The album alternates between rock songs and other styles.

The title track takes the lead, opening with guitar and male voice who we hear sing ‘It’s you I’m thinking of’ and ‘We’ve found the future of love’. It radiates joy, lifted by a recurring ‘la la! la la!’ hook. The interplay of vocals and instrumentation keeps the song vibrant throughout. At one point, the singer’s voice soars, stretching the word ‘special’ in ‘we were something really special’ into a lingering, emotional flourish. Though I’ve talked about the song radiating joy, there’s something sad about the ‘we were’ part. It seems to me to speak of a love that’s no longer there.

‘The Waterslide’ follows. The crunchy electric guitar gives the song its rock-tinged, upbeat energy. A male voice leads, accompanied by a female singer who, though uncredited on Spotify, takes a brief solo at one point. This is one of those tracks you find yourself picking up a guitar to play along with. Nearly flawless, the instrumentation is edgy yet restrained, never overdoing it. The singer croons ‘Let’s talk about us’ before sliding into playful lines like ‘Climbing up the waterslide’, rhymed with ‘falling down the other side’. Themes of connection surface in ‘Some people think that they are alone in this life’ only to be encouraged to ‘get it right this time’. Now and then the song throws a joyous ‘na na na!’.

‘This is Going to Hurt Tomorrow’ features Jessie Jenkins. Though there’s a drum kick, the tempo and energy are low here, perhaps fitting for a song with a title like ‘hurt’. The lyrics evoke a sense of intimacy, beginning with the sugar rush of falling in love – the often-overwhelming feelings of early-stage romance. There are many themes of love to be drawn from the song. One of them is calling the partner to look inside the other, to discover what they see.

At one point, one partner runs their fingers through the other’s hair, a gesture they describe as ‘strange’. What they know, though, is that it’s going to ‘hurt’ tomorrow. This is a song of contradictions, or perhaps paradoxes. Whatever the pair do to each other, strange though it may be, tomorrow they’ll see things differently. And if that evokes imagery of pain or sorrow, there’s still hope that comes from the line that they are beginning to be alright.

‘We Fade’ returns us to rock territory. Accompanied by drums, the guitar takes on a crunchier tone, and the energy begins to overshadow lyrical clarity. The singer opens with the question: ‘Who said to you, “I don’t know?”’ – uncertain about who truly believed in them. At one point, the guitar yields to the drum kick. ‘Fade. We Fade. We Fade.’ There’s a palpable emotion here, with the note at the very end drawn out in elongation.

Lyrical clarity returns on ‘A Beautiful Day in Anytown’. The song’s driven by drums and kick, with guitar licks appearing intermittently. The song opens with a speech-like declaration about a man whose practiced smile reaches toward the heavens. While there’s a hint of gaiety in this description, it’s immediately undercut when we learn he was ready to drink poison. Yet the song doesn’t linger on this darkness, instead shifting to a celebration of a beautiful day in any town. It closes with the cynical spoken line: ‘The American dream is dead.’

‘Hello Sun’ is addressed directly to the sun, which the narrator admits they often take for granted. The song captures our affection for sunlight and, perhaps, summer itself. It welcomes the sun, with the narrator speaking in the third person, bidding ‘goodbye to winter.’ Curiously, there’s a sharp cry of ‘goddamn’, ironic given that we’ll hear that the sun makes life sweeter for them. Beneath it all, a soft, clean yet slightly crunchy guitar plays alongside an unrelenting bass and splashy, one-hit drum. We hear the line: ‘A little warmth is all we ever wanted’. 

‘We Love as Love as We Are Loved’ is primarily a guitar-driven song, though drums enter at a later stage. Featuring Joan Hoctor, the narrators bring us into the present moment, where they feel vividly alive. Yet, they also feel small, overwhelmed by a world gone mad and its reflection on their own sense of sanity.

‘Deep Water Swimming’ also features Joan Hoctor. The’s an understated continuous kick that goes with some clean guitar sounds. At one point, we hear that while they don’t know whether they’re winning, they’ll keep on swimming. The singers at points alternate between themselves. The alternation emphasises one of the song’s messages when after David Harries has sung that he always thought he could ‘find a love to call our own’, Joan Hoctor sings ‘Deeper, deeper! Deeper than the world’s ever known’.

