating: 8/10

Five albums deep in their discography, and New York-based band “Deli Girls” still continue to reinvent themselves sonically. On their new album Losing State, it’s hard not to get the feeling that the band are embarking on a new chapter of their sound. This chapter is a departure from their previous self-titled album, an album that found the band trade in their usual Nu-Metal-tinged Digital Hardcore in favor of an abrasive yet dancey mix of Hardstyle and Rave Punk. Losing State harkens back to the anxiety-ridden heaviness of their early records, music that featured pure unadulterated anger toward the establishment, capitalism, and all forms of bigotry, but this time around the band cranks up the Industrial elements with rapid fire percussion, and lead singer Danny Orlowski’s anger is directed at even more specific realities that are a result of this country’s consumer culture, love for war, and reliance on technology. “If you’re gonna sell me, then pay me,” screams Danny on the track “Location,” a song that progressively gets more and more chaotic and sounds like the soundtrack to the end times. That viciousness in the music and vocals is carried throughout the album and never lets up, sounding like a constant state of Hell. However, with how deeply unsettling this album is musically, not once does it come across as pessimistic. This is protest music. This is fight music, and it faces our anxiety-ridden reality head on in an attempt to reach a point of catharsis. This is “Punk” in the modern age, and Deli Girls are the perfect band to lead the charge.

Written By: Steven Sandoval

https://deligirls.bandcamp.com/album/losing-state

Album Review: Bustié – Throb

Rating: 8/10

Due to loss, grief, and immense focus on perfectionism, New York-based act “Bustié’s” sophomore album Throb faced many delays, but now 7 years after their debut Birds of Paradise, the album has finally arrived at the perfect time. Living in the U.S. right now is frightening if you’re a person of color, LGBTQ+, or just simply don’t support a fascist regime, so now more than ever we need music that comes from people of said communities to inspire, provide hope, raise awareness, and provide a dance party of escapism, and Bustié does just that. Combining genres such as Hi-NRG, Synth Pop, EBM, and Freestyle, Throb celebrates the elements that make these genres so undeniable and infectious. Topped with lead member Angelika Padilla’s chant-like vocals that provide another layer of rhythm on top of the already entrancing beats, this music will make anyone want to move. Whether you’re the type to cut up a rug on the dance floor, or the type to stand back and bob your head to the beat, this music is for you. Thematically this album deals with lust, loss, and sexuality, and though it’s often dark sonically, it’s perfectly contrasted with heavy elements of 80’s-styled Pop which helps prevent the album from diving into doom and gloom. It’s Janet Jackson at a Nitzer Ebb concert, and it’s fantastic.

Written By: Steven Sandoval

Album Review: JPEGMAFIA – EXPERIMENTAL RAP

Rating: 6/10

If JPEGMAFIA’s mission was to solidify his status as the torchbearer for Experimental Hip Hop with his new album Experimental Rap, then mission accomplished. In a world where the majority of current Hip Hop is stale and predictable, Peggy champions the idea of being different musically and pushing the envelope, but being six albums in now, his unconventional approach is to be expected, which deems his music predictable. However, that predictability isn’t necessarily a bad thing, because the music market isn’t exactly saturated with people making the same kind of discombobulating noisily radical music he makes, which makes him one of a kind. Peggy is aware of his status as the face of Experimental Hip Hop, and he embraces it, but that embracement is a detriment to this album. These songs sound more caught up in the idea of being experimental and unconventional to the point where much of the interesting instrumental ideas sound unfinished and not fully fleshed out. It’s just a bunch of ideas thrown together to sound as abrasive as possible, and normally that sort of thing sounds incredibly innovative in Peggy’s music, but unfortunately this comes across as a gimmick at this point. A lot of songs have an underwhelming beat switch, Brostep elements that are 15 years too late, and the same rapid-fire flow in damn near every song which gets boring very quickly. Which is a shame because there was a time when every word Peggy spit cut like a knife and you truly felt the aggression, jabs at internet culture, and shots at racist conservatives and performative liberals alike. Those lyrical themes have not left his music, but they unfortunately take a back seat to overly messy directionless instrumentals. JPEGMAFIA is capable of creating some truly inspired and unique music, but when the alternative to predictable music becomes predictable itself, then it’s time to switch things up.

