Vybz Kartel's album Heart & Soul showcases a passionate and emotional side of the artist, drawing heavy inspiration from his engagement. This project offers something different from what fans are accustomed to hearing from him. It highlights a gentler, more introspective aspect of Kartel, exploring themes of heartbreak, vulnerability, and romantic tension. While the music retains a distinct dancehall sound, it prioritizes emotion over pure party anthems.
Known for his lyrical dexterity and skill in genre-mixing, Kartel leans toward modern dancehall but adds a surprisingly subtle twist. For over three decades, the founder of Adidjahiem Records has released more than a dozen EPs and full-length albums, even during his decade-long prison term.
The album opens with “They’re Outta Love We Aren’t,” a romantic ballad dedicated to his fiancée, Sidem Öztürk. The track features a classic Vybz riddim as he effortlessly flows over the beat. In “I Know,” he brings another classic Vybz beat, exhibiting his raw and tough vocal style as he sings about the love Sidem has for him, emphasizing that she makes him feel special like no other woman can.
In "You Walked Away," Vybz Kartel takes some responsibility for the events that unfolded with his ex-wife, Tanesha Johnson, who is also the founder of Short Boss Muzik. The production quality isn't among his best and feels somewhat repetitive. Kartel delivers the sexually explicit and provocative imagery that his fans have come to expect in "11:45." The song's suggestive and boastful lyrics align closely with Kartel's controversial image and provocative persona. His flow expresses themes of love and desire, while referencing a specific time of night, likely suggesting when they will be intimate.
Ishawna joins Vybz in a dancehall and house jam on “Bad Bad Bad.” Ishawna and Vybz Kartel deliver an energetic back-and-forth on the track "Ghetto Girl Chosen," a catchy club anthem that will get you up and dancing. The upbeat riddim perfectly complements Vybz's flow, enhancing the dance vibes.
In contrast, Vybz slows things down with "Can't Leave You Alone," a heartfelt love song in which he expresses his deep and unwavering devotion to Sidem. The lyrics convey a profound emotional connection, emphasizing that he cannot imagine life without her. Vybz sees Sidem as the most important person in his life, articulating their bond with strong declarations of commitment.
The groove picks back up with “In Too Deep,” where Vybz explores the complexities of a toxic and possibly abusive relationship. In this track, he portrays two individuals who are deeply entangled and unable to escape the situation.
The title track marks the final moments of Heart & Soul, where Vybz promises to give his one and only the time of her life, as long as she trusts him with her heart and soul. The album features a classic Vybz riddim and beat.
In “Cinderella Ballroom,” Vybz incorporates a reggaeton beat, singing about his commitment to being present for the long term and enjoying good times together. No Vybz Kartel album would be complete without a declaration of his supremacy in the genre, and “You Know GOAT” serves as the ultimate reminder that he is the true king of dancehall.
Heart & Soul is not just another Vybz Kartel album; it is a statement like we have never heard from him before. His vibe and persona feel different. Whether you’re a long-time fan or a newcomer, this album provides an emotional journey filled with captivating riddims and concise songwriting. Heart & Soul is one of the most passionate albums Vybz Kartel has released since his return, drawing heavily from his experiences of love and engagement. While he introduces a new vibe in his lyrics, he maintains that characteristic fire and rawness, albeit in a different way.
One Love – Todd M. Judd
Inspired by the legendary Punk-O-Rama and Warped Tour compilations, Pepper and LAW Records have officially launched Operation Irie, a genre-blending compilation that reimagines punk classics through the lens of today’s reggae rock scene. This project honors the raw energy of 90s and 2000s punk while showcasing a vibrant array of artists who are keeping that punk spirit alive—now with a sweet reggae twist.
Imagine Punk-O-Rama infused with Kona surf vibes, featuring a lineup that includes Little Stranger, Long Beach Dub Allstars, Passafire, Cydeways, and Micah Brown of Iration. Admittedly, I’ve never been a huge punk fan and had to look up some of the original versions while writing this review. However, what I heard was pure genius.
The album opens with a daring choice for Pepper: a cover of Bad Religion's "Generator." This song is considered sacred ground, so it was bold for Pepper to take it on, but they executed it flawlessly. They showcased their Hawaiian reggae-punk roots beautifully with this rendition. Yesod Williams recently told The Pier, “We absolutely are a punk band that plays reggae. Even if you listen to 'Give’n It,' our first record, you know what I mean? There are definitely some punk rock tunes on there, as well as a bunch of ska tunes. So, yeah, it’s just another branch of what we love, and it’s absolutely full circle.”
Nathan Aurora joins in on the Rancid track "Ruby Soho," delivering a wonderful lyrical flow while Pepper infuses the song with a great reggae vibe. The Offspring hit "Come Out and Play" features Passafire, which adds to the fun. I feel like this song has always had the potential to be a Pepper tune; it carries the same vibe and flow, and they do a fantastic job of incorporating that Hawaiian reggae beach atmosphere.
