Kubuntu Focus Zr Gen 1 Review: A Powerhouse Linux Laptop

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Joshua – A Whole New Theory Redux LP (Immigrant Sun, Stiff Slack)

When we talk about the late-nineties emo and post-hardcore scene, it’s easy to get lost in the usual suspects from the Midwest or the D.C. beltway. But if you were paying attention to the tri-state area back then, specifically New York, you knew that Joshua was doing something that didn’t quite fit the standard “sad boy” mold. They were a band of musicians’ musicians, threading together an intellectual and instinctual sound. Fast forward over two decades, and the cult legend of their debut full-length, A Whole New Theory, has only grown. Now, in 2026, we aren’t just looking at a simple remaster or a lazy reissue. We are looking at A Whole New Theory Redux, a complete top-to-bottom re-recording that breathes an entirely different kind of life into these classic compositions. Released through the long-time allies at Immigrant Sun Records in the States and the tastemakers at Stiff Slack in Japan, this Redux isn’t an attempt to erase the past. Instead, it feels like the band finally had the tools, the clarity, and the perspective to execute the vision they had in their twenties. The original record was known for its interesting production, a bit raw, a bit frantic, which definitely had its charm. But here, the grit is replaced by a precision that highlights just how complex these arrangements actually were. It’s a bold move to re-record a holy grail album, but Joshua pulls it off by leaning into the maturity they’ve gained over the years.

The first thing that hits you is the vocal performance. In the emo and indie rock world, the vocals are often the make-or-break element. You need that sincere edge, but if it’s too polished, you lose the heart. Joshua navigates this tightrope with incredible confidence. The vocals here are soulful and emotive, carrying a weight that only comes with time. There is a certain finesse in how the various sentiments and moods are handled, whether the music is pivoting toward a moment of quiet introspection or exploding into a passionate crescendo, the voice stays grounded and authoritative. This is a seasoned performer revisiting their own words and finding new ways to deliver them. The vocal melodies remain as catchy as they were in 1999, but they are delivered with a transparency that allows the listener to truly connect with the circumstances and situations explored in the lyrics. It exemplifies how to evolve as a singer without losing the raw passion that made people fall in love with the band in the first place. If the vocals are the heart of the record, then the guitars are undeniably the brain. Joshua has always been celebrated for their “D.C. inspired dissonance,” and that influence is on full display here. The guitar work is exceptional, levitating between jangly indie-rock sensibilities and angular, almost math-rock progressions. This is where the “Redux” really shines. In the original recordings, some of the more intricate arpeggiated chord progressions could get lost in the fuzz. Here, every note is crisp.

The interplay between the two guitars provides more than enough melody and harmony to fill the room. You’ll find yourself following a catchy, memorable riff only to have it dissolve into a complex, dissonant chord structure that keeps you on your toes. It’s that perfect balance of engaging and challenging. The band isn’t afraid to let the guitars be raw when they need to be, but there is an underlying elegance in technicality. It’s a sound that feels distinctly New York, intellectual, slightly nervous, yet undeniably cool. The rhythm section understands the assignment perfectly, binding this complex guitar architecture together. The bass guitar provides more than just a low-end foundation. It offers real groove, depth, and clarity. In this re-recorded version, you can actually feel the bass lines moving independently of the guitars, creating a rich, three-dimensional soundscape. It’s the glue that holds the melody to the percussion, making sure that even when the song structure gets weird, the listener has something to latch onto. The drumming performance here is well-accentuated, filled with tasteful breaks and fills that never feel like overplaying. It’s a very active style of drumming that matches the angularity of the guitars. The pace is constantly shifting, moving from driving, energetic beats to subtle, atmospheric textures that allow the songs to breathe.

