Sam Tsui "TRUST" Album Review

Yes, yes, I know, the Drake marathon is still happening, but I just got word of another new album that came out, and as I said, new albums hold priority for me in regards to reviews, so I’m gonna take a look at this album next. Here we go, everybody, it is time for a review of the new Sam Tsui album “TRUST.”

Sam Tsui is a famous YouTube cover artist that has collaborated with plenty of other cover artists like Kurt Hugo Schneider, Max Schneider, Alex Goot, Alyson Stoner, Casey Breves (of whom he is married), and of course, the late, great Christina Grimmie (R.I.P.), and he has amassed quite a large following with his covers. He’s been doing this for a while now, too, I first discovered him in 2009 (nine years ago, wow!) when he and Kurt did a Michael Jackson Medley after the King of Pop’s passing, and I’ve enjoyed his covers ever since.

However, I wasn’t too sure what to expect going into this record, as I haven’t heard any of his original material, and it’s hard to know what a cover artist can do with a record when all the material you’ve previously heard from them is their versions of other people's songs. However, I was admittedly pretty excited about it, because I know that Sam can handle anything from an upbeat, fun track to a more somber, emotional ballad. On top of that, fellow YouTube cover artist Rebecca Black released an EP at the end of 2017 that I ended up really enjoying, so I’m definitely interested in checking this album out. So, let’s get going!

Impatience: The album starts off with a track that’s really bright and poppy, and while it’s certainly fun and Sam’s trademark vocal talents are on full display here, I honestly just can’t shake the feeling that I’ve heard this song a couple times over already. Don’t get me wrong, it’s definitely upbeat and enjoyable, but I don’t feel like I’ll be returning to it anytime soon.

Trust: This one is not as bright as the last, but honestly, you can take almost everything I said about “Impatience” and just apply it to this track. It has a pretty fun electronic beat, and Sam’s vocals are pretty and smooth, but honestly, this song just kind of feels contrived and overdone to me at this point. It’s definitely not a bad track, but I’m not all that in love with it.

Just for Tonight: On this song, Sam takes things even more fast-paced, but things turn slightly bubblegum-y, and it feels like a slightly watered-down version of a lot of “party music” that was around back in the early 2010s. Again, if you love Sam, you’ll probably find something to love here, but honestly, it kinda bores me. And I don’t want to say that because I love Sam, but I feel like this just doesn’t live up to his covers.

Cameo: With this one, things turn a bit slower and more dance-y (and maybe a little more sensual), but it still remains a bit too contrived and cliché to really be all that exciting to me. It’s got enough of a catchy beat and enough bright charm to keep it from being one of the album’s worst, but it’s honestly just not worth coming back to after one listen.

Clumsy: Sam keeps it a bit slow on this track, and moves a bit closer to making something that feels more like a ballad. And honestly, I like this track because, while it again feels like it’s been done before, I think the slower pace and the more emotional feel of it play to Sam’s vocal strengths a bit better than some of the earlier tracks. I still feel like I’ve heard better from Sam before, but this is definitely a step in the right direction after a slow start to the album.

Free: Here, things turn a bit more EDM-esque than Sam’s other tracks, but unfortunately, it again just feels like a watered-down version of quite a bit of the EDM that we hear today, complete with a kind of generic beat drop and a less-than-stellar hook (“SO BABY FOLLOW ME “CAUSE WE, ARE GONNA BE FREEEEEEEEE”). Even if it’s kind of dance-y and has some interesting sounds going on, it’s honestly one of the weaker tracks on this thing.

Second to Midnight: I feel so bad saying negative things about this album because I love Sam, but I honestly just can’t help that hardly anything thus far has left a lasting impression on me, and this track is nothing different. Sam’s vocal flow is certainly fun, but I once again can’t shake the feeling that all of this has been done before, tit for tat, and a bit better, unfortunately. And Sam has a very good voice, but these more electronic-based songs, I feel, don’t really explore his vocal potential enough, and it’s a pity. It’s not bad, it’s just not memorable.

A Million Pieces: While this track is certainly smooth and nice on the ears enough to satisfy Sam’s hardcore fans, it’s once again nothing you haven’t heard before, and it honestly feels kind of flow-chart, like it’s not really trying to do anything really all that different or exciting. It’s definitely competent, and I think Sam shows at least an understanding of how to craft pop music, but it feels like it’s just a pretty basic understanding of the genre, and not necessarily an attempt to branch out and do something exciting with it.

Guessing Game: This track in particular honestly feels like it’s stuck as a watered-down version of some early 2000s pop, and again, it feels like it doesn’t explore Sam’s vocal potential enough. There are some really nice-sounding vocal runs at the end, but other than that, it feels too stuck in his comfort zone to really leave an impact.

Carousel: Being a slower ballad, I think this track definitely plays to Sam’s vocal strengths far better, in that it’s more contained and more clear on what it’s trying to do and how it’s going to do it. It still feels like it’s not all that exciting, but it’s definitely a nice, light track with some sweet vocals from Sam. I’m not crazy about the whole “round and round and round” thing going on in the bridge, but this isn’t too bad overall.

There for You: Aww, again, it makes me so sad that I’m not digging this track. I love Sam a lot, and again, he has a clear grasp on what he wants to do, but unfortunately, this just feels like 90% of pop and electronic music watered down to a more wallpaper and by-the-numbers form to the point that, while it's certainly pleasant on the ears and nice to listen to, it just doesn’t leave a lasting impression after one listen.

Fixed: Thankfully, the album ends off solidly. One of the more light, slower songs on this thing, I definitely find that this track actually feels more emotional and interesting than the other songs here. It’s not gonna singlehandedly save the album or anything like that, and it still feels like something I’ve heard a couple times before, but it’s a nice, wonderfully delivered track that wraps the record up nicely.

Gosh, I honestly feel like I don’t want to give this album a low score, or criticize it too harshly because I love Sam: I’ve been watching his covers since 2009 and I think he’s one of the most talented YouTube cover artists I’ve seen. Unfortunately, I feel like, after listening to this record, there’s a LOT of room for improvement in his music. As I mentioned, Sam clearly has a grasp on the most basic elements of making pop music, but he doesn’t really do enough with those elements, and all of this just amounts to what feels like a less-than-enthusiastic pop record. All of the tracks feel like they’ve been done plenty of times before over the last decade and a half, and unfortunately, with the overly-electronic production, I feel like Sam’s vocal brilliance that he’s displayed during his covers isn’t explored as much on this record, and while he still has a very nice voice, it just feels like he’s not doing much with it here. Everything just feels wholly basic here, from the production, to the vocals, to the lyrics, it’s all competent but unexciting.

I can definitely say if you’re a hardcore Sam Tsui fan that loves every single thing he produces, you’ll probably fall in love with this record, and it’ll give you everything you could possibly want, but I definitely think you should keep your expectations low going into it. Given what I’ve heard from his covers, Sam has the right idea on this album, but he just doesn’t explore it enough: he goes straight pop here, but it’s very standard pop, and it’s nothing you haven’t heard from more popular, established artists. Is Sam talented? Absolutely! Was this a strong showcase of his talents? Unfortunately, no. Do I think Sam can bounce back in time? Sure. As I said, he’s got a grasp on making pop music, it’s just a matter of not settling for the most basic ideas, and experimenting a bit more. I’d definitely like to see him bounce back in the future, and I’m sure he absolutely can, but it’s definitely gonna take some work from him to get there.

Gosh, I honestly feel kinda sad about this.

Favorite tracks: Clumsy, Fixed

Least favorite tracks: Just for Tonight, Free

Rating: Bad :(

Migos "Culture II" Album Review

I know I’m supposed to be doing the Drake marathon right now and don’t worry, I still am, but unless it’s the artist in the marathon, new album releases hold priority for me, so I want to get this review out while the album is popular and making the rounds and all that, so…here we go, Migos, “Culture II.”

This is the third studio album from popular rap trio Migos, who had a big year in 2017 with the release of their commercially successful album “Culture,” an album that included their first Billboard Hot 100 #1 single “Bad and Boujee,” along with other hit singles “T-Shirt” and “Slippery.” Quavo was also featured on several Top 10 singles throughout the year (including “I’m The One,” which made it to #1), Offset collaborated with 21 Savage and Metro Boomin for the critically-successful album “Without Warning,” and Takeoff…well, he wasn’t left off “Bad and Boujee,” that’s for sure. The group also ended the year with the release of “MotorSport,” another huge-charting single for this new album.

