nothing pains me more than a great artist regressing to a sound that they just can't recreate anymore, and the bride is just that. natasha khan's attempt at desired storytelling falls flat in many places, mainly because the album or lyrics sound forced a lot of the time, and they don't have the same emotional weight as they should have coming from her because it's not about her. although the album does tell a clear story and does it well, i wish it was more open-ended and flattering to what ... read more

oh, how could i have underrated this album by so much? natasha khan's complete dive into synthpop is one of the most admirable i've heard, and when she twists the well-established genre to her own style, we get great results. i wouldn't have expected her ethereal voice to pair so well with more synth-y stuff, but it sure as hell does and sounds great, inventive, and a bright new direction that i've come to enjoy with time. the haunted man is probably her most cinematic album yet, and that's ... read more

for 2020, i'm revisiting natasha khan's amazing discography, because my love for her material has only grown. after her completely show-stopping debut, fur and gold, i think that two suns is the perfect way to progress. although i don't think it has the same sonic appeal as khan's previous album, two suns still shows her emotional and lyrical prowess, just through a different lens, so to say. dropping the melancholic atmosphere of fur and gold, this album incorporates more synthpop and rock ... read more

fur and gold is my favorite album of all time, and my first introduction into natasha khan's music, which i greatly enjoy. the best way i can describe it (other than a masterpiece) is a movie for your ears, since khan's vocals are stunning and melodramatic, her lyrics are insanely interesting, and her production is spot-on for the emotions she presents throughout the thing. each and every song is a perfect example of her ambition and skill, with none standing out in a negative way. everything ... read more

any optimism that this album has to offer comes across the exact same as the clearly-manufactured indie rock girl groups of the late 2010s, which is kind of a shame considering the capabilities that the big moon clearly has. "holy roller" and "take a piece" are both really good songs, and if there was more material like them, i'd have enjoyed the album more.

i still think that this is some pretty solid electropop, but some of the tracks have worn off a little. that's all.

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original score: 83
original review:
after hearing "he don't love me" a while ago somewhere, i was really interested to see what winona oak was going to do next. then, i forgot about her until just a few days ago—oops! anyway, closure is a pretty solid ep that showcases what she does best, that being pop music that's kind of sad aesthetically but still ... read more

when i first heard this album, i was amazed by its atmosphere, which i still think is the best part of this album. however, after repeated listens, only a few songs have definitively stuck, those being "crying all the time," "howl," "the phantom," and "bad disease." the rest isn't filler material, per se, but it isn't as captivating.

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original score: 92
original review:
wholly consistent, the archer is a great album with a psychedelic pop sound ... read more

i... liked this? i wasn't really sure i would based on the singles, which were either boring or annoying, but the other tracks are where this album really shines. they have a lot more personality than i was expecting, and the production really adds on to the lyrics in my opinion. "ring" is a perfect example of this, and for other highlights, i have to pick "dance again," "let me get me," "crowded room," and "kinda crazy."

seeking thrills is a quirky synthpop album that seems like it's trying to find a balance between the generic side of the genre and a more experimental one. "never let you go," "mellow," "feel it," and "the thrill" are its highlights, since they find equilibrium unlike the rest of the album.

after repeated listens of i disagree, it's still pretty strong, but it's also lost a lot of its initial appeal, that being the tremendous fusion of alternative metal and sunshine pop. it is a gimmick, so of course it would wear off quickly, but i didn't expect to find myself a little bored of it this soon. anyway, the songs on here are still great, just not as good as i remember them.

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original score: 88
original review:
i disagree is the brutal breakthrough of poppy's harsh, noisy ... read more

wlfgrl has always been an album i've loved, i just don't know why it took so long for me to score it. it's absolutely hardcore and fucked up, and sounds as if it's a club album that's in its early stages of infancy, not yet knowing how to control itself. the breakbeat influence is heavy, and the style is pulled off very well, with most songs having a fast pace that keeps things moving at a good speed. "krystle (url cyber palace mix)" and "ginger claps" specifically are great ... read more

the beginning and end of samsara both have a gorgeous neo-psychedelia sound, with "alien interference blues" and "on the mountain" being some of the most memorable tracks i've heard in the week or so that 2020 has been a thing, but the middle of the album is really lacking in substance and ideas.

the good soldier has its dynamic, beautiful moments on tracks like "dead end" and "lights out," but i think a lot of it is too boring to be a decent listen, especially after the power of the first track. the band seems to be doing their best beach house impression at some points on the album, but they don't really have the same level of depth and dreaminess needed.

damn. feels... empty? i don't think kendrick's voice has enough depth to complement much of the production, making it hard to listen to at points.

although lyrically and thematically a masterpiece, i really dislike some of the ways that kendrick delivers his verses, since i think he sounds like he's talking into a fan at some points. the production is also a step down from good kid, m.a.a.d. city, losing the futuristic edge in favor of more jazzy tunes.

good kid, m.a.a.d. city is a step up from section.80 on all fronts. every single hook on this album is catchy and full of life, and the production is some of the best i've heard.

i really enjoy a lot of the production on section.80, which is pretty creative and sometimes futuristic, and the entire project is extremely consistent.

hip hop tables doesn't need to be as good as it is, considering it's an educational album, but ms. robinson's passion for teaching and surprisingly solid flows really shine on it. with well-written lyrics and cheesy instrumentals, i certainly had a lot of fun listening to this album.

like splitting the head from the body is a pretty interesting mixture of slowcore and chamber pop, with most songs taking a while to fully blossom under the sad, ethereal atmosphere. "here we bend (to smell the dirt)" and "protea" are this album's biggest highlights, but the entire thing is pretty beautiful.

this is some really interesting jazz pop, and i greatly appreciate its breakcore moments, especially on "o(__*)" and "desert," but i wish its genre-defying and experimental side was a little more thought out, i guess? especially toward the end of this thing, i felt that this album was running out of things to do.