Thematically, A Whole New Theory Redux explores the fractures and complexities of modern existence, much like the original, but with a renewed focus on the idea of history repeating. The band dives into themes of complex song arrangements, not just musically, but as a metaphor for the complicated ways we navigate our lives and relationships. There is a sense of searching for a whole new theory to make sense of the dissonance in the world around us. By re-recording this material, Joshua is essentially engaging in a dialogue with their younger selves. They are revisiting old traumas, old joys, and old musical ideas through a lens of 20-plus years of experience. This creates a fascinating tension throughout the record. It’s a redux in the truest sense, a leading back, a bringing back of something that was already great, but making it more potent for the world we live in now. For the enthusiasts who have kept their original Immigrant Sun or Doghouse CDs on a pedestal for twenty years, this Redux is going to be such a treat. For the newcomers who missed out on the late 90s post-hardcore explosion, this is the perfect entry point. It’s rare that a band can recapture the magic of their debut, let alone improve upon it, but Joshua has managed to do both. The increased confidence and greater clarity of this version don’t just breathe new life into the legend, they justify why we were talking about this band in the first place. It’s an exceptional debut that has been refined into an even more exceptional modern masterpiece. A Whole New Theory Redux is a definitive must-listen. It’s a knowledgeable, passionate, and powerful album; you have to look back to move forward.

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

Review: And Now, Back to You by B.K. Borison

https://twimom227.com/2026/02/review-and-now-back-to-you-by-b-k-borison.html

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It's Wednesday, it's movie review blog day! This week:
#NoOtherChoice

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https://notanotherscriptguru.wordpress.com/2026/02/25/movies-of-2026-week-7/

Ugly Criers – Catching Spiders CD (Little Rocket Records)

The United Kingdom has consistently remained one of the most vital global epicenters for punk rock music, with specific regions developing their own distinct, highly recognizable sonic fingerprints. When you examine the lineage of the Sunderland punk scene, you uncover a rich history of bands prioritizing raw emotion, gritty realism, and definite melody over flashy commercialism. Ugly Criers carry this torch into 2026, a power trio that has mastered the art of doing more with less. Their latest compact disc offering, Catching Spiders, exemplifies straightforward, honest, and highly emotive music. By stripping away all unnecessary studio trickery and relying entirely on the core trinity of guitar, bass, and drums, the band has crafted an intimately relatable record. Recorded over a three-day session in July 2025 at Rocket Studios under the watchful eye of producer Graeme Philliskirk, a man whose resume includes legendary Northern acts like Roach Squad, Leatherface, and Bull Taco, this album perfectly captures the raw energy of a band thrashing it out in a sweaty basement. The production is completely transparent, allowing the natural grit and character of the instruments to shine through while maintaining a modern, punchy standard.

Lyrically, Catching Spiders completely bypasses the tired, cliché tropes of youthful rebellion or broad political sloganeering. Instead, Ugly Criers turn their conceptual lens sharply inward, focusing on the brutal, often exhausting realities of navigating modern adulthood. The lyrical framework of this record is exceptionally grounded and deeply poetic, which makes perfect sense considering the words are pulled directly from the poetry of drummer Nina Mackie and the creative mind of guitarist Greg Robson. Throughout the album’s runtime, the band explores highly relatable themes that resonate deeply with anyone trying to keep their head above water. They tackle the overwhelming, daily pressure of coping as a parent, dissecting the anxiety and unconditional love that comes with raising a child in an unpredictable world. They navigate the treacherous waters of relationship woes, offering a brutally honest look at the miscommunications and heartbreaks that occur between partners. Perhaps most poignantly, the band dives headfirst into the struggles of mental health, brilliantly conceptualized as battling the toys in your own head. This is working-class poetry delivered over overdriven amplifiers, making the entire listening experience incredibly cathartic for the everyday individual.

