Waylon Jennings – “Songbird” review

Waylon Jennings was a 64 year old singer/songwriter, musician, producer & actor from Littlefield, Texas notable for pioneering the outlaw country subgenre of country music. Standouts in his discography include Lonesome, On’ry & Mean, Honky Tonk Heroes, This Time, The Ramblin’ Man, Dreaming My Dreams & of course his output with The Highwaymen. However, the 3rd posthumous album albeit 47th overall in Waylon’s discography was unearthed last summer & it’s finally available everywhere.

The title track tenderly covers the Fleetwood Mac single of the same name off the band’s magnum opus Rumors whereas “The Cowboy (Small Texas Town)” from the I’ve Always Been Crazy sessions sings about Waylon’s humble beginnings. “I’d Like to Love You Baby” continues with a rendition of J.J. Cale song from his 3rd album Okie leading into “I’m Gonna Lay Back with My Woman” covering the outro of The Junkie & the Juicehead – Me.

Crystal Gayle’s debut single “Wrong Road Again”gets covered to reach the halfway point of Songbird just before “I Hate to Go Searchin’ Them Bars Again” goes for a barroom vibe singing about drinking too much in search of love. “The Brand New Tennessee Waltz” covers a song from Jesse Winchester’s eponymous debut while “(I Don’t Have) Anymore Love Songs” serves as a rendition of the highlight off the Merle Haggard classic Back to the Barrooms.

“After the Ball” starts the final moments of Songbird with Waylon recording his own version off the final full-length that Johnny Cash wrote solely by himself The Rambler conceptually themed around The Man in Black traveling that I find myself enjoying as much as the original version of it & the closer “Dink’s Song” retells the traditional folk story of a woman deserted by her lover when she needs him the most.

Waylon’s son Shooter has already said that Songbird was going to be the first of 3 brand new posthumous recordings from his father & the inaugural entry of this trilogy digs up 10 tracks made between 1973 & 1984 reintroducing a man who made outlaw country what it is today to a new generation of listeners. For a great deal of it consisting of covers, he breathes new life into them from beyond the grave & am hoping that there’s more material in the vaults that he wrote himself.

Score: 4/5

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Autumn! – “Rolling Stone” review

Lafayette, Louisiana rapper, singer/songwriter & producer Autumn! starting the 4th quarter of 2025 with his 6th LP. Gaining traction off all 22 of his previous EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records succeeding the Not Much Left EP, he made his major label debut 3 years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. Wick delivered a sequel to Solitary last spring, You Never Was Mine in the summer & ##B4B2MR in the winter. After going Back 2 My Roots this spring, he’s taking on the persona of a Rolling Stone.

The self-produced “Hermes Carpet!” opens with a pluggnb intro telling his ex that her new man can’t ever take his spot whereas “Keys to the Benz!” psychedelically talks about trying to see what’s going through his lover’s mind. “Eddie Wuncler!” gives off a bit of a drum & bass vibe venting over a woman trying to get with him prior until the confidentially tropical “Trip to the Islands!” talks about never getting back what was stolen from him.

“Rebound!” reaches the halfway point of the album with an ambient plugg direction discussing champagne being the only kind of pain he knows while “Tired of Running!” talks about wanting to make this chick his. “Caught in Your Storm!” describes the certain type of fire in his partner’s eyes on the pluggnb tip while “Waiting for Love!” promises to rob anyone who fuck with his romantic interest over a vocal sample.

The song “Private Locations” begins to wrap up Rolling Stone’s final moments with Wick talking about going from filling out job applications almost a decade ago to becoming a rockstar meeting with hoes discreetly while “When You Left! / 1 Way! 3” finishes twinuzis’ 2nd full-length of 2025 in the form of a 2-parter thanking the ex that inspired him to make the biggest song of his career, which the 2nd half is the trilogy chapter of.

“No More Talking!” starts the deluxe run with a psychedelic plugg beat making it clear that some of the money he be making isn’t all clean while “Get Out the Way!” shares that very same advice to anybody in his face who’s broke. The rage-inducing “Canon Event!” talks about being in the fast lane & after “Better Off Alone!” admits he was lost for a second, “Finally Rich!” finds himself unable to resist flexing on his competition.

