The album opens with Fight or Flight, a dramatic, tension-filled track that layers guitars gradually before the full band steps in. The raw immediacy is gripping, but the vocals occasionally feel mismatched with the instrumentation, slightly off in tone. While the lyrics are compelling, the mix could use more polish to balance the vocal line with the surrounding arrangement. By contrast, When I Danced With Mary quickly finds its footing. This track pairs crisp, well-matched vocals with bright instrumentation, underscored by a driving beat that recalls 1960s rock touchstones. The addition of female backing vocals adds a surprising depth, lifting the narrative of fleeting romance into something vivid and timeless.

Do Don’t pivots sharply into darker territory with a heavy bassline and a more distorted soundscape. It channels classic Americana rock while retaining an indie edge, with backing vocals and textural noise that give it a groove-heavy pull. The production is tight, allowing the song to feel expansive without becoming cluttered. That sense of controlled momentum continues with 13 Days (in Bischofswerda), perhaps the album’s standout. The song opens with a southern-rock-tinged guitar line reminiscent of Lynyrd Skynyrd before easing into confident, measured lyricism. Every instrument feels like it belongs, fusing seamlessly with the vocal delivery. A brief guitar solo punctuates the song without overindulgence, making it one of the most balanced and memorable moments on the record.

V.E. (Victory) slows the pace, spotlighting a steady drumbeat as its backbone. Its contemplative lyricism, “As our options dwindle, so do the choices that we can make”, matches the restrained instrumental palette. At times, however, the repetition weighs it down, and the song risks fading into the background despite its thoughtful execution. The energy is revived with Keanu Reeves, which showcases Fear Of Falling’s knack for writing danceable rock tracks. The crisp guitar playing and confident vocal delivery make this one of the more accessible songs on the album, with production that highlights the band’s strengths.

Hands on Me, featuring HOLDN, is another high point, opening with an unexpected pairing of strings and guitar that meld beautifully. The track feels heartfelt and carefully arranged, even if the vocal lines occasionally verge on distortion. The harmonies are a particular strength here, giving the song a layered quality that resonates emotionally. Bleed turns up the volume with funky, heavy guitar, though its lyricism is less striking. The repeated refrain “Why do I bleed” borders on simplistic, but the strong instrumental performance, particularly the guitar, keeps the song engaging.

With Thursday’s Letter, the band ventures into darker jazz-inflected territory before leaning hard into electric rock intensity. The use of autotune is noticeable but not distracting, giving the song a slightly modern edge. The lyrics once again feel secondary to the instrumentation, which carries the weight of the track and demonstrates the band’s versatility. In contrast, King of America is one of the most cohesive pieces on the album. The slower, autumnal guitar and steady flow fit the vocalist perfectly, highlighting the emotive potential of his delivery. The chorus is both catchy and restrained, a reminder of Fear Of Falling’s ability to balance accessibility with depth.

Closing with Looking Out for Number One, the album circles back to introspection. Its Bowie-esque textures and alarm-like guitar riffs add urgency to a reflective lyric about identity and freedom. As the final notes fade, the record leaves behind a sense of completeness, a summation of its recurring themes of resilience, self-doubt, and endurance.

Overall, Long Shadows Echo succeeds as a comeback album by merging nostalgia with reinvention. The production is generally strong, with a few moments that could benefit from more precision in mixing. Lyrically, the band oscillates between profound introspection and simplicity, occasionally leaning too heavily on repetition but often landing on evocative lines that linger. Musically, the album shines brightest when the instruments are allowed to breathe together, carrying both weight and texture. It is a record that rewards patience, offering layers of grit, heart, and resonance that confirm Fear Of Falling’s return is more than just a reunion; it is a statement of endurance.

SCORE / Excellent – It is a record that rewards patience, offering layers of grit, heart, and resonance. Fear Of Falling’s return is not just a nostalgic reunion but a powerful reminder of their ability to evolve, endure, and still cut through with songs that matter.