The vocal performance on this CD serves as the absolute perfect vehicle for such heavy emotional baggage. The lead delivery is marvelous, possessing a subtle, gravelly touch of genuine and lived-in rawness. When the emotional intensity of the lyrics demands a higher gear, the vocals break into a passionate, shouty register. These aggressive vocal outbursts perfectly convey the frustration, desperation, and exhaustion described in the lyrics, making sure that the listener feels every single word. However, the true magic of the Ugly Criers’ vocal attack lies in their brilliant use of contrast. Threaded throughout the gritty lead performances are highly catchy, anthemic additional female vocals. These harmonious sing-alongs provide a stunning, uplifting counterpoint to the rawness of the lead, elevating the choruses into massive, stadium-sized earworms. The interplay between the gruff lead and the melodic backing vocals ensures that these arrangements remain firmly lodged in your listening apparatus long after the CD stops spinning.

Operating as a three-piece band is a highly demanding endeavor. There is absolutely zero room for error, sloppy playing, or filler material, as there are no backing tracks or secondary guitarists to hide behind. The six-string execution on Catching Spiders is exceptional, expertly filling the entire sonic spectrum. You are treated to highly catchy, memorable, and engaging chord progressions that form the undeniable backbone of the classic Sunderland melodic punk sound. Instead of relying solely on simplistic, repetitive power chords, the guitar work frequently utilizes intricate, arpeggiated chord progressions and highly kinetic riffs. These sonic maneuvers provide a massive amount of melody and harmony, proving beyond a shadow of a doubt that a band can achieve a huge, rich soundscape with just one guitar. The tone is perfectly saturated, distorted enough to provide the necessary punk rock bite, but clean enough to allow every single note in the arpeggios to ring out clearly. A power trio relies entirely on a rock-solid rhythm section to maintain its structural integrity, and Ugly Criers boast a truly phenomenal duo holding down the low end. The bass guitar offers tremendous groove, depth, and clarity, entirely avoiding the amateur trap of simply mirroring the root notes of the guitar riffs. The basslines are warm, articulate, and highly active, acting as the crucial binding agent between the soaring melodic leads and the heavy percussive foundation.

Speaking of the percussive foundation, the drumming performance is the racing heartbeat of the entire record. The percussion keeps everything perfectly in line while expertly dictating the relentless groove and pace of the album. The drum tracking is loaded with well-accentuated beats, clever, unexpected breaks, and highly dynamic fills. There are plenty of percussive acrobatics that keep the energy levels redlined and the listener completely engaged, yet the playing remains incredibly tasteful, always serving the needs of the song first and foremost. Catching Spiders exemplifies straightforward, honest, and highly effective songwriting. By stripping away all pretense and focusing purely on the core elements of bass, drums, guitar, and truthful lyricism, Ugly Criers have crafted an incredibly thrilling piece of art. If you are a true fan of punk rock that speaks directly to the struggles of real life while keeping your head nodding and your foot tapping, this CD is a must listen. It is simple, effective, and deeply resonant. Ugly Criers have delivered a phenomenal record that demands your full attention, proving that sometimes the most profound musical statements are made in a sweaty basement with just three instruments.

Vic Bang – Oda
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Vantrue E1 4K Pro Review (2026): Tiny and High-Definition

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DeadDue – Cycle Of Violence CD

Poland consistently proves itself as a premier destination for heavy music. While many global listeners immediately associate the region with extreme death and black metal legends, the hardcore and metalcore scenes thriving in cities like Warsaw are equally powerful and culturally significant. The underground there operates with a fierce DIY ethic and an uncompromising dedication to brutality. DeadDue have been silently sharpening their sonic weapons to deliver a devastating blow to the European heavy music circuit. Their latest compact disc offering, Cycle Of Violence, exemplifies controlled chaos and sheer aggression. It operates at the bloody, bruised intersection of modern metalcore, beatdown hardcore, and all other sorts of metal music. This record feels like a physical entity. It is a relentless force that demands your unquestionable attention from the second you press play, dragging you into a gritty, urban soundscape. When you tackle an album titled Cycle Of Violence, you expect a certain level of hostility. DeadDue delivers this aggression primarily through an absolutely commanding, front-and-center vocal performance. The frontman acts as a furious, unyielding narrator, utilizing enormously powerful vocals that guide the listener through the emotional wreckage of the album’s core themes. You are immediately hit with visceral shouts and abrasive screams that carry the weight of genuine frustration, societal anger, and personal torment.