Written By: Steven Sandoval

Album Review: Portrayal of Guilt – …Beginning of the End

Rating: 8/10

It’s nice seeing barriers being broken in the current Metal community thanks to younger bands daring to blend differing genres and incorporate outside influences. Along with this forward thinking approach, comes the re-evaluation of a genre like Nu-Metal, particularly “Korn.” There was a time when liking a band like Korn was considered uncool amongst Metal elitists. Even during the bands chart-topping glory, there were those who dismissed the band and simply believed they were not “real Metal.” Now, we have a whole generation of young Metal fans who reject rigid views and gatekeeping, and it’s glorious. Korn’s influence is now celebrated and referenced sonically in the music of bands like “Chat Pile,” “Code Orange,” and Austin, Texas band “Portrayal of Guilt.” Fearlessly blending genres such as Screamo, Black Metal, Sludge Metal, Emoviolence and Noise Rock, Portrayal of Guilt have been gifting us abrasive and chaotic music rich in tumultuous blast beats, sludgy guitar riffs, heavily distorted bass, and shrieking vocals since 2017, and yet, with their distinct sound established, the band still manages to reinvent themselves with every album, which prevents their sound from slipping into monotony. On their new album …Beginning of the End, the band find themselves reinventing their sound once again, incorporating just the right amount of genres such as Nu-Metal, Trip Hop, and Industrial, to create more cinematically bleak soundscapes that echo some of the best 90’s gems like “Nine Inch Nails” or the “Spawn” soundtrack. Seriously, the track “Ecstasy” sounds like the band went back in time to 1997 to collab with “The Dust Brothers.” The track “Chamber of Misery Pt. IV” features a Trap-style verse from rapper Slim Guerilla, and “God Will Never Hear Me” is a slow but brooding track with a nightmarish ambience, which perfectly executes an unpredictable, but very “Portrayal of Guilt” experience, and that’s what makes this album work so well. The band never fully emulates a specific genre, but instead mixes various genres not often associated with the band, all while maintaining their usual harsh sound. Now, where does Korn come into play with all of this? Well, Portrayal of Guilt’s vocalist/guitarist Matt King has been very vocal about his love for Korn, and …Beginning of the End can be considered a continuation of the unique and innovative sound of those early Korn records. I mean, let’s face it, aside from a handful of good Nu-Metal bands that left a revolutionary mark on the genre, Korn unintentionally inspired A LOT of really bad imitators in the 90’s and early 2000’s, but in an alternate universe where more good than bad came from Korn’s mark, …Beginning of the End is the natural progression of what Korn pioneered. Oh why couldn’t we hear this stuff instead of “Last Resort” back in the late 90’s? Better 32 years late than never I guess. Whether it be the early Blackened Hardcore of Portrayal of Guilt’s early records, the Gothic-tinged sludge of Christfucker, or this new direction of Nu-Metal combined with Hellish Black Metal, it is certain that Portrayal of Guilt will continue to make whatever the Hell they feel like making, and the band happen to be very good at it.

Written By: Steven Sandoval

Album Review: Eaves Wilder – Little Miss Sunshine

Rating: 8/10

Being a musician trying to make it in this day and age can be a discouraging process. The internet is so over saturated with countless artists trying to get their music out there that it’s easy for one’s music to slip through the cracks. I can attest to that, I’m a musician with 2 monthly listeners on Spotify. This can be disheartening, but the best thing to do is to just keep going. London musician Eaves Wilder experienced this at a very young age. Following the release of her 2023 E.P. Hookey, she considered quitting music altogether, so she stepped back and waited until she found her voice to begin making music again. Now, after a period of writer’s block and an existential crisis, Wilder has returned with her long-awaited debut album Little Miss Sunshine. This album is a prime example of why you shouldn’t rush creativity, because you can tell there was much time and effort put into it. Being more true to herself and her personal music influences, as opposed to succumbing to the pressure of making a hit, Wilder crafts a perfect amalgamation of guitar-driven Alternative Rock, Power Pop melodies, and lush vocals, and this album uncompromisingly drives us through her vulnerability, but all while maintaining a powerful feminist spirit. The track “Just Say No!” highlights the importance of setting boundaries to protect oneself from being taken advantage of, “Mountain Sized” is a self-reflective track that finds Wilder questioning her role or purpose as she tries to navigate young adulthood, and “Ropeburn” is about cutting off toxic people and re-evaluating personal relationships, which all leads to an introspective experience that can resonate with just about anyone, but if this album has an anthem that perfectly summarizes the entire record, it most certainly would be “Everybody Talks.” I haven’t heard a song that perfectly captures the feeling of wanting everyone to shut the fuck up like this one in a very long time, and in a world where people are constantly spewing out their unprovoked opinions and arguing online, this is an important track to hear. It can also be an anthem for introverts. This song takes me back to that lost feeling I had when I was a young introvert trying to navigate life in a society that favors the extroverted. Themes such as these are what makes good genuine music, and if you have the songwriting ability to back it up like Wilder has, your music will move a lot of people. Little Miss Sunshine is an astonishing debut that will resonate with many.

