The record features drums sequenced at impossibly fast speeds and heavy breaks that will displace any unsuspecting listener’s spine from whiplash.

‘Requiem for the Serpents World’ is dedicated to all people fighting to spread the truth worldwide, any era, since we entered the Iron Age.

You were angels of light on this earth and all part of this great puzzle resolution, a puzzle that’s crumbling now.

Temporal power is completly corrupted now, any sides.

We will be remembered as Poison Era, 12 000 years of lies, mass manipulation, corruption, wars and infinity of perverse deviances.

Where the veils of perception are so deep, where the link to our souls is so damaged, so corrupted by those Dark Days.

– Fixions

Requiem for the Serpents World is out now via Bandcamp and Spotify.

To round off the series with a top-tier release, Satanic Panic Recordings are pressing a limited run of Fundamentals : The Anthology on vinyl, which includes a bonus track and a complimentary tote bag and slipmat.

Brothertiger ‘Fundamentals : The Anthology’ is out now on Bandcamp.

Engaged by 80s Stallone

80s Stallone ‘Engaged’ is out now on Bandcamp via TimeSlave Recordings

Infinity by Euan Ellis

Euan Ellis ‘Infinity’ is out now on bandcamp

« Nostalgic, dramatic and not short on synth, my 2nd album is the kind of album that takes you on a journey to cosmic space stories and to the brave new world, this planet is becoming these days. »

To anyone with any leftover apprehensions towards the Sovietwave sound, ‘1984? Нет!’ is yet another impeccably produced chance to fall in love with the sounds of interstellar nostalgia.

‘1984? Нет!’ is out now via Bandcamp.

Be sure to also check out EET’s Bandcamp page to grab a gorgeous neon-green and white vinyl of the album.

Experience EET’s latest work here:

Favorite tracks : Fly Me to the Groove, Descend (The Inverted Pyramid)

Eagle Eyed Tiger ‘Untether Unravel’ is out now via Spotify and Bandcamp

Simply put, Leisure bears the unmistakable mark of an artist for whom the eighties aesthetic is a preferred sonic palette rather than a crutch.

Duett’s ‘Leisure’ is out now on bandcamp and other streaming platforms.

Hey Now

Off the bat, I admire Siamese Youth for their pop-rock essence as it’s infused with the electronic details that a synth provides. The vocals hit me like a truck right away! I ADORE how the melody interacts playfully with the lyrics. There’s passion in the percussion that amplifies the intensity of the chorus, and the scene is set like a cult classic movie ballad montage. “Hey Now” is the ultimate lovestruck getaway track to run away to, or win back the beau of your dreams.

So Far from Home

The next track takes on a slower note, and while there are widely arranged chords to strike nostalgia, there’s a taste of modern retrowave here and there. The dazzling chimes in the wake of the progression make themselves known against the airy, breathy seduction of the vocals. These lyrics are wise and methodical, in the sense that there’s a conversation between either one and another, or with oneself. It reminds me of the challenges we face living life as a loner, resorting to escapism rather than facing our demons.

Young Nights

Ahh, Summer Lovin’ is upon us. “Young Nights” is the perfect vibe for infatuations, blind naivety, and true love. I love the stadium feel that each of these tracks provides so far from the echoes and reverb. Instantly I appreciate the sample at the start of the track, which is from the 1959 film “The House on Haunted Hill”. It’s a conversation between Vincent Price, as Fredrick Loren, and Annabelle (Carol Ohmart) regarding their surprise ghost party and their guests. Interesting choice for a track that is so uplifting and pop-centric. I would have sooner expected this to be used in a darksynth track!

Making Me High

Ooof, these funky beats are dangerous and I love it. A night at the disco is just what the Doctor ordered. I’m enveloped by the smooth twang of the keys, and it’s over for me, I’m locked in and ready for the dance floor. These references within the lyrics, such as “chemical romance” {in track one, “Hey Now”) and “call in the wild” makes me smirk each time I catch them. Getting high from the first bite makes me think of edibles, and how edible a person could be under the right circumstances, romantically speaking.

Can I Be Me

The track begins with stadium-like nuances. There’s an energetic fusion between the guitar and the echoes of the vocals. As the suspense begins to build, the electric chords of the synth radiate with the guitar. A brilliant arrangement from the kick-drum combined with the melody is elaborate and entrancing. I enjoy the way the lyrics passionately express a message we can all resonate with. In a world that praises people for being influential and fake, being yourself is and should be valued beyond all else.

