This feels like the true follow-up to TPAB, and was definitely worth the several years wait. The storytelling and writing on this record are at a near-all-time high for Kendrick, and I feel as though this record doesn't get nearly as much credit as his others.

Incredibly unique song structures for a rock band, and a debut at that.

There's a strong sense of melancholy that cuts through the noise on this record, making it a near ethereal experience.

The production is genuinely incredible across the board, and there are several moments that show Quadeca's abilities as an orchestrator. However, many of the lyrical passages are so childish; definitely a product of existing as a "Youtube rapper."

It's hard to put into words just how potent "SINNER GET READY" is. Just listen to it.

Beautiful, raw orchestration with some of the most enchanting vocal passages on any pop album ever.

A promising debut.

The production and themes are much less immersive on this record than her debut, but I very much appreciate her and Finneas' willingness to experiment with new styles that end up working well with Billie's vocals most of the time.

While the production is much better on "OK ORCHESTRA" than their previous works, AJR ditches the consistency and flow seen on "Neotheater" for more sub-par pop. However, as I've noted in the past, the brothers do show a bit of creativity, this time with "instrumorphing", and I think that without this technique showing up quite a few times, there would be no reason to listen to this album ever.

With newfound skill, Tyler absolutely blows away every pre-"Flower Boy" record with a re-imagined version of his old sound and writing. The sound can get tiring after a while, however.

For a video game adaptation, there are many beautifully written and thrilling songs that make it hard to believe this is simply a soundtrack.

"Scaled and Icy" has many summery jams, but the songwriting and passion is such a let down from "Trench."

Beautiful and uplifting - an experience that many needed in 2021, but still sounds just as pretty today.

The essentials of pop with a much needed futuristic spin.

I love the dark and grimy production on this record - it brings power to Billie's otherwise frail voice.

Weirdly works.

The lyricism still needs work in many spots, but the instrumental palate and motifs of chopped up orchestration used throughout this record is a quite interesting spin on pop. I also have to appreciate how the record bookends itself with similar sounds and flamboyance.

Jack White finally breaks through with his creativity, and the true extent of his talents are shown across a very tight and strong tracklist.

Takes a few listens for everything to click, but the ideas explored and the way everything unfolds in this record is absolutely beautiful. Not to mention this is some of the best sounding music Car Seat Headrest has put out (even if it's a re-release of an older version).

Conceptually, lyrically, and musically, this is easily twenty one pilot's best album