I'm not sold on the story behind this track getting made, but this is a good pull from the IG algorithm. From what I've seen of him, Forrest Frank seems to be the only Christian artist that understands music has to be sonically pleasing, and not just preaching over a backing track. The lyrics aren't too impressive compared to his other songs, but the production and vocals are fun. 7.5/10, squarely.

"Satirical" and "quirky" being the tags is interesting, because this both sounds like a parody of Charli xcx and somehow manages to beat "Kamala is Brat" at inducing eye-rolls. Terrible mixing, erratic songwriting, and a confused vocal performance (made much, much worse thanks to the incorporation of some really unpolished autotune). 3/10.

This might be the first music breakup that damaged the artistic merits of both parties involved, except The Kid LAROI was at least doing interesting things beforehand. I don't know if you can even call something this unfinished a "track", but even as an interlude, the production is quite literally doing all the work. Weak vocal performance, paired with even weaker songwriting from LAROI. 5/10, but would easily be a 4/10 if the Lewis Hamilton bar got cut.

Fine, I'll listen to a Charlie Puth album. Seriously though, this is a (mostly) stellar track. The calm and steady percussion, polished writing (especially on the chorus), and genuinely great singing mix very well to give the listener a full experience instead of being too short to leave an actual impression, like most "TikTok-core" radio pop hits. Hikaru Utada's voice blends pretty well with Puth, even though he still hasn't shaken his tendency to over compress vocals ... read more

If I'm being honest, I didn't even want to leave a review. I like Olivia, but don't love how unfocused this track sounds, both in its soft production and lukewarm vocal performance. Easily her least compelling single by far, but I'm sure the album will be closer to the quality of her previous stellar releases. 6/10.

Wait, Spotify knows how to suggest good songs? They're not reinventing the wheel by any means, but these dual tracks are entirely superior versions of the sound Tori Kelly was attempting to achieve on her last two projects. Great production, solid writing on the verses, and some incredibly nice singing (to put it mildly, it's Tori Kelly after all). 8/10.

If you drank a glass of room temperature water, you'd probably experience the same level of sensory stimulation. The simplicity in the vocal performance is fine, but the production just isn't able to reach the same level of emotion (aka groove) as similar tracks from the era it's clearly trying to emulate. 4/10.

The nicest thing I can say is that I now have a newfound appreciation for the original, but the niceties stop there. This might be one of Joji's worst songs by far (which translates to being one of Yeat's better tracks), and really makes me worried about the upcoming album. 3/10, even though we know he's capable of doing better.

Sounds nice and has some solid melodic arrangements, but come on. 6/10.

It loses points for being so short, but god does the production sound phenomenal here. Tommy Richman is easily one of the better acts to come out of TikTok, and though he's had some missteps in his sonic journey (looking at most of Coyote), tracks like these make it clear that "Million Dollar Baby" was no fluke. Some nice vocal mixing on this one, and the eclectic sampling really boosts the track's atmosphere (which is plenty boosted from the immaculate 808s). 8/10.

I mean, what an insane comedown from her previous project. Not that Tate McRae has anything to worry about, since the sole concept of her making a diss track is enough to get this some streams from her very devoted pop listeners, but in no world should Kid LAROI have a better breakup song than the person who made "Greedy". The vocal performance here is derivative, not to mention that any personality the track has is being solely carried by McRae, and not the mediocre writing. Ryan ... read more

Don't let "Light Switch" fool you, there's a reason Charlie Puth still carries relevancy as an artist to this day. I wouldn't call this a return to form, especially given the obscene amount of processing on the vocals, but the instrumentation and writing are genuinely nice. I really liked the vocal runs on the bridge and the steady drums present throughout the track (post chorus piano gets an honorable mention). 7/10, and hopefully a good omen for the album ... read more

Don't know what happened to the initial review, but as I said in the previous version, this is a nice return to form by The Kid LAROI. Not that his recent bout of Y2K inspired-pop rap tracks have been anything too below average, but LAROI is clearly far more comfortable when he's writing and performing SoundCloud-era heartbreak songs that made him blow up in the first place. Some really nice vocal runs on this one, and the production side is a solid blend of 808s and low-fi synths. ... read more

Even if you assume this is an interlude, the song still remains underwhelming, especially compared to better versions of this that already exist in Joji's discography. The vocals are a pretty standard affair, and though the instrumentation is interesting, it never quite develops into something that grabs the listener's attention. Hoping the rest of the album (assuming that's what Miller is building towards) strives for higher ambitions than audio made for TikTok. 5/10, squarely.

Since when is TikTok able to produce talented artists? Ones confident in their vocal performance, no less? This is just a wonderful track all around. Acoustic instrumentation with a bassline that leads, lyrics that the artist actually spent time on, and delicate vocals that understood the unabashedly earnest assignment. 9/10, and might be one of the best songs of the year (that didn't come out this year).

In the midst of Boone backflips and flared Styles, Bieber needed to remind everyone why he's the quintessential male pop star. It's not enough to make me sit through one of his albums, but the infectious bassline and wonderfully restrained vocal performance are certainly a welcome refresher in the world of overproduced radio pop. 8/10.

A little confused as to why The Kid LAROI teased this in the music video for 'How Does It Feel?", but you won't see me complaining. Especially since this is easily the best single he's released so far. It's fun, has an actual pulse in the beat's energetic bounce, and showcases the boyish charisma that made people a fan of Kid LAROI to begin with. Between this and "Girls", an equally solid pop rap entry, it's clear that Jon Bellion (who produced both ... read more

No one was thinking AJR would come through with focused songwriting, but everyone knew the production would be eclectically confused.

Review: Okay, the summary was a little harsh, especially since this band has certainly seen its fair share of dogpiling from music nerds and edgy teens. But contrary to how the three brothers are perceived by much of the internet, I've always found AJR's millennial-core alt-pop to be fairly tame. And while that's especially true for this EP, ... read more

Am I shopping at a Macy's? Oh, it's just a MAX track, with his trademark style of: romance pop production, professional sounding vocals, and overly simplistic lyrics. Still though, I do see the vision presented here and even found some enjoyment in this track. I'd at least prefer to hear this over most of what's on the radio these days. 7.5/10, squarely.

Wow. Just wow. At this point, a review feels customary more than anything else. Gorgeous vocals, ethereal production (especially the bass line in the incredibly groovy pre chorus) , and some earnestly heartwarming content in the lyrics. What, you're still reading this? Go listen to the track instead. Right now. 9.5/10.