Written By: Steven Sandoval

Album Review: TOMORA – COME CLOSER

Rating: 7/10

Unlikely musical collaborations can sometimes be the most pleasant surprises, and in the case of Electronic supergroup “TOMORA,” two artists from two completely different worlds come together to create some enticing dance music. After appearing on various festival lineups, the identities of “TOMORA” were a mystery, until the group was officially announced in late 2025. The duo consists of Tom Rowlands of the iconic Electronic duo “The Chemical Brothers,” and Norwegian singer/songwriter Aurora Aksnes. Together the two have released their debut album COME CLOSER, and this album has some irresistible tracks. The melding of the duo’s differing styles works quite well. Tom Rowlands’ input is noticeable as he incorporates elements of Big Beat, Techno and Breakbeat, all genres often associated with “The Chemical Brothers,” and this is cleverly combined with AURORA’s brand of ethereal Art-Pop, which creates a cinematic and beautifully dramatic atmosphere as we the listeners dance our asses off. However, being 55 minutes in length, this album could’ve been a more solid release had the fat been trimmed. Not all these songs work. The album is at its best when the high-energy and more upbeat tracks hit. “RING THE ALARM” is a riotous banger that uncompromisingly attacks the listener with obnoxious, but rather catchy intensity, “SOMEWHERE ELSE” is a dancey and euphoric earworm, and “I DRINK THE LIGHT” is a dreamy tune that sounds straight out of the late 90’s or early 2000’s, but the more downtempo tracks are a bit drab and unimaginative, and when the excitement wears off, the comedown is hard. Which is frustrating because the duo is capable of crafting a good slowed-down tune. “A BOY LIKE YOU” is a hauntingly moody Trip-Hop track that absolutely needs to be featured in a movie or a movie trailer, but most of the album’s slower tracks lack that engaging style. This album isn’t perfect, but it has more good than bad, and it’s always a pleasant experience when two worlds collide in a way that works.

Written By: Steven Sandoval

Album Review: Jessie Ware – Superbloom

Rating: 7/10

Following her superb 2020 album What’s Your Pleasure?, singer/songwriter Jessie Ware has maintained a consistent sound that celebrates the many forms of Disco. Post-disco, Italo Disco, Funk, Nu-Disco, you name it, she’s done it, and though this risk-free approach of staying in the lane that has garnered her much success can feel a bit safe, she’s still crafting catchy tunes just begging to be played on the dance floor. These songs tackle themes such as sensuality, sexuality, and the yearning for connection and touch. In other words, this music is horny, but what I’ve always liked about Ware’s music is that it’s a sophisticated kind of horny, as opposed to some of the more vulgar horny music out there. Her music is a positive all-inclusive celebration of feeling good. Her new album Superbloom continues down that trajectory, but this time around leans heavily into the 70’s Disco she flirted with on her previous album That! Feels Good! However, the album suffers with the same issue That! Feels Good! had, and that issue is that the album falters a bit toward the end, with some tracks being a slog to get through, but that issue is excusable considering the BANGERS this album has. “Ride” is a sexed-up cowboy Disco track that interpolates Ennio Morricone’s “The Good, The Bad and The Ugly,” “I Could Get Used To This” is a smooth feel good introduction to the album, and “Sauna” scratches that Italo Disco itch. Jessie Ware is pretty good at this Disco stuff. Moving forward, I would like her to experiment a bit more and take more risks musically, but with this album it’s evident there’s much life left in her Disco era, despite its predictability. If it ain’t broke, don’t fix it.

