When Lil Yachty had an album leak in December, intrigue was raised from the music community as they heard a shift from his typical trap beats to a more alternative sound. That hint left many eagerly waiting to see if the official release would contain some of these songs or get reworked. Whatever it was, one thing is true after listening to Let’s Start Here: this sound works for Yatchy, and though there are some hurdles to overcome, the production has personality and is vibrant, despite being too much Tame Impala and Yatchy chilling on the Dark Side of The Moon. The production’s consistency is high, but the final product is either elevating or de-elevating with the vocals. Yatchy teeters too far into monotonous melodies, delivering nothing more than autotuned typicality. It’s a stark contrast to the featured artists who take command of the songs and make many of them worthwhile. Though Yatchy has moments where he’s enlightening over the production, it isn’t enough to push Let’s Start Here to the levels it could reach with better vocals.
Let’s Start Herebrings a lot to the fray, mostly sonically. It’s contextually rich, boasting these whimsical ideas that mirror something off a Tame Impala album or something edgier, though it still finds footing with its identity. Lil Yachty doesn’t stray far from his lyrical bag of typicality (simplistic wording) as he develops and establishes themes relating to drug use, loneliness, love, and regret; however, there is rarely a moment he sounds uniquely profound. Yachty has moments where it makes you think there is something here for future endeavors, but unlike “The Black Seminole” and “Should I B,” Yachty is sizzling the effects for too long or doesn’t take full advantage reflecting some choices he made. Like with “:(failure(:” or the outro on “We Saw the Sun,” which boasts these theological ideas on failure, happiness, and wealth, and with the latter, the notion of feeling free to express oneself without stress, don’t get reflected poignantly. More than half the time, Yachty benefits from his featured artists, singers who skillfully acquiesce with the psychedelic overtones of the album.
Depending on the song, a featured artist could elevate their respective track to a higher plateau, like Diana Gordon does with “Drive Me Crazy” or Foushee on “Pretty,” two standouts on the album. The smooth funkiness of “Drive Me Crazy” oozes vocal vibrancy, giving us this beautiful moment where the two harmonize eloquently, while giving us complementary performances in their respective verses. “Pretty” is similar to it, except for its production, a rich and slowed-down psychedelic rock song that lets its vocalist command and steers it toward this enriching listening experience. Yachty understands the rhythm and offers one of his better performances on the album; additionally, Foushee’s luscious spacey, soulful vocals boast the final impact, despite Yachty’s slightly corny and provocative lyrics. Justine Skye and Daniel Caesar also elevate theirs by adding more personality than Yachty, even when the song isn’t all that great, like on “Running out of Time.”
There’s a lot to like about this Lil Yachty album, but the moments that had me sparkly-eyed at first don’t deliver with the same potency upon replays. Part of it’s that Yachty seems sonically all over the place without purpose and lacks a sense of pacing. At first, you’re entranced, then it’s a fatiguing experience as you get no sense of consistency in style but are still keen on the quality of the respective songs. At 14 tracks and 58 minutes, it doesn’t feel like such, almost becoming a slightly daunting experience with Yachty’s more monotonous melodies. Though he brings some edge, especially with the rap verse at the end of “Drive Me Crazy,” some performances are tried and predictable from his style. It’s a daunting experience that aims too close to the moon but takes a wrong turn before returning. I’ve shared praise for “The Black Seminole,” but like “I’ve Officially Lost Vision,” it starts to feel overlong after a certain point. It doesn’t creatively expand beyond a few switches and breaks. Fortunately, he has a good run from track 4, “Pretty,” to track 8, “Drive Me Crazy,” where even the streamlined aspects of Yachty’s vocals are still captivating enough for you to return.
Let’s Start Here does precisely what the title suggests, but here is just a beginner’s step. Yachty tries to elevate his craft to new heights, despite getting in the way of himself by implementing some tried melodies that never go above and beyond. Throughout my listens, I found a lot to commend, pick apart, and realize how great it could have been. I know Yachty can take this and learn and further his alternative psychedelic rock journey and maybe deliver something purely fantastic from around the edges to its center.
Living in a world where going viral is as vital, if not more, than steady consistency amongst artists, it’s no surprise that Ice Spice took the wheel swiftly and continued to build on the success of her viral hit “Munch (Feelin’ U).” She continued that skyward trend with her following single, “Bikini Bottom,” a track that takes sonic influence from the Bikini Bottom title theme of Spongebob Squarepants and is as awe-inducing as it is confusing. Like “Munch,” Ice Spice doesn’t so much establish this jubilant and vibrant tone for the dance floor; she exhumes confidence that would otherwise be addicting if the writing had any level of depth, especially when her flexes are bare. However, Ice Spice has shown that she can bring varying dimensions to her writing, whether comparing and contrasting or fired-up metaphors, while staying bare and still meshing with the slick production by RIOTUSA, her frequent collaborator, on her debut EP, Like..?. It brought some intrigue to build within, but it fizzles swiftly with brisk pacing and an overall forgettable listening experience.
If there is one element of Like..? to thoroughly commend, it’s RIOTUSA’s production, which keeps the listener fluffed and on their toes – even if it’s the most lavish – hoping for some moderately good flows and verses from Ice Spice. Unfortunately, that isn’t the case. Though Ice Spice picks up steam with “Princess Diana” and “Gangsta Boo,” what surrounds them are tracks with poorly written brash lyricism that pushes sexual ferocity, liberty, and confidence. She exhumes vocal confidence that her candor circumvents the simplicity of some verses and choruses, allowing some to brush aside retreads and inhale the mixture of music getting produced. In this recent wave of New York Drill, creativity is scarce, and though the production brings a lot of consistency, it’s boasted to higher levels because the beats sound like RIOTUSA took the time to make them.
Since the viral sensation “Munch (Feelin’ U),” Ice Spice hasn’t fully separated herself from it lyrically. She references it twice outside of “Munch,” but they never come off organically. There’s some casualness, like in “Actin’ A Smoochie, where she rapped, “N***a a munchie, he eat me like food, damn (Grrah)/He eatin’ it up, kitty on water, he beatin’ it up (Beatin’ it up).” The bars aren’t as gripping. Each time it happens, there is no sense of oomph riding it, making it seem like she’s forcing an inorganic identity, like the mundane producer callout. It’s never in alignment with the flexing and trying to make it seem like eating pussy is prestigious these days, unlike in the past. We hear this on “Bikini Bottom,” she raps, “Balenciaga baddie, got a bag (A bag)/N***a munchin’, ate it from the back (The back)/N***a fiendin’, gotta play it cool (Huh?).”