However, the true brilliance of the vocal delivery lies in its dynamic range. Amidst the relentless hostility and aggressive hardcore posturing, the band intelligently carves out space for surprisingly melodic parts. These moments are where DeadDue shares highly sincere, raw emotion, providing a unique, vulnerable contrast to the surrounding brutality. It is a highly demanding vocal execution that requires immense stamina, ensuring the listener feels every ounce of the band’s intended message without experiencing vocal fatigue. The guitar department on Cycle Of Violence relies upon extremely chuggy, downtuned configurations that rattle the teeth in your skull. Each riff arrives like a colossal wall of sound, threatening to completely overwhelm your listening apparatus. The band clearly understands the physical impact of low-frequency guitar work, utilizing these downtuned instruments to create a thick, impenetrable atmosphere. The rhythm guitar sequences are highly percussive, utilizing tight palm mutes and aggressive pick scrapes designed to incite absolute mayhem in the pit. Yet, amidst the palm-muted destruction, the guitarists introduce subtle melodies and thematic leads along the way. These lead themes slice through the heavy rhythmic chugging, adding a sophisticated, atmospheric dimension to the brutal foundations. They offer a momentary glimmer of melody, a brief gasp of air, before plunging the listener right back into the suffocating darkness of the breakdowns.

To support such a massive, downtuned guitar attack, a heavy band requires a rhythm section possessing absolute precision and immense power. In modern metalcore and beatdown hardcore, the bass guitar frequently gets entirely buried in the mix, lost beneath triggered kick drums and over-distorted guitars. DeadDue vehemently rejects that amateur mixing trope. The bass guitar provides spectacular clarity and depth. You can distinctly hear the metallic clank of the thick bass strings locking into the groove, providing a filthy, distorted rumble. The bass acts as the ultimate structural adhesive, binding the erratic guitar sweeps with the thunderous percussive patterns. It adds a thick, warm undercurrent that makes the beatdowns feel even more catastrophic. The drummer is tasked with keeping everything in perfect line while simultaneously dictating the relentless groove and pace. Cycle Of Violence features a highly dynamic topography that keeps you guessing. The percussionist must transition between different rhythmic demands, and the execution here is phenomenal. There are many deep, punishing beatdown moments where the tempo drops to an agonizing crawl, allowing the sheer weight of the instrumentation to crush everything in its path. These slow, deliberate, cymbal-choking sections are the absolute pinnacle of top-tier beatdown hardcore. Then, completely without warning, the band surprises the listener with bursts of relentless speed. The drums explode into rapid-fire blast beats or thrashy two-step sequences, pushing the tempo into the red zone before dropping back into a neck-snapping groove. Every snare crack, double-kick barrage, and cymbal accentuation is placed with mathematical precision, elevating the entire record.

Thematic depth is a crucial component of any successful heavy release. While avoiding a tedious track-by-track analysis, it is entirely clear that DeadDue uses this album to explore the darkest corners of human nature. The title Cycle Of Violence perfectly encapsulates the musical and lyrical journey. It is a profound exploration of societal decay, the toxicity of urban environments, personal struggle, and the aggressive patterns humanity finds itself trapped within. The band translates the crushing reality of these themes directly into their complex, aggressive musical arrangements, creating a perfect soundtrack for the modern dystopia. DeadDue has successfully crafted a record that will satisfy the most demanding fans of the underground scene. They have merged the technical proficiency and metallic edge of modern metalcore with the sheer, unadulterated, knuckle-dragging hostility of beatdown hardcore. Cycle Of Violence is an excellent showcase of what happens when a band fully commits to their vision without any commercial compromises or watered-down radio edits. This CD is a mandatory acquisition for any true fan of metalcore, beatdown hardcore, or extreme metal in general. It provides all the massive, breakdown-inducing hooks that keep the mosh pits spinning dangerously, alongside the intricate musicianship the elitists crave. DeadDue took a bold step with this release, establishing themselves as true heavyweights in the Polish scene. Grab a physical copy, press play, and let the beautifully orchestrated madness wash over you.

