Post Malone "beerbongs & bentleys" Album Review

Alright, this is it, the wait is finally over, it is time for a review of the new Post Malone album “beerbongs & bentleys.”

This is the latest album from New York rapper Post Malone, who had quite a big 2017, starting off by releasing the single “Congratulations” from his last album “Stoney” at the beginning of the year, a track that hit #8 on the Billboard Hot 100, and also finished 10th on the Year-End Hot 100. Later in the year, he released “I Fall Apart” from that album as a single as well, and it saw some success (it’s hit #16 on the Hot 100 so far), but not before releasing the HUGE leadoff single from this album, “rockstar,” a song that became his first #1 single on the Hot 100, spent eight weeks there, and even reached #56 on the Year-End Hot 100 despite only being out for the last few months of 2017. He also wasted no time hitting the ground running to start 2018, as he released his second single “Psycho,” which has thus far peaked at #2 on the Hot 100.

Now, some of you may remember that I didn’t really care much for Post Malone’s first album “Stoney.” Sure, it had some good singles like “White Iverson” and “Congratulations,” but most of it just felt like music you can only enjoy if you’re spaced out or high while listening to it. However, I have to say I was pretty excited heading into this album because, while it’s an hour long, I’ve been very impressed by the aforementioned singles “rockstar” and “Psycho,” and I think they are some of Post’s bests. I feel like he’s definitely showed some growth with those singles, so I’m excited to see if that continues on with this album. Let’s find out, shall we?

Paranoid: Post Malone starts off this album by talking about how frustrated he is about his rise to fame making him feel like he doesn’t have friends. Already, I’m really digging that Post seems to be moving away from the “overly spaced-out stoner sound” of “Stoney” in favor of more vibrant, upbeat production on this one. It’s head-noddy and enjoyable, and once again, Post’s vocals are really great. I always get skeptical when albums are an hour or so long, but so far, this one is definitely off to an amazing start.

Spoil My Night (ft. Swae Lee): Another more upbeat track about flexing, Post enlists the help of Rae Sremmurd’s Swae Lee to help provide some pretty nice vocals. Even if he’s drowning in autotune, his falsetto doesn’t sound too bad, and he blends well with Post’s really beautiful vocals and great flow on his verse. Obviously, it’s not a deep track (Post says “I ain’t even see her face but she got beautiful boobies,” which is honestly a laughable line), but it’s got a really good vibe to it, I like this track a lot.

Rich & Sad: This track sounds a little bit too much like the last few, but it’s still got a few cool things going on: the production is still pretty moody and cool, and Post shows once again that his vocals are pretty great, even when he’s in his higher register. Also, for as upbeat as it is, it’s honestly a pretty emotional track, especially when he says “I just keep on wishing that the money made you stay.” I can see this one getting some repeat listens out of me.

Zack and Codeine: A clever name that plays on the title of the show “The Suite Life of Zack and Cody,” this one sees Post talking about his raging party-going life in the hotels he stays at. It’s clear Post wants to move as far away from “Stoney” as possible as, even though this one still sounds pretty moody, it’s very energetic and upbeat, and Post’s vocals are more vibrant and exciting overall. His vocals have generally been pretty smooth, but it’s cool to see him jump into a slightly higher register here. Another good track.

Takin’ Shots: This track takes things down a slightly darker route, but once again, it’s got that exciting, upbeat feel of some of the last few cuts. The song talks about how Post is gonna live while he’s young, get super drunk, and just not stop partying. I once again like his vocals a lot (I feel like Post is one of the only people that can say “me and Dre came for the pum pum” and not have it sound super silly), and the song has a cool vibe and a really hypnotic, memorable hook. Really liked this one a lot.

rockstar (ft. 21 Savage): One of the biggest singles at the end of last year, this is a song that still rings off for me and stays great with multiple listens. Some really cool click-clack percussion on this one, a really nice dark, moody-vibe, a hypnotic hook only aided by some great vocals from Post, and a 21 Savage feature that easily stands as one of his best appearances on a song. This one really got stuck in my head at the end of 2017, and it didn’t seem to want to leave in 2018, but that’s perfectly fine because it’s easily one of Post’s best to date.

Over Now: Interestingly, this one starts off with some cool, pretty interesting string plucking. It’s actually a really emotional, somewhat introspective track (helped a lot by lyrics where Post says things like “I was an idiot”), and it’s aided by Post’s more gritty tone and somewhat angry vocals throughout the song. It’s also got some pretty cool, dark instrumentals, and a pounding drum beat, too. Really enjoyed this track a lot.