There’s soulful instrumentation and singing on ‘4^th of July’, a song featuring Jessie Jenkins. I usually associate the 4th of July with American independence, and in South Wales the date carries no particular significance. Yet, for our two narrators, it holds weight. They admit they don’t know why they chose it – only that people often call it a special day. The narrators reflect on the line ‘she fell in love with you’, adding, ‘I do too’. It seems to tell the story of a love just out of reach, a fleeting passion they had hoped would endure. They think of this person constantly, longing to be by their side. In the end, it’s a heartbreak song it seems to me.

‘What Lovers Do’ closes the album. The song opens with lively drums before a soulful guitar slides in. Soon, a faint, heavy-crunch guitar hums beneath the rhythm, adding depth. Vocals come not only from David Harries but also from others, giving the track a layered feel.

The narrator speaks of changing his mind as easily as changing clothes, refusing to simply do as he’s told, letting the future unfold on its own terms. There’s a touch of rhyme in the delivery. He reflects on having seen the best in his lover, on having watched them endure hard times, and now senses that the ‘future’s breaking through’. It marks a turning point, a moment to embrace what lovers do best – holding hands, making promises, caring for one another – with the narrator guiding the way.

At one point, the voice soars, stretching out and leaving the instruments to carry the space. When the singing returns, we hear a series of cautions: don’t scratch at the wound; don’t live in reverse; don’t sugarcoat what you’ve seen; and accept that not every dog has its day. Against this backdrop, the refrain offers its remedy: do what lovers do. The song closes on a laugh.

SCORE/Good: This is a good album. I enjoyed the rock and roll elements, especially the crunchy eletric guitar sound. Another commendable thing is how many vocalists contributed to the album. With a title like ‘The Future of Love’, I think the band set high expectations when it comes to their subject: love.

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The record opens with What’s Wrong, a track built on a classic alt-rock riff that slowly evolves into a dreamy, melodic arrangement. The guitar tone is warm and engaging, while the rhythm section keeps the pulse steady and inviting. Freddie’s vocals call to mind the likes of Slaughter Beach, Dog, with a delivery that is understated yet expressive. The chorus has a natural catchiness that makes you want to nod along, even as the lyrics repeat and lean toward simplicity. It is a strong opener because of its atmosphere and production polish, setting the tone for what follows.

Take It Back shifts into heavier territory, introducing a slower but weighty guitar sound that hits with impact. The track has an undeniable groove that makes it danceable, though the vocals sometimes sit too far back in the mix. A touch more polish in that department would have elevated the song, but the overall production remains solid. Lyrically, it is straightforward, expressing nostalgia for the past without much poetic layering. Still, the instrumentation keeps it engaging, proving Freddie knows how to craft songs that resonate through feel rather than complexity.

The standout of the EP comes with Island Time. The opening guitar line recalls the intricate twang of Midwest emo and math rock, and it quickly establishes itself as the most compelling instrumental work on the record. Every element, the guitar, drums, and vocals, melds seamlessly here, creating a song that feels both intricate and effortless. Lines like “The rain hits the trees, I don’t feel the water on me” capture a sense of reflective detachment that suits the instrumental tone perfectly. It is polished, catchy, and arguably the high point of the collection.

Exposed raises the volume with its heaviest introduction yet, beginning with pounding drums before launching into a guitar riff reminiscent of Nirvana and Led Zeppelin. This is where Freddie’s classic rock influences shine most vividly. The vocals lean into a more traditional American rock style, and the inclusion of a guitar solo gives the song added texture and dimension. The solo, in particular, suggests that Freddie could benefit from exploring extended instrumental passages more often. While it might seem unusual to position the EP’s most aggressive track in the middle rather than at the end, it provides a jolt of energy that keeps the record from slipping into predictability.

Closing track Hitchhiker slows things down again, pairing a steady drumbeat with contemplative guitar lines. The song builds patiently, pulling the listener toward its chorus with a sense of quiet anticipation. The lyrics deal with running away and seeking freedom without knowing exactly where the road leads. Lines like “Hitchhiking away from home” and “On this journey I will roam” are direct and uncomplicated, but their honesty aligns with the song’s wandering spirit. It is a fitting conclusion that ties back into the themes of searching and escape that run throughout the EP.