Animations – Definition Of Mad CD EP

Poland has long maintained an ironclad reputation as a fertile breeding ground for some of the most devastating, technically proficient heavy music on the planet. When you examine the output from this specific European region, you expect a certain level of instrumental precision and unyielding aggression. Hailing from Jaworzno, Animations perfectly embodies this regional pedigree while aggressively carving out their own unique sonic territory. This veteran unit has been grinding through the underground and refining its craft across five full-length albums. Their latest compact disc offering, the Definition Of Mad EP, represents a fascinating pivot in their creative trajectory. Following the expansive nature of their 2023 full-length Contemporary Guide to Modern Living, the band freely chose to compress their metallic fury into a concise, 25-minute onslaught. The resulting five-track release is a hyper-focused, lethal dose of metalcore, groove metal, and technical death metal that demands absolute attention from the listener. Thematic depth is a crucial component of any successful modern metal release, and Animations tackles incredibly heavy subject matter with profound respect and raw intensity. Definition Of Mad serves as a conceptual exploration of mental health and the grueling daily struggle to find balance within an increasingly chaotic, unbalanced modern world. The psychological weight of these themes is brilliantly visually represented by the EP’s cover art, crafted entirely by the band’s frontman, Frantz Wołoch. Having the lead vocalist handle the visual aesthetic ensures a perfectly unified artistic vision. The visual darkness immediately translates into the sonic artillery waiting on the disc. The band translates the crushing reality of anxiety, internal conflict, and societal pressure directly into their complex, aggressive musical arrangements.

Speaking of Frantz Wołoch, his vocal performance throughout this release is breathtaking. He acts as the primary emotional conduit, delivering enormously powerful vocals that run the entire gamut of extreme metal techniques. His aggressive delivery is packed with fierce shouts and marvelous screams that perfectly articulate the frustration and chaos of the human mind breaking down. Yet, he masterfully transitions into incredibly clean, melodic passages where the band shares highly sincere emotion. These melodic vocal sections act as crucial moments of vulnerability and clarity amid the instrumental storm. They provide the necessary breathing room, allowing the listener to fully absorb the lyrical weight regarding mental health struggles before the next wave of aggression hits. The foundational bedrock of Animations’ sound rests squarely upon the shoulders of the guitar department. The guitar work on this CD exemplifies extreme metal execution. The tone is obscenely heavy, utilizing extremely chuggy, downtuned configurations that make sure each riff arrives like a colossal, impenetrable wall of sound. Understanding the frequency distribution of these downtuned instruments highlights exactly why the riffs feel so physically imposing. The low-end resonance creates a percussive attack that hits the listener right in the chest. However, Animations refuses to rely solely on brute force. The guitar tracking is heavily layered and remarkably technically demanding. The progressive metal and technical death metal roots shine brightly through intricate fretboard acrobatics, complex time signatures, and rapid-fire picking sequences. Amidst this technical wizardry, the guitarists intelligently carve out specific spots to share subtle, beautifully constructed melodies and harmonies. These lead themes slice through the heavy rhythmic chugging, adding a sophisticated, atmospheric dimension to the brutal foundations.

