A lot of the tracks are incredible. Cream of the crop for the unique style that Blake brings to his genre. The vision doesn't seem sharp across the board.
Jack Harlow has the bright idea to be like Mac, but forgets the part where he has to actually be like Mac.
Lightning in a bottle. It makes me proud to be from the South. Big K.R.I.T made one of the best Southern hip hop albums of all time with such sharp precision. It's simply excellent.
Oh my gosh, I'm blown away. I missed the original release last year, but I'm glad this deluxe crossed my feed. This is an excellent double album, if you'd like to call it that. I thought maybe it was time to give up on rage. It's gotten dry and uninteresting. But slayr has really rejuvenated the genre with such a fresh energy and tongue-in-cheek attitude. He takes the best of what you love about Uzi and Carti and perfects them both. slayr is PUNK ROCK.
Harry can never seem to iron out the stinkers on his albums, but I admire his devotion to never boxing himself into a style. He's never the most forward-thinking pop boy, but his enthusiasm for the genre is always one of the brightest shining.
2017 is getting further and further away, and leaving more pop trends that are great on paper feeling boxed and stale.
Somehow, The Scythe doesn't work all that well, especially as an expansion on Denzel's Mischievous South universe.
Nettspend effortlessly makes an abum for orthodontists to numb the senses of their patients before they drill into their teeth.
The Joshua Tree is iconic. It exists in the small place of time that was shaking off the 80s and getting ready for the explosive 90s. Though, because of this, it hasn't exactly aged well. It starts a little slow, but I do think I rather enjoy its conclusion, it being far more experimental than the poppier hits that populate the tracklist.
This sound fits so neatly into 1991. Its vibes haven't aged all too well, but they can certainly capture a nostalgic feeling in the right moment.
I wasn't expecting to like this as much as I did, but Buck Meek carries through with such a simple, whimsical kick-off to the spring season. It's a massively charming release, blending Big Thief's iconic production with flavors of Adrianne Lenker's simplest, most optimistic lyrics.
There are some highlights for most chamber folk fans, but nothing to write home about. In Your Ocean will certainly be appearing on my 2026 playlists; it's a quaint tune.
The Romantic leaves your mind the moment its last track ends. It's bizarre. This album should be a homerun after Bruno's most recent evolution and string of recent pop hits, but nothing here stands out for Bruno. If it's not chasing a pop hit, it feels like a Silk Sonic sequel with most of its original sauce stripped away from it.
The Mountain is at its most interesting when Gorillaz themselves take a backseat. I find it admirable and tasteful for a pop album of this caliber to blend in so much multiculturalism into an album without making it feel like a soulless cashgrab. I truly believe Damon is impassioned by everything he puts out here. I'm just not interested in his contributions himself, as I am in his moments of composition and direction. Fans of Gorillaz have a lot to chew on here, and that's awesome.
A refreshing blast of new wave UK R&B, following in the vein of "black british music"
Mitski's newest album is a humble package blending popular notions of indie rock, twang, and chamber pop jazz. Her writing and production don't do much to stand out from the trend or push her sound to a new level.
It's not quite the complete concept record I was hoping for, but Bruno and .Paak still met a cultural high that was I not quick to come down from.
The quietest release of the California city series, but certainly the runner-up for my favorite, for its laid-back, simpler direction.
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Recent Review Comments
On HX9's review of Armand Hammer - Mercy
"sweet! definitely check out their other albums like haram and we buy diabetic test strips. i think this record is rather weak compared to how exciting their other projects are. you may definitely see some improvements."
On CMAT - EURO-COUNTRY
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On Swack's review of Josiah Queen - Mt. Zion
"@lforce2007 The thing is, it IS about the music though. The profit machine is what makes the music so bad. All Josiah has to do I have some quirky terrible writing over a stomp and holler beat and people eat it up and it makes money. He is never required to try any harder than the bare minimum because Christian consumers settle the simple label "Christian music" and never challenge the artist to evolve. Christian music is regressing. It keeps getting more boring."
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