This album marks a moment of evolution for Tyler, but he's clearly in the process instead of being fully formed at the other side. There's some really lush and enjoyable production on this album, but there's also a lot of unnecessary distortion, ugly sounds, and off-putting vocal filters/pitch shifting. Tyler's lyrics are often immature and frankly annoying at times.

Some nice indie tunes; this band plays very well, and Elizabeth Stokes's voice fits quite nicely. However, the songs do kinda blend into each other.

This is Kendrick's most fun and straightforward banger album. While I'm more of a fan of the overarching concept albums, I can't blame him at all for taking a break from that; I'd imagine making a song like "Mother I Sober" is extremely emotionally draining. I also appreciate that he's trying to bring regional sounds back with a heavy west coast album. However, I'd probably still say this is his weakest.

After a long break (1855 days to be exact), Kendrick gives an update on his mental state and what he's been going through. This is his most personal album (yes, somehow even more than the one with "u" on it) and deals with Kendrick's journey through therapy, recognizes moments with his family that had significant impact on him growing up, and confesses Kendrick's infidelity to his partner. He finally recognizes the savior role he placed upon himself on TPAB is not ... read more

Kendrick returns a bit more pessimistic than he was on TPAB, conveying a consistent theme of dying from either wickedness or weakness. Duality is a strong theme on this album. However, there isn’t as clear of a through-line as there were with his past albums. The production is a bit more modern, but not as strong as it was on TPAB.

Some nice leftovers from the TPAB sessions. Who would’ve thought the B-sides to one of the greatest albums of all time were gonna be good?

After his commercial success with "good kid, m.A.A.d city", Kendrick reflected on his newfound fame and fortune. With feelings of survivor's guilt, spitefulness, and self-hatred, Kendrick traveled to Africa to see if he could make sense of his place in the world. There, he was able to gain a better sense of identity and also reconsidered his preconceived notions of other people and his general morality. Returning to America, he took notice of racial tension, police brutality, and ... read more

One of the most cinematic albums of all time. The storytelling and well-placed skits are top notch and vividly paint the picture of a day in the life of a good kid in Compton, analyzing nature vs nurture and how much of a product of their environment one is. This is probably Kendrick's best balance of mainstream sounds and poignant artistry.

Kendrick goes over the stories of several fellow 80s babies that grew up in section 8 housing. While he comes off a bit preachy at times, the purposeful writing, jazzy production, and sprinkles of fun make up for that.

Peggy works with some live rock instrumentation that fits his aggressive style well while also using orchestral/acoustic strings to make room for some quieter, reflective moments. He overrelies on the triplet flow a bit too much.

The Last Dinner Party debut with an instrumentally rich album that lyrically emphasizes frustration with power dynamics between men and women (along with some slight gender envy) and displays true romantic yearning. The album feels orchestral and grand, and Abigail Morris's vocals are fittingly dramatic and passionate.

A nice little EP that gets the band back in the groove of things by trying an adventurous song (essentially a Voidz song), a standard song, and a throwback song. Nothing essential to the band’s discography though.

Danny puts out an album drenched in sadness from him dealing with heartbreak, reflecting on his career as a rapper after hitting 40, and reminiscing on old experiences with poverty and music. While the topics aren't necessarily anything new for him, it feels a bit more intimate this time around.

Not as topically/conceptually focused as his past work, but there are some solid songs on here. Danny’s voice feels a bit weaker than usual on some songs; not sure if it’s the delivery, vocal mixing, or both.

The first half contains some of Danny's best work to date; it focuses a bit more on how Danny grew up than XXX, especially highlighting his family's poor situation, drug addled relatives, getting jumped while simply trying to buy bread, and turning to selling drugs to make a living. The second half is more of a party album, reversing the sequencing of XXX; however, the EDM production can feel dated at times, and the mixing is sometimes a bit compressed. Float On works as a sobering ... read more

This album contains a raw and hungry Danny Brown that passionately trash talks, reflects on growing up in poverty, and discusses the highs and lows of his drug addiction. The duality of ignorance and consciousness that exudes through this album makes it exciting to listen to, despite its lengthy tracklist. Danny has a great ear for oddball beats that still hit hard and fit his versatile rapping.

A short but hard hitting set of 7 tracks with classic coke bars from King Push. While he doesn't really deviate from his usual topics other than some bars for Drake on "Infrared", the man can still rap.

Loud, aggressive, and weird: the combination between JPEGMAFIA and Danny Brown is a match made in musty white hip hop head heaven. It does its job at scaring the hoes while providing some distinctly unique production and some funny ass bars. Danny Brown's voice gets a bit lost in the mix on a few songs.

David Berman channels his sadness and suicidal ideation into a depressing yet cathartic album that lets out all of his feelings of sorrow, loss, and nostalgia. The slow folk rock that surrounds much of this album act as a perfect pairing for Berman's heartbreaking, poetic, and at times bluntly honest lyrics. His heavy voice only adds to the impact this album has.

Danny Brown explores his drug issues and how they are destroying his life over dark, innovative production that perfectly soundtracks the warped world that Danny portrays. Although much of this album portrays negative emotions, the ending “Hell for It” indicates a light at the end of the tunnel via Danny’s dedication to his music and genuine attempts to right his wrongs.