I saved this album for a late review because I needed time to fully process my disappointment. Setting aside his beefs and controversies, this is pure JPEGMAFIA formula—the same sonic pattern he's been mining since Veteran. Yet he continues to claim experimental rap as his territory. This album proves he's no longer a major player there.

This project feels like recycled beats from I Lay Down My Life for You, an album that was far more exciting and personal by comparison. His ... read more

Hands down, this is the best BOC album and may be their most complete work ever. BOC is such an interesting duo that I own none of their albums, yet all are excellent in my book (80+ out of 100). This album is everything you want from BOC with fully matured production.

To me, Inferno is neither IDM nor Downtempo. It's more ambient and very close to hauntology. This album preserves the nostalgatic, hypnotic, spiritual, and mysterious vibe from their old albums. Yet, it does not sound like ... read more

The new-age disco queen is back with her second victory lap album since What's Your Pleasure?. This feels like a mellower, more subdued sister album to That! Feels Good!. I think TFG has tighter structure and better songwriting, but this one showcases Jessie's versatile singing techniques.

The quality of this album is consistently solid. My favourite tracks are I Could Get Used to This, Sauna, Love You For, and 16 Summers. She's a masterful diva who commands both fast and slow ... read more

"Life hard but I go harder." (Vince Staples, 2024). That's motivating. I finished this album on the date of my grandmother's funeral. I love the theme of this album, and it definitely echoed my recent mental state.

I always think Vince is a less-depressed Earl Sweatshirt, and his flow is superior. I stopped listening to him after his third LP, FM!, because I don't like trap music. In my honest opinion, Dark Times blew that album out of the water and surpassed his ... read more

A$AP Rocky's latest work, Don't Be Dumb, got me to listen to this album. This is the only one in his discography I skipped. Before knowing of this album, I had already been banging Praise the Lord (Da Shine) for years. That track is my favourite Rocky song and has truly stood the test of time, but this album hasn't. It is easily his weakest.

TESTING feels like a mockery of lo-fi experimental hip-hop. Rocky’s sloppy delivery, lacklustre rhymes, and odd beat choices make the ... read more

The long-awaited full-length album from cloud rap OG A$AP Rocky has finally dropped. Let's be honest, I never had high expectations for Rocky because he's become more of a fashion icon, though he still occasionally steals the show on features.

Rocky ain't playing games on this album. He clearly tells his audience that he doesn't care what they think about him or his life. The production is flashy and confident, very decent. He handpicked the best beats and rode them ... read more

I hadn’t revisited Danny’s catalogue since SCARING THE HOES, but this latest project finds him sober and carving out an entirely new lane. When I first heard people calling this his hyper-pop era I laughed, it sounded like a total mismatch for his image.

This album isn’t some lazy, poppy project meant to satisfy a label contract. It’s a fresh, thoughtful fusion of glitch pop, EDM, and experimental hip-hop. The Quadeca produced tracks add a layer of personal depth that ... read more

The Alchemist absolutely killed the production on this album! He effortlessly crafted exquisite, jazzy beats that sound incredibly extravagant. I’d argue the production here is even superior to Alfredo and Fetti. The entire project is mafioso rap with pure class.

While Freddie’s flow remains immaculate throughout, this record makes me feel he’s the weaker half of the duo this time around. Unlike Alfredo, where Freddie dominated every beat, he gets outshined here. The tracks ... read more

WHAT'S WRONG WITH MAINSTREAM POP RIGHT NOW? If this was released in the early 2010s, it shouldn't even be counted as a pop album. I didn't know who Slayyyter was and thought it was a band lol. Then I saw people going crazy about this album and calling it the album of the year 2026. Really? Don't get me wrong, this isn't a bad album, but it's far from being a cohesive, marvellous piece of work. The first half is fire, but the second half is uneven and rough.

I ... read more

After listening to Supreme Clientele 2, of course I have to revisit Supreme Clientele. This album is an undisputed classic of the 2000s. Not only because it's historically significant, but it's also the manifestation of a rapper carrying the beats. Ghostface delivered non-stop lyrical bombs and flexed his cadence with style and swagger. RZA's productions here were already top of the class, but Ghostface managed to outshine them. Such a tremendous achievement.

