Ella Mai "Ella Mai" Album Review (150th Review) (LAST REVIEW ON THIS BLOG!!!!!)

Alright guys, it’s my 150th review!!!!! Can’t believe we got here this quick! And also, as I mentioned yesterday, this is my LAST review on this blog! After this, I will be moving to YouTube to create video reactions/reviews, so I hope you will check them out. Regardless, to celebrate 150 reviews, as well as the end of reviews on this blog, we are now gonna get into an album I’ve been looking forward to covering: it’s the new Ella Mai album…"Ella Mai," it’s self-titled.

This is the debut studio album from rising R&B singer-songwriter Ella Mai, who I won’t introduce too heavily because I already covered her latest EP, “Ready.” In my review of that EP (my 120th review, matter of fact), I mentioned how it was a good showcase of Ella’s gorgeous vocals, but that DJ Mustard’s production was mostly lacking throughout the EP and not doing her any favors. Since she released that EP, however, she has become one of 2018’s biggest breakout stars: “Boo’d Up” has peaked at #5 on the Billboard Hot 100 (it also landed at #15 on the Year-End Hot 100), and her follow-up single “Trip” has peaked at #11 on the Hot 100 (while also narrowly landing on the Year-End list at #92). She has also parlayed the success of those songs into some bigger features: she appeared on the song “24/7” with Meek Mill on his new album “Championships,” and she also appears on the song “Tiiied” with J.I.D and 6LACK on J.I.D’s new album “DiCaprio 2” (which I covered in my recent 4-in-1 review, by the way, great record).

Now, while I had my critiques on “Ready,” I mostly chalked them up to Mustard’s production and felt like Ella showed plenty of vocal potential throughout the EP, so I was still relatively excited going into this album. Not just because of her vocals, but because this album also featured “Trip,” the follow-up single that I really enjoyed, and the song “Naked” as a bonus track, another one that’s gotten plenty of repeat listens out of me. Given that the production seemed to be doing her more favors on those songs, and that “Boo’d Up” would be on here as well, I was excited to see if this debut album would keep things in the “R&B throwback” direction that’s been working wonders for her biggest singles. So, here we go, Ella’s in for my 150th review, will she succeed? Let’s take a listen and find out:

Emotion: A super short track, Ella kicks off with a small poem that continues throughout the album, defining what “emotion” is and referring to it as a rollercoaster. Hell yeah it is, girl. Either way, as a 12-second poem, there’s not much to say about it other than that it serves its purpose to kick off the album. Next track.

Good Bad: The first actual song on the album, Ella talks here about the game of Charades she and her boyfriend are playing with each other’s hearts, and basically being unapologetic towards him. And it’s a very punchy, upbeat track with electronic percussion and some light hi-hats. I love the vibrant pianos as well on here, and Ella really sells the song with her vocals. She sounds gorgeous and so smooth on here, she rides the beat so perfectly, and she comes through with catchy and fun melodies throughout the song. It feels like a solid blend of the old-school R&B vibe Ella goes for, while also featuring some slick trap crossover as well. Really strong start to the album.

Dangerous: A track about a “dangerous” love that has Ella thinking about making their relationship last forever, this is another song that feels very heavily electronic, while also having a very slick bassline and a super punchy drum beat that kinda reminds me of something you’d hear in the 2000s out of Beyoncé or her then-group Destiny’s Child. It’s a song with plenty of fun grooves, and Ella’s vocals are undeniably charming on this one. The heavy percussion does drown her out just a little bit but said percussion is just so fun and catchy that it doesn’t detract from my enjoyment of the song. I like this!

Sauce: A very confident, bouncy cut, Ella talks here about how she just met someone who’s already singing her praises without knowing if she’s a good or bad girl, and she warns him to let her know if it’s gonna be too much for him to handle. And right from the start, I love the synth pianos on this rather down-tempo track, and the very smooth, relaxed vibe of the song is really working for me. Ella’s vocals feature very effortless charisma, as one would expect, and I think the hook is one of the best on the album. I really dig what Ella’s going for on this track!

Whatchamacallit (feat. Chris Brown): A collaboration with the infamous fellow R&B star Chris Brown (not their first, by the way), this is a song that basically talks about a secretive relationship between two people, and they talk about how they know it’s wrong and could “wait until she’s single,” but how the mischievous nature of the affair only makes them want it more…to which I want to remind my readers that cheating is wrong and can mentally mess someone up badly so please don’t do it. Thank you. Anyway, as much as the message of the song rubs me the wrong way, I can’t help but fall in love with the production on this one. It’s just too groovy and hypnotizing, and it’s easy for me to fall for. I can kinda see why people wouldn’t like this, it does feel like far too many songs that Chris Brown’s name has been attached to, but dammit, Ella and Chris sound so great, and it’s just too fun for me to ignore. Gah, I hate that I’m not tougher on lyrics because I shouldn’t be giving it power, but damn, it’s so catchy.

Cheap Shot: Here, Ella talks about how a guy isn’t seeing her for what she really is, and is basically using her for sex. It’s a fascinating track, in that it’s a little bit more guitar-lead than I expected. It’s another slightly more low-tempo track, and it does take on a rather pumping feel when the beat drops, but it’s actually a nonetheless smooth track with solid production and typically beautiful lower-register vocals from Ella. I’ve already said this a few times, but Ella can sell a number of these songs with her vocals, and that’s exactly what she does here. Even over a somewhat standard instrumental, she keeps things interesting with her catchy melodies and smooth sound. I really like this track!

Shot Clock: A song where Ella talks about how we shouldn’t take anyone for granted and how people won’t wait on us forever, she actually interestingly interpolates Drake’s “Legend” on this track. I dig that song, so respect, Ella. With the electronic instrumentals and somewhat slower sound, this one does feel a bit like the last track, but it nonetheless remains bouncy and emphatic. And once again, I think she sells this song by just sounding so beautiful on it. Her vocals are charismatic and smooth, and she reminds us that she has a great ear for melodies on this one. It has a strong old-school feel to it, and it’s a really fun listen.

Boo’d Up: Now, as some of you may know, I reviewed Ella’s EP “Ready,” which already featured this track. However, naturally, Ella included it again as it has become very popular of late, so since I already reviewed it, and my thoughts have not changed on it, I’ll just copy and paste what I said in my previous review: “I have played this song on repeat too many times to count already. I already mentioned at the beginning that I absolutely adore this song, so I’ll try to keep this part short: this very romantic cut is a beautiful piece of R&B goodness, where Ella sings about someone that makes her feel like the greatest person in the world. I love the click-clacking percussion, Ella’s vocals are beautiful, and the hook is too sticky: it gets in your head and won’t get out, but luckily, it’s something you won’t mind having in your head. Again, one of my favorite Top 10-peaking singles of the year, it’s definitely a really lovely track that starts off the EP wonderfully.” Only difference is that this doesn’t start off the album, but nonetheless, my thoughts haven’t changed, still love this track.

Everything (feat. John Legend): Ella collaborating with John Legend? This is the singing combination all of our hearts need. And it’s a very sweet track about being so in love with someone that you trust them with all of your pain and struggles, and are going to have everything with them. It’s a slower track with groovy, sensual synth pianos and typically smooth vocals from Ella, though I’m not as crazy about some of the 808s that come in on the chorus. Luckily, John Legend pops in and his vocals are what you’d expect…that’s a nice way of saying they’re beautiful. Not as big on the chorus on here, I don’t think it’s as catchy as some of the others on the record, but I’m glad the song was still a great vocal showcase from two artists that both sound so amazing. Might even grow on me with a few more listens.

Own It: A much more raunchy, sex-driven track, Ella talks here about she’s going to “put the na-na in naughty” and have her boy begging her for more. Yes, guys, gals, and non-binary pals, the same woman whose heart goes “ba-dum, boo’d up” also “puts the na-na in naughty.” Get you somebody that can do both. And also, get you somebody that really does well with the old-school R&B vibe, because she’s doing it well with this one. It’s another slightly downtempo track, but super sensual and fun, and Ella’s runs throughout this song are gorgeous up against the 808s and smooth, light guitar grooves. Definitely dig this one!

Run My Mouth: Here, Ella talks about how she needs this person’s “satisfaction,” and how she’s an addict to this person. Even if they are a bad habit, she can’t get enough. Unfortunately, I’m not quite as in love with the production here: it’s a bit too murky and it does at times just feel like a very standard, 808-driven trap-flavored track. And yes, Ella sounds beautiful once again here, but I feel like the trap style of the song just doesn’t quite fit her as well in this instance. Oh, and the abrupt ending doesn’t quite do it for me, either. There are definitely things to like about the track, but I definitely think it’s one of the weaker songs on the album.

Gut Feeling (feat. H.E.R.): A surprising collaboration with the newly Grammy-nominated H.E.R., Ella talks about having a gut feeling about someone, and how this person’s touch just kills her. And this is another more sultry track with a light drum beat and very luscious piano melody. Most of the song is pretty light, but it definitely gets heavier on the chorus. That said, it remains compelling on said chorus, and Ella sounds lovely on the song. H.E.R. also provides some gorgeous vocals that fit nicely against the pianos here, and I think the two ladies play off of each other wonderfully. Really like this cut!

Trip: The second big single from this album, Ella describes this as going against some R&B norms: instead of talking about how someone has done the singer wrong, this is a moment where the singer talks about doing someone else wrong. It’s about being entranced in a relationship and apologizing for “tripping” on someone or hurting them. It’s another infectious and gorgeous piece of throwback R&B with beautiful vocals from Ella and an unbelievably catchy hook. Ella's melodies on the chorus get stuck in your head so easily, and the song manages to be emotional while remaining upbeat. I’m not sure it’s better than “Boo’d Up,” but regardless, it’s a worthy follow-up and a track I’ve already broken the replay button with several times over. Can’t wait to keep doing it more.

Close: An ode to a lover that Ella wants to keep close to her, and how no one else matters except for this lover, this one has more very silky smooth synth pianos and a lighter vibe, while also having some slick percussion as well. Ella’s more lower-register vocals remain gorgeous, and she sounds gorgeous up against the more sultry sounds here. I wouldn’t say the song has the strongest hook on the album, and it may not be one of the album’s strongest cuts, but I definitely think it’s got a very smooth, emotional vibe that really works. And perhaps the song will grow on me a bit with a few more listens.

