Sean Sharp's Diary

Very dreary. Today I mourn with Ritchie & Parker, but I also mourn the style of their self-titled effort. I have been hoping they would return to that form at least here or there but since the passing of Groggs, it seems they have taken a different path permanently. I always support change within an artists or bands history as I think that is how the most interesting musical careers take place, but unfortunately the emphasis on experimental and abstract has left me in the dust a bit. I can appreciate some of the production and choices here and there but overall, I either find myself not enjoying what I'm hearing or bored. Parker Corey's production is very distinctive as you can tell there isn't really a default template that he pulls up in whatever DAW they use. This complete freedom in production is cool but often leads to beats or songs as a whole that are way off the mark for my ears.

Labrinth is tough to pin down as I can tell he has a massive creative mind but it seems he needs someone to reel him in a bit more. I suppose there is a reason why most of the stuff I like by him is in collaboration with other artists. This album is the most out there project that I've heard by him. I mean the ending of "S.W.M.F." is just... lol. He constantly looks to switch up the composition of songs and how they evolve but it feels pretty jolting at times. In comparison to Quadeca's "Vanisher, Horizon Scraper", Labrinth takes abrasive horns paired with almost random synths and tries to ping pong back and forth with the occasional more full orchestral composition. The jumping back and forth feels like a headache. Quadeca is the example of how to do this constant transition well with everything flowing in and out with it never living in a consistent state. Labrinth did task himself with something much harder sonically though. A cosmic opera is a far harder challenge to achieve than the swaying of the ocean that Quadeca goes for. (Not to discredit Quadeca's work. Just pointing out that the idea was something more achievable.) I don't mean for this to turn into a Quadeca glaze. I just think Labrinth could take a few pointers from a macro level and see how he could apply them even though he is obviously musically talented as is.

Heard "On Nothing" and was really happy with it. Never heard of her before but just that song made me interested in what the full EP sounded like. "On Nothing" does reach a level that I don't think the other track on here are able to reach but you can tell it's got good bones. Definitely a jump pad for more successful music to come. Some of the production is pretty slick but the whole project does feel a little slow here or there. "Double Tragedy" would be another highlight for me. I think her voice pairs well with production that feels more full. Several of these songs contain a slower contemporary R&B vibe but I think she thrives a bit more when it mixes with pop a tad bit more.

The production is right up my alley. Gritty but has that glimmer that some darker synth pop holds. I wish he would switch it up just a tad more, as by about halfway through the production doesn't feel much different from any other point. "I Don't Mind" is incredibly catchy and is an example of when all the pieces come together correctly. There are a few cool outros as well that differ from the norm, but I wish some of those elements were implemented more thoroughly throughout their respective songs. The final gripe I have is the vocal melodies. Probably the weakest part of this. Not super catchy. Sounds good, but this album feels like a bunch of singles, and the way these songs are written is begging for more gripping choruses. Overall, it's hard to hate. Well-produced, fun atmosphere, and his vocal tone is unique, making it hard to get bored with his voice.

Hearing this compared to a few years back, like on "Is He Real?", it's clear that his vision is slowly but surely being fleshed out. The strong transitions are a real pop-out. Not a real surprise digging into the credits, as the producer list on here is filled with acclaim. The album features several catchy songs and a strong production that complements IDK's voice. The real highlights are "LiFE 4 A LiFE" and "DEViL". I love the interlude that is "STIGMA" as well. The second half does drop the ball slightly, with some production that doesn't quite match the rest of the album. The songs specifically are "SCARY MERRi" and "CELL BLOCK FREESTYLE / CD ON".

PVRIS returns with more of the same. Not that that's a bad thing! It seems each release dives further into their creative process to pump out new ideas. The downside to PVRIS that I've had a hard time enjoying is some of their harder songs. While the production is good, her voice just doesn't match the rage of the instrumentals. Occasionally, I think they hit the mark on this with songs like ANIMAL but usually falls just short. The good news here is that they are a pretty diverse band and the other darker but softer style they produce, they have perfected. SENTI-MENTAL and LOVE IS A... are prime examples of their softer but still bleak blend. The closer to this album, the self-titled track EVERGREEN, is in my eyes their magnum opus of this. Every sound change in production is done with purpose and her vocals match the recording like a glove. I hope more of this style comes suit but time will tell.

Listen 1: Yeah, looking forward to the album. Based off this alone, you can tell there is more evolution to take place for JID. No stagnation. The end of Behold is something else. Listen 2: So fun and crazy. Can't wait for the full project. Not wanting to comment too much on this since it is just the appetizer before the main course. 1 Week Later: The more I listen, the more I hear things I missed on the first few play throughs. Absolute blast for the build up for this album.

Listen 1: Feels old and new all at the time time. Features are excellent. Unique flows and beats and choruses. Original front to back. The bars make you cover your mouth. Listen 2: Fun. Some of these songs do sound slightly alike with the horns but still fun, front to back. That said, there has always been something about Pusha T that has stopped his music from going to the next level for me. I don't want to say it sounds the same, cuz it doesn't. It might just be him. Like if you took these beats and had Tyler or Kendrick rap over everything instead, I may like it better. No hate against Pusha. Dude is still great and love how snarly he sounds. Probably just a personal preference on vocal tone. 1 Week Later: Although it never breaks through with anything mind bogglingly good, Clipse is the definition of consistently solid. Not one bad or even average song on this record. At the same time, nothing on here blew my socks off. Works extremely well as an album and fun to listen to individual songs as well.