However, despite the laundry list of accomplishments, I’ve generally been iffy on a lot of their stuff, as I notably gave “Culture” a “bad” rating when I wrote my review of it, and after hearing “MotorSport,” my views on the group didn’t really change much. Who’s to say, though? Maybe they could surprise me with this record (though, given that it’s an hour and 45 minutes, I’m not holding my breath). Let’s give it a listen and find out.

Higher We Go (Intro): As the Migos boys start off this epic by talking about how high they’ll get, I’m already thinking to myself “man, they really didn’t make a concerted effort to do anything different already!” This thing just feels way too long and way too boring. The hook is fun, if very repetitive, and Takeoff’s verse is particularly strong, but it feels like he’s not there long enough. If not for his verse and the hook, this would be absolutely terrible. As it is…it’s not great, but it could be worse.

Supastars: Here, the Migos talk about…oh, what else, the amount of money they’ve gotten because of their big 2017. Is anyone shocked? No. And usually, I actually find Quavo’s hooks and performances to be fun, but here, it just sounds like he’s phoning it in on the hook (repeating “yeah” eight times in a row doesn’t make things any better). It’s honestly just wallpaper trap music that never even tries to do anything different or remotely interesting in comparison to other Migos songs.

Narcos: Alright, this one is actually pretty interesting to me. Sure, it still feels like a regular Migos affair, but the group added a more reggae-esque feeling. And again, I like the way it sounds. It’s brighter, it features some more fun and interesting vocal performances, and all in all, it’s a more enjoyable listen than other Migos songs.

BBO (Bad Bitches Only) (ft. 21 Savage): One of the many songs on this thing that enlists features, this one actually feels pretty fun: it’s bright, the boys clearly have their fun on their verses, and 21 Savage has a pretty fun hook on this thing. Usually, 21 can bore me a bit, but here, his flow keeps things interesting. Sure, it’s just Migos talking about women again, but it’s definitely an energetic, fun turn-up song.

Auto Pilot (Huncho on the Beat): I was really liking how this one was starting out, as it felt kind of epic and action movie-esque, but then it basically turned into a very standard Migos track with the same annoying staccato flow on the hook, continued uninteresting and unorganized vocal performances, and a very wallpaper, run-of-the-mill trap beat that just doesn’t sound all that exciting. I was getting a bit excited after the last two tracks, but this definitely brought things back to Earth.

Walk It Talk It (ft. Drake): Quavo…did…did you…did you really consider that hook before you threw it on this thing? Because WHAT THE HELL WERE YOU THINKING?!?!?!?! I might enjoy a repetitive hook every once in a while, but that was just…appalling. And beyond that, it’s another song firmly planted in Migos’ comfort zone (I get some “T-Shirt” vibes on this one) where even the best parts aren’t enough: Drake’s verse is rock solid, as is Offset’s, but both of their verses feel too short compared to Quavo’s overly-long hook and verse. Yeah, this one was bad.

Emoji a Chain: I was actually a little interested when I saw that Offset was handling the hook on this one instead of Quavo, but unfortunately, said hook is not as interesting as his verse. I like his flow overall, and he sounds pretty solid on it, but everything else about the song just screams “comfort zone,” as if the boys really don’t want to try anything new or interesting this time around. Ugh, next.

CC (ft. Gucci Mane): This song makes me wish my reviews were in video form because you guys needed to see the look of pure despair on my face when the hook kicked in on this one. I’m cool with a brighter sounding song (I’d actually prefer that, to be honest), but Quavo’s drowning-in-autotune vocals remain as uninteresting as possible. And then Gucci Mane comes in and delivers a really boring verse that, again, ends too quickly, which adds to my ideology that the features are hideously underused on this record. Neither of the other Migos save this one, either, and then to put the cherry on top, the track literally just ends. Like, it shrugs, throws in the towel, and walks away. It doesn’t even feel like it’s over when it ends either. I keep thinking this won’t get worse, but even if it doesn’t, it certainly doesn’t get better.

Stir Fry: FINALLY, A TRACK THAT’S ACTUALLY WORTH A DAMN!!! On this one, the Migos boys rap over a more bright, pop beat that, while still slightly trap-flavored, feels much more fun and energetic than a lot of the other tracks on this thing. This is what Migos needs to do: try some different avenues with their formula! This one actually sounds interesting and infectious, and I might honestly say it’s by far my favorite Migos song. I can actually see myself coming back to this quite a bit in the future, believe it or not!

Too Much Jewelry: Right after I say that, though, the boys jump right back into their comfort zone. Ah well, it was fun while it lasted. And I’ll be honest, I don’t think Takeoff or Quavo were able to make this hook all that interesting: Takeoff’s performance was boring and Quavo’s overly-autotune vocals just lacked anything interesting this time around. I applaud it for being slightly more piano-driven, but I don’t applaud it for not having Offset, because so far, he’s been the best thing about the record. Not one of the worst songs, believe it or not, but it’s not all that great.

Gang Gang: Nice! This, again, is what Migos needs! Here, they experiment with something more poppy and slightly more R&B-esque, and all in all, they stick the landing nicely. The vocals are smooth, the instrumental is bright, and the track as a whole is very fun. Gives me some really nice flashbacks to “679” by Fetty Wap, and I can appreciate the Migos trying that with this one. Again, kinda sucks to see Offset not on this track, but I’d say that this time around, Takeoff and Quavo do a fine enough job lifting the track on their own. Again, I think I’ll be coming back to this one for sure.

White Sand (ft. Travis Scott, Ty Dolla $ign and Big Sean): This track is honestly so stuffed with features it kind of just feels like they blend together a little bit. Travis Scott, Quavo, and (to a lesser extent) Ty Dolla $ign just sound so similar that it honestly was a bit tough to discern who was who at some points, Big Sean is out as soon as he’s in on this track, and neither Offset nor Takeoff’s verses do anything interesting for me. Might honestly be one of the worst on the record just for how overstuffed and unfocused it feels. Not really digging this one, next…

Crown the Kings: Literally, the beat on this one sounded so similar to the last one, I almost didn’t know the song even changed. And again, it’s nothing you haven’t heard out of the group before: same flows, same drowning-in-autotune vocals, and same wallpaper, by-the-numbers trap beat. This one isn’t necessarily obnoxiously bad, but it’s just nothing all that memorable.

Flooded: It honestly feels tiring saying that this song sounds like everything else they’ve put out, but unfortunately, I have to review each track on this thing and give you my full thoughts on each of them, so…*sigh*…it’s nothing you haven’t heard from the group before, and none of the vocal performances are interesting this time around. Why can’t this be done sooner?

Beast: *sinks face into hands* Guys, remember everything I said about the hook on “Walk It Talk It?” This one is nearly as bad. And even though the vocal performances on this thing are a bit more interesting at points, the song as a whole just blends together with everything else. Just…next one, please…

Open It Up: *slowly sinks further and further into madness* “UH, OHH, OPEN IT UP, UH, OHH, OPEN IT UP” PLEASE OPEN IT UP SO THEY CAN STOP!!!!! Boring hook, boring beat, instrumental that I feel like I’ve heard a million times before even in non-Migos tracks. Guys, the migraine is growing.

MotorSport (ft. Nicki Minaj and Cardi B): Now this track won’t make me slip further into madness because, having heard this one before the review, I can easily skip over it in my listen. Anyway, Nicki Minaj and Cardi B run away with this song, as they provide the only really interesting performances on what is essentially an extra-autotuned version of “Bad and Boujee” to me. Hearing it again, actually, it doesn’t grow on me at all. The hook remains boring, and Nicki and Cardi remain the only things I even like about the song. The less we talk about this one, the better. Next…

Movin’ Too Fast: *resists the urge to fall asleep* It’s slightly brighter, but…guys, do I really need to say it again? Can we just move on to the next song and forget about this one. It’s not one of the worst on here, but it literally just sounds like everything else. Can we just move on? Good.

Work Hard: Honestly, I’m hardly even paying attention anymore. It’s kinda brighter, but it’s still sleep-inducing, and it’s doing my migraine no favors. The only thing that keeps it from being one of the worst on this album was that I actually liked Quavo’s vocals on the hook. Otherwise, skippable. Next…

Notice Me (ft. Post Malone): While I like some of the slightly more R&B vibes I get off of this track, and Post Malone’s vocals are very nice on the hook, I feel like this one would be a lot more fun to listen to if it wasn’t the 20th song on a 24-track album. Still, it’s definitely a fun one, and after the long string of really bad tracks, it does feel pretty refreshing to hear something like this. Still a bit too comfort zone, but definitely more fun overall.