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In his care, road trips have become musicological catalogs and journeys of self-discovery, while characters have danced in and out of view, helping us to better understand ourselves. In his latest release, titled ‘Road to Medicine Bow’, he captures the colors and textures of the Wild West. This record was recorded at a couple of legendary studios, including Blackbird Studio A, East West Studio 2, and Sunset Sound Studio 1. The album, produced by Chuck Leah, Jeff Victor, Greg Scelsa and Brian Vibberts, embraces the entire production team and Chuck’s top-shelf band.

The album soaks you in the moment you listen to it with its exemplary mastering and vibe, making you think of a more elaborate and lush version of what truly sounds the Wild Wild West, with an eery capability to encapsulate more depth and dark emotion. It is just as musically compelling as it is compelling within the storyline of the stories told within this release, and Chuck Leah’s voice serves as the cherry on top- being worn down enough to contain a vast array of emotion, mixed with enough melodicism to serve as a musical vessel. It’s truly beautiful.

The introductory track, ‘Road to Medicine Bow’, comes off as more tribal and confrontational, drawing you in with mystique. The second track, ‘Homa Hills’, completely deviates from that and adopts an approach that’s a bit more earnest and heartfelt, with an acoustic soundscape that’s a bit more mellow but contemplative at the same time. Sweet strings grace the phrases of music as Chuck’s voice is tastefully layered upon the already complex mix of instrumentation, giving it the character that an old scroll would have compared to a new piece of paper.

1018 (See Me) then takes you into a more sonically contemplative soundscape through its chord changes and the sound design of the instruments in the background. It’s very emotional, frankly, and I think it can resonate with a lot of people, even if they don’t typically listen to the genre. The song builds up to a grand sequence at the end, that can only be appreciated when its felt with the multitudes of voices echoing each other and the wonderfully bold instrumentation. ‘Broke Foot Blues’ takes on a more quirky, Blues-ish approach, but its instrumentation fits the whole theme of the album.

Generally, I’d say all of the songs within this release do follow a strict adherence to the themes and the way related genres can enhance the mode of its conception. It can almost serve as the framework to a TV show or a movie, because of how harmonious and well-mastered it really is. This definitely shines within the track I just mentioned, as the blend of voices within the song (especially the woman’s voice!) adds a lot of character to the track. It almost reminds me of the some of the songs of the soundtrack to the movie ‘Princess and the Frog’.

‘Matter of Time’ then amends its mode with a bit more of a soulful approach through the keys and the use of church organs. It’s emotional and also very compelling to listen to, due to the true honesty within the lyrical content of the song. Chuck Leah is an artist that definitely does not come off as fake, at all. I can feel every inch of intent within each of these tracks. ‘I Don’t Know How to Say Goodbye’ which comes afterwards kind of mixes the motifs of all previous tracks, this time with a bit more of an anthemic feel without sacrificing the country base that makes up the instrumentation of the album. It definitely is a song that most people can sing along to, with a bit of an early 90s feel through the use of the electric guitars.

The album then closes off with the track ‘My Beat Up Truck’, a solemn but heartwarming track. This song is truly homely, making me feel whole as I listen to it. The use of accordion is also very interesting, in the midst of the acoustic instrumentation and the strings.

All in all, I’d say this album is extremely authentic and very well done. Everything is mastered so well that I feel like I’m part of the journey of the track listing of the album itself. The voices, the arrangement and the lyrical matter are all up to par, in its own unique way. This album feels like a time capsule in its own way as well, giving it more of a charm.

SCORE / Excellent – ‘Road to Medicine Bow’ is a wonderful album that honours the musical traditions of Americana with honest, heartfelt songwriting and production. It’s an album that will have you feeling transported to a different world, absolutely encapsulated in the instrumentation and the timbre of the work itself.

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

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The opening track, Jingle Bells, is an introduction in the truest sense. It begins with a classic jazz feel before expanding into a kaleidoscope of sounds, each instrument layered carefully until the arrangement bursts into a full crescendo. The track is playful, danceable, and restless in its shifting beats, almost as if Embon is demonstrating the breadth of his instrumental arsenal. The production choices highlight this variety: the instruments never blur into one another but instead retain their character while still blending seamlessly, giving the song both clarity and vitality.