Easy: What Ella’s described as an “emotional” song that she’s “most proud of,” this one sees her pointing out to someone that love is easy and they shouldn’t make it hard. She notes that this was special for her because she recorded it with her mom and grandma in the studio. That’s actually pretty sweet, I honestly wouldn’t have the confidence to sing in front of my family so I respect it. And the song is easily the rawest on the album, as it’s a rather simple piano-driven track. Naturally, with Ella’s naturally smooth vocals, she fits perfectly over an instrumental like this, but it also helps that the song just has a very emotional vibe to it that really works. Ella sounds smooth up against the piano, and she crafts what’s definitely the perfect closer to the album (well, outside of the next bonus track, but still, you get what I mean).

Naked - Bonus Track: A single apparently released before “Boo’d Up,” this song was tacked on to the album as a bonus track instead of being part of the main album. I can kind of see why it’s a bonus track: most of the time, bonus tracks don’t fit with the vibe of the main album, and given that this is an acoustic track, it doesn’t fit with what feels like a throwback to old-school R&B. Nonetheless, I adore this track: it’s about loving someone not just for their physical appearance, but for what’s behind all of their flaws, and Ella’s vocals fit perfectly up against the light acoustic melody. It kinda sucks this one didn’t take off as much as some of her other singles, but nonetheless, it’s a great track and a lovely finisher to the album. I’m glad Ella decided to throw it on here.

Overall, Ella Mai’s got herself a hit with her self-titled debut album. I’m glad this is my 150th review, and the last one on my blog, because this one was a lot of fun. As I’ve said before in my review of Ella’s last EP, her vocals are gorgeous and that doesn’t change here: she can sell songs with her vocals alone. But what really sells this album and makes it more compelling is that DJ Mustard’s production actually provides a better support structure for her and doesn’t feel like it takes away from her charm. It’s a loving throwback to old-school R&B with some interesting new twists to it, and it’s a great showcase of a new artist who, hopefully, will have some very real staying power. “Boo’d Up” alone has the potential to become a timeless R&B classic, and I’m hoping that with this album, people continue to listen to Ella’s music and enjoy what she’s coming through with. And for that matter, I hope her output continues: I see she’s already picking up big features, I hope that continues to happen and she keeps putting out good stuff because she’s off to a good start here.

As I said before, by the way, I want to once again thank everyone who tuned into this blog and checked out my reviews here. I’m not one for long speeches, so I’m gonna keep this pretty short: it was great getting started over here, and I can’t wait to grow, learn, and react to more music over on my YouTube channel. Thank you so much, everybody, and stay tuned because I’ve got plenty more coming in the future.

Favorite tracks: Good Bad, Dangerous, Sauce, Whatchamacallit, Cheap Shot, Shot Clock, Boo’d Up, Own It, Gut Feeling, Trip, Easy, Naked

Least favorite tracks: Run My Mouth (if I had to pick one)

Rating: Excellent

4-IN-1 ALBUM REVIEW (Lil Yachty, Takeoff, Imagine Dragons, J.I.D)

Hey everyone, so as you may know, it’s December, and so it’s Year-End List time. I’m making some Year-End Lists on my YouTube channel (youtube.com/MattsRandomJourneys/), but before I do, I decided that instead of doing full-blown reviews of these last four albums, I’d just run through them in rapid-fire succession, giving quick sum ups on them super quickly and letting you know what I thought, that way I can see if they land on any lists. So, without further ado, let’s get started.

Lil Yachty, “Nuthin’ 2 Prove”

Lovely, another Lil Yachty album in 2018. Look, I like Yachty as a person: he’s funny, personable, and super chill, but given that “Lil Boat 2” wasn’t really that great, did we really need another album from him this soon? Well, apparently he thought so because we have this now, and the sad thing is that Yachty is still selling himself way short on this release. He’s stuffed this record with features, from Playboi Carti, Juice WRLD, Lil Baby, Gunna, Kevin Gates, Trippie Redd, and even Cardi B and Offset, but it almost feels like he brought them in because he’s compensating for something. It doesn’t even seem like he has charisma anymore, he just sounds bored most of the time, and he’s wasting some admittedly half-decent, video game-like trap production. Even on a song like “Riley From The Boondocks,” Yachty has some slick rapid-fire flow, but his performance is just so sleepy that it doesn’t even matter. And you know it’s bad for Yachty when a track like “We Outta Here!” has actual whisper rapping (which I'm not totally against but given Yachty's usual charisma, he shouldn't be whispering), or when a song like “Who Wants The Smoke?” sees him getting overshadowed by Cardi and Offset. Now, sure, Yachty does still have moments where he comes through, like on “Worth It,” “Everything Good, Everything Right” (outside of the somewhat obnoxious “ah, ah, ah-ah” on the chorus) or “Next Up,” where he actually plays to his strengths as a carefree, fun autocrooner, but otherwise, this is another moment where it just feels like Yachty’s succumbing to murky, low-level trap with a lack of personality. And even some redeeming songs have problems: “Forever World” has great vocals from Trippie and Yachty, and a lovely instrumental, but it has no business being five minutes long and that brings it down a lot. I’m sorry, I feel like Yachty’s surprise factor from “Lil Boat” is gone and, after three consecutive uninspiring albums, he’s gonna need to slow down his output a lot and really consider his next release more fully. Otherwise, he’s just gonna bring down what was a pretty promising start to his career.

Favorite tracks: Worth It, Everything Good, Everything Right, Next Up, Stoney

Least favorite tracks: Gimmie My Respect, Get Dripped, I’m The Mac, SaintLaurentYSL, We Outta Here!, Forever World, Nolia, Fallin’ In Luv

Rating: Awful

Takeoff, “The Last Rocket”

Just as Quavo got his debut album this year, Takeoff is gonna get his as well. The good news here, though, is that the album is 38 minutes and a tight 12 tracks, much better than “QUAVO HUNCHO” which was 66 minutes and 19 tracks, respectively. Unfortunately, that doesn’t mean this album is any more interesting: yes, Takeoff is a far more interesting performer than Quavo (he’s got the gruff tone and solid technicality to make him more exciting), but Jesus…have the Migos just collectively decided to make all of their songs the same, even when they do solo stuff that should sound different? I feel like this is the trap album that kinda defines the term “it’s so inoffensive that it’s offensive.” It’s so bog-standard that it’s just garbage. Yeah, there are a few cool lead-ins between tracks and some neat, spacey (ha ha) production here, but the songs themselves are just wash-rinse-repeat versions of each other, and I just wonder when the general public is gonna become tired of these guys. Outside of “Infatuation” (which is only really a favorite of mine for how goofy and bizarrely catchy it is), everything else just sounds so “been there, done that” here. I personally don’t even know where the Migos are gonna go with “Culture III” and how they’re actually gonna make it any better than their output this year, but regardless, Takeoff’s debut solo album “The Last Rocket” doesn’t make a convincing argument that these guys can handle their own records.

Favorite tracks: Last Memory, Insomnia, Infatuation

Least favorite tracks: Martian - Intro, She Gon Wink, None To Me, Vacation, Lead The Wave, Soul Plane, Bruce Wayne - Outro

Rating: Awful

Imagine Dragons, “Origins”

This album was pretty huge this year, but I’m not gonna lie, I’ve never been much of an Imagine Dragons fan. I disliked “Believer” and “Thunder” so much last year that I just roundabout ignored “Evolve,” so I wasn’t really looking forward to this. And right from the start with the track “Natural,” I just felt like this was gonna be another collection of overproduced electronic/rock mush from a group that seems to be too good at creating that. And yeah, there are a few somewhat nice-sounding songs like “Boomerang” and, especially, “Bad Liar,” and I can kinda get some of the appeal of this and understand why people listen to it, but again, it just kinda feels like overproduced white noise to me. It almost seems like the group had a big, anthemic hit in “Radioactive,” and have just decided that everything they’re gonna create from here on out is ESPN commercial songs. Even songs like “West Coast” and “Digital,” which had nice, lighter-sounding starts at first, turned into heavy, grating messes with annoying hooks and bland instrumentals. Furthermore, you kinda know the album’s gonna be pretty bland when the song “Zero - From The Original Motion Picture ‘Ralph Breaks The Internet’” is smack-dab in the middle of the album. They didn’t even tack it on, they put it in the middle because…I can’t even answer it, the song is too hideous to be in the middle of the album. And while most of the messages are good, the bonus track “Real Life” honestly feels conflicting to me: Dan Reynolds is telling this girl, who is mourning over deaths and mass shootings, to turn off her phone and enjoy the “real life.” So…is he implying that she should ignore the world around her and only focus on him, instead of being sympathetic over the fact that innocent people lost their lives? I’m sorry, but this all just feels so bland to me: it’s energetic yet hollow, and there’s not much that makes the album worthwhile if you’re not already a fan of the group. It means well, and the messages it sends are great, but I feel like these guys should spread those messages in a medium other than music…or in a different genre or something, just do something less bland, please.

Favorite tracks: Bad Liar, Only, Stuck

Least favorite tracks: Natural, Machine, Cool Out, West Coast, Zero - From The Original Motion Picture “Ralph Breaks The Internet”, Bullet In A Gun, Digital, Real Life

Rating: Awful

J.I.D, “DiCaprio 2”

Ahh, here’s the album I’ve been hearing so much about. J.I.D’s latest record has been receiving critical praise up the wazoo, and while I’m only familiar with J.I.D thanks to his appearance on Denzel Curry’s “TA13OO” album, I was pretty excited to see what this album offered. And, yeah, it’s as good as everyone’s been telling you. Right from the jump on “Slick Talk,” J.I.D. establishes himself as a very sinister but charismatic performer with catchy, rapid-fire flows and surefire confidence in his bars. He continues to show this on several songs throughout the album, such as “151 Rum,” “Mounted Up,” and “Hasta Luego.” His lyricism is also clever and hard-hitting on songs like the anti-drug anthem “Off Da Zoinkys,” and the more emotional “Workin Out,” where J.I.D talks about how things aren’t working out for him in spite of his success. And his production throughout the album is equally dark and sinister (and often emotional) on songs like “Just Da Other Day,” adding to his brooding and dangerous vocal performances. J.I.D’s features are also in top form throughout this album: A$AP Ferg’s hook is catchy on “Westbrook,” J. Cole contributes incredibly to the rapid-fire, lyrical destruction that is “Off Deez,” 6LACK’s fun flow (and Spyro reference) mesh nicely alongside Ella Mai’s typically smooth vocals on “Tiiied,” I like BJ The Chicago Kid’s soulful performance on the (R.I.P.) Mac Miller-curated “Skrawberries,” and “Hot Box” features some solid performances from Joey Bada$$ and Wu-Tang Clan’s very own Method Man, even if the song was a little too slow for me. Either way, I also got excited for this album because anyone that titles a track “Despacito Too” has my vote of confidence, and while it’s not my favorite track on the album, I do like the lyrical message of J.I.D being whatever he wants to be. All in all, this album is worth all the hype: J.I.D comes through with hard-hitting bar after hard-hitting bar all throughout the record, establishing himself as one of the more interesting lyrical rappers in the game. Definitely give this a listen if you haven’t already.

