Tag: new-music

2026 Album Roundup


So much music, so little time to review everything, but that doesn’t mean I haven’t been listening. 2026 has been a great year for music so far, and I would like to take this opportunity to spotlight some albums I didn’t get a chance to review. 


Genre is Death – Attractive People

Though a myriad of modern Post-Punk bands incorporate elements of No Wave, very few bands fully epitomize the genre that had its heyday in late 70s-early 80s New York like “Genre is Death.” Taking the dissonant nature of No Wave, and combining it with heavily distorted guitars and minimal drum machine, the band’s second full-length album Attractive People is the sign of band that has no interest in being trendy, but has all the interest in bringing an uncompromising sonic experience to the world of modern Post-Punk, all while being melodic enough to hold every listener’s attention instead of pushing them away with abrasiveness. 

https://genreisdeath.bandcamp.com/album/attractive-people


Crooked Man – Crooked Stile

House music is in late-stage broism. Many of us yearn for something less formulaic, and something with more personality. Though there are some outliers, the EDM-ification of Electronic music continues to reign supreme, which spawns an exhausting number of DJs and producers playing it safe by vomiting out the most commercial sounding music. Leave it to a veteran like Richard Barratt to bring us back to what makes House music so infectious. Most famous for being one half of the duo “Sweet Exorcist,” Barratt knows Electronic music and its various subgenres such as House and Acid Techno inside out, so it’s no surprise that his new album Crooked Stile under his “Crooked Man” moniker is pretty great. This album is refreshing. 

https://crooked-man.bandcamp.com/album/crooked-stile


Pond – Terrestrials

Australian band “Pond” describe their 11th studio album Terrestrials as “goths at the pub,” and this is the truest description of the album. Much like what “MGMT” did on their album Little Dark Age, “Pond” departs from “Pink Floyd shit,” and incorporates 80s-driven New Wave, Goth, Post-Punk, and a dash of Glam Rock on Terrestrials, and they nail it! 

https://pondling.bandcamp.com/album/terrestrials


IDK – E.T.D.S.

A celebration of Hip Hop. New school and old school. Inspired by the immediacy of mixtape culture of the 90s and 2000s, IDK has released a mixtape that’s quite possibly the most ambitious and interesting Hip Hop release I’ve heard in years. If there’s a release that can bridge the gap between old heads and new heads, this is it. Blending Boom Bap with modern Pop Rap hooks, and let’s not forget the fantastic breakbeat of the track “Stigma,” IDK is shaping himself to be one of the most interesting rappers today.

Odor Eater – But For Who?

Saying I like 80s-tinged music is like Robert Smith saying he likes eyeshadow, yeah no shit! So it’s no surprise that a band like “Odor Eater” has my attention. The Portland, Oregon-based duo wear their “Devo” and “Depeche Mode” influences on their sleeves, but also channel something distinctly their own on their debut album But For Who? Bands that go this route often sound like a pastiche of the beloved era of teased hair and synthesizers, but “Odor Eater” sounds natural doing it. This music is catchy, fun, political at times, and features some killer clarinet. 

https://odoreater.bandcamp.com/album/but-for-who

Earth Tongue – Dungeon Vision

New Zealand’s own “Earth Tongue” aren’t afraid to spotlight their “Black Sabbath” worship, but aside from some Doomy and fuzzed-out guitar riffs, the band resides in their own world filled with Dark Fantasy, Horror, Sci-Fi, and just about every nerdy thing you can think of. This music packs a punch, and there’s only two members! 

https://earthtongue.bandcamp.com/album/dungeon-vision

Genesis Owusu – REDSTAR WU & THE WORLDWIDE SCOURGE

Using the term “genre-defying” is a bit of a cliché at this point, but in the case of Australian rapper Genesis Owusu’s music, there isn’t a more appropriate term. Fusing Hip Hop, Punk, Post-Punk Revival, Indie Rock, Funk, and New Wave, REDSTAR WU & THE WORLDWIDE SCOURGE is Owusu’s most eclectic album yet, and God damn it’s his best! It’s a political album that critiques the current state of propaganda, systems of inequality, the rich, and alt-right extremism. This album couldn’t have arrived at a better time.

https://genesisowusu.bandcamp.com/album/redstar-wu-the-worldwide-scourge

The Healing Power of Horses – Summer Indoors (or outside wearing black)