Too Playa (ft. 2 Chainz): A more saxophone-driven track sounded really interesting to me at first, but then they added the average trap beat and did nothing different in regards to their flow or vocal sounds. Instead, Quavo just decided to say “we too playa” way too many times, and the group enlisted 2 Chainz to basically be the only fun, exciting part of the song. It’s definitely better than a lot of the others on here, but I definitely don’t see myself coming back to it (especially considering that it’s 5 minutes too long).

Made Men: Here, the boys actually go with something a bit different, trying something a little jazzier and, to an extent, R&B-esque, and for the most part, they stick the landing. The vocal performances are smooth, the instrumental is nice, and the song itself definitely gets points for trying something different (it’s definitely too late for that, though). I can’t say I’ll be coming back to it, but I do like the feel of this, and I’d definitely be willing to see them try this style again.

Top Down on da Nawf: While I appreciate this song for being slightly more introspective, and I like some of the vocal performances on here, I again feel like things just feel too rooted in the group’s comfort zone, and honestly, given the introspective feel of the song and the discussions of their return home, the overpowering drum beat just kind of feels like it doesn’t mesh well with the more subtly-emotional vocal performances. Not one of the worst on the album, but it’s definitely problematic.

Culture National Anthem: Finally, we’ve reached the end of this thing. And, it’s slightly more political, oddly enough. And I can appreciate this, as it’s pretty unexpected for the group, and being a more piano-driven track, that’s something really interesting. Unfortunately, the song ruins what they were going for by layering the generic trap beat over the piano. And it’s a shame because I like the smooth vocals on the track, and the more subtly political lyrics that discuss equality and kneeling for the anthem are interesting for me since political topics like that are things they don’t really explore all that much. Unfortunately, the trap beat, for me, takes away from the impact that it could’ve had. A decent ending to the album, and better than some of the other songs on here, but a track that definitely could’ve been better.

Guys, I’m sorry. I wanted Migos to win me over with this record, I wanted them to light a fire under their asses with this album, but they just don’t. I applaud tracks like “Stir Fry” and “Gang Gang” for actually trying something different, but they literally feel like constellation prizes when every other song is just obnoxiously bad retreads of the group's old stuff. And maybe it’d be less of a problem if it wasn’t AN HOUR AND 45 MINUTES LONG!!!!! Honestly, I feel like this is gonna be one of those albums where not even the hardcore Migos fans will be able to defend it. I mean, honestly, if you do like it, that’s fine of course, everyone is entitled to their opinion, but I can’t help but feel like some of the hardcore Migos fans might even feel like it’ll get a bit tiring hearing the same by-the-numbers trap beats over and over, and they'll eventually demand something different, and something shorter.

For me, it feels like “Culture II” is an example of the ideology that “bigger” doesn’t always mean “better,” and throwing a big ol’ number 2 on something doesn’t mean it’s gonna be better than the first. Resting on your laurels is only gonna get you so far before it just starts to feel old, and when the music is as one-dimensional as the stuff on this album, you’re gonna need to change if you don’t want to get left behind, and unfortunately, Migos just keep themselves in their comfort zone (outside of some scattered instances), and the result is an album that can’t help but feel like a group obnoxiously ripping off their old stuff because they’re just not interesting enough.

I…I’m sorry…I just can’t…

Favorite tracks: Narcos, BBO (Bad Bitches Only), Stir Fry, Gang Gang, Notice Me

Least favorite tracks: Supastars, Auto Pilot (Huncho on the Beat), Walk It Talk It, Emoji a Chain, CC, White Sand, Flooded, Beast, Open It Up, MotorSport

Rating: Awful

Drake "Thank Me Later" Album Review

Moving things right along in the Drake marathon, it’s time to review his first studio album, 2010's “Thank Me Later.” I enjoyed his first commercial project, “So Far Gone,” as you may have seen in my review, so I’m interested to see if he can uphold that level of success and keep his sound solid on his first full-length record. So, let’s go track-by-track and find out:

Fireworks (ft. Alicia Keys): Starting off the album with what amounts to an answer to many of the questions Drake previously didn’t talk about in his interviews, I like how introspective the song feels and I love Drake’s passionate performance on his verses. His singing on the pre-chorus is also smooth and quite nice, and Alicia Keys provides some very beautiful, angelic vocals on the hook. Definitely makes a statement to start the album, and it’s a great start overall.

Karaoke: A song that talks about the relationship problems Drake has faced since rising to stardom, the electronic drumbeat on this track feels like a years-earlier version of “Hotline Bling,” and while Drake’s crooning on his verse doesn’t sound too bad, I’m not really digging the autotune filters on it, and on his rap verse, it kind of sounds like he’s doing a Lil Wayne impersonation. Not a terrible track, but nothing too special overall.

The Resistance: A song that basically sees Drake saying “I’m not sorry” for capitalizing on his success, I like the atmospheric drum beat on this one, and Drake’s vocals on the hook are very smooth. While the lyrics aren’t the strongest in Drake’s discography, they’re not bad, and his flow is pretty solid overall. Think I’ll definitely come back to this one in the future.

Over: A very booming track about (what else?) fame, I like Drake’s smooth, nice-sounding vocals on the hook. For the longest time, the verses really weren’t really all that interesting to me, nor was Drake’s kind of shouty performance on them, and the grand, orchestral instrumentals were honestly a bit overwhelming to me. I was able to see the appeal of this track and why it became so popular, but it wasn't too interesting to me. It took a lot of listens, but it ended up really growing on me, as those things I didn't like about it in 2018 turned out to be some of the things I like about it now. That's all, Matt from the future out.

Show Me a Good Time: A really upbeat, bright track about Drake asking a woman to “show him a good time,” I’m not all that crazy about the instrumental that features some weird scream-y elements that get a bit annoying. Drake’s vocals sound nice and all, and he definitely delivers some passionate performances on his verses, but I still can’t get over how much it still sounds like he’s trying to do a Lil Wayne impression on the hook. Not a terrible track, just nothing all that exciting to me.

Up All Night (ft. Nicki Minaj): A kind of trap-inspired beat backs one of the album’s legitimate bangers. An ode to Drake’s team and his success, I like his flow and performance on his verse, Nicki Minaj comes in and delivers a really fun, clever verse, and the hook has all the potential to become really ear-wormy. Definitely gonna come back to this song in the future, it’s a pretty fun one.

Fancy (ft. T.I and Swizz Beats): The song that originated the all-time classic phrase “oh you fancy, huh?” is an ode to women with independence. Swizz Beats delivers the hook (and the meme), and while it’s not the greatest thing I’ve heard, it’s not bad. The instrumental kinda reminds me of “Crazy in Love” by Beyoncé in some ways, which is a good thing as I quite like that song. Drake’s verses are solid as well, but it’s T.I.’s guest verse where the song really shines: it’s clever, the flow is solid, and it’s the most fun part of the song. It’s not my favorite track on the album, and it does go on for a little too long to me, but there’s definitely some appeal on this one.

Shut It Down (ft. The-Dream): Another love song where Drake talks about a woman that he loves, this song sees Drake crooning and his voice is once again very smooth and pretty, even if it is drowning in some auto-tune. The pounding drum beat on this one flows well with Drake’s vocals and the atmospheric, ethereal instrumental, and featured artist The-Dream jumps into his upper-register to deliver some really sweet vocals overall. Even at 7 minutes, I definitely love what’s going on here, and I’ll definitely be coming back to it in the future.

Unforgettable (ft. Jeezy): A loving tribute to R&B music that features Drake talking about his hopes of becoming an iconic musician, this song pays tribute to Nat King Cole and Aaliyah, and Drake’s flow on his verse, while not really his “dumbest” ever, is not bad. Jeezy is featured on this track and his hook, while not terrible, is overall just kind of boring. Overall, if this really is a tribute to the R&B genre, I wouldn’t say that it sticks the landing, unfortunately.

Light Up (ft. Jay-Z): A team-up with Jay-Z that feels introspective in some ways, I’m not all that crazy about Drake’s uneven flow on the verse, or his occasionally cringe-y lyrics, on this track. The hook is really interestingly spacey, though, and Jay-Z’s verse is where the song really shines. Even so, neither of those things really save the track, and all in all, this is one of the least interesting songs on the album to me (outside of Jay-Z’s verse, though).