Where the Sun Shines

It’s 80’s montage time again – and Siamese Youth doesn’t hold back from these epic vibes. The synth is “radical”, the drums are “bodacious”, and I feel myself slipping back in time. Visions of being a mall rat come swimming back, and there’s nothing holding me accountable for enjoying these highlights of youth. This song, I believe, is the ultimate testament to 2020, and how it discouraged our dreams, isolated us, and confused our foresight into the future. Even now, during an age of uncertainty, we’re reaching for the memories before covid. We took so much for granted, and I firmly believe that we’ll be ever more appreciative of the little things moving forward.

Let’s Love

A neo-disco melody introduces us to this light-hearted track, and the inter-galactic rhythm takes us for a ride through a love story within the lyrics. Its powerful pop chord placements grip me to the core and provide a taste of what Siamese Youth is trying to portray with this song. If I follow the lyrics, it’s like the make-up from a breakup conversation. Internally, it’s adding further ambiance to the funk, and smoothly transitions from what we know and what we remember about our own love stories.

Take On Me Too

I enjoy the main chorus of this track and the claps really tie it together from the start. There are playful chimes and chip-tune-like elements throughout that making this a special testament to retro-classic dance beats. Lyrics like these bring out the most in me, in that I can apply them to any scenario, and maintain a groove. The interwovenness of love’s lost appeal and a confessional tale elevate the overall tone, and for that, I can appreciate it further.

United States of the Mind

The unification of differences has become the influx of the song’s message, and I’m here for it. I enjoy the way Siamese Youth uses chiptune generously throughout the track, and have applied some subtle similarities to EDM in between. I’m grateful for the vocals in how they shine a light on current issues with heavenly serenade. Encased in this electro-pop feel is the realization that coming together is the answer to our country’s problems if taken literally.

In Love

When summer is nearing the end, the question remains if the love found will continue on. Such a song as this fits the bill and answers the question is this eternal or a letdown. The lyrics speak to the parts of us that have had to let go and uproot our conviction to see a relationship through its trials and tribulations. The percussions play on our heartbeats and the colorful chords keep us lukewarm after a cold realization that the love we had wasn’t what we hoped it was.

I’d like to sign off with a note that I enjoyed the uniqueness of this album, and the way Siamese Youth bridge the gap between modern and retro-classic 80’s references. I look forward to what they have in store for the future and welcome them into the fold as artists that started with a cover of “All the Small Things” (totally worth the listen, by the way)

TOP PICKS

Street Cleaner – EDGE

Bandcamp 

Microchip Terror – Illegal Experiments II

Bandcamp

WOLFCLUB – Just Drive (Part 1)

Bandcamp

Chiasm – Missed the Noise

Bandcamp

Ultrakiller – Death Trap

Bandcamp

Baldocaster – Cult of Saturn

Bandcamp

Castroe – Fall into You

Bandcamp

Galaxy 80 – Visions

Bandcamp

Siamese Youth – Echoes of Tomorrow

Bandcamp

Frank Redux – Memory Lane

Bandcamp

Honorable Mentions & Singles

Literature – Stoa

Bandcamp

Rupert Lally – Maniac’s Almanac

Bandcamp

Cyberoptics – Resurgence

Bandcamp

Austin Archer – Now That’s What I Call a Bunch of Austin Archer’s TikTok Songs Compiled Into an Album Vol​.​1

Bandcamp

Ev.exi & Rhodes Rodosu – Stellae / Infinitus

Bandcamp

Mecha Maiko – Kitchen Floor

Bandcamp

LukHash – Dying Breath

Bandcamp

Maxthor – Into the Light

Bandcamp

3FORCE – Alpha Prophecy

Bandcamp

Korine – Sunshine

Bandcamp

The Playlist

Just Drive (ft. Summer Haze)

WOLFCLUB’s first track serenades us into the getaway car of long-lost love with electric guitars and saxophone. Dreamy vocals encourage our flight response to “Just Drive” into the drum kick of the deeply nostalgic energy of our teenage summers of yesteryear. The way the lyrics carry bittersweet memories of those angsty runaway vibes sends chills up my spine! My late-night drives needed a boost of upbeat, poppy tracks to sing aloud to – and this track curbs that craving to roll the windows down, and jam without a care.