Favorite tracks: Slick Talk, Westbrook, Off Deez, 151 Rum, Off Da Zoinkys, Tiiied, Skrawberries, Mounted Up, Just Da Other Day, Hasta Luego

Least favorite tracks: Hot Box (if I had to pick one)

Rating: Excellent

So that’s nearly it for 2018 in reviews. I’ll discuss this next announcement later, but I just want to say that my next review, #150, will be my last review on this blog. From that point forward, I will no longer be posting reviews on this blog, as I’m transitioning to becoming a YouTube music reviewer/reactor. I hope you guys continue to check me out there, but for now, I want to say thank you to everyone that came along for the ride on this blog. I will be keeping it up so you can check out the old reviews, and I’ll probably still be using it for the “THINK PIECE” segment, so stay tuned for that. Otherwise, thank you to Blogger for hosting my first 150 reviews, and I can’t wait to make more over on the YouTube channel. Hope to see you guys over there.

MihTy "MIH-TY" Album Review

Continuing on with another very quick review, it’s time to take a look at the collaborative album from Ty Dolla $ign & Jeremih, simply titled “MIH-TY.”

As I said, this is a new, collaborative project from California singer/rapper Ty Dolla $ign and Chicago singer/rapper Jeremih. I don’t really need to introduce either of them because, if you’ve been keeping up with this blog, you’ve probably seen these two names fly around a good bit. With Ty, I covered his last album “Beach House 3,” along with the bonus tracks on the re-released Deluxe Edition of the album, and he’s also been one of the most prominently featured artists on the albums I’ve reviewed here, appearing on albums like “Coloring Book,” “The Life of Pablo,” “Heartbreak on a Full Moon,” “Culture II,” “beerbongs & bentleys,” “ye,” “KIDS SEE GHOSTS,” “Liberation,” “K.T.S.E.,” “Scorpion,” “15” and “FM!” (fill in the artists on your own accord). This year, he also earned his first #1 Billboard Hot 100 single as a feature on Post Malone’s “Psycho.” And while Jeremih hasn’t been seen as often, he’s kept himself relevant around here with features on “Coloring Book,” “Views,” “ye,” and Ty’s very own “Beach House 3.”

Admittedly, this sounded like a fascinating collaboration to me, because even if Jeremih isn’t an artist I listen to often, I do think he’s a very nice vocalist, as is Ty, and I think these are two guys that could sound really great together. And fortunately, while they have touted this as a full-length studio album, it is a pretty breezy 35 minutes spread across 11 tracks, so it’s not like the duo is gonna be overstaying their welcome throughout the duration of the project. And given the length of “Beach House 3,” as well as all of its unnecessary interludes, it’s a welcome reprieve that Ty (and his friend, Jeremih) are keeping things tight here and reducing some of the filler that stopped that album from reaching its full potential. So let’s listen in to this and see if it’s as fun as it sounds on paper:

The Light: Said to be a “casual, sex-fueled” song, this one has some more bouncy production and a rather groovy bassline. It’s not the most enticing production I’ve heard out of a song like this, but it’s not terrible. Ultimately, though, I’m not too crazy about Ty’s vocals, it almost sounds kinda silly hearing him sing “let’s have sex” on this one. Jeremih really shines here, as his higher-register vocals are more enjoyable, and it almost feels like he takes over the song. Overall, I just have mixed feelings on this cut: there are some good things about it, but it’s not the most memorable thing on the album, and it’s not really a hard-hitting starter.

Goin Thru Some Thangz: I had no idea people still spelled “things” like that. Huh. Anyway, this is a song about a beautiful woman who is, as the title suggests, “going thru some thangz.” Figure that out. Anyway, this is a darker, murkier trap banger, and while it doesn’t sound terrible, I don’t think Jeremih’s high-pitched, filtered vocals really mesh quite well with the instrumentals here. Fortunately, though, Ty sounds more at home on this one, and I think this is a better showcase of his vocals than the last track. Still, though, it’s kinda disappointing because they aren’t sounding as strong together as I had thought. Still, it is early in the album, maybe the next track will do a bit better.

FYT (feat. French Montana): Oh, French Montana is here…never mind, we’re doomed. All jokes aside, this is a song about flexing and getting a girl’s attention with diamond rings, Ty showing no subtlety by literally saying “I’m fucking you tonight” on the hook. Smooth, Ty, smooth. And while the somewhat slow-paced production is chill and very fun, French Montana still sounds a bit boring. Luckily, he’s not here long enough to ruin things and Ty sounds smooth as hell on this track, even when he says that “I’m fucking you tonight” line on the chorus. Jeremih also sounds really good, not letting his vocals get too high or filtered to sound out of place. It’s good to see that Ty and Jeremih are actually showing some solid chemistry with this track. I dig it.

Perfect Timing: Yeesh, with a name like that, I was praying NAV wouldn’t be on this thing. Thank God he’s not. Anyway, this is another sex-driven song, go figure, and it sounds like another slow jam type of track. It’s somewhat glitzy and very pretty, and I do think that Ty and Jeremih have some good moments of smooth chemistry throughout it, but I honestly think the song is almost ruined for me by the hook. Jeremih’s higher-pitched vocals just kill the vibe for me, and I think it could’ve been better if Ty handled it. It’s definitely not a bad track, but that hook could’ve been better if Ty was on it.

New Level: A song about trying to put a girl on a “new level” and show her what she’s really worth, I like the more fast-paced production on this cut. It feels different enough from the last few tracks, and even if it doesn’t really do a whole lot with the typical trap-rap formula (which admittedly is hard to do in the day of potentially reaching “peak trap”), it’s still catchy and head-noddy fun. And Ty and Jeremih both sound great together: they both show some smooth runs throughout and counteract each other nicely, with Ty’s lower register and Jeremih’s higher register actually juxtaposing nicely here. It’s short, but I like this one!

Take Your Time: Here, Ty and Jeremih talk about how they want a girl to “take her time” on them. Ty even points out that he will curve other girls until this one is ready. I myself have had the mindset of waiting for a girl to be ready several times before, so…right on, Ty. And this is another more dark, sinister-sounding cut, which is certainly a bit different, but the problem is that the song just sounds a bit too standard to me. And ultimately, there are a few decent vocal moments here, like Ty’s vocals on the hook, but overall, some of the song just sounds a bit goofy to me. Some of the inflections in Jeremih’s vocals just sound silly, and even Ty only really sounds great on that chorus. It’s not precisely bad, but it’s probably one of the lesser tracks on the album.

These Days: Here, the duo talks about how much they’ve changed lately. I’d go a bit deeper in explaining these lyrics, but honestly, that isn’t the point of this particular record, so why try? Anyway, this is another very slow-paced track that sees Jeremih and Ty both sounding very smooth and lovely. Even if some of the slower production is a bit similar to some of the other songs here, the song really succeeds for me on the strength of the vocals of these two. I feel like these two can really sell a song with their vocals, and they show it with this song. It’s a track that has a catchy enough hook, great vocal performances, and doesn’t overstay its welcome, either. Rock-solid track.

Surrounded (feat. Chris Brown & Wiz Khalifa): An R&B-flavored track that even has a powerhouse of features in Chris Brown and Wiz Khalifa, this is another song about having girls all over you. Again, no shock in the lyrical content at this point. And the production, honestly, is just really standard stuff to me. Your basic, somewhat brighter trap banger that doesn’t do much different with the formula. Chris Brown sounds mostly good on here, but some of Ty’s inflections on his verse just sound really goofy to me. Jeremih sounds pretty decent, too, though having Chris Brown on the song only reminds me that he sounds just like a Chris Brown clone. Wiz Khalifa’s verse also has some fun flows, but he’s not around enough to leave a lasting impression on me. Again, some things I liked about this, but it definitely could’ve been a lot better.

Lie 2 Me: With this track, the two are talking to a girl (of course) and reminding her not to lie to them. And right off the bat, Jeremih’s unfocused flow not only annoys me, but he almost sounds like Teo from that “Rolex” song that got popular a few years back. The bell-driven production here is almost a bit grating to me and, while Ty sounds nice enough, his vocals don’t really leave a lasting impression. I definitely think this is one of the weaker tracks here, and it reminds me of one of my biggest problems with this album: Ty and Jeremih generally sound good, but together, they end up being a little less than the sum of their parts.

Ride It: Hmm, I think with a title like that, I don’t need to explain what it’s about. Given how much we’ve been talking about girls on this album, we’re definitely not talking about cars when we say “ride it” on this one. And again, this is a song with very standard trap-production: a very grating piano melody and the same basic hi-hat-driven production that you may expect out of the genre. And remember how I said earlier that Jeremih sounded like a Chris Brown clone? Yeah, well now, he sounds like a Swae Lee clone. What’s worse is that he sounds like he’s cloning Swae’s vocals from the first “SremmLife,” which were far more underdeveloped in comparison to what they are now. Once again, Jeremih kinda relies on Ty to save the song, and sure, Ty sounds good, but he doesn’t really “save” the track or make it much better. This is a track that could’ve been improved a lot.