Miss Me (ft. Lil Wayne): Talking again about a woman, this track features a very snare-drum driven beat and I like Drake’s kind of sing-y rapping on the verses. The hook isn’t one of the strongest on the record, but Drake’s crooning still sounds pretty nice, and Lil Wayne’s verse is about as standard as any other Wayne verse: decent flow but some slightly cringe-inducing lyrics (though, I’ll give Wayne credit, at least the F in Weezy F no longer stands for “phenomenal”). Not a terrible track, but not one of the album’s best.

Cece’s Interlude: An R&B interlude about a woman Drake met (obviously named Cece), this one features another ethereal instrumental and some really smooth, pretty-sounding crooning from Drake. There’s not all that much to say about this track, since it’s a very short interlude, but I think it sounds quite nice, and I’ll definitely come back to it in the future.

Find Your Love: One of Drake’s patented love songs, backed by a pretty overpowering Jamaican beat, Drake moves straight into singing on this one and he does it successfully: he’s got a very nice, pleasant, soothing voice, and he makes the hook really pop on this thing. It’s dance-y, it’s smooth, it’s fun, and it’s got some pretty decent lyrics overall. I like this track quite a bit, I’ve listened to it quite a bit over time, and it still remains really fun for me.

Thank Me Now: Though the album is called “Thank Me Later,” Drake here insists that we thank him now, just in case he didn’t get another chance to make an album. Obviously, at this point, he’s clearly made plenty more, but at least it made sense at the time. Either way, Drake’s flow is solid on this one, and the bright instrumental makes this feel like a celebration, which is fitting for the song. I’m not too crazy about the hook on this one, but it does feel like an appropriate end to the record.

Overall, if you can get over the lack of diversity in the subject matters (most of the songs are about women) and can forgive the inconsistency of the record, Drake’s debut studio album has a lot of good things going for it. Drake clearly has an ear for atmospheric, ethereal production on this album, his rap flow makes up for his occasional lack of lyrical strength, and considering that he jumps into a more sing-y feel throughout the album, he’s got a really smooth, pretty voice that really works here. As I said, the album can get a bit generic at points, and not every song on here is a complete banger (I can say for sure that Drake has definitely put out stronger projects than this one, and I haven’t even listened to the other ones entirely), but “Thank Me Later” still holds up well, and it’s definitely worth listening to despite the flaws.

“Take Care” is up next, and that’s one of the Drake albums I’m most excited to review. Let’s hope my excitement pays off.

Favorite tracks: Fireworks, The Resistance, Over*, Up All Night, Shut It Down, Cece’s Interlude, Find Your Love

Least favorite tracks: Karaoke, Unforgettable, Light Up

Rating: Good

(*An asterisk next to a “favorite track” indicates that the track wasn’t initially one of my “favorite tracks” when I first wrote the review. If a track has an asterisk next to it, it means the song wasn’t initially a favorite of mine, but it grew on me, and the text for the song may have been edited to more properly reflect that.)

Drake "So Far Gone" EP Review

We’ve got a new artist marathon! Remember when I reviewed all of The Weeknd’s mixtapes and albums in rapid-fire style? Well, we’re gonna be doing that again, this time with Drake! I do want to note, however, that I’ll only be looking at his legitimate, commercial projects, so the three self-released mixtapes that came before this one will not be reviewed. Maybe one day if there’s ultra-heavy demand, but for now, let’s just focus on his commercially released projects, starting with his 2009 debut EP “So Far Gone.” It’s a breezy 7 tracks at just under 34 minutes, so let’s get this one out, because trust me, the lengths of these albums are gonna get more and more ridiculous later on. Anyway, let’s see what Drake’s first commercial project has to offer:

Houstatlantavegas: A slow, kind of ethereal track about a stripper who wants to get out of her job, I like Drake’s very nice, pretty vocals and the lighter, more spacey beat on this one. It’s kind of funny hearing how much Drake’s voice has developed as he’s gotten older, but regardless, it still sounds very smooth and lovely, and I definitely think I’ll be coming back to this one in the future.

Successful (ft. Lil Wayne): A song where Drake and his featured artists Trey Songz and Lil Wayne talk about wanting fame despite the consequences, I love Trey’s vocals on the hook, and Drake does have a few clever bars on the verses of this track, though I feel like his verses, and the song as a whole, do go on a bit too long overall. Lil Wayne’s verse is not bad, but it’s not the most memorable thing in the world and, all in all, the track as a whole is decent if a bit too long for its own good.

Best I Ever Had: One of Drake’s first big singles (and one of his many love songs), I love the hook on this one, and I like the way Drake so smoothly transitions between his falsetto and his chest voice. I also like the simple, but pretty pounding drum beat and Drake’s flow is rock-solid on his verses. This was one of his biggest hits for the longest time, and it’s still a pretty enjoyable track so many years later.

Uptown (ft. Bun B and Lil Wayne): A more trap-inspired track than some of the earlier ones, I love Drake’s vocals on the hook of this one, even if they are pretty autotuned, and I feel like the hook will quickly turn ear-wormy for me, but I think his performance is a bit cheesy on his verses. The song really kicks in when Bun B comes in, and he definitely provides a really fun, strong performance on his verse, and Lil Wayne’s verse is relatively fun, even if his performance is nothing special overall. Overall, not a terrible track, but not one of the best I’ve heard from Drake so far.

I’m Goin In (ft. Lil Wayne and Jeezy): The instrumental on this just screams 2009, but it’s still pretty vibrant, upbeat, and catchy overall. Lil Wayne’s performance on this track is extremely exciting and fun, and his hook has the potential to become an ear-worm. I also love Drake’s passionate performance and rock-solid flow on his verse, and other featured artist Jeezy provides a very different performance on his verse, but one that is nonetheless extremely energetic. It does feel like Wayne owns this song a bit more than Drake, considering he’s more prominent on it, but nonetheless, it’s a vibrant and enjoyable track that’s still plenty of fun years later.

The Calm: A song that feels more dark, mysterious, and dramatic for Drake as he’s discussing his own insecurities and alienations, I like the very emotional feel of Drake’s performance on his verses and his lyrical explorations of himself in this song. I also find it interesting that the beat is kind of faded on this one as if it takes a bit of a backseat in comparison to Drake’s performance and makes the song feel more personal and honest for Drake. Definitely a pretty good song.

Fear: Ending things off with another song that explores the transition from young mixtape producer to highly successful singer and rapper, I like the kind of synth-driven intro on this song, and again, Drake’s vocals sound really nice on the hook, a hook that could easily become ear-wormy as well. I like Drake’s lyrics on this track, as they feel like an exploration of his own personal life and the changes that came from the fame. I wasn't initially as enthralled by the beat or Drake’s flow on this one, but coming back to the song after a while, it really grew on me. Definitely a strong end to the EP.

Overall, Drake’s first commercial project sees him making good on quite a bit of the potential he has as an artist. While it obviously sounds a bit raw, seeing as how it was from before his huge days of fame, Drake has a solid ear for creating catchy hooks on this EP, he reminds us that he’s got a nice singing voice and some solid rap flow, and some of the emotional detours make this project a bit more interesting for me. It’s definitely aged a little bit, and as a musician, Drake obviously won’t sound as mature as he does on some of his current records, but quite a few interesting things are going on here to make this project work. It obviously won’t stack up as one of his stronger releases, and even some of my favorite tracks on this record probably won’t be immortalized in Drake’s overall legacy, but for what it’s trying to accomplish, this is a fine first project.

“Thank Me Later” is up next. Pretty excited about that, even though it’s an hour long.

Favorite tracks: Houstatlantavegas, Best I Ever Had, I’m Goin In, The Calm, Fear*

Least favorite tracks: Uptown

Rating: Good

(*An asterisk next to a “favorite track” indicates that the track wasn’t initially one of my “favorite tracks” when I first wrote the review. If a track has an asterisk next to it, it means the song wasn’t initially a favorite of mine, but it grew on me, and the text for the song may have been edited to more properly reflect that.)