Pepper and Little Stranger’s rendition of Green Day’s “Brain Stew” stands out on the album, turning the grunge riff into a hypnotic and captivating jam. Little Stranger was an excellent addition to this track. Additionally, Butthole Surfers’ classic song “Pepper” features Long Beach Dub Allstars, making for a powerful remake. While this version leans less toward reggae, it remains a strong track.
The punk-ska classic “Johnny Quest Thinks We’re Sellouts” by Less Than Jake features Ballyhoo! teaming up with Pepper. Ballyhoo! is an excellent choice for this track, as their style fits perfectly within the vibe of Howie and the band. It’s another standout song on the album.
Another great selection is the punk-ska classic “Here in Your Bedroom,” which showcases Bumpin Uglies stepping in for Goldfinger and delivering an impressive performance. A shout-out to Baltimore for bringing us two fantastic punk-ska-reggae tunes filled with energy and great vibes.
We also hear another Offspring song, “Why Don’t You Get a Job,” featuring Surfer Girl alongside Pepper, who provides a fantastic version of the track. Pepper brings a strong upbeat island and pop groove, while Surfer Girl flows seamlessly with the rhythm.
The incredibly energetic and upbeat “On the Outside” by No Use For A Name takes a slightly different turn with a sweet chill reggae vibe. The Expendables join Pepper, delivering an exciting blend of punk and reggae, effortlessly switching between the two genres.
Pepper introduces us to another powerful punk song, Millencolin's "No Cigar," with Cydeways leading the charge. This is a perfect choice for the remake, as Dustin delivers an impressive flow. "All I Want" features Kyle Smith contributing to another solid selection from this Offspring classic. One of the tracks that truly showcases a different vibe is Face to Face's "Blind." Mike Pinto and Pepper bring a solid classic roots reggae rhythm to this energetic punk groove, creating a great vibe and a refreshing change.
Micah Brown adds a delightful touch to the No Use For A Name song “International You Day” with a beautiful acoustic version, delivering a heartfelt vocal tribute. This rendition brings a warm Hawaiian island vibe to the classic punk track. Additionally, “Silly Girl” by the Descendents features Tunnel Vision collaborating with Pepper, creating an exciting punk-ska-reggae fusion. They maintain the original energy while incorporating a laid-back island chill.
It's time for some skateboarding and chilling with blink-182's "Josie." Casey Smiles, which blends reggae, alternative, surf, and hip-hop, is the perfect choice to join Pepper on this upbeat and fun track. The excitement continues as Fortunate Youth collaborates with Pepper on the classic Pennywise song "Same Old Story." Dan Kelly sounds fantastic, and the song seamlessly flows between punk energy and the reggae vibe that Pepper delivers.
Shifting gears from the reggae artists, punk band Authority Zero joinsPepperfor a remake of theFugazisong "Waiting Room," giving it a much more punk feel.Pepperwraps up the fun with theNOFXclassic "Linoleum," slowing it down to create a sweet island and rootsy groove that works exceptionally well, with Brett delivering some beautiful vocals.
This is truly a fantastic idea for an album. Yesod and Kaleo both describe the project as a "beautiful retrospective" that honors the music that shaped their youth while showcasing the versatility of the reggae-rock community. The historical connection between reggae and punk, which dates back to the 1970s, adds even more significance to this endeavor.
Initially, Bob Marley dismissed punk rock, but he later came to appreciate the connection between the two genres due to their shared rebellious spirit. This shift was inspired by his encounter with punk-rock DJ Don Letts, which led Marley to write the song "Punky Reggae Party" as a nod to bands like The Clash and The Damned. The two movements influenced one another, with punk musicians incorporating reggae rhythms and Marley recognizing their common status as "outcasts from society." For Pepper, this project represents more than just history and nostalgia; it is a full-circle moment.
One Love – Todd M. Judd
After years in the music industry, it is surprising that it has taken Naomi Cowan this long to release her first full-length album. However, the wait was well worth it. She has built a solid catalog of music, toured the world, and even dabbled in acting. Now, she is ready to embark on a new era with her album Welcome to Paradise. In this work, she explores the challenges of standing up for oneself in a world that often measures worth by productivity and status. At the same time, the album highlights the importance of remaining grounded in one’s inner strength, reminding listeners that true value comes from within, rather than from external achievements.
Starting off with a beautiful tribute to the foundations of reggae music, “Beautiful Ska” sets the tone for this musical journey. Showcasing her vocal prowess, the artist takes listeners on a captivating ride over the bass and rhythm. It's the perfect song to kick things off, promising a fun experience ahead.
