I'm shocked that a 25 track album sounds as cohesive as it is, there isn't a bad song here, some are stronger than others, but everything here showcases Lil Bo Weep's talents as an artist really well. Her approach to cloud/lo-fi hip hop is incredibly unique, going for a very dreamy aestethic that she nails pretty well. Her singing sounds like its floating above the production, it's really great. The writing is what you would expect from this era, but it's incorperated ... read more

Surprised an album this massive isn't higher rated on this site. The writing feels like a very honest portrayal of America in the early-mid 2000s. While I liked the album, the really good songs made the more uninteresting ones stand out a lot, I wish I found each song as interesting and exciting as the title track and "Homecoming".

The production here has not aged a day, El-P really is one of the best producers to ever do it. Everything here is so tightly made, and flows so well. El-P's writing works well as social commentary, reminiscent of his later RTJ work, and it work really well here, you can tell a lot of what he says comes from a place of real emotion and lived experiences. I think the first half is slightly better than the second, but both are very good and an impressive display of talent.

There is a massive jump in quality in this album from "All I Wanna Do" onwards, where everything just began to come together, and it sounded great. While the album took some time to really get going, once it did, it was some really magical and beautiful stuff.

Really interesting take on house music. This album has a pretty desolate aestethic to it, like you stripped a regular piece of dance music down to its most fundamental components. I don't think it needed to be 70 minutes long, the Tim Hecker style glitch is an interesting creative decision, that fuses well with some of the house elements, but after a while, it loses its charm somewhat.

If I'm being completely honest, I just found this really repetitive and unintresting. I guess Lil Ugly Mane is doing something kinda unique with the delivery, and sometimes with the production, but the album shows off all it has to offer in the first 20-30 minutes, and it leads to whole thing sounding bloated to me.

Thanks @piercevb for the recommendation!
Really smooth, almost classy production, the samples here were great, nad utilized in a really tasteful way. Even the instrumental tracks can hold their own against and the nonistrumental ones. Also, the somewhat low-key rapping complimented the production so well, everything here is really high quality stuff. Though I did think it was a little short, I do want to check out more from these guys.

A landmark experimental hip hop album, you can still hear it's influence 20+ years later with the unique blend of noise and hip hop. I haven't heard anything that quite sounds "raw" in the same way this album does, a lot of modern inudstrial hip hop go for a more digital, electronic aestethic, where this album is rooted mostly in distorted guitars and heavy drumming. The writing here feels more comparable to poetry than anything else, it's really beautiful and ... read more

Surprised at how fun this was to listen to. It can be a little slow at times, but David Byrne's performance is lively enough the whole way through. Sonically, it feels like they're closing the door on the 70s, and opening the door to the 80s. It really feels like an album made at the crossroads of musical styles that were changing a lot in a short period of time.

It's an album with decently high highs, but also pretty disorganized lows. This album rarely came together to create anything substantial, DJ Haram's production and Moor Mother's performance often felt like they were at odds with each other. Often, I preferred DJ Haram's performance, even though she appeared much less compared to Moor Mother, simply because it fit better with her production. It still has Moor Mother's distinct style of political and societal commentary, ... read more

It's a pretty good house album with some techno, breakbeat flavour to it. I also like the atmospheric throughout. The whole thing flowed really well.

It's so much fun, you can tell the two aren't taking themselves too seriously with the writing, and the fast-paced production adds to how fun of a listen this is. Even though they are a little derivative of some old school hip hop, they do have a pretty unique sound for them in modern hip hop.

It's some pretty standard shoegaze the whole way through that only really changes things up at the very end. I personally didn't see what made "Starting Over" better than any other song here, the whole EP was incredibly consistent in terms of quality.

The quality takes a bit of a dip after the first two songs, but this album does maintain a unique, lo-fi aestethic throughout. The singing can almost get drowned out in everything sometimes, and the way he's singing can make it hard to actually make out what's being said at points. It's still an original take on bedroom pop, and was a fun listen the whole time.

A really powerful album with really unique production. It's a little unnerving to listen to, especially with the context of the album's creation. The whole thing is jsut very somber. I think this is definitely a case where I like the album, but have no desire to listen to it again.

A strange little album from the 70s made out of distroted voices, sparse instrumentation, and strained vocals. It's hard to work out what's going on during this album, if there is anything going on at all. It can sometimes come off as directionless, but it's also a fascinating listen the whole time, the fatc that someone thought of making something liem this in a time when there really wasn't uhc to comapre it too. I guess there still isn't anything that quite sounds ... read more

It's a move more into a dance pop direction, while still retaining a lot of the British electronic elements that made her music stand out in the mainstream. Every song on here is bouncy and fun to listen to, the production is really crisp, and this is probably, on a technical level, her best project. I still think "to hell with it" has more amount of bangers, but I think this has a more consistent quality to it.

Probably my most hyped album of the year and I have to say, this is quite possible billy woods's magnum opus. It really does feel like a culmination of his past 20 years worth of output, both solo and as one half of Armand Hammer. It's definitely a touch darker than any other of his albums, which is saying a lot, not only in the writing, but also the production. He feels more confrontational here than ever before, a lot of the verses here are literally him just describing events ... read more

A large, noisy droning piece that does get a little repetitive after a while

Song of the year and it's not even close