A Sea of Stars (ft. Dora Pereli)
You know when you read lyrics to a song you love, and it reaches too close to what you’re been feeling all along? This is the queen of heartbreak albums, with “A Sea of Stars” at number two on the album list, it’s no wonder why these emotions brew hot as I listen carefully to Dora wistfully and woefully sing into the night sky. Sailing away with a lover, wishing those moments could last a while longer. The melody adorns the melancholy tone of the lyrics in a deceptively light and happy rhythm. It’s difficult to walk away from such a beautiful song – but we have so many more to explore together.

Fever Dream (ft. Dora Pereli)
I find myself carried off the whimsical beat of drums, bass, and that warm guitar encloses in on the impersonated feeling of welcome, only to be whisked away by resonating vocals. Chasing the love we thought we had – who can’t relate to that feeling? As a writer, I admittedly get lost in the vocals of the song, and the story being told in each track. This track gives me “forgotten on prom night” vibes; tear-soaked tulle dresses and mature drinks at a bonfire. I love this inescapable trap of dismal desires that W O L F C L U B has created. Underlying this feeling of my heart being torn in two, I keep listening and contextualizing for the sake of fans everywhere feeling, singing, and dancing along.

Shoulder Blades (ft. Jaki Nelson)
There’s nowhere to run away from the intoxicating vocals of Jaki Nelson, and you won’t want to either. This retro dive into forlorn backseat breakup ballads is a deep-seeded memory we willingly uncover. The chorus churns the tension by way of electric guitar, and dances along the fingertips striking the heavy billow of the bass. The edge of that “forest where it all began” I know all too well. Jaki’s wail alone is gut-wrenching, and I swear I can feel exactly what she feels. The reverberation of her coos and the electronic echo wraps each gasp in color with chords. I don’t want to hide anymore either, Jaki.

One Last Night
Not many feelings are as powerful as the drum kick combination that permeates the start of this track. The same goes for the all-encompassing saxophone in every which way it is played, especially with the overwhelming emotion that sustains the melody. I know all too well the sting of time passing by before saying Goodbye to someone you don’t want to see go. If there were one last night where it was possible to get a lost love back and make it last, would you take the chance? Would the circumstance and consequences outweigh the outcome? There’s only one way to find out – but perhaps listen to this track first before you run out the door.

Promise (feat. Jaki Nelson)
The trailing arpeggiator dancing along the intro riles suspenseful excitement from within. Once Jaki belts out the proclamation of asking you to stay – who can say no? It’s not enough to hear these tracks, it’s vital to face the feelings that erupt. False promises, apologies, and damn that standalone moment of the percussion gets me every time! I’m swept into a deluge of delight every time we loop back to the chorus. Namelessly shameless love is only the cusp of meaning behind this song.

Who’s Gonna Be There(feat. Jaki Nelson)
The playful start is a loop of Jaki’s voice alongside the synth, and it’s the perfect introduction to the aftermath of the track we just listened to. Rewind the reminiscent memories, and fast forward to the part where our hearts fix themselves – the worst part is missing someone and living your life without them. “Who’s Gonna Be There” perfectly encapsulates those emotions, bottles them up, and offers them to you as we face the music.

Nostalgia
I love that this track welcomes alternating gender roles – because we see both sides to the untold story between Boy and Girl. Boy meets Girl, Girl falls in love – Boy doesn’t want to go. They part ways. It’s so uncommon to see in music these days without some stereotypical agenda – and this is an unraveling of emotions from one to the next. You ever have circumstances you can’t change and you wish you could change it for the right person? They know better, most of the time. Letting go or staying by their side is the hardest lesson to learn. But the “Nostalgia” helps us cope.

Serenity (Jaki Nelson)
Softened guitar strumming along to the electric echo of the synth is all we ever wanted – and Jaki’s vocals open it up into a torrential downpour of the heartbreak theme that we’ve now grown accustomed to. Personally, this becomes a growing ache from inside, and the hole inside of MY heart is growing bigger as I encourage myself to absorb this track entirely. I love the reverberation, the echoes, the ethereal electronic details intertwined in the lyrics, and it pulls at these heartstrings with ferocious effort.