Blending Trip Hop, Indie Pop, Industrial, and Experimental with deadpan vocals, UK band “The Healing Power of Horses” sounds like a band out of the “Windmill scene” in Brixton. Though they weren’t part of this scene, they take the PVA-style to the next level and show much promise on their new E.P. Summer Indoors (or outside wearing black). Hopefully there’s a full-length album on the horizon. 

https://thehealingpowerofhorses.bandcamp.com/album/summer-indoors-or-outside-wearing-black


Written By: Steven Sandoval

Album Review: Josh da Costa – New Wave Graveyard

Rating: 8/10

“Aside from being kind of a facetious way of describing my album, New Wave Graveyard is more of a reference to my perception of LA – the sort of hollowed out carcass of this shiny, new, and exciting future city as depicted in TV & Movies and pop culture in general throughout the entirety of my childhood,” says Josh da Costa about the title of his debut solo album for “Stones Throw Records.” Described as a “greatest hits from an alternate universe,” New Wave Graveyard is an apt title for an album filled with 80s-tinged bangers. I could say this music is anachronistic, but given the resurgence of 80s-styled media whether it be B-movie Horror sleaze, or the frequent use of synthesizers and punchy drum machines, (see just about every modern Darkwave band) New Wave Graveyard sounds as modern as it does nostalgic. However, this music isn’t just nostalgic, it’s more of a period piece, a natural continuation of 80s and 90s styles such as Synth-Pop, Post-Punk, Shoegaze, Jangle Pop, and Madchester adjacent Alternative Dance. This isn’t Josh’s first rodeo when it comes to showcasing what makes these genres so enticing. His former band “CMON” often flirted with these styles, but I feel like everything was leading up to this. New Wave Graveyard is by far his best work. 


Opening with the track “Skygirl,” a song about falling in love, the listener is immediately teleported back in time to the early 90s. It’s familiar, but refreshing, and that’s what makes this album so damn good. Josh acknowledges the past all while creating his own distinct style. Everything from “Proving Me Right,” which sounds like if the “Bee Gees” made Shoegaze, to “Tissues,” which is his ode to depression and anxiety, to the danceable “Slip By,” a track that wouldn’t sound out of place on New Order’s Brotherhood, this album is varied, which perfectly nails the concept of a compilation of various hits composed by various artists from an alternate universe, but is cohesive at the same time. There’s a recurring dreamlike quality to this album, and that dreamy haziness is front and center on tracks like “Cordelia,” which is a tribute to both his girlfriend and his favorite record label of the same name, and the mysterious “96 Year Old Girl.” This album is a thoughtfully produced opus where no second is wasted. 

New Wave Graveyard is a perfect example of how it’s possible to unapologetically wear your influences on your sleeve while staying true to your own distinct vision. I recently interviewed Josh da Costa via email, and in that interview he said he does plan on touring to promote this album, so I’m excited to see how these songs are translated live, and I’m excited to see what musical endeavor he embarks on next. 


Written By: Steven Sandoval

Josh da Costa Interview: https://meltreviewssite.com/2026/07/14/josh-da-costa-interview/