Taken as a whole, The Space Between Days showcases an artist with a clear grasp of mood and texture. Freddie Gibbs may not push boundaries with lyrical depth, as the words tend to stay on the simpler side, but his musical instincts more than compensate. His guitar work is consistently strong, his arrangements are well-balanced, and the production ensures that every track feels polished without losing the raw edge that defines his sound.

SCORE / Excellent – This EP is not about intellectual complexity but about emotional release and sonic impact. It captures the spirit of the ‘90s while reimagining it for a modern audience, proving that sometimes the most effective music is the kind you can feel in your bones rather than dissect line by line.

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The confrontation unfolds through a series of rhetorical questions that ask the person to imagine different scenarios.

“Don’t Look Down” starts softly with some piano keys, soon accompanied by the strumming of a guitar.

Lyrically, the narrator asks the addressee whether they’ve ever put their life on the line. The key question, however, is the second one, which is reflective in nature. By assuming the addressee has indeed taken that risk, the narrator is interested in how the experience made them feel.

The intersection of emo and Nirvana – Kyra’s influence – lies in their exploration of relational struggles.

The piano and guitar are soon joined by distorted guitar and drums, creating a soft, grunge-tinged sound – lighter than the heavy distortion of Nirvana’s “Smells Like Teen Spirit”.

The songwriting might have been even more compelling if the narrator had revealed more about being figuratively shot from behind.

Vocally, Kyra Jess alternates between styles – starting with half-sung, speech-like lines before dynamically shifting into full singing. This alternation heightens the emotional impact of the single while keeping the listener engaged, giving the song a lively energy. It also showcases Kyra Jess’s comfort and skill in navigating different vocal modes. Later in the track, following a surge of charged singing, she returns to near-spoken lines: ‘Don’t breathe’; ‘Don’t look’. Having been betrayed, the narrator urges the addressee to set aside emotional defensiveness and face their past mistakes with courage.

The track demonstrates high-quality production and mixing, featuring fairly well-defined instrumentation, controlled dynamics, and a cohesive overall sound.

Kyra Jess demonstrates a clear artistic voice and a keen sense of emotional expression, even if her approach doesn’t push into radical or aggressive territory. She channels influences like grunge and emo with restrained elegance, crafting a style that feels familiar yet heartfelt, showing an appreciation for the traditions she draws from while making them her own.

Score/Good. Kyra Jess softly transports the listener to the world of emo and grunge-tinged music. She elegantly explores a tricky subject.

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The opening track Black Moon sets the tone with a heavy drumbeat and distorted guitars that rumble beneath quietly mixed vocals. Lyrically, it is a raw exploration of grief and reconciliation following the loss of the songwriter’s father, its imagery of mourning mingled with mundane detail making it strikingly human. “You’re everywhere even though you’re nowhere, you and I forever entwined” captures the paradox of absence and permanence in mourning. While the repetition in the arrangement can occasionally veer toward monotony, it also helps embed the song’s themes and leaves behind a hypnotic aftertaste.

Do You Believe follows with sharper energy, guitars cutting through the mix with precision and urgency. The track, which explores breaking free from the grip of those who inflict pain under the guise of control, balances lyrical vulnerability with instrumental drive. “Here, all at once, I am mine, not for anyone, do you believe?” is both a declaration and a challenge, delivered with conviction against driving guitars that nod to the likes of Joy Division. Its sound is powerful, moving, and among the most immediate moments on the EP.

The EP’s centrepiece, Charles Manson, is not about the cult leader at all but instead about the danger of manipulative ideology and the ease with which it can spread. “And it’s over before it’s begun, switched scripts while you stared at the sun” reflects the suddenness with which deception can take hold. Musically, it boasts some of the clearest vocals on the record and the tightest production, with layers of instrumentation weaving into a rhythm that feels both vintage and sun-soaked. It is deceptively simple, slightly repetitive, but undeniably effective and inviting in its groove.

Reverie lightens the mood with its summery, head-nodding rhythm that still grapples with heavy lyrical themes of loss and imperfect parental love. “Once there was a man who reigned, crowned himself, though by false claim. Love him like a son, teach your children well” shows Etienne’s attempt to reconcile flaws with affection. The vocal layering here adds an unexpected depth, making the track one of the most engaging moments on the record. Its melodic pull and crisp mix make it both replayable and immediately memorable, bridging the introspection of the EP with a more uplifting sonic approach.

