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Atmospheric Drum and Bass, Punk Rock, Pop Punk, Ska, Power Pop, FM Synthesis, Jazz Fusion, Prog Rock, AOR and more!

Happy new year, and welcome back.

First things first, I want to thank everyone who has subscribed to my little brain-dump of a music newsletter and helped me (somehow!!) break the 1,000 subscriber mark. A goal I would have never imagined to set for myself, and yet here I am.

As a result, I have spent a good part of the new year worrying; am I doing enough for the newsletter? Should I be making snippy, snappy videos and capitalizing on my surprising reach? Maybe I should be posting on Substack’s version of social media (Notes) more? Or, is me cracking my brain off the desk every few weeks and letting a barrage of reviews across varied and disparate genres seep out enough? I mean, it got me this far, I guess! I just want to make sure that I am serving you, the audience, as well as I can and in the way you want me to.

And wow, here I was thinking I needed to get back to listening to a crap-load of music because I was soooo behind on capsule reviews… and I didn’t realize I had a lot of them that piled up around the time I was readying my year-end lists!

So with that in mind, today’s post is a bit of a catch-all; you’ve got some 2025 releases reviewed here, plenty of miscellaneous old music (from jazz fusion to pop punk, oh my) and whatever else might tickle your fancy.

Now, let’s get to some tunes.

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Emoji legend:

• ⛏️ denotes picks of the week, my favs.

• 🌱 seedling denotes albums like a lot and expect could grow on me over the year.

• ✨ albums I would recommend to fans of the genre (i.e. it might not convert new listeners, but you should check it out.)

• ✂ denotes favourite tracks from a given record.

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As always, feel free to reach out over on BlueSky or join the Rosy Overdrive Discord server where I can be found now and again.

You can also find me in the corners of Rate Your Music scrounging for obscure emo, hardcore, indie rock and pop punk.

Don’t forget: if you’re reading this in your email it will be cut off.
Read on the web for the full list of reviews!

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747 - Pacific Spirit (2025)

Genres: Atmospheric Drum and Bass, Acid Breaks

Really phenomenal atmospheric drum and bass work here. Some of it sounded a pinch familiar (no idea why "Cascadia" felt like something I had heard this year?) but across the board this is great and very ethereal stuff that doesn't just settle for switching between "quiet ambient moments" and "acid breaks/breakbeats". Aside from some of the familiarity, it's awesome stuff and could very well have been on my year-end list had I found it earlier in the year.

Cigarette Camp - Steps (2025)

Genres: Punk Rock, Pop Punk

When Cigarette Camp dropped Slowpoke, I said maybe these were some EP leftovers to tide people over until they release a full length. I was kinda wishful thinking with that one, but then last night I saw that their debut full length actually was dropping today via Dead Broke Rekerds.

Upon first glance, this seems to fit in with their EPs (one of these songs is 9 seconds long and nothing breaks the 1.5 minute mark, in fact they bash out 19 songs in as many minutes) but they've definitely taken their foot off the gas pedal a pinch when it comes to pacing and energy on their debut. They're offsetting their brevity with a few more mid-tempo power poppy tunes here and there ("Shoe Store", "Tooth Decay"). A bit more Chinese Telephones and a bit less Dillinger Four if that makes sense, even if both styles are well represented across all 19 minutes of the record. I imagine I won't be the only person who hears "Tell Me Something" and thinks of the "Tell Me Tell Me" off Chinese Telephones right?

I don't mind, because I love gritty but mid-tempo pop punk bangers. I mean, they cover Fastbacks, so you know where they are coming from here and are signaling their slight turn in sound pretty clearly.

The Pomps - Partial Eclipse of The Pomps (2025)

Genres: Ska, Power Pop, New Tone, Reggae

I think it's cool that there still exists a place in the modern music scene for this kind of release, and that Bad Time Records are helping keep that space for it in the new-tone genre.

