Abrams struggles to be original or consistent on The secret of us and it shows. The writing often feels stunted and uncomfortably formulaic and the tracklist gets repetitive and boring. The hits are in my opinion the only reason I didn't hate this project, because they are fortunately, certified bangers. The deluxe tracks are a lot of the redeeming qualities this album offers to me for putting me through a painstakingly boring lineup of mid. There isn't sonically a quality I can pin ... read more

THIS MUSIC MAY CONTAIN HOPE. feels like it was meant to be experienced on the big screen and the mixing and charming production seems to agree, punchy and loud. The songwriting gets a little blunt at times, but its got an aimable quality to it and still manages to remain poetic and full of flavor. While essentially everything in this record heavily overblown into theatrical, larger-than-life anthems, its got that dramatic flair I always seem to fall in love with when it comes to music. Raye ... read more

The mind has been stripped to bones and left to rot in the dry sun. Any semblance of feeling or cognition escapes the soul, what is left is a husk that only exists to observe. They live in one moment at a time, each equally as confusing as the next; this is so taxing on the brain that they stop even bothering to think. Stage six is disconnected from all the other parts yet that’s what makes it so haunting. There’s a hint of familiarity, extremely warped exerts of stage one yet you ... read more

Stage 1 | 96
Everywhere at the End of Time is an experience like no other. To me, a lot of the horror comes from the fact that you are an outsider, yet experiencing the point of view of a consciousness’s existence coming to a close.
We open to a comforting, slow, melancholy and elegant piece. This motif played in track one will be replayed all over the album, the quality representing the deterioration of the mind. In stage one, it is very audible, yet cracks are already starting to show. ... read more

Chaotic and incohesive. There are short moments of bliss shown to you before you are thrown back into a pool of uncertainty, stage five in general is the most chaotic, messy and tangled entry, yet I have certain love for it. The roughness and choppiness really shows how deep the mind has been excavated, the elegance that was stage one is completely absent and replaced by a mournfully, steadily crushing and merciless storm of sound. To me, there is bliss in the chaos. Sonically, stage five has ... read more

Stage four is definitely interesting. A complete turn in pacing as we enter the second half of the project. Stage four takes this opportunity as a chance to completely morph the sound as well. Glitchy, dismal and broken, stage four perfectly encapsulates that spiralling, confused feeling. It is clear the victim has now lost themselves. Static crashes against nothing, every so often we occasionally get flashes of familiar tones from part one, but they are so disfigured and short that it feels ... read more

Stage three is terrifying to me. There’s this constant rush of fear I get when I feel how rough the texture has become, when I stare at how suddenly unorganized many of the ideas have become. How chaos and harmony intertwine and cry out in desperation for closure and rest. Melodies have become fragmented and heavily distorted, sort of like an intense, hammering headache that slams away at the skull, crushing the brain into a messy, bruised object, yet still aware enough to understand what ... read more

While stage two might be gorgeous sonically, I find it fails to capture the whole picture. It carries a longing, regretful feeling with it, but doesn’t really hit the sadness or despair elements. The darker and more sinister switch was very jarring, but very welcoming. I love how eerie and creepy things suddenly turn to, it really demonstrates well the unfair battle that is dementia. Dissonance and throbbing percussion thrown as seasoning across the tracklist brings out that dread for ... read more

Everywhere at the End of Time is an experience like no other. To me, a lot of the horror comes from the fact that you are an outsider, yet experiencing the point of view of a consciousness’s existence coming to a close.
We open to a comforting, slow, melancholy and elegant piece. This motif played in track one will be replayed all over the album, the quality representing the deterioration of the mind. In stage one, it is very audible, yet cracks are already starting to show. Crackling, ... read more

I understand the praise for this project, but it just didn't hit that way for me. While I loved the idea of jazzy disco, the leading track, "Virtual insanity" set the bar much too high,setting me up for almost the entire rest of the tracklist to sound boring and repetitive. The lo-fi style is nice and all, but to me the ideas thrown around weren't interesting enough to keep me engaged; the singing is one of the only things I don't have any complaints about, soulful ... read more