Psycho (ft. Ty Dolla $ign): For me, this was something of a “sequel” to “rockstar.” Not only because it was the second single, but because it kept the more upbeat, but still dark and moody vibe from that track, and it also had a prominent feature in Ty Dolla $ign. Once again, the hook on this one is hypnotic. I’ve gotta say, if nothing else at all, Post is too damn good at making hooks that can stick in your head long after the first listen. Again, his vocals here are pretty sharp, and Ty Dolla $ign sounds good as well. If this really was a “sequel” to “rockstar,” I’ve gotta say it’s definitely a very worthy follow-up.

Better Now: A track where Post remembers back to a past relationship, Post talks about how he and his ex might still have feelings for one another, but that they are trying to hide them so as to “win the breakup.” I like Post’s flow on the hook of this one, it kinda gives me some weird throwbacks to older R&B songs, and his vocals mesh nicely with the moody, somewhat nocturnal instrumentals on this song. Halfway through the album, I’m really enjoying this right now!

Ball for Me (ft. Nicki Minaj): Another cool-sounding turn-up song with some cool production and sonic effects, I’m not all that crazy about the hook on this one, but Post’s still got some pretty solid vocals, and Nicki Minaj’s verse singlehandedly made the song better. I like her rapid-fire flow and clever lyrics, and her sing-rapping towards the end of her verse sounds really nice. The second half of the album is off to a pretty great start, I must say.

Otherside: Another more emotional track, Post talks on this one about how, no matter how drunk he gets, it won’t help bring his girl back. I really like the beat on this one, it’s very head-noddy and fun, and Post’s vocals feel very varied throughout, as it feels like has multiple different voices on the track. And yet, even though he has so many voices here, they all sound very smooth and nice on the ears. It’s a surprisingly emotional track that I really dig a lot.

Stay: Keeping things on the topic of his rough relationships, Post takes things slower on this one, singing over an acoustic guitar on this one. It feels like a few of the tracks from “Stoney,” like “I Fall Apart” and “Feeling Whitney,” but with a lot more energy and plenty of really great, emotional vocals from Post. It’s admittedly a really sad song, and there’s a lot of really cool things going on with it. I really loved this track!

Blame It on Me: Another more emotional track where Post seems to feel blamed for…something, this one has a rather dark instrumental and some nice vocals from Post, but I think I’m not digging it too much because it sounds a bit too much like some of the stuff on “Stoney.” Honestly, it feels a little like a more dark, somewhat drab version of “Congratulations.” It might grow on me with a few listens, but it’s definitely not one of my favorites from the album.

Same Bitches (ft. G-Eazy and YG): A really dark, somewhat sinister-sounding track, Post’s vocals and flow sound really strong, as he, G-Eazy and YG talk about women who don’t have a sense of themselves. There are some really cool keyboard riffs on this one, and G-Eazy’s verse is really solid. I don’t usually listen to his music much, but he sounds pretty good here. YG’s performance was a little strange at first, but he’s got some pretty solid flow on his verse. Good track!

Jonestown (Interlude): A really short, very sinister interlude about the Jonestown cult massacre, I feel like I won’t come back to this one very much in the future, but it’s a really interestingly scary-sounding track with some really cool production. I would’ve liked to see it lead into another track, but it’s still pretty well-made.

92 Explorer: A song inspired heavily by Post’s 1992 Ford Explorer, this one has some really bright, head-noddy production, and Post’s vocals remain really smooth and pretty. I also really like the hook on this one, I feel like it has the potential to be really ear-wormy and hypnotic. I really enjoyed this track a lot, I think I’ll be coming back to it quite a bit in the future. It’s cool to see that this album seems to be wrapping up nicely.

Candy Paint: A single Post released and included as part of the soundtrack of “The Fate of the Furious,” this song talks about cars (not shocking, it’s on an album called “beerbongs & bentleys,” and it was also featured on the soundtrack of a “Fast & Furious” film) and the “candy paint” finish they have. I never got to listen to this one before this album was released, but I’m already loving the hook. It’s really hypnotic and the song itself is really head-noddy. I like the bright production here and Post’s flow throughout is strong. Really digging this track a lot!

Sugar Wraith: Ending things off with a track about (what else?) cars, I’m really digging the upbeat sound of this track, much like the album as a whole. Post’s flow throughout the song is great, as it takes some really interesting, different twists and turns, and his vocals remain awesome as always. I also think that, with Post talking about wanting to “make it last before we die” on this, it feels like a very appropriate end to the album. Really great track, I’ll definitely come back to this one in the future!