To support such a massive guitar tone, a band requires a rhythm section possessing absolute precision and power. In modern metalcore and tech-death, the bass guitar frequently gets entirely buried in the mix, lost beneath the kick drums and distorted guitars. Animations vehemently rejects that mixing trope. The bass guitar on Definition Of Mad provides spectacular clarity and depth. You can distinctly hear the metallic clank of the bass strings locking into the groove. The bass acts as the ultimate structural adhesive, binding the erratic, technically demanding guitar sweeps with the thunderous percussive patterns. It adds a thick, warm undercurrent that makes the breakdowns and heavy grooves feel even more catastrophic. The drummer is tasked with keeping everything in line while simultaneously dictating the relentless groove and pace. In a genre-blending release like this, the percussionist must seamlessly transition between the bouncy, syncopated rhythms characteristic of groove metal and the complex endurance required for technical death metal. The drum tracking here is phenomenal. Every snare crack, double-kick barrage, and cymbal accentuation is placed with mathematical precision. The drumming creates a highly dynamic topography, knowing exactly when to push the tempo into the red zone and when to drop into a slow, neck-snapping groove. Definition Of Mad exemplifies how this band is entirely in control of their chaotic elements. Animations successfully distilled years of songwriting experience into a 25-minute masterpiece. They merged the technical proficiency of progressive metal with the sheer, undiluted hostility of metalcore and the rhythmic bounce of groove metal. By focusing their lyrical lens on the highly relatable, urgent topics of mental health and modern survival, they elevated the material from a simple collection of heavy riffs into a profound piece of art.

This CD is a mandatory acquisition for any true fan of metalcore, groove metal, or technical death metal. It provides all the intricate musicianship the elitists crave, alongside the massive, breakdown-inducing hooks that keep the mosh pits spinning. Animations took a bold step by shifting to this short, high-impact format, and the gamble paid off immensely. Grab a physical copy, examine the artwork, press play, and let the beautifully orchestrated madness wash over you.

Death Of Youth – Nothing Is The Same Anymore LP (Engineer Records)

When examining the current state of the global hardcore scene, it feels as though we are witnessing a genuine renaissance of emotional variety. We have moved past the era of carbon-copy revivalism and entered a space where bands are using the bones of the early 2000s to build something far more essential than ever before. Death Of Youth has spent their time refining a sound that not only showcases their songwriting and composing abilities but also proves that post-hardcore and emo music still have a great deal to offer. Their debut album, Nothing Is The Same Anymore, is exactly the record that makes you sit up and pay attention because of the sheer weight of what is being said. From the very first second, the listener is guided by powerful and emotive shouts and screams that provide a constant, navigating presence. There is a profound emotional depth behind every vocal choice. You can hear the vocal cords straining under the weight of the subject matter, moving from raw, abrasive desperation to a melodic sensibility that keeps the hooks lodged in your brain. It acts as the ultimate guide through a very dark forest, making sure that even when the music gets chaotic, the message remains front and center.

Speaking of the music, the guitar work on Nothing Is The Same Anymore is more than impressive. The band has mastered the art of the interplay, threading together beautiful, catchy themes, melodies, and harmonies. It’s a delicate dance between the pretty side of Midwest emo and the rough, aggressive edge of skramz. You get these incredibly catchy and engaging riffs that serve as the foundation, but they are constantly being decorated by themes that feel cinematic in scope. The chord progressions are memorable and consciously constructed, avoiding the trap of mindless noodling. Every note feels like it was placed with a specific emotional intent, creating a contemplative and cathartic soundscape. But you can’t have that guitar-driven beauty without a solid anchor, and the rhythm section here is doing some heavy lifting. The bass guitar provides more than the necessary heaviness, offering a level of clarity and depth that is often lost in modern post-hardcore productions. It acts as the connective tissue, binding the ethereal guitar work to the grounded percussion. Meanwhile, the drumming is exceptional, dictating the groove and pace with a fierce yet controlled energy. Each fill and accentuation keeps this album alive even during the more atmospheric, slow-burning segments.

Nothing Is The Same Anymore is a deeply introspective and socially aware record that refuses to play it safe. The band uses its platform to examine the fractures of modern existence, tackling urgent topics that many in the heavy music scene choose to ignore. They dive headfirst into the fight for transgender rights, challenging the listener to examine their own empathy and solidarity. They turn a critical eye toward toxic male attitudes regarding violence against women, demanding accountability in a scene that often claims to be progressive while harboring the same old systemic issues. The record also takes aim at the bigotry that still festers within the heavy music community. It’s an examination of performance art vs. actual values, calling out those who wear the aesthetics of rebellion without actually standing up for the marginalized. You can feel the genuine anger and disappointment shining through the speakers. But the band is smart enough to know that social awareness must be balanced with personal reflection. They carve out significant space to explore the messy reality of emotional abuse, the long-term effects of trauma, and the crushing weight of grief.

