My most listened to song of the year. I actually wasn’t super hot on it when I first heard it, which was when I heard it in my friend’s short film. (The film was great btw). And after I rewatched it at a film festival I listened to it exclusively throughout that next 3 day period. Even when I was on the plane back to my home state I was still only listening to the song. And still for the rest of the month and month after it was in my rotation. Just amazing work. The bass, the ... read more

2nd most listened to song of the year. Feels so weird I have written permission courtesy of the artist to use it on my short film. Anyways, song is amazing. Gives me goosebumps every-time I listen to it. It’s that great mix of nostalgia, and melancholy.

EUSEXUA was my first introduction to FKA twigs, and it left a strong impression, even if it didn’t fully blow me away. The production is top-tier throughout—lush, bass-heavy, and often ethereal—with tracks like “Room of Fools,” “Drums of Death,” and the title track standing out as highlights. That said, some songs drag in their build-up, and tracks like “24hr Dog” and “Wanderlust” felt underwhelming or unnecessary, making the ... read more

Quadeca’s Vanisher, Horizon Scraper is an ambitious, cinematic record that wears its self-indulgence proudly, and while that ambition occasionally pays off with stunning production and standout tracks like “FORGONE,” “GODSTAINED,” and “NATURAL CAUSES,” the album is undeniably bloated. At over 60 minutes, it often feels more exhausting than profound, especially with songs like “THUNDRRR” or “I DREAM ABOUT SINKING,” which showcase ... read more

Playboi Carti’s Die Lit is often described as “junk food music”—simple, surface-level, and infectious—and while I usually brush off that kind of take, it’s honestly accurate in the best way. The album is like a perfectly run burger joint: fast, loud, and confidently aware of what it is, with psychedelic trap beats from Pi’erre Bourne and endlessly catchy flows and ad-libs that somehow never wear out their welcome. Tracks like “Lean 4 Real,” ... read more

Of all the artists who’ve made pop music feel catchy and fresh again, Lady Gaga has always stood out—and with Mayhem, she reminds us why, even after a quieter stretch between 2018 and 2024. While early hits like “Poker Face” and “Bad Romance” were cultural touchstones, new songs like “Abracadabra,” “Die With a Smile,” “Disease,” and “Zombie Boy” reignite that same energy with vibrant dance-pop flair. Mayhem ... read more

choke enough is a decent record that blends pop and electronic influences with an experimental edge, and while I appreciate many of the melodies, the heavy use of autotune left me conflicted. On songs like “thank you for recording” the vocal lines start off strong but become less engaging once the robotic tuning kicks in, stripping away the emotional texture that initially drew me in. Though the autotune felt like a creative choice early on, it became increasingly distracting as the ... read more

PinkPantheress didn’t just dominate social media with this album—she made dance and pop music feel genuinely fun again. While bubblegum bass has recently grown repetitive due to oversaturation, Fancy That, her latest mixtape, reminds us why she’s one of the genre’s defining voices. The project is packed with infectious, high-energy tracks like “Stars,” “Stateside,” and especially “Noises,” which blends experimental elements with a ... read more

Black Country, New Road was a band I’d heard of but never really explored, and Forever Howlong turned out to be a surprisingly strong introduction—especially considering it’s said to be quite different from their earlier work. The album’s blend of folk-pop is right up my alley: mostly upbeat, but peppered with emotionally resonant, melancholic tracks that give it range and depth. Songs like “Besties” and “The Big Spin” kick things off perfectly, ... read more

I really enjoy Clipse, and their production style fits perfectly with my taste; even though their last album didn’t get much love, I actually liked it, and I’ve always appreciated Hell Hath No Fury and Lord Willin’. Clipse is one of the most consistent rap groups out there—especially impressive considering they were retired for nearly two decades—yet they’ve come back with a vengeance on what I think is an incredible new record, Let God Sort Em Out. ... read more