We get some synthesizers during “No Breaks!” talking about being under the impression at a hoe made a wish in the shooting star a.k.a. his Wraith while “Critical!” explaining that this paper is all he’s getting as of late. “Chopsticks!” warns that he carries 2 Glocks on him as if he’s Mad Max & the final bonus track “Devil in Miami!” talks about praying for a woman who met Lucifer himself in the 305.

Standing beside Back 2 My Roots in terms of being the greatest material Autumn! has made since signing to 10K Projects regardless of the latter from this spring feeling repetitive to others, his production on this one primarily focuses on the styles of pop rap as well as trap & alternative R&B rather than maintaining the plugg/pluggnb origins he returned to 6 months ago giving a glimpse of where he’s at in his career almost heading into 2026.

Score: 4/5

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Detroit YB – “Losses 2 Lessons” review

Detroit, Michigan rapper & Hustle By Any Means Records founder Detroit YB returning after 4 years to release his 3rd studio LP. Breaking out by dropping the 3:13 & The Heart of My City EPs back-to-back almost a decade ago already, he would go on to follow it up with the full-length debut Hustle SZN & the sophomore effort caught himself finding Beauty in the Struggle. 4Closure was a great EP too & he’s back after so long to talk about him turning Losses 2 Lessons calling to make Jesus great again.

After the titular intro, the first song “A Talk with Jesus” starts up with a ghostly trap opener talking about desiring to connect with people on higher measures whereas “Mark 836” asks what good is it for someone to gain the whole world yet forfeit their soul. “Home Run” reflects on going from being to the backseat of the ride to the front & after the “Spoken Pain” interlude, “Adopted Pain” talks about being used to the style of living he’s accustomed to.

“Back Against the Wall” continues by proclaiming himself to be the one to call whenever anyone needs help making movement without breaking laws while “Aesthetics” talks about biters stealing his flow only to blow it because they can’t walk in his shoes. “The Vessel” featuring Fenesse the World finds the 2 teaming up to advise know where you’re going when leaving above the surface while “Toxic Whirlwind” talks about being meant to part ways with an ex.

After the “James 44” interlude, “Compromised” kicks off the 2nd half of the album by addressing his upbringings for almost 3 minutes whether it be starting out beatboxing or knocking someone up resulting in abortion while “13th Round” meshes some bells & hi-hats to talk about being in a whole different fight now. “Taking Up Space” works in some pianos & strings to buy himself peace after the pain he’s experienced while “Heaven Worth It” talks about those thinking like snakes still being serpents.

“Word Play” featuring Phenell puts their pens to the test seeing whose wordplay is the strongest while “Trip 2 Belize” takes a moment to think all by himself. After the “T.B.U.” interlude, “Thinking Bout U” recalls the first time he met his soulmate feeling like magic while “Neva Gona Lose” talks about not catching any Ls. “Make Things Right” soulfully wraps things up promising he’d fix things if he had his way.

It’s been quite some time since Detroit YB has had an entire body of work by himself excluding the Forever Soulo collaborative project with 1Way Monte over 21 months ago, but his transformation of Losses 2 Lessons breaks down his personal growth since the current decade nears the end of the halfway point taking us through the point of view of God himself providing tons of positive affirmations full of problem solving & healing.

Score: 4.5/5

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Taylor Swift – “The Life of a Showgirl” review

What can be said regarding West Reading, Pennsylvania singer/songwriter, actress, producer & director Taylor Swift that has been said already? From the successes of Red & 1989 as well as the superior Republic Records sophomore effort Folklore & it’s sequel Evermore to her engagement to Kansas City Chiefs tight end Travis Kelce, there’s no denying Taylor’s status as a global icon. The Tortured Poets Department was widely panned a year & a half ago, to which I can’t blame Jack Antonoff for at all since my issues lied more with the writing on “So High School” & “I Hate It Here”. The same woman who used to babysit the children of former CWA Heavyweight Champion, 6-time NWA World’s Heavyweight Champion, WWE Hall of Famer, 6-time WWE world champion, 3-time WWE United States Champion, 6-time WWE Intercontinental Champion, WWE Tag Team Champion, TNA Wrestling co-founder & AEW’s current Director of Business Development Jeff Jarrett said her 12th album was more lively than the bleak predecessor & I was wondering if that was the case.