After so many years, I think I wanted a little more overall, but it still delivers in doses. There is a wide range of styles and genres here, but the aggressive, electronic-heavy production serves as the anchor point that the album keeps returning to. While I love some of this style, I personally like Rocky when he's a bit more docile on tracks. Many people fell in love with "L$D" back in the day, and it is the biggest highlight here. That style suits him so well, and I feel sad that he doesn't embrace it more. Even if it was just another song or two. Maybe that is what makes it so addictive: as fans, we are starved for tracks that sound like that. The lyrics here have some highs and some basic traditional Rocky bars. Nothing too crazy. Specifically, I like "THE END" where Rocky starts reflecting on the imperfections in the world. He takes several good points and touches on them briefly, using interesting lyrics. My specific favorite is when he references public school lunches tasting like an institution. Returning to "PUNK ROCKY", the more love-laced lyrics fit that style of song like a glove. Nothing on here is particularly bad lyrically, other than maybe a feature's bar here and there. But again, nothing that stands out so much that I think it's worth noting. That electronic grit is prevalent here. "ORDER OF PROTECTION", "STOLE YA FLOW", and "NO TRESPASSING" are some examples where it is executed well and differently each time. I wish there were more traditional instruments at times when there's so much electronic bass and synth; that is what makes some of the other electronic-heavy songs blend in. The songs that divert from this path are a nice surprise. "PUNK ROCKY", I've already touched on, but that is a good detour. "ROBBERY" is the most shocking twist in production, sounding straight out of a jazz bar. Doechii features on here, and their back and forth is rather soothing, but since it's really embodying that jazzy style, there's not really any sort of direction with the song. Vocals throughout this are pretty mundane. Brent Faiyaz does kill it on "STOLE YA FLOW," and Doechii does sound slick on "ROBBERY," but a lot of these features aren't particularly known for their gorgeous voice. Tyler sounds like Tyler and will.i.am sounds like will.i.am, but these are people you expect to give amazing vocal performances. Tyler does sound particularly good at the end of "FISH N STEAK (WHAT IT IS)" when he is singing rather than rapping, but it's just his usual distant style. The real sad vocal performances show up on "STFU" with Keilo Kei. Sounds degrading to listen to, and truthfully, this song as a whole is just a miss. It takes a stab at that JPEGMAFIA grit, but every time I've heard someone try to do it that isn't him, they miss. He's in a lane of his own with that sound.

Listen 1: There's like two skits in here where, I'm assuming, Joyner had people talk shit about how he's making another album about ADHD and how he needs to grow up and get over it. I think he's misinterpreting people's hate or criticism of it. It's not that he should grow up, but his style has not changed that dramatically and that's what people are tired of. There are definitely some songs on here that weren't copies of the first ADHD but the headlining tracks (~2-7 or so) are all his bread and butter which most people I think are tired of. I am too. As you get deeper in the album, there are some much poppier different songs that I don't really remember being on the original ADHD and so I have to give props to those. Listen 2: Yes, it's pretty long. Yes, there isn't much reinventing the wheel of any kind. Yes, nothing is really even that great. But, Joyner does consistently put out formulaic songs. None of these are outright bad in any certain way. The production on all of them I have heard a million times before but there is still enough here where I like this album as a whole. I've always considered Imagine Dragons this way (probably because I grew up on them), but Joyner fits this bill as well. Just an album with a whole ton of singles. The theme of ADHD comes and goes whenever Joyner feels like it seems. You could take out the skits and few direct lines referring to ADHD and this would still be a fully packed album. It just doesn't really matter in terms of the entire scope of the project. 1 Week Later: Hard to say more than what I've already said about the project. Joyner has a pretty formulaic approach to making music which obviously has had it's success. It does sound good at times as well. However, for an album this long, it does have it's down sides and head scratching moments considering the theme. Overall, it's a fun listen if you're looking for some aggressive but upbeat rap with some pop songs sprinkled in here and there.

Disc 1 Only Listen 1: Alex's music feels like it made in a lab with how perfectly crafted it is for the radio. Some of these songs feel aimed for late teenagers, who need their music too, but some of this is very good. Eternity starts it off with the best track and then there are some few other decent ones scattered around but compared to the first chapter, this does feel slightly like a deluxe version rather than a whole second companion album. Listen 2: He is very much so in that genre of singers like Lewis Capaldi, George Ezra, etc... but he might be my favorite. I'm a sucker for a good ballad but it seems a lot of other singers in the his vocal range and tone are shoehorned into those dramatic ballads trying to be the next big ballad singer like Adele. This brings in some more energy that I don't get the same taste from those other guys. I still stand by Chapter 1 of this album being better overall, but this one does hit some high highs. 1 Week Later: His voice is perfectly golden, it's hard not to like. I do enjoy when artists try melodies or keys that aren't the typical C Major/Minor and there is a few on here but they just don't sound great to me.

Listen 1: Very bouncy. The middle of the album is chaotic, it tends to blur together but the start and last few tracks are extremely memorable. Maybe I'm making this connection since I just wrote my final review for JACKBOYS 2, but this album feels like Tyler's spin on that heavily electronic rap that Travis and Playboi Carti play around in. Obiviously much different, still though, this probably brings the same feeling to some that other's experience with Carti. Listen 2: There is something about this album where I want to add every song on it and simultaneously none of them. This may be in part due to a large majority of them all having a similar sound, which is good for the cohesion of the overall project, but means the sacrifices are the individuality of some of the songs. This is a textbook album I would prefer to listen as a whole than any single song. 1 Week Later: You can tell that this project was just a fun side excursion for Tyler. It doesn't have the same weight that a lot of his other work does but that doesn't mean I don't enjoy it either. I'm sure at concerts some of these tracks will be an absolute blast and I think as a project overall, it works extremely well stylistically. I don't need an album to be super serious to be good either but this just feels like a fun Tyler album, which he has given us before, just without some of the more meaningful moments.

