I’m biased, having been a Portugal. The Man fan for a while- but I really think Chris Black Changed My Life is a great return to form for the band after the poppy mediocrity of Woodstock. The album’s got brighter (Summer Of Luv) and more melancholy (Doubt) moments but they don’t feel like they conflict, rather they work well in tandem because everything here is very much the Portugal. The Man I (personally) came to see- gloomy, fairly psychedelic-y and undeniably catchy.
While the BROCKHAMPTON comparisons are admittedly justified, I Was Mature For My Age, But I Was Still A Child is its own thing entirely and it is just such a joy to listen to.
Model/Actriz have created something special here- hauntingly, unsettlingly, nightmarishly special, but still special- and if Dogsbody is anything to go by, we could well be seeing the debut of one of the best bands of the 2020s.
PetroDragonic Apocalypse; or Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation is one of those albums where you can just tell the band had fun making it; it’s pure, undiluted thrash and a total blast from start to finish.
Last year’s immaculate Cheat Codes was always gonna be a tough act to follow for Black Thought, and although Glorious Game does not reach the same heights, it’s still a great jazz-rap album in which Thought’s intricate bars are interwoven excellently with the carefree, breezy instrumentals of El Michaels Affair.
It has a few cheesy moments, but on the whole Lucky For You is a great set of punchy indie rock hits, with a few year-end best list contenders sprinkled within.
Slugs Of Love is an album I wasn’t expecting too much from but was actually pleasantly surprised by! There’s such an infectious energy on songs like the title track or Stay, meanwhile songs like Lily’s Call and Frisco have this groovy yet kinda mysterious vibe to them which I honestly really like. Overall a really solid album (albeit one I think might fall under the radar a little).
Killer Mike is absolutely at his most personal on MICHAEL, plus the gospel-themed production works surprisingly well.
![Earl Sweatshirt & The Alchemist - VOIR DIRE [Streaming Version]](https://cdn2.albumoftheyear.org/100x0/album/747351-voir-dire-streaming-version_1848.jpg)
In all honesty I didn’t really enjoy The Alchemist’s production on VOIR DIRE as much as I should have, but Earl’s rapping is absolutely brilliant.
Though GUTS doesn’t reach any new heights, it’s still a sweet pop record with a very solid execution and a lot of personality.
The Girl Is Crying In Her Latte is a flawed but entertaining outing for Sparks which probably works a little better if you’re already a fan of the band.
Thematically, Dead Club City could use some improvement- but it’s still a very fun time with some very solid synth-pop and alt-rock cuts.
Occasionally the lyrics and production end up being a little samey, but Claud comes off as so genuine and likeable on Supermodels that they actually end up kind of carrying the album.
Not everything on the stylistically wide-reaching With A Hammer works, but what does is engaging, accessible and just pure fun.
As much as Cracker Island underwhelmed- thanks in no small part to the album’s very poor marketing- I’d still say there’s a lot to like about it.
Pink Tape offers up some really great cuts featuring Uzi at their best but the whole album honestly could have been shorter.
Most of Plus Ultra’s appeal comes from replicating a nostalgic style of 2000s FIFA-style indie rock- which, to be fair, it does pretty decently.
I Want It All Right Now is at its best when GROUPLOVE aren’t doing the exact same stuff they’ve been doing for over a decade now. Otherwise, it’s just decent indie pop.
Execution wise, I think Let’s Start Here didn’t realise its full potential. However Yachty’s psych-rock reinvention is handled really well, coming off as inspired and sincere- and never once gimmicky.
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