Fall Out Boy "Mania" Album Review

Here’s a review I’ve been cautiously interested in over the last few months: it’s the latest Fall Out Boy album “Mania” (or, as the band stylizes it, M A  N   I    A. Too many spaces, Fall Out Boy, too many spaces). Fall Out Boy is a band that pretty much needs no introduction: one of the bigger pop-punk bands of the 2000s has survived extremely far into the 2010s and has seen continued mainstream success even to this day. And I have to admit, even with the group’s change in style over the years, they’ve remained one of my personal favorite bands, and one that I continue to listen to quite often. However, despite my love for the group, I was only cautiously interested in the album as the leadoff single “Young and Menace” severely underwhelmed me. Even so, it’s a group that I love and, at just under 36 minutes across ten tracks (all of them mostly being about 3 and a half minutes), it’s not gonna be all that long, it won’t overstay its welcome, it’ll probably be pretty contained and focused in what it wants to do, so I figured, why not take a look, right? So, let’s do that.

Young and Menace: This track is what I consider to be the poster child of “good ideas gone horribly wrong.” I like the really dark, eerie vibe the song gives off pretty early, and the pre-chorus really adds to that. Also, the lyrics that discuss being an outsider as a child are something that I’m sure many can relate to. However, everything goes completely awry when we hit the breakdown, and we hear the ear-bleeding screeching. And look, I wouldn’t be against the whole “beat drop into pumping breakdown” thing if it didn’t sound like a cat being strangled. I wanted to love this song, but unfortunately, the screeching cat in the microwave breakdown basically ruined the entire thing for me.

Champion: This song definitely sounds far more reminiscent of the “typical Fall Out Boy” sound, but beyond that, it’s a really enjoyable track. It’s head-noddy, I love the pounding drum beat on this one, and I like how well the song blends a darker, smaller sound with the really thrashing hook! Patrick Stump’s vocals are strong as always, and the uplifting lyrics about being able to do anything only work to compliment the song nicely. All in all, I had a lot of fun with this track and seeing that it was the second single from the album, it was definitely a much stronger single than “Young and Menace.”

Stay Frosty Royal Milk Tea: Another very uptempo, pounding, drumset-dominated song, this was another track I definitely had fun with. I like Patrick Stump’s flow throughout the track, and the song as a whole is really head-noddy. It’s one of those tracks that feels like a Fall Out Boy song but has enough different sounds to make it stand on its own from the group’s other tracks. I feel like I’ll definitely be coming back to this one a lot in the future.

HOLD ME TIGHT OR DON’T: Fall Out Boy doing a reggae-style song? Well, there really is a first for everything! But I’m not gonna lie, this is one of those songs I feel like I’m gonna BOP in the future. It’s just so bright, fun, and infectious, and again, it feels like something different, but still decidedly Fall Out Boy. I also love Patrick’s vocals a lot on this one, and as I said, I feel like this is gonna be one of those tracks that just ends up being too irresistible for me to ignore.

The Last of the Real Ones: A very bright, piano-driven love track with several connections to gravity, this one is definitely pretty fun, Patrick’s vocals are rock solid as always, and the piano melody is really bright and really nice. I don’t think it has the best hook on the album, and it’s not one of my favorite songs from the group, but it definitely feels pretty reminiscent of some of the songs from “Save Rock and Roll,” and all in all, I can say I did enjoy the track.

Wilson (Expensive Mistakes): A much more electronic song, I’m not as crazy about this one. It just feels like something that’s been done a few too many times before, and I’m not as crazy about Patrick’s more filtered vocals at various points in the song. It’s definitely a stronger EDM-based track than “Young and Menace” by a long shot, but all in all, it’s honestly one of the weaker songs on this album.

Church: Another love song, this time one with some more religious imagery, this one starts off a lot lighter but then quickly turns into a more epic, thrashing anthem of Patrick’s love. I don’t really find the hook all that memorable on this one, but I do like the very grand, epic feel of the track as a whole, and Patrick’s vocals are solid as usual. Not one of the group’s best, but it’s a pretty solid track overall.

Heaven’s Gate: A much slower, more soulful, and ballad-y track, this song talks about the Heaven’s Gate religious group that believed that UFOs would take humans when they die. It’s a strange subject matter to talk about, but the group more than makes it work with a punchy, swingy instrumental, a fun hook, and some typically powerful vocals from Patrick Stump. Definitely enjoyed this track overall.

Sunshine Riptide (ft. Burna Boy): Another bright, reggae-esque song, I love Patrick’s extremely charismatic vocal performance on this one, I think the hook is pretty fun overall, and I like the really upbeat, fun feel of the song. This is also the only song on the album that has a featured artist, that being Burna Boy, and his verse, while a bit hard to understand, is still pretty energetic and enjoyable. I liked this track quite a bit, I think I’ll be coming back to it in the future.

Bishops Knife Trick: Closing things off, we have a very bright track that references the film “Aliens” in the title. This is another track that feels a bit different from other Fall Out Boy songs, in that it feels a bit lighter and not as overly-thrashing, but at the same time, it again feels very Fall Out Boy, and personally, I love the track. It’s bright, it’s wonderfully performed by Patrick Stump, and the instrumental is really strong. Definitely a really strong, powerful finish to the album.

Overall, I’ve gotta say this album took me by surprise! After hearing the first single “Young and Menace,” I feared for the worse with this thing, but I’m not gonna lie, I actually enjoyed it! Granted, it helps that “Young and Menace” was really the only track with any huge cat-screeches, but still, it was actually a pretty solid record! Fall Out Boy takes a few detours into different territories with this album, and while some of these detours work better than others, the album definitely has some pretty memorable tracks and still feels very Fall Out Boy. I’d be lying if I said this is one of their best bodies of work, but it definitely has enough infectious, fun tracks to be a pretty entertaining entry in their canon. And even if you aren’t looking forward to this record, and weren’t all that into the singles, it’s still worth giving this thing a listen as, with it being a pretty divisive album, it’ll be worth it to see what side of the fence you sit on. Me? It’s not the greatest album they’ve produced, but all things considered, there’s plenty of fun to be had with “Mania.”

Fall Out Boy, great job proving me wrong. I owe ya one.

Favorite tracks: Champion, Stay Frosty Royal Milk Tea, HOLD ME TIGHT OR DON’T, Heaven’s Gate, Sunshine Riptide, Bishops Knife Trick

Least favorite tracks: Young and Menace, Wilson (Expensive Mistakes)

Rating: Good

Migos "Culture" Album Review

Alright, guys, there’s one more catchup album review I’m gonna be doing for now, and that’s the 2017 Migos album “Culture.” Migos is a rap group consisting of three members: Quavo, Offset, and Takeoff and the trio had a huge 2017: though they’ve been known since 2013 thanks to their song “Versace,” 2017 was the year where they catapulted themselves to success with this album being a massive success and featuring some of their biggest singles yet, none bigger than their first Hot 100 #1 single “Bad and Boujee.” The group catapulted into the mainstream, and Quavo ended up being featured on four other singles that made the Top 10 (“I’m the One” also hit #1 on the Hot 100, by the way). So, with “Culture 2” expected to release this year, what better time than the present to take a look at this? So, let’s go!

Culture (ft. DJ Khaled): This song features DJ Khaled doing…ehh, you already know. Just yelling and stuff. Nothing out of his comfort zone. And the song itself is nothing out of the group’s comfort zone, and DJ Khaled’s random yelling does get annoying on this one since he’s ad-libbing a bit more, but otherwise, this is a pretty decent track. I like the vocal performances from all of the boys and, even if they drown themselves in autotune, they still sound pretty good. It’s fun enough, it’s catchy, and while it’s nothing you haven’t heard before, it’s pretty solid.

T-Shirt: The heavily staccato flow on this track is honestly a bit annoying to me. And again, I do like the vocal performances on this track, but I can’t get past how jarring the flow sounds to me. And honestly, it sounds like the song goes on much longer than it actually does. Maybe it’s the fact that the flow on this one bothers me, but it felt like I was checking my watch for when the song was gonna end. I know a lot of people love this song, but I just can’t get past the Migos boys’ flow throughout this track. Maybe it just needs to grow on me? I don’t know, but for now, not all that crazy about it.

Call Casting: Takeoff’s hook on this one is pretty fun, and as I’ve been saying quite a bit so far, the vocal performances throughout this song are pretty solid, but I can’t help but feel kinda bored by this. It literally just feels like it meshes together with some of these early songs. It’s definitely not a bad song, there are definitely worse places to go on this album, but for now, Migos just remains pretty firm in their comfort zone, which is fine if you like their style. Me? So far, it’s not winning me over.

