The record opens with a sun-soaked track that instantly transports the listener to palm-fringed beaches and lazy afternoon breezes. Soon, the soundscape deepens into hypnotic, dreamlike territory, where twangy guitars shimmer with reverb and echoes of Thai folk melodies weave through like mirages. Listening feels a bit like drifting through a 1970s Southeast Asian road movie — one directed by Quentin Tarantino, where faded lovers and mysterious strangers cross paths over whiskey and cigarette smoke.

A clear highlight is “Sang Xaswin,” a track that bursts into life after the album’s meditative opening. Suddenly, you’re no longer by the sea — you’re inside a sweaty and misty bar, surrounded by beautiful people dancing in a collective trance of rhythm and affection. The next song, “Fi Rak Sanae-Ha,” continues the spell, building a mantra-like atmosphere where the psychedelic guitar and monotone vocals pull you deeper and deeper into its haze.

Khana Bierbood’s ability to make such global yet deeply local music — where a surf riff meets the spirit of Thai folk storytelling — is what makes them so captivating. Their previous record, Strangers from the Far East (2019), already hinted at greatness, but Monolam feels like a confident step forward. Hopefully, we won’t have to wait another five years to see where their sun-drenched sound takes us next — perhaps into even stranger, wilder, and more beautiful places.

Release Date: October 25, 2025

Khana Bierbood – Monolam

Album of the Month by Cuberat

The post Khana Bierbood – Monolam Album Review (AOTM October) appeared first on Music Review World.

Since the collapse of Trainee A’s debut plans, the public has been holding their collective breaths for Big Hit’s newest boy group. Following the footsteps of their globally successful predecessors, BTS and Tomorrow X Together (TXT), CORTIS has big shoes to fill and even bigger expectations to meet. 

Consisting of Martin, James, Juhoon, Seonghyeon and Keonho, CORTIS is a five-member boy group under Big Hit Music. All members in the group have showcased their creative prowess, with both Martin and James writing and choreographing for ILLIT pre-debut. With that in mind, the group is positioned more as a ‘teenage authentic creative crew’ rather than the usual polished and controlled idol group. This crew of teenage creatives certainly proved themselves by participating in different ways for all five tracks of the EP. 

The EP opens with pre-release single ‘GO!’, as the boys shout about their dreams and introduce themselves to the world over a lo-fi trap beat. The bright and youthful belief they have in themselves to succeed, as long as they put their minds to it: “I just gotta get it/ Watch me go, go, go, go, go, go.” This track is like a can of energy drink, waking the listeners up to CORTIS’ coming into the industry as the ‘new shit’. ‘GO!’ serves as the perfect introduction of CORTIS to the K-pop world, bright-eyed, youthful, creative go-getters that are not brash about their desires.

It is then followed by lead single ‘What You Want’, a psychedelic rock track reminiscent of later Nirvana productions. While ‘GO!’ opens with the boys’ youthful belief in themselves and each other, ‘What You Want’ leans into the boys’ ambitions more. It serves as the perfect embodiment of the members’ desires to carve their legacy into K-pop. Laid atop a grungy production, CORTIS desperately screams about their dreams, hoping that they’ll come true: “Chased after love, chased after fame / So now I want the whole world to know my name.” A track capturing the group’s hunger for success, the vocals are left raw and desperate, oozing with the boys’ desire. 

Next comes ‘FaSHioN’, the group’s follow-up single, featuring a hip-hop trap beat with clear influences from southern hip-hop artists like Travis Scott and Playboi Carti. Just like most teenagers, their fashion and style make up a big part of their identities. But unlike other K-pop groups, CORTIS is not looking to dress up in expensive luxury brands. In fact, they are proud of their cheap vintage finds: “Thrift shop finds got me looking fresh / Pull up boys, scraping away / Vintage Jesus”. A highlight of this track is the little callback Martin made towards an episode where Keonho judged his new thrift haul: “An Keonho, no matter what you say about my clothes / I hold my ground the belt from my fruits wish list, now on my waist”. Overall, ‘FaSHioN’ is a light-hearted track about the boys having fun and finding their identity through testing different styles.

After three upbeat, high-energy tracks, CORTIS slows down and brings out ‘JoyRide’, a sentimental laid-back pop track detailing the boys’ yearning to be free from expectations and responsibilities. Not only do they themselves want to get away, they invite us to “leave this place, toss the map away” and get on the joyride as well. The mellow track paints an image of the boys driving away at night, the breeze blowing through their hair under the stars, as they try to cherish the moment of “fleeting freedom”. Taking a break from all the talk about their dreams and identities, ‘JoyRide’ reminds us that CORTIS are just teenage boys that need breaths of fresh air away from the pressure cooker that is the K-pop training system as well.