Distortions dives back into darker territory, with guitars reminiscent of Pixies and vocals that remain raspy and brooding. “Feelings take over and lie to you, survived another silent coup” captures the sense of spiralling inward, where the mind itself becomes hostile terrain. While the vocal performance doesn’t venture far from the delivery established earlier in the EP, the cohesion between instruments and mood results in a track that lingers with weight and resonance.

The closer Feathers brings everything full circle, tying together themes of depression, isolation, and perseverance through a sharp 80s-inspired guitar lick and rapid-fire vocal delivery. “Are your feathers torn and frayed are you falling under your weight?” frames its allegory of a bird lost and searching for a place to land. The mix occasionally lets the vocals fall behind the guitars, but the overall balance maintains momentum and closes the EP on a strong note, encapsulating the tension between fragility and resilience that runs through the record.

Overall Friction Machine is a well-crafted EP that showcases Dead Parties’ ability to merge classic alternative influences with a personal lyrical lens. The production work across Barcelona, Glasgow, and London has left the songs lush without diluting their edge, and the consistent guitar work anchors the project with strength and clarity. At times, the vocals sit a little too far back in the mix or repeat familiar patterns, yet the melodies and themes remain engaging enough to hold attention across six tracks. The EP demonstrates not only Etienne’s capacity for writing songs that resonate emotionally but also his knack for creating textured, immersive soundscapes that stand alongside his influences while carving out his own voice.

SCORE / Excellent – At its best, Friction Machine feels like the kind of record you want to play loud, lose yourself in, and return to when you need something both raw and beautiful. Go give it a listen!

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The success of Chicago-hailing musician Tim Hort stems from his numerous musical talents as well as his previous involvement with several industry big names in his illustrious career. Having gained widespread recognition for performing with the band The Radio Hour, his solo endeavours and his work as a live musician and publisher, Hort’s experience is varied and allows him the ability to generate flawlessly produced music brimming with heart and soul.

His new solo album ‘Famine’ delights with the artist’s alternative sound that bounces back and forth between rock, folk, country and many more genre influences. This time, he collaborates with prominent music producer and mixing engineer Doug McBride, who has worked previously with a whole host of superstar artists such as Fall Out Boy, to craft an album that feels wholly sensitive and evocative in its simplistic beauty.

Listeners are introduced to the album through ‘July Island’, which is a slow burn folk-rock ballad that progresses from soft keyboard notes and tentative guitar strums to Holt’s building vocals, which echo with a serene wistfulness that lends the track a wondrously introspective tone. As the lilting notes of an acoustic guitar mirror Holt’s melodic hums, the track soon builds with the help of mid-tempo drums and an electric guitar accompaniment, which pleasingly melds with Holt’s melancholy vocals. While the song never ventures out of its steady beat and soothing alt-rock style, the music exudes a deeply soulful ambience through its winding melodies and the singer’s powerfully moving voice.

The lulling of an electric guitar sets a dreamy scene for the haunting vocal performance that greets audiences in the second track, ‘Dissolve’. The combination of an electronic drum track, gentle guitars and Hort’s mournful vocal performance is expertly orchestrated to create an affectingly solemn soundscape that will leave listeners undoubtably enthralled. Lyrically, Hort howls of loss and hopelessness like a broken man; the low-key instrumental allows his expressive vocal calls to ring out with a startling resonance that is immediately arresting and heart-wrenching.

A lone piano melody serenades audiences at the beginning of ‘From the End of the Earth’ as listeners are drawn gently into this tender folk-rock song. The delicate ambience that is crafted throughout the track is sincerely moving; the singer’s sombre vocals paired with the song’s muted percussion and piano cords surrounding listeners like a powerfully meditative lullaby.

‘Chain and Sky’ drifts in calmly on the soft strokes of an acoustic guitar that is soon joined by Holt’s poignant croons that resonate with the musician’s captivating ‘dark Americana’ style, which also seems to incorporate an alternative folk-rock edge through the rawness of Holt’s vocals. The lyrics detail the regrets over losing someone and are tinted with self-loathing (“The only thing I see are devils, I’m wondering why I lost you…”); the singer’s reminiscences lent weight through the song’s simple but stunning composition.