Paying homage to the women of reggae who paved the way, “Women Respect” features an old-school dancehall riddim. This thought-provoking tune highlights the importance of women respecting and validating one another. Naomi Cowan recently expressed her views on this topic: "I believe women are a magnificent representation of God’s creativity, particularly in how our minds and bodies work. While we have experienced a feminist movement that has empowered us to be strong, I feel that at times, we, as women, don’t give each other enough respect. We demand it from the world, but do we extend that same courtesy to one another? Society often pits women against each other. I think it's crucial for us, as women in music, to continue pushing this message forward."
After the interlude titled “The Throne,” there is a standout collaboration called “Version” featuring dancehall legend Johnny Osbourne, who samples his classic track “Rock It Tonight.” Cowan adds a heartfelt verse that transforms the song into a modern-day ballad. Another remarkable track is “True Lies,” which was released earlier. It features a heavy bass riddim and showcases Naomi’s impressive vocals and vocal range.
Following the “Her Attitude” interlude is “Cherry On Top,” a vibrant track that explores relationships and love while capturing the essence of classic reggae rhythm and vibe. Naomi’s vocal range and flow are once again impressive and infectious.
Next is “Up To Di Time,” a song that showcases Naomi’s vulnerability and raw emotion. She wrote this tune during a period of heartbreak while filming the Bob Marley: One Love movie in London. “The skies there were perpetually grey, which matched my mood perfectly,” she reflects. “‘Up To Di Time’ really captures the feeling of creating something raw and honest when you’re at your most vulnerable.”
We then transition to a hip-hop-inspired track featuring Runkus, titled “Lonely Love.” This methodical song showcases Naomi’s emotional and heartfelt delivery, complemented by Runkus's strong flow on his verse, blending seamlessly with her style.
The “Legacy” interlude flows into “Moments,” which features a bass-driven rhythm. In this track, Naomi's vocals intertwine with the horns, creating a duet-like feel. It gives the impression that the album is winding down beautifully.
The closing track on the album, “Imagine,” is one of the finest ballads you'll encounter in any reggae album from the past few years. It not only brings the album to a close but also concludes the journey on a perfect note. With a fusion of her vocal range, sweet production, and beautiful lyrics, she finishes this project in a delightful and memorable way.
Through uplifting melodies and heartfelt confessions, Welcome to Paradise is Naomi Cowan’s personal invitation for listeners to discover their own internal paradise while balancing softness and strength in a divided world. This journey is filled with emotions, grace, and honesty, as Cowan delivers an intimate yet expansive portrait of resilience.
Welcome to Paradise is a celebration of healing and self-discovery, urging listeners to find their inner strength and personal paradise. “We committed to keeping this project anchored in reggae music while investing a lot of time to ensure the music meets global standards of quality. Reggae is a global sound and has inspired people worldwide for many years, so I feel a responsibility as a Jamaican artist to ensure that our music is undeniably excellent,” Cowan explained.
The album serves as a reminder that true value comes from within, and that strength doesn’t have to be loud to be genuine. Welcome to Paradise is a record to feel, reflect on, and return to time and again.
One Love, Todd M. Judd
The 80s gave rise to synth-pop bands that ushered in a second wave of the British invasion, featuring legendary acts like Gary Numan, New Order, Pet Shop Boys, and Depeche Mode, to name a few. However, a band that predated and inspired many of these groups is Orchestral Manoeuvres in the Dark (OMD). OMD is considered one of the pioneers of the electronic music scene, bringing a fresh, experimental style with their debut song, “Electricity.” This sound has inspired generations, whether they realize it or not.
OMD wrapped up their Bauhaus Staircase Tour back in July but decided to add a couple more performances before the end of the year. They treated fans to a two-night special at the House of Blues in Anaheim, CA. Night one sold out, with fans of all ages packing the venue to witness these legends still delivering electrifying performances.
Opening the night was the Southern California new wave band Midway. They kicked off their set with “Only the Young,” immediately drawing attention to bassist Bradley Johnson, who was dressed to the nines and grooving with an upright bass. Johnson made his instrument stand out, as his grooves took center stage in many of Midway’s songs.
The energy shifted when vocalist Daniel Valoff stepped onto the stage, tossing roses to the crowd. Valoff, who has been battling stage 4 thyroid cancer for the past two years, continues to sing and perform despite the toll it has taken on his vocal cords. His resilience is inspiring, and fans can support him through his GoFundMe campaign titled Help a Singer Beat Cancer.
Midway is rounded out by Elizabeth Bird on keyboards, David Johnson on guitar, and Jason Wise on drums. This five-piece band brought a California twist to new wave, perfectly setting the tone for the night with songs like “Demolition Girl,” “Matinee Idol,” “Debris,” “This Charming Man,” “I’d Like to Say,” “Vanity Under Distress,” “Control,” and their closing track, “Avendale.”