That sexual liberty gets surrounded by simple flexes, party-like bars, and more sexual liberation which never takes that extra step, like the lines “In the party, he just wanna rump (Rump)/Big boobs and the butt stay plump (Stay plump)/She a baddie, she know she a ten (Baddie, ten)” and “Goin’ viral is gettin’ ’em sicker/Like, what? Let’s keep it a buck (Huh)/Bitches too borin’, got ’em stuck in a rut (Damn)” off “In Ha Mood.” She’s spitting relative randomness without constantly focused on storytelling, unlike the main highlight, “Gangsta Boo” with Lil TJay. It samples the iconic “I Need A Girl Part 2” and uses it beautifully, but the percussion still follows a simple flow, so Ice Spice stays comfortable. Ice Spice brings her all here and shows promise that she can deliver some great verses in the future.
Though I’ve commended the production, its creativity comes from everything outside the drums; it can feel somewhat fresh. It’s more energizing with “Princess Diana” and “Munch (Feelin’ U),” but as it comes back full circle, what everyone has been touting since “Munch” became a viral hit. Ice Spice doesn’t try to hide it, but it isn’t all that cool or great since she lacks variety on a technical level. I was left shrugging as I couldn’t fathom returning to this EP and re-evaluating its sure fire miss. It is something I had some hope, it would excel past expectations, but even with my low confidence in its quality beforehand, I wasn’t shocked when I felt justified that Ice Spice isn’t totally there yet, but there is still room to grow and hopefully, she does.
Ladytron’s latest album, Time’s Arrow, is not as expansive, keeping an almost two-dimensional with many synth patterns and the production’s range in guitar and percussion usage. It takes a while for the wheels to get rolling as lead singer Helen Marnie deconstructs innate reflective points with vigor on many songs. Her vocals add dimensions to each song’s atmosphere and psychedelia tones, seeping into these intricate thoughts that have us viewing some layered dimensions of our being, whether impersonal or not. Marnie, along with co-writers Daniel Hunt, Jonny Scott, Mira Aroyo & Vice Cooler, don’t leave you with ambiguity – the verses speak fluidly through its poetic approach, allowing you to visualize their world, interconnected with yours. It values time beyond the centralized generalizations we’ve heard prior – we get another solid effort that could have gone through another round in the think tank but still a serviceable release.
Starting strong, Time’s Arrow begins to keep its pacing steady, leaving you mystified by its ambiance and fluid melodies. Unfortunately, the synthesizers sometimes feel less intriguing and more of an added commodity that takes away from the small details that underlie the production coating. It isn’t until the later half of “Faces,” the second song on the tracklist, it starts to make sense of its direction – time is linear, but there are rifts that take you in unique sidesteps. It’s playing a bit loose with this concept, sonically, veering and making moments last long or short. It’s a straight shot of pure reflective bliss that stumbles to make anything imperatively potent with the sounds. There are some memorable notes within the production, but its consistency of impact is lesser than their last album.
Sometimes Ladytron’s use of synths can over-sizzle, and other times it’s a little stale, but rarely in between. However, they never take you away from lyricism that’s lavishly poignant and resonant with one’s inner journey with themselves on a few tracks. In “Misery Remember Me,” we hear Ladytron looking back at one’s disdain for reflecting a person they’re not; it has gospel influence boasting the ponderous chorus and elevating its sense of self while letting the synths take a back seat. Not every track has this lyrical astuteness. Sometimes it teeters toward mundaneness with depth-less simplicity on “Faces” or the lackluster chorus of “California.” Fortunately, it is within the mid-point where the album takes chances beneath the abundance of synths caught between a drought and a rainstorm. Overlaying its poetically influenced lyricism are waning tempos with the different synthesizers they are using; in the long run, it took me away from finding much intrigue with “City of Angels” and “Sargasso Sea.” It’s a disappointing variation in production that keeps it from having a powerful opening and closing.
That middle sector of Time’s Arrow is where it starts to come to life. Beginning with “Flight of Angkor,” the tone gets set with a more fruitful array of synths that bring twinkles to your ears instead of confusing you. Continuing till “The Dreamers,” elements of Dream-Pop get incorporated to buoy the smooth cohesion between monochromatic ambiance and starry melodies. We don’t hear an overreliance on keeping you reeled with atmospheric electronic bliss. It lets the vocals breathe through the thick layers of synths, letting the backing vocals shine through. Additionally, we don’t get this small cluster of contrasting and complementing synths and percussion like in the title song; it oddly works at points, but comparatively, it’s a weaker-written song than the others. It doesn’t negate the vocal performances that radiate beneath harrowing synths that fail to make you return more than twice.
Time’s Arrow sometimes feels like a distant memory, and remembering leaves you with some slight disappointment. It has these uniquely fantastic moments, but surrounding it, are some less-than-attractive synth layers. The synths don’t take away from the atmospheric aesthetic it imbues. It keeps a steady play consistency that can get a new listener to flow with it, but for fans of Ladytron, this was a lesser effort I wish I could like more than I do.
Continuing to expand on elements of folk and rock, Margo Price brings a different coating to her sound on Strays, her newest album. More atmospheric and streamlined, its country core becomes more potent, opening up a new stage for her vocals to explore new foundations. I was surprised by my initial enjoyment, gravitating closer to the distinct vocal textures supplemented by its consistent production. However, that surprise waned when I saw the production credits, and it all made sense. Produced by Johnathan Wilson, whose production you’ve heard effervescently on Father John Misty’s albums and last year’s Big Time by Angel Olsen, my favorite of 2022, the album switches sonic context, choosing a lane without overstepping with some of the atmospheric coatings. Unlike Big Time, Margo Price doesn’t always have a level of nuance in her writing and performances, sometimes skewing the pacing or having a proper balance between production and vocals; however, a good amount of tracks standout, leaving some of these issues as bumps on the road.
Opening with a triumphantly radiant and psychedelic country-rock song, “Been to the Mountains,” it drives forth sensibilities Margo Price wants to imbue with the themes on both sides of the aisle. In the liner notes written for the album, “This was one of the very first songs that flowed out the next day after we came down from our mushroom trip. I just really wanted to incorporate poetry. I wanted it to be really psychedelic, and I wanted this album to be able to serve as a record that people could put on if they were going to maybe dabble in psychedelics.” The sounds become more potent and the lyrics more poignant as the wheels continue to turn and the music starts to become whole. Unfortunately, these psychedelic tendencies can sometimes modestly overreach parameters to steal the spotlight from Price’s vocals. She has a command of it, but the mixing can slightly dilute sonic components, letting the instrumentations have control while you get lost amidst the captivating electric and string sections.
Unlike “Been to the Mountains,” the times the instrumentation levels are higher are heard in “Change of Heart” and “Hell In The Heartland,” where the guitar strings, synths, and effect guitars overcome varying aspects of the song. It’s similarly the case with “Light Me Up;” however, a key difference is that “Light Me Up” focuses on its vibe, exponentially increasing particular layers like a roller coaster. Building from an opening acoustic set, it picks up steam after the first verse, especially Price’s vocals. It doesn’t let Mike Campbell’s slick guitar playing deviate, instead synchronizing beautifully through the different sonic complexions. Though I’m not saying her vocals are inaudible, levels don’t sound balanced, and some words aren’t as clear, turning your attention back to the instrumentations. After a first listen-through, you start to pick up the pieces and hear the poeticism controlling Price’s fingers as she writes both lyrics and music. It’s stylistically consistent and pertinent to Margo Price’s direction with Strays, sometimes mellowing out from the rock-driven aesthetic to something more folkish, like the lovely “County Road.”