Imitate: Described as a “bedroom banger,” this more slow-paced song sees the guys swearing to give a girl anything she wants since their feelings for her can’t be imitated. And this certainly isn’t too different in terms of production, being another trap song akin to a slow jam, but it’s actually got a nicer edge to it thanks to the groovy, bright synths, and overall smooth feel. Jeremih and Ty also have good chemistry together and, for one of the rare times throughout this project, don’t feel like they overpower the other. They both come through with clean, fun, catchy vocals, and the song succeeds for it. It’s definitely a solid end to the project.

I dunno, though, I don’t think this album really did it for me in the way I was hoping for. It just happens that a collaboration between the two was better on paper than in practice, and that, as I said before, Jeremih and Ty Dolla $ign just happen to be less than the sum of their parts. Yes, I like both artists from a vocal standpoint, but I feel like there are only a few instances where the two of them can put it together on the same track. And when most of the production on this thing gets stale as quick as it does (and the songs lack lyrical substance), it’s kinda up to these guys to sell the songs with their vocals. Unfortunately, there’s only a finger-full of times where that happens: at its best, there are those rare instances where Jeremih isn’t yelping, and Ty sounds smooth along with it. However, there are some middle points where it feels like Ty does the heavy lifting while Jeremih brings in some out-of-place vocals and filters, and there are some low points where Jeremih just sounds like a clone of several other artists, and Ty’s moments don’t stick enough to make up for that.

What keeps this from being really “Awful” is that there are a good few tracks on the project, and I also think that, given its tight length and the relatively small number of tracks, it’s definitely listenable and not enough to make you angry. What it may make you, though, is disappointed: you might find, like I did, that Jeremih and Ty Dolla $ign are both talented vocalists that should either remain on their own, work out their chemistry a bit, or get some more enticing production that fits their styles a bit better. So overall, “MIH-TY” was certainly an interesting experiment on paper, and it’s definitely far from the worst thing you’ll hear this year, but I definitely think it’s an experiment that, if it were to happen again, needs some fine-tuning. I’m not against the duo trying something like this again, and I definitely wouldn’t be shocked if this was just a test run to troubleshoot and figure out what works and what doesn’t, but for now, I will approach their next release with a bit more skepticism. If you’re a diehard and you haven’t heard this yet, you may dig it, but otherwise, proceed with caution.

Favorite tracks: FYT, New Level, These Days, Imitate

Least favorite tracks: Take Your Time, Surrounded, Lie 2 Me, Ride It

Rating: Bad

Vince Staples "FM!" Album Review

Alright, let’s try to finish off some of these album reviews so I can get on the Year-End Lists. Starting off with a record I’ve heard plenty of great things about, it’s time to review the latest Vince Staples album, “FM!”

Vince Staples is a California rapper that first rose to prominence in 2012 as a member of the hip-hop trio Cutthroat Boyz. He later received more attention by appearing on several albums from the members of the Odd Future collection, specifically being very close with guys like Earl Sweatshirt and Mike G, as well as having a collaborative mixtape with the late Mac Miller (R.I.P. Mac). He then released his debut EP “Hell Can Wait,” and parlayed the success of his debut album “Summertime ’06” into earning a spot on the 2015 XXL Freshman list. He received further success with his second studio album “Big Fish Theory,” and now he’s back, just over a year later, with his third full-length album, one that’s only 11 tracks long and stretches just over 22 minutes.

Now, I’m not too familiar with Vince’s music, as I haven’t covered any of his other albums on this blog, and the only time he’s been brought up in a review was when he was featured on the song “Opps” from the “Black Panther” soundtrack (which, while I liked, wasn’t one of my favorite tracks from the album). So, what really drew me to this release? Well, I heard a lot of really positive things about it early on, a number of people highly recommended it to me, and hey, it’s only 22 minutes, so it’s not like it’s gonna take a lot of time out of my life to review it, right? So let’s go in and see what form Vince displays on this one:

(NOTE: Vince Staples doesn’t credit the features on this album, but for everyone else’s sake so they at least know, I will credit the features here.)

Feels Like Summer (ft. Ty Dolla $ign): Not to be confused with the Childish Gambino song, Vince opens the album up by celebrating the summertime in his hometown of Long Beach, California, while also warning of how dangerous Long Beach can be in the summertime. He also recruits Big Boy’s Neighborhood for the intro and outro, and Ty Dolla $ign for the hook, to create a fast-paced banger with catchy flows, a really hard beat, and some really cool, darker production. Vince sounds great on it, and the song is rounded out perfectly by Ty’s super sticky hook, which features the very smooth, pretty vocals we’ve come to expect out of him. Really good start to the album.

Outside!: Apparently this track, which sees Vince talk about gang life, is the Nyan Cat melody slowed and pitch-shifted down. Fascinating choice of an instrumental here. Regardless, I think it’s used pretty tastefully, and it gives the song a somewhat plucky, but still upbeat and super fun feel. It feels like a banger with really charismatic vocals and extremely catchy flows from Vince, and it’s a song that’s so easy to just get into and turn up to. It’s a song that’s just too easy to have fun with, and even if it ends a bit quickly, it’s extremely satisfying while it lasts.

Don’t Get Chipped (ft. Jay Rock): This is another song about gang activity and a play on the term “getting chipped,” which essentially means “getting shot.” Vince is also joined by fellow West Coast rapper Jay Rock, as the two create a much more cutthroat and dark track. Vince’s vocal performance and flows remain top-notch and really fun, and he meshes well against the nocturnal but nonetheless punchy instrumentals. I’m not quite as enthralled by Jay Rock’s hook, but his vocals do sound good enough, and I do like the song a bit. I think it could easily grow on me with a few more listens.

Relay: Keeping right on trucking with his discussions about gang life and escaping the cops, this track leads in perfectly from the last one (as it’s been throughout the whole album), and it takes things just a little bit slower than the last few. The production is once again very dark and nocturnal, and even as he takes things a bit slower, Vince continues to have a lot of fun with his flows and the hook. The hook, I’d also argue, is one of the catchiest on the album. Once again, the song succeeds because it’s just too damn fun. Vince was definitely enjoying himself while making this track.

New earlsweatshirt - Interlude (ft. Earl Sweatshirt): As the title would suggest, this interlude is some new Earl Sweatshirt stuff. And even it's just 23 seconds in length, Earl talks a good bit on the track about the Crips, being sent to Samoan reform school, and several people close to him that passed away. It’s got a very bouncy, pretty fun instrumental, Earl’s flow is catchy, and even though it’s nothing to throw in a playlist since it’s so short, it serves its purpose as a good interlude.

Run the Bands: What feels like an open discussion about armed robbery, this song also keeps things in the very dark, nocturnal direction that the last few tracks have gone in. And while I do dig that production, as well as a lot of Vince’s catchy cadences and flows, I think the hook here is just a little bit too repetitive. It’s the longest track on the album at 3:08, but it feels like it could’ve been shortened just a little bit because some parts of it, again, just feel repetitive. Not a bad track, but definitely not one of my favorites on the album.

FUN! (ft. E-40): Surprisingly, the title here is actually an acronym for “fuck up nothing.” I honestly wasn’t expecting that. Either way, Vince is joined by E-40 on this cut, and the two make a very bouncy, electronic cut that feels a lot different than a lot of the other songs on here. It’s got a very sweet click-clacking drum beat, a super danceable and fun (no pun intended) vibe, and some of Vince’s best flows and vocal performances on the album. He just has a natural charisma here, and E-40’s verse adds a nice layer of variety to the track. This might be my favorite track on the album.

No Bleedin (ft. Kamaiyah): Vince brings in Kamaiyah on this track, one that talks about how gang members are to keep their “head on the swivel” and basically stay aware of their surroundings. This one keeps things a bit upbeat, while also having some more sinister xylophones and fast-paced percussion. Even if the hook is a bit repetitive, it’s fun enough that it’s not a big problem for me. Vince and Kamaiyah both sound really great here, displaying a very natural, effortless charisma all throughout their verses. This is another emphatic cut, I really like it.

Brand New Tyga - Interlude (ft. Tyga): Again, exactly what it says on the tin: this is some brand new Tyga. Yeah, remember Tyga? The guy who did “Rack City” that’s had an inexplicable return to popularity this year? Ah, I knew you would. Anyway, this is another short interlude, clocking at 35 seconds, and Tyga doesn’t really say anything substantial on it, honestly. Still, the song does have a catchy, dark instrumental and really slick and fun flows from Tyga, I just kinda wish it wasn’t an interlude. It could’ve been a highlight if it was a full song, but since it’s just 35 seconds, it just feels like it deserves to be longer.

(562) 453-9382 - Skit: A very weird, 53-second skit that sees Big Boy and someone named Christian play a radio game where Christian has to guess several celebrities whose names begin with V, this one just kinda feels like a lead-in to the closer of the album. And for that, it serves its purpose, I guess. I don’t really see much memorable about this skit, it’s just there to be there. Nothing bad, nothing incredible.

Tweakin’ (ft. Buddy, Kehlani and Vonnie): Closing things out, Vince is joined by Buddy, Kehlani, and Vonnie to talk about how common it was to see his friends getting killed growing up, and he talks about the effects of gang violence as a whole. The song’s got very sinister production, and Vince’s performance sounds like it has a bit more emotional edge to it (understandable given some of the content of the lyrics). I’m not as into Buddy’s intro here, but I do like Kehlani’s hook a lot, it again adds to the emotional feel of the song. Really good closer to the album!

Overall, I had no idea what to expect out of this album going into it, but I have to say I really dig what Vince Staples did on this! Going for a number of different sounds and ideas, Vince nonetheless keeps this album mostly loose and fills it with some very fun tracks. There’s some very catchy, weird, and different production throughout this thing, Vince’s performances are consistently entertaining, and I like the album’s concept of essentially being a full FM radio show, complete with Big Boy radio introducing several of the songs. On top of that, most of the songs here top out at under three minutes, but despite that, still feel plenty fulfilling and are great listens regardless. Vince and his features are in top form throughout the entire project, and even with some of the lesser tracks, there’s never a dull moment.

