You know what? I kinda agree, this is kind of nostalgic from vibes. While the beats are simple, there's some pretty complex layering in these. A good voice, cool production, etc. I will say, though, without the 3 singles, this kind of goes from an 8 to a 7. No offense to the other songs, but those 3 are just in a different level.

This was actually pretty good! Obviously Somewhere Only We Know was a highlight; but the rest of the album is pretty solid, too. It's pretty consistent in tone and pacing, and a good voice mixed with simple instrumentals rarely goes wrong. Pretty cool.

As a 17 year old who grew up in the age of digital streaming, it's hard for me to sometimes realize how most albums pre-1990 do not hold up as well when you view it through the Spotify way. When you look at each track of "should I add this to my playlist?", you sometimes miss the bigger picture. That's how I feel with this album. In a time where if you wanted commercial success, you needed to condense albums into 40 minutes at max, it's a Marvel at what this is. This is ... read more

Once again I have been baited into an album listen because of one song. I knew that It Ain't Over 'Til it's Over was the lead single and all, but I was vibing with the album for the first 4 tracks. then, afterwards, the album really fell off. Every track felt underbaked and too long for its own good. The mixing was horrible, and occasionally be shifted towards my right ear for seemingly no reason, and by the end I was just bored with it. It sucks, too, I was really looking ... read more

I'm not gonna lie, I went into this one with very low expectations, but I was pleasantly surpsied by this album! Post Malone still isn't something I'd actively listen to, but he really can handle a lot of genres at once, which I think is impressive. He seems to have more control over his writing and voice than before, which makes it an easier listen. The main struggle is that it can feel a lot longer than it needs at times. it's 51 minutes but it feels around 65.

Every single tff album has sounded completely different from the last in terms of genre production and voice, i tend to forget they're even the same artist. this album would work if it was shorter, but the problem is that it tries to be more subtle and chill than its predecessor while smaking the lengths loger. what worked with sftbc's lengths was that the songs were interesting. this has cool ideas and ideas i think are cool but nothing feels like it was flawlessly pulled off. i like ... read more

Pretty cool folk music, I think it just gets better as it goes on, but even then it's never bad. I don't have much else to say, except that it's funny that this 5-song EP is longer than some fully-fledged albums coming out today.

Fiona Apple is very weird, but that's what makes her cool. Her music isn't really like anything I've ever heard. It feels really raw and stripped back, but also with a lot of depth. It's very pretentious and art-school kid like, but she's able to work with that well.The writing here is still great, and even though this isn't playlist music to me, I think it's very good. I still prefer Tidal a bit more, though.

I am not French but this was pretty neat. This is one of those albums that you don't realize that you know until you actually sit down and listen. Tourner Dans Le Vide and Ainsi Bas La Vida were ones I recognized like "oh wait this is her???" And even when you aren't having those moments, you have a really cool commercial album with a pretty decent level of artistic skill. Ego was a standout for me.

This one is so fucking weird omg. I got this as a rec from a friend and I was originally super confused. It reminds me of a Jpop version of Electric Callboy, and for a lot of the album it didn't do much for me, but by the end, it really had me. TOUSOU was actually very good, and the ending is generally very solid. I acknowledge I'm not the target audience, but still, it's pretty neat.

Yeah, okay, maybe BMTH isn't for me. This album feels so weird, like an identity crisis. There are definitely songs that work, like YOUtopia, but other songs feel like such weird attempts at other genres and none of them hit. It's like they took FOB and 100 gecs and put them together. I want to like this, but it's so weird and confusing that it feels really unwelcoming, and not in a way that makes you want to relisten.

This is like, it isn't bad, but it's really disappointing and weird. I had people swearing up and down this was peak and it's just okay?? Miley has a great voice but this production isn't for her. It feels overproduced but minimalist at the same time. Flowers and Island work, but the rest feels kinda dull or even boring at times. She has skill but this was not it.

I feel like Owen is at his best when he's making the heavy-hitting synth tracks that sound like you're being beaten to death. Songs like Hope, The Ocean and Truck Stop Tiger are the easy highlights. The rest are well-written, but kinda all fade into each other. It's not bad, but I can't say I didn't expect more.

This album feels like watching someone have a schizophrenic meltdown during a disco party at a roller skating rink.
This is like a better Jazz Emu. It's silly, goofy, but with direction. It's like if Lemon Demon wanted to kill someone and also had that synthpop vibe. And also some TomSka hints too???

I mean it's not bad it's just not for me. At first it was fine but by the end it got really grating. I don't have much else to say about it, honestly. Kinda forgettable vocaloid pop.

This is a perfectly alright debut project. It definitely puts tame impala onto the map and I do like ssome of the ideas in here, but overall it doesn't do a lot for me. The distortion is cool on paper but I rarely like when things aren't clear because its hit or miss, and this is a miss, it just feels really weirdly mixed. He's got a nice voice, and the percussion is cool, but I honestly don't care much for it?? hate to say it but I'd have to grow to acquire this taste ... read more

Holy fucking shit bro. This is such an experience. This is one of those albums that I feel like it's gonna be best experienced as a whole. Some songs don't stand on their own (The Night Me and Your Mama Met) but in the context of the album they fuck. the production is so unapologetic and experimental, but still sounding like a throwback. It's kinda impressive how many bases it covers in just under 50 minutes. Not everything hits, but when it's good, it's GREAT. Redbone ... read more

This was a pretty disappointing one honestly. This works better if you imagine it as like a demo reel or a concept. There are a few standouts like Clint Eastwood and 19-2000, but there's so much filler that it's kind of a chore to get through the whole thing. There's just ambient instrumental breaks that add nothing, and while I can appreciate the wide range of genres, everything feels stripped back at the same time??? it's just fine, it's not bad but it's also ... read more

No yeah, this one was so good I had to knock down SOS's score because this is really something else. SZA is so good here. She has a great voice, amazing writing, and the entire time through she has an amazing production style. It really feels like something she wants to make, with even less of a filter than SOS. Amazing album, and one of the standouts from 2017.

Pretty cool pop punk album! It has its lows, but when it's good, it's great. That sequence of the last three tracks is really something else. It's so powerful. His writing can be great at best, and at worst, it's still fine to listen to. It's pretty neat.