Listen 1: The kind of music that kills in a dirty industrial club. Fun listen but I think Jigitz has some evolving to do overall. Songs a bit generic as far as the structure goes and repetitive as well. He has great ideas with some killer sound design and this is all needed in a new artists creation of their own sound so no hate here at all. Listen 2/1 Week Later: This is enjoyable and fun. Not entirely groundbreaking but you can really see Jigitz putting his all into it. It's hopefully a matter of time until this guy keeps this up and starts putting out some top tier tracks.

Initial: Nothing revolutionary. Doesn't matter though, they have a style and they stick to their guns and they're damn good at it. Teetering into 80's pop rock, it's just a lot of fun to put it plainly. Dudes voice is nothing special but it just reminds me of a better time (even though I am not nostalgic for their old music whatsoever). Their music just reek of 2010's pop rock in an alternative universe Maroon 5. 1 Week Later: Kind of a guilty pleasure album I suppose? I listen to this and hear nothing new or what bratty people may call "inspired" but I simply just like the sound. Some of the lyrical choices make me question the lead singer's decisions as a human being but overall no harm no foul with it.

Glad that they are still evolving as a whole. It really seemed like during the Pandemic that they were gonna turn into a suburban band that didn't have any interesting new changes to their sound. Their fan based showed that with the hate towards Scaled and Icy. Personally, I do like that album a lot and don't really fancy Clancy that much. That said, Clancy at least showed they were still putting in the effort to do new stuff and Breach follows right in that trend. While that puts a smile on my face, I find Breach much better than Clancy and the song writing and diverse soundscapes make this an easy listen as a whole with some specific bangers here and there throughout the album.

Love love love the idea, pretty good on the execution. Despite being only 49 minutes, this feels like it runs 20 minutes too long. The precision and dedication to making these '80s beats and instrumentals so crisp deserve props. Tons of different moments on here are distinctly '80s but lodged in modern-day production to a perfect degree. The only gripe I have is that, due to sticking to such a rigid time capsule of style, it runs a bit long. If you go back and listen to a lot of 80s records that are inspired by this, and I don't mean the greats from the 80s. You will find albums that either start to get a bit boring or branch out and experiment. I think some more experimentation would have done this some good in the latter half. Overall, I do respect Doja even going for some of those slightly out of tune notes from the time period as well. While they didn't stick around for very long in popular music, they show true attention to detail and talent when pulling inspiration from 40 years ago.

It's good. Suffers quite heavily from being like half released by the time the full album came out, but still, the entirety of it is good, especially if it's all new to you. Home is a classic, and several other songs have catchy feel-good melodies and ideas that I can appreciate on any given day. It will be interesting to see if they just keep copy and pasting this formula or try to evolve in some way because much more of this will definitely become a bit repetitive.

Prime example of a project that goes all in on the pizzazz of art and not going for much of a mainstream sound. Using tons of electronic elements and experimenting with transitions and unique vocal inflections, REAPER has been cooking in the cave since "heady". With albums like this, I love it as a whole but have a hard time relistening to tracks individually, which sucks cuz I don't always have time for a whole project (even an EP sometimes, like this, even though it still clocks in at 25 mins). The last album I felt this way about was "Willoughby Tucker, I'll Always Love You" by Ethel Cain. There is such a distinct connection to me when an album hits in nearly every way it needs to, but I know it's almost like a soundtrack for itself if that makes sense. Like you can listen to some of the songs standalone, and some may be completely fine, and you could never need to relate them to the whole project, but they would come together so much more. "SHARK" hits that nail on the head. "HYDRA", the opening track, is the most standalone song on the project, but still tidies the whole idea of the EP up in a bow. You get the general gist, but in order to really appreciate the EP, you have to listen to the whole thing. The sound design on this is so crisp. Welcome back REAPER, always glad to have you.

Yeah, he definitely landed on his feet here. This renaissance of music with physical instruments has been interesting here in the 2020's as synthesizers and samples have become more balanced with other instruments. Ruel falls right into this "correction" in pop music and his does it pretty well. A lot of what makes this great comes down to a few songs as there are a few songs on here I would call generic, but the ones that do stick out, stick out well. Only Ever, Wild Guess, I Can Die Now, and Kicking My Feet and do a pretty fantastic job and making his vocals pop while maintaining a simple instrumental catalog. A huge part of this is also due to some crisp mixing to make sure each part of the album pops when it needs to. I'm not usually an audiophile in that regard, but for some reason, I'm appreciating the mixing here a lot.

It'll be hard for BENEE to ever live up to FIRE ON MARZZ for me, but she has found her footing over 6 years later. BENEE's style has seemed to slowly shift closer to a more traditional pop sound. Or the opposite has happened, and pop music has inched closer to her. One or the other. Either way, this still has some pizazz. Her ability to write melodies that stick out like a sore thumb, but in a good way, is remarkable. Almost like artists who can write catchy lyrics without rhyming. There's another path to success that people like BENEE drive towards. On the other hand, some of the lyrics here may feel dated in the future. Even though we live in 2025, I don't like being reminded of it every time I listen to a song. Not to say something can't be a sign of the times, but it has to do with literal lyrics. The song "Sad Boiii" is fine, but reading "Boiii" will definitely be something I look back on in 40 years to age it.

I want to call this "stripped back," but it's still rather abrasive with the detailed complexion of instruments. Compared to his last two albums, there is a definite simplification in the production side of things, emphasizing traditional instruments. Aries has always had a great ability to create some slamming production that complements his binary vocal style. His last two albums are among my all-time favorites, and so it was always going to be challenging to live up to them. While I still consider this album good, even great, I can't help but feel disappointed that it didn't live up to his previous albums in my eyes.

