Well, Aminé definitely found a sound that fits him like a glove. This one just oozes sunshine. 13 Months of Sunshine is exactly what you’d expect from the title — a warm, light, vibey album that doesn’t try to be overly complex. And you know, it also doesn’t need to be.

It’s also not some groundbreaking house/rap fusion or anything, but it is fun. Most tracks are bouncy, feel-good bangers I can already picture blasting at beach clubs or summer parties. ... read more

NxWorries is right back for the summer! After their great album, Why Lawd?, last year, I didn’t expect new music this soon — but I’m definitely not complaining. Everybody Gets Down just dropped out of nowhere, and it’s got all the right vibes for the season.

It’s bouncy, danceable, incredibly smooth — basically, it’s everything you want when the sun’s out and the days are long. Super easy track to just throw on and vibe out to. If this is how ... read more

Lol, this might just be one of the worst songs I’ve heard this year. And I know, it's for the Smurfs movie, so I wasn't expecting some kind of high art here. But still, this is just really bad. The constant repetition of Fried of Mine gets annoying barely a minute in, and the track just never goes anywhere. No build-up, no real hook, nothing interesting happening. It just drags on in the most forgettable way.

I know Rihanna can do so much better, we all know. But this one just ... read more

Unc… this ain’t it, I’m sorry.

There are maybe a couple of decent tracks on here (Iz It A Crime? [which has a pretty nice Sade sample], Just the Way It Iz, Live Life, and even the Sexy Redd track lol), but honestly, most of this album is just laughably bad. The production feels really off — like, way too plain and uninspired for most tracks. And Snoop’s performances are just equally lacklustre. Man, some of these verses are barely even listenable. He sounds like ... read more

Yeah… this is just pure bullshit. Let's be real.

I get that this track is meant to be this quirky, playful little track — something lighthearted, maybe even a bit tongue-in-cheek. But the execution is just to bad, it kind of ends up being unlistenable. The off-beat flow feels more awkward than clever, and the whole thing just tries a bit too hard to be funny or off-kilter in a way that doesn’t land at all.

And that’s frustrating, because Little Simz is incredibly ... read more

Strangeways is quite a good album— just one that naturally lives a bit in the shadow of The Queen Is Dead. Strangeways might not reach the absolute peaks of that record, but it still offers plenty to love and stands strong as a worthy final chapter in The Smiths’ discography.

The album kicks off really strong. That stretch from A Rush and a Push and the Land is Ours to Last Night I Dreamt That Somebody Loved Me is just The Smiths doing what they do best: witty, melancholic, ... read more

Can you call The Smiths prophetic? Because, well.. The Queen Is indeed Dead. RIP.

Now this is The Smiths at their absolute peak. After an amazing debut and a decent — though slightly less gripping — follow-up, they came back with a monster of an album with The Queen Is Dead, and honestly, it might just really be the greatest indie album ever made. Everything just clicked on this one.

Morrissey’s songwriting on this record is simply on another level. He’s poetic, ... read more

I liked Meat Is Murder — let’s start there. It’s a good album, for sure. But compared to their debut, it just doesn’t hit the same for me. You can tell they grew musically — it’s more polished, more refined in the production and arrangements. They definitely sound tighter as a band, and Johnny Marr keeps doing amazing things with his guitar. That part is still top-tier. But weirdly enough, I kind of miss the rougher, rawer edge the debut had. There was ... read more

Man, what a debut. Some bands need a few albums to figure themselves out, but The Smiths just got their sound right away. From the first track, you already feel like they knew exactly who they were and what they wanted to do. That alone is quite impressive. You don't get the sense they're testing the waters or experimenting blindly — it’s more like they had this clear idea in mind and just went for it.