The minute and a half instrumental track ‘491’ is another jewel in this album’s collaboration between Tim Holt and Doug McBride; its dainty acoustic guitar melody enchanting audiences with its somehow nostalgic charm, and providing a pleasant bridge into the dynamic ‘Seems Right’.

The bouncy tempo of ‘Seems Right’ sets an uplifting tone to the track as drums, bass and guitars groove in unison even though Hort’s lyrics sound as cynical and accusing as ever (“Here’s to the killing sky, Those proudly beaten blue eyes”). The singer’s voice as always is threaded with emotion and intent as Hort strips listeners down through the undiluted passion that makes up such a massive part of his vocal style. The fading notes of the piano mark the end of the track as well as the beginning of a tonal shift that takes audiences from an upbeat high to an introspectively fragile calm.

This is in preparation for the last track on the album, ‘Spies in the House’, which may well showcase Hort at his most emotionally vulnerable and uninhibited. Amidst sweet guitar chords, the artist’s voice soars with a grace and beauty that will easily captivate listeners on their first listen through. The lyrics are bittersweet yet with an undertone of hope (“If I see you again, I will tell you something”), giving the acoustic ballad a powerful gravity that is as beautifully crafted as it is mesmeric to hear.

Score/Excellent: Tim Hort lays all his cards on the table in this symphony of delicately sung acoustic hits, upbeat alt-rock jams and soulful folk-rock tracks – all of which succeed in capturing the hearts and thoughts of listeners. ‘Famine’ proves you can count on the multitalented Hort to deliver powerhouse vocal performances, emotionally driven genre-bending compositions and poignant lyrics in abundance.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The band’s approach to production is restrained but deliberate. Grooves pulse in the background, keys shimmer in the foreground, and silences are used with as much intent as rhythm. Each track feels like a staged performance, as though the music is there to create an atmosphere for Russek’s narrations rather than overwhelm them.

“Once a Heart is Broken (Humpty’s Defeat)” begins with smooth keyboards and bass, immediately setting a contemplative tone. Russek’s raspy vocals take the spotlight, sometimes at the expense of balance in the mix, as his voice tends to overpower the instrumentation. Lyrically, it veers toward simplicity, yet lines like “You’re alone and empty on a crowded street” manage to land with resonance. The keyboard work is the song’s strongest element, pushing the track forward when the vocals threaten to stall it.

“Let Down Your Hair (Rapunzel)” leans more into guitar-led storytelling. The guitar solo is easily the highlight, executed with confidence and flair, while the rest of the arrangement is held together by strong keyboard contributions. The lyrics, though serviceable, do not elevate the track, and the vocals can feel repetitive. Still, the musicianship gives the song enough weight to carry its reimagined fairytale narrative.

The EP’s most compelling moment may be “Say My Name (Rumpelstiltskin).” Opening with a keyboard build, it quickly establishes tension before settling into one of Russek’s stronger vocal performances. There is a noticeable use of autotune, which may divide listeners, but it works as a stylistic decision that enhances the theme of fractured identity. The chorus lingers, and the instrumental rises and falls with precision, making it one of the most polished productions on the record.

“The Sky Will Fall (Chicken Little)” takes a heavier approach with danceable urgency and louder electric guitar. The song manages to balance vocal and instrumental intensity, both working toward the same paranoid momentum. Written from the perspective of Chicken Little, it turns what is usually dismissed as a children’s fable into a frantic call to action.

“Open Your Eyes (Sleeping Beauty)” relies heavily on vocal manipulation, with autotune again shaping Russek’s delivery. While the instrumental textures are engaging, the vocals sometimes lag behind the beat, creating a slight clash in pacing. Still, the narrative approach remains consistent, placing the character in a world more akin to sedation and propaganda than a fairytale castle.

The closing track, “Froggie Went a Courtin’,” is perhaps the most satisfying blend of sound and story. Its bluesy introduction, mysterious groove, and head-nodding beat make it the most audibly enjoyable track of the collection. The guitar solo is restrained but effective, the production is clean, and the vocals sit comfortably in the mix. It feels less like an experiment and more like the band at its natural peak.

What makes Childish Things stand out is not perfection of execution but commitment to concept. The retelling of fairytales through rock, funk, and noir-inspired production could easily have lapsed into novelty, but instead it comes across as darkly poetic. Even when the lyrics feel too plain or the vocals fall flat, the ambition of the project and the consistency of its vision carry it through.

