Joseph once again comes in vocally, though there is something beautifully uncomfortable about the high pitch of his voice against the booming of the music, perhaps alluding to the bands first studio album, titled simply ‘Twenty One Pilots,” upon which Joseph’s experimental vocals became the focal point of every song. ‘Drumshow’ follows a basic structure of verse, chorus, verse, chorus; until minute two of the song, where the bridge begins to build. 

It is here that the track takes an astounding turn; for Dun performs his vocal debut. The music mellows as Joseph adopts his signature seat at the piano, toying between two gentle keys as the lyrics become a devastating ode of being “this way”, and wanting “to change.” But the surprises don’t stop here. Where one would assume Dun to finish repeating “I want to change”, Joseph rips his way back into the vocals with an impressively long and guttural scream that leaves genres well and truly bent. 

The song resumes once more with a familiar chorus, this time peppered with screams from Joseph, conveying the despair that comes with struggling to knock ones bad habits, before closing with a synth riff that mirrors the tempo of the chorus’ vocals; paired with a repetition of Duns bridge, a ghost in the background of the noise. 

SCORE / EXCELLENT – ‘Drumshow’ is a magnificently fresh piece of music, especially when taking into account the longevity of the bands popularity and success. For Twenty One Pilots, however, this song also marks the beginning of the end of a storyline ten years in the making. ‘Drumshow’ leaves one agonisingly eager for not just the remainder of the album, but for the final chapter of a long and twisted story.

The post Twenty One Pilots – Drum Show (Single Review)  appeared first on Music Review World.

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.

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

Follow Fear of Falling:

Facebook
Instagram
Website

The post Fear Of Falling – Long Shadows Echo (Album Review) appeared first on Music Review World.

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

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

Follow Akkin On:

Facebook
Instagram

The post AKKIN – Cage of Silence (Single Review) appeared first on Music Review World.

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]

Facebook

Instagram

Website

The post Preschool Rockstar – Tiny Humans, Big World (Album Review) appeared first on Music Review World.

Not Another Playne Jayne was originally formed as a Denver, Colorado-based rock band, though the group has roots in Michigan. The band was described as specializing in “a somewhat dark, yet redemptive sound” while utilizing diverse musical elements. Hunter Down’s music has been characterized by its dynamic range and emotional authenticity. Critics have noted their ability “to go from really low to high energy in such a powerful way,” with their sound featuring “a pretty gloomy and dark mood” that creates “a cool contrast that explodes out of the gates.”

Hunter Down’s approach combines traditional rock instrumentation with modern production techniques, thus creating music that bridges classic rock sensibilities with contemporary alternative and indie rock elements.

So let’s have a listen …

The guitar riff that starts the track is heavy, dripping with creamy sustain and maxxed out distortion, and we’re off to a fine start. Then everything stops, and a piano enters, and soon the voice, which sounds great. Very clear in the mix. The mix and production on this track are outstanding.

Eventually, the heavy guitars come back in briefly for the chorus. The second verse adds a bit of a lead guitar solo over the vocals, then the heavy chorus kicks in again. The tone of the guitars is magical; they are dialled in perfectly into a proper lead guitar solo, and then back into the chorus. I’m digging the backing vocals. Everything is working in this track. I do wish they had kept the heavy guitars in the verse instead of cutting them out, but otherwise, great song!

SCORE/Excellent: Hunter Down delivers a scorching new song, “Live Again,” complete with heavy guitars and a solo piano in the verses. The mix and production on this track are outstanding. I think this track has the potential for massive radio airplay. Much love, Beth

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

Follow Hunter Down on:

Twitter
Facebook

The post Hunter Down – Live Again (Single Review) appeared first on Music Review World.

American Grim is renowned for their explosive live performances. Critics have noted their “powerful and polished performance” where they “pour every ounce of themselves” into the show. Their stage show is notably physical, with Ryan incorporating acrobatic elements, including jumping off drum kits, leading to the practical decision to use “a beat-up kit and just trash the shit out of it on stage.” 