Finally, ‘Lullaby’ closes up the album as a sweet goodnight from CORTIS. It serves as the boys’ reminder to themselves and all of us that resting comes before everything else. No matter how stressed we are, no matter how hard we are trying to maintain our relationships, or chase our dreams and desires, refueling ourselves is key: “I got work / You got work / But in this moment / Quiet first”. Instead of a soft track lulling you to sleep, ‘Lullaby’ is more of a reminder that burnout is real, and balancing your work with a goodnight’s sleep is crucial.

Score/Outstanding: ‘Color Outside The Lines’ is the perfect introduction of CORTIS into the world of music. A terrifically cohesive EP starting off loud and bright, aiming to make an impression, yet closing out softly to cherish freedom and rest, CORTIS certainly captured the thoughts of a teenager in this EP. 

Follow CORTIS on: Instagram

The post CORTIS – COLOR OUTSIDE THE LINES (EP Review) appeared first on Music Review World.

Pain to Power stands as a slow-burning cornerstone, the kind of album that feels built brick by brick. It is aggressive in the truest sense of the word—not only in its ferocity, but also in the sheer weight it carries in quieter moments. Just as often, though, it reveals an aching beauty, an emotional depth that lends the record a timeless, almost classical quality.

The opener Bloodsport detonates the album wide open: bold, bruising, but suddenly slipping into a groove that borders on trance-like, as if the chaos has found a way to dance. What follows is a reconstruction, track by track, of the fragments left in its wake. The second cut, Look Down On Us, is among the record’s crown jewels—immensely heavy, yet shimmering with fragile beauty. Its closing swell of strings and horns is cinematic, like a wordless epic played out in widescreen.

Throughout, the band’s vocalist anchors the storm. His thick Manchester accent cuts through the noise, shifting effortlessly from near-spoken passages to strikingly melodic turns. It adds a rawness and intimacy that makes the record feel immediate and lived-in.

There is nothing polished or superficial here. Pain to Power is unflinching, authentic, and soul-piercing. Every note seems to land with intention, each moment digging deeper. For Maruja, this isn’t just a debut album—it’s a definitive statement.

Release Date: September 12, 2025

Maruja – Pain to Power

Album of the Month by Cuberat

The post Maruja – Pain to Power Album Review (AOTM September) appeared first on Music Review World.

When discussing today’s most influential acts in the K-Pop sphere, aespa will no doubt be mentioned. Debuting in November 2020 with an experimental hyperpop music style that perfectly displayed the four members’ impressive vocal and rap capabilities, as well as a penchant for mesmerisingly futuristic visuals in tune with their forward-thinking AI concept, aespa were immediately the talk of the town. Now after five mini albums, a full-length album and several singles that catered to both Korean and international markets, members Karina, Winter, Giselle and NingNing have their eyes trained on world domination with the help of their multifaceted sixth mini album Rich Man.

The album’s title track ‘Rich Man’ launches listeners into an album that proudly takes advantage of each members’ versatility and ability to execute the most daring of concepts. The song ‘Rich Man’ is no exception; thrilling audiences with the girls’ first attempt at a rock-star concept, which is characterised by edgy fast-paced guitars and the girls’ confidently carefree attitude that they pull off so naturally. The song is based upon a reported quote by pop superstar Cher to her mother, “Mom, I am a rich man” in response to being encouraged to marry someone wealthy. aespa cleverly twist this phrase into the members celebrating being ‘rich’ in experiences and empowered by their inner-strength; inspiring lines throughout such as “I’m my own biggest fan and I’m high in demand”. Allowing ample room for both vocalists and rappers to shine by intertwining melodic hooks with powerful raps, ‘Rich Man’ impressively highlights the group’s degree of individual talent while simultaneously presenting these skills within a harmonious group dynamic.

The sleek and sassy ‘Drift’ opens with a minimalistic whistle intro beneath the members’ sultry whispers (“Let’s go, let’s go, Get the drift in”). A stylish ode to the girls’ ability to tune out the haters and unnecessary drama to keep riding high in their careers, ‘Drift’ is at once reminiscent of aespa’s signature futuristic and eccentric sound; this time utilising the stripped back but playful combination of vocal samples and bass to power the song’s suave ambience. Fans will for sure feel at home here amongst this gritty hip-hop style; cementing this track as another banger in the group’s discography.

aespa’s daring edge doesn’t stop here, though, as the third track ‘Bubble’ may very well prove to be one of their boldest tracks to date. Bursting with sugary harmonies and a light-hearted tone, the track sees the members unapologetically celebrate bubblegum-pop with a difference. Lyrically, the girls have fun with teasing, yet still cool deliveries (“Talking nonsense, I just bubble bop it to the beat”) while encouraging fans to let loose with this cheeky number.