Poets in Heat are not interested in nostalgia. They are interested in revelation, in pulling childhood stories apart to reveal something uncomfortably adult beneath them. Childish Things may not be flawless, but it is ambitious, unsettling, and at times deeply moving. It asks us to reconsider the narratives we inherit, and it does so with art that is raw, intelligent, and unapologetically human.

SCORE / Good – In the end, Childish Things is less an EP to sing along to than one to sit with, a work that unsettles as much as it enlightens.

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The opening track, Tiny Little Toadstools, sets an optimistic tone with a smooth guitar lick that instantly feels like sunlight on a warm day. The vocals fit the genre perfectly, with a delivery that recalls the gritty charm of Fontaines D.C., and the drumming provides a steady anchor without overpowering the mix. The guitar is well integrated and tastefully played, with production and mixing that keep every element in balance. There is a clever contrast between the upbeat feel and lyrics like “Tiny little toadstools, pick your poison,” and although the title phrase repeats often, the track’s pacing makes the four minutes pass effortlessly.

Brick by Brick shifts the mood with a strong bass-driven opening that locks in with an electric guitar line, creating an immediate sense of urgency. The vocals begin in a restrained, monotone style before opening up as the arrangement builds. The chemistry between the musicians is unmistakable, with tight interplay that keeps the energy high while allowing room for dynamics. The song moves through rises and drops with precision, the chorus is irresistibly catchy, and the guitar’s wah pedal near the end adds depth and flavour. The long-held vocal notes showcase genuine skill, and the production once again allows each layer to shine.

Cobwebs grabs attention instantly with a hooky and memorable intro. The production is crisp, and the gradual build is handled beautifully, pulling the listener in as the song gains weight and power. Every instrument finds its place without overcrowding the mix, and the chorus hits with both rhythmic and melodic impact. Lyrics like “You never change your tune” and “Open your eyes” stick in the memory, and the track maintains a groove that practically demands head-bobbing.

With Plum Wine, the intensity drops to reveal a sweeter, more romantic side of the band. The 70s influence in the instrumentation gives it a warm, vintage glow, and the vocal delivery carries shades of early Panic! At The Disco in its expressive phrasing. Lines like “You’re drunk on my plum wine and I’m so dazed and you’re sunshine” and “I’ll be your Neptune” feel poetic and personal, weaving imagery of opposites attracting. The arrangement is thoughtful, the production seamless, and the passion in the performance makes this one of the standout moments on the EP.

Wilderness pulls the listener back into heavier territory with a deep, bass-driven opening. The bass remains central as the track unfolds, supported by tight drums and guitar textures. The addition of backing screams provides both emotional intensity and a sense of depth, while the lyric “Sparks fly at midnight” adds a flash of drama. The song’s midpoint introduces an unexpected tonal shift that works perfectly, making it easy to imagine an audience clapping along in unison at a live show.

Closing track Sunrise in a Tangerine returns to a slower pace with another touch of 70s character. The bass pushes the track forward while the drums keep it grounded, and the guitar flows smoothly throughout. The lead vocals are rich and expressive, with elongated notes that reveal range and control. Once again, the backing vocals add to the texture without distracting from the main performance. With its catchy chorus and warm production, it leaves the EP on a high note, and the lyric “Take a little sip of something sweet” feels like the perfect closing sentiment.

Somewhere on the Edge succeeds because it pairs tight, polished musicianship with a clear sense of identity. Every track is well produced, well mixed, and filled with moments that stand out without breaking the flow of the record. It is the work of a band with chemistry, skill, and vision, and it leaves the listener eager to hear what Alpaca Lips will do next.

SCORE / Outstanding – Somewhere on the Edge is a confident and captivating release that proves Alpaca Lips have the talent, chemistry, and vision to leave a lasting mark on the alternative scene. I truly believe this band is going somewhere great, and I can’t wait to hear what they release next. Go be an early fan and listen!

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Baumer is influenced by bands like Guided by Voices, Swearing at Motorists, and early Dinosaur Jr. “with 21st Century updates.” Baumer performs on the album as a one-man band, laying down drum beats and playing psychedelic and heavily distorted guitar riffs at the same time. Baumer says “my music is infused with a “red-pill attitude”—less about conspiracy rabbit holes and more about a guy questioning the mainstream narrative in my own scruffy way.”