Like many tracks on the album, Price gets reflective no matter the perspective – whether personal or interconnected, the uniquely wild stories get boasted by great songwriting. Despite this, like “Hell In The Heartland,” not everything translates well; some have pacing that tends to leave you lost in the winds with certain tracks, like “Lydia” and “Light Me Up.” Though the pacing is an issue, it isn’t that bothersome as the music ends up being rewarding when you understand the gravitas of the themes getting presented – a wandering mind looking to comprehend their surroundings as the music’s melancholy and rockabilly finds the proper equilibrium for clarity. That message comes across as robust, and the notions brought about in the album write-up get the shine. It gets subdued in its psychedelic tones, leaving a lot to pedal effects, Wurlitzer electric piano, and synths. There’s some nuance, though elevated by her vocal performances; the split comes with those notions from the album/liner notes, which focuses on the influence Psilocybin had on her mental direction, allowing us to see this palliative hybrid between the low and high octanes in the instrumentations.
Strays was a good listen, despite its issues. It expresses elements beyond the country aesthetic Margo Price has molded herself with, opening new avenues to play with the genre and deliver these fantastical atmospheric pieces. They take us away from her slightly more traditionalist nature of previous albums, producing something pensive and radiant. I didn’t necessarily love it all, but there were enough tracks to return, especially with some the moxie expressed in the vocals and production.
Hip-Hop isn’t a stranger to concept albums where rappers choose a perspective and build a narrative between fiction and non-fiction, whether it’s Black Trash: The Autobiography of Kirk Jones by Sticky Fingaz or American Gangster by Jay-Z. Skyzoo & The Other People take on this approach and deliver an album that takes us through the perspective of Franklin Saint, the lead character in the FX drama, Snowfall. As one who hasn’t seen the show, it’s not hard to connect the parallels to the era it reflects, but there is no doubt if a listener is a fan of the television series, they’d get exponentially more out of the album. The music profoundly reflects attitudes of the 80s, Saint’s will to survive, and personal growth through daily interactions with those in and outside The Family. Though the latter can respectively leave some empty pockets, there’s enough for one to see its greatness, specifically when boosted by fantastic production. The Other People implement modernized nostalgia, using elements of Gold Age Hip-Hop and Boom Bap into this alluring cohesion of music, furthering one’s allure to the project.
Like Black Trash: The Autobiography of Kirk Jones, Skyzoo keeps the narrative in constant motion, keeping the aesthetic realized from production to the verses, and never breaking character, keeping the swagger intact. The Mind Of A Saint is effusive and personal, at times expressing that sly coldness that comes with one’s own comfortability flexing this kind of success at the expense of the common folk and their addictions. It’s raw and honest, making you zero in on the nuances of his bars, and it starts to hit you in the middle as Skyzoo brings Franklin Saint to life, and keeping it real – the tracks, “Straight Drop,” “100 To One,” and “Bodies!” It doesn’t stop there as it continues toward a strong ending. Unfortunately, not all tracks are dense, as some allusions to interactions in the show can leave you with questions; it’s a positive that it’s significant enough to possibly influence one to watch it as it did with me.
Waxing poetics, Franklin Saint (Skyzoo) rarely delivers bad bars, weaving concrete storytelling that builds emotional dexterity with the escalation and de-escalation in his directness and metaphors. On “Bodies,” Saint raps about people who’ve died throughout his career hustling, describing to us why or why they didn’t deserve death. He’s bringing a sense of broken trust within the family and do-or-die survival selfishness. He brings us an overview of his community and a life ingrained in the song “Views From the Valley,” which beautifully paints a picture of the kind of up and downs Franklin Saint deals with through the everyday motions of others around him, like his uncle.
There are audio queues that steer the narrative of a drug kingpin getting into the studio for the first time and emotionally flowing naturally – others add depth to the overall worldview Saint is living. Other audio comes from the show, though the first is from the pilot, they use specific exchanges that describe his rise or a mix of ads influenced by the “Just Say No Campaign” and a speech by Ronald Reagan about the war on drugs. It gets used to bringing his world to life and understanding the character he wants to present to us. The studio audio is potent in the six-minute verse emotional opus “100 To One,” which sees Saint rapping eloquence. It gets mirrored in “Purity,” which sees Franklin Saint delivering this crisp understanding of the dangers and turmoil that can come with life, adding depth to what we’ve heard; Saint keeps that coldness, so his weakness never shines bright.
Beyond the scope reflective of the television series and its themes, The Mind of A Saint reflects that early 90s style where rappers who retroactive slang drugs and painted a portrait of the streets – think Illmatic or Ready To Die. There was never a need to hide the struggles of eventual paths artists took before making it in music, like The Notorious B.I.G. and Jay-Z did with their respective debuts. They incorporate these soulful, at times jazzy notes and samples that embolden the time we’re supposed to be getting on this album. For example, we get a captivatingly loungey beat in “100 To One,” which incorporates jazz piano and strings within a subdued tempo; “The Balancing Act” adds soulful textures with backing vocals and percussion, bolsters the sentiments behind his emotional delivery. It’s like his distinct slower tempo version of “Juicy,” as he mirrors similar themes. It’s the best part of the album as it shifts sonic complexions while maintaining a cohesion that can be heard separately from the slight niche lyricism.
As great as this project is, there is a thin wall separating what you get out of it with or without watching the show. The Mind of A Saint did influence me to start the show and learn to later re-listen and get closer to the words of Franklin Saint (Skyzoo). However, it’s still effective in replicating a story of a young hustler growing to become a kingpin and the nuanced themes written within the verses about survival and success with the life given. Sometimes, it feels like opening a time capsule. It doesn’t feel dated, almost a testament to the time – Skyzoo grew up with that style; the influence gives him that natural cadence in the flow, and he beautifully reflects that with this. The smooth cohesion from start to finish offers a crisp listening.
Though more relevant in the indie electronic music-sphere, HAAi has been delivering captivating performances (mixes) and beautifully conscious techno rhythms that shift the parameters of the dance floor vibe. Centered within techno, Haai brings this unique range of electronica and IDM (Intelligent Dance Music) sounds into the undercoating of hypnotic rhythms and enigmatic timbre tones of techno. The IDM is subtle; there’s the atmosphere that is ambient and intriguingly staticky; the low-tempo percussion, coming from varying drum notes influenced by the breakbeat aesthetic, just more tempered on the pace. But this is just me describing her debut album, Baby, We’re Ascending (2022). It doesn’t amount to varying styles she’s infused into her mixes, where she brought the heaters with her two Boiler Room sessions and fantastic, about 2-hour set for the Lot Radio (an independent radio station based out in Brooklyn, New York City).