As the crowd eagerly awaited the headliners, the standing room at the House of Blues filled to capacity. When Orchestral Manoeuvres in the Dark finally took the stage, they opened with their song “Isotype.” Vocalist Andy McCluskey was a whirlwind of energy, defying expectations for a man in his 60s. He worked the entire stage, engaging with every corner of the audience. At one point, he even signed a fan’s vinyl record mid-performance, seamlessly incorporating it into the show. The only time McCluskey’s boundless energy was contained was when he strapped on his bass guitar for select songs, anchoring him behind the mic stand. Even then, he seized every opportunity to dance during vocal breaks.
OMD was co-founded by keyboardist and co-vocalist Paul Humphreys, who took his place on the backline of the stage, giving McCluskey ample room to move. Humphreys, though less animated, was no less impactful, delivering iconic synth-infused beats and rhythms with a smile that reflected his joy in performing. He ensured his presence was felt, even from the back of the stage.
The band is rounded out by Martin Cooper on keyboards and Stuart Kershaw on drums. Together, they delivered a setlist packed with classics that fans have cherished for decades, including “Messages,” “Tesla Girls,” “Kleptocracy,” “History of Modern (Part 1),” “(Forever) Live and Die,” “If You Leave,” “She’s Leaving,” “Souvenir,” “Joan of Arc,” “Veruschka,” “Talking Loud and Clear,” “So in Love,” “Dreaming,” “Locomotion,” “Sailing on the Seven Seas,” and “Enola Gay.” They returned for a three-song encore featuring “Look at You Now,” “Secret,” and their debut single, “Electricity.” The night was a perfect blend of timeless classics and new tracks, all infused with the catchy grooves and hooks that kept fans dancing no matter the song.
Looking out into the crowd, you could see fans of all ages. Older fans who have followed the band since their inception stood alongside adults in their 30s who likely discovered OMD through platforms like Spotify. Even kids were in attendance, introduced to this incredible music by their parents, who were clearly thrilled to share the experience.
OMD has been performing for over four decades, and their live shows still radiate high energy. While they may be done with performances for this year, when OMD hits the road again, seeing these legends live is an experience you won’t want to miss.
If you thought GHOST couldn't top themselves, think again. The Swedish titans are back and nominated for a Grammy in 2026 for Best Metal Performance with the chillingly beautiful "Lachryma". Over the years, GHOST has morphed from underground oddity to arena-filling legends, thanks to their love of spooky theatrics, heavy riffs, and yes—catchy-as-heck hooks. Across albums like Opus Eponymous and Prequelle, GHOST have never stood still, pushing metal beyond just speed and aggression. And with "Lachryma", they reach chilling new heights.
So what makes "Lachryma" a standout? For starters, it opens not with a punch to the face, but with a haunting, baroque harpsichord that sets an instant gothic mood. You can almost see the fog rolling in! Layer by layer, the NAMLESS GHOULS bring in thunderous guitars and patient, pulsing drums, but never let things get muddy—everything serves the song’s escalating emotion. The structure feels almost hymn-like, with tension rising in the verses and lifting you to the heavens with a soaring, unforgettable chorus.
Now, Tobias Forge's vocals? Showstopping. Rather than bellowing or shrieking, he leans into a clean, emotive style that drips with sorrow and hope. The lyrics to "Lachryma"—Latin for "tear"—are classic GHOST: poetic, a little blasphemous, and deeply human, blending “consecrated tears” with “hallowed sorrow.” It takes you to church, but it’s a church with stained glass and skeletons.
Production-wise, it’s an audiophile’s dream. Every choral swell and organ note floats perfectly above the thick guitar mix, letting the harpsichord and vocals shine through. Pop on headphones and you’ll hear layers you never expected—little details that give it that signature haunted grandeur.
Why does "Lachryma" deserve the Grammy? While other nominees might bring speed and ferocity, GHOST delivers depth, atmosphere, and true songwriting brilliance. This track isn’t just about being heavy; it’s about feeling heavy. If GHOST takes home the award, it’ll be a win for fans who know metal is more than chaos—it’s art, showmanship, and emotion. With "Lachryma", GHOST proves the metal future is bright, creepy, and gloriously melodic.
- Matthew Belter
Protoje released his "Feel It" riddim as an EP, featuring reggae artists Alaine, Romain Virgo, and Mortimer. The project begins with Protoje’s track, “Feel It.” This upbeat riddim is perfect for hitting the dance floor with that special someone or simply chilling with a loved one. Protoje’s delivery, which is usually sharp and combative, transforms here into something fluid and flirtatious. He describes it as “a song that brings people closer,” and that’s exactly what it achieves. Produced by Winta James, the tune seamlessly blends reggae, jazz, and soul, anchored by The Indiggnation’s light and airy touch.
Alaine joins the EP on "Summertime," with her warm and beautiful voice floating over the riddim. Alaine's glowing vocals meet Protoje's driving riddim, creating a soundtrack built for good vibes and movement.
