Production is a step up in a lot of ways from previous projects. Comparing it to the sound of earlier Earl is decently substantial. I think on the whole though, the runtime really holds SICK! back from really expanding any ideas out enough to anything truly amazing

Honestly very closely tied with Money Store for me as the best Death Grips project. Money Store is way more polished and probably meaningful as a record, but Exmilitary just delivers a genre-bending, dark and commanding listen.

The opening sample of a Charles Manson recording sets the vibe very well, and the mixtape continues to keep the energy going, taking unexpected and welcome turns through the whole thing. Spread Eagle Cross the Block and Takyon should sound pretty different, but every ... read more

Sounds like being melodically ranted to by a European drug addict

Mitski goes full synth-pop and honestly, I'm not completely opposed to it. I get that the album might not be as emotionally resonant to some people, which is sort of Mitski's whole deal. I do get the argument to a degree, but Laurel Hell is a fun time, and I don't buy the "nothing stood out" accusations. Stay Soft and Should've Been Me are BANGERS

A bit less experimental and ear catching than Rodeo, but I did end up liking a decent bit more than I thought I would. Travis still has some tricks up his sleeve here, with a few really killer features and some awesome beats on songs like 5% TINT and SICKO MODE. I did actually find the lows to be less low compared to Rodeo, but not reaching anywhere near the highs of it

good enough performance instrumentally and vocally, but there's just nothing to really elevate the album beyond that. Something feels inexplicbly empty about the album

I feel like we can all ackowledge that this is an objective upgrade from LP.

Not only that, this album is INCREDIBLE. The best RAPPING of his career so far. the best PRODUCTION of his career so far, and the most consistent track list of his career despite being 20 WHOLE SONGS long

My first exposure to Lil Ugly Mane. Apparently, this album is a departure from his normal style of music; being hip-hop. That's what I would have expected based off of the name, but instead what I was treated to was nearly an hour of psychedelic, subdued, experimental pop. A lot of the production is super well done, bringing in some synths, electric guitar, and some stuff that I don't even KNOW what they are.

The old timey, cartoonish feel of a few of the songs paired with the album art gives ... read more

I don't think I liked this album quite as much as Process, but I think it's still a great, airy soul album with some pretty stunning production. The vibe of Lahai is definitely a lot more aimless and sort of contemplative, which is an obvious fit for Sampha's style of singing. The whole album sort of sat at a consistent tone that never really shifted any direction. I found that the album didn't fully sacrifice sound quality for raw emotion, but the production of Process was definitely that ... read more

Calling it just "boomer rock" does sort of do a disservice to the quality of music here, I think. There's some truly incredible songs on here like Baba O'Riley and Won't Get Fooled Again that remain absolute classics. I do think some of the middle tracks blend into a bit of a blur for me, but I still think The Who was doing some real good stuff here. If the quality of the tail ends of the album were present throughout, the album would be so much better

Very good collection of beats. The floaty jazz instruments and the very well chosen vocal samples create am otherworldly and darkly ethereal kinda kinda vibe. I'm not sure if I can actually picture someone rapping over these, but I don't think that's really the point of them

They really tried to rap over the most nonsensical beats possible. Rapping over nothing but an alarm clock for 3 minutes? do it. Rap over a serious bout of tinnitus? why not? and, you know what? They made it work so well. I really like almost everything about this album, which suprised me based off of how it was generally received on here.

The production, as stated earlier, is just so out there and unique, even in the experimental hip-hop sphere. In my opinion, The rapping from Daveed was ... read more

My first real introduction to City Pop, and I think a simple "nice" is honestly the best descriptor for me. Very nicely produced, with some warm brass and piano, and Mariya has a very pleasant, smooth voice. I found I wasn't super engaged while listening, but that could also be partially attributed to the fact that I don't understand the language. Beyond the overall pleasantness, I wasn't blown away or anything

His voice may not be everyone's thing, but DAMN can I not deny how incredible the production on Process is. It's so sweeping and enveloping in a kind of indescribable way that gives an extra bit of oomph to a lot of the tracks. The more stripped-back piano ballad type songs didn't work as well for me, because they lacked what really ties the whole album together: Sampha's voice paired with those backing tracks

You can tell that this isn't as fully formed as later Talking Heads stuff, but the quirky and funky vibe still comes through and there's some pretty fun songs on here, such as the obvious Psycho Killer

Very guitar solo heavy and pretty experimental for the time. I didn't quite enjoy it as much as I thought I would based on the reputation of it, but all thing considered it was still incredibly well performed and a super unique listening experience

Awesome concept, great vocals, and CRAZY instrumentation. Like... absolutely toe curling, head-banging, drug emulating music. Everything just works so well

Kind of repetitive and mixed like doodoo. I don't know if "sounds like they recorded it in their garage with thrifted audio equipment" is a valid argument because I'm pretty sure that's what they did here.

cool enough for what it is but, like, this is it?

Feels like a very natural and very very welcome progression of Paramore's sound that I hope to hear more of in the future