There is a specific, localized pain found in the themes of mourning lost childhood friends and the slow, agonizing process of healing. It’s a journey from suffocation to a fragile kind of breathing space. This balance between the macro (social justice, systemic failure) and the micro (individual healing, personal loss) gives this album its staying power. It feels like a complete portrait of what it means to be alive and conscious in the mid-2020s. Sonically, the influence of early 2000s post-hardcore and the skramz subgenre is more than evident, but Death Of Youth manages to avoid sounding like a nostalgia act. By incorporating the melodic textures of Midwest emo, they give the songs a sense of air and movement. It prevents the record from becoming a monolithic wall of noise. You get those moments of quiet, skeletal guitar work that build into massive, crashing crescendos, mimicking the ebbs and flows of a panic attack.

Nothing Is The Same Anymore is an essential listen. It’s a record that respects the history of the genre while pushing it into more honest, vulnerable territory. It’s loud, beautiful, and real. Death Of Youth released a manifesto for anyone who feels alienated by the modern world but refuses to give up on the idea of healing. This is the sound of the fractures being examined, and perhaps, through the noise, being mended just a little bit. I can’t recommend this one enough if you’re looking for music that actually says something. It’s a debut that sounds like a veteran statement, and I’m genuinely excited to see where they go from here. If this is the starting point, the future of the scene is in very capable, very loud hands.

Calamity Angels: Special Delivery Review – Board Gaming in Dungeon

https://fed.brid.gy/r/https://noisypixel.net/calamity-angels-special-delivery-review/

‘Happy Birthday’ Review: Egypt’s Oscar Submission Is an Accomplished Debut About a Young Cairo Girl’s Difficult Life

https://fed.brid.gy/r/https://variety.com/2026/film/reviews/happy-birthday-review-egypt-oscar-submission-1236669933/

‘Gugu’s World’ Review: A Radiant Queer Coming-of-Age Charmer From Brazil

https://fed.brid.gy/r/https://variety.com/2026/film/reviews/gugus-world-review-allan-deberton-brazil-1236672005/

‘Happy Birthday’ Review: Egypt’s Oscar Submission Is an Accomplished Debut About a Young Cairo Girl’s Difficult Life
#Variety #Reviews #Happybirthday #SarahGoher

https://variety.com/2026/film/reviews/happy-birthday-review-egypt-oscar-submission-1236669933/

‘Gugu’s World’ Review: A Radiant Queer Coming-of-Age Charmer From Brazil
#Variety #Reviews #BerlinFilmFestival

https://variety.com/2026/film/reviews/gugus-world-review-allan-deberton-brazil-1236672005/

‘Midwinter Break’ Review: Lesley Manville and Ciarán Hinds in a Touching Wee Drama of Late-in-Life Marital Crisis

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‘Midwinter Break’ Review: Lesley Manville and Ciarán Hinds in a Touching Wee Drama of Late-in-Life Marital Crisis
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https://variety.com/2026/film/reviews/midwinter-break-review-lesley-manville-ciaran-hinds-1236670253/

A compact microphone built for better sound from your phone or camera, the Rode Wireless Micro is a winner and easy recommendation. https://www.pickr.com.au/reviews/2026/rode-wireless-micro-camera-kit #recording #reviews #sound #australiantechnology #microphones #recommended #rode #typec #wireless

Season two of #TheNightManager delivers on all the promises of the first outing and more. Outstanding spy show starring #TomHiddleston.

#BBC #series #review #reviews #NowStreaming #drama #action #spy #thriller #PrimeVideo

https://cee.onl/pz5