Romain Virgo brings his infectious vibe to "Finally," a beautiful love song. His tender voice complements the riddim perfectly, flowing seamlessly with the beat. The track expresses heartfelt gratitude, enhanced by Virgo's silky vocals and grounded in faith.
Mortimer contributes to the final track of the EP, titled “Flowers & Flames.” His unique vibe and flow fit seamlessly with the riddim. The song explores themes of duality, growth, and creative inspiration. The “Flowers” symbolize growth, beauty, spirituality, and roots, while the “Flames” represent the passionate, fiery, and sometimes destructive elements of creativity and the music industry.
Protoje's "Feel It" riddim is designed to evoke a vibrant, light, and airy feeling that inspires movement, particularly among women. It features a fresh blend of reggae and R&B vibes. He aimed for the song to encourage people to dance, foster connections, and create a summery atmosphere.
One Love – Todd M. Judd
After eight years, Chronixx has made his highly anticipated return with the album Exile. Produced by Inflo, this 17-track project blends roots reggae with elements of soul, lovers rock, and neo-soul. It features introspective lyrics, layered harmonies, and organic textures. The sound of Exile feels reminiscent of the 1970s while still being relevant to today, thanks to its grounding in live instrumentation and heartfelt lyricism. Chronixx successfully bridges the golden age of reggae with a new era of consciousness. Once again, he has demonstrated why he is considered one of the most respected voices in reggae. The response to this new project has been nothing short of electric, with fans and critics alike praising its honesty, depth, and musical richness.
As the music softly glides in, almost as if it’s approaching from afar, the first track, “Exile,” feels like it needs to be turned up. Soon, the sound grows warmer, fuller, and more vibrant. It embodies a quiet confidence from a man who no longer feels the need to prove himself. While it has the essence of Bob Marley’s “Natural Mystic,” it also stands out as distinctly different.
With Chronixx toasting over a chunky bassline, a bubbling groove, and swirling horns, “Market” strikes the perfect balance. The production is astounding, as Chronixx delivers impressive lyrics that feel both spontaneous and thoughtfully crafted. He pays tribute to some legends in the genre, including Nicodemus, Burro Banton, and Super Cat, proclaiming: “Big respect to all farmers, seen, and all original DJs!”
We are treated to a beautiful lovers rock rhythm with “Sweet Argument,” featuring Chronixx flowing smoothly over this warm and soulful tune. The track offers an organic feel, showcasing Chronixx's emotional side. Another standout track, “Survivor,” brings a funky 70s groove while channeling the spirit of classic reggae and ska. This fantastic production will make you want to get up and dance, highlighting a vibrant fusion of genres.
“Family First” features an R&B-infused reggae beat that exudes warmth, unity, and positivity—an uplifting gift to the listeners. In this heartfelt song, the artist expresses, “I put the family first / For better or for worse,” honoring relatives and elders with a sincerity that avoids sentimentality.
“I Know What You’re Feeling” captures that classic Wailers vibe reminiscent of “Waiting in Vain.” The bass guides us through the rhythm while Chronixx effortlessly glides over the warm instrumentation, creating a sound that feels both timeless and fresh. Chronixx delivers his lyrics with smoothness, patience, and soulful emotion.
Chronixx connects with his spiritual essence in “Savior,” expressing his Rastafarian faith with depth and conviction. This track serves not only to entertain but also to enlighten. The bass-heavy riddim resonates deeply, while Chronixx showcases a dynamic range of styles, cadences, and vocals to take listeners on a meaningful journey. In “Keep on Rising,” the production is simpler, but the bass-driven groove remains prominent. Chronixx offers encouragement and comfort to those facing challenges, making it impossible not to nod your head to this infectious rhythm.
Chronixx presents a slow acoustic track with "Hurricane." While this song doesn't resonate with me personally, Chronixx delivers a haunting flow that draws you in. We continue with the slow acoustic vibe in "Genesis," which features a 70s soul influence blended with elements of roots reggae. The warm, heavy sound creates a timeless and emotional listening experience.
"Don't Be Afraid" reminds listeners to stay strong during difficult times with its fantastic bassline, crisp rimshots, harmonies, and horns. Chronixx delivers an almost militant vibe that is both bold and raw. Following that, "I and I" immediately brings a smile to listeners' faces with its uplifting rhythm. This song embodies a classic Bob Marley feel and carries a message of faith and unity. It serves as an anthem with a prayerful affirmation that states, "I will never lose my faith… Jah will always be our light." While the lyrics are simple, the layered harmonies and dub bass create a meditative atmosphere.
The previously released “Never Give Up (2025 Remastered)” blends classic soul, R&B, and roots reggae beautifully. Chronixx infuses so much emotion into this soulful love song, reminding us that love, like perseverance, requires stamina and strength. I loved this song back in 2022, and I find that I appreciate it even more now that it’s included in the album. Additionally, Chronixx offers us another soulful track, “Pain in Your Heart,” which features a distinct sound compared to the rest of the album. The production is fresh, sharp, vibrant, and creative, all while maintaining a sweet soulful vibe.