Album Review: Boards of Canada – Inferno

Rating: 9/10

Boards of Canada having a large gap in between albums isn’t exactly out of the ordinary, but 13 years? That’s a long time. A lot of us were starting to wonder if we were going to hear from the Scottish duo again, and if so, would it be necessary? Do we need a new Boards of Canada album? Considering their impressive discography of music laced with nostalgia, soaked in retro synths, and rich in ambient atmospherics, the two already have an iconic body of work under their belts. The already mysterious and reclusive duo could have disappeared from the music world completely, which would have added to their mystique, and even though most of us would want to hear new music from the two, this would have been a fitting bow out, but 13 years after their album Tomorrow’s Harvest, it’s evident the duo have more to give, and my God they’ve gifted us with one of their most captivating, hypnotic, and thematically dense albums yet. The album is titled Inferno, and opens with the track “Introit,” which takes its name from the opening of a worship service that’s usually a psalm, hymn, or chant, and the familiar synth arpeggio featured on the track immediately transports us to a world we’ve missed. I liken it to the feeling I had when I saw the opening crawl to Star Wars: The Force Awakens in theaters, but unlike The Force Awakens, what follows this intro is enthralling content. After the familiar sound in “Introit” fades away, we’re immediately introduced to a reinvented Boards of Canada. Sure their signature style is still there, but that sense of childlike wonder and dreamy Retro-futurism takes a back seat while eerie soundscapes, moodiness, and haunting vocal samples are front and center, and I mean it when I say these vocal samples are haunting. Packed with themes such as religion, religious cults, existentialism, and biology, this album perfectly utilizes vocal samples taken from documentaries about the effects of PCP, a conversation between a father and his son who has cut off his entire family to join the “Children of God” cult, Aleister Crowley quotes, a documentary about the development of a chicken embryo, and references to Nostradamus, and this all perfectly gets the duo’s point across without them having to say a word. However, is their point really that clear? Sure they want us to take something away from this album, or else they wouldn’t have made this thing so dense, but I’ve seen countless heady reviews of this album from people claiming with certainty that this album is a critique of religion and religious cult leaders who prey on the vulnerable, or that this is their way of commenting on how our uncertainty on the meaning of life and why we’re here has spawned so many philosophers and religions who try to give us answers on why we’re here and what happens after we die, and the dangers that come with certain religions, and though this is likely what they’re getting at, there’s one thing a lot of people are neglecting to mention when describing this album, and that’s nostalgia. Nostalgia is a word often associated with Boards of Canada. From the children’s TV show and speak and spell samples on Music Has the Right to Children, to the capturing of the feeling you get when you watch your favorite video nasty on Tomorrow’s Harvest, it’s been very clear that retro media has made a lasting impact on the duo, and contrary to popular belief, I don’t think that nostalgia is absent on Inferno. Remember those televangelists your grandparents used to watch? Those frightening red-faced crazy-eyed men who would yell at you through the TV screen? Remember those old documentaries about morbid cult tragedies? Remember all the history we’ve learned about violence and unnecessary wars that were brought on by fundamental religious beliefs? Remember satanic panic? These are all things that are engraved in the history of humanity, and one of the most popular mediums used to teach this history is media, so I don’t think it’s a stretch to say the boys from BOC have nostalgia for these things. That love for retro media is perfectly combined with the overall themes of this record. There’s no telling if there’s going to be another Boards of Canada record after this one, and when that’ll be if there is, but if this is their final album it’s an interesting album to end on, considering it’s their darkest work by far. Maybe that’s where they’re at mentally when viewing the current state of the world, because these are truly frightening times. Christian fundamentalists and conspiracy theorists are currently in the White House, educational programming has been replaced with short-form content online spreading misinformation, and all of these current wars have left many of us anxious and frightened, so it’s no surprise that an album like this would be released in this day and age, but a common theme that prevents this album from being complete doom and gloom is the theme of life itself. From the EKG machine sounds on “Memory Death,” to the heartbeat on the closing track “I Saw Through Platonia,” the preciousness of life is beautifully symbolized, and this reminds us to value life while we can, and though it may seem impossible at times, it’s important to find beauty in the chaos. 

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: Katie Alice Greer – Perfect Woman Sound Machine, Vol. 1

Rating: 8/10

About 4 years ago vocalist/producer Katie Alice Greer released a very forward thinking debut album that combined Art Pop, Experimental Rock, Post-Industrial and a myriad of different sounds and styles that don’t normally work together, but somehow worked on this record. This album, which is titled Barbarism, is still unlike anything I’ve heard in music before. It’s filled with Hellish and at times, dreamy soundscapes that give the listener a nightmarish experience, but all while maintaining a sense of comfort, and providing a place for those of us fearful of the direction the U.S. is heading in a place to vent. Now, 4 years later, times are even scarier, and Katie Alice Greer has released her sophomore album Perfect Woman Sound Machine, Vol. 1. This album is no less forward thinking, with its fantastic sound collages and layers, but this album is even more all over the place in the best way possible. Jumping from the grungy Babes in Toyland-esque “Unglued,” to the Trip Hop influenced tracks which wouldn’t sound out of place on a “Tricky” record, to the stellar cover of Leonard Cohen’s “I’m Your Man,” this album is pure chaos, but a necessary chaos as it goes from lush and dreamy, to the soundtrack to the apocalypse as KAG conveys a myriad of emotions. Hey, people experience various emotions and the human brain is multifaceted, so why shouldn’t music reflect that? It’s impressive what sounds KAG can create, which is more experimental in nature and a massive departure from her former Post-Punk band “Priests,” who were fantastic by the way, I still listen to The Seduction of Kansas regularly. Judging from the album’s title, I’m assuming there will be a Vol. 2, and if that’s the case I cannot wait to hear it! 

Written By: Steven Sandoval