The dreamy R&B track ‘Count On Me’ will become an instant hit with fans of the chill and introspective side of aespa’s discography. The lyrics reflect upon the complex feelings that consume someone who returns back to the embrace of a toxic lover (“It doesn’t matter if I’m completely ruined, Be a little selfish baby”). This is brought to life through the singers’ serene vocal runs and pleasant harmonies, which lend the track a tragic and bittersweet edge.

Amongst this sobering and contemplative ambience though, aespa drop their delightful English language dance-pop track ‘Angel #48’. The sweepingly sweet vocal tones of the members help this breezy track take flight with vocalists Winter and NingNing’s enchanting sopranos leading the song’s airy melodies. The lyrics tell of finding a dream-like love as a result of manifesting positivity and love in daily life (“Angel number forty eight, My guardian angel”), which perfectly matches the song’s bubbly instrumental; allowing listeners to drift off into this song’s dreamy soundscape with ease.

The sixth and final track ‘To The Girls’ powerfully encapsulates aespa’s willingness to showcase a confident ‘girl power’ image, while in turn inspiring their female listeners to be the best version of themselves. The members embrace their fans as family in the empowering chorus (“This one goes out to the girls, My sisters all over the world”), backed by a rousing guitar accompaniment. It’s the perfect sentiment on which to end an album highlighting aespa’s musical versatility and inner strength that continues to power them to the top of the K-Pop industry.

Score/Excellent: The group never seem to let fan hype for new music overwhelm them, but instead continue to deliver to an impressively high standard. Rich Man goes above and beyond to give back something new yet still undeniably aespa to their many listeners, and it’s sure to be popular as a result.

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

Follow aespa on: YouTube and X

The post aespa – Rich Man (Mini Album Review) appeared first on Music Review World.

The album kicks off with the versatile and multi-dimensional track “Well Made Play,” which immediately sets the tone with its cacophonous noise, featuring a wailing saxophone, yet it still manages to be catchy enough. The next two tracks, “Purity Drag” and “Kingbreaker,” are among the most accessible on the album, but they are still far from being radio-friendly or predictable. 

Following these, the album dives headlong into a blend of traditional aggressive hardcore and noise rock, perhaps reminiscent of the band’s roots and style. The guitars in “Broken Mirror” are magnificent, and the vocals create an apocalyptic feel with their pathos. “I Steal What I Want” could be material from Queens Of The Stone Age. It’s incredibly catchy and perhaps the most distinct track on the album, yet it finds its place amidst everything else. Towards the end of the album, “Heathen” stands out, which could be the work of post-rock/shoegaze pioneers. It would be easy to end the album here, but I appreciate the idea of one last chaotic ride with “A More Perfect Design.”

The description above may sound confusing, and in part, it is, but this is precisely The Armed’s strength. They can do almost anything, beautifully combining different elements and genres while maintaining a cohesive whole. You never feel the need to skip a track; each one has its own strength and place. The album is full of the finest details and withstands multiple listens because of this. The geniuses were at it again, and everything else surrounding this album has been destroyed!

Release Date: August 1, 2025

The Armed – THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED

Album of the Month by Cuberat

The post The Armed – THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED Review (AOTM August) appeared first on Music Review World.

Arto Karvonen and Markus Myllykangas, the creative forces once known for shaping Finnish post-metal with their band Callisto, are back with an entirely new musical project. Their new collaboration, Golden Wounds, makes its official debut with the single A Promise, out now on all major streaming platforms.

Golden Wounds crafts a rich, cinematic soundscape where melancholic melodies meet the pulse of distant hip-hop and electronic beats. The track merges electronic production with hazy, layered guitars. The song culminates in a stunning, intimate vocal harmony delivered by jazz vocal trio Mimie Moore.

Karvonen handles the project’s electronic production and keyboard work, while Myllykangas brings depth and texture with his guitar compositions. Their synergy resonates in a completely new context, where the electronic and organic meet in both serenity and tension.

A Promise marks just the beginning. Golden Wounds has already written a growing body of new material, with additional singles slated for release in the coming months and a full-length album in the works.

Alongside the track, the duo has released a music video written and directed by Karvonen, so take a watch below.

