BY: Philip Sayblack

​In just a little more than a week, independent rock act Third of Never will release its latest studio recording in the form of its new album, Damage the Pearl.  Set for release Aug. 18 through 343 Records and Jam Records, the 12-song album is an interesting presentation that is worth hearing at least once.  It goes without saying that over the course of the album’s roughly 40-minute run time, it proves itself a work that will appeal to a targeted audience.  This is due in part to its featured musical arrangements.  The lyrical content that accompanies said musical material adds to that very directed appeal in its own right.  The record’s production puts the finishing touch to the whole’s presentation.  Each item noted is key in its own way to the whole of the recording.  All things considered they make Damage the Pearl an interesting addition to this year’s field of new independent records.
Damage the Pearl the forthcoming latest album from Third of Never, is an intriguing presentation that audiences will find worth hearing at least once.  That is due in part to its featured musical arrangements.  From the beginning to the end of the album, its arrangements, which generally clock in at around three and a half minutes (there are some that come in between two minutes, 30 seconds and two minutes, 45 seconds) tend to be largely the sort of material that one would expect to hear from a college radio station.  That is meant not as a negative but rather as a purely observational note.  There are some variances from that norm, however.  Case in point are the album’s closer, ‘Alone at the Fair’ and ‘Safety Pin.’  There is something about ‘Safety Pin,’ that makes it feel like it belongs on Nine Inch Nails’ 1999 album, The Fragile.  That is evidenced through the subtle use of the piano line and the brushes on the snare drums alongside the equally subdued vocal delivery.  Even as the mandolin is introduced, that root element is still there, making for so much interest.    ‘Alone at the Fair’ meanwhile delivers a very distinct contemplative vibe through its minimalist approach.  They are not the only standout compositions featured herein.  ‘Grab The Ground,’ which opens the record, can actually be compared, to a point, to works from the likes of Foo Fighters. While ‘Rolling Down a Hill,’ its immediate follow-up conjures thoughts of alt rock from the 1990s a la Dinosaur Jr.  There are other notable additions to the album, musically speaking.  Overall however, the arrangements collectively will find the majority of its appeal among fans of the independent music scene more so than those of the mainstream.  Again, this is meant primarily as an objective note.
The lyrical content that accompanies the album’s musical arrangements makes for just as much intrigue as said musical material.  That is because of its heavy use of metaphorical language from one song to the next.  The result is that each item leaves plenty of room for interpretation.  That is in fact a good thing.  That is because of the discussion that it is sure to generate.  Case in point of all of this is ’20 Million Miles,’ which comes in the record’s first half.  Stated here is, “20 million miles away/20 million miles to go until I can sit and stay/20 million miles to go/20 million miles of space/That just seems to get in the way/Laying on a bed of stones/Binging on a box of Doans/And then a tube of tea and scones/Rendered by my clone/Remember, remember/Boulders on butterflies/Crushing everything that beauty hides.”  One can interpret here, a message of not necessarily a physical journey but rather this being metaphorical language about feeling worn down by life’s journey in general.  On a side note for those who might not know, Doans is a pain killer that is used mainly to address back pain.  So again herein is what seems like a story of someone who has come a long way with a long way to still go.  Ion this case the story is of a physical journey but could just as easily be considered a starting point for a discussion on life’s trials and tribulations.  That is of course just this critic’s own interpretation; an example of the noted way in which the album’s lyrical content makes for its own share of interest.
The album’s title track is another example of the role of the record’s lyrical content.  In this case, the lyrics state, “What can you do about it/Not a thing/A shadow loses itself in the sun/Across the green/Nothing to fear out here/Across the way/What strikes the oyster doesn’t damage the pearl/Remain cheerful despite your painful brain/Empty barrels can drown your coursing pain/Nothing to fear our here/Across the way/What strikes the oyster doesn’t damage the pearl.” The line in the chorus that “what strikes the oyster doesn’t damage the pearl” alongside the seeming reminder to “Remain cheerful despite your painful brain” comes across as a reminder of sorts about one’s inner vulnerability of sorts and the role that the outer does in protecting that vulnerability.  That early note that there is “nothing to fear out here/Across the way” in it all plays even more into that seeming message. This is, again, just this critic’s interpretation.  If in fact it is the case, then it is a unique way for such a familiar message to be delivered, further showing the role of the album’s lyrical content to its overall presentation.
One more example of how the album’s lyrics play their own integral role in the record comes in ‘Flare Pt. II.’  The song’s chorus is central here as it states, “You’ll never find yourself/No way to find yourself/Hiding out inside your head.”  This as the song’s lead verse states, “Strung out on a lifeline/Tangled in the wires/You tried to hide the lightning/While it was starting all the fires.”  That note of trying to “hide the lightning/While it was starting all the fires” comes across as metaphor (once again, there is that note) of trying to cover the negatives in life while those negatives are causing so much damage instead of facing them.  Trying to hide those negatives seems to equate here to hiding in one’s mind amid them all.  Once more, this leaves plenty of room for interpretation.  The interpretation here is just that of this critic once more.  If in fact said interpretation is right then it proves quite the unique way (again) to broach such a familiar topic.  Keeping that in mind, it is clearly one more example of why the lyrical content that accompanies this album’s musical arrangements is just as important as that material.  When this seeming theme and the others examined herein are considered alongside the res of the album’s lyrical content, the whole works with the record’s musical material to make that whole presentation worth hearing at least once.
Rounding out the most important of Damage the Pearl’s elements is its production.  Throughout the course of its 40-minute run time, the record’s production adds that aesthetic appeal to the presentation.  Thanks to the production, the right level of balance is brought to the instrumentation and vocals in each song.  The impact thereof is that listeners will feel the full emotional effect of each song.  When that positive is noted alongside the interest generated through the record’s primary (musical) and secondary (lyrical) content, the whole therein makes Damage the Pearl a record that is a welcome addition to this year’s field of new independent albums.
Damage the Pearl, the latest studio recording from Third of Never, is an intriguing presentation that proves itself worth hearing at least once.  That is proven in part through its musical arrangements, which largely exhibit an approach and sound that is more akin to music on college radio stations than mainstream outlets.  That is not necessarily a bad thing, either.  It just means it will find appeal among a targeted audience.  The lyrical content that accompanies the album’s musical material makes for its own interest.  This due to the way in which it is delivered.  It leaves plenty of room for interpretation, which in turn is sure to make for plenty of discussion among audiences.  The record’s production puts the finishing touch to the whole, ensuring a positive aesthetic appeal.  Each item noted is important in its own way to the whole of the album.  All things considered they make Damage the Pearl a record that independent music fans will find worth hearing at least once.
Damage the Pearl is scheduled for release Aug. 18 through 343 Records and Jam Records.  A record release show is planned for Aug. 23 at the Pour House in Raleigh, NC.  More information on that concert and the band’s new album is available at:
Website: https://thirdofnever.com
Facebook: https://facebook.com/thirdofneverband

