One of Wun is again just more of the same from Gunna—repetitive, uninspired, and sounding like a rehash of everything he’s been putting out for the past six years. There’s nothing particularly exciting or new here, just the same formula on repeat. While his flow is listenable as always, the lack of variety makes the album feel pretty generic and boring. Nothing truly stands out, and by the end, it just is another forgettable project by Gunna.

The Death of Slim Shady just isn’t good. Eminem’s last few years haven’t been his strongest musically, and this album doesn’t change that. Most songs border on corny, the rapping feels repetitive, and the delivery quickly becomes monotonous and even annoying at times. It’s the same trick over and over again, without much excitement. Instead of a bold statement to close out or giving a fresh look, it feels like another uninspired effort. It simply fails to entertain.

DOPAMINE is just really underwhelming. After years of delays, I expected so much more than this generic and lifeless debut. The album just exists—there’s no real excitement, no standout moments, nothing that grabs your attention. It feels like a missed opportunity for Normani to establish her own sound, instead settling for something forgettable and uninspired.

Ten days fails to truly entertain. The amount of interludes are annoying and feel redundant, and the actual songs don’t do much either. It lacks the depth and energy that usually make Fred Again..’s music stand out, leaving behind a project that feels underwhelming and forgettable.

One of the first albums I ever heard as a little kid—and one of the first artists I instantly fell in love with. Thriller simply does that to you. It’s nothing less than a masterpiece, one of the greatest albums of all time. With just nine tracks, it’s concise, yet every second is pure gold. There’s not a single weak or forgettable song; each track stands as its own classic. Michael Jackson’s performances are incredible, his vocals and delivery effortlessly smooth ... read more

Venus is as safe as it gets—boring, forgettable, and way too repetitive. There’s nothing here that Zara Larsson hasn’t already done before, and it all feels generic and underwhelming. It’s polished, sure, but ultimately just background music with no lasting impact.

11th Dimension doesn’t really push Ski Mask The Slump God forward. It’s just there—okay at times, but mostly forgettable. The energy and flow are still his signature, but there’s little evolution, nothing truly memorable or interesting. Not bad, just not good either—just more of the same.

While NO THANK YOU and Sometimes I Might Be Introvert showcased Little Simz at her absolute best, Drop 7 is more like a side experiment. There are some okay tracks, but nothing that truly stands out or leaves a lasting impression. I respect her willingness to explore new sounds, but the execution here feels a bit underdeveloped. Hopefully, she continues to experiment, but with more refinement next time.

Moon Music is the kind of album you could easily fall asleep to—not because it’s terrible, but because it’s just so forgettable. The quality isn’t necessarily bad, but it feels plain, uninspired, and nowhere near the level Coldplay has proven they’re capable of. The songwriting lacks excitement, making the whole album feel bland. There’s nothing here that truly stands out or adds much to their catalogue. It just exists, floating by without leaving any real ... read more

INSANO (NITRO MEGA) doesn’t really add much to INSANO, aside from a few more decent tracks like HUMAN MADE, DIAMONDS LIGHTS FAST CARS, WIN OR LOSE, DOSE OF DOPENESS, and SUPERBOY. While these songs bring a bit more quality and variety, the project as a whole still suffers from the same issues—too many mediocre tracks that lack energy and memorable moments. It feels more like an overstuffed playlist than a cohesive album, and the extra songs don’t do much to change that. And ... read more

INSANO is just a bunch of mediocrity. The energy isn’t there, and barely any tracks stand out. It feels more like a collection of low-effort songs than a fully realised album. Cudi's signature hums and spacey vibes are there, but without the emotion or depth that made his earlier work special. The production is decent at times, but the songwriting feels uninspired, and the hooks rarely stick.

It’s disappointing, especially considering how influential Cudi has been. Instead of ... read more

Short? Yes. Sweet? A little.

Sabrina Carpenter’s first widely listened album comes at the current peak of her popularity, but it doesn’t quite live up to the hype. There are some nice tracks here and there, and a few radio-hits, but overall, it just doesn’t offer enough. It leans too heavily into the safe, radio-friendly pop formula without bringing anything fresh to the table. Feels like yet another Taylor Swift-inspired act, but without any unique depth or ... read more

I’m really in love with The Slow Rush. Sure, it might not hit Currents levels, but it’s still an amazing album. The psychedelic sound is still there, just with even more of a pop edge—and it all just works. No skips, great melodies, killer drums, amazing synths, and all those little extra sounds that make it sound rich and so enjoyable. It’s such a nice, immersive listen, full of detail and atmosphere, letting you completely dream away.

What I love most is how ... read more

Unfortunately, So Close to What feels like another batch of radio-friendly pop songs that play it way too safe. Most tracks are just okay at best, with songwriting that doesn’t really stand out and production that has a few interesting moments but nothing truly exciting. Her voice, heavily autotuned and a bit nasal, starts to get grating after a while.

It’s all way too predictable, too polished, and ultimately, too bland. It’s background music at best, though as the album ... read more

Hell & Nash 2 is a great addition to the Griselda catalogue. You’ve got classic Westside Gunn and Conway the Machine at their finest—those flows and deliveries are top-notch, as always. The chemistry between these two is undeniable, and they continue to bring that gritty, underground authenticity that made them so special.

And then, of course, you’ve got The Alchemist on the production, delivering some seriously vilty beats that complement the lyricism perfectly. The ... read more

UTOPIA is another solid addition to Travis Scott’s growing discography. He’s evolved his sound here while still keeping that signature Travis vibe that fans love. You can definitely hear the influence of Kanye West in some of the production choices, with a few beats even directly sourced from him. It’s clear that Travis is willing to experiment, and tracks like MODERN JAM and LOST FOREVER really show off his ability to step outside the box, offering something fresher and more ... read more

Surfin’ Safari was a pretty decent start for The Beach Boys. The band was formed by brothers Brian, Dennis, and Carl Wilson, together with their cousin Mike Love and their neighbour David Marks. Brian was already kind of the leader back then — arranging, writing, and shaping their sound — with Carl on lead guitar and Dennis on drums. And honestly, they already had quite some talent for such a young band.

This album’s all about surf rock fun, really capturing the energy ... read more

The Estate Sale is how you do a deluxe album. It’s full of great tracks that fit perfectly with the original album, like they were meant to be there all along. No filler—just extra gems that add more depth and keep things fresh. Tyler really knows how to take a good thing and make it even better.

SCARING THE HOES is pure madness in the best way possible. It’s chaotic, experimental, loud, and completely unfiltered—but somehow, it all just works. JPEGMAFIA’s wild production along with Danny Brown’s unhinged energy makes for an album that’s unpredictable at every turn, yet still insanely cohesive. Every track feels like a sonic assault, but one that keeps you coming back because there’s always something new to catch. It’s not for everyone (I ... read more

Live at SoFi Stadium is absolutely beautiful. Hands down my favourite concert I’ve ever been to. The energy, the atmosphere, the way The Weeknd delivers these live renditions—it’s just on another level. The added touches, the new vocals, the insane Mike Dean synths—everything just feels bigger, more intense, more cinematic. Some of these versions even outshine the studio recordings. It’s a perfect showcase of how The Weeknd has mastered his sound, his presence, and ... read more