American Grim is signed to Entertainment One (eOne) Records.

So let’s have a listen …

I love that the track starts with an alien keyboard/synth sound over a string section. The vocals kick in – heavily effected with the alien soundscape continuing. About 30 seconds in, we get our first metal growling yell. And then the band kicks in. “What really happened in Roswell?” “The secrets their hiding will be kept in the dark.” The drums are epic on this song.

I like that the vocals are clear and easily understood, even over the metal burning edge and the scream/shouting vocals underneath. Nice vocal break in the middle of the song, without the full band. Then the full band, heavy guitars, kicks in with the alien soundtrack still over the top. Nicely constructed song, arrangement, and mix. I would definitely listen to more of this band. The heavy guitars and backing vocals remind me of Korn.

SCORE/Excellent: American Grim hits megahard with their new single “Secrets of Roswell.” Dreamy vocals paired against scream singing. From the first alien soundtrack to the full heavy metal band, the track reminds me of Korn. Which is a very good thing. Much love, Beth

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

Facebook
Instagram
Website

The post American Grim – Secrets of Roswell (Single Review) appeared first on Music Review World.

If you’re familiar with Paul Rodgers, Paul McCartney and Daryl Hall, you’ll definitely appreciate this body of work. He also has stated that he is one of the best vocalists around, with this album serving as proof of that statement. John also singlehandedly wrote and produced all of the songs too.

The lead single from this release, ‘Ruby Red’, was released on August 18.

The song ‘Who’s In Town?’ begins with an exhilarating twist, taking tremolo trends of past rock-pop acts with a bit more mastering and excitation. From the syncopation to the way he delivers his verses, he almost reminds me of a new version of Tin Machine and David Bowie. It has a vintage flair to it, which will definitely enthuse listeners who crave a livelier take on classic rock.

The next tracks on the album follow suit with this pattern, presenting us with more exhilarating soundscapes that are chock-full of character and even motivic variation through the solos, with tracks like ‘Raining’ and ‘Ruby Red’. He also possesses a lot of spunk and character, similar to Aerosmith’s main vocalist, which definitely makes it not hard to believe that John was once a lead singer.

Things switch up in the middle of the album with the heartfelt ballad ‘Seventeen’, showcasing his ability to also be sentimental and explore the segments of his artistry that isn’t so boisterous. It’s extremely emotional, with a wonderful piano piece in the middle, accompanied by strings. In this track, he does have a Paul McCartney-esque tone to his vocals, showing not only his ability to be multifaceted as a composer but as a singer as well. This continues in tracks like ‘Another World’ and ‘Teds’ as well, with the peak of vocal ability being showcased in the track ‘Song For Erin’.

In a strategic manner, the album pivots back to a much more upbeat take with ‘Take The Money’ afterwards, which has a very innovative percussive syncopation that could’ve been elevated with better mastering. It’s a wonderful psychedelic-inspired track, but definitely needs to be rectified when it comes to the mastering in order to enjoy the track in its full capacity. ‘One of the Boys’ then closes the album with a groovier, almost 60s track that is quite easy to vibe to and honestly sing along with.

All in all, the album is competent enough, especially when you consider that the artist did most of the producing besides merely just singing. It falls flat on perhaps 1 or 2 tracks with very minute issues on mastering but frankly, most of the tracks on this album are very well mastered. The album shows two sides of his artistry, and I think people who enjoy the genres within this album would adore this album.

SCORE/Excellent – John Wilson expresses his artistry in Who’s In Town quite well with an interesting mix of rock songs that span his own influences and frankly, beyond. Oscillating between sassy, spunky and heartfelt, it displays his compositional intent and vocal ability quite adequately with minimal issues.

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

The post JOHN WILSON – WHO’S IN TOWN ? (Album Review) appeared first on Music Review World.

The new single starts with a guitar (or two) playing a bluesy two-chord riff. The vocals kick in. I like the chord changes in the chorus. They keep the song interesting. Eventually, the lead guitar joins the fray, simple but effective. I’m not really digging the lyrics or the vocals in this song. The song is pretty simple in its construction and arrangement.