By:  Kevin Diamond
Orsimer, a tech death metal solo project helmed by Mike Neely, released its first collection beyond the initial singles on August 1st, 2025. Before diving deep into the songs provided, I like to do a little research on the project’s background. From what I found, there have been two single releases so far—one of which appears on this EP. It’s clear that this collection has been months, if not years, in the making for Mr. Neely. After hearing the first track, I can see exactly why.

The first track I heard was “Tethers Conjoin.” Right away, I was lifted from my seat and pulled into this crushing, immersive world. Not even thirty seconds in, I could already tell how much work must have gone into writing this music. I may be dating myself with the reference, but as soon as the vocals kicked in and everything locked together, it gave me serious Through the Eyes of the Dead vibes. The ending groove that closes the song out is nothing short of spectacular.

Track two, “Neonatal’s Enlightenment,” arrives with guitar technique that would impress both experts and gear nerds alike. Woven in and out of blistering grooves, we hit the one-minute mark, and I can only describe the breakdown as goosebump-inducing. It’s a nonsensical groove with a little bit of—let’s just call it zazz—a vibe that makes you pull back and think, what the hell is happening here? But in the best way possible. (I swear I listened to this breakdown multiple times before I made it to the end of the track.) Before the song closes, we get a hard solo bend that transitions into a more traditional guitar lead to finish things off. Unreal.

“Baal Muian” is the one track we’ve heard before from Orsimer, featuring Gorepig. While this song is just as impressive as the others, it does feel like it was the first idea for the project—whereas tracks one and two come across as much fresher and more fully realized. Nonetheless, the track hits incredibly hard. The guitar solo here is unbelievable—again, a very classic-sounding solo—and as it resolves into a groove with a soaring lead over the top, you realize you’ve reached the end of what feels like a very short ride.