For more about Golden Wounds, follow on Instagram

The post Golden Wounds Debuts with Atmospheric Single A Promise appeared first on Music Review World.

Karen Salicath Jamali is a popularly known neoclassical composer and pianist, with over a decade of experience in the music industry “Angel Haniels Clearing” is a serene, dream-inspired piano piece that channels the calming energy of Archangel Haniel. Known for her spiritually driven compositions, Karen Salicath Jamali’s music is clearly designed to heal, uplift, and reconnect listeners with their inner peace, making it a must-listen piece. Listen below

Karen is a self-taught musician who began composing after a near-death experience. And ever since, has performed at Carnegie Hall eight times and created over 2,500 meditative works. “Angel Haniels Clearing” continues her mission to deliver soul-soothing music that feels divinely guided.

Read more of her story here

Follow her journey on:
Instagram
Twitter (X)
Facebook

The post Karen Salicath Jamali – Angel Haniels Clearing (Official Single) appeared first on Music Review World.

Upon the six member group’s inception on the 2023 reality show Dream Academy, Katseye had already started turning heads with their diverse lineup and bold personalities: the group consisting of Latin-American Daniela, Indian-American Lara, Hawaiian-born Megan, Filipino Sophia, Swiss-born Manon and Yoonchae from South Korea. Containing members proficient in professional dance, singing and modelling from a very young age, the girl group seemed set for stardom from the very beginning. Indeed from the bright and irrepressibly catchy 2024 debut in the SIS (Soft Is Strong) E.P, the only way was up for the group.

While Beautiful Chaos may only be the girls’ second E.P offering, many devoted listeners may agree that it serves as a shock to the system after the bubble-gum playfulness of early tracks like ‘Touch’. The reason for this is that the E.P’s five tracks embody the members’ swaggering confidence, forward-thinking style and unadulterated personality to a T, like none of their music has before.

The first track is the incredibly impressionable ‘Gnarly’ – an unabashedly loud and proud hyper-pop track that hits far harder than any song Katseye have previously released. Unsurprisingly, upon its April 2025 release as a single, the song quickly went viral for its bizarre music video visuals, eccentric lyrics and addictively hard-hitting bass track. Playing upon the slang ‘Gnarly’ describing either something cool or repulsive, the lyrics are outlandish on their own and yet sound perfectly thrilling when uttered in the Katseye members’ animated deliveries. Indeed the chorus itself is something to behold; the girls’ fevered chants of “I’m the s***” over a bombastic bass track cementing the band’s unwavering confidence in their skills and will to dominate the charts.

Next comes ‘Gabriela’, a satisfyingly stylish Latin-inspired R&B song that opens with a Spanish-tinged guitar riff and a swaying mid-tempo beat. The lyrics concern someone trying to defend their lover from the clutches of a seductive woman. The main line in the chorus “Back off Gabriela” also serves as a message to fans of the group that pit members against each other to stir up imaginary drama; letting them know that nobody and nothing can stand in the way of the close group connection they have formed. The smoothness of the track also allows for singers Lara and Manon to show off sleek and seductive vocal tones and for member Daniela to include a part of her culture in an alluring Spanish-language verse.

The Katseye members change it up again with the breezy pop offering ‘Gameboy’, where the singers’ airy vocal runs and subtle vibrato mesh pleasingly with the song’s easy-listening yet trendy vibe. Lyrically, the girls poke fun at a love interest that plays hard to get (“You, you keep on pushing my buttons”) and sing about the playful back and forth of their relationship through sugar-coated harmonies and teasing calls. To some fans, this song may align more so with the sound of the group’s previous hit ‘Touch’, which employs a similar upbeat pop formula to deliver a feel-good track that may arguably appeal to a wider audience.

The fourth track ‘Mean Girls’ is the closest that Beautiful Chaos gets to a ballad; the song contains a pointed message toward the people who continually spread targeted hate towards the group. A sombre vocal melody (“God bless the sweet girls, God bless the dream girls…”) starts off this introspective pop track, which is led by a glitchy string sample and an understated beat. That’s because to Katseye, ‘Mean Girls’ is by no means a hate anthem, or even them being hung up on past difficulties, but a determination to move forward by spreading love, kindness and positivity in the face of adversity. This self-awareness to the dark realities of the entertainment industry and unwavering resolve to remain close-knit as a group will surely continue to endear Katseye to fans as an unshakable unit set to conquer the global music industry.