I like the punk influenced approach to Pop rock, and Måneskin pulls it off pretty well... about every seven songs. Seriously, what is going on with the songwriting? I don't mind it when the songwriting is simple, but this is different, this is annoying and flat out awful at times and the swagger of Glam rock gets pretty mundane after the first few songs. They've got some really fun ideas thrown around occasionally, but other than that everything melts together into a flavorless ... read more

Not up to standards that are the conceptual masterpieces Plastic Beach & Demon Days, still Cracker Island has a lot to offer. Full of dirty, synth & bass heavy electronic dance music, sonically I find this project to be extremely addicting. Creatively, its a common criticism that it is lacking on this record. While yes, If we are comparing it to past projects it takes a noticeable dip, Cracker island is still a very fresh and interesting album to analyze. It feels like Albarn ... read more

Not as cohesive as Demon Days, but that doesn't mean cohesiveness is something Plastic Beach struggles with, its the opposite. Everything on this record ties very nicely together, with the only exception being in my opinion "On melancholy hill", which feels a bit out of place (still one of my favorite songs off all time however). The production on this project is some of the most gorgeous I've ever heard. Cinematic, beautifully simplistic, decorated, there are an endless ... read more

I understand the hate on this project, but its really not as bad as people make it out to be. Sonically, its very ambitious, leaning into while bending pop at the same time. The result is a blotch of tracks ranging from solid and interesting, to off putting and strange (and not in a good way). While being an outlier, twenty one pilots did not necessarily ruin their sound on Scaled and Icy, I appreciate the risks they took, but I'm glad they went back on it for Clancy. Feels like a bit off ... read more

Vessel has always felt a little overlooked compared to other twenty one pilots albums. It's definitely not their strongest project, not even close in fact, but that doesn't mean it doesn't have a lot going for it. Vessel leans into Alt-pop and electronic albums, which together formed a strong lineup of iconic hits. This album is not the most sound when it comes to quality however. Some of the tracks just straight up fall flat without much to offer and a lot of the albums density ... read more

Holy comeback. Clancy takes everything Blurryface tried to do and morphs it into an bright, personal and impressively ambitious project. Failure seems to be a reoccurring theme on this record and this project takes the fear off that outcome and fearlessly challenges it. TOP has very clearly gone through a lot of development when it comes to composition in general. They've fixed almost every flaw that was present in their earlier projects and each of their songs feel much more well-thought ... read more

I love Blurryface, but unfortunately it has not aged the best at all. 1. It's main message and idea has only gotten more hypocritical over time. Strange how they say some "This song will never be on the radio", on one of the most successful albums of the 2010s. The genre-blending is nice and interesting at times, but it just doesn't reach the potential that they hit on later projects and still feels like playing it safe. 2. While their style has evolved into something much ... read more

This is twenty one pilots in sync with the edginess they're known for, oftentimes infamously. On Trench however, the songwriting doesn't feel as out of place as it does on say, Blurryface. They use everything that makes them unique, turn it up and stay fresh while sounding catchy and interesting all at the same time. The front half of the album hits you with quick, pinpoint accurate drumming and crisp rapping (In my opinion Tyler's best rap performances in the band's ... read more

Goes hard while still being an authentic, personal and inspiring album. I'm always a fan of club-style house music going for hard-hitting songwriting and I Love My Computer definitely delivers on that front. Ninajirachi takes all the self doubt that comes with getting into music by yourself and molds it into her own style. Being open about her lack of talent for instruments or singing shines light on the love that went into making this project. As someone growing up in the age of the ... read more

I didn't expect anything but to be disappointed and that's exactly what I got. Other than "KING" and some of the features, nothing stood out to me at all. You can still tell it was Kanye who produced this, but the rust shows and wow it's bad. Everything feels unfinished and uninspired, that being said, you can see Ye tried holding some restraint on this album, his refusal to use AI like he is infamous for is a nice step in the right direction. I wish the best for ... read more