HAAi has this antiquated energy with how she approaches the techno sound, seemingly incorporating the old with intriguing experimentations. It’s pertinent to her DJ and producer side, but equally, her choice of songs, whether smooth independent records, either original or remixed, adds a similar feeling when performing for a crowd. HAAi has given us a few performances through festivals, videos, and uploaded mixing sessions on streaming platforms. What makes these varying mixes unique is this constant desire to switch it up; tracks that carry over get placed in a different order to test the crowd’s vibes without sidestepping from the bombastic techno rhythms emboldening the ID tracks. It’s heard within her Boiler Room and MixMag sets; they aim to bring out the best of her style while leaving room for enough experimentation to keep those ears twitching with delight. Other mixes flesh out that unconscious danceability where you’re constantly hyped within the moment, taking in this beautiful mix of songs hidden behind the ID and grooving without realizing, taking your motions up a notch as the music gets injected into you.
HAAi may not be everyone’s cup of tea as she gets down to the nitty-gritty of the techno aesthetic, almost letting it explode from the fingers and mind and creating a boastful performance that never feels too long. Her hands seem to never pulsate toward implementing notions of pop, shooting for a vibe as opposed to melodic EDM-like vocals. She brings a finite start and end that keeps the tempo moving with consistency – at times, HAAi takes the rhythms to another level, elevating the timbre to work with the nuances from the drum machines. It’s even more captivating when you hear her set at the Movement Electronic Festival in Detroit. These audio versions of the sets aren’t as immersive as being there or seeing the scope on video, where the crowd’s energy brings you goosebumps as you might yearn to be there. However, as you listen to it, you get a better glimpse of someone who can select and excel without incorporating their own work into the fray.
It’s interesting how different it is. When I spoke about Nia Archives last week, I explored the intricacies of the genre, as it differs from the more recognized (comparatively) EDM and techno. For HAAi, she’s taking it to a different level, which may not seem as much at first, but you end up seeing the nuances of her craft. That’s how I latched on so swiftly to the music. You have this remarkable balance between the performance and studio, yet, there is so much more. I wasn’t as hyperactive with Electronic releases last year, but when I say HAAi’s debut is stellar, I’m not capping. But as I keep delving more into this world – beyond hitting play on a random mix – write-ups will continue.
Between live performances and singles, Skrillex has been floating around producing for artists, delivering these intrinsically riotous sounds, which continuously define his artistry as one of dubstep’s few hitmakers. We’ve heard his signature boastfulness in the bass when infusing varying percussion notes to create each beat. It’s recognizable, but Skrillex has been able to blend it with other genres, giving us luscious songs with artists like Don Tolliver, J Balvin, and Ty Dolla $ign. It’s been nearly a decade since Skrillex delivered an album of original work. Hopefully, 2023 will see that change, predominantly because of the hype his two new songs, “Rumble” and “Way Back,” brings. Though we’ve heard Skrillex create tracks within different electronic genres, like EDM and House, we hear this new evolution where drum-n-bass is slowly finding its influence in the mainstream (within EDM and Pop), and I’m all here for it!
The hype for Skrillex album, for me, is wild; maybe it’s why I’m giving this a lengthy post, but I digress. The last time we got a Skrillex album was in collaboration with Diplo as part of the duo collective Jack Ü in 2015. It was an open field for Skrillex to continue to grow beyond brostep, especially when there’s someone to balance a tenacity for slightly overindulgent drum drops and mid-leveled bass. With Jack Ü, it showed how well they complemented their expressive production styles, delivering a luscious whirlwind of sounds, shifting from their sonically spacious dubstep sounds to luscious House/Dancehall hybrids. As I grew, that negligence has since gotten tossed out, and as I’ve heard the range getting produced, there was no option but to return. It’s mainly potent when Skrillex gives us varying musical releases, like the luscious future bass sound of “Face My Fears, with Hikaru Utada or when given the space for the dubstep/drum-n-bass sounds to go nuts, like on “Killa” with Wiwek, a Dutch DJ, or “Mind” on the Jack Ü album.
Though he’s worked alongside different producers, he still tends to let some of the natural bombastic Brostep/Dubstep sound, which can get a little one-note. It can get heard on songs like “Take Ü There” and “Make It Bun Dem;” the latter feels like it never takes a chance to do anything beyond the shifty reggae-dubstep hybrid, while the former finds balance with Diplo’s house sensibilities. Sometimes Skrillex receives weaker outputs from the featured artists, but he can still fill the void with excellent production, like with “Don’t Go” and “In Da Ghetto” or vice versa with the track “Purple Lamborghini.” I’ve been following Skrillex’s career since the release of “Scary Monsters and Nice Sprites,” some duds early on, and since, we’ve gotten many fantastic collaborations. He teamed up with Game to release one of his best tracks of the 2010s with “El Chapo,” or the captivatingly starry “Butterflies” with Starrah and Four Tet, amongst others like the aforementioned “Killa” and his new singles, “Jungle” and “Way Back.”
2023 will be huge for Skrillex; his craft has beautifully evolved, now confidently using different electronic sonic complexions, like synths, to take it to new levels. Like some electronic songs that build luscious vibes, I can harp on length; for “Way Back,” featuring PinkPanteress and Trippie Redd, Skrillex beautifully produces smooth connectivity between Pantheress melodies, which are Jungle/EDM-influenced, and Trippie’s more hip-hop sing-flows, creating something mellow, comparatively, to dance along. It blends smooth House textures with crisp, low-level drums that emulate elements of breakbeat and drum-n-bass.
“Rumble” sees Skrillex, along with co-artists Fred Again and Flowdan, propelling the bass grooves, amplified to keep a consistent stream of consciousness as the percussion and synths create a wave for Flowdan to flow over. Though it’s bombastic and boisterous with the transition, you get that instant click in the ear drums that will make you keep this on a loop without realizing it. It’s crisp, riotous, smoothing over rough textures and letting the cornerstone aspects of Dubstep/Drum-N-Bass to envelop us and bring forth significant grooves. It definitely leaves this guy excited for his new album in 2023, which hopefully brings the best from everything he’s learned and made throughout the past decade.
I’ve always had an affinity for all electronic music. It’s been more of a personal love that lives rent-free in my head – hitting play on any given playlist – becoming entranced by the variety of sounds these artists create; it’s like finding yourself at a DJing venue, vibing while one’s close to the DJ. Often, when they come into my ear’s plane of existence, personal discography deep dives bring these beautifully enriching DJ Mixes, but more importantly, self-produced tracks that embolden their identity. Hearing and seeing the intimate and more focused live radio mixes to the more illustrious and fun curations by places like MIXMAG and The Boiler Room, it’s not hard to hear their talent, especially within the ID tracks or newly printed singles. I’ve spoken about Nora Van Elken and Telenovel in the past; however, I never made a concerted effort to blog my thoughts about more of these artists, which had found innate replay amongst the varying electronic music I keep in a personal playlist. I’m planning on changing that because these artists have me return without hesitation, so to start the New Year, I thought, why not the artist I’ve been vibing with recently, Nia Archives.