Over time, Louis has only become more engaging in his unique brand of dance music. There's a 3-man weave of groovy rhythm, popping vocals, and sparkling production constantly at work, and it pays off pretty hard. I would appreciate a bit of a pump on the brakes here and there, just to feel a switch up in tempo. The album does suffer from the pretty common issue of songs blending together at points, but you'll keep bopping your head through each one of them. In comparison to his previous album or even his early work, it's easy to see the vision he had all along and how far he has come in fleshing out something that is unmistakably Louis Futon.

Very happy with how Tommy Richman has so easily found his groove. An artist who blew up by just being an artist. Listening to his albums, you can tell that he hasn't been searching for a big hit, yet it found him with MILLION DOLLAR BABY. His unique blend of old and new R&B feels so hot to the touch. Traditionally, his vocals would get dogged on by a lot of mainstream pop fans who may expect perfect vocals. It works in its own right in his space. Unique vocals work particularly well in certain genres because the instruments surrounding them complement them effectively. WORLDS APART* is just a prime example of instrumentals that are made for his voice.

I am very late to the party on this one. Not sure why or how I missed this back in 2024, as "Conditions Of A Punk" was very solid in my book. Regardless, I finally got around to this, and I'm kicking myself for not listening to it sooner. There is some absolutely stunning song design, production, and songwriting through and through on here. They have always been a band that integrates synths into their slightly indie-pop-rock style heavily, but this album features what will probably end up being one of my favorite mixtures of this with "People". I'll get into the specifics later in the review, but that song caught me off guard in the best way possible. One downside to this was that the songs that weren't great sounded like the great ones. Now this may sound confusing, but hear me out. As standalone songs, those "not great" ones are good, and I would likely listen to them frequently; however, they don't differ enough from the really standout tracks on here and therefore fall short in quality. If they had pushed their boundaries slightly further, this would be a near-perfect album for me. The only other issue is the mastering. I mean, yikes, it was not good. It's not something that I think dictates the quality of the album as a whole, because I don't mind adjusting the volume a little here and there. However, I can understand why this might be more of an issue for others. Diving into the songwriting is like an ocean here. It's very personal and self-reflective, which is always lovely to see the inner workings and thoughts of an artist. His choice of words isn't anything verbose or grand, but at times feels conversational, and at others is a puzzle for the listener to decipher. It's not very complex, though, or left to a ton of interpretation. In my eyes, good songwriting is done in several ways, but one of my favorites is when songs are written cryptically, but there are enough clues to find the true meaning with no room for confusion. Incredibly difficult to pull off, but Half Alive does this well at multiple points. Gorgeous guitars to soothing synths, this album has taken the reins of pop-rock production and made it its bitch. "Automatic" features this entirely out-of-left-field guitar mixing on the chorus that you wouldn't expect from them whatsoever. It's not aggressive but is intense. The distortion built into the chorus of the song ensures that it never gets dull either. "Long Drive" utilizes Kacy Hill in a precise manner. While she does have a decent amount of front vocals, the real treat with her on here is the backing vocals on the choruses. At first, you can hear her reverberating in and out, but it doesn't really come into full effect until the last chorus, when you can listen to her voice breathing life into a speedy and smooth song with production that sounds like walking on clouds. The real star of the show is "People". The instrumental mixing and choices are beautiful, along with the do-dos that start the song off. The chorus sounds pretty strong while remaining catchy with a sunny guitar strum. Then those synths hit. A completely unexpected change in pace, but it works perfectly. When it returns to its original style, it just makes it hit so much harder. Although I'd rather not, because the highs on this album are so high, the lows do need to be addressed. I do wish that "All My Love", "The Point", and "Songs" did stick out a bit more. I mentioned earlier that they aren't bad in any way, but when you have some heavy hitters doing the same thing but better, it may be good to branch out in some way, shape, or form. This is probably just a mindset that people have when they know they have some 10/10 tracks that use the same style, and most conscious artists don't have the same mentality about their music. It's understandable why they choose to go with these, and they are good, just not as noticeable as some others. The mastering, though. I struggle to dock "points" from an album because of bad mastering, so when I have to bring it up in a review, it must be pretty bad. The mastering on here makes me question whether they even listened back afterwards, or just sent it full speed ahead after processing it through an AI tool. Who knows. Songs change in volume significantly from track to track, but if this doesn't bother you much, as it doesn't bother me much, the album should be delightful then.