What I'm talking about, is the overlap between power pop, new wave and ska/reggae that you'd most often hear in the 70s and 80s. The Pomps fit snugly there, but with a slight modern update. This is hooky pop-rock played with upstrokes and organs, and never dips too far into outright reggae—but also doesn't just sound like a band aping Cosetello-esque nervy new wave. As I am wont to say, their ingredients are measured well and executed the same. It's not the most memorable record of the year, but it goes down easy and enjoyable. Definitely interested in hearing more from them.

.ISO - Save Screens (2025)

Genres: Jungle, Atmospheric Drum and Bass, Dreampunk, Ambient, Breakbeat

Dug this because, while it's foundationally jungle/drum and bass, it has a lot of cool cyberpunk (sorry, dreampunk?) atmosphere and a warbly, warm organic texture to it. Yeah, it's working with a set of building blocks that you've probably heard before, but they're assembled in satisfying ways. I wouldn't go so far as to say this sounds unlike anything else in the genre, but it does have some je ne sais quoi that makes it sound less derivative than initially expected.

ASC - Next Time You Fall (2025)

Genres: Atmospheric Drum and Bass, Jungle

Possibly overdosing on the genre by listening to a bunch of hours of similar stuff in a row, but this was more very solid atmospheric drum and bass. Very rain-slicked, driving around aimless kind of music, with a twinge of melancholy. Above average and worth looking into if you're into the genre.

Satin Sheets - S.World (2025)

Genres: Atmospheric Drum and Bass, Breakbeat, Chillsynth, Utopian Virtual, Ambient House

Comes with a Utopian Virtual PS1 heavy aesthetic but ultimately in practice this is beat-forward electronic music with a kaleidoscopic vibe busted down into bite-size sub-two-minute chunks (only breaking the three minute mark on a handful of occasions). Kind of gives this a little bit of an all-over-the-place feeling that seems less album-focused and maybe more of a lark, but it functions like a record where if a song isn't your speed, another one is around the corner so it's not a big deal.

I will say though, at times it can feel like you're digesting something meant for another medium - video game soundtrack, etc. - and the conceptual identities of the songs don't buck that trend ("Loading", "Disc", "Sky", Lava", etc.) So in that way, it's not beating the accusations of the aesthetic-forward nature of the genre. But enough of this was hitting for me that I enjoyed my time with it, even if 50 minutes was starting to push my patience. Their last record was 32 minutes and that feels a bit more like it for me, personally.

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lpower - Abinox (2012)

Genres: FM Synthesis, Progressive Electronic, Progressive Rock, Chiptune, Synthwave

Totally rules and is absolutely in my realm of wanting chiptune/chip-based music that doesn’t sound like a bite-sized level-by-level soundtrack to a non-existent video game. I like that stuff too—and when chiptune is leveraged just for straightforward electronic bangers—but this feels a little more... purposeful? Very ambitious, with aspects of progressive music (not sure about the prog rock subtag, but OK I guess) and it packs in lots of different, interesting movements within each song.

A pinch long, but it kept me engaged the whole time and left me really excited to look into Part 2 and 3.

Passport - Looking Thru (1973)

Genres: Jazz-Rock, Jazz Fusion, Progressive Rock, Jazz-Funk

Much more my speed than their 1976 release Infinity Machine. This is more in line with Cross-Collateral, in that it's focused around lightly progressive fusion with a spotlight on spaced-out synths and the "lite" sax work that would later dominate their sound. They stretch out now and again into some more out-there territories ("Eloquence") in the same way they do on Cross-Collateral, but it's always foundationally smooth in some way or another. "Things to Come" is a particularly weird little closing tune that makes me wish they did more off-the-wall shit like that. I guess I will have to keep going backwards in their discography for that kind of thing.

lpower - Abinox II (2013)

Genres: FM Synthesis, Progressive Electronic, Chiptune

Maybe a little more refined compared to Abinox but still playing to the same strengths: FM synthesis and chiptune music stretched over progressive electronic structures. Again, it paints a great picture and plays well to the ear beyond “this sounds like a video game level” to me.

lpower - Abinox III (2014)

Genres: FM Synthesis, Progressive Electronic

The final act in this trilogy of records. 2 tracks totaling 60 minutes across a variety of movements and shifting atmospheres. You will know exactly what to expect if you’ve heard the previous two records, and it’s more of that but presented in a slightly more dense way.

