I went to rehab after listening to this lyricalism proposed by this young suburb gentleman

Igor is, without a doubt, one of my favorite Tyler, The Creator albums. It represents a completely different universe compared to Flower Boy. Where Flower Boy was introspective, reflective, and melodic, Igor feels like an exploration of new themes, sounds, and instruments. Tyler has clearly evolved, experimenting with textures, synths, layered vocals, and genre-blending production. Each track feels deliberate, like he’s painting a vivid emotional landscape.

What stands out most to me is ... read more

I went into The Marshall Mathers LP 2 expecting just another follow-up to the original MMLP, but Eminem delivered something darker, sharper, and way more ambitious than I imagined. From the first bar of Bad Guy to the last lines of Evil Twin, this album is raw, bruised, and brilliant - a mix of technical mastery, emotional honesty, and experimental choices that keeps you on edge the whole way through.

Standouts & first impressions
Bad Guy is an insane opener. The two-in-one structure is ... read more

Coming into Recovery right after Relapse was one of the most jarring experiences I’ve had with Eminem’s discography. Relapse is an album I’m deeply attached to — the cold, horror-movie atmosphere, the creepy storytelling, the razor-sharp technicality, the twisted creativity. It’s one of my favorites, right next to The Marshall Mathers LP. So stepping into Recovery felt like being dropped into a completely different universe with no warning.

The contrast is ... read more

Listening to Imagine by John Lennon always feels like stepping into a quiet, grey world — not dull or lifeless, but reflective and melancholic in a beautiful way. Coming from one of my favorite members of The Beatles, this album feels deeply personal. It’s peaceful, emotional, and introspective, like Lennon finally putting his soul into melodies after years of chaos and noise.

I had already listened to Plastic Ono Band before this one, and while I liked some tracks from it, Imagine ... read more

After finishing Tyler, The Creator’s first trilogy, I was really curious to see what direction he would take next, and that’s where Flower Boy comes in. From the very first listen, it feels like stepping into a completely new world — not a replacement for what came before, but a natural evolution. Tyler’s first trilogy will always have a special place for me. I love how raw, unfiltered, and creative it is. That era of Tyler — full of chaos, emotion, humor, and ... read more

Evermore was a huge disappointment for me. Coming right after Folklore, I expected something equally intimate and captivating, but the album just doesn’t deliver. From start to finish, it feels overproduced and overly commercial — the instrumentals are bland, the melodies predictable, and very few songs really leave an impression. Listening to it, I felt almost nothing; there’s no soul, no emotional core, and most of the album left me bored.

A couple of the first tracks were ... read more

I’ve always had mixed feelings about Encore. It’s not a bad album — far from it — but it’s the first Eminem project that truly feels like it was derailed by outside circumstances. The infamous leak completely ruined the rollout and forced him to rebuild the album in a rush. You can feel that chaos all over the record. It’s still Eminem, still full of sharp wit and energy, but there’s something broken behind it — like he’s trying to laugh ... read more

In Tyler, The Creator’s first trilogy, Wolf stands out as my favorite album. From the very first listen, it felt like a new world compared to Bastard and Goblin. The production is more colorful, the moods are richer, and the anger that Tyler expresses is more nuanced. There’s a fresh sense of creativity and personality here that really sets it apart — it feels like an evolution, a deeper dive into his universe.

The writing on Wolf also feels more thoughtful. It’s not ... read more

When I first played Goblin, I didn’t know that Bastard even existed. Since it’s not on streaming platforms, I had no idea I was missing the first part of Tyler’s story. From the very first track, I realized this was the first time I had ever listened to a project so experimental. The beats, the vocals, the energy — everything felt twisted, raw, and immersive. I remember feeling both fascinated and slightly uncomfortable, like I was stepping into Tyler’s world for ... read more

I first listened to Tyler, The Creator’s Bastard a few years ago, and it immediately hit me how raw and fearless this project is. Tyler was only 16 years old when he made this, and yet the creativity, the dark humor, and the chaotic energy feel beyond his years. From the very first track, I could tell this wasn’t just music—it was an introduction to a mind completely unafraid to push boundaries. Even though this isn’t my favorite Tyler project, and it’s not the one ... read more

