Greg Puciato’s ‘Mirrorcell’ (Federal Prisoner) is liquid mercury, shifting and morphing to reflect the facets of an artist who has challenged themselves to achieve a singular persona.

Nashville artist Andrew Adkins delivers his new solo recording, ‘Rattlesnake Motions,’ a riveting listen with a fresh take on a genre that’s seen far too little experimentation in recent years.

‘Get Fucked by Fabulous’ (Supermegabot Records) is a love letter to a band that itself wrote its entire, short discography as a love letter to an era when punk was actually dangerous and music was exciting.

Norwegian death-pop punks Blood Command return with ‘Praise Armageddonism,’ an album full of tracks that sink their claws in with absolutely no intention of letting go.

‘Planet Zero’ (Atlantic Records), simply put, is a banger of a record and demonstrates that Shinedown are still well in their prime!

Wow! ‘Bliss & Grief’ (Wagram Music) is a grand EP; beautifully stylish and oh-so beguiling, Yorina’s yummy voice puts listeners under a marvellous spell.

Irish quartet Conjurer has become one of the bright hopes for British metal. Read our thoughts on their new album ‘Páthos’ here.

Raw and surging with delicious, ragged dynamics, Dog in a Man Suit’s EP ‘Trapped!’ vibrates on the palpable muck of gritty guitars, evocative lyricism, and passionate vocals.

London alt-rock duo Wax on Water combine their two EPs into one eclectic, ambitious package. Read our thoughts on ‘The Drip’ here.

The self-titled debut from Final Light should really be celebrated for reminding us all of the importance of music, art and creativity in addressing the many wrongs of the world.

Australian death metal trio Werewolves are back with ‘From the Cave to the Grave,’ thirty more minutes of unrelenting, bile-drenched hate.

Occasions for Self-Congratulations is the title of Sgt. Splendor’s debut album, which dropped just a few days ago. A new project, Sgt. Splendor is made up of Kate Vargas (vocals) and Eric McFadden (vocals, guitar). Talking about the new release, Vargas says, “This record draws heavily from what we experienced during lockdown. It’s an abstract expression

Bottom line: the strength of Alexandra Spieth’s new horror-comedy ‘STAG’ is its seamless ability to integrate the conversational, natural dialogue steeped in antagonism and unclear motives.

Overall, ‘It Came from Aquarius Records’ (by Kenneth Thomas) successfully weaves its tale with enough charm to spill over into other documentaries one might wish would be made about its charming cast of personalities.

The Insatiable Necrosexual comic is just as batshit as fans could hope for. It’s an appeal to a very specific crowd who are all already in on the joke.

Love Hertz is an interesting concept: a book about a DJ who has discovered a secret sound frequency capable of taking over minds and bodies, and a soundtrack to match the party atmosphere it dwells within. The book touts itself as a “romantic comedy with a sci-fi twist,” while the package altogether is deeply rooted