If there’s anything I can slightly criticize, it’s that I kinda wanted more. In 2018, it seems like the idea is that you either release an album that’s so short that it leans more towards being an EP, or you release something as long as the Marvel movies that keep popping up in theaters. Vince chose to do the former here, and while it’s a very breezy, tight, and well-constructed 22 minutes, the album does feel like it could’ve benefitted from a bit more content, or it could’ve benefitted from taking some of those interludes and turning them into longer songs. Even still, despite the length issue, I still think “FM!” is one of the most fun, bouncy, and catchy rap projects released this year (right up there with a lot of the mainstream choices), and it’s one that I absolutely recommend listening to. There’s a lot to like, even if it’s a pretty small package, and it’s definitely worthy of the praise it’s received thus far.

Favorite tracks: Feels Like Summer, Outside!, Relay, FUN!, No Bleedin, Tweakin’

Least favorite tracks: Run the Bands (if I had to pick one)

Rating: Excellent

Little Mix "LM5" Album Review

I have a few final albums to review for 2018 before I start making Year-End Lists, and since this was a request from a while ago, I suppose it’ll go first: it’s time for a review of the new Little Mix album “LM5.”

Little Mix is a popular British girl group who first achieved success when they were the first group to win the UK edition of “The X Factor” back in 2011 (and they were the only group to win for a very long time until Rak-Su won last year). They were then signed to Simon Cowell’s Syco Music record label and released a cover of Damien Rice’s “Cannonball” as their show-winning single. The song topped charts in Europe, and then the girls released their debut album “DNA” in 2012, which not saw success in Europe but also peaked at #4 on the Billboard 200 here in America, making them the first girl group to make it to the Top 5 with their debut album since The Pussycat Dolls. The group released three other albums before this one (obviously, “LM5” is their fifth album, if the title didn’t make that known), with 2013’s “Salute,” 2015’s “Get Weird,” and 2016’s “Glory Days,” which became their first #1 album in the UK (also, worth noting, every one of their albums has released in November. Not sure if that’s a coincidence or not, just thought it was fascinating).

Now, while the girls have seen massive success and have slowly started to become more popular here in America, they were never a group that really stopped me in my tracks. It’s not out of malice or anything like that, but…I don’t really listen to girl groups that much. Some Pussycat Dolls here and there, and I’ll listen to the occasional Fifth Harmony track, but usually, girl group stuff doesn’t show up on the charts that much anymore, so I don’t really hear much of it. And, I’m not gonna lie, a record like this may have slipped through my radar as well if not for the fact that one of my very close friends loves the group and wanted me to listen to the album. This friend also sends me songs from them on a semi-regular basis and wants me to listen to their stuff every now and then, so I figured I’d at least give their new album a chance to dance. Let’s see what it comes up with:

The National Manthem: A short a cappella intro, the girls empower women with this one. I’m sure there’s gonna be more than this on the album, though, so this very short intro that only features five lines of lyrics is just a little taste. But honestly, this is a 30-second track I love enough to put into my playlist because holy moly, hearing these girls so angelically sing “she is a bad bitch / made up of magic” just puts a smile on my face. Get it, girls.

Woman Like Me (feat. Nicki Minaj): Indeed, as I said for the last track, this is a song that, according to the group, “is all about celebrating incredible women in every shape and form.” Great thing to celebrate, for sure, though I personally was a little surprised when I saw that Nicki Minaj was featured on the song. I’m not sure how excited I was to hear her, given that “Queen” still leaves a sour taste in my mouth, but Nicki’s been fine on some of her featured verses this year (outside of a certain one you already know by now), so I was hoping this track would be good. And at first listen, the song sounds a little bit like the typical girl group song, but there’s a surprising trap influence on this one. It’s pretty interesting, and I do think the girls sound great on this one. I’m not too crazy about the hook, but I definitely see the appeal of this, and Nicki’s verse is pretty confident and fun. Pretty good track.

Think About Us: Apparently, Perrie said that this song is her favorite on the album. A somewhat more sex-driven track where the girls ask if they are being thought of by the guys dancing in the club, the song has a somewhat lowkey but still bouncy feel to it, and I like the girls’ natural chemistry throughout this song. It does feel a bit like standard girl group material, but it has a solid, mature edge to it that stops it from just feeling like something factory-produced. It’s not the best thing I’ve ever heard, but there’s definitely real appeal to something like this, and it does sound pretty good.

Strip (feat. Sharaya J): This song talks about body positivity, and also takes some shots at The Daily Mail, who have written before about the group and their “provocative” outfits. The girls even rolled out this single by doing a photo shoot where they stripped naked and had insults written all over their bodies. I appreciate what they’re going for, and I appreciate that they’re using their platform to speak on body positivity (especially as a male that has, and continues to have, issues with my own body positivity). Once again, this track has a weird, somewhat trap-esque feel to it. And while the production isn’t quite as pronounced here, what I really commend about it is the super confident performances of the girls. They have a “don’t care” kind of vibe that just sounds so natural and exciting and featured artist Sharaya J’s verse adds to that as well. Really dig this!

Monster In Me: Oh my gosh, looking at some of the lyrics here, this one gets a lot darker. Whew, I can tell it’s a sex-driven song, but wow…there’s a monster indeed on this one. Even so, despite the “monstrous” feel of the lyrics, the song itself actually has a somewhat cleaner sound to it. Kinda surprising, I expected the song to feel a bit darker than this, but either way, the pianos, and 808s are catchy enough, and these ladies do sound smooth throughout the track. There’s not much that really hooks me into it, but it’s got a nice, somewhat emotional feel to it that works, even if it’s not one of the most sticky or memorable cuts on the album.

Joan of Arc: My friend who was recommending this album to me said that I’d love this song. A lyrical exploration of feminism, this song has a more quirky, electronic instrumental that, not gonna lie, feels like “Lemon” by N*E*R*D. Beyond that, the song also reminds me of “Lemon” because, beyond the very smooth and gorgeous vocals, these girls just ooze confidence in a way that reminds me of Rihanna’s performance on said track. I honestly felt while listening to this like the girls were trying to create a feminist-flavored version of “Lemon” which, if that’s the case, I dig it! It’s infectious, fun, and just immediately catchy. I love this one!

Love a Girl Right: Here, the girls tell a boy that he needs to treat his girlfriend right. I’ve heard enough relationship drama over the past few months to know that there are a lot of boys that need to be told this. And once again, I get some Rihanna vibes out of this one, but I also get some slightly more rocking vibes with the slick guitar riffs. These ladies sound beautiful harmonizing up against the very sensual and catchy trap-flavored production, and the hook is also one of the album’s catchiest. Yeah, not much else to say other than that this is another standout for me!

American Boy: You know, when I saw the title, I thought this was gonna be a cover or an homage to that song by Estelle and Kanye West that got big back in 2008. It’s not, and instead, it’s a song about a girl being in love with a boy, but worrying that he loves someone else. I’m sure a lot of us can relate to that. And I also really like the tropical feel of this one, with more slick guitars and an upbeat but somehow simultaneously laid-back feel to it. And not only do the girls have some beautiful harmonies, but they also show us a little bit of their rap flow here, which is super dope. Don’t mistake these girls as a standard pop group, they’ve got punch to them!

Told You So: I can’t lie, I read some of these lyrics and they’re really sweet. The song is an ode to the girls and the friendship they’ve had since The X Factor, and in it, they talk about comforting one another through breakups. And hearing the girls say “he’s never gonna love you like we do” is the wholesome stuff everyone should hear from their friends. After all the bangers, though, Little Mix decided to go lighter and more acoustic here. Fortunately, these girls can sing their asses off, so this is a perfect lane for them, one to show off just how amazing they sound individually, and also to remind us that their harmonizing is top-notch. This is a super sweet, super relaxed cut that I adore.

Wasabi: A song clapping back at the haters and the people that criticize everything about Little Mix, this is another more bouncy, charismatic song with some crazy sonic twists and turns. One minute, it’s got the danceable beat, and the next minute, it’s a rocking song with heavy guitars. What stays consistent, though, is that these sonic changes all sound great, the girls just drip in swagger, and sound gorgeous singing together on the chorus. I can safely say I expected none of this going into the album, but I’m glad it’s what I’m getting.

More Than Words (feat. Kamille): I was expecting with a title like “More Than Words” that this was gonna be a song about unconditional love, and sure enough, that’s what we’ve got. It’s a slower, but somewhat more ethereal track with some fascinating moments of bombast thrown in here and there. This is the kind of song that sounds a bit familiar from the instrumentals, but what pushes it a step above is the gorgeous and sometimes weirdly produced vocals from the group, as well as featured artist Kamille. I’m not sure it’s one of my favorites on the album, but it’s a nice, emotional song and I definitely feel like this is the kind of song that can grow on me pretty easily.

Motivate: Here, the girls talk about a guy in their lives that not only loves them but motivates them to do great things. Can’t go wrong with that in a relationship, can ya? And the song is a lot more fast-paced and energetic than some of the other cuts on here. The girls once again sound great, and I like a lot of what they’re saying on the track, my only real issue with it is that I do think it’s just a little too bombastic in its production. There’s a little too much going on at once here for me in terms of instrumentals, which does drown out some of the girls’ charm. Still, it is a fun song, even if it’s far from my favorite on the album.

Notice: A song where the girls talk about how their efforts to swoon a boy may be for not because of how he doesn’t notice them, the song definitely has a very dark, sex-driven feel to it. It’s slower, it’s subtly more swingy, and it’s got another more ethereal instrumental to it. The girls also sound lovely as well, even if I don’t think there’s too much that hooks me into the song. There’s not much of a captivating, standout moment to the track, even if it sounds really nice, and I think that’s what holds it back for me. Don’t get me wrong, it’s not a bad song, but it’s pretty far from being my favorite on the album.

The Cure: The closer to the Standard Edition of the album seems to talk about moving on and feeling good after a breakup. And the song has something of a more emotional feel to it, even if it is a bit more upbeat and fast-paced, and it’s driven primarily by the very pretty pianos. The beat is a little less pronounced, as the girls’ vocals are front and center here. And for the better, because they sound very lovely; with their harmonies, you can honestly just close your eyes and fall in love with their vocals. Given that this is where they ended the Standard Edition of the album, they picked a great note to finish on. I still have four more songs to cover, but either way, this one’s great.