So let’s have a listen …

“The opener, ‘Indie Washing Day’, pays homage to mid-90s angular guitar bands like Pavement, Polvo, and The Fall, with my vocals heavily awash in auto-tune.”

Sounds like a Tom Petty riff, and that’s cool. A little lead guitar break. Guitars with pitch shifting. The vocals come in, a little muddy. I like the main riff of the song, not sold on the rest of the track. Trippy in parts.

“The second track, ‘Barking Seals’ takes on the legacy media apparatus with a shuffling, folk-rock feel. In my characteristic manner, my populist-fueled number offers up the names of media ‘villains’ that I consider biased in their approach to what they consider is ‘the truth’.”

Starts with an electric guitar and drums. The vocals come in, less muddy. I’m not digging the sound of the voice; it seems strained. The lyrics could be rewritten with lines like “Blame it on Trump, he might give you a bump.” A song about legacy media. “Telling toxic tales.” I like the sound effects tho.

“The third song, ‘Shoegaze Nixonian’ was originally released in February as part of Baumer’s Road Songs EP he recorded for RPM 2025. It’s a drawn-out number featuring elements of shoegaze, big drums, and lyrics tying Nixon’s takedown with Watergate to the possibility that Trump might meet a similar fate.”

I like that the song starts with a media speech. “Trump might be next” gets repeated. The mix on the track is a little muddy; things could be clearer, but maybe that’s just the way the amps were set. Seems more like a song idea than a fully developed song. The lead guitar is not particularly good, but the tone is trippy, so points for that. The song needs more development/editing. I do like the Nixon “I’m not a crook” on repeat in the last half of the song. Tonally, I can dig the ’60s psychedelic rock vibe. But the song needs more work and a better lead guitar player to pull it off properly.

“The centerpiece of the EP is ‘The Great Podcast Disaster,’ a scathing commentary on the current cultural fascination Americans have with podcasters like Joe Rogan, Tucker Carlson, and lesser-known figures. The song is characterized by a raw, DIY aesthetic, with chugging guitars and Baumer’s populist-tinged vocals making this song anthemic, lyrically.

Starts with a Neil Young-type guitar riff, very similar tone. The vocals start with“I hate your podcast,” and the song goes on from there. The vocals could be better; they seem very strained. I like the trippy Neil Young guitar riffs. The mix makes it really hard to hear or understand the vocals. An “apocalyptic” “podcast disaster”, not sure what that is … The lead guitar could be played better; sounds like a mess, instead of a glorious mess!

“In ‘Blacktop and Blue Sky,’ I lament the fickle nature of people and celebrate the qualities of the open road and the endless blue sky one finds driving long stretches between shows. This one is the longest track on the EP, clocking in 8:46. It should be relegated to late-night shows that allow naughty words, as I drop the f-bomb on this one.”

The guitar is very fuzzed out in this song, much like the last song. Playing just a couple of notes with attitude. Still waiting for the vocals to kick in. I like the guitar chord riff in this song, but the guitars seem muddy, instead of bright/clear. OK, so now we get the vocals, same strained voice, hard to understand. The vocals are off-pitch. I heard “fucking clowns”, so maybe an explicit warning is appropriate. The song wanders off on a poorly played lead guitar riff. The song seems a little long for the ideas being developed. It clocks in at almost 9 minutes. The vocals are not very good on this song.

“As a closer, I take the single and weave found sounds, snippets of podcasts, and feedback squall, to produce a sound collage similar to what artists like Negativland were aiming for in the 1980s with “GPCD Part II,” which eventually segues back into some facsimile of the singles’ original song structure.”

This is a longer version of The Great Podcast Disaster I discussed earlier. I like the sound effects at the beginning of the song. I actually like this longer version better than the original; it’s trippier. I like the auto-tuned vocals. I like the very solid drum beat. And I like the vocal clips included in the song. Of all the songs on the album, I would probably lead with this one. And rewrite and rerecord the other songs.

