The Prodigal Son is a swift burst of intensity showcasing Naedr firing on all cylinders. For a band named after the lowest point, its 74 seconds only show that the only way to go is up.

Robots largely falls short of its goal in being an enlightening inner portrait. “We are actors with an Oscar”? Maybe try the Star Awards first.

Daytona sounds like Islandeer’s victory lap. Bleed your fuzzy Valensi hearts out, Islandeer, because this race needs more of that. Daytona 500/500, here’s hoping.

"Distort everything” is slowtalk’s motto – on berpecah, the duo demonstrates their slogan to destructive effect.

Everything is a promising new entry for Kotoji - a songwriter slowly grasping the keys to classic indie-rock melancholia.

Much (no pun intended) like the sugar that it seems to portray, Skin By Skin dissolves upon closer examination, but still gets the job done with its comforting sweetness.

For iyer, footwork’s frameworks are a conduit for him to pay homage to his Carnatic heritage. He refracts nuggets of Tamil and Indian culture at large, via the lenses of chopped samples and experimental club.

For Kofu’s stories, Meitei’s choice to sample external sound sources emotionally affected him to the point of tears – as listeners, the samples allow us to relate to these faded memories, making them all the more emotionally poignant.

Wovensound is an underrated project, and Sickleberry Sunsets is a strong testament to Vinod Dass’ dense competency and creativity as a musician, producer, and songwriter.

Beautiful Monsters stands on the better side when it comes to Singaporean pop singles as of late, but it only seems to be a stepping stone for J.M3, as she continues to refine her sound.

On I Feel on Top of the World, The Analog Girl melds steady disco rhythms and claps with enigmatic soundscapes and textures to compliment her reverb drenched vocals and meditative lyricism.

Not unlike an endless night-drive, Wu Mang’s Mirror seems to invite us all to go on the road, to ride along with its own hypnotic loop. Effortlessly stylish.

The lead single preceding Action Bronson’s latest album Only For Dolphins, Latin Grammys sees Bronson gracing a Latin Funk sample with solid flows, hilarious hooks, and an assured braggadocio.

Wira Munir’s it’s 12:45, where are you? is a track that would fly by the radars of many but is still well worth a listen, in particular for how Munir paints his image of longing through his lyrics.

Fauxe and Shye’s collaborative effort More is powerfully melancholic yet still hopeful, a strong testament to how music can help express the feelings and thoughts that words just can’t.

George Chua’s blistering noise and abstract beatscapes come in the form of punishing, rhythmic grids on Neo Punggol – a slice of no-wave nihilism, channeled through modular synth intensity.

Overall, Bird’s Eye barely scratches the surface of what Cinnamon Persimmon is capable of despite its small flashes of brilliance and potential.

Autumn sees the Murphy Radio bringing it back to their initial core sound and influences, flaunting technical skill while still remaining musical, and these guys knock it right out of the park.

Look Mexico’s Uniola takes emo/math rock by the tail and gives it a spanking new robe… that talks and cries sometimes.

Both lyrically and melodically, Good Game’s Latitudes is an anxiety-inducing thesis on the idea of getting lost in time, finding one’s way through its never-ending ticking whilst barely holding on.