nearing the end of my trip through bladee's discography, i'm surprised that eversince sounds a lot cleaner and, uhh, better than his later works. a lot of the instrumentals on the albums sound kind of vaporwave-y, and that's certainly an interesting way to go about production.

rounding today out with something decent, stormzy's new album is a huge mixed bag. "audacity," "handsome," and "pop boy," the highlights, are what this album should have been, with intriguing beats and solid verses.

there's not really anything to say about this. it's forgettable, i guess. "psycho" isn't that bad, but it's nowhere near what i would expect from bladee.

i'm... appalled? offended? i feel like i wasted twenty minutes that i could have spent doing anything else. avp has no redeeming qualities, since it sounds a lot more mainstream than what i would expect from these two, not complementing their styles whatsoever.

although the majority of this album is a lot more annoying and intolerable than drain gang's other material, "baby" alone pulls it out of the gutter.

¥€$ is a crazy album, full of energy and personality. however, i don't think that the futuristic production on it complements tommy cash's vocals as well as it should, which is kind of disappointing because on their own, they're both great. highlights include "x-ray" and "horse b4 porsche."

other than "black boy" and MAYBE "can't trust," this album is forgettable (which isn't a good thing considering drain gang's distinct sound) and boring due to all the tracks sounding similar to one another. as d&g develops, it seems to take steps in the wrong direction because it becomes so monotonous by the end.

because of how short this project is, each of its boring, uninteresting songs are highlighted, which is made worse by its ugly sound and awful lyrics.

working backwards through bladee's discography, i've arrived at red light. its atmospheric production and almost incomprehensible lyrics work really well together, even though both have their flaws (especially the lyrics), but i wish the overall tone was expanded upon.

an absolute LEGEND in the early newgrounds scene has finally compiled all his tracks into a single release. dimrain47's ability to create intricate techno music is still as mesmerizing now as it was when i first heard his stuff, since each song is breathtakingly unique. having to choose specific highlights is hard, since they're all so good, but i'm going to have to go with: "surface," "infernoplex," "buzztone symphony," and "the falling mysts."

millennium mother is a weird album. it seems to have an overabundance of influences that, together, weave a solid track listing and create an unforgettable experience. the difference between something like "camelia" and something like "with a billion worldful of <3" is so vast, yet they it all sounds like it belongs.

this album tries to be grand, but it just comes across as tacky.

although the beginning and end of this album are phenomenally well-done, the middle lacks the same allure.

harry styles's bright sophomore album is a mixture between magical pop-rock gorgeousness and boring whatevers.

there are, like, two songs on here that i wouldn't be completely angry about hearing over publix speakers.

i've been putting this album off for a very long time now, and i'm beating myself up over it because it's so good, with very distinct instrumentation that catches my attention and great lyrics that flow so well with the songs.

derelictメガタワー brings me to fucking tears. i'm exploring a megatower of untold heights with the international team and i can't leave an inch of the place unexamined, so i climb and climb and climb until i just can't anymore. every single song on this four hour odyssey is purposeful, a new floor or room to complete, and distinct, which is an amazing feat considering its absurdly lengthy runtime. with each one, i'm immersed into the world of this megatower and its dreamy soundtrack, ... read more

this album doesn't really sound all that complete, but that only adds to the charm brought by its modernized version of funk music, as well as its extremely catchy hooks.

this album flows very well, with each song being unique while still sounding like it belongs with the rest. although i have no idea what she's saying, ayano kaneko's vocals are so passionate that i feel like i understand.

with a surprisingly strong beginning, this album slowly declines until its end, and the overuse of autotune and messy production don't help.