SCORE/Mediocre: The vocals and lead guitar need to be redone. While one song is passable, the whole project probably needs to be rewritten and rerecorded to have the artist’s desired effect. The EP is just mediocre with lots of room for improvement. Much love, Beth

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The production is crisp without being sterile, preserving the grit and bite that makes the genre thrive. Every instrument cuts through cleanly, with guitars always front and center, drums driving the momentum, and bass subtly anchoring the chaos. The mixing keeps things balanced, though at times the guitar edges toward overpowering the other elements, a choice that both amplifies their intensity and occasionally drowns nuance.

The opener Up To You wastes no time, coming in with a cymbal crash and a heavy guitar tone that feels like a 2000s punk veteran teaching the kids how it’s done. The mix gives the smooth guitar solo room to breathe, and the distinct vocal timbre makes an immediate impression. People keeps the momentum with a Green Day-esque progression and a bitterly catchy refrain about human irritation. Here the interplay between guitar and drums is especially tight, though the song leans heavily on repetition for its memorability.

The title track Time To Riot delivers the album’s clearest sociopolitical message, railing against greed and corruption with blunt, profanity-laced imagery. The song’s energy is undeniable, the guitar solo is razor-sharp, and the mixing again serves the band well, but the chorus does feel overused.

Strange Now slows the thematic pace without changing the sonic formula much, relying on rhyming couplets and consistent instrumentation that might feel too familiar to some listeners. The vocal performance remains strong, if somewhat predictable.

Precious Days offers one of the album’s warmer messages, celebrating life’s worth over an almost Green Day-inspired arrangement. The emotional guitar solo lifts the track, and the polished mix ensures every note lands.

Back To Bitburg brings in a hint of glam rock, with layered backing vocals adding depth and propulsion. Its repeated “I saw you alive” hook is one of the most earworm-worthy moments on the record.

The second half of the album turns darker, beginning with Tough Type, whose heavier, grittier guitar tone recalls Metallica while the lyrics brood on loneliness. The vocals here, while tonally consistent, lack dynamic variation. Relative Things continues this shift with a more subdued vocal presence in the mix, though the guitar work remains forceful.

Nineteen No More, the longest track, shows lyrical ambition but suffers slightly from its own length, recycling ideas that could have been condensed for greater impact. Still, the chorus delivers enough punch to stick in memory. Turning Back changes the mood with a more soulful guitar feel and a drum pattern that locks in perfectly, although the mix occasionally allows the guitar to overshadow the rest of the band.

Rio Del Diablo returns to a darker aesthetic with mischievous guitar phrasing and grim lyrical imagery. While the monotone delivery works in its punk context, injecting more vocal dynamism might have elevated the song. The closing Wayback Girl feels like the band’s victory lap, pairing a perfectly executed guitar lick with an infectious chorus. It captures the spirit of 2000s punk revival and leaves the listener on a high note.

Across Time To Riot, The Eerie Idols prove they can write hooks, play with conviction, and produce a record that sounds both clean and raw. The album’s greatest strength is its unwavering energy and consistency, which is also its biggest limitation. The guitar-driven approach works well but rarely surprises, and the vocal delivery, while distinct, stays in one lane. Still, for fans of driving punk rock with a garage edge, this is a record that delivers exactly what it promises: a riot in musical form.

SCORE / Good – Time To Riot is a sharp, high-energy blast of punk and garage rock with strong hooks, tight guitar work, and clean but gritty production. While its consistency sometimes borders on sameness, it delivers exactly what fans of unfiltered, early 2000s-style rock are looking for.

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Finally, the last song on the album is OVER THE COALS. But there are two different versions. The original version and the bonus version OVER THE COALS (RADIO EDIT). The original version clocks in at over 9 minutes. The radio edit is only 4 minutes. I like the strumming acoustic guitar and the interesting bass line. The electric guitars are more atmospheric, a sax enters, then eventually, the drums enter. I like the arrangement so far. I really like the breakdown section in the middle of the original version, where the sax and lead guitar start doing a call and response thing. The original extended version has 5 minutes of guitar solo at the end. The lead electric guitarist in this band is extremely talented, a real pleasure to hear. The record ends with a load of muted talking and strange sounds, much like a Beatles record from their more psychedelic period. The shorter (RADIO EDIT) version has less (almost none) of the extended guitar solo and also does not include the cool psychedelic talking bit at the end.

SCORE/Good: The Cherished Times deliver a solid debut album, full of interesting songwriting choices – a blend of indie rock and folk rock, dotted with psychedelic influences. A nice listen. Much love, Beth

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