Forget You Not: The first bonus track on the album sees the girls talking about an unforgettable boy, and so one in a million that they can’t get enough. Apparently, it’s Perrie’s boyfriend’s favorite track, so it’s got that going for it. This one does detour back into some kind of standard poppy, girl group material, with electronic pianos and an 808 drum beat to go with it. Still, the girls can sell this kind of “standard” material because they sound so smooth and beautiful as they harmonize throughout this song. Even if it does fall to some typical electronic tropes and doesn’t have the strongest hook, I think this is a pretty sweet track. Not one of my favorites on the album, but it does what a bonus track usually does: not fit with the general sound/theme of the album, but nonetheless sounds good enough to justify its inclusion.

Woman’s World: Ooh, this was a song that I was admittedly excited about: described by the girls as “controversial,” this song talks about the female experience, and is inspired quite a bit by the #MeToo Movement. I couldn’t wait to hear this one, and when I did, I immediately fell in love with the emotional, gorgeous performances of the ladies as they implore listeners to “try living in a woman’s world.” The production is infectious and catchy, and it meshes well with the vocals of these ladies, who are once again in the harmonizing masterclass. This definitely lived up to my expectations, I really liked it!

The Cure (Stripped): It should be obvious from the title, but the third bonus track on this album is a stripped-back, acoustic version of the final song on the Standard Edition of the album. Given how much I loved the song before, I was very excited to hear what it sounded like stripped. And while the cut itself is really short, at just under two minutes, it’s really nice hearing the girls sing the song a cappella. Their harmonies are once again on point, and the electronic filters actually serve to make the vocals fun without feeling like it’s being used as a crutch. I really like it!

Only You (with Cheat Codes): Now, this last track on the Deluxe Edition is not a Little Mix song. It’s a Cheat Codes song that simply features Little Mix, as the girls sing about missing a loved one after a breakup. While I’m not too familiar with Cheat Codes, I did enjoy their song “No Promises” with Demi Lovato (both the regular and acoustic version), so I was pretty interested in this track. And Little Mix sounds right at home up against Cheat Codes’ electronic production here, which meshes nicely between being heavy and bombastic, while having some very nice, beautiful, lighter moments thrown in. I do think the breakdown can be a bit much here, but it doesn’t impede much with my enjoyment of the song: I still love the feel changes and I think the girls sound beautiful singing alongside Trevor Dahl of Cheat Codes. Very good closer to the album.

This is how you do it. As my first experience with Little Mix, let me just say it right now, there’s a reason these girls won “The X Factor” before, because they HAVE “The X Factor.” Vocals, harmonies, production, you name it, these ladies know how to do it! Not only do they sound beautiful when singing on their own, but they are the QUEENS of harmonies consistently throughout this album, and they just drip in charisma and swagger all throughout the album. And I also really dig how the girls aren’t so willing to just stick to standard, basic pop trends with their production: they go down some really fascinating, different routes here with very sticky, quirky, fun production to support them. If I was a judge on “The X Factor,” this would be a massive “yes” from me, these girls are doing it big with this album, and I absolutely adore it.

Now, if you’ll excuse me…I’m off to go pray to the goddess. Thank you, Little Mix.

Favorite tracks: The National Manthem, Think About Us, Strip, Joan of Arc, Love a Girl Right, American Boy, Told You So, Wasabi, The Cure, Woman’s World, The Cure (Stripped), Only You

Least favorite tracks: Motivate, Notice

Rating: Excellent

The 1975 "A Brief Inquiry Into Online Relationships" Album Review

And following right up on Alessia Cara is another one of my more anticipated albums of 2018: it’s time for a review of the newest album from The 1975, “A Brief Inquiry Into Online Relationships.”

This is the third full-length studio album from the English, Matty Healy-led synthpop/pop-rock group The 1975. I’ve covered both of their previous studio albums before, their 2013 self-titled debut, as well as 2016’s amazing yet bizarrely named, “I like it when you sleep, for you are so beautiful yet so unaware of it.” Someone call the police. Anyway, after that album, the band started dropping several cryptic hints throughout their social media accounts in 2017, indicating that “something” was coming in 2017 and that the group’s next album “Music For Cars” would be released in 2018. Initially, the 2017 release was supposed to be an EP, but said release got delayed to this year…apparently indefinitely since it’s not out yet, and the 2017 release ended up being their first live album “DH00278.” Still, the group continued to tease this album as well as a cryptic “June 1st” date. The day before that, though, the album’s first single “Give Yourself A Try” was released, and we learned that the new record would not be called “Music For Cars,” and instead it would be titled “A Brief Inquiry Into Online Relationships.” “Music For Cars” essentially became the name of this new era of music from The 1975, and the group is going to release another album during the “Music For Cars” era known as “Notes On A Conditional Form” in May of 2019.

Now, I’m sure you guys know this but I love The 1975. Both of their albums have continued to stick with me long after my first listen, and even with its awkward title, “I like it when you sleep, yadda yadda yadda” is actually one of my favorite albums. So, naturally, I would be excited about anything the group is coming out with next. That said, I haven’t actually had enough time to really dissect many of the pre-release singles: yes, I’ve listened to each of them, and I’m one of the four people on the planet that actually likes “TOOTIMETOOTIMETOOTIME,” horrible title and all, but other than that, I haven’t given myself a lot of time with the other early singles. That said, I have enjoyed them, so I am very excited to see where the group goes with this new album. It’s been one of my most anticipated records of the year, and I’m glad it’s finally here. Let’s see if it was worth the wait (and the teases):

The 1975: Never letting me down, boys. Always have to start off the album with a track called “The 1975.” Never change, guys. And the song starts off the album by juxtaposing a chill piano melody with very intense, autotune-filtered vocals. Not gonna lie, the vocals made me jump a bit. They’re a bit too abrasive for me to want to come back to this track, but the song does have a fascinating sound to it and I understand why people like that they do this. It’s still weird, but hey, if it ain’t broke, don’t fix it, I suppose.

Give Yourself A Try: The album’s first single, Matty talks on this one about how, in this strange world, we should all stand up and own ourselves, regardless of our quirks and perceived negative traits. There are also a number of fascinating social messages to the lyrics on this one, and the track moves a little bit away from the synthpop vibes of their last album in favor of more rocking, guitar-heavy production. This is definitely a change that I can get behind (even if I still love that album), and I think Matty’s vocals sound great as always here. The hook is sticky as always, the band is always good for great hooks, and the song as a whole is a fast-paced banger that I can definitely see myself coming back to quite a bit.

TOOTIMETOOTIMETOOTIME: Here we go, time for me to have an unpopular opinion: this is a song a number of major critics have been tearing down ever since its release, with some even calling it The 1975’s worst song…which is why I feel weird for admitting that I actually like it. Yes, the title is horrible, and to a degree, I see where people are coming from in not liking it that much, but this track about infidelity actually has a really fun electronic instrumental, and even if Matty’s vocals are autotuned to Hell, I think they actually sound smooth. That, and the chorus for this is just such a damn catchy earworm, it gets stuck in my head for all the right reasons. I know, I know, people hate it and I’m strange because I like it, but yeah, it’s a really fun song. Strike me down.

How To Draw / Petrichor: Though this song is nearly six minutes in length, it’s shorter on lyrical content than the last few: the first part is a remastered version of a Target-exclusive bonus track from the last album, where Matty talks about his anxiety of not reaching his full potential, while the second part talks about Matty’s drug addiction. I love how the first part of the song was very light, airy, and somewhat childlike, with very sweet bells and a relaxing vibe. Very ethereal, lovely starter that almost feels to me like something out of a dramatic, emotional scene in an animated film. Some of the autotuned vocals can be a bit overbearing at points, but the instrumentals really sell “How To Draw.” Once we get to “Petrichor,” the song takes on a more fast-paced, upbeat sound with more glitchy, electronic instrumentals and, while it doesn’t kill the song for me, it’s not quite as fun to listen to. Don’t get me wrong, this isn’t bad at all (I even like the filters on Matty’s vocals on “Petrichor”), but I certainly won’t remember this as one of The 1975’s better “largely instrumental” tracks.

Love It If We Made It: I remember this track getting a bit of good attention when it first came out, partially because of the social messages and political content of the lyrics, with lines that directly reference Donald Trump, and with the group trying to create something of an optimistic message out of the world we live in, proclaiming that they would love it if we made it through all of this. Beyond the fascinating lyricism, the song is much slower-paced but throbbing with great synth instrumentals and a powerful vocal performance from Matty. His vocals are more front and center here, and he sounds great, especially on the very catchy earworm of a chorus. Another great track!

Be My Mistake: Matty has described this as being a song about “guilt,” specifically from an insignificant, casual hookup you had with someone. It’s also a really fascinating track because it’s an acoustic ballad. Yes, Matty and the group have done a few lighter songs before, but this feels like nothing they’ve done in the past. It’s still a great track, though, because the acoustic guitar melody is quite beautiful, as are Matty’s vocals. It feels like his vocals are far rawer here, but they’re also smooth and delicate. This is actually the kind of track that almost drove me to tears just because of how it sounded. I don’t know why, but it just sounded so lovely. I feel like this is gonna become one of my favorite songs from the group with more listens, but as it is, it’s definitely one of my favorites from the album!

Sincerity Is Scary: Another very socially conscious track that deals with how difficult it is to be sincere in today’s society, and Matty spends the song attempting to denounce the stigmatization of being real. It’s a surprisingly soulful cut, with an off-kilter drum beat and very gorgeous horns as well. Matty’s vocals are much more mellow, but he nonetheless sounds very nice, and as we’ve seen often out of the group, the chorus is really catchy. I actually didn’t think I’d love this cut, given that the drums sound sort of offbeat with the rest of the instrumentals, but I think that just makes the song more fun and I really dig it!

I Like America & America Likes Me: First of all, I was really drawn in by that title. I don’t know why, but it’s kinda funny. The song itself, though, is not quite as funny, as it deals with the very serious topic of gun violence in America. Funny how the non-American band is more conscious and passionate about common-sense gun laws than our very own government is. Isn’t that ironic? In any case, using it as a basis for what he believes is the “sound of America,” Matty makes this song as an “homage to SoundCloud rap.” Rather odd thing to make an homage to (especially when you consider he was even going to originally write mumble lyrics at first), but you just never know what people come up with. Anyway, I totally get the SoundCloud rap influence, with an 808-driven beat consisting of the typical rattling hi-hats we’ve come to expect from trap music, along with very heavily autotuned vocals. I actually like the vibe of the song, it’s really fun and upbeat while having a lot of surprises and interesting sonic ideas going for it. It’s an extremely unconventional tribute to probably one of the most unconventional subgenres of music.