To me, this album ... read more

I finally have time to check out Supreme Clientele 2 by arguably the best member of Wu-Tang Clan, Ghostface Killah, a.k.a. Ironman, a.k.a. Tony Stark. This is my most anticipated album in the wave of Mass Appeal's "Legend Has It..." series (still don't have time to check out the remaining albums...). I know many sequels to legendary classics don't live up to the hype, especially this sequel released 25 years after the first one. However, I feel more positive than most ... read more

I saw this album come up in theneedledrop's classic week review, got curious, and gave it a try. It's a rare piece of wonderful work that filled the void in the late 2000s French electronic scene. I'm not a big fan of electroclash, but this one is so special with its distorted and irregular rhythms that are still so damn catchy.

The tracklist is simply fantastic. The opener, Genesis, is so badass and can be replayed forever. The five-track streak from Let There Be Light to ... read more

Visiting their major label debut after their latest work feels so special. Not gonna lie, this is the Injury Reserve I like and wish the band could've progressed with this kind of aggressive, confident, sharp production and rapping if Groggs were still alive.

I think the group has way more versatility and potential than many other experimental hip-hop artists who bloomed after Death Grips. This album feels like the band was sharpening their knives and couldn't wait to go out for the ... read more

A quick revisit to the monumental trap album of last decade, Rodeo, went surprisingly better than I expected. The production here is solid and groundbreaking. The lyrics aren't impressive and sometimes pretty weak, but they fit the vibes and beats perfectly. You don't need profound bars in a psychedelic trap album like this.

This thing is packed with bangers like Oh My Dis Side, 3500, Wasted, and Nightcrawler. What Travis does best are those beat switches throughout the album, ... read more

I bought this album back when it first came out and had it on repeat for my entire 2017. I was deeply moved by FOR MY PEOPLE and TEMPTATION. The feeling hasn't faded, and these songs remain profoundly relevant today (sadly). This album deserves far more acclaim and recognition for its timeless material.

The consistency of this project is exceptional, and in my opinion, it surpassed his debut album, B4.DA.$$. The tracklist is masterfully balanced: energetic anthems like DEVASTATED; ... read more

This album is a spiritual successor to the band's magnum opus, By the Time I Get to Phoenix, both sonically and thematically. Ever since their member, Groggs, passed away almost six years ago, the trio (now duo) has channeled profound grief over losing someone close across both albums. This duo found their way to reinvent themselves and venture into new sonic territory. This move is courageous and represents a meaningful way to process loss while moving forward.

To me, this album leans ... read more

Listening to Ants from Up There is stepping outside my comfort zone. I gotta admit that the vocals initially didn't catch my attention, and I knew nothing about this band until I searched for them. I'm not going to decode all the metaphors, but this album is a rare kind in modern music.

I think this album is properly rated by both critics and the public. It stands on its own merits. The instrumentation is absolutely beautiful. The piano in Haldern—oh my god. Although ... read more

This album was recommended by AI after it analysed my music taste. I gave it a try but didn't feel it. To me, post-rock is the furthest description from what this album actually sounds like. It's more of a blend of cold jazz, ambient, and subtle lounge elements. I'd never heard of this band until I saw them appear on the year-end chart of 1994 on music nerd websites (like where we are).

There are clear upsides and downsides in this album. The instrumentation is executed ... read more

Honestly, I like this album better than Mellon Collie. It's like the band took the softer side of Mellon Collie and expanded on it. This album represents a major departure in the band's catalogue. Due to the absence of drummer Jimmy Chamberlin, the band relied heavily on drum machines, giving the songs a more electronic feel.

I found a lot of goth and dream pop elements, and they work beautifully. My top three tracks are Perfect, Pug, and Behold! The Night Mare. The instrumentation ... read more

I was writing this review while I was sick, spending all my attention to feel this masterpiece again. My first encounter with Kendrick Lamar was good kid, m.A.A.d city. I remember how shocked I was when the album dropped, and I immediately bought the deluxe CD version. Back then, I didn't like Backseat Freestyle and Money Trees because they sounded unorthodox (I used to only listen to radio-friendly hip-hop music, don't judge me).

This album is monumental to the rap game. It ... read more