Higher (feat. Jaki Nelson)
Ah yes, the warm guitar before the painful memories replay. I’m shutting my defense mechanisms out, allowing the music to rush over me, and that arpeggio is thumping as quickly as my heart, and there’s nothing left to do but stare down the erupting emotions head-on. I’m lost in the waves and embracing it. So, here we go. “Higher” speaks to me on multiple levels, as a girl, and as a woman. There’s much to be said about those sweet nothings as their murmured in your ear, and eventually, there’s a bittersweetness to it. It’s all here, loneliness, unkept promises, and the result of the unresolved. The closure resides somewhere between the clash of the cymbals and the descending tempo as we move closer to the finale.

Oceans
The plot thickens when we realize the distance between these star-crossed lovers. The voice of the W O L F C L U B prince returns, and we’re learning more about what truth remains in focus. The intoxication of the synth, the powerful bridges and the quietness of the solo vocals make this track simply heaven-sent. I’m caught in the undertow of unrequited love, the heartfelt hang-ups, the distance isn’t just heard; it’s understood.

Famous
The great getaway, the track that finished us off and rounds up the theme, is even better than I could have imagined. It’s a profound calling out of manifesting that fame that W O L F C L U B strives to achieve. I’m feeling enthralled by the swiftness of the beat, the arpeggio again lighting up the senses, and of course, vocals to steal the show. I really love this highlight of an ending, and it’s a chance to shake off the emotional rollercoaster that is this album, as much as I adore unpacking new and old wounds of the heart.

The destination has been reached for Just Drive Pt. 1, and honestly, I’ve never felt more understood. This album split me apart in ways I never realized I could. W O L F C L U B has always been able to find the magic behind sadness, love, and so much more outside and in between. I love an album that beckons me to dig deep to my core – and that it did. I am woefully pleased, and my weaknesses are on my sleeve, and after days of listening, I’m looking forward to W O L F C L U B’s next release.

“[…] Let me tell you a story, a little bedtime fairytale. There was once a girl … No… a young woman, but not just any young woman. This one was special. On the outside, she might even have seemed ordinary. But never judge a book by its cover, and certainly not this one. Because this… is a Cinderella story!”‘

‘Your Type’ (Music Video)

With it’s glossy, glistening eighties sound and aesthetic, Carly Rae Jepsen’s E•MO•TION was released in the summer of 2015 to rave reviews from critics, quickly garnering a cult following despite the album’s poor commercial performance, followed a year later by E•MO•TION Side B, a collection of B-Sides that garnered equal amounts of praise. Returning to the scene no less than three years after her breakout album Kiss, the Canadian pop singer resurfaced after many had long dismissed her as a mere “One-hit Wonder”, defying all expectations with a fifteen-track Synthpop banger. In many respects, E•MO•TION is an album that was born from the pressure and expectations weighing down on Carly Rae Jepsen following her breakout success with the teen-pop megahit ‘Call me Maybe’. Rather than continue riding on the hip party-pop wave and hopelessly measure up to her colossal, record-breaking single, Carly opted for a sound and aesthetic that resonated more closely with her overarching lyrical leitmotiv of unrequited and hopelessly romantic infatuation, delving head-on into a world of neon triangles and midnight city drives.

The album opener ‘Run Away with Me’ kicks off with a triumphant synthetic sax blaring into the distance like a lone wolf howling at an electric blue moon and instantly sets the cinematic and nostalgic tone of the record. Every bit of E•MO•TION is paved by the sounds of gated reverb, smooth scintillating synth melodies and anthemic choruses exploding through your speakers, with each one as catchy and ear-grabbing as the next. Carly Rae Jepsen wears her Cindy Lauper influence on her sleeve, both in interviews and on ecstatic jams such as ‘I Really Like you’, ‘Your Type’ and ‘When I needed You’. The songs have an extra bit of slick, modern production layered atop their retro Synthpop sound, yet somehow strikes a fine line between vintage charm and contemporary pop efficiency. With E•MO•TION Side B, Carly ups the ante and goes even deeper down the Eighties rabbit hole, starting the record off with the sound of a cassette player being turned on and lining up track after track of pure Synth magic. ‘First Time’ is a punchy pop tune with strong Madonna vibes, ‘Store’ is a quirky poke at consumerism as emotional escapism in the age of golden age of Megamalls (Vaporwave, anyone?) and ‘Higher’ is just pure Outrun that doesn’t need to mention cars to sound like pure driving music.