Pushing My Luck pulls the listener into a different space altogether. Where the opener was expansive and bold, this track is slower and romantic, with piano and drums carrying a wistful narrative. The tone feels like a moment in an intimate jazz bar, where melody carries the weight of memory and longing. The contrast between this and the previous track reveals Embon’s range not only as a composer but also as a storyteller through sound.

One of the album’s most striking compositions is Fly-Away Dreams, which introduces traditional Chinese influences. The track is careful in its pacing, allowing instruments to unfold slowly and deliberately. The sound design feels cinematic, and the subtle incorporation of bird calls grounds the piece in an earthy, almost spiritual realism. The mix here is particularly impressive: each swell feels measured, each drop orchestrated to align with the listener’s emotional arc. It is a track that would sit naturally in a film soundtrack, further underscoring Embon’s recent pivot toward film scoring.

Good Days Ahead shifts again, beginning with piano in a tone that feels ominous and charged with tension. The track oscillates between moods, sometimes ominous, sometimes curious, always teetering between darkness and discovery. It is another cinematic piece, demonstrating Embon’s ability to create atmosphere with precision. The production builds and releases tension with an orchestral sensibility, reminding the listener of his recent successes in orchestral composition contests.

The following tracks push the narrative further. With Your Eyes on the Wind begins with a foghorn-like resonance before layering instruments into a chase-like momentum. The depth here feels more restrained, which paradoxically strengthens the sense of pursuit and mystery. Derailed, by contrast, is mischievous and hypnotic, a piece that thrives on its shifts between ominous tones and lighter, almost victorious passages. The flute in this track is particularly effective, adding both emotional depth and timbral contrast, and again reinforcing the cinematic scope of Embon’s compositional style.

The album’s latter half takes on a more introspective dimension. Breaking the Undone and The Lost Battle both begin with solo piano, creating emotional intimacy before gradually building out into fuller orchestrations. These pieces are less about grandeur and more about delicacy, their restraint allowing Embon’s sense of melody to shine. They suggest battles both internal and external, offering interpretations that range from lost love to literal conflict, each interpretation valid through the lens of the carefully layered arrangements.

With You Again (Remix 2025) introduces vocals into the album. The classical guitar foundation is exquisite, demonstrating Embon’s technical mastery, while the lyrics lean into natural imagery and longing. The vocals could benefit from slight polishing, but they ultimately serve the track well by widening the emotional scope of the record. The inclusion of lyrics at this point in the album feels deliberate, as if to bridge instrumental storytelling with human voice.

What Makes You Feel Stronger and 2005 After the Rain – Re-orchestrated continue to strip back and explore quieter moods. The former is anchored by classical guitar in a meditative performance that feels timeless, while the latter revisits an earlier work with renewed orchestral weight, balancing sadness with acceptance. Both tracks reinforce Embon’s skill in shaping narrative arcs through arrangement and timbre.

The closing track, Three Minutes Away – 12 Strings Guitar Duo, provides a final tonal shift. With its folk influences and the bright resonance of the 12-string guitar, it feels pastoral and liberating. The sound conjures images of open fields and sunlight, serving as a beautiful and optimistic conclusion. The mix is spacious and warm, leaving the listener with a sense of both closure and openness.

Across Plateaus and Other Enchanted Lands, what stands out most is Embon’s control over dynamics and mood. He is a composer who understands not just how to write melodies but how to sculpt emotional journeys. His production is consistently meticulous, ensuring that no instrument overpowers another, while his multi-instrumental talent allows him to shift effortlessly between styles and traditions. This album is as much a showcase of his jazz fusion roots as it is a testament to his evolution into film scoring and orchestral writing.

It is rare to find an artist who can carry an entire project of this scope on their own shoulders, from composition to recording to mixing and mastering. Pablo Embon proves not only that it can be done, but that it can be done with elegance, imagination, and heart. Plateaus and Other Enchanted Lands is both a culmination of his decades of experience and a glimpse into the new directions his music is headed.

SCORE / Outstanding – Plateaus and Other Enchanted Lands is a masterclass in versatility, where every track reveals a new layer of Pablo Embon’s artistry and production craft. It leaves the listener with both admiration for his technical brilliance and anticipation for where his evolving musical journey will lead next.

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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.