I'm not entirely sure why this couldn't have been included with the first half that came out last year. Considering how short each half of the album is, having these as separate discs is pretty confusing. This is an album where everything that isn't the music is bad, and then the music itself is sometimes not bad. Where to even start. The album cover? I mean, what the fuck, obviously he is going for some trendy TikTok background music for certain styles of videos, but then labels it as "d00mscrvll". Interesting choice. He is edited into this so poorly that it starts to make me question if the cover is intentionally bad, unlike the cover for part 1 of this, which was not nearly as off-putting. Then, of course, there are the drones and the parachuting tank, or whatever that is. Is this tongue-in-cheek, disconnected from society, or just random? I have no idea. It's not like the music to me is really meant for that style of war footage video, either. There is then the purpose of an album like this. It exists purely to be utilized as background music for short videos. I mean, it's a niche, and I think it's good that any type of content has music directed towards it, but it's not usually something that I give a standing ovation for. This is almost like being commissioned to make an EDM track for some new big pharma drug in a commercial. Just lifeless and usually done by someone who is just trying to get by, not someone with a shit ton of credentials like Diplo. An album like this has practically no direction in terms of lyrics. It's a bit hard for me to judge the lyrics to "UH AH AH" since it's not in English, but given the name, I don't think it gets too deep. "FLOW STATE" is really just a pander lyrically towards the namesake of the song, no real substance there. "Skittles", my favorite on here, is a bit better, but overall, it isn't anything new in terms of lyrics, but more run-of-the-mill for Juicy J and Project Pat. "I LUV U" features just a filtered backing vocal, which I would be surprised if anyone cared about the lyrical content there. It's not as if I didn't know that EDM lyrics usually aren't of high quality, but here they are just abysmal. The beats are mostly just copycats of each other. After all, for what he is going for, it's not like he would really want to switch it up all that much. "Skittles" production does stand out a bit with it being a bit slower and this glittery grit to it that works much better than the typical bell-ridden beat that comprises the album. "I LUV U" executes the copycat style beat on this the best, as it does become a bit hypnotizing. However, given that the songs are mostly under 2 minutes, it's hard to really connect to the track, or any of them for that matter. "UH AH AH" is probably going to be one of the worst songs I've listened to this year. I don't seek out all kinds of new music all the time, but I do like to think I have a decent range. I have never been able to appreciate something like that, though. The beat is literally beating me into a pulp; the woman's vocals are too K-pop for me (sorry, K-pop), and the vocalizing during the main dance part sounds like someone singing along to what it was supposed to sound like. The features are very hit or miss on this. On one side of things, Odetari, Kodak Black, Mc Gw, and Duis Nulla, do not work here whatsoever. No offense to them, but this production needs someone else. The positive note is that 1nonly, and DVRST's vocals work exceptionally well. 1nonly perfectly slots into this style of music, but I think any fan of his would prefer his more dialed-in production, as this feels like 1nonly rapping over a YouTube "1nonly Type Beat". Then there is Juicy J and Project Pat. I'm not sure how this could have worked out, but if this were just a 34-minute album of those three, I would like this a whole lot better. Throw in a few different switch-ups on the beats and call it a day. I would be a happy man. I think Diplo knows how much better this style of music shines with them, considering Project Pat appears across 7 of the 17 tracks on both discs, and Juicy J shows up on 3.

Laroi embarks on a slow, reflective journey though a breakup with several highs and lows. In a nutshell, the lows boil down to aimless music where several songs feel like interludes into interludes. The high's meanwhile are where the attempts of this album have the stars align. For some reason, this album doesn't feel like it was created with a lot of specific decisions in mind. That's not a bad thing; many artists excel at creating music through this process, and I think it is generally the standard way, especially for new musicians, to produce music. On here, though, it feels like the only decisions they made before creating this album were a few of the artistic styles, like "A PERFECT WORLD" and "THE MOMENT" being more 80s themed. Several of these songs share a very slow stripped-back R&B rhythm, which, duh, makes sense, it's an R&B album, but the ideas are just rehashes of trendy instrumental themes or copies of each other. This leads me to why it does work! Albums with this style of creation, even if they feel aimless, can come out with several good tracks if working with musicians who even hit every once in a while. That is the case here. Starting with the lyrics, I mean, it's a breakup album. Laroi has never hosted a masterclass in songwriting, and while his writing has improved since his teenage years, it's still not at a point where it would be a main draw. His voice has improved significantly over the same time period, and he's finally finding some good consistency with it. I'm sure his moving away from rap has helped, as now he has more opportunities and more pressure to do it right, given the abundance of singing he's doing now compared to then. The production is pretty consistent in terms of style but varies significantly in terms of quality. This album struggles with creating slower, more stripped-down music. It does succeed when it finally tries to build inthroughto something. "THANK GOD", "PRIVATE", and "BACK WHEN YOU WERE MINE" all show this exactly. "THANK GOD" is perhaps the best version of this as the drums build and build throughout, and with Laroi's nice tempo, the lyrics come to a very great ending. It features a glitchy production that doesn't feel like you're in an EDM track, but is appropriate for the style. This is an example of what I wish there was more of here. Not necessarily slow builds, but just more change within each song. "THE MOMENT," for example, has this nice '80s stripped production, but the only memorable part about it is that there is a feature on it. The song has no movement. Laroi is young and has plenty of time to learn and improve. The amount he has changed over the last 5 years is astonishing in its own right. He's not a messiah of music by any means, but I appreciate his dedication and care in creating something new for himself. He is definitely not one to get stuck in a particular musical trend and live there his whole life, at least from what we can tell so far. I would love to continue to listen to what he makes as the songs that do stick the landing, like "A COLD PLAY", deserve the attention.