“The Fate of Ophelia” in my opinion isn’t that bad of a dance-pop rock intro with cute little references to the Shakespeare play Hamlet while “Elizabeth Taylor” unfortunately marks the decline in quality not doing the late actress’ memory that much justice from the generic instrumental to the songwriting. On the contrary, “Opiate” was a decent dance-pop jam comparing the sky to opalescent glass & “Father Figure” botches the George Michael single of the same name.

We get some pianos all over “Eldest Daughter” singing about all the oldest daughters in families being the first lambs to be slaughtered just before “Ruin the Friendship” publicly addresses Jeff Lang. The worst song on The Life of a Showgirl by a landslide “Actually Romantic” oozes with bitterness over Charli XCX when brat singlehandedly clears Taylor’s discography & the derivative “Wi$h Li$t” somehow someway isn’t any better despite the topic of her dream life with Travis.

“Wood” starts the final leg of the LP with a sequel to “Out of the Woods” off 1989 that I can appreciate, although I can’t really say the same for my 2nd least favorite track here “Cancelled!”not living up to the “banger” Travis hyped it up to be whatsoever fumbling the cancel culture concept. “Honey” brings the keys back in the fold giving Travis a pass to call her by that nickname & the title track featuring Sabrina Carpenter thanks everyone for an unforgettable night.

The Tortured Poets Department was easily the messiest full-length in Taylor Swift’s entire discography & I’m very much happy for her & Travis Kelce’s engagement, but The Life of a Showgirl for a conceptual opus themed around being an entertainer doesn’t compel me like The Rise & Fall of Ziggy Stardust & the Spiders from Mars or The Wall. I prefer what Jack was going for last time as opposed to the pop, pop rock, contemporary R&B, alt-pop, dance-pop & urban cowboy production Max Martin & Shellback go for coming off bland.

Score: 1.5/5

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Joker Starr – “Sidenote” review

Slough, Berkshire, England, United Kingdom emcee/producer Joker Starr making his Boot Records debut with his 7th studio LP. Dropping his debut mixtape Raw Spittage in 2011, he would go on to follow it up with all 6 of his previous full-lengths as well as 3 extended plays & a beat tape. My personal favorite being G.A.W.D. (God And Wisdom Driven) mostly produced by Micall Parknsun & of course Gawd Status’ debut Firmamentum. Both of which came out in 2019, conceiving Sidenote during the COVID-19 pandemic the next year.

“Same Old Flow” featuring Chima Anya finds the 2 joining forces to dismantle rappers who can’t switch shit up whereas “Don’t Try to Test” featuring Anyway tha God & produced by Micall Parknsun goes for a boom bap vibe talking about not being the ones to fuck with. “Stop Acting Like a Pussy” featuring Micall Parknsun turns up the aggressiveness flaming dudes for being spineless leading into “Let’s Be in Love” featuring Anyway tha God soulfully getting romantic.

Big Cakes appears on “Cold So Bold” to kick off the 2nd half spitting hardcore lyricism over a boom bap instrumental until “For the Legacy” & “Divine Blessings” both feature Anyway tha God over more Micall Parknsun instrumentals, talking about why they still make music & expressing their own gratitude. The raw yet lo-fi title track featuring Marv Won spends the final minutes of Sidenote calling out people for moving with their eyes closed.

Regardless of putting Boot Records in the same conversations as YNR Productions regarding both labels being around for decades yet neither of them have released a lot of music in recent years as opposed to High Focus Records or Blah Records constantly staying busy, Sidenote was more enjoyable than Gawd’s Children although I would’ve loved to hear a song where Joker Starr’s rapping by himself even if a majority of the guests are revered in their own fields.

Score: 4/5

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13° – “Black Fridayz” review

Chicago, Illinois rapper 13° making his full-length studio debut. Starting out a couple years ago off his first couple mixtapes Urban Junkie & Metropolitan respectively, he would go on to follow both of those up with Uptown Dropout as well as Clique City & it’s sequel. His debut EP Cyber Sundayz a little over a couple months ago caught the attention of Island Records, who recently signed the Chi-Town up-&-comer to make a wider exposure on Black Fridayz.

