Любопытный эксперимент от Макса, хотя вряд ли это можно в полной мере назвать экспериментом, потому что некоторые инструментальные и исполнительские крючки проскакивали в прошлогоднем альбоме «никто, нигде».

Восхитительные инструменталы с классными ... read more

Для чего эта музыка?

Для авторов, чтобы сублимировать свой опыт в музыку, сбросить груз с души и найти отклик в ушах слушателей и глазах перед сценой. Для слушателей история простая – мы испокон веков любили слушать истории, а рэп делает эту практику каждодневной и ... read more

Pearl release! Incredible instrumentals with the coolest soul samples and hard-hitting drum parts, over which Scurra’s recitative is laid like a thin layer of coating — and he is a fierce technician — I really enjoyed his performance!

Of everything I’ve heard in hip-hop this year, this is the best — a truly diamond-level performance.

It's surprising how fiercely and strongly this EP was hated, even though it's perfectly decent. Yes, it's a mix of everything that wasn't nailed down, but even in such a dumpster fire, you can find shining and intriguing moments — the switch and Simbi's densest vocal layering on 'That's a No No,' or the song 'Telephone' with 070 Shake.

На мой взгляд, довольно неплохой альбом, в котором Пазнякс не делает ничего нового, лишь закрепляет свой образ и фирменное звучание – бум-бэп с соуловыми сэмплами/минимал трэп с охапкой остроумных ванлайнов, а также увереннейших партов от гостей.

Конечно, когда-нибудь ... read more

A languid and relaxing musical tapestry, with enough variety and an impressive interweaving of jazz guitar, synthesizers, electric organ, and percussion.

Lately, I've been really into instrumental albums, and 'Scenes From Above' is no exception.

«BEAUTIFUL MADNESS» is a quintessential commercial dance-pop album with groovy instrumentals and vocals in the style of Lady Gaga.

The song «BALENCIAGA COVERED EYES» is an absolute banger!

Не, такое даже на угаре стыдно слушать

Никита погружается в разные звучания, пытается одновременно найти собственный звук, но при этом показать что может во всё, но мне не хватает индивидуальности, не хватает его личной айдентики.

Релиз норм, но прошлые работы сильнее.

God, a phenomenal release with no weak spots!

Aesthetic instrumental sketches in an indie-folk style, tightly fused with the voice of Searows. I feel like Alec Duckart sold his soul to the devil for such a mesmerizing voice—I have no other way to describe it. He literally captivates you from the very first second and holds your attention and interest from the first track to the last.

A charming and delightful album – I recommend everyone give it a listen!

A beautiful album in which the electronic foundation of Dave Stapleton, the saxophone of Olga Amelchenko, and the trumpet of Nils Mølver come together in a truly wonderful way.

A very delicate cooperation of musicians that spreads across the musical landscape with a quiet fire and leaves an unforgettable impression when listening.

A most intriguing mixtape, in which the unique creative ideas of Kanye West and Jay-Z are amazingly intertwined, yet beautifully packaged in IDK's signature style. In fact, the mixtape showcases IDK's full technical and production arsenal, while also raising the bar ahead of his new studio album.

Throughout the entire listening experience of the album, I sat with a noticeable smile on my face, getting sheer delight from Luis's sunny pop compositions. There's nothing in them that could surprise or cause a revolution in pop music — no, these are just well-written songs that make you vibe and put you in a great mood.

So far, this is the best hip-hop album of the year, in my humble opinion. Not only are there no drum parts, but there are also no filler moments. It sounds original, lively, and at times even creates a hypnotic feeling—that's how mesmerizing the choice of samples and the swirling of instruments around them are.

And what more can I say? He produced it himself, performed it himself, wrote the lyrics himself—and that's how such a powerful work came together.

Central Cee is a follower of the "if it ain't broke, keep milking it" philosophy — and he's right about that.

We're still listening, so it's all good — he can keep making formulaic drill with a worn-out flow where only the words in each line change.

The only decent track is the grime one, "DC10."

Damn, it turns out Jack can make great albums, and I unironically think "Monica" is Harlow's best work.

If on rap beats he sometimes sounds overly ornate and sloppy, here his tenor fits like a glove, authentically settling into soft neo-soul instrumentals with a touch of R&B and jazz.

Of course, Jack isn't breaking any new ground in the genre, but he makes the listening experience therapeutic and calming — and in times like these, that's more than enough.

I missed the moment when "OCTANE" went from impressive trap in the vein of "HARDSTONE PSYCHO" to completely emotionless, lean-soaked R&B.

"Body" is the main highlight of the album.

I first heard JBEE about two years ago when I randomly came across the music video for "Just 4 Me." Back then, JBEE caught my attention with his charisma, refreshing flow, and chill vibe. And for the most part, all of that remains on the EP "NO SLEEP." That’s certainly cool, but personally, I feel the album lacks cohesion, depth, and some kind of standout highlight—it’s mostly the same drill beats with the same tone and flow patterns.

It’s not a ... read more

This is obviously not a bad record, creating many experiments, much eclecticism, many different genres and sounds, but it doesn't resonate with me at all. I'm not familiar with Kim Gordon or her work. Maybe this is her thing, but this kind of eclecticism within a half-hour runtime throws me off and puts me off rather than drawing me in. Maybe I'll give it another listen later and change my mind.

The habitual Mozzy represents his life on his habitual beats with his habitual recitative.