Overall, I have to say that, even as excited as I was for this album, it surpassed my own expectations! Sure, the first few singles were great, so I was already excited, but when I heard the album was going to be an hour long, I admittedly got a little nervous. Considering that we’re living in a day and age where several rappers are starting to throw extremely long albums out there just to boost streaming numbers, this actually feels like an album that isn’t that, and it feels like a huge improvement over “Stoney.” The production is tighter and more vibrant, as Post moves away from the “stoned, space-out jams” of his last album in favor of more upbeat, turn-up styled songs. His flow throughout the album is also varied and his vocals are very strong, and a lot of the songs are more memorable than the stuff from “Stoney.”

Now, obviously, Post is still turning up on this album so don’t expect the deepest lyricism in the world, but honestly, that’s the point. Not all music needs to be deep or have some insane lyrical meaning. Post’s music isn’t meant to be that, it’s music that you can vibe to and turn up to, and in that, it succeeds. This is an album I feel like you’ll be able to dig even if you aren’t much of a Post Malone fan. It’s far different from his last album, and it’s far more successful as well. Post really hit it out of the park with this one, and I’m really excited to see what other singles he pushes from this album. Even if you don’t listen to Post’s music much (or if you weren’t too interested in “Stoney”), check this album out! You might be surprised. I sure as Hell was.

Good stuff, Post.

Favorite tracks: Paranoid, Spoil My Night, Rich & Sad, Zack and Codeine, Takin’ Shots, rockstar, Over Now, Psycho, Better Now, Ball for Me, Otherside, Stay, Same Bitches, 92 Explorer, Candy Paint, Sugar Wraith

Least favorite tracks: Blame It on Me (if I had to pick one)

Rating: Excellent

J. Cole "KOD" Album Review

Well, this might be a surprise! It’s time for a review of the new J. Cole album “KOD.”

Jermaine Cole (A.K.A. J. Cole) is a North Carolina-based rapper (born in Germany, might I add) who first saw success with his mixtape “The Come Up” back in 2007. After being signed to Jay-Z’s record label Roc Nation and releasing two more mixtapes, Cole saw big success in 2011 with the release of his debut album “Cole World: The Sideline Story.” He slowly became one of the most beloved names in modern hip-hop with the releases of his subsequent albums “Born Sinner,” “2014 Forest Hills Drive” (an album that went platinum with no features), and most recently, his 2016 album “4 Your Eyez Only,” an album that not only yielded Billboard Hot 100 Top 10 hit “Deja Vu,” but also became one of only a few albums in history to have all of its songs chart on the Hot 100.

Now while Cole has been one of the biggest names in hip-hop, I haven’t really taken the time to sit down and listen to a lot of his songs. It’s not for lack of interest, it’s just that I’ve had so much other music to listen to that I never really gave myself the time to listen to his other projects. I really love the song “Power Trip” off of “Born Sinner,” but I haven’t listened to much else from him. Perhaps in the future I will, we’ll see. But this new album dropped by surprise, and given that it’s bound to be one of the most talked-about hip-hop albums of the year, why not give it a look? Let’s go!

Intro: A neat little intro track with a cool saxophone instrumental and some nice vocals from J. Cole, there’s not really much to say about this one given that it’s under 2 minutes. It’s a cool-sounding intro, nothing I’ll add to my regular playlist, but it’s a good start nonetheless.

KOD: J. Cole talks on this track about drugs, and also about how others are “cramping his style,” and he does that over a rather minimal instrumental and a basic 808-drum beat. Still, his flow is really strong (I know it’s been said for a while that J. Cole’s technicality as a rapper is great, and this track proves that) and the hook has a lot of potential to become extremely ear-wormy. Definitely think I’ll be coming back to this one a lot in the future.

Photograph: A song where Cole talks about finding a photo of a girl on social media and wanting to be with her, Cole’s technical rapping skills remains strong on this track, but I don’t find the flow that he uses to be very special here. I also don’t find the hook to be all that memorable, and I don’t think the story being told here is all that interesting either. Might need a few more listens to grow on me, but for now, it’s just whatever.

The Cut Off (ft. kiLL edward): A song where J. Cole goes into his kiLL edward alter-ego, this one has Cole talking about how he’s had to cut people off because of a lack of trust in them. It’s a much more compelling story than the last track, and Cole’s flow throughout his verses feels so interesting and stream-of-consciousness. I like his kiLL edward alter-ego here, too, although I do think the track could’ve used a better hook. Still a pretty solid song.

ATM: A track where Cole talks all about his money and how others consider money, I wasn’t all crazy about the hook at first, but it definitely grew on me after repeat listens. What really got me into this track was Cole’s rapid-fire and very energetic performance throughout the song. It’s introspective to a degree, but it’s extremely upbeat and fun! Good track!