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

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From our prior review of Akkin’s previous single “Punishment Divine”, which you can read here, “Akkin is an Italian session musician who has frequently played on Asian and Japanese songs and albums, including a wealth of Japanese anime theme songs. After a solo career in rock and metal, Akkin also began working as a session musician in 2021. He has recently released an EP titled “Humanoid” containing 4 of his instrumental prog and metal tracks.” 

His new single, “Cage of Silence,” features guest vocals from Japanese singer Tamago S. The song is a mix of pop and rock, known in Japan as j-pop and j-rock. It’s sung in Japanese. The song was written by Akkin and produced and arranged by producer Shinji Orito.

So let’s have a listen …

The track starts with an elegant falling piano line, then the full band enters with a screaming lead guitar over the top. Then a female vocalist (Tamago S.) comes in singing in Japanese. Not being able to speak Japanese myself, I’m still captured by the sweetness of the voice and melody. They do say “Cage of Silence” in English in the chorus.

I like the pitch and ferocity of the lead vocalist in the chorus. The song is definitely j-pop/rock. Second verse and chorus using the same structure. The voice then trails off and falls into the falling piano line, set by itself alone in the mix, but just briefly as the powerful third chorus kicks in, full band with epic vocals, to amp up the listener. “In a cage of silence …” The voice trails off, back into the falling piano line and the song fades. Very well constructed song. I really like the song’s arrangement, instrument mix, and studio production.

SCORE/Outstanding: Akkin is back with an epic new single “Cage of Silence.” Even though the song is mostly in Japanese, you can hear Taylor Swift covering this song. Tamago S. delivers a powerhouse vocal, full of emotion. The mix and production on this track is just outstanding. Very nice. Have a listen for yourself. Much love, Beth

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Preschool Rockstar is born from an idea Marty Long had while strolling through the playground, trailed by a pack of three-year-old groupies. A lifelong musician, she’s found her most engaged and enthusiastic audiences in children and their families. Long is a songwriter, vocalist, pianist, composer, arranger, and a child at heart. Influenced by works from Belly and Nirvana to Chopin and Ginastera, she now proudly embraces her role as an independent kids’ musician, bringing rock energy and heart to every song garnering her a Nomination for Josie Music Awards Children’s Artist of the Year. (Bio)

As Preschool Rockstar, Marty Long continues to bridge the gap between professional early childhood education and engaging musical entertainment. Her work represents a unique position in children’s music, where classroom expertise directly informs artistic creation, resulting in songs that are both developmentally appropriate and genuinely enjoyable for young audiences. Through Preschool Rockstar, Marty Long has demonstrated how children’s music can serve multiple functions: entertainment, education, emotional support, and community building.

Her pandemic-era compositions particularly showcase music’s power to help children navigate difficult circumstances while maintaining optimism and connection. The Preschool Rockstar website describes itself as “the ultimate destination for your little ones to unleash their inner rockstar and embark on a musical journey like no other”, focusing on creating “an engaging experience that will have your child rockin’ and rollin’ in no time.”

So let’s have a listen …

This album kicks off with the song New Shoes. Starting with an electronic keyboard. Basic sing-along. “I’ve got my new shoes on, I’ve got two feet, I got ten toes, I’ve got my new shoes on.” Then we go through a litany of shoe colors and types of shoes. This song is written for children to sing. I think the keyboard sounds are a little cheesy for an adult audience, but they probably will work well for children. The song is very repetitive.

Feelings – “this is a song about feelings.” “Can you tell me how you’re feeling without words to say.” Show me your bravest face, show me with a smile, etc. I like the keyboards on this song, more of a straightforward piano vibe.

Count with Me is the third song on the album. Starts with counting 1, 2, 3, 4, 5 (pause) 6, 7, 8, 9, 10. “I’m going to count from one to ten, and start all over again. I’ve got ten little fingers, and ten little toes.” Very much a children’s song. Having taught first graders this week, I can very much relate. The accompaniment on this song is an acoustic guitar. I really like the children singing along on this one

Racecar, the fourth song on the album, starts with racecar sounds. This song has a much faster pace. Everybody needs a racecar when you’ve got to get moving. I love the electric lead guitar performance on this song, suitable for adult ears. This is a full band track.