2022 was full of momentous splashes for Nia Archives’ career – a multi-talented artist that can mix, produce, sing, and write music whose craft expands to new realms where blending styles can come subtly and delve the music to unique depths. Sometimes we get subtle dance/EDM influence in the vocals, like on “Luv Like” off her Forbidden Feelingz EP. Yet, she continuously creates these luscious and hypnotically rhythmic breakbeats and jungle/drum-n-bass overtures that are ever-shifting in tone. It also blends into her solo work as some of her chorus performances embody the grooves influenced by dancehall and reggae, like on “18 & Over.” Jungle and Drum-N-Bass – like all electronic music – take from the rhythmic soil that elevated particular instruments to the forefront. Despite House music growing with percussion as one of its core features, the sound and other instruments/sounds started to focus more on synths — not all, but some of the more popular styles we know, like EDM or Tropical House. Jungle and Drum-N-Bass take from varying influential sources like dancehall, funk, and reggae and synchronizes them with these energetically powerful percussion patterns. These genres also embolden the nuanced influences that helped elevate the standards and quality of Grime music, which, in turn, finds common ground with these genres coded from a similar camp.
In Electronic music, there is so much infusion that sometimes you never know other sub-genres (like melodic house or glitch); it’s easy to get lost through many avenues you’ll never know you’ll find yourself in; all you have to do is explore. That’s what I did, and when I hit play on Nia Archives’ Luvleh Mix, it hit me, creating an unwavering head bopping. The way she blended these arcane breakbeat tracks into one illustrious cohesion that doesn’t temper its progression, wavering fantastic levels that keep you engaged, whether you’re already a fan of the genre or discovering. We hear her blending these mesmerizing beats that shift in style, whether it’s atmospherically more echo-y or the tempo is sifting between distinct melodies with tracks that evoke danceable tangibles in the performance like that of mixed song “Greetings” by Red Light. On her Luvleh Mix, the intangibles are there as you get percussion is as vibrant as the rainbow through a glass prism.
Nia Archives has released a few Singles and EPs that embody the essence of breakbeat and jungle/drum-n-bass sounds, bringing this echo chamber of nuance and showing us upbeat energy within her performances. You can hear it in the energetic and fun “18 & Over,” which also sees Nia Archives encouraging her love of the genres that influence her. It’s continuously effervescent in the music she creates, like the monstrously bombastic “Baianá” or the more melodic (comparatively), “So Tell Me,” which brings an essence of dance grooves in the choruses while keeping to that core breakbeat aesthetic. That blend gets heard enormously on her Boiler Room set from September in London; here, we hear these luscious transitions Archives’ creates, seamlessly mixing breakbeat with these overly vigorous percussion notes.
Check out Nia Archives’ work, and let me know how you vibe. I’ll be writing about varying artists and how it was to discover them in the moment. From her EPs to her Mixes, there is a treasure trove of music to play. Unfortunately, for Spotify users, many of these mixes are accessible through Apple Music and YouTube – the former has Mixes available to stream without having to play a video. But regardless, we have that treasure trove of options to seek and listen to, and I hope you do so with Nia Archives, a DJ that I will have on steady rotation all of 2023.
2023 is finally here, and with it, one hopes for a platoon of exceptional new projects from artists we love and debuts, leading to fresh discoveries. However, since Beyonce released her self-titled album, we’ve been getting many more unique rollouts, far from the apropos single, single, eventual album model. Often, we don’t get announcements till closer to; other times, they just drop surprisingly with a little word in edge-wise. It makes it harder for one to properly talk about what we can anticipate without sometimes looking like Charlie – from It’s Always Sunny – in that meme where he has his hands over a board that’s connecting dots to a mystery. I won’t be him today; instead, I’ll be talking five albums with surefire, or set releases in stone, that I’m anticipating for this year.
Did You Know That There’s a Tunnel Under Ocean Blvd – Lana Del Rey
While many loved the lavish, overly produced tempo of Norman F**king Rockwell, it didn’t feel as refined, unlike Lana Del Rey’s subsequent album, Chemtrails Over The Country Club, which bolstered her vocals exponentially. It hit me instantly on the standout “White Dress,” which continued throughout this album, and the subsequent Blue Bannisters, which continued to let Lana expand her horizons with more minimalist, but decadent production. The first single off the new album, Did You Know That There’s a Tunnel Under Ocean Blvd – the self-titled track – opens the floodgates toward this more melancholic and operatic divide. Her vocals have distinct textures within similar stylistic sounds within chamber-pop-like production. It feels reminiscent of the work done early in her career, along with what Lana Del Rey has been brewing since Chemtrails. I’m excited to see what this new album takes us, especially with Del Rey’s unique and petty promotion with the billboard in her Ex’s residential area.
Don’t Be Dumb – ASAP Rocky
When news came out about A$AP Rocky’s upcoming release, pre-name change – from All Smiles to Don’t Be Dumb – my eyes and ears stayed glued to anything relating to the album, especially when we heard Rocky is working with Morrissey. The idea of two arrogant, egotistical, no-filter artists coming together to expand on their musical strengths just sounds like something to behold. Granted, it won’t automatically equate to greatness, but with the music Rocky released over the past couple of months, I was intrigued. We got two singles that maneuver his direct nihilism in flow and lyricism, feeling reminiscent of early 2010s ASAP Rocky – playing less with melodies and more with multi-layers songwriting. It keeps my eyes and ears perked for any news, especially with the hype Rocky has been bringing in performances and more; it’s now only a wait-and-see as fans indulge in his latest two singles and feel the vibe Rocky is most likely aiming for with Don’t Be Dumb.
Cracker Island —Gorillaz
Dropping single after single appears like the new approach for Gorillaz as of the release of their last album, bewildering us with unique tunes and delivering a tracklist with standout features; unfortunately, the wait can be ever-long. Unlike Song Machine, Season One: Strange Timez, Cracker Island shifts the clock back a bit, looking to release and find equilibrium between its use of features, and retaining a sense of individualized identity on their solo tracks. Here, we see both, but the solo tracks get rounded out by unique features; Gorillaz have shown us how fluidly they can make these combos work, like when they did a song with Elton John and 6lack. Cracker Island gives us a few to hold over, like the funkadelic “Cracker Island,” which incorporates luscious bass grooves and vocals from Thundercat, who adds a decadent, and softened layer that oozes in a soulful undercurrent that keeps Damon Alburn’s melodies vibrant.
Gorillaz’s feature-laced albums are a few in between, but when Gorillaz come with an album that isn’t all Damon Alburn for 50%+ of the album, they have excelled in creating something more artistically profound. We heard it on the fantastic Humanz and Plastic Beach, and hopefully, glimpsing a crisp equilibrium in the tracklist of Cracker Island, along with the singles I’ve heard, leaves me with some impression that it will be a hit like 3/5 of their albums between 2010 and 2020.