Motiv8: Cole speaks on this track about how “alive” he feels on this track, I’m not 100% into the hook on this track, though I once again like Cole’s rapid-fire flow on the song. I’m not sure if I’m really digging the lyrics here (what does he mean when he says “I get bread like I’m Green Day?”), and I think the song ends all too quickly, but it’s still got some pretty cool energy. Might need to give it a few more listens, though.

Kevin’s Heart: This track is about a person that’s heavily infatuated with drugs, and while it might feel a little too much like standard trap music, I think Cole’s performance on this cut is energetic and fun enough, and I like how he blends perfectly between some more rapid-fire flow, and more sing-y moments on the hook. Definitely digging this track, think I’ll definitely give it some repeat listens in the future.

BRACKETS: Here, we have Cole talking about increases in tax brackets on what is the album’s longest song, clocking in at just over 5 minutes. And unfortunately, I don’t feel myself vibing too much with this track because I just think it’s a bit too spacey. Still, the beat on here is pretty cool, and Cole’s got some really great lyrics on here, especially on the second verse. This one has the most potential to grow on me.

Once an Addict - Interlude: A 3-minute interlude, this is a really introspective, minimal track, but I really love Cole’s very emotional performance and flow throughout this cut. His vocals on the outro are also extremely nice, and I feel like, even as an interlude, J. Cole really sang and rapped this song from the heart. Really loved this track a lot, definitely gonna come back to it in the future.

FRIENDS (ft. kiLL edward): kiLL edward returns on this track to help J. Cole understand his addiction to drugs, and what he blames his addiction on, be it politicians, his personal life, or any other thing. Cole’s performance is once again very emotional, as it feels like his addiction is pushing him to his emotional limits. His flow is very strong, and kiLL edward’s vocals on the hook grew on me a bit after a few listens. Really great, emotional track.

Window Pain - Outro: Another very introspective song, Cole talks here about what he wants in life, bookending the track with the story of a young boy witnessing his cousin being shot, and trying to make sense of the bad things that happen in the world. The hook on this one is very ear-wormy, and I like Cole’s vocals on it, and his performance on his verse once again feels emotional and confident, even if the song isn’t all sunshine and rainbows. Really good track!

1985 - Intro to “The Fall Off”: Ending things off (or, potentially, the intro to another upcoming project of his, from what I’ve read?) Cole once again reflects on his life here, given that he was born in 1985. He also talks about the rap industry and seems to take some subtle shots at the recent wave of SoundCloud rappers (though apparently, the diss is mostly directed at Lil Pump? Who knows?), and he kind of gives pointers to these rappers about how to manage themselves while being in the industry. I love his flow on this one, as he just raps straight-through on one verse and does a damn good job of it. His lyricism is as strong as ever, and this is a great ending to the album.

Overall, I get the feeling this album isn’t going to be for everyone (I think I’ve heard that J. Cole’s music isn’t for everyone? I think I've heard you need a certain level of "intelligent's" to vibe to it?), but given that this is my first time really sitting down and listening to him, I have to say that I’m really digging this project. Sure, some of the hooks may not be all that great, and some of the songs might be a bit too spacey, but J. Cole’s technical rapping skills are most certainly there, and he proves to be a really amazing lyricist as well. Even if he spends a lot of the time on here talking about drugs, he does it with such conviction, and transitions nicely from rapping and singing throughout.

I also must point out, this is an example of an album that grew on me while I was listening to it. After the first few tracks, I was worried I was gonna give this an “okay” at best. By about the halfway point, I thought it would get something close to a “good.” By the end, I really found myself considering it an “excellent” record. This is a case of an album that may be flawed, but I can look past those flaws (or rather, notice them less) and really dig the project. The last half of this album was really amazing, and it helped boost my opinion on the record. And you never know, maybe with a few more listens, the front half of the album will grow on me as well. Either way, I’ll definitely be coming back to this album quite a bit in the future! It’s a really great record, and I know J. Cole fans will really enjoy it. I’m not even a regular listener of his, and I dig it.

And yes, I will consider reviewing his older albums, too. There’s a lot on my plate for reviews, though, so no guarantees.

Favorite tracks: KOD, ATM, Kevin’s Heart, Once an Addict - Interlude, FRIENDS, Window Pain - Outro, 1985 - Intro to “The Fall Off”

Least favorite tracks: Photograph

Rating: Excellent

Lil Xan "TOTAL XANARCHY" Album Review

I have no idea what brought me to review this, ESPECIALLY because I have some requests to fulfill (and also because I’ve had a few people tell me I need to listen to BROCKHAMPTON. I’ll get on it sooner or later), but I’m hearing this album get discussed in several corners, and I want to have my own opinion on it since this kid’s been in the news lately, so it’s time for a review of the debut album from Lil Xan, titled “TOTAL XANARCHY.”

