Depressingly short, I nearly stood up from my desk at the ending of Strode Rode, and deadass frowned when I noticed there were only two tracks left.

She took everything learned from her previous project and channeled it into this album, simply incredible.
Her writing is clear and pointed, but nonetheless deep and profound. Flowing much cleaner between the verses and cyclical hooks that drill messages until you're sure to hear them. There's too many stories and not enough energy to write them, but through the lofi-fuzz you hear the cuts of multiple scars from different tools. Though it is not only the pen but the needle that prove ... read more

Someone barks at 2:17 on BIG DOG and I thought it was one of the gay puppygirls in vc with me

Sufjan Stevens & Alex G are two artists with a similar notoriety I never really got the appeal of, most of their music was enjoyable but I would listen to remind myself of the scene rather than any genuine desire to return. With javelin, it was immediately clear that view would not be the same.
There's a warmth to the feeling of this album that can't necessarily be put into words but can absolutely be felt, each detail on the album contributes to that experience. From the vocals ... read more

The Koreatown oddity is the closest artist I've found come close to this sound, but I've never heard anything fully capture how fucking strange this album is

The record sounds great, I even love the subtle but catchy hooks, but these vocals man how do you go from sounding like 'American Football' (1999) to Hawaii: Part II?

Vylet's new album infuses hip-hop with a number of genres and her expected chronically online (/pos) electropop. It's less hip-hop oriented than I anticipated, but it's infusion still warranted a much appreciated positionality statement on the use of Black music by non-black artists. That statement was posted to her YT channel you should watch it here: (https://www.youtube.com/watch?v=measuVmPzok)

Though they've done the most of what they can, I can already spot a few ... read more

Quite lost at the sentiment of 'filler beyond the first track.'
Little of that translate to reality for me, it's a very consistent and impressive record that doesn't let up on a vibe or one good riff after the other. In many ways I see the influences on other bands as very inspired from this era of Modest Mouse, I do in some ways believe those bands made that sound better, but this still very distinct in that I can't name another band exactly like it. If anything, this ... read more

How much rage can really be generated when the target isn't ever anything specific? Just saying 'fuck you' is something I do when I'm annoyed not when I'm trying to send a message. Saying nothing makes me feel nothing, I can't share in the same anger when nothing has an idea.

When borrowing The Postal Service's sound to make a more pop-centric album, you're bound to hit a few sonic/emotional clashes. Very few of the sounds make sense, it doesn't sound happy and it doesn't sound that sad, it doesn't sound like anything really. Ocean Eyes goes through one ear and out the other. There is one moment however where I think Owl City actually struck that perfect blend they were going for, of course that's on the hit track 'Fireflies.' ... read more

I see this being digested by the general public really well, it's Thundercat at his most consistent, very little in this tracklist feels like a dud (something missing in a number of his album outputs.) Although there's something missing that's a bit more just for me, it doesn't contain his most funny songs out there. No DragonBall Durag on this one :( Only a little meowing :| THAT would have made the album for me, but the silly goober is relaxed here a bit, but I think ... read more

"but Hitler made the trains go faster" Yall will listen to fucking anything

Not talked about NEARLY enough like actually

Vocals are consistently on point, with a voice that fits into the genre/mood neatly, & the quality of hooks creates a great groundwork for the vocals to flourish.
I may see room for growth in the instrumentation and the lyrics, but I will be keeping a very keen eye on what comes next for the band. <3

I remember being 16, shakily buying this Cassette from a guy on Discogs, I was so fucking nervous lmao you weren't supposed to do that until you turned 18 but I wanted this shit bad.

Saba never truly impressed me on much of anything, even his 'beloved' stuff just felt like another face in the crowd. This album clicked almost immediately, probably soundtracked a whole Summer back then. There's an honesty in the delivery and mood of this project that resonated with me, very ... read more

no we're not doing this

One of the most well placed and supporting spoken-word introductions on any record ever.

This is miserable, using hip-hop as a crutch for humor to boost your career, then getting celebrated by fans when we drop that 'silly fun hip-hop' stuff to move into 'art.'

Quad's name is invoked because he is the poster child for this, though quad's story has been contorted into a white supremacist dream, someone that dumps hip-hip for 'true, raw, emotional, ART.'

I should add, separate the whole review, if you like this sound and want to hear ... read more

Frequently lacks the substance that would bring out 'oomph' in each song, I would argue the production just wanted more attention. Like if you're gonna go freaky get some freaky ass production, where's my loud ass synths??? Laaaammme
That aside I still think this is his best album and the closest I've realized his vision.

"Most these rappers is mad gay, they fuck Diddy (Ayo)"