“Intercontinental” was a boisterous trap intro produced by longtime collaborator Gyant advising that anyone who doesn’t give a fuck about up should from hereon out whereas “Rooftopz” hooks up some synthesizers to talk about the love this woman is giving him makes him feel right at home. The title track lets everyone in on exactly how chaotic his mind can be just before “Fake Killa” talks about nobody saving him if he goes the wrong way.

Pop rap, trap & future bass all collide during the single “Champain” feeling like a king when he steps in the room while “Lil Mama” encourages the apple of his eye to put on the dress he got her & get geeked. “Chiraq Child” featuring lil2posh finds the pair coming together to talk about growing up in the Windy City leading into the standout “Palace” produced by BNYX of Working on Dying flexing his current status.

“Spike Snapback” starts the final leg of Black Fridayz by keeping a firm grip on the gas pedal while “I’m Turnt” psychedelically talks about his life being lit these days. “Exotic Strippaz” throws it back to the Clique City era while “Ghetto Hipster” talks about being fashionable & hood at the same time. The closer “Drive Safe” finishes 13’s debut pleading to stop telling him to be patient when he’s losing patience.

Allegedly his final hip hop project, it’s hard for me to say what’s next for 13° but what I can tell you is that Black Fridayz maintains the trap/pop rap fusions that made Clique City 2 so special & turns it up to 11 now that he’s got Island Records supporting him. The production feels modern & nostalgic at the same time, taking up the half hour of his major label debut to reach a wider crowd using distinctive flows.

Score: 3.5/5

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Bryson Tiller – “S O L A C E & The Vices” review

Louisville, Kentucky singer/songwriter & rapper Bryson Tiller dropping off a double 5th full-length album. Beginning over a decade ago off his debut mixtape Killer Instinct, he would eventually sign to RCA Records & release the ground breaking debut T R A P S O U Lcelebrating it’s 9-year anniversary this fall. The sophomore effort True to Self was underwhelming & A N N I V E R S A R Y proved to be a step in the right direction but coming off 4 more tapes & EP since (more recently the Slum Tiller trilogy, Bryson’s coming off a divisively received eponymous LP to put out S O L A C E & The Vices.

“Strife” opens the 2-disc experience singing over a trap soul instrumental with some synthesizers about a toxic relationship whereas “No Contest” blends R&B & drill to apologize for cheating in the past. “Workaholic” produced by Charlie Heat is a favorite of mine singing about being afraid of going broke in 2018 & the same can be said regarding “I Need Her” from Charlie handling the drums, synths & bass to the yearning lyrics.

Boi-1da brings a woozier R&B vibe to “Autumn Drive” singing about having to take a leave from the city while “Crocodile Tears” has a bit of a cloudy pop rap approach to it looking back at the fun times of when he was down financially during the late 2010s. Charlie Heat kills it with the instrumentation once more on “Genuine” singing about having a hitlist prior to “Uncertainty” calling someone out for false pretense.

“Damn” once again combines cloud rap & pop rap figuring out how this dude stole his chick while “Sick” feels less of an interlude, singing for 100 seconds about being fed up with all the judgement around him. “Star Signs” embraces a contemporary R&B sound feeling like his lover’s heart belongs in his home & after “Harley’s Outro”, we have “On My Way” setting the tone of Disc 2 with an average attempt at sample drill talking about his global travels.

Charlie Heat’s sampling of “I’ll Give All My Love to You” by Keith Sweat throughout “1st Place” was done tastefully finding Bryson running up $25M while “Cut Ties” featuring Bossman DLow talks about turning off their phones for the evening to hang with friends, except I could’ve done without DLow’s verse. “Mini Kelly” featuring Rick Ross flips one of my favorite Kanye songs “Flashing Lights” to ask why try finding solace through their vices when they’ve split up while “200 Bands” featuring Plies & T-Pain throws it back to the late 2000s.

“Money Shower” a lot like “Sick” comes off as an actual song of it’s one from the ghostly trap beat to directly tackling the topic of his wealth while “More Than Money” sings about giving all the fame & paper for the woman he’s seeing currently over another Charlie Heat instrumental. “Make Life Easy” featuring BabyDrill team up for a moderate take on Chicago drill while “No Sharing” featuring Luh Tyler shows the hoes who they really cherish.