Lil Xan is a 21-year old California-based rapper who has been making some major waves on Soundcloud, notably with his very popular song “Betrayed,” a song that made it to #64 on the Billboard Hot 100. He has also landed in some hot water recently when he rated legendary New York rapper 2Pac a 2 out of 9 and called his music “boring.” He’s definitely been making his way around lately, but I’ve never really known enough about him to make a judgment. His recent appearances in the news have had me fascinated, and he seems like a chill, well-spoken kid, but I think I was also interested in this project because Lil Xan actually grabbed some relatively big features, like 2 Chainz, Charli XCX, Rae Sremmurd, and YG, just to name a few. If this young Soundcloud rapper can grab such prominent features on his first record, why not see if it’s worth it? Let’s take a look:

Who I Am: Essentially Xan’s introductory letter on who he is and how drugs don’t make him, Xan has a really boring, half-asleep kind of performance as he raps unenthusiastically over what is a very standard, traditional trap beat. I’ve heard someone describe Xan’s music as “sad rap,” but I think the saddest thing about this track is how painfully boring it is. Oh, and Xan says on this song that he’s gonna “fight a dyke bitch?” Uhh, I don’t know about you guys, but unless there’s some alternate definition of the word “dyke” that I haven’t been hearing before…yeah, not a great lyric, or a good song. Next!

Wake Up: A somewhat more upbeat track, the slightly more bright sound of this one does nothing to change how bland and empty it is. Lil Xan himself doesn’t really have that much personality on this track, and the trap-flavored instrumental is essentially wallpaper. Also, the hook being “I wake up, I throw up, I feel like I’m dead” honestly makes me want to throw up, and this is coming from someone that also battles anxiety and has had moments of being so anxious to the point of feeling like throwing up. Everything about the track just feels so “whatever” to me, like no real excitement or fun is going on here, just a kid going into the studio while half-asleep trying to make a song, and unfortunately, it doesn’t quite work out.

Tick Tock (ft. 2 Chainz): Somehow, Lil Xan was able to get 2 Chainz on this track. I know that man hands out guest verses like it's his job, but that doesn’t mean I’m any less surprised. Here, Lil Xan takes on a more staccato, start-stop flow that just comes off as really boring. I felt myself dozing off during the very sleepy hook on this thing. The trap instrumental here is a little more dark and abrasive, but still very dull, and 2 Chainz’s verse is definitely not one of his best. There’s also one line that 2 Chainz drops, where he says “'Cause they know Tity got more bars than a white Xan,” which I saw some interpret as a diss towards Lil Xan. Whether or not it’s really a diss, you know it’s bad when a featured artist gets an opportunity to be on another artist’s song, and disses said lead artist on said song. Yeah, next!

Diamonds: While I do like the flute in the background of the instrumental here, the hook is honestly really weak. It feels like it goes on too long, and while Xan finally sounds like he’s not half-asleep, he just sounds like he’s jacking the same sound from several other Soundcloud rappers. And despite the flute, the trap instrumentals here, for the most part, are struggling to really be all that memorable or exciting. Let’s move on to the next one.

The Man (ft. $teven Cannon): Lil Xan is sad rap? Yeah, given that he says on the chorus “God damn, God damn, Lil Xanny the man,” I don’t know if that’s sad. It sounds like every other braggadocious Soundcloud rapper today, in fact! Literally, this track just sounds like a combination of all of the most unflattering aspects of Soundcloud rap: a very weak trap instrumental, a lackluster, boring, half-asleep performance from the lead artist, and plenty of annoying ad-libs that almost take over the damn song. Throw in a weak feature from $teven Cannon, who does nothing to sound different from Lil Xan, and you’ve got a recipe for disaster!

Saved by the Bell: I was actually really excited when I heard the intro of this track, because of the more electronic, kinda bright production, but then Xan repeated that he was “saved by the bell” way too many times, the trap beat became really stale and boring, and I felt a desire to just doze off. I can appreciate that he’s talking about how his teachers used to doubt him, but I’d appreciate it a bit more if he didn’t sound like a more bored version of every other Soundcloud rapper in the world. Next, please!

Moonlight (ft. Charli XCX): Forget 2 Chainz, here’s the new award for strangest feature on a song in 2018: Lil Xan collaborating with Charli XCX. Never thought that would happen. And while Charli does provide some not-so-bad vocals throughout this track, Xan continues to prove to me that he just doesn’t really have any character and that he doesn’t really have an ear for very interesting production either. Yeah, no, not digging this one either, next!