Though some may dismiss E•MO•TION and its EP counterpart as opportunistic and bandwagon-hopping upon first glance, an in-depth look at Carly’s lyrical and musical DNA can be used to foreshadow and explain this match made in heaven that is Eighties music and the ‘Call Me Maybe’ pop sensation. Her previous album, Kiss, while undoubtedly marked by the sound of its time, did contain hints of eighties aesthetics and vibes sprinkled throughout its songs and music videos, as shown on both the Lyric video and Music Video to ‘This Kiss’ or on the song ‘Drive’, released less than a year after the movie of the same name and whose lyrics about escapism through driving will go on to become a recurring trope on E•MO•TION.

Like in Retrowave, the themes, narrative premises and words employed by Carly Rae Jepsen are repeated so often that they become a trademark of hers, a cliché which she openly owns up to on songs like ‘Boy Problems’ on E•MO•TION. Some of you might remember screenwriter Max Landis’ 150-page essay A Scar No One Else Can See, which elaborated on the idea that all of Carly’s songs boil down to the same exact premise of unrequited, naïve and forbidden love and escapist fantasy scenarios with said subject of passion. The sheer dedication to this fixed, fairly innocent premise of “shy girl silently obsessing over her crush” dates way back to her first album and is kept throughout and beyond E•MO•TION. The entirety of E•MO•TION and E•MO•TION Side B can be encompassed by three key themes directly extracted from the Jepsen song premise foundation, with each of them directly tying Carly’s lyrical narrative to the album’s nostalgic eighties sound. These three themes are that of dreams, getaways, and innocent love.

Every moment of fulfilled romance on E•MO•TION and Side B is dreamed, part of a fantasy conjured up by Jepsen to escape the reality that her romantic interest is unattainable for one reason or another. The title-track ‘Emotion’ perfectly exemplifies this, as it portrays her wishing that her love interest ends up growing obsessed with her, as the song’s opening lines plainly state: “Be tormented by me, babe”.  The pre-chorus builds up as she adds that she wants to stop being a mere little ‘flower on the wall’, eventually leading up to the chorus exploding into a catharsis with her wish of becoming all that he thinks about in his own dreams and fantasies.

The theme of fantasy and dreams holds a very close relationship to child-like innocence and thus directly references nostalgia. As with Retrowave perpetuating the sound and tradition of eighties Synth-pop, the blurred temporality of dreams and their tendency to bring us back to our early memories creates a feeling of “atemporality”. Such nostalgic dreams of time past are mentioned in songs like ‘When I needed You’ (e.g. “What if we could go back?”, “You come to me in dreams at Night”) and ‘Your Type’, where Carly reminisces a time long gone: her lover has moved on and is seeing someone else, while she wishes they could go back to the place where they first met.

Amongst these dreams of idyllic romance, one notable Retrowave trope makes a recurring appearance: that of escaping into the night in a car. While ‘Run Away with Me’ hints at driving off to escape the party Carly and her lover are stuck at, ‘Gimmie Love’ opens up with a lone midnight drive past her crush’s place. ‘Let’s get Lost’ is about a slow drive through the night and ‘Cry’ on Side B sees Carly waking up only to see the headlights of her lover’s car driving off. If these mentions of lone, emotionally stoic love interests at the wheel don’t make your head peak up like a young gosling, maybe you should take a closer listen to ‘Making the Most of the Night’, where the narrator is speeding through the night, running red lights to care for her (or his?) loved one. If anything, the line “Here I’ve come to hijack you (Hijack you), I’ll love you while we’re making the most of the night” should illustrate the sense of urgency and danger you might need to grasp to unwind this reference.

To touch upon the main, all-encompassing theme in my three-point demonstration, allow me to redirect you to the opening track ‘Run Away with Me’, a song about dreams of love and escapism with a distinctly cinematic feel. If you’ve ever noticed how perfectly this song would fit as a closing theme song in an eighties flick, this might be because of how faithful it is to the “eighties movie theme song” formula. The implied escape by car should also draw your attention to the word “Hero” in the chorus, a cliché referencing back to songs like Bonnie Tyler’s ‘Holding out for a Hero’ on the Footloose soundtrack, Tina Turner’s ‘We don’t need another Hero’ off of the Mad Max Beyond Thunderdome soundtrack, and even College’s ‘A Real Hero’ from that damn film I keep forgetting the name of.