The girls can’t resist ending their EP on the irresistible bass-heavy dance track ‘MIA’, which from the start captivates listeners with the members’ commanding calls of “I’ll go MIA” and a thumping instrumental that will get audiences bopping in no time. This is undoubtably Katseye at their most comfortable and formidable, delivering powerfully upbeat jams that show off their well-balanced combination of sultry and sweet vocal colours. The pre-chorus line “No, you won’t put a leash on a b****” is probably the most suggestive of all by highlighting that Katseye are here to stay and will not be contained.

Score/Excellent: 2025 has already turned out to be a massive year for Katseye, with their swaggering style cementing their viral status. It doesn’t take a genius to figure out why the boost in popularity – these girls, while bringing together diverse cultural backgrounds, are immensely talented and stand out for their ability to unite listeners from all around the world to let loose with their empowering music.

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

Follow Katseye on:

Instagram
Youtube

The post Katseye – Beautiful Chaos (EP Review) appeared first on Music Review World.

This was followed by “GREY Area,” which was much more experimental and diverse, with a somewhat darker tone. The 2021 release “Sometimes I Might Be Introvert” was truly massive with its orchestral arrangements. “NO THANK YOU” came relatively soon after and felt much simpler, leaning heavily into the traditional hip hop realm. “Drop 7” was once again highly experimental and diverse. This list is just to show that you never really know what Little Simz will offer, but regardless, her music always delivers strongly, no matter the direction she chooses.

“Lotus” is a versatile album that leans heavily on organic soundscapes and band performances. The backgrounds are stunning, and Simz’s flow is once again remarkable. The opening track, “Thief” almost sounds like it could be a masterpiece from a British rock band, but instead of singing, the vocals come out with an incredible flow. “Flood” continues the somewhat rocking line with a strong bassline and drum track. The creeping track strongly reminds me of Young Fathers’ droning and intriguing soundscape. “Young” is something I don’t recall hearing from Simz before. 

The spoken-word verse and vaguely British punk-like chorus remind me of The Streets and Gorillaz. “Only” stands out from the first tracks as a beautiful, soulful, summery piece. The rest of the album continues to balance different genres. Despite its diversity, the album is a cohesive whole and one of Simz’s best and most interesting releases. Simz is undoubtedly in the lead role, but the diverse and extensive list of guest artists definitely adds to the interest. Special mentions go to Moonchild Sanelly, Obongjayar, Lydia Kitto, and the always reliable Michael Kiwanuka. 

Little Simz also brings a lot of influence from modern African music into her work, making her productions even more diverse and interesting. Her ability to blend elements from different cultures and musical styles is one of the reasons why her music resonates so widely with various audiences. In Simz’s music, you can hear influences from afrobeat, afrofuturism, and other African genres, which bring a unique rhythm and energy to her tracks. 

This multicultural approach not only enriches her music but also highlights the diversity and vibrancy of modern African music. Simz has managed to create music that honours her roots while being innovative and fresh, making her one of the most significant artists of our time.

The most incredible thing about the album, which continues to amaze me time and time again, is how artists can reinvent themselves and release something this great even after so many releases.

Release Date: June 6, 2025

Little Simz – Lotus

Album of the Month by Cuberat

The post Little Simz – Lotus Album Review (AOTM June) appeared first on Music Review World.

The album is a beautiful whole in terms of its soundscape, blending electronic ambient moods with more melodic, grand moments of post-rock and dreampop. The concept of a soundtrack might first bring to mind massive, cinematic arrangements—but this one actually includes many relatively traditional song structures and a band-like approach.

At nearly 50 minutes long, the album never becomes boring—largely thanks to the impressive balance between cinematic scoring and more conventional music. The tracklist and transitions are also extremely well-crafted, building—unsurprisingly—a film-like experience without the need for any actual visuals. Still, A Necessary Escape manages to paint magnificent landscapes for the listener, where only the imagination sets limits once you close your eyes.

One of the most stunning moments is the emotional swell of the track Echoes. Until that moment, the album has been subtly building up, with only a few brief interludes offering glimpses of what’s to come. But when Echoes finally erupts with breathtaking beauty, it feels as if previously unseen galaxies are revealing themselves to us.

One of the album’s strengths is also its small sense of playfulness amidst all the emotional weight and atmosphere. A good example is Artificial Infinity, where horns, flutes, and bass lines playfully compete with each other around a catchy drum groove.

A Necessary Escape is an album that, in the midst of all the shit in the world, can bring something truly beautiful and positive into it.

Release Date: May 9, 2025

M83 – A Necessary Escape (Dakar Chronicles Original Soundtrack)

Album of the Month by Cuberat

The post M83 – A Necessary Escape (Dakar Chronicles Original Soundtrack) Album Review (AOTM May) appeared first on Music Review World.