Shine Hard (ft. Rae Sremmurd): Alright, admittedly I was excited about this one because Lil Xan enlisted the help of a rap duo that I actually enjoy, Rae Sremmurd. And sure enough, with Swae Lee handling the hook here, I definitely had a bit of fun with his vocals and with the brighter, not as wallpaper instrumental on this one. And admittedly, while Xan still doesn’t have a super-interesting performance here, I don’t mind his flow on his verse. I also enjoyed the flow on Slim Jxmmi’s verse as well. I won’t lie, I did enjoy this track a bit, but that’s by virtue of it feeling more like a Rae Sremmurd song with a Lil Xan feature than the other way around. Still, it’s better than pretty much everything else thus far.

Round Here (ft. YG): Lil Xan goes for something faster on this song, from the more uptempo instrumentals to his faster delivery on his lines, but that doesn’t stop him, or the instrumental, from feeling indescribably boring. And admittedly, while YG’s rapid-fire flow is somewhat interesting, he still doesn’t really provide a wholly exciting performance on here, and he only really succeeds by virtue of not being as boring as Xan himself. Not a great track, what’s next?

Basically: At under 2 minutes, this track risks falling at snippet-level. Somehow, Xan is able to jam enough into this one to make it feel like it’s not completely empty, but that doesn’t stop the song from feeling extremely dull thanks to its very standard trap beat and sleepy performance from its lead artist. Let’s just move on to the next track before I repeat myself any further.

Deceived: Apparently the follow-up to “Betrayed,” I kinda wonder why he put this before that track on the album, and I have to say, Xan notes that “heaven is looking very bleak” on this cut, but I must also point out that the chances of me enjoying this album are looking more-and-more bleak as Xan sleepwalks his way through yet another by-the-numbers trap beat. *deep sigh* Moving along, please!

Betrayed: The track that catapulted this kid to popularity, this one shows Xan basically denouncing Xanax and warning people against taking it. I do like the kind of moodier feel of the song, and his flow on his first verse isn’t too bad, but then the hook came in and just felt too sleepy for me. Then, Xan followed it up by saying that a girl’s “pussy tastes like Skittles,” and I think I threw up in my mouth a little bit. Honestly, not one of the worst things on the record, but that’s thanks to it being just “meh” in comparison to the other weak tracks here.

Slingshot: A very short, 1:30-long track, this song feels so odd to me after “Betrayed” because, after denouncing Xanax and all that, it seems strange to me that he’s opening this cut by talking about how much he likes drugs. And the fact that his hook is just “fuck that shit” on loop a bunch of times is just too repetitive. And then, it just ends. As fast as it started, it ends. Yeah, it was bad. Let’s just get through this and not come back to that again.

Far: *slips slowly into madness* Man, I can’t believe I can take this many wallpaper trap beats and sleepy performances! Especially after Xan’s voice ended up being drowned in autotune for this one! And again, it just feels like too much of a snippet to me. It ends all too quickly, which is fine for this review because now it means I’m almost done with this thing, but it’s not fine if you’re looking for repeat listens, because it’s gonna feel REALLY empty.

Color Blind (ft. Diplo): Ending off this painful album (outside of the next remix), Xan goes for something a little bit electronic, assisted in production by Diplo, and while it’s a nice change of pace compared to the other songs, it just feels like standard electronic stuff to me, and Xan really doesn’t provide any character or excitement on this song. It’s definitely a lackluster end to a really weak album, even if it’s not the worst thing on the record.

Betrayed (Remix) (ft. Yo Gotti and Rich the Kid): Going into this remix, my thought process was “you can throw Yo Gotti and Rich the Kid on this track, but there’s a good chance they won’t change my opinion on the song, since I don’t care for either of them.” And, as expected, it didn’t change my view of the song. Rich the Kid provides some decent energy on his verse, but doesn’t leave much of a unique lasting impression, Lil Xan is still saying that his girl tastes like Skittles (still makes me wanna throw up) even if his flow isn’t all that bad, and Yo Gotti’s verse, despite decent flow, lacks in really any charisma or charm. Still not one of the worst on the album, still nothing overly special.