Bad and Boujee (ft. Lil Uzi Vert): The big single that catapulted this group to popularity, and also meme-success (“rain drop, drop top”) even though Takeoff isn’t all that prominent here (“do it look like I’m left off Bad and Boujee?”), this track, honestly, just doesn’t do it for me. I see the appeal of it, and it’s got a reasonably fun hook, but otherwise, this song just kind of bores me. Neither Quavo nor Offset’s verses really do anything meaningful for me, and Lil Uzi Vert’s verse is not all that strong on this one. I’ve heard Uzi do far better (trust me, I’ve reviewed his latest album), and honestly, right when you hear “YEAH YEAH YEAH YEAH YEAH,” you can kinda tell that it’s not gonna be great. It’s a song I thought wasn’t all bad at first, but I’ve definitely grown away from it with repeat listens.

Get Right Witcha: Instrumentally, I like the way this one really starts off. It’s quaint, but it definitely feels like it could build up to something interesting. Unfortunately, it builds up to what essentially feels like everything else the group has done. There are some pretty fun vocal performances and flows on this track, though, and I feel like there’s definitely more charm to this track than some of the earlier tracks. Probably nothing I’ll come back to, but it’s not too bad overall.

Slippery (ft. Gucci Mane): The instrumental on this one is pretty fun overall, and I definitely think the vocal performances remain pretty charismatic and fun on this one. The hook is where the song really shines: it’s really memorable, fun, and I like Quavo’s flow and vocals on the song. Gucci Mane is also featured on this track, and while he didn’t turn me into a fan, I do like his flow on his verse. Solid track overall.

Big On Big: A brighter, more piano-driven song from Migos, this one takes some interesting new directions in comparison to some of the other tracks on this record, but it still honestly bores me. Same thing that I’ve said about a lot of the other tracks on here can apply to this song: fun vocal performances, but standard Migos flow, nothing overly special to me. And, maybe it’s just me, but I again feel like this song feels way longer than it actually is. It’s not bad, and I appreciate it for taking a few slightly different routes compared to other Migos songs, but it still just bores me.

What The Price: Once again, we have a pretty cool, rather different sounding intro that feels more synth-guitar based, but then, right as I was starting to get into the song, it just turned into another generic-sounding track that doesn’t differentiate itself from other Migos tracks whatsoever. Honestly, it sounds like a slightly more melodic, more sing-y version of “Bad and Boujee.” Sure, the vocal performances are fun, but they don’t make up for the song feeling like a complete bore.

Brown Paper Bag: Soon as this started, my first thought was “didn’t I just hear this earlier? Is this ‘T-Shirt 2’ or something like that?” I’m sorry, I know a lot of people love these guys, but I just feel like these songs are starting to mesh together for me and just sounding exactly the same. And while it’s nice that the group at least understands their own sound (and has some interesting vocal performances), it feels like they’re not doing enough with it by making so many wallpaper songs that just feel like attempts to recreate some of their bigger singles.

Deadz (ft. 2 Chainz): This song feels a bit more grand and majestic than some of the others on this album, and again, it takes some interesting different directions instrumentally. It does start to feel repetitive and boring after a while, but I do think it’s a bit better than some of the other tracks on here. It’s definitely a bit more energetic, and the more grand feel keeps things a bit more interesting for me. The hook is a bit boring and repetitive for me, but I think the song is saved entirely by the guest performance from 2 Chainz. All in all, though, not a great song, but better than some of the others on here.

All Ass: Once again, it just feels like Migos is trying to capitalize on the success they had with previous singles by just following the same formula that made those big singles so successful. Once again, though, what saves this would-be wallpaper trap song from being complete garbage is the fun vocal performances from the Migos boys. Despite the heavy use of autotune, these guys have really interesting, nice-sounding voices that add a layer of excitement to these songs. Not all great, but not one of the worst of the album.

Kelly Price (ft. Travis Scott): This one started in a way that sounded a bit darker than some of the other songs on the album, but slowly, it ended up becoming much brighter. And, for the better, because I feel it’s definitely one of the most infectious and genuinely fun songs on this album. It’s upbeat, it’s energetic, I love the vocal performances on this one, Travis Scott’s guest verse is really fun, and it actually feels like, for as repetitive as the trap beat is on this one, there are some decent attempts to make this one sound a bit different from the others. On top of that, despite being the longest song on the record (just over 6 minutes), it actually feels breezy and nicely-paced. Definitely one of the better songs on this record.

Out Yo Way: The final track on this album, this one started off a bit more R&B-flavored, and while it did end up sounding a bit similar to other songs on the album, it’s still very bright, fun, and energetic, and it’s a nice enough change of pace from some of the other songs on here. I think the hook is one of the strongest on the album, the vocal performances are typically quite strong, and the subject matter (the Migos talk about the women that have stuck with them throughout their music careers, which is a kinda different view on women that isn’t seen as often in rap music today) is actually really interesting. While it didn’t change my opinion on the album or save it or anything like that, I do think it was a nice way to end things off.

Overall, I feel like this album was definitely not for me. Though it features some pretty fun vocal performances throughout, a lot of the tracks just feel like they mesh together to me. I couldn’t really find myself really enjoying it, and while I tried to nod my head along and turn-up to this stuff, it was really hard to when I felt like I was listening to the same two songs spread across a 13-track album. And when every single song talks about drugs, money, and women, there’s not really all that many interesting stories to hear on this one. It’s meant to be turn-up stuff, and while that, in theory, isn’t a bad thing, the turn-up stuff on this album just doesn’t feel all that fun, and it can be a bit tiring. If you’re a fan of the Migos style of music, or you liked the singles and want to hear the rest, by all means, go ahead, you’ll probably have a better time than I did, but if you’re like me and looking for a casual listen, “Culture” might not be it.

I’ll give them a second chance with “Culture II” though.

Favorite tracks: Culture, Slippery, Kelly Price, Out Yo Way

Least favorite tracks: T-Shirt, Bad and Boujee, What The Price, Brown Paper Bag

Rating: Bad

Camila Cabello "Camila" Album Review (60th Review)

Alright, guys, I’ve still got some catchup albums to review, but I’m gonna take a small break from those to do my first review of an album released in 2018! And it’s one I’ve been looking forward to for a little bit now, it’s time for a review of the new Camila Cabello album “Camila.” Camila Cabello, former member of girl group Fifth Harmony-turned solo artist, had herself quite a good 2017, achieving her first Top 10 single when she was featured on Machine Gun Kelly’s “Bad Things,” and later seeing huge success with her own “Havana,” a single that has thus far peaked at the number 2 spot on the Billboard Hot 100. Part of my anticipation was because I like Camila and “Havana,” but also because this album was actually supposed to release in October as “The Hurting. The Healing. The Loving.,” before being delayed, slightly reworked, and renamed as it is now. So, it’s finally here for us to listen to, how is it? Let’s find out:

Never Be the Same: A slightly slower, more romantic song about finding someone you love and forever being changed by them, automatically we’re starting the album with something pretty relatable. I love the hook on this one, the beat is really pounding on this one, and Camila’s vocals are pretty great throughout, and the hint of rasp in her voice is really interesting. I definitely want to come back to this one in the future.

All These Years: The acoustic guitar intro on this one kinda reminded me of “Starving” by Zedd, Hailee Steinfeld and Grey. The song talks about an encounter that Camila had with an ex, and it’s a really nice track. I like the light melody on the track, her beautiful vocals are here as usual, and for as light as it is, I still feel like it’s got some of that classic punch and energy that we used to see out of Camila when she was with Fifth Harmony. It’s pretty short, yes, but at least it doesn’t overstay its welcome. I really like this one, too!

She Loves Control: Here, Camila talks about a very bossy girl who wants to have control and do things her way. It’s very dance-y, fun, infectious, and full of energy! I love Camila’s vocals as always, and the song features a really sweet, Spanish guitar melody. This is another track I can see myself going back to a lot in the future, it’s just too much fun to ignore.

Havana (ft. Young Thug): A huge hit when it first released in 2017, this ode to Camila’s home of Cojímar, a village in East Havana, Cuba, is punchy, energetic, and damn-near hypnotic. I love the really bouncy piano melody, the hook is extremely catchy, Camila’s vocals are beautiful, and even Young Thug’s verse meshes nicely with the piano melody. This is a song I’ve listened to quite a bit since its release, and I’ve definitely had plenty of fun with it. I expect to continue going back to this one a lot in the future.

Inside Out: A more bouncy song about love with a very reggae feel, I love the beat on this one, the really fun piano melody, and Camila’s typical strong vocals. The hook is also really fun and catchy, and I love her switching between English and Spanish on the bridge. Another track that I love.

