I only liked four of the tracks on this album upon first listen, but evertime I came back, there were more tracks that I enjoyed. It might take some time to realize how good this project really is, but there's no denying the creativity behind this record. The combination of crazy synth lines, catchy hooks, and absurd sampling make this one of the best experimental hip-hop projects of all time.

There's some really neat ideas on here, but the execution is really lacking. I think Flume and JPEG could actually make a decent full collab album, as their sounds mesh pretty well in my opinion, but this just sounds like it lacks the time and effort.

It's so sad hearing this project after listening to BTTIGTP, Ritchie sounds so much more energetic and lively here, and in general this album feels like Injury Reserve was just having fun making music. R.I.P Groggs.

All around a really neat concept record, J. Cole is at his best when he's able to deliver well-written and emotional verses on a song.

It's hard to think of this as an album when it's closer to a movie than anything. I think it's a neat idea to have a couple of horror stories with some weird production in the background, but I don't think it works great in an album format.

Ever since listening to ILDMLFY I've had this itch to listen to rap rock/ rap metal, and this was the album that kept popping up when looking into the genre. I was hesitant to listen to this project because yknow it's Death Grips, and before this the only thing I'd heard from them was The Money Store, which I wasn't a huge fan of. But after listening to this album about 6 times, I'm starting to really enjoy DG's rash and abrasive style of music.

The biggest thing ... read more

This is such a sick album, everything from the story, to the production, and even to the vocabulary is just so well thought out. It's also crazy to think about how well this project predicted some of the stuff that's happening (mainly in the US) today, things like government control, global warming, and extreme poverty are all very prominent today. Alongside the serious topics, there's also songs that are really fun and unique concept songs that help push the story of the album ... read more

This album sounds like if The Money Store and Jenny Death had a baby. There's a lot of the drums from JD, along with guitar riffs and such, mixed with some of the crazy synth lines from TMS. This project is a fantastic addition to an already incredible discogrophy.

Did I fully listen to the 18 minute long track of a piano burning? Yes. Did I need to? No. Needless to say I do not see the vision.

I never really cared about horrorcore that much, I don't really get the shock value, or scare factor or whatever, but I can appreciate some neat ideas. I also really enjoy storytelling tracks in general (of which this album is full of), they're always fun and interesting, and hey who doesn't like a cool story.

There were a lot of artistic liberties ... read more

I wouldn't call this a very hip-hop focused album, which isn't what I was expecting going into this album, but I don't think it really took away from the experience. The instrumentals alone on this project would make for a fantastic project, and on top of that you have Ritchie's vocals which add a layer of depth and emotion that the beats alone couldn't provide. I absolutely love the synthlines throughout this album, they're so unique and just work perfectly for ... read more

This is Travis's least creative, and most boring album in his discography, but that doesn't mean it's a bad album. There's a few songs that absolutely carry the tracklist (the ends, pick up the phone, and goosebumps), and most of the other tracks just sound like watered down versions of songs that didn't make it on Rodeo. Almost every song follows the standard trap format as well, verse, hook, verse, etc. The lack of creativity in a lot of the beats was very apparent as ... read more

There's some really awesome songs on this album, but there's also some that I think are really weak. This is especially apparent when the first track is an absolute gem, followed by two more great songs, which sets expectations a little too high. I also got the feeling that this project didn't know what it wanted to be, and the beats and vocals were all over the place at times, though I appreciate the creativity.

This album feels like it could have been released at any time in the past 30 years, especially since Jamie sounds the same as today. Every song sounds like it came straight off of an assembly line, the beats carry this weight to them like very few other albums do, with the weird slow filtered drums, and the grimy guitar riffs that gets used everywhere. This album is a masterclass in industrial production.

I also want to say that some of the beats sound adjacent to the og Half-life soundtrack.

The main reason I listened to this project was because of Redveil's feature on Scarin the Hoes, and I was expecting a similar vocal style and maybe production, but that's not at all what this album sounds like. Though there are a few similarities between this project and STH (even thought this came out before then), with some interesting sample flips and a little bit of gospel sounds. There's definitely some Mac Miller insiraton in the production as well, and overall the beats ... read more

Travis Scott is one of the few trap artists that can make good 4+ minute long tracks, 3500 is so entertaining throughout that for over a year I had no idea it was nearly 8 minutes. While there are some extremely strong cuts on here, the second half of the album drags it down a bit, there's a few songs that aren't amazing, especially compared to the level of quality set by the first half.

Rocky's voice and flows pair incredibly well with the Clams Casino production, one of the best cloud rap projects of all time.

This was the first Jpeg album I listened to, before I knew that he was an experimental artist. I didn't realize how different this sounded from anything else, and I kinda just like it for the hard hitting bass and the yelling vocals.

What I'm trying to say is that (in my opinion) this is a great entry album into the experimental hip-hop space, and Peggy's catalogue as well. It's relatively easy to get into and connect with, and doesn't sound like something that was ... read more

This is a really fun album to listen to, so mich energy from every track, all the goofy bars, and YOO is hilarious (I also want to point out Zel's ad-libs on P.A.T). That being said however, I feel like some of the production is a little weak, and some songs sound very similar in that sense. I love how well Zel can pull off any genre, especially looking at it now, he just makes whatever and it sounds fantastic, but I will say that I think this is a much weaker trap album than KOTMS.

I remember the first time I heard Walkin, YT music reccomended it to me randomly and so I listened to it, and the whole time I was just mesmerized by Zel's flows and the chorus on the song. This album in general is so special to me because it was the first time i REALLY got into an album, I'm sure everyone has their album, and you know what it's like. I never really payed much attention to the messaging and lyrics of this project, and most of the time I was listening to these ... read more

This album is so incredibly well put together, banger after banger, zero misses on the tracklist. The production is incredible, and it creates this environment for all of these smaller (and more mainstream) artists to pop out and deliver a fantastic verse, which all (and I mean all) of them do. The hook on every single song is super catchy, and with every Zel verse he's absolutely spazzing, so much replay value here.