“Resilient” has emotional depth; it portrays love as a partnership built on mutual strength while recognizing that no man can fully understand a woman’s pain. It may be one of the best-written songs on the album, offering a poetic, sincere, and deeply human feel over a simple acoustic arrangement. The song concludes beautifully as The Music Confectionery joins Chronixx in a performance that builds to a surprisingly powerful crescendo at the end. Sounding as though it could have come from Tuff Gong Studio, Harry J Studio, or Studio One in the 1970s, “Scheming” features that classic reggae riddim. While the song has a sweet and fun vibe, Chronixx warns about people with deceptive, two-faced intentions who will reveal their "dark ways" if given the opportunity.
The album concludes with a track titled “Love is on the Mountain,” featuring a heavy bass, acoustic guitar, and beautiful harmonies. Chronixx delivers a poignant message as the listener is encouraged to drift away into the music. This heartfelt ending offers comfort to grieving siblings, with lyrics that ask, “Sister, why are you crying? Brother, why are you weeping?” It serves as a reminder that sorrow is temporary and love endures. This tender conclusion leaves fans hoping they won’t have to wait another eight years for new music.
Chronixx takes us back to the early days of roots reggae, as well as the soul and R&B of the 1970s. I have to admit that I’ve never been a huge fan of Chronixx; his previous work just didn’t resonate with me the way other reggae artists have. Perhaps it’s because of the music I grew up with—those sweet reggae grooves and the 70s soul and R&B that influenced my early love of hip-hop.
However, I love this album and how Chronixx has seamlessly fused these different musical styles together. The combination works perfectly in most cases and touches my heart deeply. This album stays true to the essence of reggae while incorporating just the right amount of vibes from other genres. With Chronixx's amazing lyrics and flow, this album stands out as one of the top releases of a year filled with great music. I can confidently say that Chronixx has gained a new fan.
One Love – Todd M. Judd
Straight out of Alberta, Canada, and coming to shake your speakers – meet Pariah. Pariah is a solo project of Quinn McGraw. When asked about this project, Quinn has said, “Pariah is an invitation to find our voice again, to find what still burns, and to find the light when we wander in the dark.”
There’s a strange kind of beauty in endings — a tension between loss and liberation. On this hard-hitting 5-track EP, Swansong, Pariah invites listeners into that tension, guiding them through a landscape of introspection and transcendence. From the first note to the last, these five tracks feel less like songs and more like chapters in a story of falling apart, giving up, searching, and finally persevering and rising above.
The record begins with an intro titled “Find Him” – it’s a whisper in the dark, ambient drones and faint, almost ghostly vocal fragments; it’s disorienting, fragile, and completely compelling. By the time the sound swells into the ending vocal simply stating, “Find the Pariah,” you, as the listener, have already been pulled into a world on the edge, teetering between reality and a lucid dream.
Truly kicking off the EP is “Pendulum.” If the “Find Him” intro is the eye of the storm, “Pendulum” is the storm itself. The track swings relentlessly, rhythms and riffs moving like a pendulum in constant motion. Vocals shift from raw screams to hushed reflections, echoing the oscillation of emotion — anger, regret, despair — that can trap the mind in endless cycles. There’s no respite, only the thrill of being swept along, until it crashes into silence once again.
Silence, however, is never empty. “Wanderer” (feat. Heal the Heart) opens like the first breath after a fall. The collaboration with Heal the Heart adds warmth and an almost ethereal glow, a conversation between two voices searching for meaning. The lyrics read like diary entries from a restless soul:
“For meaning in this sorrow
No life to show, no hand to hold
With nowhere to hide
I know the Truth, forgive me of my selfish pride.”
“Wanderer” is the echo that follows silence — the scream that refuses to die in the void. It’s the sound of searching for answers in a place where none exist, of dragging yourself back from the edge just to see what’s left. Pariah turns heartbreak into a kind of reckoning: the shattering moment when you realize the person you built your life around has vanished, leaving only fragments of who you thought you were. “Wanderer” doesn’t just mourn what’s lost — it haunts the spaces where identity used to live.
“Infinite Hologram” takes the narrative deeper, pulling the listener into questions of reality itself. Synths shimmer like distant stars, guitars slice through like shards of glass, and the lyrics reflect on existence in a digital and fractured world; it’s both unnerving and beautiful, a moment of revelation and confrontation with the self as both fragile and infinite. Quinn has said, “It [‘Infinite Hologram’] is rooted in stoicism, specifically memento mori, an ancient reminder that we all die.” “Infinite Hologram” is slated for the next single release on November 25, 2025.
