In flower boy the production was such an improvement from cherry bomb. The story is fantastic and I suggest you give this album a try. You will like it regardless.
Distracted perfectly balances his signature wild, psych-funk basslines with mature, emotionally grounding reflections on modern anxiety. The guest features especially the late Mac Miller’s mesmerizing contribution on "She Knows Too Much" integrate seamlessly into the record's lush, cosmic soundscape.
This is actually a rancid 'pop' album. How did his career survive this? At least it did, lmao.
This project is brilliant, but a frustrating debut. While his chaotic energy and eclectic production provide massive highs, the bloated tracklist and undercooked emotional transitions hold it back. I would say this album sits at a solid 6/10—glimpses of a masterpiece, dragged down by a lack of polish.
The primary critique of this dumpster fire is the inability to switch up her cadence or delivery. Instead of evolving as an artist on her debut LP, she relies heavily on the exact same monotone, conversational, and sleepy flows that launched her to viral fame. Throughout the project, the rapping lacks energy, charisma, and dynamic build-ups, making the tracks bleed into one another.
DAMN. is one of the strongest rap albums of the 2010s, but it lands around an 8/10 because its highs are incredible while some tracks and ideas don’t hit with the same consistency as Kendrick’s best work. The album balances mainstream appeal with deep themes about faith, pride, fear, and survival, which makes it accessible without losing substance.
This gem is a near-perfect masterpiece because it flawlessly executes a "short film in album form." It operates as a gripping, cinematic coming-of-age narrative, detailing Kendrick's youth in Compton without falling into typical rap cliches.
This album is a 10/10 tour de force. It bridges the sweeping atmospheres of Wish You Were Here and the theatricality of The Wall with raw, electric aggression. While it sits at an unfair 69 on Album of the Year, that "low" score is only because this album is a harsh, biting, non-commercial listen that demands your full attention.
Baby Keem’s sophomore album Ca$ino is a highly introspective and cohesive 11-track project. It balances vulnerable storytelling with energetic bangers across a tight 37 minutes. While the wait was long and some of the softer vocal attempts miss the mark, its emotional highs make it a solid 7/10.
An undisputed 10/10 masterpiece, The Rise and Fall of Ziggy Stardust and the Spiders from Mars is glam rock’s crowning achievement. David Bowie’s brilliant storytelling, Mick Ronson’s fiery guitar work, and the album's flawless pacing make it an essential, mind-bending odyssey that forever changed music.
Travis Scott’s Rodeo is a sprawling, cinematic masterpiece that redefined modern trap music through its ambitious, psychedelic production and dark, immersive aesthetic
Nav's Bad Habits is a highly polarizing, bloated trap record. While it offers polished, moody instrumentals and stellar features from Young Thug, Meek Mill, and The Weeknd, Nav's robotic autotune and monotonous flows can make the 70-minute tracklist feel incredibly repetitive.
J. Cole’s massive double album, The Fall-Off, is a reflective, rap-heavy love letter to the genre. While its nearly two-hour runtime gets a bit bloated, Cole’s sharp lyricism and storytelling about growing up make it a deeply satisfying, career-capping victory lap
Bruno Mars and Anderson .Paak clearly understand the ins and outs of the neo-soul aesthetic, which makes this album a highly enjoyable listen. However, my main criticism is that it plays things a bit too safe; they deliver a flawless tribute without really pushing the neo-soul genre in a new or exciting direction.
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