Pegasus is a mixed bag from Trippie Redd. While it does have some of his signature sound, with emotional melodies and his unique mix of rap and melodic elements, the album struggles to make a lasting impact. There are some solid tracks that reflect his strengths, but they’re overshadowed by more generic and weaker cuts. It feels like Trippie is playing it safe at times, and the album lacks the consistent spark that could have made it a standout. Ultimately, Pegasus doesn’t quite ... read more

Good Intentions is another album by NAV that feels all too familiar, and unfortunately, not in a good way. While there are a couple of decent tracks scattered throughout, the album is weighed down by a lot of filler. NAV’s robotic and monotone delivery continues to be a major drawback, with his voice often blending into the background instead of carrying the songs.

The lyrics remain empty and feel repetitive, making it hard to find anything truly engaging or memorable. The production, ... read more

Everything's Strange Here sees G-Eazy stepping outside his usual rapper persona and trying his hand at singing, but the results are mixed. The album is a product of experimentation during lockdown, a project that could have remained in the safe. While there are a few moments like “Free Porn, Cheap Drugs” that stand out as decent, overall, the album struggles to hold attention. G-Eazy’s vocal performance lacks the strength and depth needed to carry the tracks, and his ... read more

Lil Boat 3 offers some enjoyable moments, but ultimately it falls short of delivering anything truly fresh or exciting. Lil Yachty’s delivery feels flat throughout much of the album, and there’s a sense that the project doesn’t take many risks. Many of the tracks are generic and predictable, which makes the album drag on at times. While there are occasional catchy beats and hooks, the overall vibe is more forgettable than memorable. It’s a passable listen for fans of Lil ... read more

Changes marks a significant shift in Justin Bieber's sound, but unfortunately, it’s not a change for the better. After Purpose, there were high hopes for his musical direction, but Changes feels like a major letdown. The album leans heavily into R&B and trap influences, but it never quite hits the mark. Tracks like "Yummy" set the tone for a project that feels lifeless, with dull and forgettable moments throughout. Even though his voice is still there, it doesn’t ... read more

Tickets to My Downfall is an attempt at reinvention for Machine Gun Kelly, diving into pop-punk territory. But here's the thing: can you really have a downfall if you weren’t even at the top to begin with? The album is full of angsty anthems, but it lacks the substance or originality to truly make an impact. While the shift in style is a bold move, it feels like MGK is trying too hard to fit into a scene that doesn’t really suit him. It’s just terrible, with the album ... read more

Lock that guy up again.

Brown Boy 2 might be Nav’s worst project to date. The deluxe version to Good Intentions just seems like a collection of filler, with some of NAV’s weakest tracks to date. The songs here feel uninspired and lazily produced, as if NAV is just going through the motions. It's tough to find any redeeming qualities, with even his usual vocal style falling flat. The album doesn’t bring anything to the table at all and only reinforces the issues that have plagued his previous ... read more

Translation is a baffling misstep for the Black Eyed Peas. The Latin influences feel incredibly forced, generic, and lack any real depth or excitement. It’s as if they were trying to cash in on a trend without offering anything new or interesting. The album doesn’t capture the energy and creativity that made their earlier work enjoyable, and instead, it feels like a half-hearted attempt at reinvention that just falls flat. Honestly, this comeback didn’t really need to ... read more

Were my expectations high? No. But I still hoped for something more than this. Selena Gomez plays it way too safe at this point in her career. You’d think she’d switch things up and deliver something that truly cements her place, but instead, this feels plain, bland, and forgettable. The songs lack cohesion and comes off as a collection of half-baked ideas rather than a fully realised, focused project. At best, it’s just boring—another generic pop album with nothing much ... read more

Jon Bellion returns with a pretty strong single. The arrangements are beautiful, and his voice really shines through. Overall, it’s a solid performance—hopefully a good sign for his next album. Fingers crossed he evolves beyond the Disney/Pixar-esque soundscape of his previous two projects (which were still solid though, just hope he can switch things up for his next project to keep things interesting).

Well, NAV is back—and honestly? It’s not even that bad. The track has a laid-back vibe and is actually pretty listenable. But those signature robotic, monotonous NAV flows are just unintentionally funny at this point. And while it’s not as bad as his previous work, it's still background music at best.

Well, they’re clearly having fun, and if they enjoy making music, who am I to say they should stop? But, this just isn’t anything special. Just a simple, predictable pop song made for the radio. And sure, it’ll do well there. It’s catchy, though.

A slight improvement over I'm A Little Crazy, but still suffers from the same issue—it's overly repetitive at this point and doesn’t bring much new to the table. But it's listenable though.

Once again, Morgan Wallen sticks to the same formula without pushing his sound forward. As one of the biggest names in country music, he doesn’t take any risks or attempt to evolve the genre. There’s definitely a market for this, but after all these years, it feels lifeless and overly repetitive.

It’s just horrendous. Doja delivers a decent verse, while Jack Harlow sticks to his usual style, but worse. The track doesn’t offer anything beyond the surface. Lyrically, it all gets way too uninspired (slow it down like macaroni, lol what?) and repetitive at this point.

Alongside After Hours by The Weeknd, Future Nostalgia became one of the defining soundtracks of the lockdown era. Tapping into the growing 80s synthwave trend, Dua Lipa took a massive artistic leap from her debut album, delivering a refined, confident, and irresistibly danceable record. This album isn’t just a collection of hits—it’s a fully realised concept, blending futuristic production with nostalgic influences, and it works perfectly.

From start to finish, Future ... read more

Thundercat returns with his fourth studio album, It Is What It Is, following up the widely acclaimed Drunk. Once again, he delivers an album that is as funky as it is introspective, filled with infectious basslines, dreamy vocals, and a blend of soul, jazz, and electronic influences. From start to finish, It Is What It Is pulls you into its hazy, groovy soundscape, offering both moments of light-hearted fun and deep emotional weight.

One of the album’s greatest strengths is ... read more

Mac Miller’s Circles is the kind of posthumous album that doesn’t feel like a rushed patchwork of unfinished ideas. It was already near completion before his passing, and with Jon Brion carefully bringing it to the finish line, it stays true to Mac’s vision. The result is something deeply personal, fully realised, and emotionally heavy—a natural extension of Swimming but still its own unique project.

From the very first track, Circles sets a reflective, almost ... read more

Pray for Paris is a modern-day classic. By the time this album dropped in 2020, Westside Gunn had already cemented himself as one of the most distinctive voices in (underground) hip-hop, both figuratively and literally. His high-pitched, nasally delivery might catch some listeners off guard at first, but once you settle into his world, it becomes clear—this isn’t just rap, this is art curation in its purest form.

Coming off the back of FLYGOD and Supreme Blientele, two albums that ... read more