The whole vibe of the album is so melancholic but also oddly ... read more

Because the Internet is a bit of a mixed bag for me. On one hand, I enjoy it, but on the other hand, it can be a bit hit or miss. The album has this feeling of disconnection, like it's trying to do a lot but doesn't always tie it together perfectly. There are some absolute gems here—The Worst Guys, Telegraph Ave, 3005, Flight of the Navigator, and Urn are tracks that really stand out. But as a whole, the album can feel bloated, with a few tracks that could’ve been left off ... read more

Bad Blood is quite a generic album from Bastille. It doesn't dig deeper than surface level, leaving it more as background music rather than something that demands attention. While it’s not bad by any means, it doesn’t do enough to really captivate or keep me engaged. Lyrically and production-wise, it doesn’t leave much of an impression. Overall, it’s a pretty boring record.

Most of us probably only know La La La and Lifted off this album, and honestly, that’s pretty much all that’s worth visiting. The rest of the record is listenable, but it doesn’t really stand much ground. It’s a collection of tracks that exist, but beyond that, it doesn’t really offer anything remarkable. It’s a bit forgettable, honestly. There’s not much here to make it stand out or demand attention.

The 20/20 Experience Part 2 doesn’t quite hit the heights that Part 1 did, but it’s still an enjoyable listen overall. While Part 1 was full of slick, standout pop tracks, Part 2 feels a bit more like filler at times. There are definitely some gems on here, like Take Back The Night and Not a Bad Thing, but as a whole, it just doesn’t have the same consistency or punch.

Some tracks don’t grab you as much, and it feels like Justin is working with ideas that aren’t ... read more

Justin Timberlake really came through slick with The 20/20 Experience. After the sexy vibes of Justified and FutureSex/LoveSounds, this album felt like a step into a more polished, classy lane. He’s got the bowtie, the suit, the whole Frank Sinatra-meets-modern-pop aesthetic going on — but at the core, it’s still the same JT we all know.

His voice just floats effortlessly over these lush productions. Everything sounds smooth, expensive, and ridiculously easy to vibe with. ... read more

With every new Boldy drop this year, I've started to tune in a bit sceptically — and I think that’s fair. After a mixed bag of releases this year (three lacklustre ones, one decent, one good), expectations were tempered. But Conversational Pieces is actually a real surprise in the best way.

Once again, it proves how crucial the right production is. Boldy has always had the bars, but when the beats don’t suit him, the whole vibe collapses. That’s not the case here. ... read more

And yet another Boldy album drops this year… but to be fair, this one isn’t bad either. After a pretty rough start to 2025, it seems like Boldy’s slowly getting back on track. Alphabet Highway isn’t quite as focused as Token of Appreciation, but it still has a fair amount of solid moments. And definitely a step up compared to Hommage, which was just another pretty lacklustre trap album.

The laid-back, soulful Boldy vibe is back again, and that alone makes it an ... read more

Yet another trap-based Boldy James release — and unfortunately, it's another miss. The main issue is that Boldy just doesn’t shine on these faster-paced trap beats. His style thrives in slower, moodier, soulful soundscapes, where his laid-back flow and storytelling can breathe. On Hommage, the production feels rushed, and Boldy sounds out of place more often than not.

It’s not that the album is unlistenable, but it definitely feels uninspired. The chemistry between the ... read more

After two pretty lacklustre albums, Boldy finally sounds like he’s back in his element on Token of Appreciation. The biggest win here is simply the production. It’s way better — smooth, soulful, slower beats that fit his laid-back style. This is exactly the type of production that suits Boldy best, and it’s just such a relief to hear him on something that actually complements his delivery rather than that fast-paced trap production where Boldy's performances ... read more

I totally respect the hustle — Boldy James clearly wants to feed his fans (and his bank account). But man, dropping six albums in five months? That’s just overkill. At some point, you start to wonder if the quality is taking a hit for the sake of quantity — and with Permanent Ink, it kind of shows.

To be fair, this one is definitely better than Murder During Drug Traffic, which just felt really uninspired. Permanent Ink at least has a bit more focus, but it still ... read more

What a beautiful album. Sincerely, might just be Kali Uchis’ best English-language project to date. From start to finish, she’s floating so effortlessly over these lush, dreamy productions — it simply feels like you’re being carried through some kind of pastel-tinted dreamscape. Really one of the most beautiful records I've heard in a while. Beautiful is just the perfect word to describe this album.

The whole album flows together so seamlessly. Each track melts ... read more