There's not a single flaw with this record

This album felt like the equivalent of having a bad trip on a sugar high.

Jane Remover (aka leroy) has found a comfortable lane to her music, sadly that lane is just throwing out every idea against a wall without caring if it sticks. Sonically, something is always happening but nothing is really happening in these songs. Maximalist for the sake of maximalist, it's sound design porn that forgets to be a song.

Favorite: IN EVERY LIFETIME (TOGETHER LIKE THIS)

The album is a mix of some strong, focused tracks with some deeply honest writing but also held back by many songs in it's second half that feel undercooked both lyrically and structurally

Something's missing......

Pretentious without the fun of Greep or the absurdity of black midi. It feels quirky for the sake of quirkiness rather than organically weird where even at it's most zany it feels like its holding back.

Dark, depressive album buried under layers of noise

Raye really does well finding her own sound and breaking the "Amy Winehouse" comparisons, although Amy's influence is fairly evident here.

Raye's strong vocals are front and center behind a layered production that does well keeping itself from being overproduced.

Songs such as 'Life Boat' and 'Skin N Bones' don't fit the album's cohesiveness, especially for that fact they're fairly generic pop. The cinematic songs do sound a bit ... read more

EDIT: 75 – 90 (Wow okay I wa$ really undervaluing thi$ on fir$t li$ten)

Might be the Worst Girl in America, not the worst album.

Why the hell does Tame Impala make such a banger instrumental for Merry Go Round but won't do it for himself?

It's a fine album with a strong closer but it really feels like it's trying to stay safe and it consistently seems to be holding itself back

This is a solid indie pop record that has a strong first half. It loses steam a bit midway through but comes back towards the end.

Excellent production but there's not really anything that I can say managed to grab me. For an experimental album, I'm a bit held back by how monotonous and one-note it can come off as.

Cut Worms has made the same exact album as the rest of his discography, and contains some of their blandest songs.

Fine album but it nearly borders on sounding like a Smiths B-sides record

'I Can Take the Sun Out of the Sky' is a clear standout

Greatest album of all time actually

It's cunt but it's also kinda boring

There's no song as risky as "Sign of the Times", hard as "She" or catchy as "Watermelon Sugar" and "As it Was", but there is indeed Disco, occasionally.

The production is a solid highlight, much of the album's sound is what I w as expecting to hear from Tame Impala's 'Deadbeat' rather than 'Baby's first techno', but Harry's boring songwriting and vocals don't mesh with the album's sound and hold back ... read more

A cutesy jangle pop album with a surprise bit of politics that musically can be a bit inconsistent and lacking a bite

Maybe it's because I've been on a bit of an indie folk kick as of recent but this record really hit. Buck Meek and the band do a fantastic job giving such a lively feel to these songs.

Buck isn't as strong as a songwriter as fellow Big Thief bandmate Adrianne Lenker, but has a true ability to give a song exactly what is needed.

Opening single 'Gasoline' is the clear standout, and one of the best tracks I've heard this year.

EDIT : 94 – 85, found a few ... read more

It's a fine album but it's hardly anything groundbreaking, a record like this seems to come out every few months with the same sounds and ideas.

The first half feels a lot stronger than the second half, which seems to lose a lot of momentum.