I see the vision and the vision is nice. The music is ever-changing and constantly evolving into some new creation or beast. Albums like this seem to generally have wide praise when done right but to me I struggle to get behind them in the same way. I can appreciate the way the music waves between instruments and given the theme of the album, it's rather impressive how well this is done. Still though, I can't come to terms with the fact that many of the songs here aren't that interesting to playback and some parts are downright hard to listen to. The flip side is also true, there are many many moments where I wish certain sounds or melodies could be used as an anchor point but instead are never to be seen again. This once again matches being out at sea very well but for my own personal interest in this project, I can't be bothered to listen to some of these 4-6 minute songs just for a specific 20 second part. I can understand the idea from an artist's perspective too. It's not about creating something that people will replay with their friends in the car or bump at a party. It's about expressing an idea in music in such a way that it perfectly encapsules the core idea. Which, to me, is to "idea" focused. To the point where the idea starts to eat itself. So overall, interesting for a listen, but I doubt I would ever listen to this thing unless I got it on vinyl because that album cover is dope as fuck. The vocals and lyrics in this are a bit timid. I don't mean that he writes fearfully, like "oh jeez, will they like this". But more that they aren't a forefront object. The instruments are the big brain of the operation here, and they're flexing. Quadeca's songwriting isn't bad whatsoever and the parts where he does bring his voice more to center stage, like on "THE GREAT BAKUNAWA" and "FORGONE", he sounds great even with these crazy backings. It's a shame that they are back-to-back on this album, as it would break up the album nicely if they were separated a bit more. The instrumentals are the obvious glory. What he has accomplished to do with everything perfectly melding into the next sound is phenomenal, and this is what artists dream about being able to do sonically when transitioning from one part of a song to another. I would dare say that this album is over 50% musical transitions. It feels like there is almost always something changing. Even the sounds that I don't think are that pleasing to the ear are still transitioned well. They fit the soundscape and even the most aggressive noises are brought in with grace. "NATURAL CAUSES" is a slight highlight given it's slightly more memorable brief vocal melody. As a whole though, doesn't drift far from the norm. The real stand out track is "FORGONE". Talk about a beautiful moment. This song alone practically brings this whole hour of waves together. Even at 7 minutes, it's hard to get tired of it. At most, he could have cut off the last minute or two of the song. It reminds me heavily of a modernized version of Simon & Garfunkel or something from that era in that genre.

I like my own music, but I can do better.

Felt like a long ride, but the first half was really spot on. It's always a shame when an album has such a great start and then by the end, you are just waiting for it to be over. He could have cut 1/3rd of this album, and it would have been much better. Medicine through dumbstruck is a pretty solid streak of tracks, but after that point, it starts to lose its uniqueness and fades into typical high-energy pop. I always feel conflicted when reflecting on albums like this because I do like a good portion of it, but I have to evaluate it as a whole, and as a whole it misses pretty heavily about halfway through. But man, that first half as an EP or a short album would rival some of my favorites this year.

Listen 1: At some point their sound will certainly start to feel old right? Nearly every artist either evolves their sound and old fans are unhappy because they're no longer what they used to be (see $b's were better in 2015). Or they just keep making the same thing over and over again and people lose interest. $uicideboy$ have not only changed their sound but essentially created their own path within the music industry. Their older music wasn't different, but more so needed refining and polishing which they have reached since the late 2010's. Since they haven't really switched up their sound too much other than one off tracks here and there but still they retain that ravenous fanbase. I don't think this album is going to go down as their best but their music always tends to be a slow burn with me so I'll appreciate it the more I listen. Only true downside that sticks out to me is the fumbled Night Lovell feature. Dude usually murders in conjunction with the duo but this time his verse falls awfully flat. Listen 2: $uicideboy$ is going to be (if not already) one of this generations non-mainstream sounding cult artists. Such a unique sound to them and I have never heard anything remotely close to this on any radio. This album is the definition of "eating good". It's some more catchy verses and dark beats in their trademark style. It often seems to me that they are just astonishingly good with coming up with catchy choruses but then use them in the verses instead. Almost taking a more pop philosophy of making everything as catchy and memorable as possible. There is a reason why pop music so mainstream and it's because of catchy elements and melodies. $b$ use similar aspects of catchy song writing but push even further by straying away from much repetition. There is just countless moments on this album alone that are extremely memorable and it's not even the chorus.

Loved the singles coming into this. Was extremely excited to see what they would put out into the first major release. Downside is the songs that weren't already released weren't as good as the singles. They showed their cards a bit early. Of course, those singles are also part of the album and make up a pretty good portion of it. As for the release of the album, I am disappointed because I didn't get something great to chew on. I have already gotten the taste of the good stuff and sad this didn't have more of it.

Just the Deluxe Tracks One of those deluxe's where it just comes back even harder, packing an even bigger punch. Djo is slowly building a reputation in my eyes as one of these cult artists that may never be back to the mainstream like he was with "End of Beginning" but will have a dedicated fan base that will be around for years to come. As long as there is some continued creativity like this, idk how anyone that enjoyed his last few albums wouldn't continue to listen to his work. Pretty rare, but I do think this is a case where the deluxe outdoes the initial release

I really hope her material reflects a previous time in her life. She writes excellently about toxic relationships that she has gone through/is going through, but jeez, hope she can get the help she needs. From the outside looking in, it seems like they are often both at fault, hurting each other. As music, this slaps. The instrumentals are a greatly modernized version of this pop rock from the 2000's and it's hard not to appreciate the delicacy that goes into it and the lyrics. Additionally, Lola's vocals and melodies are becoming increasingly refined, enhancing the overall experience. Definitely her best to date. Hopefully, she keeps this improvement with this creative process, both for the sake of her music and herself.

Love a lil side quest like this. Gus has always made dance tunes but really embraces the dance side of his music here. More clubby, more fun, more Gus. What's not to like.

This is a band that is truly maturing as a whole. I have listened to everything they have ever released, and it's a great feeling to see a band age well like this. The dissonance in their music is unmatched, particularly given their large following. In a way, I see them as a successor to Nirvana. A soundtrack for a newer generation's hopelessness and melancholy. This album, in particular, employs innovative techniques to interweave key changes and unique instrument blends, keeping its traditional "Sweater Weather" style fresh and engaging. Additionally, it features songs that can be enjoyed on their own as great singles and work well as a full album. The only main downside is that it is a bit long. With more somber or ambient rock/pop that this genre sometimes delves into, it can start to feel a bit lengthy. That said, checkpoints like Planet, Mama Drama, and Stupid Boy, throughout the album, do keep it refreshing.