The Man Who Married A Robot / Love Theme: One of the most bizarre tracks on the album, Part 1 is a spoken-word track narrated by Siri…enticing. Anyway, Siri narrates a story about loneliness, society, data, and the Internet, even telling the story of a man named @SnowflakeSmasher86, and then Part 2 is an instrumental…yeah. I like the way the song starts, with the very light, pretty piano melody, but I wasn’t super crazy about the Siri-spoken dialogue on the song. Yes, the lyrical content does play well into the title of the album (“Online Relationships” and all that jazz), but I feel like the group has definitely done far better largely instrumental songs than this one (even if some parts do sound like they have a nice, Disney movie feel to them), and this one just doesn’t stick out to me.

Inside Your Mind: A track about an old flame, Matty speaks to the idea presented in “Gone Girl” where you want to know so badly what a partner is thinking that you actually want to smash their head open to figure it out…my. Apparently, he also explained that he likes morbidly romantic things and that his girlfriend finds this concept sexy…relationships these days just get more and more interesting. The song’s got a somewhat slower feel, as Matty’s vocals purge through the emotional pianos, slick guitars, and woozy synths. It’s another pretty-sounding song with a good, emotional edge to it, but I feel like it’s honestly a little bit dull. It doesn’t really have the punch of some of the group’s better songs, nor does it have the interesting twists and turns of some of the group’s better work. I don’t think it’s precisely bad, but I definitely expected more vocal charm out of Matty and some more compelling production as well.

It’s Not Living (If It’s Not With You): Given the title, you would think this is a love song, but nope, this is a song about Matty’s obsession with heroin. Yeah, sorry to be kind of overt, but just didn’t want you to be fooled by the title. Anyway, this is a song that extends on some of the synthpop styles of the last album, with groovy bass riffs and gorgeous synths meshing well to make a bright, fun, danceable track. Matty’s vocals are smooth as always, and the addition of The London Community Gospel Choir in the background adds to the hook to not only keep it catchy but to fill it with another layer of nice vocalization. I like this track a lot, too!

Surrounded By Heads And Bodies: A dedication to a woman named Angela that Matty met while in rehab for his heroin addiction, this is another somewhat lighter, more acoustic track that nonetheless still features heavily filtered vocals, a brush-assisted drum beat, and more of the hazy synths we’ve heard several times before from the group. Honestly, despite being slightly more lowkey, acoustic, and different from the group’s usual stuff, I personally think it sounds like a retread of a number of their other songs. The synths aren’t quite as sticky, and I feel like Matty’s filtered vocals are a bit at odds with the lighter feel of the song. It’s a track that seems content to throw a bunch of uncommon, odd sonic elements together at once, without really trying to do anything super compelling with them. Yeah, I wasn’t crazy about this one.

Mine: A jazzy love song that plays as a tribute to renowned saxophonist John Coltrane, I like the super smooth, light piano introduction on this one, and given that the group is trying to make a jazz standard out of this, I definitely respect it. I’m not as crazy about some of the ways certain instrumentals mesh together (like the somewhat messy, off-kilter drum beat), but I like Matty’s delicate vocals, and I think there’s definitely some appropriate swell and emotion on this track. I don’t really see this standing the test of time in future jazz ensembles, and it’s definitely not one of my favorites on the album, but some good things are going on here, and I do like where it’s headed.

I Couldn’t Be More In Love: One might think that this is a track about a loved one, but apparently, this is a loving tribute from Matty Healy and the group to their fans who stuck with them, even when Matty worried that we would leave because of his trip to rehab. We’re with ya, man, we’re right here. And I actually love the sound of this one, with the very smooth keyboards that kick it back a bit to 80’s R&B slow jam tracks. Matty’s vocals are powerful, the lighter drum beat fits nicely against the keyboards, and the song just feels like such a nice slow dance track. There are also some really slick, light guitar solos that round out this very nice track and make it one of the album’s better cuts.

I Always Wanna Die (Sometimes): A very cinematic ending to the album, this song talks about suicidal feelings and how such despair only exists sometimes. He basically sums up the song by saying that it’s worth trying to keep pushing, instead of ending your own life. Great lyrical content, but the instrumentals confused me a little at first. I thought I was listening to the group do a cover of “The Climb” by Miley Cyrus at first. The song does switch up a bit, though, playing a little bit more to the “rock” side of the group’s sound. Matty’s vocals are smooth, and the instrumentals are catchy and pretty compelling. Does it singlehandedly make the album the group’s best for me? Not quite, but I do think it’s a nice finisher to the record.

Overall, this album has been hailed by critics as one of the year’s bests and it’s getting a lot of love and a lot of positive reviews…but, I’m sorry, I’m not all the way in on that. Don’t get me wrong, I do enjoy the album a good bit, but coming off of “I like it when you sleep,” this album was a bit of a disappointment to me, and I definitely had some issues with it. On the positive side of things, I definitely do appreciate that the group largely stuck with their concept (“Online Relationships”) within their lyrics, and I do respect the experimentation in their sound with this one. They didn’t want to just stick to the sound of their last two albums, so I respect their attempts to change things up. And, for the most part, there are quite a few tracks on here that I really dig with solid, catchy production, great vocals from Matty, and interestingly layered lyrics. As per usual with the group’s records, there are some very solid, enjoyable cuts throughout this thing, and it is nice that, knowing the idea they had, they decided to condense this down by a good deal in terms of its length.

Unfortunately, as I said, there were problems I had with the record. Beyond the singles, many of the other cuts on this thing were a lot less compelling and tended to feel like they repeated themselves. Most of the songs focused on the instrumentals, which isn’t a bad thing, but it felt like they had an idea of experimentation and didn’t play enough with it, leading to a number of tracks that were a bit too content to repeat ideas and sounds and just mesh together a good deal. And even though I’m glad they played with the concept a good bit, there were several points throughout the record where it felt like Matty took a bit of a backseat, and without his usual vocal charisma being on display for much of this record, it made a number of the songs feel a lot less attention-grabbing.

All things considered, this is gonna be one of those rare cases where you can’t just look at the rating and make a judgment because there’s more to it beyond that. Most of the time, I’m usually able to just say that an album is “Excellent,” “Good,” “Okay,” “Bad,” or “Awful” and leave it at that. This is a case where there’s a bit more than just the rating, because yes, I did enjoy the album, but I just can’t shake the disappointment that it left me with. Perhaps it’s because it was following up on two albums that I adored and it just didn’t have the same gusto, but it’s a case where there’s a small asterisk with the rating. Something like an “it’s good, but…” kind of thing, where you may be a bit surprised that it gets the rating it gets, considering the disappointment it leaves me with. I suppose it’s one of those cases where, as some might say, no two albums with the same rating are the exact same thing. Anyway, “A Brief Inquiry Into Online Relationships” is definitely a good album, and I did enjoy it, but Album of the Year-worthy? Not quite. Better than their last two records? Yeah…no. Enough to have me a little skeptical about “Notes On A Conditional Form?” Just a bit, yes.

Favorite tracks: Give Yourself A Try, TOOTIMETOOTIMETOOTIME, Love It If We Made It, Be My Mistake, Sincerity Is Scary, I Like America & America Likes Me, It’s Not Living (If It’s Not With You), I Couldn’t Be More In Love, I Always Wanna Die (Sometimes)

Least favorite tracks: The Man Who Married A Robot / Love Theme (ironically), Inside Your Mind, Surrounded By Heads And Bodies

Rating: Good

Alessia Cara "The Pains of Growing" Album Review

It’s finally time! One of my favorite artists has graced us with her sophomore album, and now I finally get to talk about it! It’s time for a review of the new Alessia Cara album, “The Pains of Growing.”

As I said, this is the second studio album from Canadian singer-songwriter Alessia Cara. I shouldn’t really need to introduce her all that much, as I already covered her debut album “Know-It-All” last October. That album dropped in November of 2015, and her star has only continued to rise since then: in 2016, one of the album’s bigger singles “Here,” after a slow climb, ended up peaking in the Top 5 on the Billboard Hot 100, and Alessia ended 2016 by providing the “pop version,” if you will, of “How Far I’ll Go” from the Disney film “Moana” (great song and film, by the way). 2017 was easily her biggest year as an artist: she started off by seeing her fantastic single “Scars to Your Beautiful” peak at #8 on the Billboard Hot 100, and she ended up being featured on a pair of Top 10-peaking singles for the rest of the year: Zedd’s “Stay,” which peaked at #7, and Logic’s “1-800-273-8255” (also featuring Khalid), which has had Alessia’s highest peak so far at #3. All three singles even ended up not only making the Year-End Hot 100, but also landing in the Top 40 (“Stay” ranked #17, “Scars to Your Beautiful” got to #30, and “1-800-273-8255” was right below it at #31).

Now, I’m sure it goes without saying at this point that I love Alessia: she’s one of my favorite celebrities, and I think she’s really inspiring in how she’s proven that you don’t need a big personality to be a star and that it is possible to earn fame by just being an average everyday person (and I mean “average” in a great way). Alessia shows me that an “everyday person” can become big, and beyond her amazing personality, her music is great fun to listen to as well. “Know-It-All” is one of only a few albums where I have every song from it in my Spotify playlist because there are so many greats on the album, and so far, judging by the pre-release singles, it’s looking the same here. “Growing Pains” and “Trust My Lonely” have been very fun songs, and “A Little More” and “Not Today,” both of which were just promotional singles, are some of Alessia’s best songs. And just based on those few tracks, it looks like she’s gonna be doing a lot of experimenting and changing with her style here. I can’t wait to dig into the rest of the album, let’s do that now:

Growing Pains: Kicking things right off, Alessia talks to us about growing up (obviously, it’s called “Growing Pains”). She talks all about the scary jump one faces as they enter into their 20s which, as someone that just recently entered into their twenties, I definitely understand. She handles the topic very maturely over some very fun, poppy production and throbbing percussion. As always, Alessia’s vocals throughout this song are gorgeous, and even if the “hey, hey, hey yeah, hey yeah” hook might seem a bit boring to some, she really sells it with her vocals. It’s one of her most personal cuts yet, and there’s no shortage of fun to be had with it.

