It was love at first scrobble..
The way this álbum masterfully brings together all the best conventions of Breakcore - ominous/spooky tones, dialogue samples from '00s media (oh my god, especially in "808 MAN after"); frantic, harmonic and sometimes atmospheric synths and of course, the innovative usage of the 'Amen Break' - it's so awesome. The motif melody and patterns scattered across the track-list really make this project stand out as a single unified ... read more

Ohh, so this is what Gambino was trying to do back in 2020.

I love the rawness of this album oh my days!! The lyrical content, the repetition of the themes.. the jam at the end is so cute and Kendrick’s singing really impresses me.

Also if this is considered “Untitled Unmastered”, then “3.15.20” was a kid at the front door of his apartment building wacking sticks against a garbage can and recording it with a Motorola Razr lol

Fun! “Murder on the Dancefloor” of course steals the record away but I love Sophie Ellis Bextor’s voice, it really compliments the disco/dance-pop style super well.
Not the type of album overall I’d keep on my rotation but I definitely enjoyed it and it turned out to be a lot more meaning ful than I had expected.
:)

Fun as hell! The vibes on this album are an Anglophonic Rammstein and I love that… But only for a good while, because after about 50 minutes, it really felt as though it was dragging on. I know I natter on a lot about album length, but artists really should be intentional with their listener’s time - I feel there needs to be purpose behind the length if the project goes on for a while. No quantifiable limit, just the question of “What will this add to my project?” Does ... read more

Nicely produced and definitely something that people want more of - me included - but so inmemorable and samey that until I got to "Pop the Balloon" it all washed over me, but in an enjoyable way.

Seriously though, so par for the genre it took 3 songs into Autoplay for me to realise the album ended. That's not good. Or maybe it is, for what they're going for.

Beneath the messy and almost sloppy folk instrumentation is a character(s) who is/are deeply scarred by something. It's enigmatic and sad in a way you have to search into your soul for. And still... it's blissful.

I felt really weird by the end of it.

First time listening to this album in a long long time and I started crying by the end of "bird and the worm". This album is VERY dear to me from my childhood. It's fun and playful but also a little sad and the lyricism reflects this. It's dumb, meaningless, abstract but still melancholic and very subtly if at all trying to tell you small things. I love it and I will always love it.

Critically speaking, yes, it goes on a lot longer than it probably should and it's ... read more

Okay, what did this album do right?
- Discussed and articulated a stereotype problem in the black community... and then perpetuated the problem to asians for some reason
- Showed Glover's ability to make a great series of unique flows when he raps... even though the content ebbs between trying to be meaningful and then trying even harder to be edgy
- Donald has a unique timbre to his voice that sets him apart with his raspiness, although overdone I prefer it to the Kanye West impression he ... read more

Mamma miaaaa la mezcla es etérea. Las structuras de las canciones son básicas y hay pocos momentos de memorabilidad pero esto no importa porque todavía es únicamente captivante cómo un album.

Con las cosas francesas, dejo un excepción para Aupinard. Su sonido es tan bien ejecutado y creativo y su voz es tan calmante y bonito que para esta única vez, me da igual escuchar el francés. En realidad, ¡me gusta mucho!

No deja ser pegadizo y por esa cada canción es memorable. Y ahora mismo, me encanta cada sencillo que Aupinard publica. ¡¡¡¡No veo la hora para su próximo proyecto larga!!!!

:)))

TLDR - disappointing.
I talk about these both in length in my Atavista review.

Oh my fucking god the splintering passion in Glover's voice in this project could move mountains. I don't know what took over him after "Because the Internet", but it must have been black jesus himself. I have never heard such a strong opening to an album, the way it keeps you in suspense and uncertainty with absolutely no idea what to expect (especially after proving with "Kauai" that his sound was radically shifting) until he lays it all on you in this majestic ... read more

Djo just fucking delivers. He shows us his potential on "Twenty Twenty" and then just fucking sends it with "DECIDE". This is the best synth pop record I have ever heard. The sounds are captivating and thrilling, incredibly sensory and the songs are all so memorable on their own merit, "End of Beginning" so much so it's now viral.

It's so wonderfully consistent, which makes it an easy listen. My only critique of this is that ''i want your ... read more

The opening song is like if Rammstein was a voicaloid J Metal band, which is a strong way of opening an album if there ever was one. By the next track, we're flung into Dubstep in which was thrilling and fun as
hell. It becomes apparent that although this album is voicaloid J-rock it's eclectic all the way through and isn't afraid to play around with other genres, giving each track a memorable gimmick. It's bold and fun.

The vocaloid at points feels too
expressive - I ... read more

No tengo nada que decir de éste que otra gente ya no dicen

An album with a very sweet sound that sometimes gets so spacy it overwhelms itself and layers become hard to separate. I think it works in its favour giving it the indie rock flavour it's trying to achieve.

I think some of the songs in the middle of the tracklist are so stylistically similar that they all blob into one vibey but ultimately unmemorable chunk of music and that makes it hard to appreciate what the songs are individually trying to speak to the listener. It's just kinda ... read more

I feel overwhelmed as fuck. But I have so much to say and I feel like there has been no mercy against this bastion of sin, so here we go.

FOREWORD: Because this is in the comedy/shitpost trap genre, it is produced to be garbage. So in the interest of maintaining the dignity and respect of genuine masterpieces that required talent and labour beyond the comprehension of projects like these, I am capping the rating for any album like this at 40. So if a comedy slop trap album gets a 40, it's ... read more

Kendrick shows improvement in this record, with much more engaging amd emotive themes and flows (Chiefly "Keisha's song", also "ADHD", "Chapter Six"), but I can't help but find the choruses on some of these songs very tacky, especially on "No make up" and "Tammy's Song". The beat quality is so much better too with plenty of trendy sounds for their time that grow into full bloom in later records.

And that's the take away, ... read more

I guess we all gotta start somewhere. The beats are really intolerably shitty at points, feeling wonky and off-time completely in the first couple tracks; but at best they're not too bad: they just feels like a really uninspired ripoff of something off "Good kid mAAd city".

P&P is a highlight of the mixtape,
you can really hear Kendrick's vision and ambition for the next coming records. It's also just a nice song given you ignore the terrible Ab Soul feature.. ... read more

Despite the album name, I don't see myseld playing this record for any date especially not an awkward one but it's definitely made with doing *something* in mind, be it racing/trucking sims or actual night drives, which would be cool of I did have a car.

This is par for the genre! Breakcore isn't really meant to be groundbreaking and unique, that's why the same drum sample is almost universally used. Instead the goal is more to mess around with a set of sounds on this ... read more