Little Monsters Bedtime starts with an electric guitar chord riff, which is interesting. “Do little monsters take a bath? … sweet dreams little monsters”. Obviously, a play on your children being little monsters, which is funny, considering the song is written for children as a sing-along. “Do little monsters Mommas tuck them in and give them a kiss goodnight.”

Garbage Truck starts with a crunchy electric guitar. “Every week or so, comes a truck that we all know, here it comes, it’s the garbage truck.” This is another full band track. Kids are fascinated by big utility vehicles. I like the stop break in the middle and again towards the end of the song, complete with backing up noises.

Little Green Lizard starts with keyboards and an electric rhythm guitar. “Little Green Lizard so cute and small.” “Where’s he going? running oh so fast.” This song has a nice “Little Green Lizard” sing-along for children. I like the backing vocals on this song.

Chocolate Milk starts with a cinematic keyboard riff, reminding me of Phantom of the Opera. I really like the vibe of this track with almost a horror-movie vibe, but the song is about chocolate milk. And who doesn’t love that?

Family starts with a lovely but short electric guitar lead riff. I like how she positively talks about a child having two moms, or even one mom and no dad at home. Everybody’s family is different. A song about love and acceptance. “This is what family looks like, when you’re loving one another, everyone’s family’s different, you see / just what they need.”

Tiny Humans, Big World starts off with a keyboard riff and heavy guitar chords reminiscent of The Who’s Baba O’Riley. “Tiny humans in a big world.” A song about different careers and opportunities for growth. I love the children’s voices discussing what they want to be when they grow up, and the chorus of children singing along with the chorus hook of the song. 

This album is written for small children and their parents. A great way to bond by singing along to these cleverly crafted children’s songs. Overall, it’s a very well-constructed children’s songs album for kids and their parents. The musical performances are nice and well-suited to a children’s record. Reminds me a little of They Might Be Giants’ children’s albums, which is a high compliment. Overall, the album would make a good gift for children and their parents in the upcoming holiday season.

SCORE/Excellent: Marty Long, aka Preschool Rockstar, delivers a lovely album for children and their parents, very suitable for holiday gifting. The whole family will be singing along to these well-crafted children’s songs. Definitely worth a listen if you have young kids. Much love, Beth

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

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The single’s overall sound has a pop feel to it. It’s sweet to the ear, and you can just listen to it alone. You get a twangy motion with a lot of vibration going on instrumentally. This gives ‘Water Knows’ a retro-style video game sound – something you would associate with ‘My Red Hot Car’, a song by Squarepusher.

While the beat on ‘Water Knows’ is almost weightless, the song’s official description speaks of its vocals and trumpet as creating a ‘mysterious water vibe’. The description also talks about water having the possibility of healing and destroying.

The song subverts the school of thought that traditional EDM is all about dancing. This type of music falls under Intelligent Dance Music, a sub-genre of electronic dance music that emerged in the 1990s. This is music made to make you think – about water at least. Whether it makes you think about something else besides water is another story.

The ethereal beat is complemented by equally ethereal lyrics. Everything is uncertain, sings Elvira Kalnik. She then employs a devastating ‘darkness’-‘emptiness’-‘dimension’-‘meditation’ rhyming set. She sings about there being no darkness. What’s there, we hear, is ‘absence of light’, this absence likened to emptiness. It’s this absence/emptiness where everything starts, as our narrator speaks of unfolding through dimension.

For me, when I hear ‘dimension’, I think of space. Minds, we hear, flow in ‘meditation’.

Having talked about the ethereal part of the lyrics, let’s now talk about the realistic or cynical part. The song’s narrator tells us that, whereas they’ve heard that life’s a game, they, however, wish that were true. Elvira Kalnik says that the ‘the meaning and feel to this song is relief, hope and positive outcome through tapping into inner reality and releasing everything that ways us down into water and let it all be carried away’.

Score/Excellent. This is a beautifully understated EDM song whose lyrics awaken our consciousness and get me thinking. It got me thinking about water and life’s uncertainties. Moreover, it gave me a new appreciation of electronic music.

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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.