Not Today: A track that deals with what Alessia describes as the “in-between phase,” between something good ending, and then healing. The one day you have where you just feel miserable and, even if you know that it will get better, you just need a day to lay in bed, feel miserable and bask in your own pity. I’ve definitely had days like that, for sure. We’re already two songs into this album and I feel like it’s gonna end up telling my life story. Anyway, I love the swingy feel of the instrumentals, and the bassline is extremely groovy and vibrant. Alessia’s vocals are beautiful, as you would expect, and the chorus, though it may take a minute to hook you, is very memorable. I adore this, it's great!

I Don’t Want To: I’ve said this about previous sad Alessia songs, but I read the lyrics to this one and my first words were “WHO HURT MY ALESSIA?!” This one sees her talking in her loneliness about how, even if she doesn’t want to show it, she really misses someone and just wants to have them back because she’s having that much trouble letting go of them. The song takes on a much slower feel than most of Alessia’s stuff, with a light, minimal instrumental that consists merely of a slow-paced acoustic guitar. I love the relaxed feel of the song, though, and I think Alessia’s vocals sound equally pretty and broken, carrying a lot of emotional edge to them. I really love this!

7 Days: Alessia gets a little political on this track where, with the frustrating and angry social climate that we live in, she turns to God and asks Him if He is angry with the world and whether He can help us. And as someone that takes a lot of time to question my religion, I ask a lot of these same questions. And the song takes on a more pumping, throbbing feel that reminds me a bit more of something like “Four Pink Walls,” but with some xylophones added in for good measures. I like the somewhat brighter feel of the instrumentals adding with the somewhat slower, emotional feel of the song, the religious references in the lyrics are fascinating, and Alessia sounds lovely as always. Her vocals really help sell the song, but it also doesn’t hurt that the hook is one of the album’s catchiest ones. Another amazing song, I love this!

Trust My Lonely: One of the big singles that dropped before the album’s release, Alessia talks here about trusting your own loneliness and trying to feel good, even in your loneliest and most insecure moments. Once again, as someone that goes through anxiety, this was much-needed. And the production on this one is fascinating, in that it goes for a slightly more electronic feel. I like said feel, it’s vibrant and fun, and the cowbell-driven percussion is catchy as well. Alessia sounds great, the hook is a lot of fun, and the song takes some interesting sonic twists and turns. I loved this when it came out, and I still love it now!

Wherever I Live: Interestingly, this song is listed on Spotify as “Wherever I LIve” with an extra capital letter for some reason. Wondering if there’s a meaning behind that or if it’s just a typo. Either way, with this song, Alessia seems to find contentedness in being on her own and living with her, herself and…she? I guess that’s how it would be said when someone isn’t saying "me, myself and I," but she talks about being by herself and being at home. I like that a lot, as someone that spends a lot of time at home, and once again, the song takes a more raw, emotional feel that is once again led by just an acoustic guitar. I love the minimal feel, though, as it not only gives Alessia a lot of room to give us her very beautiful vocals but also because the light acoustic riffs really add to the song’s emotional feel and make it one of Alessia’s best cuts.

All We Know: Not to be confused with that song by The Chainsmokers, Alessia once again tackles themes of growing up on this track, while also talking about just how strange the world is. She does this through references to Oz, The Beatles, Santa Claus, and much, much more. The song itself moves a bit closer to the upbeat feel of something like “Trust My Lonely,” with fascinating percussion and some really sweet guitars as well. Alessia sounds wonderful as always, and I think she really does a great job on the chorus, which is again one of the album’s more captivating hooks, talking about how we just go “round and round” and how the world is so out of our control. It’s such a pretty song that gets stuck in your head so easily, I really love it!

A Little More: Here, Alessia talks about wanting to have a deep connection with her lover. Genius.com seemed to report that this was about her boyfriend, though apparently, she revealed in an interview that she’s single and focusing on herself. You do you, Alessia…and if any boys hurt her, gloves are gonna drop…I’m sorry, where was I? Ah, right, the album. Anyway, this is another song that takes a different feel for Alessia: it’s a lighter, acoustic, folk-driven track with more delicate vocals. I love the song all the more for that direction, as it feels very raw and somber, and even if it’s a shorter cut, it’s still absolutely gorgeous.

Comfortable: With this track, Alessia talks about being in a comfortable love, where the honeymoon is over, the flame dulls and the partners have learned everything about each other (she asks several questions that I, too, ask about love), but how these moments remind her that the two have gotten past it and are at a point of comfort. The production here is more akin to that of a slow jam, with a rather jazzy feel to it and very groovy instrumentals. Alessia takes this different feel and handles it with aplomb, thanks largely to the fact that her vocals fit so well for the song. She sounds lovely up against the jazzy instrumentals and handles the song as well as, or better than, almost anyone else can. Really dig this, it’s different but that’s a good thing here!

Nintendo Game: Alessia finds another thing to make me love her and her music by comparing love to Nintendo games: she talks about how they treat love like it’s a game and how nobody ends up winning it in the end. She also throws in references to Zelda and has a clever line about how the trash talk is getting old and she’d like to challenge her lover on Rainbow Road. One, excellent reference. Two, I’m one of the five people on the planet that willingly challenges people to Rainbow Road so…yeah, it’s fun! And this is another song with really sweet production, with somewhat dark but still catchy piano-driven production and a fun, catchy beat. I also like the subtle sound changes that make the song feel like a video game, and Alessia’s vocals sound smooth and gorgeous. This was one of the tracks I was most looking forward to, and I can say it doesn’t disappoint at all. I love it.

Out of Love: Keeping with the album’s theme of heartbreak, Alessia talks here about how she can no longer confide in a lover and have their embrace, and she goes on to ask when her lover fell out of love. I haven’t even heard the song yet and just from reading the lyrics, I’m all in my feelings. Damn. And then Alessia deciding to make it a piano ballad, too. She’s trying to get me to cry hard, isn’t she? But real talk, this is a really sad cut, as Alessia’s very powerful vocals fit very well over the gorgeous piano keys (and other minimal instrumentals that come in later on), and even if the “piano ballad” thing might seem overdone, it’s something that gets me almost every time. Yes, I also love this one.

Girl Next Door: Another one that I feel I can relate to in several ways, Alessia talks about how she’s always been the everyday “girl next door,” but how you won’t forget her despite that. I said it earlier, Alessia inspires because she proves that a normal, everyday girl can be famous. And this is another interesting case with the production because, while it starts off seeming like just another acoustic track, it ends up becoming a bit more upbeat with a really catchy drum beat, and it even takes on some light feel changes throughout that make it really fun to listen to. I also think the hook is one of the most beautifully sung, emotional, and sticky choruses on the album. This is amazing, I can’t help but smile when I listen to it.

My Kind: Alessia reflects on her childhood here, and talks about how she wishes someone had told her in her youth that she would be alright and that she’d be where she is now. And this is another song that takes on a slightly darker feel, with eerie guitars and even some surprising 808 drum beats as well. I think it’s really catchy, and the short snippets of children’s dialogue throughout the song are really sweet as well. Alessia sounds great as always, the hook is sticky, and I think it’s another really fascinating piece on growing up and reminiscing on childhood, especially for someone like me that tends to be very nostalgic and sentimental. Really great cut!

Easier Said: The last wholly original song on the album, Alessia discusses the people in life that try to help you feel better when you’re wallowing in your own self-pity, but how it’s not that easy to get the sad face away. She basically concludes the album by saying that it’s okay if you take some time to have your own pity party and feel bitter when recharging from a sad moment and that recovery just takes time. I don’t know about you guys, but I only read the lyrics for this album and I have already been put through the emotional wringer, and I mean that sincerely: Alessia’s songwriting is hitting my emotions in more ways than one. And the production is also hitting me, as it’s a synth-driven, slightly slower track with a throbbing drum beat (there are some cool fills here, as well!), and it just sounds lovely all around. Alessia’s vocals also mesh well with the production and sound wonderful, and when she’s singing lyrics like these, I really dig it even more! Alessia did that with this album. She did that.

Growing Pains (Reprise): A reprise of the opening track, Alessia talks about how she is her own best friend here, and whether or not the blame is placed on the growing pains, or just on herself. There’s not as much to say about this one since it’s only a minute long, but I love the very heavenly vocals from Alessia, the light pianos, filters, and synths add a layer of fun to this short track, and it’s just got such a lovely vibe to it. It might seem weird to rave about a track that’s just a minute long, but Alessia really cared for it even with its short length, and it’s a wonderful closer to the album.

You guys had to know that I was gonna love this. Still, I have to say I’m surprised I ended up enjoying it even more than “Know-It-All.” I think what lifted this over that album (which I still loved) was that Alessia went down so many different sonic routes here, bucking some of the modern pop trends in favor of a more unconscious album that mixes themes and ideas just like the lyrics themselves. I also think that, by going down the acoustic routes for a number of the songs, we get a look at Alessia’s very beautiful vocals even more than her last record: this one is just filled with gorgeous vocal performances, and with no features to take the show from her, this is all her all the time. Actually, the lack of features adds to the album: this is a really personal record for Alessia and it’s really special to her, and I think letting her tell the story on her own is the best move, as features could’ve killed that.

Speaking of telling the story, Alessia’s storytelling is fantastic as well: I think she forgoes a lot of cliché imagery in favor of a very honest approach to telling her stories (which, as a poet myself, I appreciate), and she’s putting out some very strong, relatable content. I know some people probably scoff when people bring up “relatability” in music, but these songs do feel very genuine, honest, and easy to latch onto. Alessia herself might feel some growing pains, as we all feel as humans, but her sophomore album shows no pains in relation to her debut. It’s an album that’s raw, honest, and beautiful, and it not only sees Alessia in top form vocally, but it sees her experimenting and exploring her sound, to truly wonderful results. Do yourself a favor and listen to this album, I think you’ll love it.

Favorite tracks: ALL OF THEM

Least favorite tracks: NOPE. ZERO.

Rating: Excellent