Utopia– Travis Scott
Utopia has been in discussions for months, and years, seemingly leaving us bewildered by when and what. Travis Scott has released singles like the darkly atmospheric trap track “Highest in the Room,” co-opting collaborations with his label Jack Boys, and settling the fires of the Astroworld tragedy. Being in the public eye can skew decisions made, and it isn’t surprising that his name doesn’t have the lightest presence, further pushing Utopia’s release until 2023. Though, to be honest, it could be a product of Scott’s ever-growing teasing and constant business ventures, from working varying avenues of the music industry to fashion and fatherhood, one could find reasons for the delay. However, the promotion leading to has been nothing short of excellent before the Astroworld tragedy; plus, a week-long residency in Vegas this past September and some Billboards certainly helped too. I’m curious to see how different Travis Scott comes, specifically to see if he slightly reinvents himself sonically to reflect the constant musical growth he’s gone through.
This Is Why –Paramore
After a five-year hiatus from making music as a collective, Paramore left 2022 with the news of a new album after the remarkably vibrant synth-pop/dance-punk laced After Laughter (2017). It was a continuation of the aesthetic have them hitting a momentous stride, as you see their musical growth and assimilation with these new influences driving their decisions. When they started releasing singles for the upcoming album, it felt like a slight change of pace from the angsty emo/pop-punk sound of their first three albums. Paramore’s new album, This Is Why, seems to see another shift, or so I assume, with a more expansive influence getting brought to these songs, like the Math-Rock “The News” to the Funk and Dance-Punk latent “This Is Why.” It’s safe to assume we’ll see another shift in sound, which bolsters the band’s chemistry as they mesh new and past sounds from the past two albums that are nothing short of grand. It may be less than a month away, but I’m all souped up to listen ASAP!
Star line Gallery – Chance the Rapper
Chance The Rapper hasn’t necessarily been dormant since the criticism and fizzling out of his popularity since The Big Day (2019); the corniness and sometimes overly loose flows and features didn’t offer much of a platform to balance on. Come 2022, we saw a significant year for the Chicago rapper, dropping four singles that have shown us he has chosen to focus and whip up some of that pre-Coloring Book era where the lyricism matched the potency of the production. At first, Chance kept us focused with his intricate lyricism, but he brought me back with “Wraith,” significantly more on “Yah Know.” The bombastic Afro-Beat influence within “Yah Know” takes the listener to exponential lengths as the beat comes rich with a crisp Hip-Hop base, then escalates it with these rich drumlines and boisterous horn section. It’s an experience that feels like it’s yearning for a stage presence, where the sounds can get amplified and further entice the dance nerves in your body to force some jubilant movement.
“The Highs & Lows” and “Wraith” were two of the other four songs dropped by Chance the Rapper in 2022, but I bring these two up because Chance brings this unique cadence in his flows, seemingly guiding the music emotionally as he did with Coloring Book. There are deep seeded conversations within these songs; we hear Chance having with himself and the listener as he balances his faith and stability through life that we’ve seen tackle since the constant clowning post-The Big Day. “Wraith” had us listening to Chance focus on literal and metaphorical layering between bars to distinguish who he is in this world without feeling overly preachy. Similarly, with “The Highs & Lows,” we hear Chance challenging himself to bring captivating flows and lyricism to match the potency of featured artist Joey Bada$$. It leaves a door open full of intrigue as one awaits, like myself, for an album that explores new foundations and sees Chance shifting gears from neutral to Drive 3, or third gear.
It’s past that time of year when publications feel like December is a month filled with nothingness, and end-of-year lists appear like Christmas ornaments at your local store in August. But sometimes gems appear, and they round out what made 2022 a powerful and wonderful year for music. Here’s my list for 2022, filled with varying genres defining the trajectory of universal love and acceptance beyond the surface-layer pop that dominates Hot 100 radio.
30. Love Sux – Avril Lavigne
“Love Sux is a dynamic shift from blending nuances of the past with oblique pop. Love Sux knows what it is: lyrically poignant, blending commercialized lingo with riotous rock or rounded pop-punk ballads.” Link To Review
29. Cheat Codes – Black Thought & Danger Mouse
“Black Thought morphs imagery fluidly, barely seeming to skip a beat like he’s some rap prodigy, but that’s been evident since trading bars with Dice Raw in the 90s. Cheat Codes takes us back 20-30 years when sampling was a check-mark component of Hip-Hop/R&B, though Thought and Danger Mouse craft it with nuance.” Link To Review
28. Home, Before and After – Regina Spektor
“Home, before and after, has conciseness to its sound and style, where it makes you feel like it’s getting played during a session of merriment in the creative process. It reminded me of Fiona Apple’s last album, Fetch the Bolt Cutters, at times, where the vibrancy came from the naturalistic instrumentation–sans synths–that keeps it centered on its sound. It drives home the potent quality of the new Spektor album, even if it doesn’t tread new territory often.” Link To Review
27. Saturno – Rauw Alejandro
“Saturno, by all accounts, aims to deliver futuristic overtures and undertones, whether through the production or from the vocals, to take us to the stratosphere of his mind, where we see how he musically thinks. It excels at that and some; it’s an album where the essence of reggaeton isn’t lost, but the electronic avenues he takes are astronomical, no pun intended. Sometimes you’re getting hints of dancehall, sometimes Miami Bass or EDM, but the overall vibe leaves you in a trance where you aren’t noticing your body grooving. Though I can’t speak to how you motion per tempo, the transitions between tracks are smooth – save for the interludes/skit. But the lavish futurism expressed through the eyes of a reggaeton artist getting past conceptual pop norms and taking his music to new heights. ” Link to Review
26. Unwanted – Pale Waves
“The realized consistency in Unwanted is as potent as ever, keeping you enshrined in this confined temple of relativity where Heather Baron-Gracie’s captivating melodies and the band’s overall riotous instrument playing keep you glued as it comes from multiple angles. It’s immediate with “Lies” and its tremendous drop, creating an identity toward the emotive tenacity these tracks will deliver. There is angst, and their fiery limits aren’t confined, giving Baron-Gracie the range to evoke emotions fluidly.” Link to Review
25. De Toda Las Flores – Natalia LaFourcade
“De Toda Las Flores continues demonstrating value by incorporating luscious sonic influences and seemingly expressing that fun with this variety of jazz, pop, salsa, and more. Co-produced by Adán Jodorowsky, son of famed filmmaker Alejandro Jodorowsky, Lafourcade visually catapults us back toward the emotional fortitude of life, giving us an eloquent musical breakdown that consistently keeps us engaged, even during the weaker moments. Whether brass or subtle, the music carries gravitas by capitalizing on Lafourcade’s strengths lyrically and vocally, despite some of its minimalist instrumentations never feeling realized.” Link to Review
24. Herbert – Ab-Soul