Finally, the EP closes with the title track, “Swansong.” The song unfolds slowly, almost tenderly, with Quinn’s more ethereal vocals that are both tragic yet uplifting. In the final moments, the music unleashes and pulls you in for the ride, finally closing the circle; the journey ends as it began — with silence, but transformed.
Swansong isn’t just an EP; it’s a light in the dark. Through each track, Quinn reaches for the fragments of himself that nearly vanished, proving that even in the shadows, there is light. He offers a haven for the lost and faithless, a place where your silent screams can finally be heard. Pariah has crafted something that lingers in the mind long after the music stops, a haunting reflection on endings, beginnings, and the space between. The next single, “Infinite Hologram,” is set to be released on November 25, 2025.
When you think of death metal, you typically don’t think of a band bringing much theatrics to the stage. Even in the more melodic death metal scene, theatricality isn’t the first thing to come to mind. Avatar has been an outlier, bringing a stage show to every one of their tours. They have hit the road again for their In The Airwaves USA ’25 Tour, making its second stop at the Observatory North Park in San Diego, CA. Avatar is known for bringing more out-of-the-box-style bands on tour with them, creating a more alternative show than one may expect. This time, they have death westerners SpiritWorld and New Zealand Māori natives Alien Weaponry. Fans showed up early to make sure to catch this creative bill of bands.
Opening the night was death westerners SpiritWorld. First stepping foot on stage, the band was adorned in western-style suits with custom embellishments and decorations. I really didn’t know what to expect from them, but launching into their first song, “Relic of Damnation,” they were here to get the mosh pits spinning. Vocalist Stu Folsom sings with an aggression that feels like he’s on the verge of punching you in the face. Guitarist Matt Schrum brought the heavy chugs to his guitar playing and threaded guitar solos that made you scream with the energy of the song. Bassist Nick Brundy and drummer Preston Harper kept the beat heavy and moving. This was the backbone that kept the mosh pit spinning. SpiritWorld brought their thrash metal sound to the victims of San Diego with songs like “Waiting on the Reaper,” “Moonlit Torture,” “Lujuria Satánica,” “Comancheria,” “Unholy Passages,” “No Vacancy in Heaven,” and ending with “U L C E R.” The crowd was sufficiently warmed up and ready to continue to let loose with the music left to come.
Up next was a band that I have been very interested in covering for a while now and was happy to finally get to check out. Alien Weaponry hails from New Zealand, and all three members come from Māori ancestry. They take their heritage to heart and infuse it into their lyrics, as many songs are performed in the Māori language. Drummer Henry de Jong started off the set by doing a haka dance behind the drum kit to welcome us into their world that we were about to experience. Even though we might not understand the lyrics that guitarist and lead singer Lewis de Jong may be singing when they are in the Māori language, he is able to sing with such emotion and feeling that we can still flow with the energy of the song. Bassist and backing vocalist Tūranga Morgan-Edmonds provides the deeper guttural growls that add fury and aggression to the songs. Driving the songs are the groove and thrash metal sounds that speak the universal language of “let’s destroy this place.” Alien Weaponry kept up this energy for songs like “Te Riri o Tāwhirimātea,” “1000 Friends,” “Mau Moko,” “Taniwha,” “Rū Ana Te Whenua,” and ending with “Kai Tangata.” Alien Weaponry proved that metal can be understood by anyone, and the crowd was along for the ride. Good music will always be good music, no matter what language it is in.
It was then time for our headliner. The lights went out, and a thick fog rolled across the stage and into the audience as four cloaked men slowly rolled onto the stage, illuminated by a single lantern. The band performed their opening number, “Captain Goat,” as these hooded entities, before disrobing and launching into “Silence in the Age of Apes.” This was when we got the Avatar we are all accustomed to. From the carnival/military-esque stage attire to the windmill-laden headbanging and larger-than-life personalities, Avatar had returned to California!
Vocalist Johannes Eckerström is the ringleader of this motley crew of fiends, and he performs like a televangelist preacher welcoming us all to his congregation, as we are nothing more than devoted followers to the rule of Avatar Country. Guitarists Jonas “Kungen” Jarlsby and Tim Öhrström know how to write catchy riffs that carry a bounce to them. That bounce lets the fans windmill to most of the songs. Bassist Henrik Sandelin helps keep the rhythm with a groove to his playing, while drummer John Alfredsson may be the second most animated man on stage as he is constantly locking eyes with the fans and making the most ridiculous performance faces. He always changes his drumming style up from a flowing technician to a more robotic humanoid moving via gears and pistons.
I personally discovered Avatar with the release of their album Avatar Country, which has Kungen as the king of the band, while the rest of the members were his loyal servants. This was a very thematic era, and I’m happy that the band still dedicates time to this era with banners of King Kungen dropping from the rafters, and King Kungen taking a seat upon a golden throne to perform “Legend of the King” and “Let it Burn.” We even got a moment when Johannes performed “Howling at the Waves” and “Tower,” accompanied by himself on piano, which gave these songs a more personal and intimate touch.