The song “Last Call” asks what it’ll take to have the female in mind drunk call him over synthesizers & fingersnaps from Hitmaka referencing the iconic Ginuwine single “Pony” while “Burnout” featuring Bun B gives a nod to H-Town down to the chopped & screwed undertones of it. “Finished” ends the album with a trap closer rapping about the criticism he got for his association with OVO Sound when Drake almost signed him to the label at 1 time.

S O L A C E & The Vices in 1 hand comes across as a somberly vulnerable R&B/trap soul therapy session considering Bryson Tiller says some things he wouldn’t normally say out loud inspired by the fall season that has only recently begun & in another, he’s leaning heavier towards his hip hop influences although the guest list is a bit of a mixed bag. I’d also consider Charlie Heat’s bulk of the production to be stronger than self-titled’s.

Score: 3.5/5

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Elcamino – “Mino” review

Buffalo, New York emcee & singer Elcamino celebrating his birthday last week to drop his 6th studio LP. Blowing up in 2017 off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. They Spit on Jesus proved to be a well received Black Soprano Family Records debut becoming the first Camino project that I had covered since On the 3rd Day & that much like No Weapon Formed Against Me was an improvement over some of the material we’ve gotten from him in recent memory. 6 months after having Real Bad Man produce The Game is the Game followed by Ill Tone producing Built for Cuban Links named after Raekwon’s iconic solo debut Only Built 4 Cuban Linx… produced by RZA in addition to flexing his Millionaire status & Full Moon showing a heavy Future influence. Martyr’s Prayer III produced by 38 Spesh made for a gratifying conclusion to the beloved trilogy & has released Mino a couple months after the Gold Bricks 2extended play.

“Think About It” produced by Ill Tone was a triumphant intro flexing the stripes of putting on young lords since Griselda’s time with Shady Records whereas “Bobby Knight” featuring Benny the Butcher & French Montana references the late General over a Hitmaka instrumental, although I would’ve preferred it more without French Montana’s verse. “Godson” takes a more soulful approach making money off shit he’s been doing since he was a kid while “We Shall Overcome” featuring 38 Spesh finds beauty in the struggle.

Benny reunites with Elcamino over synthesizers & hi-hats for “N.I.A. (N****s is Art)” talking about only coming out when it’s dark outside just before “London Gatwick” returns to the boom bap for some of the hungriest performances on the entire project. “Salvation” featuring Cory Gunz & Inspectah Deck jazzily brings redemption to the way they drop their verses while “Magic” featuring Boldy James & Double D gives a nod to the Magic City strip club named after Jermaine Dupri’s comeback album.

“Ahead of Themselves” wraps up the final moments of Mino turning the jazz rap influences back up talking about a group of individuals he gave game to taking action without proper preparation & “Been Thru It All” featuring Kenyada Nikile properly concludes on an soulfully introspective note reflecting on everything that both Meechy & Kenyada have experienced in their lives trying to live another day improving their conditions. More specifically what was seen in the streets.

Starting the deluxe run, “Superior” hops over an exuberant trap beat to put his bitch in all kinds of shit while “King” talk about still pledging allegiance to crack & it’s customers. “Don’t Change” works in some sampling to describe himself as a mogul in the making & succeeding the soulful “Bruv’s Coming” talking about lampin’ for almost a week, the final bonus track “Prime Ministers” featuring Estee Nack finds the 2 hittin’ finishers.

When discussing Elcamino’s output under the Black Soprano Family umbrella, Mino‘s production mostly handled by Ill Tone harks back to They Spit on Jesus when he made his official debut for the label firmly stands with Spesh’s all over the recent Martyr’s Prayer entry. Unquestionably the most consistent he’s been on B$F since The Game is the Game, it captures Ill Tone’s sonic evolution these past 24 months & prominently personal concept.

Score: 4/5

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iam3hard – “World War III” review

Here we have the 4th studio LP from Atlanta, Georgia rapper iam3hard. Coming up in 2023 off his first couple of extended plays Down 2 Win & The Bandlab Beast, his 3rd EP Dissimilar Prevalence produced by Whyceg succeeding his full-length debut The Bandlab Bandit has become his most celebrated work & the sophomore effort WDF 3HARD followed a couple months later. Before I Sign & Willing to Die For both resulted in 3hard signing to Cegular Records, making his debut for the Sony Music imprint with 3x Harder & has been prepping for World War 3.

