yonimt

Not just another 2020s hyperpop album...

Like Slayyyter's WGIA, Petras separates herself from the electropop crowd by venturing into 2000s electroclash, French house, industrial sounds, and Y2K aesthetics—plus the one random country pop song in the middle. Unfortunately, she doesn't quite lean into the noisy and alternative elements like Slayyyter. Paired with some pretty weak songwriting which I'd describe as "bad camp," and hooks which are more annoying than ... read more

JPEG proves that narcissism produces great art, but with diminishing returns.

Like his idol Ye, Peggy's production chops have always outpaced his abilities on the mic, and that's especially true here. Really creative sampling and layering, with instrumentals that foray into metal, EDM, gospel, digicore, glitch hop, industrial, and more. Fears that this would just be another rap rock album vis-à-vis ILDMLFY were ill-founded. However, as most have pointed out, his triplet flows ... read more

PluggnB's future looks bleak, but if the subgenre lasts, I think it has better to offer than Shine's most recent.

Surprising lack of emotional and lyrical depth for a "last day out" album, as the subject matter of every song is just lean, sex, repeat with no real deviations from the formula. Vocals also come across as incredibly grating, strained, and over-processed, even for genre standards. Production is solid—especially liked the "Forever" sample flip, ... read more

Dance along while Genesis puts racists, fascists, imperialists, and median American voters on blast—it's what he'd want.

Owusu's third album sees him trade his usual abstract messaging and conceptual focus for a direct, wide-ranging social critique. And that may just be more appropriate for our current moment. A fitting and funky hommage to our present.