Sean Sharp's Diary

DLG. always comes in with some very intriguing production but often misses on making a song stick. That glue that keeps you coming back. This entire album has the backbone and production to leave a lasting impression but a lot of the vocal melodies, and maybe his voice altogether, just fade into nothing. It feels aimless while the production feels full of purpose. If he can learn to balance these two elements a bit more, I think he can really make some great tunes.

They may need a hiatus. All of my favorite work of theirs is when I haven't been bombarded with new music by them over the last several years. This could be me growing tired of their style year after year. Or it could be that they do the best when they save up some of these half-baked ideas and put them all on a longer album when they've had more time to flesh them out. When they were brand new, I listened to everything they put out on repeat. By the time they released World War Joy in 2019, I had lost that same excitement for their releases. Then they went on break for 3 years and released So Far So Good in 2022, which was my favorite album of that year (I know, crazy). Now they're slipping down that same path where Summertime Friends was pretty good, then No Hard Feelings lost me a bit. Breathe feels like an improvement, but it lacks any sort of creativity from them. What made So Far So Good so good was the fact that they were trying new ideas and sounds. When they go on these streaks of non-stop releases, that creativity is refocused into pumping out traditional pop/future bass EDM songs, mimicking their golden years. It's time for them to move on from those days.

I have never been to a party so early before, and I'm happy he's getting his praise! I first discovered Leon back in 2018, and now, 7 years later, he is finally blowing up. Feels like a long time coming. MUTT was pretty good, obviously, and this EP plays well as a mini-successor to that album. Some neat production on 5MoreMinutes that I've never heard before, but couldn't feel more R&B. Baccarat also deserves its props for that guitar. Oh, lord, does it hit right. It's smooth and polished overall and delivers exactly what you would want Leon Thomas to be doing.

Made for TikTok but still hits. I would almost call this montage or supercut music. Exists to accompany cool edits of sports or TV or movies or whatever. Diplo wisely used Project Pat on this all over the place. For some reason, Project Pat is the perfect rapper to use for these types of edits.

Back with their unique twist on Future Bass, MEMBA are still stuck on what made them stand out in the first place. They first emerged with a brand of EDM that was a nice offshoot of the typical David Guetta or Martin Garrix wannabes. Several years down the line, and they can't seem to find a new path to follow. I'm starting to fear they will fall into a washing machine of their Eastern-influenced masked version of the genre, not really innovating.

It's been a few years since ILLENIUM has dropped and I can't say you could really tell it's been that long. These tracks could have been made at the same time as his self-titled effort and I would not have known the difference. For a three year gap, I was really hoping for more development, especially given how formulaic the electronic genre is right now. Not sure if this is too many hands in the pot given the TWENTY-THREE different producers that worked on this behemoth. A little stat breakdown of producers per album. "Ashes": 1. "Awake": 3. "Ascend": 11. Starting to get a bit excessive. "Fallen Embers": 12. "Illenium": 11. "Odyssey": TWENTY-THREE! Where even is ILLENIUM here? There are more producers than tracks. This many different people working on something that ILLENIUM could have made with Dabin is insane. It still sounds nice and pretty and polished though. Like to a tee. This album could be a baseline for AI learning languages to produce this genre. It is all "perfect" in the most boring way. My favorite song from his last album was "Shivering". Great change to the typical pace of his genre and perfectly mixes a harder rock style featuring Spiritbox. I think it was pretty apparent that he had struck a new working medium and this time he returned with two more attempts at this. "Slave to the Rithm" with Bring Me The Horizon and "War" with Lo Spirit. "amo" by BMTH is one of my all time favorites due to it's excellent mixture of rock and the electronic sound sweeping the airwaves at the time of it's release. Maybe not a BMTH diehard fan fave, but to me it's timeless. Seeing them on here gave me an optimistic outlook. Hearing the song was somewhat opposite. The mixing on this rock-edm hybrid must be a nightmare to do, even with 23 people, with all the blazing synths, screaming vocals, and heavy guitar. So the beginning of the song suffers heavily. As far as the rest of it, the magic just isn't there like on "Shivering". "War" does pull this off a bit better but I still doesn't capture that same flame. The features slathered across here have quite the track record and I'm sure ILLENIUM is aware of the different crowds he is pulling with these. Mako, Ryan Tedder from OneRepublic, Elley Duhe, Zeds Dead, Dean Lewis, Bastille, Dabin, Alok, the aforementioned Bring Me The Horizon. He even got Kid Cudi. The wide range of vocal style is what does keep the run time refreshing. Just a ton of people with great voices that are easy to listen to. "I'll Come Runnin" did catch my ear as I'm down bad for Zeds Dead's production style. "Not Ordinary" with Kid Cudi also accomplishes what it needs to for me. It doesn't embrace the wall of music a lot of these other songs have. Don't get me wrong though, it still has that big production feel to it. I'm not quite sure if ILLENIUM will ever do anything different. I simply ask for one excellent song each album. As long as I get that, I'll be happy.