The varied use of instrumental ideas and textures, along with different vocal styles, seems to bode well for this record, as it suits its narrative. There may be more that could have been done in total. Keeping an album centered on a specific sound is obviously a challenging task, given that one must maintain the album's focus on its theme while also introducing new ideas to prevent it from becoming dull. Short albums often result from this, as artists struggle to create an ever-evolving sound that doesn't stray too far from the beaten path. At 47 minutes, this is by no means a short album and often delivers on that evolution. As a whole, however, some of the core elements remain too similar. As I alluded to in the opening paragraph, this album achieves a specific vibe and usually succeeds. The soft, sunbathed sound they go for here often leaves me unengaged with the lyrics, as they don't seem to have much weight on the enjoyment of the sound. I think that for specific genres, it can be both a blessing and a curse, as lyrics can make or break your work, such as in rap. This brand of pop is the opposite. The lyrics can be good or bad, but they won't significantly affect my opinion. Not unless the lyrics are just downright horrendous, which they aren't here. The topics generally stick to relationship-related things, but do step out of the box on "Personal Cathedrals," where they sing about the materialistic and selfish lifestyle people live. A topic that isn't usually explored in pop music like this, and I think it works well, being the best-written song on here. It's challenging to categorize this genre as a whole, as it does have some range in its instrumentals; however, I prefer to describe this type of music as Sunflower Pop. A warm feeling and glow, which is entirely fitting considering the name of the album. "Pretty Places" is a prime example of this, as it evokes the same great feeling as other songs I would classify as similar, such as "Waterfalls" by TLC or "Unwritten" by Natasha Bedingfield. There are others, but the point is clear. The closer, "Hold Out," also does a standout job of this, but is much softer, with almost a sadder feel to it. The musical equivalent of a supportive hug. A few songs on here miss at points, with the major one being "Paradise". The pre-chorus absolutely smashes it, being catchy and featuring a great build. The backing features wavy synths, but when it reaches a climax, the synth abruptly fades away, and they simply repeat the phrase "Paradise" over and over again. Disappointing to say the least. A constant use of general guitar and oo-ing and ah-ing throughout here also causes several songs to blend. There is a bass on here that I would typically like, but given the vibe of the album as a whole, it feels out of place. It's most prevalent on "Lucky to Get Him" about halfway through the song, where there is a much more gritty dance part. If this style were embraced elsewhere throughout the album, I think it would work better. However, on this song in particular, it feels a bit out of place, even though it doesn't necessarily sound bad by any means.

Listen 1: Time to break out the low rider. Ramirez COOKED with this. I didn't hear one buzzy bass (not that I don't like them) this entire album. Masterclass in focusing attention on fitting a vibe. Listen 2: I made a mistake in the previous portion of this review. There are several buzzy bass filled songs on this but they are all real bass (from what I can tell). Nothing electronic (from what I can tell). The skits on this thing are goofy as hell. Whoever the host is played out those parts perfectly. The end of the album is beautiful too. Instead of just going out with the band jamming, the crowd joins in with the clapping? Perfect way to wrap it up. Rocci's features on this are also killer. The use of him on here is second to none. Utilizing a voice exactly for what it was made to do. Crispy. 1 Week Later: Loved it from the first listen and it has only grew on me. Such a distinct sound on here that has a specific place and feel to it. Ramirez also just has this natural 90's sound to him that slots perfectly into the horns and featuring vocals.

Seems to be their critical magnus opus relative to how their work is usually viewed. For good reason as well. As a long time AJR fan, this hits in every way I want it to with The Big Goodbye being a fantastic beat and overall song. These guys just refuse to make the same thing over and over again and while many people may disagree with that, I don't think I have ever heard them make a song like The Big Goodbye or explore the calm nature of past songs like Turning Out with more care like a majority of this EP. A good way to cap off the summer.

I think I just love his style of music. After yustyna, I had a feeling it wasn't just a one-off, and I was right. His style is obviously not traditionally critically acclaimed, but something about it just resonates with my teenage years, when I listened to EDM and this gritty and dirty style, which I hadn't found before in the genre. Ultimately, I think I love music that is adjacent to other music I already like, but doesn't remind me of anyone directly. This way, I don't feel it's repetitive, yet it doesn't feel weird since it's so out of the ordinary from my usual listening habits. Artemas has that exact niche with me. LOVERCORE just further proves that for me. It doesn't sound exactly the same as his previous work, but it's still in that same vein. Feels fresh but still dedicated to his signature production and vocals.