Maybe a bit too much to take in back-to-back but both are very fantastic achievements in FM and chip songwriting and mood setting. More fantastic stuff, but obviously only for people who have already absorbed the first two acts. Docking a half star just because it’s the only one that I feel like you couldn’t point someone towards on their own.

You could probably pass the 2nd album to someone who digs chiptune and they’ll like it but this one feels more of an undertaking and for people who already are invested in the series.

Heartsounds - Until We Surrender (2009)

Genres: Skate Punk, Punk Rock, Melodic Hardcore

Logged into the computer to do some work on the weekend and caught dewtaylo on RYM logging a positive review on a record with cover art that looks like this? Christmas came early! You know I’m prioritizing that.

The name and album art seemed very familiar, but when I hit play it wasn’t ringing a bell. And then I realize I reviewed Internal Eyes last year, ha. This one sounds a like what I might expect the first album from the band I was describing in that review would sound like - a pinch scrappier, a slight bit heavier on the punk foundation, but still mixing pop and orgcore with fast dugga-duggas and interchanging vocalists.

I liked this a bit more than Internal Eyes, which makes me want to listen through their discography in order now and see if it makes more sense when I get to that record. Still, good stuff!

Capguns ‘n’ Coke - Just Another Day E.P. (2007)

Genres: Pop Punk, Punk Rock

Scrappy three chord pop punk that sits right there between Ramonescore (or more specifically, Weaselcore) stuff of the 90s and the bearded orgcore explosion of the 2000s. 7 songs, 16 minutes, all pretty above average. Sometimes it gets very snot-poppy (”Anywhere But Here”) and sometimes it’s more straight-forward on the punk side of the equation (”Can’t Say I Never Try”). There’s a lot of bands that will be on the tip of your tongue when you listen to this, basically. Part of me wants these songs to have hooks that just catch you just a little deeper, but otherwise they’ve got this stuff nailed down tight. A nice find from dewtaylo!

Lifeless Dark - Forces of Nature's Transformation (2024)

Genres: Stenchcore, Thrash Metal, D-Beat

Very cool stuff, and right up my alley. This is basically early Sacrilege worship, with a punky stench influence stemming from records like Heading for Internal Darkness or maybe some Discharge. Slight whiff of progressive elements on the opening track that stretch into a few other songs too. Very well rounded, would love to hear more from them in the future to see where they take this sound next.

Saga - Worlds Apart (1981)

Genres: Progressive Rock, New Wave, AOR, Synthpop

I've tried here and there to get into bands that segued from prog towards synth-forward AOR (i.e. Kansas, that kinda stuff) and usually it doesn't really work for me all that much. Was craving some synth-forward AOR rock that has vague progressive foundations and figured why not listen to Canada's own SAGA? This record was their first big swing from being overtly-prog into something more pop/rock in foundation. Usually, I go for stuff more in the 1985 era because I want that in-your-face cocaine synth vibe, but this was a good place to start as any.

And it's pretty good! Cromulent hooks on the bombastic pop rock songs, some good poindexter-ass showing off ("Conversations") and some Toto-esque rocking when "No Stranger" kicks in. They are at their worst when they crank up the "watery ballad" knob though, on "No Regrets".

Tempted to rate this higher, but for now it's a nice little diversion. Might check out what came after, as I am still wanting something that really hits that synthy prog-pop pleasure center from the band, but who knows maybe I'll come around on this one even a bit more.

Gentle Giant - The Power and the Glory (1974)

Genres: Progressive Rock, Avant-Prog, Zolo

While I didn't love Free Hand compared to something like Interview, I think this record strikes a better balance at being really out there and super nerdy as far as progressive rock goes but still being avant-garde in a way that is fun to listen to. Some of this also rocks in a cool way, almost proto-math rock kinda vibe on songs like "Cogs in Cogs." Overall, really strong record from the band and doesn't dip into the type of nerdy prog that ends up sounding like a circus or a renn faire to my ears.

