Everyone who treats this like the pinnacle of trap is out of their mind. I mean, sure, the aggressive energy and most anthemic moments on here are enjoyable, and the beats are fine — but the appeal of this album has always been for its defining moments rather than the overall project. For the most part, the incredibly repetitive song structures, mediocre rapping and lack of substance make this a pretty meh listen.

Making something this experimental without it being intriguing at all is honestly impressive. The repetitive titles, droning song structures and choppy track listing makes this whole thing feel like a chore. Even if the raw, style of these songs can be somewhat soulful at times, like on “Slavery” or “AISTLOM..”, the vast majority of this is brutally mediocre.

Easily some of the biggest highlights on Slayyyter’s follow up full length release. A bit dissapointed the other songs in the tracklist didn’t live up to these.

I mean…I’m not blown away, but this definitely doesn’t suck, which is a bit shocking. The somewhat lazy sampling techniques and snippet-like song structure do minimize the potential of most of these tracks, but North’s production and performances are surprisingly decent overall. I never thought I’d say this, but…I think North just dropped a project as good as her father’s.

This thing isn’t bad by any means — it’s some pretty standard, enjoyable hyperpop with tuned vocals, digital sounds and drum breaks, but pretty much everything about this feels leagues less mature than Jane’s later work.

I can’t say I completely love every twist and turn this album takes, but the passion and creativity behind this makes it a pretty enjoyable ride nonetheless. I don’t want to sound like one of those inexperienced music listeners who hears something slightly experimental and immediately tries to compare it to Death Grips, but I did find a lot of similarities here — more so than a lot of their rap contemporaries, honestly.

I really wish I could say I liked this more, because the most eccentric high-energy moments on here are truly euphoric. However, some progression issues in songs (like the slow buildup in “It’s Okay To Cry” followed up by a quick transition to a far too short ceremonious outro, or the jarring switch up mid way through “Faceshopping”) and a few pretty lackluster, dull tracks throughout make this album mostly just decent to me. On top of this, the tracklist is just ... read more

This wasn’t a bad listen, by any means — but all the gimmicky production techniques and aesthetics really don’t do much for me. Whether it’s the “deep” eclectic album cover or song titles, or the abstract use of autotune and glitches in the instrumentals, I really just feel like Justin’s emotions would get through to the audience better in a more minimalist package. A prime example of weird ≠ good.

Just saw them open for Wednesday and thought they were great, but I must admit I was a bit underwhelmed by this. I skimmed their other albums which were also quite brief, and honestly, this kind of music is just not nearly as good outside of a live setting. That’s true for the most part for a lot of music, but I really just didn’t feel the bass or then energy here as much, and the lack of speaker distortion made the flaws a bit more apparent. Still thought this was alright though.

Really wish I had more positive things to say but these hi hats are pretty horrible. The piano and laid back drums go pretty well together, and I don’t mind the progression of the track, but I cannot hear anything other than those hi hats. Try to give them a more subtle sound or a bit of swing for a more natural feel (and make them a decent bit quieter relative to the rest of the tracks). In fact, I’d honestly consider removing them entirely — I don’t think this song ... read more

As much as I appreciate the crazy energy and great variety across this tracklist, I don’t love this. Not only am I still not a big fan of Danny as a rapper, but I honestly feel like the sample heavy wild production on here has been done better on other albums from both of these artists.

Although the vocal performances are at times frustratingly understated here, the instrumentation shines through. Can definitely see this growing on me the next time I’m sad and need something to listen to.

This album definitely isn’t without its highlights, (one of which being this cover — great dress), but Young Thug is such a mediocre rapper he makes this pretty hard to enjoy. Overrated.

This album’s hard to put into words — entrancing, mysterious, funky, eclectic, and captivating would certainly be accurate descriptors, though. Very Bjork-y, in a way. I’ll admit I didn’t find any individual songs or vocal performances particularly memorable, but the production added a layered enough backdrop throughout the album experience that neither ended up being major problems. Pretty great overall!

It’s fine.

Sabrina Carpenter ghostwrites for a knock-off Olivia Rodrigo. Cringey but listenable.

I mean, this is good, no doubt…but she’s still putting out “What’s Your Pleasure” leftovers 7 years later?

There’s a few more songs on here that don’t blow me away than its predecessor, but the rapping is just as good and the fantastic production continues with a more jazzy approach.

Honestly, if it wasn’t for Kanye’s lyrical shortcomings on here, this might just be on par with The College Dropout for me. I mean, sure, I have some other minor nitpicks (Blood On The Leaves runs a bit long, Hold My Liquor starts a bit slow, a few of the beats play things a bit safe), but I pretty much love every song on here. It’s a shame Ye has so many tacky verses on here, because the energy in the production is there, I just can’t always find myself angry with ... read more

While a few tracks run a bit too long or include some tacky skits (Chris Rock, I’m talking to you), this is still one of Kanye’s best projects. The dramatic orchestral strings and piano sections all over this album really make it feel larger than life — aside from maybe “Hell Of A Life”, every single beat here is fantastic. The features aren’t all great, but they do help make this album feel as grand as it does — sometimes you forget this is a solo ... read more