“Mentally exhausting but exuberantly rewarding, Ab-Soul’s new album Herbert takes us through hurdles as Soul reflects on life and emotional imbalances that have placed him into a zone where the focus was his mental health. 2014’s Stigmata felt like a linear direction of drug-infused beats built with the complexities of perfectly quaffed glass, and Do What Thou Wilt felt more of the same, just lesser in sonic appeal and construction. But that isn’t the case with Herbert, an album that feels more like the dark undercurrents beneath the percussion getting refined and letting it control are more linear approach instead of flip-flopping between the overly experimental and the “Ab-Soul,Asshole” that we’ve listened to since Longterm Mentality.” Link to Review
23. The Family – Brockhampton
“The Family is a rich text that keeps most of Kevin Abstract’s words short and sweet but with resounding depth that you get incentivized with great music that you’d want to replay and understand further. It’s through Kevin Abstract’s flows, lyricism, and the production by bandmember bearface and producers boylife and Nick Velez, offering sounds that invoke memories atmospherically.” Link to Review
22. LEGENDADDY – Daddy Yankee
“Being his first album in a decade, we’ve seen reggaeton’s growth from nuanced ballads to pop-bangers which bridge samples of sonic influence. It’s all relative to your cultural roots and the music that inspired you from youth. Daddy Yankee made reggaeton what it is today, allowing for a free flow of ingenuity to become universally accepted as new artists create their foundation. LEGENDADDY takes various eras of reggaeton and weaves them into a musically transcendent timeline of music history, with Daddy Yankee surprising us at almost every turn.” Link to Review
21. As Above, So Below – Sampa The Great
“As Above, So Below goes beyond to allow inflections of Sampa the Great’s verses to get heard. She’s always been one to express her Zambian heritage musically through features, production, and the incorporation of its languages to boast her identity as a rapper. Though we’ve gotten projects that demonstrated her masterful technical skills, it was only a matter of time: an expansion on the production’s use of African sounds to coat the core hip-hop percussion notes with the evolution of construction. Because of it, it’s focused on central thematic cores, allowing for simplistic themes about perseverance and individuality, like in “Never Forget.”” Link to Review
20. God Don’t Make Mistakes – Conway the Machine
“God Don’t Make Mistakes is like a sucker punch that stops you in your tracks and forces you to sit and listen to Conway the Machine’s verses. More of an introspective composition, we see Conway attacking layers of his person, from confidence to early self-doubt and success…God Don’t Make Mistakes comes with surprises. We continue to hear Conway the Machine go toe-to-toe with rap’s heavyweights; we hear him adapting his technical and writing skills to the content he wants to reflect on the album. What Conway expresses is his true self, reaffirming the notion of God accepting the flawed like those deemed “clean.” The constant motion of the album allows it to have a steady run despite its minor issues.” Link to Review
19. Life On Earth – Hurray For the Riff Raff
“It doesn’t sound as profound on paper, but the depths that Alynda Segarra takes her songwriting and melodies with the band’s instrument playing, offer a whirlwind experience that will have you enjoying the overtures and subtleties that align within her work; it continues to be the case on their newest album, LIFE ON EARTH. The album is rich and earthy, fueled by some naturalistic punk coating that emboldens Segarra’s emotions.” – Link To Review
18. Denim & Diamonds – Nikki Lane
“Denim & Diamonds is an amalgamation of Nikki Lane’s musical personality. She gives us temperate Americana and Blues/Roots music that reflects her more personal (diamond) side; the denim is that rough-trade, pick-up-your-bootstraps Country, finding the perfect synergy, despite the ups and downs. Sometimes she finds ways to blend the two into a beautiful blend that tames the senses, especially as you get the chance to feel and hear remarkable storytelling through different contextual moods.” Link to Review
17. Blue Rev – Alvvays
“Written by Molly Rankin and Alec O’Hanley, what gets brought to the table are an array of unique stories with colorful depictions that mold their emotional deliveries into something grander than expected. Many are visually engaging, taking you through these dailies that offer layered duality to themes getting approached. “Tile By Tile” sees Rankin doing busy-body work, letting her mind wander to the time she dropped the L (love) word on a ride with someone with who she feels this affection, but it’s nonreciprocal. It leaves her feeling like she left a good thing slip and seeing her anxiety shift with specific actions, like when she sings, “Am I still giving off the wrong impression?/I shouldn’t have ever dialed you up,” in the outro.” Link to Review
16. Ants From Up There – Black Country New Road
“Unlike their debut, Ants from Up There brings bright spots for the darkness. They take out the vitamins and make sure they don’t burn the concoction, delivering a fine fixture of delicious musical plates for indulging. I’ll tell you; it may have left me slightly over-bloated without regret. There are varying elements of different genres not heard in their debut, and mastering new territory to excel, like with Isaac Wood’s vocals, it grasps your ears with a chamber-pop-echo reinforcing the melodic bind between the vocal layers and production.” Link to Review
15. Muna – Muna
“Muna offers compelling consistency, and more so on their latest, self-titled release, MUNA, where the vibes are immaculate. There isn’t a moment you won’t find yourself in a mood to groove as the sounds shift in unique directions that it’s sometimes hard to keep up. But within the 11-track album, some tracks have replay value akin to “Silk Chiffon,” while others remind us of how their sonic complexities as artists elevate the sound, whether full-on or subtle. It may not be perfect, but MUNA has a lot to love and enjoy, and I hope you do.” Link to Review
14. The Forever Story – JID
“The Forever Story is a triumph for JID, weaving together his strengths and compacting them cleanly in his own transformative journey. We get a balance between production styles, allowing them to connect through distinct transitions. It left me zoning, retaining it on repeat, and feeling the immersive nature of his music. And with features that boast the messaging of their respective tracks and equally great production, JID continues to add credence to his momentous strength as a lyricist/MC.” Link To Review
13. Dance Fever – Florence & The Machine
“Dance Fever is full of musical ideas that build upon each other and take different directions; however, what’s different is how it’s pieced together into an album that takes chances and elevates itself by playing with some progressive soundscapes. Within these soundscapes, Florence Welch continues to weave–with co-writers and producers Jack Antanoff, Dave Bayley, Thomas Hull, Thomas Bartlett, and Robert Ackroyd–these personal conflicts that befallen her with complex production that never create an illusion of grandeur, further grounding the music with effervescent connectivity.” Link To Review
12. Dawn FM – The Weeknd
“We’ve heard The Weeknd flow in both directions – melancholic or heightened pop – and there is less of the latter. However, It’s something which this isn’t devoid of, evident with “Take My Breath,” produced by Max Martin and Oscar Holter. At first, you get a whiff of the upbeat 80s electronic and new wave dance styles – from the riffs to the synths, I was left in awe by the complexities within the production. It’s bombastic and fluid, encapsulating that visceral “Star Boy” energy while embodying different themes.” Link To Review
11. Motomami – Rosalia