Consequences: A slower, more piano-driven ballad that feels like a huge change of pace for Camila, but it’s honestly a pretty heartbreaking song: this one talks about the impact of one of Camila’s exes on her life, from loving him to their eventual breakup. It’s slow, it’s beautifully performed, and Camila’s vocals flow wonderfully with the light piano melody. Another one I can’t help but love.

Real Friends: Another lighter track, this one is punchy but more acoustic guitar-driven, and Camila talks here about wanting to find real friends and not wanting to feel lonely in the world. It’s a very introspective track that really works for me: the light acoustic melody flows nicely with Camila’s really beautiful vocals, and her flow and delivery on the hook make this one really fun. I definitely feel like I’ll be coming back to this one a lot in the future.

Something’s Gotta Give: Another more piano-driven, slower song, with a very light beat, this one talks about Camila’s tendency to give as much as she can, and how this hurts her in the long run. It’s another heart-wrenching track that features some really delicate vocals from Camila, a really beautiful instrumental, and a beat that fits perfectly with the piano melody and Camila’s vocals. This is another one I find so easy to love!

In the Dark: A song Camila wrote after meeting a famous boy at the Grammys. The slightly more trap-flavored beat makes this one feel a little darker than the other tracks here, but it’s still very punchy and energetic, Camila’s vocals are very nice as always, and the lyrics are quite interesting and they add to the dark feeling the song gives off. Really interesting, really good track.

Into It: One of the sexier tracks on this album, the instrumental on this one is really sharp and fun, Camila’s vocals are great as always, and the subtly sex-driven lyrics make it an extremely fun and infectious track. It’s definitely Camila in her comfort zone, but after some really light tracks, it’s nice to see her ending off with something really energetic and punchy.

Never Be the Same (Radio Edit): Almost the same exact track as before, the only difference between that the lyric “just like nicotine, heroin, morphine” was changed to “just like nicotine, rushin’ me, touchin’ me” to make things a little more radio-friendly. The change in lyrics doesn’t affect my enjoyment of the track either way. Everything I said about the track before stands after the second listen. And while starting and ending the album with the same song might seem repetitive, I think it actually serves as a decent way to bookend things, especially given the theme of “never ever being the same” being evident on this track. Maybe that’s just me, but I like it.

Overall, this album didn’t disappoint me whatsoever. Camila’s debut full-length record gives us a great look at her talents as a vocalist and a songwriter, and it shows us a new side of Camila that we didn’t initially get when she was with Fifth Harmony. Here, we see a more introspective, personal, emotional Camila making a mixture of more upbeat songs that feel perfectly in her comfort zone, along with some much slower, much different tracks that feel more emotional and delicate, and this great balance leads to a really beautiful, wonderful album that’s just way too much fun. Camila talked about wanting to make a good first impression with this record and wanting to make something really beautiful, and I’ve gotta say, she succeeds with flying colors. It felt like her solo career was gonna happen sooner or later, and it’s amazing to see that it’s going off without a hitch.

Camila, half of your heart might be in Havana, but I can tell that your whole heart was in this album.

Favorite tracks: EACH AND EVERY ONE!!!!!

Least favorite tracks: NAAAAAAAHHHHHHHHHHH NO WAY!!!!!

Rating: Excellent

SZA "Ctrl" Album Review

WOO! Now that I’ve finished all my year-end lists over on my YouTube channel, it’s time to properly get back into review mode! We’re gonna start things out with a few more catchup reviews, where I take some time to talk about some albums I missed in 2017, starting with the debut studio album from SZA called “Ctrl.” SZA was one of 2017’s breakout stars, but the only experience I had listening to her before this album was with her feature on Maroon 5’s “What Lovers Do.” I figured it was high time I take a look at this album and see what all the hubbub was. So, let’s do it!

Supermodel: This one started off a bit eerily, but it quickly turns into a really light song with some really raw, passionate lyrics about one of SZA’s ex-lovers. I also love her vocals on this one, and her delivery on the song actually feels pretty emotional. I really like this track!

Love Galore (ft. Travis Scott): On this one, SZA talks about her ex-lover against a very nice, tropical beat. I really love her vocals a lot, the instrumental is very head-noddy, and I also love the vocals from featured artist Travis Scott on this one. I don’t have so much experience with his music, but his vocals sound great, and I feel like the two work well together on this one. I think this is a track I’ll definitely come back to in the future.

Doves In The Wind (ft. Kendrick Lamar): In what was described as a “dedication to vaginas,” this song talks more about how some people will lose their minds over sex and do whatever they possibly can to have sex with someone. SZA vocals on this one are very interesting, I like her vocal delivery, and the instrumental reminds me a lot of Kendrick Lamar’s “YAH.,” to be honest…and that was also a terrible segue into the point that Kendrick is featured on this track, and he and SZA both work well with each other. The lyrics are unapologetic, and they serve to make this song even more enjoyable.

Drew Barrymore: On this track, SZA discusses her self-esteem, and wonders about her own self-worth throughout the track. She talks about how she doesn’t feel like she’s “ladylike,” and she does that over a very light but still pounding beat, and her vocals are really powerful on this one. Another really great track.

Prom: A more electronic, poppy, disco-esque track, the beat on this one is really punchy and fun, and the instrumental as a whole is really bright and head-noddy. I also love SZA’s vocal performance on this track. It feels like she shows some of her range on this track, and her vocals sound extremely nice! I also love how she continues to delve into her insecurities on this track, and how she talks about forgetting what her future looks like because it’s Prom season and she’s just deep in the moment. Really great track!

The Weekend: Another more electronic track that feels kind of Rihanna-esque, SZA talks here about how she only has her man on the weekends, and then he goes off to other women on the weekdays. It honestly feels rather emotional, and once again, I really love SZA’s vocals. She’s got a really great voice and she shows that on this track. Definitely a really enjoyable song!

Go Gina: A song with a more heavy beat and a louder vocal performance from SZA, I really like her vocals on this one, I once again get some Rihanna vibes here, and I like how she makes some lyrical connections to the character Gina from the sitcom Martin (not because I know the show, I just think it’s clever). It does end a bit too quickly for me, and I don’t know if this is one I’ll come back to as often in the future, but I still enjoyed it.

Garden (Say It Like Dat): A very bright song with a more trap-inspired beat, SZA talks on this track about her experiences being with a man who doesn’t really love her. I once again love her vocals and I think they nicely compliment the trap-flavored beat on this one. Not one of my favorite tracks on the album, and I don’t know if I’ll return to it as often as some of the others, but it’s still a good track overall.

Broken Clocks: Keeping the beat very trap-esque on this one, this song talks about balancing love life with work life, which is something I’m sure is very relatable for many. Her vocals remain very powerful and really beautiful overall, and the beat flows nicely on this one. Really enjoyed this track a lot, I feel like I’ll be coming back to it quite a bit!

Anything: A song that deals with themes of acceptance and legitimacy in your partner, this song feels like a less trap-flavored continuation of the last track, and it features another really interesting performance from SZA. Her vocals remain powerful and the hook on this one is pretty fun, too. Again, this one ends a bit sooner than I would’ve liked, and the outro does start to feel repetitive, but it’s still an enjoyable track.

Wavy (Interlude) (ft. James Fauntleroy): You guys know I’m usually not all that crazy about the short, 1-minute long interludes, but this is definitely an interlude done right. There’s definitely some solid substance to this track (it doesn’t just feel like it was thrown in), there are some good lyrics on this one (talking about looking for a way out of relationships), and I love the vocal performances from SZA and featured artist James Fauntleroy, who both work very well together. The energetic trap beat and bright sound are also great. Very good interlude.

Normal Girl: A song that discusses SZA’s wishes to just be a “normal girl,” this track is lead by a pounding drum beat and an all-around lighter instrumental, as SZA’s vocals (and the beat) are front and center on this one. Once again, her vocals are gorgeous, and I like her flow on the verses on this one. It’s a pretty emotional track that I found myself really enjoying, and wanting to come back to more and more in the future.

Pretty Little Birds (ft. Isaiah Rashad): A lot is going on in this track. I think SZA’s vocals on the hook are some of the best on the album, and on this one, she talks about how, despite her struggles, she still trusts and wants to fly away with her lover. She does this over a really ethereal instrumental with a pretty head-noddy beat. I’m not as crazy about Isaiah Rashad’s verse on this one, but his vocals still sound pretty good. I probably won’t revisit this track as often as the others, but I did still enjoy it, for sure.