Hey, you know what’s FAR more boring than 2Pac? This album! Lil Xan proves to be the human sleepwalker on his debut album, providing very little in the way of originality, character, excitement, or fun-factor. If this is supposed to be “sad rap,” this is a pretty weak attempt at it, I will say. Xan seems to feel pretty content in recycling the same few trap-flavored beats that have been used all over Soundcloud since 2016, and he himself just sounds bored throughout a lot of this. And for all the exciting features he brought in, very few of them really do anything interesting to help the record out (a fact made more obvious by 2 Chainz’s apparent “diss” at Xan in “Tick Tock”), so all in all, this thing is just a painfully dull mess from start to finish. I have no idea where Lil Xan is gonna go from here, but of all the artists that are part of this rising Soundcloud rap movement, Xan is definitely one of the least exciting members. I’d love to see if he can switch things up and try something different on a new project later on, but for now, I’m not holding my breath.

Don’t listen to this. Please don’t.

Favorite tracks: Shine Hard

Least favorite tracks: Who I Am, Wake Up, Tick Tock, Diamonds, The Man, Saved by the Bell, Moonlight, Round Here, Basically, Deceived, Slingshot, Far (so, basically, everything else except “Betrayed” and “Color Blind”)

Rating: Awful

Cardi B "Invasion of Privacy" Album Review

The first third of 2018 is over, so now it’s time for our first review of Q2 2018, and it’s a pretty big one: it’s Cardi B’s debut studio album “Invasion of Privacy.”

Cardi B is a name you’ve probably heard more than a few times: the former social media personality and regular star of “Love & Hip Hop: New York” turned rapper had a BIG 2017. After signing her first major-label deal with Atlantic Records, she released the smash hit “Bodak Yellow,” a song that catapulted to the top of the Billboard Hot 100, making her the first female rapper since Ms. Lauryn Hill in 1998 (year of my birth) to top the Billboard chart on a solo output (“Bodak Yellow” also placed 24th on the Billboard Year-End Hot 100). She then saw prominent features on Top 10-peaking songs such as “No Limit” with G-Eazy and A$AP Rocky and “Motorsport” with Migos and Nicki Minaj, and she also released her second single “Bartier Cardi” with 21 Savage at the end of the year. She hasn’t slowed up to begin 2018, either, earning a prominent feature on “Finesse (Remix)” with Bruno Mars, and releasing two brand new singles, “Be Careful,” and “Drip,” the latter of which features Migos. Furthermore, this year she became the first rapper (and third overall artist) to have three songs in the Billboard Hot 100 Top 10 simultaneously.

Cardi has absolutely been on fire since “Bodak Yellow” hit #1 on the charts, and she’s an artist I’ve actually kind of liked. While her no-filter, tell-it-like-it-is attitude is most certainly controversial, I definitely think she’s a very entertaining personality, and I can respect the fact that, even as she’s entered the music industry, she isn’t going to censor her opinion, kiss up to anyone, or try to put on a face. Musically, while I don’t listen to her all the time, I do think she has put out some pretty fun, punchy trap bangers in her very short career. So, I was interested in seeing if she continued to do that on this project. Let’s find out if she does, shall we?

Get Up 10: Cardi just oozes confidence on this opening track, as she talks about her story of going from stripper to rap star over a dark, kind of nocturnal but still very energetic instrumental. I love her flow throughout this track, her very energetic, fun performance, and I can’t lie, there were parts of this song where I legitimately felt pretty empowered and excited. I definitely feel like I’ll be coming back to this track quite a bit in the future.

Drip (ft. Migos): Here, Cardi and Migos rap about their successes over a rather standard but still pretty pumping instrumental. The hook isn’t really all that exciting on this one, but I do like Cardi’s very confident performance here, her flow on her verse is pretty solid, and all of the Migos come through with some pretty solid performances: Offset’s verse has some nice, varied flow to it, Takeoff is a show-stealer on his verse, and Quavo’s verse feels different enough from the other Migos to stay interesting. It’s not the best thing on this album, but it’s a solid enough track overall.

Bickenhead: A somewhat slow but still highly energetic track, I definitely feel like this one could’ve used a better hook. Cardi definitely provides another confident performance here, and she has some fun flow throughout, but there are some more staccato, start-stop moments that I’m not all that crazy about. And the constant “alright alright alright” in the background does get a bit annoying at times. Not a terrible track, but I’ve definitely heard better out of Cardi.

Bodak Yellow: The song that really launched Cardi into popularity, I’ve definitely given this song several listens since it hit #1 on the charts, and admittedly, it’s still a pretty fun track. It’s very braggadocio, but it’s still very energetic and punchy, Cardi’s performance is lively, and she definitely oozes confidence over this pretty fun trap beat. I know it’s a very polarizing song in a lot of corners, but it’s still a pretty good track.