“Bearcoat” produced by Goxan starts off with an dark plugg opener talking about hanging out the window with a suppressed firearm whereas “Black Glock” hooks up a bell-heavy plugg instrumental from Whyceg painting imagery of the gangsta lifestyle running up carrying that specific type of gun on him. “Meds Works” takes a cloudier trap approach thanks to SOULJASPIRITS talking about Cegular doing fuckboys badly while “TSR” boasts of him spearheading the way for artists to get signed.

Nearing the end of the 1st half, “Ford Focus” incorporates some strings & 808s boasting the kind of whip he’s getting head inside of just before Trgc goes for a terror plugg vibe talking about never spinning the music of a rat whose mixtape isn’t selling very well. “Micro Jackson” finishes the 2nd quarter flexing that he & the rest of the squad gotta stay classy when pulling up to the clubs while “The Service” shifts towards a dark plugg sound talking about him still servin’ his housing projects.

“Wet Em decently gives off a more traditional plugg atmosphere continuing to hit listeners with more gangsta rap lyricism, but “What” felt like a better attempt at it despite its 96 second brevity. “Bob the Builder” gets referenced almost a couple months after J.I.D said he’d put a bullet in the general contractor while “Southlake” featuring 2sdxrt3all recaptures the synergies of their collab EP Burn the Booth Down.

The song “On Gangy” winds down World War 3’s final minutes hopping over a plugg instrumental talking about really having it out the pavement while “Shrek & Donkey” wraps things up talking about being more pissed off than the titular character of the Comcast Corporation subsidiary NBCUniversal division DreamWorks Animation’s flagship franchise & his best friend ahead of the upcoming 5th installment set to hit theaters in the summer of 2027.

3x Harder marked a huge improvement in quality compared to iam3hard’s earlier material & not only has he already outdone himself, there’s a pretty good chance World War 3 will be coming in conversations regarding 3hard’s greatest material much like it’s predecessor joining both Babystaydown & Pradabagshawty in further establishing Cegular Records to be a prominent plugg label. The plugg, dark plugg, terror plugg, cloud rap & trap production feels unparalleled compared to the last album & the same can be said regarding the Atlanta artist’s gangsta-lenient themes.

Score: 4/5

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SPRINTS – “All That’s Over” review

SPRINTS is a garage punk, noise rock, post-punk & garage rock revival band from Dublin, Ireland consisting of bassist Sam McCann, drummer Jack Callan & frontwoman/guitarist Karla Chubb. Releasing their full-length studio debut Letter to Self at the beginning of last year to lightly moderate reception, I was a lot more interested about their sophomore effort here going into it based off some of the singles we got building up towards it & learning that they had signed to the historic Seattle, Washington indie label Sub Pop Records.

“Abandon” opens up with a goth rock intro singing about all hope being left behind whereas “To the Bone” turns up the gothic influences painting the image of a dark evening. “Descartes” meshes alt-rock with post-punk revival & noise rock telling those growing disillusioned & angry with the world that hope’s around the corner while “Need” questions the love of this person that Karla needs in her life.

We get more goth rock vibes on the b-side single “Beg” poking fun at the idea that often it’s those in positions of power that preach their moral codes & judgments whilst committing the most heinous crimes themselves but once “Rage” embracing a garage rock direction calling out the false prophets & false promises, “Something’s Gonna Happen” observes a wave breaking beneath the brim asking that very question.

“Pieces” makes a final call of distress pleading for help after a woman left Karla’s mind a state of undress while the final teaser “Better” takes inspiration from My Bloody Valentine’s shoegaze landmark of a sophomore effort Loveless. “Coming Alive” speaks of the attempts to break Karla apart & “Desire” sends it all off singing about a fear inside this woman bringing up a fire.

Set against the backdrop of a litany of atrocities, SPRINTS’ inaugural opus under Sub Pop Records finds themselves trying to make sense of it all during the course of All That’s Over doubling down on the visceral spirit of fierce artistic honesty that’s always been at heart. They push their dynamics into richer territory mixing alternative rock, post-punk, garage punk, gothic rock, grunge, noise rock, shoegaze, garage rock revival & post-punk revival whilst observing the world on the verge of apocalypse.

Score: 4.5/5

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