“Motomami never shies to explore, taking extra steps to inject rhythmic bliss. There are tender moments where the production strips down from an elevated pop track like “Saoko” or “Bizochito.” These moments deliver emotionally rich performances, particularly with uniquely titled tracks like “Hentai.” However, it doesn’t matter the direction; Rosalía finds a way to make each track have its own identity, and like many, we are just reeling in the greatness of Motomami. One minute you’re vibing with “Diablo” or “La Combi Versace,” the next you’re taken on a trip through powerfully moving ballads, like “Delirio De Grandeza” or “G3 N15.”” Link To Review
TOP 10 OF 2022
10. Ramona Park Broke My Heart – Vince Staples
“Ramona Park Broke My Heart is a shifting paradigm of lies and heartbreak, cornering any sense of hope to succeed. Vince Staples’ mind has hypotheticals, realizations, and growing pains that reflect how he views his career after many years under a label–sometimes, of his personality; other times, reflective of his career. But there is more to the project than the parallels in his potent lyricism, which is a constant on Ramona Park Broke My Heart. He is showing us behind the broken walls that surround him. Vince is giving us a lot to break down, from the emotionally-lyrical side and the production, which brings a continuation of greatness heard on his self-titled release last year.” Link To Review
9. SOS – SZA
“Subtleness may be what SOS lacks, but it isn’t driving the strengths, meaning it doesn’t break the album. SZA keeps her sleeves bare with emotion as she laments and vents about her world, which correlates with sheer relevancy, giving SOS a grander platform for musical resonance. From the beginning, you are not getting hints; you get directness without a curtain failsafe to shield her when she makes a listener uncomfortable if that. After the title track, we get a stream of consciousness that envelops us through these auspicious, musically metaphorical dualities that boast her person in reflection with the lyrics she delivers.” Link To Review
8. Renaissance – Beyonce
“Taking on the current nostalgic disco trend, Beyoncé evolves past certain standard genre constraints today and takes new approaches, like shifting the dynamics between eras of evolution–Disco–House–Dance. With streaming, Renaissance contains subtle crossfades, which deliver a more cohesive mix without the DJ. Using this direction, Beyoncé develops her craft to fit the mold of what she’s giving, and specifically, with the help of her producers, Renaissance is a powerhouse.” Link To Review
7. No Thank You – Little Simz
“The explorative sounds of SIMBI are this extravagant continuation of genre-bending, this time boasting Hip-Hop undertones with Afro-Beat and Soul. The music of No Thank You gets toned to ease the blend of unique overtones with minimalistic percussion. We hear more Gospel and Soul, and Simz allows herself to focus on being instead of being pressured by multi-layered beats. No Thank You is laying a foundation that sees Simz confronting her truth – her feelings without boundaries, and keeping it 100 at the cost of lyricism.” Link To Review
6. American Gurl – Kilo Kish
“American Gurl is vibrant, switching styles and trying different ways to incorporate overarching themes that personify Kilo Kish’s life since her debut album in 2016. It’s a loose concept wherein she focuses on themes beyond what affects her on a personal level, as she creates parallels to her perspective on the “American Girl,” using themes like consumerism and personal freedom. She can give it to us with vibrant production and more dour-electronic synchronization between vocals and production, as it creates intricate transitions. We hear it through similar themes or ideas reflected in the songwriting or the production style. It’s a significant strength that shrouds over consistent details that already make her a great talent. Significantly, the stronghold of these songs is Kilo Kish’s intricate and hypnotic melodies, acting like the glue holding many of the tracks together.” Link To Review
5. Un Verano Sin Ti – Bad Bunny
“In an interview with The New York Times, Bad Bunny noted that the Un Verano Sin Tí is “a record to play in the summer, on the beach, as a playlist,” so it’s not something you can just play while sitting down and indulging. I’m not saying you can, but like many reggaeton albums, the impact’s embedded in the rhythm and how your hips vibe to the beat. He knows how to create these larger-than-life moods/vibes, and he has a constant synergy with his featured artists. We get to hear Bad Bunny with some great pop and reggaeton artists, like Chencho Corleone, Tony Dize, Bomba Estereo, and The Marías, and they don’t disappoint. It’s a monstrous smash that starts at the top of Track 1, “Moscow Mule.”” Link To Review
4. Cool It Down – Yeah Yeah Yeahs
“Like opening a box of fragrant pastries fresh out of the oven, the synths come at you with a direct punch of zeal that your ears and mind won’t forget, especially as you come to a close on a beautiful soliloquy that represents growth. “Mars,” like “Spitting Off The Edge of The World” and “Wolf,” are predominant moments that raise intrigue levels through a delicate layering of guitar, effect pedals, and varying synthesizers, which become central sonic themes as the tracks they finish and deliver have innate consistency. It makes the minor stumbles seen more like distant memories.” Link To Review
3. King’s Disease III – Nas & Hit-Boy
“King’s Disease III sees Nas continuing to extend his prime, delivering heater after heater without the support of features and amounting to one of his most immaculate albums since 2012’s Life is Good. Hit-Boy produces sounds that flip between modern, large-scale Hip-Hop beats and ones that bring nuance to the influential elements of 90s Boom-Bap/Jazz Rap, amongst others. It all acquiesces into one strong gavel to the table as Nas makes an everlasting statement about his lasting legacy that will only grow more, especially with the consistency of the King’s Disease trilogy, where Nas assimilates and demolish Hip-Hop sub-genres momentously.” Link To Review
2. Yessie – Jessie Reyez
“The music of Yessie is swarthy, melancholy sounds, creating gripping relatability that takes different sonic outlooks that aren’t as predictable. From the bilingual electro-R&B “Adios Amor,” which continues to show Jessie Reyez’s coldness, to the similarly thematically driven rock-like “Break Me Down.” It’s a crisp progression of greatness as Jessie Reyez capitalizes on delivering a personification of herself with remarkable depth. It isn’t an album that exponentially breathes club, or dance bangers, instead letting it round out stylistically akin to the atmosphere/tones derived from the beginning, becoming more apparent or subtle as it goes along. It left me bewildered with excitement, as Jessie Reyez has been someone who’s shown to me that she can create something special, and she does so here.” Link To Review
1. Big Time – Angel Olsen
“Big Time is a powerful emotional experience. Since the last time Angel Olsen spoke to us, she has gone through personal change–from coming out to the loss of her mother–Olsen brings a heavy platter of thoughts that expands on her story. In doing so, Olsen subdues the glitz of overly produced country music, opting for an extraordinary approach that elevates the emotional gravitas. It grips you from the first song, “All The Good Times;” the drums reel you in with melancholic bravado from Olsen, producing a feel for the direction of Big Time. The album is reminiscent of a traditional style from the 50s/60s/70s era, taking unique paths to actualize them to life. The creativity within the construction of the songs brings elements that enforce its stagey presence. The engineering is crisp, creating a foundation in a smooth crescendo where each section becomes audibly potent in creation, from the brass and horn sections to the percussion and strings.” Link To Review
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