Which brings me to how I end every review:
​
What would I like to see from Orsimer? Very simple: MORE.
Understandably, writing such technical music alone takes a tremendous amount of time, but I hope to hear and see more collective work from Mike Neely in the future. I love the atmosphere of this EP, and I truly believe he could hold us in his world for an hour or more if he chose to. I’m hoping the next release not only offers a larger collection—a longer EP or a full-length LP—but also sees other musicians join the project so it can be brought to the stage.

BY: Philip Sayblack

Independent rock outfit Of Limbo unveiled its new record, Unplugged, this week.  The nine-song record is an interesting presentation that is worth hearing at least once.  The record’s blend of originals and covers make that clear, not the least of which being the record’s latest single, ‘Something Real.’  This song will be discussed shortly.  In regard to the covers, one of the most notable is that of Alice in Chains’ ‘Down In A Hole.’  It will be discussed a little later.  ‘Estrada,’ which opens the record, is another original worth noting.  When it is considered alongside the other songs pointed out here and that whole with the rest of the record’s entries, the whole therein makes Unplugged worth hearing at least once.
Unplugged, the new album from Of Limbo, is a work that audiences will find worth hearing at least once.  The record’s blend of originals and covers makes that clear.  Case in point is the record’s latest single, the original composition, ‘Something Real.’  The band premiered the new single late last month.  The song’s musical arrangement is a work that reaches back to the sounds of the 1980s.  This is evidences through the combination of the layered vocals and distinct guitar arrangement.  The arrangement overall is easily compared to Extreme’s hit single, ‘More Than Words.’
The song’s lyrical theme pairs with that engaging and entertaining musical arrangement to add to the work’s interest.  According to band member Luke Davies commented recently about the song’s theme, pointing out it is a commentary about the role of social media in today’s world.
Davies said, “It’s becoming increasingly rare to just live in the moment these days; people are more fixated on documenting the experience for social media, unable to just enjoy what and who they are.  Technology has divided us.  We’d rather rapidly scroll through the plastic portrayal of other people’s lives over existing in our own.  This song is a reminder of the importance of feeling “something real.” 
Davies could not be more right.  Given, this is hardly the first time that any band has ever tackled this issue.  But one look at the role that something, such as Tik Tok has on society this is a message that will never get old because sadly people are going to remain so obsessed with others’ lives, competing with one another even through social media to make it look like their lives are better than others’.  To that end, this is a key message.  It makes it interesting that the song’s musical arrangement is so subdued.  A message like this is typically accompanied by a more “fiery” musical partner.  At the same time, taking Davies’ message into mind, it makes more sense and in turn makes the song work all the more.
Moving to one of the covers featured in this record, the group’s cover of Alice In Chains’ ‘Down in a Hole’ The group’s cover of the classic hit single directly mirrors Alice In Chains’ own performance of the song from its MTV Unplugged performance just sans drums.  The emotional depth is fully on display here.  It is such a heart-wrenchingly beautiful presentation that makes it an easy highlight of this record.  If this song has not been used as a single to represent this album yet, it should be heavily considered.
Going back to the record’s original content, its opener, ‘Estrada’ is yet another notable original composition.  In the case of this song it is a simple, straightforward instrumental performance.  It is just a guitar, bass, and what sounds like possibly a cajon drum.  The flamenco style performance on the lead guitar, paired with the other noted instruments, and the urgency in the arrangement, makes the work so gripping.  It is an interesting way to open the album and that strong of a first impression.  Keeping that in mind, it works with the other songs examined here to paint a clear picture of how much the record has to offer.  When the trio is considered alongside the remainder of the album’s entries, that whole makes Unplugged an interesting addition to this year’s field of new independent albums that is worth hearing at least once.
Unplugged, the latest album from Of Limbo, is a unique presentation among this year’s field of new independent albums.  This is proven through each of the songs examined here. They are a mix of originals and covers whose semi-acoustic approaches give audiences plenty to appreciate, as has been pointed out already.  All things considered they make Unplugged an interesting addition to this year’s field of new independent albums that is worth hearing at least once.
Unplugged is available now.  More information on the album is available along with all of Of Limbo’s latest news at:
Website: https://oflimbo.com
Facebook: https://www.facebook.com/oflimbo
Twitter: https://twitter.com/oflimbo