Like the idea of the eighties as seen through the Retrowave filter, the word ‘Hero’ harkens back to a collective unconscious of mythos and fairy-tales and the archetypical ‘heroic figure’, ‘the Knight in Shining Armour’. As decades go by, so does our recollection of the past fade and – as with childhood memories – so do our recollections of simpler innocent times past grow strong with nostalgia. Eighties pop-culture and our early relationship with it as children give us more than enough space to fantasize about simpler, more innocent and optimistic times, where good guys were good guys, bad guys wore bad guy eye-patches and love was pure romantic love. Furthermore, this explains why the dreamy eighties constitute a perfect context and playing ground for Carly Rae Jepsen’s seemingly endless stories of broken love.

What sets Carly Rae Jepsen apart from the rest of her pop music contemporaries is that, whereas many teen-pop idols eventually aim to break with their younger image to move forward as artists (Miley Cyrus, Selena Gomez, Justin Bieber…), she has preserved her child-like, girly personality. Her personality is anything but braggadocious, her sound is very bubbly and colourful, and her music makes her seems more interested in pillow-fighting on hotel beds and dancing her worries away rather than showing herself off and dropping molly at the club. Carly’s personality is one of a girl who refuses to grow up, who refuses to have her glittery, fuzzy dreams and fantasies tied down, which explains why she ends up in the same situation over and over again. Though she openly recognizes the cycle on ‘Boy Problems’ and ‘First Time’, she never betrays her fantasies, effectively keeping the illusion real, so as to keep feeling the warmth of idyllic romantic fairy-tales.

Her obsession with her lovers and crushes is a refusal to let go of the idea of romantic love. Carly Rae Jepsen is never looking out for a potential suitor; she is always after a specific man to whom she desperately wants to be ‘The One’, another very frequent theme in her songs. Through her use of the nostalgia-infused sounds of eighties Pop Music, Carly Rae Jepsen’s music embodies a refusal to let go of the past. It is specifically her naiveté when it comes to relationships that keeps her young, both in her fantasies and to us as listeners. With ‘First Time’, Carly namely brings us back to our first love, a more naïve time. Carly frequently uses child-like terms such as ‘Boy problems’ to refer to relationship issues with the men in her life, or that allusions to sex remain so subtle or tame on the album. For example, Carly evokes the idea of ‘Staying up all night’ on ‘Run Away with Me’, a theme in her songs that plays on a razor-thin ambiguity between cheeky tween girls partying past their bedtime and a more sexual subtext. The album’s main single ‘I Really Like You’, is centred around an extremely repetitive and repetitive chorus that evokes a child’s speech, with “I really really really really really really like you”, as is the case with the use of ‘Gimmie’ on the chorus to ‘Gimmie Love’.

Carly Rae Jepsen is clearly an artist that is plainly dedicated to making pure, cutesy, heart-on-her-sleeve Pop Music, whose scope aims much less at ‘making a statement’ than it does at simply partying your worries and heartaches away. And it is through this escapism through nostalgic throwbacks and innocent dreams of simple idyllic love stories that Carly Rae Jepsen’s album finds itself so unmistakably entangled with the sound that drives Retrowave. E•MO•TION is a celebration of pop music as a powerful vector for nostalgia, allowing our minds to blindly indulge in the most naïve fantasies, regardless of how distant and unattainable they may be. Everything goes, so long as it feels right, and everything goes so long as it sounds this good.

Article by Robin Ono.

10. Sellorekt/LA Dreams – Shadow Voices
by Sellorekt/LA Dreams

9. Carbon Killer – Carbon Inc
by Jay Jackson

8. Lucy In Disguise – Unknown Frequency
by Fvckrender
7. Mitch Murder – Hardwired
by Junkboy
6. Deadlife – Variation on the Resolve
by SKEOR
5. DJ Ten – Trinity
by Fab Ciraolo 
4. Astral Tales – Seafari
By Magdalena Radziej
3. Hollywood Burns – Invaders
by View from the Coffin

2. The Midnight – Kids
by Aaron Campbell

Honorable Mention:
Microchip Terror – Illegal Experiments
by Microchip Terror

Honorable Mention:
Neoslave – Messiah
By : Andrew Tremblay 

1. Carpentur Brut – Leather Teeth
By Jesse Daubertes & Adrien Havet