There are several Pouya songs that I really like/love, and a few are even on this album, but I had only listened to one of his other projects in full prior to this one. I really wanted to give this a good shot since I have some deep love for "Void". Listening to albums that are even 7-8 years old is fun, but sometimes even the aging of an album can start to crack open after only a few years. Not at any fault of his own, as timeless albums are something that nearly every artist chases to some degree, and only a few will ever achieve. Being a product of your time is a part of being human, as we are built by our experiences and the culture that surrounds us. Even modern timeless classics are still modern. How today's generations look at classical music from centuries ago, people will look back upon timeless music from now to a similar degree, regardless of how timeless we say it is. Pouya's album does age itself in just this 3/4th decade since its release, but where it succeeds, it does the heavy lifting. Starting with the weakest aspect of this thing. The lyrics. Bad lyrics have always been around, but the latter 2010s hip-hop scene had a pandemic of its own before COVID. Pouya has come down with a bad case of it here, as the lyrics center around the typical stereotypes of the time, like haters, success, money, and women. Music will always explore these topics, but Pouya exhibits a distinct characteristic of late 2010s rap, where nothing is actually being said when he raps about these subjects. Not only that, but it bounces around from one to another at a whim's notice. I've seen worse regarding that ladder point, but it still exists pretty persistently on "FIVE FIVE". Even the introspective sequel, "Suicidal Thoughts in the Back of the Cadillac, Pt. 2," doesn't really deliver on any great lyrical ability. He does stick mainly to his mental state and messed-up past, but it isn't written in a way that positions him as a poet. There are three main styles of instrumentals on here. The 2010s' gritty trap banger, featuring a southern-influenced guitar tinge over trap beats, and a calmer, subdued electronic production. Some of the songs have a mixture of these. The main culprit for the 2010s gritty trap banger is "Don't Bang My Line". Featuring Night Lovell, he's rather beside the point. The synth in the background plays throughout the entire song and undergoes a change only at certain moments, when a filter blocks out the higher frequencies. To make electronic repeating production feel more organic, a backlog of properly mixed effects needs to be applied. "Back Off Me" is the prime example of how to do this right. Still aggressive in nature from a production standpoint, the bells used at multiple points in the song have an expansive sound, dancing around your speakers instead of remaining static. The southern-influenced guitar tinge complements the album nicely, with songs like "One Time" and "Aftershock" utilizing it at the forefront to bring raw emotion to the track. Something the more electronic tracks fail to do so at points. The calmer electronic production is sparse but presents itself quite well on "Weighting on Me." A strength for Pouya is his ability to write catchy choruses. The worst chorus on here is still good on most rap records. There is one exception, however. On "Weighing on Me", Pouya repeats the same sentence multiple times for the chorus. This practice has its place, but if overdone, it makes it dull and boring. I think Pouya could have pulled it off a bit better with 20% less chorus and 20% more verse in this case, as the song has all the right components around it and would favor verse-heavy lyrics. On the other hand, "Aftershock", "Void", "Handshakes", and "Back Off Me" have A+ work in this field. "Void" is a masterclass in crafting an addictive yet speedy chorus with a melody that defies many traditional formulas. The last two have his signature choppy flow, but break it up with a word or words that sway the melody before he resumes his typical pace. This break in the action creates fun and memorable choruses.

More time to fully flesh out "THY WILL BE DONE" would have been nice. Serving as an immediate follow-up album to "THY KINGDOM COME", this Christmas release lacks the refinery that this rap machine typically provides. I'm sure it comes naturally to them as well to a degree, as they have been delivering music for so long, so consistently, that they have a knack for being able to put together good songs without a ton of reflection time that other artists seem to need with years between albums to deliver something unique and interesting. $uicideboy$ gives you a live broadcast of their change as you see the good, bad, and the ugly in real time with their frequent releases. Due to this, sometimes their projects may miss a little. Overall, I'm okay with this. If an artist is going to take frequent breaks to really find the exact sound and nitpick what songs they release, I expect high quality every time. If an artist always shares their art regardless of whether it's their best or worst, I respect that in its own right. Not everything needs to be the Sistine Chapel. By now, every fan of $b$ should be familiar with their lyrical content considering their lore. This album isn't really any different in that respect. They touch on several topics that they haven't been afraid to explore lyrically before, like their drug addictions, friends turning to foes, anxiety, depression, and their come-up. "Old Addicts, New Habits" and "Angel Grove" are the real standout picks for how they are written lyrically. The former's detailed depiction of being in New Orleans while being depressed, even though they are finding success, paints a vivid picture. Ruby then contrasts it to being bored, but that's better than being on drugs and blacking out. On "Angel Grove", Ruby proposes hijacking a plane with an atom bomb and crashing it into the ocean to save the world. The real kicker is that it's a plot twist, considering how much of society would look at someone with a ton of tattoos that also makes music like $uicideboy$. A textbook example of 'don't judge a book by its cover.' The musical elements of this thing are all over the place. From the vocal effects to the instrumentals to the singing and rapping. They do diversify the sound. Don't get me wrong, however, as a majority of the album is aggressive and probably more aggressive than their last few outings. The complex layering of vocals on songs like "Leviticus" and "Angel Grove" is refreshing, as they consistently find new ways to showcase their vocals. They aren't the best singers in the world, but I would be hard-pressed to name someone who has a wider range of ways their vocals are presented. The unfortunate part of this is that sometimes it doesn't land properly. Taking a step back, the album's last two songs, "Hypernormalisation" and "Fuck Ups", contain some notable missteps at several points. The vocals, especially on "Hypernormalisation", miss quite heavily. Ruby delivers some great lyrical content throughout the album, but often seems to misjudge his tone in relation to the beat. "Fuck Ups" shares this same issue to a degree but also features a half-baked melodic synth that is rather distracting from everything else going on. Then, to round off the album, Ruby has another moment, becoming tone deaf. To end it off on a good note, "BLOODSWEAT" fully gives me what I want from them. Modern hip-hop finds itself in a challenging position, where people still adore the mainstream rap of the late 2010s, but anything that resembles it now is often forgotten or considered a copycat. Artists need to get creative to find ways to advance a genre that is struggling to find its creative space in the mainstream of the mid-2020s. You can't get too crazy with the changes either, because otherwise, you may ostracize fans who may not like something too different from what they already recognize as classics of the genre. $uicideboy$ does have some leeway with this, considering they have such a cult following, and they don't follow mainstream trends of rap. "BLOODSWEAT" features a bass that is perfectly suited for this forward-thinking pursuit of the genre. Not entirely original, as I have heard similar effects before, but this song effectively utilizes distortion on the bass when playing specific notes, showcasing precision in the production rather than simply applying effects to an instrument or synth and hoping for a decent sound. This song also serves as the catchiest. Something I have always loved about $uicideboy$ is their ability to create songs that sound like a nonstop chorus. Where every single melody and lyric is an earworm. "BLOODSWEAT" is the definitive answer for people looking for that kind of song on this album.