Feng tried to pander to TikTok alt kids on What the Feng, and here on Weekend Rockstar he's pandering to the US crowd he sold out to. It doesn't work. Boring and uncreative. Feng never had that great of a voice or something to say in the first place, but this is just a downgrade from his previous shit. Hope he can start doing something novel on the next LP for once. 35/100, but "XOXO" is pretty good, I guess.

Very late 90s coded. The lead singer has a powerful voice that really shines through, and I noticed in the show as his voice is lipsynced over Devon in the Dingoes Ate My Baby scenes. There's some great instrumentals in here as well, and this album is just a good track with more modern tech. While "Pain" is the most popular track, my personal favourite is "Sway".

Honestly I've heard a few times that Michelle Branch is music for teenage girls, and this indeed went platinum in my room at 14, but it's actually good music too.
There's a lot of fun country-adjacent pop rock ballads in this. "Everywhere" is obviously a hit and iconic, but there are other great melodies and stuff in here too. It's the perfect soundtrack to a romantic, mildly angsty car ride. Obviously Buffy made "Goodbye to You" an especially moving ... read more

SINN6R is a new staple of the UK underground scene, and I like the feel he's giving to trap. He has a great flow and personality. I think "Chilli" has a great feature from Rico Ace. The beats are loud, the lyrics are funny. Nothing life changing or legendary but I definitely think SINN6R is on the come up and can help relieve trap of the staleness currently permeating the genre. Also: "Label Dinner" is a great song, I don't get the hate.

Big fan of Fakemink, but this project was a bit of a disappointment. While it's certainly a new, more jerk direction for him, most of the songs are similar and the flows repetitive. This is kind of a shame considering London's Saviour, which was one of my favourite projects of 2023 and used classic electronic/cloud rap production to elevate Fakemink's rapping. I think I'm gonna give it a few more spins. The production on this album is alright, and I think if Mink keeps ... read more

I was really excited to hear Shintaro Sakamoto back again, after stopping myself from listening to "Dear Grandpa" and the other string of singles that accompanied this release. Yoo-hoo is upbeat and relaxing (and slightly repetitive). I don't think it meets How To Live With A Phantom and Let's Dance Raw in terms of quality, but it's good to see Sakamoto tap into more jazz influences. I wonder what that instrument on "Is There A Place For You There?" is.

Fakemink is really one of the most talented in the game right now, so it's a little sad to hear him falling into the underground trap of letting production carry the song. He just sounds like he's asleep. However, the beat and MV to this song really were quite ethereal and cool-looking.

I like this album, but I don't think it's CC's best, despite being firmly ingrained into the zeitgeist with that iconic cover. Self-titled is an extremely influential work, having ties to most modern electropop artists and even the (dare I say) nostalgiabait rappers of the 2020s. It has a very internet sound to it, which really works for some more gritty tracks ("Alice Practice"), and compliments more ambient tracks too ("1991"). However, I feel some tracks ... read more

The first time I heard this album I was 12 and very, very lonely. It's been quite a few years since then, but I'll always appreciate this album for reaching me when I was struggling and uplifting me (thanks "Curve & Light"). Crumbling is easy to listen to and relate with, even if you don't understand a word of Korean. It's a tasteful venture into folktronica, and it's a shame Mid-Air Thief hasn't dropped since.