Sean Sharp's Diary

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.