Eloy - Performance (1983)

Genres: Progressive Rock, Space Rock, AOR

Hard to beat the review (on RYM) below mine saying "The Cars and The Police decided one day that they were really into Hawkwind and Tangerine Dream."

Eloy take a real turn into AOR-style progressive spacey synthy rock here and it definitely works for me. Very enjoyable and quite digestible at under 40 minutes, even with a couple songs stretching their legs out tastefully.

Eloy - Metromania (1984)

Genres: Progressive Rock, Space Rock, New Wave, AOR

Honestly, Eloy's sometimes-derided 80s efforts keep hitting for me. This seems divisive, considering some reviewers seem to mark it as when the band stepped fully out of their progressive roots and into something more "marketable".

And yet you still get stuff like "All Life is One" which is absolutely not a catchy little tune trying to land on the radio. It's a perfect melding of cold, spacey and drone-y new wave that happens to have a whiff of AOR to it. Plus, the band still gets to layer their progressive tendencies on-top of the comparatively standard foundation. Honestly, absolutely loved that track and it really unlocked the whole record for me.

"Escape to the Heights" sounds a little like if The Police and The Cars got together to try their hands at an AOR-progressive rock new wave tune, but it kinda works too?

Sure, some of these songs feel nudged towards "commercial" rock (dig those palm muted, chugging guitars on "The Stranger" leading into a bombastic chorus, the 9 minute synth-rock-fest "Follow the Light", the guitar-rock of "Nightriders") but it's coming from a really eccentric band who seem unable to dial back those foundational eccentricities. Which makes this so, so much more interesting than your average "oh the progressive band tried to make a hit record" albums.

Eloy - Ra (1988)

Genres: Progressive Rock, Synthpop

More commonly viewed as where the band really took a turn for the worse, RA finds Eloy taking a new age spoken word storytelling and very digital sounding approach to their progressive rock. Sometimes referred to as a "glorified Frank Bornemann solo album" since the band paired down to Bornemann, a chosen keyboardist and guest musicians.

The drums here have that enormous cocaine 80s sound to them, and a lot of this is pretty cool if you're into that vibe. Some of it, like "Dreams" is the most watery and lightweight the band have sounded so far in their career. It's not bad, but it's the first time I would describe them as kind of... bland?

Other stuff here is decent, "Invasion of a Megaforce" is an OK cheesy new age-y AOR type tune but is quite long in the tooth. I think mostly I'm disappointed because I thought maybe they were turning in the direction of progressive electronic type influence but it's not really that type of record. Some of this scratches an itch that I have, but it's a bit forgettable.

Warthog - Warthog (2022)

Genres: Hardcore Punk, Crossover Thrash, D-Beat

Saw this band had a sweet looking logo on the Tied Down line-up announcement poster and decided to give it a try. The genre tags tell you everything you need to know, as this is foundationally hardcore punk music with thrashy crossover appeal. Solid, but listening to this release from 2022 in 2025 kinda makes it sound a little unremarkable to me. I might have been way more stoked on this had I heard it a few years back when I wasn't already listening to a few bands that sound exactly like this. Would definitely be interested in what they could do on a full length, but not going to be running back to these three songs any time soon either.

Passport - Infinity Machine (1976)

Genres: Jazz-Rock, Jazz Fusion, Jazz-Funk

I have a high tolerance for the watery jazz fusion of the 80s, but I kept bouncing off this after really digging Cross-Collateral. I assumed that I'd enjoy them even more the further they went into the synthy lite-jazz rabbit hole of their career, but damn the first side of this was pushing it for me. Not that it's particularly terrible but it's just so... poorly paced. Opening with, ugh, 10 minutes of "Ju-Ju-Man" kept throwing me off and having me not want to listen to the rest of the record. Then the rest of the A-side is very airy and disposable, finally the B-side picks things up and gets more out-there on "Infinity Machine", and "Ostinato" kinda rips with some really sick synth work in the second half. It's all a bit too little too late though, the A-side has already done its damage.

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That’s it, that’s all. Be excellent to one other.

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