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

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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 project begins with Welcome Welcome, which sets the tone with communal harmonies and a church-like spoken introduction. The production is smooth and builds naturally, blending gospel warmth with rhythmic beats. Silent Partna’s delivery feels both prayerful and celebratory, and the flow glides over the beat in a way that makes the track easy to move with. It draws you in and reminds you why the album bears its name, extending an invitation into both worship and celebration.

Thank You Thank You shifts into trap-inspired territory. The bass is heavy, the percussion crisp, and the contrast between high-pitched vocals and Silent Partna’s grounded rap creates a striking dynamic. His flow is sharp and confident, balancing gratitude with theological reflection as he raps about Christ’s sacrifice. The production complements the lyrical sincerity, giving the track an energy that feels simultaneously reverent and street-ready.

On My Reason Interlude and Prosperity Speaks Interlude, the beats fall away and we hear raw spoken reflections. These brief interludes underline Silent Partna’s purpose. They are not filler, but grounding moments where the message comes through uncluttered. He critiques modern culture’s glorification of darkness while pointing listeners toward faith. Their brevity only amplifies their weight, functioning as spiritual checkpoints throughout the record.

D. I. A. L. stands as one of the album’s strongest technical performances. The beat is layered with backing vocals that enrich the mix, and Silent Partna’s rapid-fire delivery demonstrates his command of cadence. His lyricism blends pain and resilience, acknowledging suffering while reminding listeners to keep God first. The song’s length allows him space to develop ideas without losing momentum, and it showcases his ability to ride complex rhythms without sacrificing clarity.

The centerpiece Blk Madxna is a standout moment, highlighting Silent Partna’s commitment to honoring Black women and their divine strength. Allegro Nevella’s melodic hook and Yah Yah’s lyrical dexterity elevate the track into a soaring anthem. The production leans into a pop sensibility without diluting the gravity of the message. It is uplifting, celebratory, and constructed with care. Every vocal layer feels intentional, and the repetition of “Black Madonna” reinforces the track’s mantra-like quality.

Trappers Testimony is raw and forceful. The reversed-sounding introduction creates an uneasy tension before the verses cut in with rapid, raspy intensity. Multiple voices step onto the track, each carrying their own weight while maintaining a unified atmosphere. The layering of backing vocals and atmospheric effects fills the sonic space, giving the song both texture and urgency. Lyrically, it is an unflinching look at survival and ambition, tied together by Silent Partna’s vision of perseverance through faith.

Dream On is another highlight, beginning with a spoken-word intro that feels meditative before breaking into a beat reminiscent of Kanye West’s Bound 2. The production here is striking, balancing dreamy textures with powerful percussion. Silent Partna raps with conviction, grounding the track in themes of resilience and aspiration. The lyric “pinch me if I’m dreaming, cuz we deserve it all” carries a resonance that makes the song feel like both a personal affirmation and a universal promise.

Not every track reaches the same heights. Ram In The Bush comes in with heavy bass and strong verses, but the chorus lacks the cohesion of the rest of the song and occasionally feels slightly off-tempo. Still, the energy and lyrical strength keep it from losing impact entirely.

The closing track Celebrate Life ties the album together with a reflective, almost meditative start before blooming into an uplifting rhythm. Its dreamy intro evolves into a beat that is easy to nod and move along with, and the lyrics encourage gratitude even in the midst of struggle. Ending with a message of joy and perseverance feels intentional and satisfying, leaving listeners with the sense that the journey has been worth it.

Overall, Come As You Are succeeds as both a gospel-rooted project and a hip hop record. The production is consistently strong, with smooth mixing and attention to texture across the tracks. Silent Partna’s lyricism reflects lived experience, blending street realities with spiritual insights in a way that feels genuine. His flow adapts easily to trap-inspired beats, gospel-inflected harmonies, and more experimental textures without losing focus. While there are occasional moments where elements feel slightly mismatched, the overall musicality is cohesive and compelling.

SCORE / Outstanding – Silent Partna has created an album that feels like an open invitation. It is unpolished in its honesty but polished in its execution, merging testimony, artistry, and faith into one unified expression. In a landscape where gospel rap often struggles to balance message with musicality, Come As You Are finds that balance and holds it with conviction.

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

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