I first discovered Eminem when I was 13 years old, around the time Kamikaze dropped in 2018. The Slim Shady LP was the first album of his I ever listened to, and from the very first track, I was hooked. The opening of “My Name Is” hit me immediately—Eminem’s chaotic energy, his outrageous humor, and his clever wordplay grabbed me like nothing else. Even at 13, I could tell this was something special, a world full of fun, shock, and brilliant writing.

“My Name ... read more

Folklore is the moment Taylor Swift finally became an artist I could truly feel. After going through her entire discography — from the lifeless pop experiments of Lover and 1989 to the scattered chaos of Reputation — this album feels like a complete emotional rebirth. It’s stripped-down, poetic, intimate, and deeply human.

The atmosphere is incredible. From the muted, earthy color palette to the gentle production, everything feels cohesive and alive, like stepping into a ... read more

Let God Sort Em Out is Clipse at their absolute best. Pusha T and No Malice show veteran skill, razor-sharp lyricism, and unmatched chemistry throughout the album. From the very first track, The Birds Don’t Sing, I was hooked—the mood, the beats, the way they deliver each line feels cinematic and haunting, like the album knows exactly how to pull you in. That track alone had me hitting replay multiple times; it sets a tone that stays with you the whole way through.

I also really ... read more

After going through Macadelic, I’d easily give it a solid 80/100. It’s the first Mac project where I really felt him stepping into his own sound — more refined, confident, and emotionally layered. Compared to Best Day Ever or K.I.D.S., this one feels more intentional. The dreamy, hazy production fits his tone perfectly most of the time, even if a few tracks come off slightly rough around the edges.

That said, not everything lands. Some songs have odd sonorities or mixes that ... read more

Man, this project is straight-up insane. Metro somehow turned a soundtrack into something that grabs you from the first second. Some tracks hit like a rush of adrenaline — you can almost feel Spider-Man swinging through the city — while others sneak in with this quiet tension that just lingers and makes you sit up and pay attention.

The production is wild. Metro blends cinematic orchestration with his signature trap style perfectly. Some beats slap hard, some melodies give you ... read more

After going through the early part of Mac’s discography (K.I.D.S. and Best Day Ever), this one didn’t do much for me either. It’s definitely one of my least favorite Mac projects so far — still better than Best Day Ever, but not by much.

The production just feels off most of the time. Some beats sound weird, unfinished, or way too childish — not in that fun, nostalgic way like on K.I.D.S., but more in a messy, awkward sense. A few tracks have aged really badly ... read more

Second Carti project I’ve listened to after Whole Lotta Red, and yeah — Whole Lotta Red was way better. This one’s all over the place. Thirty tracks is just too much, and only about eleven stood out to me. There are some cool moments (Rather Lie, Good Credit, Wake Up Filthy, Jumpin, Mojo Mojo), but most of it feels like filler.

It’s more of a vibe album than something you sit with. The production is flashy, the energy’s there, but it doesn’t have that raw, ... read more

I went through the whole project, and honestly, it’s a weird mix for me. Out of 14 tracks, only about 8 really grabbed me. A lot of the songs start to feel the same — the vibes, the instrumentals, even the way Freddie structures his hooks. It’s like you know exactly what’s coming next, and that predictability makes it drag a bit. The lyrics spin in circles too, and I kept waiting for something to hit harder or surprise me — but it rarely does.

My skips on first ... read more

From the first beat, JID pulls you into his world — chaotic, clever, and full of movement. His flows are insane, switching gears effortlessly, and the production rides with him, bouncing between hard-hitting, soulful, and playful vibes.

Tracks like Glory and VCRs immediately stand out — the energy is raw, the rhythm tight, and every line hits with precision. Then he slows down on songs like Of Blue or For Keeps, letting introspection and emotion come through. It’s this ... read more