Written By: Steven Sandoval

Boards of Canada Have Returned

What a different time 2013 was. GTA V was released, Vine was still a thing, and Breaking Bad reached its series finale, but there is also another event that took place that year for us music nerds, and that was the last time Scottish Electronic duo “Boards of Canada” released a new album. That album was titled Tomorrow’s Harvest, and it was a dark Ambient odyssey that featured the duo’s signature Sci-Fi sounding synth textures and atmospherics. Now, 13 years later BoC have returned. Which means we’re getting a new Boards of Canada album before GTA VI! Or at least that’s what it seems. Following a cryptic add campaign featuring mysterious VHS tapes being mailed to fans, and eerie posters appearing all over the world, fans have been doing detective work trying to decipher any hidden messages and some have even speculated that this might be a hoax, but just this morning BoC made it official on social media, posting a video titled Tape 05. This video features what appears to be new BoC music. Nothing else has been unveiled from the band or their label “Warp Records,” but if we’re getting a new album all I have to say is HOLY SHIT IT’S FINALLY HAPPENING!

Nine Inch Nails and Boys Noize Detail New “Nine Inch Noize” Album

Following their highly successful tour and incredible Coachella set, “Nine Inch Nails” and “Boys Noize” are set to release their collaborative album Nine Inch Noize this Friday. The album will feature re-imagined Nine Inch Nails tracks, as well as a reworked version of How to Destroy Angels’ “Parasite,” and a cover of Soft Cell’s “Memorabilia.” According to Trent Reznor, the album was recorded “all over the place, some of it’s live, some in studios, hotels, planes, etc.” Check out the tracklist below:

Tracklist:

01. Intro (Nine Inch Noize Version)

02. Vessel (Nine Inch Noize Version)

03. She’s Gone Away (Nine Inch Noize Version)

04. Heresy (Nine Inch Noize Version)

05. Parasite (Nine Inch Noize Version)

06. Copy Of A (Nine Inch Noize Version)

07. Me I’m Not (Nine Inch Noize Version)

08. Closer (Nine Inch Noize Version)

09. The Warning (Nine Inch Noize Version)

10. Memorabilia (Nine Inch Noize Version)

11. Came Back Haunted (Nine Inch Noize Version)

12. As Alive as You Need Me to Be (Nine Inch Noize Version)

Pre-save here:https://presave.umusic.com/nineinchnoize-presave

Movie Review: Faces of Death

Rating: 8/10

When I first heard there was a new Faces of Death movie coming out, my initial reaction was, “why?” Long gone are the days of shocking films and barf bags. Was this going to be another installment in the franchise? Was this going to be a straight up remake of the original? If you’re going to make a Faces of Death movie in 2026, there’s going to be expectations from fans expecting another Mondo film filled with exploitative death scenes, so how do you bring the concept of Faces of Death to the modern age? Well, director Daniel Goldhaber gives us the answers to these questions with his meta, thought-provoking, and yes, gory reimagining of the infamous film. The film follows a content moderator for a TikTok-esque social media platform who discovers a series of viral videos featuring murders heavily influenced by scenes from the original Faces of Death movie, and she makes it her mission to identify the serial killer behind these videos. Interesting premise, but is the movie worth a watch? Hell yes. Daniel Goldhaber has cleverly brought the morbid curiosity and Real vs. Fake debate that surrounded the original film to the modern age. The film is an effective commentary on the current state of internet addiction and everyone’s yearning for viral popularity. Damn near everyone in this film is chronically online and constantly searches for that dopamine hit from a “like” on their posts, but this movie is in no way preachy. It has a fun 80’s Slasher element featuring some gnarly practical effects, a killer synth-heavy score, and some damn good suspense, and unlike most movies in the realm of the Slasher and Pseudo Snuff films, the violence actually serves a purpose and rarely comes across as gratuitous. The acting is also very solid and believable. Barbie Ferreira perfectly conveys a range of emotions, and Dacre Montgomery really sinks his teeth into his role as the killer, and looks like he’s having the time of his life playing it. Now, I’m willing to bet most fans of the original Faces of Death will be letdown by this movie. This movie isn’t for the real life gore-seeking fans who probably frequented rotten.com in the 2000’s, but honestly, would it really be necessary to make a film like the 1978 Faces of Death? The original was a product of its time. It was a movie that catered to people looking for something taboo to watch, and in the current world we live in where most of us are desensitized to violent content thanks to the accessibility of the internet, a movie like the original wouldn’t serve a purpose, because we’re all exposed to gory and violent content online anyway. A movie like the original probably wouldn’t even be green-lit. However, if you’re looking for a movie rich in thought-provoking themes, suspense, and of course violent kills, then give this one a shot.

Written By: Steven Sandoval