I don’t know what Kanye was on during the 2010s, but it’s genuinely impressive how he managed to package such a raw, abstract, and experimental sound into something as well-produced, conceptual, and commercially viable as Yeezus. Most experimental rap albums that try to push boundaries end up feeling annoying or try-hard, often plagued by intentionally bad mixing or undercooked ideas, but Yeezus avoids all of that. Even if some lines feel rushed or dated, it remains Kanye’s ... read more

I didn’t have high expectations for Tyler’s new album, mostly because it came less than a year after CHROMAKOPIA, and quick follow-ups often end up as demos, throwaways, or light experiments at best. Don’t Tap the Glass fits that mold—it’s a brief, surface-level project that feels like Tyler’s most forgettable work in years. While I don’t expect him to keep delivering masterpieces, especially since CHROMAKOPIA itself had more misses than something like ... read more

I checked out Flume’s new EP mainly because of the JPEGMAFIA feature, but the project ended up feeling like a misfire. At just 16 minutes, it still somehow drags—especially with the baffling choice to open with “Track 01,” a borderline unlistenable joke track where even Peggy calls the beats trash. While “Is It Real” and “The Ocean Is Fake” show glimpses of potential, most of the EP feels half-baked, with underwhelming production and vocal ... read more

It disappoints me to say that MUSIC mostly sounds unfinished, and when "MUNYUN" starts playing, it becomes clear that Carti has run out of creative song ideas and production. Songs like "GOOD CREDIT" and "COCAINE NOSE" are notable exceptions, as they stand out from the otherwise incomplete and poorly mixed tracks. Many songs feature Carti barely contributing, with guest artists doing most of the work, while others, like "OPM BABI," feel like ... read more

Mac Miller is my comfort artist, and I can connect with any song from his album Circles on a deep level. What resonates with me is the honesty and vulnerability he conveys through his music, which is rare for me to experience. The approach in Circles is a reminder of the incredible music he could have continued to create if he were still alive. Songs like "Do You Have a Destination?" and "Manakins" are underrated, and aside from a few tracks, the album is really enjoyable. ... read more

Travis Scott's album Rodeo is an enjoyable listen, even if some songs aren't as psychedelic or catchy as others. Although Scott's lyrics are often subpar, the album's craft and production are exceptional, making it stand out from other trap music. Songs like "Impossible" and "Flying High" may not be as catchy, but they work well due to their strong drums and production. Rodeo can be seen as a smart album for those new to music, but its sometimes braindead ... read more

Lil Yachty's album Let's Start Here. is a psychedelic and catchy record that has redeemed him in my eyes. The album has few bad tracks, with standout songs like "the BLACK seminole." and "IVE OFFICIALLY LOST VISION!!!!" showcasing explosive sound. Although some tracks, like "running out of time" and "pRETTY", feel decent but unnecessary, making the album feel a bit too long. At times, Lil Yachty's autotune can be overwhelming and ... read more

Drake's album $ome $exy $ongs 4 U was a disappointment, with not a single track worthy of saving. This album was a letdown, especially after a dismal year for Drake in 2024, and what makes it more disappointing is that it just comes off as lazy. The project suffers from poor production choices, including ear-piercingly loud hi-hats and a monotonous sound with no variety. Even the album's few redeeming qualities were ruined by subpar lyrics, overused auto-tune, and a really bad Spanish ... read more

I had a similar feeling after finishing Travis Scott's UTOPIA, and now I'm experiencing it again with The Weeknd's Hurry Up Tomorrow. While the album has catchy tunes and high moments in tracks like "Wake Me Up" and "Open Hearts", its bloated runtime makes it exhausting to listen to. The album's inconsistency and repetitive songs, such as "Cry For Me", make it feel like a snooze fest, even on shuffle. I think the album would be more cohesive and ... read more

My frustration with UTOPIA stems from its lengthy and bloated structure. I've always found albums with 15+ songs to be a chore, requiring every track to be exceptional to maintain motivation for repeated listens. As a fan of the darker sound in Travis Scott's debut album Rodeo, I appreciated the return of that atmosphere in UTOPIA, this time incorporating electronic music to guide the psychedelic elements. However, despite standout tracks like "MY EYES" and ... read more