20 Something: SZA finishes things off by just bearing it all, admitting that she doesn’t really have full control of her life, and how she wants to keep all her friends and successfully makes it out of her 20’s. She talks about this over a very light acoustic guitar melody, and the more quaint instrumental makes it feel extremely personal. The combination of the instrumental and SZA’s very beautiful, angelic vocals honestly nearly brought tears to my eyes. Really beautiful finish to the album.

Overall, I can definitely see the hype with this album. SZA explores a ton of themes like self-esteem, her youth, her relationships, and her life in general, and she does a fantastic job of it. With some very interesting and beautiful vocal performances, and many different instrumentals that perfectly compliment her wonderful vocals, this album feels really personal but really beautiful, and SZA definitely shows us here that she’s plenty talented. She’s a wonderful vocalist and a great songwriter, and I can tell ya, Top Dawg Entertainment already has plenty of talented artists, but with SZA, they’ve really got something special. This album was beautiful, and it’s plain to see why SZA was one of 2017’s biggest breakout stars.

Here’s to an even better 2018!

Favorite tracks: Supermodel, Love Galore, Doves In The Wind, Prom, The Weekend, Broken Clocks, Wavy (Interlude), Normal Girl, 20 Something

Least favorite tracks: Anything, if I had to pick one.

Rating: Excellent

Linkin Park "One More Light" Album Review

Alright, guys, first album review of 2018! I’m gonna start the year by taking a look at a few of the albums I missed in 2017. We’re gonna start off with the new Linkin Park album “One More Light.” Linkin Park was a band I grew up with and have always loved. However, from the few short snippets I’ve heard of this album, I can’t really say I was all that interested in the direction that it was going in. Even so, I feel like it’s now a decent time to take a look at this album: to address the elephant in the room, lead singer Chester Bennington committed suicide on July 20th, 2017, and because of that, I didn’t initially want to review this. However, I’ve heard many people explain that the songs take on a whole new meaning lyrically in the context of his passing, so I wanted to see if I could agree with that. And on that note, even if I end up not enjoying the album, I can’t really blame Chester for that: he only has one writing credit on the album and no production credits, and he’s essentially only here to provide the lead vocals (outside of the tracks “Invisible” and “Sorry for Now”), so in that regard, he really didn’t have as much of a hands-on role with this album. Either way, this is the final project he was involved in, let’s see how it stands eight months later.

Nobody Can Save Me: Before even listening to the song, a simple reading of the lyrics paints the entire picture of the new meaning this album takes in the context of Chester’s passing. And I understand why this led to some reactions of “they changed it, now it sucks” (Linkin Park doing EDM is a bit strange, I’ll admit), but I’m not gonna lie, I actually like the sound of this track. I’ve said this a lot before, but I like when music can hide some really sad/dark themes behind upbeat instrumentals, and that’s what this track does for me. Sure, it’s different, but I actually like it!

Good Goodbye (ft. Pusha T and Stormzy): I love Chester’s hook on this one, and Mike Shinoda’s performance on his verse is really passionate. And again, even though the sound is really different, I actually think it sounds really nice overall. And I like the rather layered lyrics about getting kicked out of a game, but also leaving a relationship. The only thing that makes me not all that crazy about the track is that I’m not all that enamored of Pusha T or Stormzy’s verses on this track. Even so, this is a solid song that might even grow on me in the future.

Talking To Myself: Much like “Nobody Can Save Me,” I only needed to take a quick read of the lyrics on this one to see the different meaning it takes on after Chester’s passing. Written from his wife’s point of view, the lyrics here talk about how Chester is turning into someone he’s not, and how his drug and alcohol use is slowly ruining him. And you know what? As bright as it is, I still feel like this still sounds like something right in Linkin Park’s wheelhouse. It’s not as heavy instrumentally, but it still sounds like something they’d do, and they do it well! Great vocals from Chester and a really fun, kind of thrashing beat really make this one work!

Battle Symphony: Instrumentally, I see why some people weren’t all that crazy about the change in sound on this one, but I think it’s actually a really strong track. Again, in the context of Chester’s passing, the lyrics kind of take on a new meaning, and it feels like Chester is trying to keep himself together and pick up the pieces of himself on this one. Beyond that, I think his vocals are still quite nice on this track, and the instrumentals, while very contained compared to some of their heavy stuff, are still nice head-nodding stuff. Good track!

Invisible: A song where Chester takes more of a backseat to Mike Shinoda, this song talks about the parental fear of adolescence and the idea of not doing something to tear down your child or be overbearing, but because you love them. I really like Mike’s vocals on this track, and while I understand that the instrumentals are far more poppy and “not Linkin Park,” I think they actually sound quite nice. I feel like this is one of those songs that will definitely turn away the more hardcore Linkin Park fans looking for something heavier, but I think it sounds really nice and I think I’ll definitely come back to this song quite a bit.

Heavy (ft. Kiiara): The first single released from this album, and another track that takes on even more new meaning after Chester’s passing, this one talks about fixating on oneself and dealing with the emotional self-inflicting that people put on themselves which, as someone that battles with overthinking and anxiety, I can relate to in several ways. I can see that this song was one of the prime offenders of the whole “LINKIN PARK SOLD OUT” thing, and while I certainly see why, I actually don’t mind it that much. It’s nice on the ears and I like the vocal interchange between Chester and featured artist Kiiara. It’s not one of my favorites on the album, but it’s a solid track overall.

Sorry for Now: Once again, Chester takes a backseat on this one as Mike Shinoda handles the lead vocals. Once again, he talks to his kids here, explaining how sorry he feels that he can’t be with them because he is recording music. It’s a really bright track, and while I like a lot of what’s going on here instrumentally, I’m not all that crazy about the beat drop, because it feels a bit too screechy for me. Mike’s vocals are quite nice here, and Chester’s small appearance really makes the song even better for me. It’s not one of my favorites on the album, but I do think it sounds really nice.

Halfway Right: A very introspective track for Chester, and another one that grows in meaning when Chester’s passing is considered. This one is largely stripped-back, in that it’s mostly just Chester up against a dark, more hip-hop styled beat. And while his vocals are as strong as ever, this one just honestly bored me a bit. I feel like it doesn’t have as much of the energy and interesting sounds, or as much of an interesting hook, as a number of the tracks on this record.

One More Light: One of the more extremely light moments on the album, this track is particularly heartbreaking to me, and lyrically, I again understand where people are coming from when they say that Chester’s passing gives this song a whole new meaning, specifically when he says the line “just ‘cause you can’t see it, doesn’t mean it, isn’t there.” In fact, it seems like the more I go back and listen to this song, the more I realize that the lyrics take on new meanings. It’s a really light, but really beautiful track with really gorgeous vocals from Chester that I think definitely immortalizes itself in Linkin Park’s legacy. I personally think this should’ve been the song to end the album, but either way, it’s a brilliant song.

Sharp Edges: A more folk-sounding track, I think this one sounds really nice. I like the light guitar plucking on the track, Chester’s vocals are really nice, and I like his introspective exploration of his childhood on this one. It’s very different from a lot of Linkin Park’s tracks, but I applaud their experimentation on this one, and I think the execution is solid overall. A part of me still wishes “One More Light” was the song that finished the album, but all in all, this is still an enjoyable track that rounds things out nicely.

Overall, I don’t know if this review would’ve been the same before Chester’s passing (I actually might have still thought it wasn’t all that bad), but I honestly really enjoyed this record. Sure, it’s very different from a lot of their previous albums, and hardcore fans might be turned off by this new direction, but I think the newer, more poppy instrumentals are actually quite nice on the ears, and I love the band’s ability to hide some really sad and dark lyrics behind some really catchy instrumentals. Chester and Mike both demonstrate some really good vocals throughout the album, and I definitely agree that the album takes on a new meaning in the context of Chester’s passing. Is it the best album in Linkin Park’s discography? I don’t know, but is it one that I thoroughly enjoyed? Yes, for sure. And will I come back to it in the future? Most definitely.

Thank you, Chester, for all that you’ve done as a musician. You were an insane talent that brought us some truly incredible music over a long period of time, and your legacy will never be forgotten.

Favorite tracks: Nobody Can Save Me, Talking to Myself, Battle Symphony, Invisible, One More Light, Sharp Edges

Least favorite tracks: Halfway Right (if I had to pick one)

Rating: Excellent (yeah, I know!)