In such songs, the lyrics are everything. Here, I find the lyrics fall a little short – too simple, simplistic rhymes that make the song awkward. Maybe that’s just a personal opinion, but as I’m also a commercial radio DJ, it has merit. The song is mixed well, without any issues with the quality of the production. It’s a good song, but not a great song. Listenable, but not a hit song.

SCORE/Good: Laurie J. Little’s new single “Keep on Walking” is a solidly constructed song. The mix and production are of good quality. My only issue with the song is the lyrics and melody, which fall short for me. But the song is good and worth a listen. Much love, Beth

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

Follow Laurie J. Little on:

Instagram
Facebook

The post Laurie Little – Keep on Walking (Single Review) appeared first on Music Review World.

Opening with My Angels Will Never Return, Fingret sets a thoughtful and mellow tone. The piano and guitar interplay is emotional, with overlaid vocals giving the track an ethereal quality. The build is subtle but rewarding, and the final lyric landing as the song title is a satisfying touch.

In Shapeshifting, his storytelling takes a darker turn, describing an encounter in a parking lot with a woman who becomes something far more sinister. The lyric “She was feeding on my energy” crystallises the track’s eerie tone, although the consistently steady delivery can feel a little too uniform over its runtime.

They Have My Love leans into sweet guitar work and airy vocal layering that alternates between angelic textures and grounded, emotional solo takes. The sense of being lost is palpable in lines like “Where do I go now,” and Fingret’s narrative instincts are strong, even if the song might have benefited from a tighter edit.

Time is Waiting brings a mysterious guitar lick at the start and a refrain of “We will follow the sun,” echoing the cosmic inspirations that thread through the album. The guitar solo here is a highlight, even as some of the harmonies land slightly flat.

With The Multiverse, Fingret shifts to a funkier, more upbeat groove. The synth textures and bright guitar make it feel like a track built for interstellar dance floors. While the energy is refreshing, there are moments where the instrumental layers do not quite blend seamlessly. The Lonely Satellite reins in the arrangement for a cleaner, more intimate listening experience. The Bowie-esque delivery and restrained instrumentation work in its favour, and the continued space theme helps keep the album’s storytelling cohesive.

Seedship pushes the narrative forward with a mission to find a new home. The simultaneous build of vocals and instruments is executed well, with smooth verses that swell into fuller choruses. Infinite Love follows with a warmer, romantic tone. Its passionate guitar work and sway-worthy beat provide a lighter moment in the journey. This is Transcendence feels like the emotional and thematic peak, as Fingret steps outside his usual vocal approach to match the song’s climactic sense of release.

Ukraine offers a more grounded and topical reflection, perhaps an address to the ongoing war. The sentiment is heartfelt, though its place in the album’s spacefaring storyline feels somewhat detached. Still, the calm delivery and Elliott Smith-like softness give it an emotional weight.

The closing title track, You’ll Always Be a Human to Me, wraps the album’s arc with simplicity and sincerity. The guitar solo feels like a fitting final statement, underscoring the human core beneath all the cosmic imagery.

Fingret’s album plays like a long-form space odyssey with shades of Bowie’s visionary style. The balance of progressive arrangements, imaginative lyrics, and personal introspection makes for a compelling listen. While a few tracks could be tightened and some vocal moments sharpened, the album succeeds in building an expansive, interconnected world that invites listeners to step inside and explore.

SCORE / Excellent – You’ll Always Be a Human to Me is both a cosmic voyage and a deeply personal reflection, proving that even among the stars, Fingret’s music keeps its heart firmly rooted in humanity. Give it a listen!

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

Follow David:

Facebook
Instagram

The post David Fingret – You’ll Always Be a Human to Me (Album Review) appeared first on Music Review World.

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

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

Follow The Cherished Times on:

Facebook
Instagram
Band’s Website

The post The Cherished Times – Battle (Album Review) appeared first on Music Review World.