Fans were screaming and singing along with every song that Avatar was able to fit into their set, like “The Eagle Has Landed,” “In The Airwaves,” “Bloody Angel,” “Death and Glitz,” “Blod,” “Colossus,” “The Dirt I’m Buried In,” “Tonight We Must Be Warriors,” and providing us with a three-song encore of “Dance Devil Dance,” “Smells Like a Freakshow,” and “Hail the Apocalypse.”
Avatar gave us 17 masterful songs from their huge catalog of music, and though fans may have been sad to not hear a few of their older tracks, this was still a setlist to tear the house down. SpiritWorld kicked things off with a powerful punch to the gut of thrash metal brilliance. Alien Weaponry brought their Māori heritage to California, and the fans dove headfirst into this historical legacy. Meanwhile, Avatar continues to be the best theatrical melodic death metal band performing currently. The term melodic death metal might put some people off, but take a chance and go see this show live, and I can guarantee Avatar will win you over with their live show. This was only the second stop in their tour, so you still have plenty of chances to see them before the year is over.
On October 26th, 2025, The Troubadour put on a magical show in the form of music thanks to Voila with the support of Monotronic and Not A Toy. The whole space was filled with people wearing bunny ears, like the ones you’d see with a magician. Voila’s show in Los Angeles proved why their current tour is called The Magic Word.
Monotronic got the energy of the show started. I thought it was cool how the lead singer would point out towards the crowd. They somehow combined pop, rock, and electronic in a way that blended naturally—the kind of music that always brings good vibes to a party. You could tell the whole crowd was getting into it. It was refreshing to see the smiles on the band as well. Their music will have you feeling nostalgic. Their sound was calmer than the rest of the artists, but that made it special in a different way.
Not A Toy surprised me when they came on. They entered the stage like headliners and had the whole audience excited. The lead singer had on a killer fit too, with a long leather jacket that felt like it came right out of Gotham. To top it off, his confidence on stage was something you couldn't look away from. The raised platform on stage only added to that energy. One of the band members at one point played a keyboard guitar and, during another, had a violin. They performed a cover of Kpop Demon Hunters and "Don't Trust Me" by 3OH!3 like they owned it. They had everyone clapping for their song "The Maze" and "Sith Mode" brought the heat. Genuinely a band that I wouldn't be surprised to see headlining their own tour next year. Even though it was my first time discovering them, I can’t wait to catch them again.
Now, Voila knew how to get the whole crowd excited without even coming on stage. A voice announced them as "the magicians" and essentially had us summon the band. The whole audience got loud for multiple songs to show that we were ready for Voila. I love how they had their set separated into four different acts, with each act representing one of their albums.
The acts were Happy Never After, The Curse of Breathing, Glass Half Empty, and The Last Laugh. It felt very theatrical—even Luke’s outfit reminded me of a prince and a Victorian-era vampire at the same time. One of the songs that got stuck in my head during their performance was "FMK." Another memorable experience was when they had the lead singer from Not A Toy come up and perform "After(H)ours" with them. The result was absolutely electrifying. I frequently noticed Luke and Gus reaching their hands out to fans—you can tell these guys are masters at interacting with their audience. The fans they interacted with looked absolutely starstruck. Voila really puts on a spicy, beautiful performance that is a pleasure for the eyes and ears. Gus’s "staying-in-your-head-on-repeat" vocals and Luke somehow always looking cool no matter what he does on stage make for an undefeatable combo. Their music is poetically beautiful and deeply relatable. The whole audience came together to sing "Therapy" and clapped and sang along to "Something Blue."
There were so many hair flips and jumps on stage that you could feel the energy. The smoke on stage also just made everything look cooler. In terms of shows I’ve been to, this was the hardest to pick edits for because, honestly, this band does not have a bad angle. Genuinely one of the most photogenic bands I’ve ever seen. They have perfected rockstar energy and stage presence. For most of their set, until I decided to shoot from the balcony, I was right in front of the stage. I’ve got to say, this is a band worth making your way to the front of the crowd for.
Seeing them up close just added to the experience. There were moments, like when Luke was lying down performing, that just had a higher impact being up close. A moment that will always stick with me is the way the light was hitting when a fan came up on stage for them to do a magic trick. The magic trick involved her picking the next song, which ended up being "Girls Don’t Come With Instructions." It is never a dull moment watching Voila perform. I listen to their music almost every day, and seeing them live for the first time has honestly been one of my favorite shows to capture this year.
This is a show I’d relive again and again if I could. All the bands were spectacular and made for a truly magical night. If you want to feel serenaded but also dance your heart out, then you can’t go wrong at a Voila show. You know it’s going to be a good show when you see bunny ears everywhere.