Thanks to @Ciwal for recommending me this single! It's nice, the lore behind it is cooler.

The closing track is a solid instrumental

Thanks to @fishi444 for recommending me this issue! It's nice - but to me, unfortunately, doesn't have replay value (as is my case with most rap)

IMHO, trap is still too new of a style in order the "experimental" variant of it to sound worthy of my time. I went into this hoping for production akin to the one on "Trauma Mic", instead I got something like a downgraded version of "TA13OO".

This reminds me of the expression about the two sides of the one coin: while the A-side (the first couple of compositions) is pure dance electronic music, the B-side (announced with miniature vocal interlude "signed" by 🕻🕻🕽🕽) is spiced up with humor characteristic of music producers who like to sample phone conversations. Concise release deserving to be found in mix-sets of both local and global disc-jockeys

"Carolina Dream" reminds me a little bit of "Ain't No Rest for the Wicked"

I was praying my whole young adulthood for a pop star to turn extremely experimental and this is the closest it gets as of now. I love this a lot and hope she'll continue on this path of frightening the "not for me" crowd. This is how one gets more adult audience, while alienating the kids, the teens and the tweens.

For fans of Sóley

"Fishnet Stockings / Knee-High Leather Boots" is a nice soother after 2 hours of harsh noise

Last few tracks remind me of how Manorexia sounds like

This is interesting, because at times there are some melodies under the static. Besides that, it's a plain run-of-the-will noise release - nothing to write home about; at least it's not long

This type of rapping to me sounds like an equivalent to those laid-back g-funk deliveries, only this is for and by crackers

If "Negativland" were good

The latest product in their massive 45-year long discography represents an embodiment of a series of metatextual connections rooted in the Iranian history (one of its tales being the basis for a much more recent Slovene novel) utilizing the frameworks of contemporary classical vocal-instrumental music, spoken word of Iranian poetry (in English), and a genre that the author of this commentary wants to call neo-industrial. (initially published at mono-ton.com)

I like breakcore with the humor(ous melodies), I don't like breakcore when it acts tough

It certainly isn't the "reputation 2" that I was hoping for (but didn't expect!), but at least it's better than "Mid Nights" or "Tortured Listeners Department" (both jokes aren't mine). This snooze sounds like plagiarism of everything pop from the last 5 to 6 decades - mostly rehashes the material of her career peak, but I heard some Lady Gaga's "Judas" in "The Fate of Ophelia", some vocal harmonies reminiscent of Lana ... read more

I am avoiding city pop with male vocalists like a devil avoiding crosses, but call me a killed cat the way my curiosity made me endure this.
The beginning of the hook in "Never Can Say Good-Bye" echoes "Lovin' You" by Minnie Riperton a bit. "Nantonaku Spectacle" (なんとなくスペクタクル) quotes "Rapper's Delight".

So edgy, I fell down

To me this is like Eminem's "Recovery": once some of my favourite artists turning uninspired and replay-unworthy, while still not recuperating from their fall from grace to my ears and not being able to make something on par to their previous material, let alone outdoing it

"Track 5" sounds like Kraftwerk's "Autobahn"; "Track 16" is AC/DC's "Hell's Bells"