A fresh bassline and confident melody oozes out of a 2021 Caroline Polacheck as she teases the new record with this head-nodder. Immediately feels like she is progressing the most interesting ideas from her previous band 'Chairlift's last album - minus the horns, now replaced by the catchiest whistling known to man.

Not to say that it feels like it dives onto the past for its best ideas, to the contrary in fact. The sparse + punchy mix makes the groove feel more lurching and malformed yet ... read more

Pure nostalgic melancholic bliss (a commonality in many of my favourite picks) is packed to the brim in this delightful record; even in the first slap of the thick-as-hell gated drum. That, mixed with the updated and harsh cut vocal edits make for a feeling of escaping to and being ripped from a wonderful dream that mixes past and present.

No need for incredible depth, just a thousand yard stare into the real or fantasy past of a high-school memory you idealize for the next 3 mins. ... read more

How can a hit R&B tune balance beauty, tragedy and killer replay value near perfectly? Talk to SZA because she had this down pat 4 songs into second album. Truly any other song-writers finest work and would be their most successful but this is arguably one of the deeper cuts of the now 4-year-old 'Ctrl', with over 1 billion streams collectively on Spotify.

That status takes nothing away from this being a truly magnetic and lush crossover stunner. The vocal presence is one that feels ... read more

A track that perfectly encapsulates the once-in-blue-moon phenomenon of 'Why don't I like this, it's everything I could want!' back when I first heard it in summer 2020. A throwback dance beat in a similar vein as the smash hit One Kiss (Calvin Harris ft. Dua Lipa), starring 2 of pop's most consistent vocal acts and an interesting multi-chorus structure on top? What's not to love?

Clearly as my rating shows, that dissonance didn't last, as I - to this day - still hunt across YouTube for the ... read more

One of Denzel's sharpest hooks and most insane snappers without even having to rely on his tried and true 'Ultimate' formula, and fully embracing his C.C. heritage.

Even ignoring that, the sticky pitched down vocal pre-chorus and highly memorable advice-laden chorus add to the humor and impact that this unique take on respecting your roots punches you with.

A fitting first taste of and 2nd in track-list on 'ZUU', truly shines as 'Zel's creative push didn't get fully exhausted, even only ... read more

Genuine pop ballad-to-dance masterpiece. The clean register of the played bass in the second half giving off a clarity of thought, the classic Billie vocal harmonies representing her past and future selves culminating, and the snappy drum groove propelling her forward into her mentioned future self with excited love.

What holds me slightly back from 100 is the slight lyrical topic deviation in the 3rd quarter's verse, but nothing that keeps it down.

In hindsight, the best charting song of ... read more

The texture and mixing on the second-to-last track, 'Mood Ring' genuinely inspired me to make this AOTY account.

Lorde's peace-and-love filled return to us is one that I mostly love but also slightly frustrates me. I am in no way her biggest supporter, but admittedly the past years has been one of her genuinely growing in my listening habits and creative respect for her. Maybe Bowie wasn't talking out his ass when he sung her praises years ago.

This album's atmosphere is velvety and ... read more

A personally nostalgic release from one of the 2010s most valuable EDM-pop crossover producers.

This is such an interesting case of incredible highs with some soured-milk lows dragging it down. By no means is this a compelling electronic album experience through and through - this is no emotional journey to ascend into - but an example of a feature rich track-list that does what it says on the tin. Dance.

An ever growing plague of generic over-produced 'lifted-black' synth style of flaccid ... read more

Another solid release in Tyler's so-called parallel of the 'Berlin Trilogy', maintaining the quality he's brought since 2017. The longer cuts I find are more compelling within IGOR's narrative, but not to say there are at all bad or not worth your time. This contrasts the punches into the atmosphere that are 'CORSO', 'JUGGERNAUT', and 'MANIFESTO' and how I find them noticeably more compelling then previous highs like 'Who Dat Boy' and 'NEW MAGIC WAND', not to say that this album beats those ... read more