Be Careful: Serving as something of a “warning” to her current fiancé Offset (of Migos fame), this is a much brighter track and it basically sees Cardi tell Offset that, even though she forgave his infidelity, she won’t stick around if he keeps at it. I really like the lyrical content here, and thus far, it might be one of Cardi’s best songs lyrically, but sonically, I’m not sure I’m digging it. It feels very bland and forgettable, and I also don’t really find the hook all that captivating or memorable. It’s not a terrible track, but I think it’s definitely one of the weaker of Cardi’s singles.

Best Life (ft. Chance the Rapper): Gotta admit, this track got me really excited as soon as I saw that it was gonna have Chance the Rapper on it. And his vocals on the hook are great! He has a lot of fun with his very charismatic performance and his catchy flow on his verse. Cardi also addresses her haters with her very confident verse, and I wanna say that “you a pussy and a rat, you like Tom & Jerry” might be one of my favorite lyrics ever, no lie. There’s also a very chill instrumental with a solid, head-noddy beat as well. Great track!

I Like It (ft. Bad Bunny and J Balvin): Here, Cardi is joined by Bad Bunny and J Balvin, the latter of “Mi Gente” fame, on a track that, once again, could’ve used a better hook overall. Still, this very Latin-infused song features a really solid verse from Bad Bunny, and J Balvin provides some very nice vocals and good flow overall. I will say that, given how Cardi showed off her Spanish skills on “La Modelo” with Ozuna, I wish she showed off some of that Spanish alongside Bad Bunny and J Balvin. Still a decent track overall, even if it’s not one of my favorites on the album.

Ring (ft. Kehlani): A song about not being able to reach something through a phone, Cardi enlists Kehlani on the hook for this, which was a great decision because her very gorgeous vocals mesh nicely with the pretty, fun instrumentals and head-noddy beat. Cardi’s verse also features the same confidence that she shows throughout pretty much all of her songs, and I feel like this track has some single potential. Even if Cardi doesn’t release it as a single, it’s definitely a track I enjoy.

Money Bag: A somewhat more electronic-sounding version of “Bodak Yellow,” this song is still plenty energetic, the electronic, somewhat 8-bit sound of the instrumental is really great, Cardi once again oozes genuine confidence, and the hook is admittedly kind of ear-wormy. While I was peaking at the lyrics, I worried the hook was gonna turn out really repetitive, but it actually gets stuck in my head quite a bit. I didn’t think I’d really enjoy this track, but I gotta admit, it’s quite good!

Bartier Cardi (ft. 21 Savage): When I first heard this song, it felt like something of a sequel to “Bodak Yellow,” not necessarily sonically, but in that it was her second single and it showed growth from the already-solid “Bodak Yellow.” It’s much more uptempo, the hook is even more fun, and Cardi’s performance continues to ooze confidence. While I’m usually not all that crazy about 21 Savage, his performance wasn’t all that bad, either. Definitely a great song.

She Bad (ft. YG): YG comes in to help Cardi on this track, one that is more nocturnal but still uptempo and plenty energetic. While Cardi’s verses continue to provide plenty of excitement and good flow, I must say that YG’s hook on this one can’t help but feel really generic to me. And given that his verse follows almost the same cadence as his hook, it just can’t help but feel contrived. Gotta admit I’m not really all that interested in this song.

Thru Your Phone: I was really interested in this track because, between writing the review, I saw several people on Twitter indicate that this cut was one of the standouts of the record. And admittedly, I dig it too! It’s a much slower, more emotional sounding track that talks about looking through your lover’s phone and finding things you don’t like (again, I'm pretty sure she's talking about Offset), and it’s got another solid performance from Cardi. The hook, apparently sung by Ali Tamposi, also meshes nicely against the brighter instrumentals on this one. Good track!

I Do (ft. SZA): Cardi ends off her album by bringing in fellow 2017 breakout artist SZA to handle the hook. Her vocals are nice as always, and the hook easily gets stuck in your head. Cardi’s performance once again oozes with braggadocio, to the point where she even spits the line “pussy so good, I say my own name during sex.” That’s another really memorable lyric that I love. I also love how she mentions how her “15 minutes of fame” just seem to keep on going, which contributes to the confidence of the song. Another special shoutout to the lyric “leave his texts on read, leave his balls on blue.” Honestly, I could go on for days about all the clever lyrics on this song, it’s a great end to the album.

Overall, Cardi B’s debut album “Invasion of Privacy” further reminds us of why she’s one of the biggest names in hip-hop. She drips confidence and braggadocio all throughout this record, and it’s clear that she wasn’t willing to coast off of her two big singles “Bodak Yellow” and “Bartier Cardi.” There’s a lot of really fun, exciting tracks on this album, and Cardi makes them memorable with some really clever bars and enthusiastic performances. This album feels like it’s definitely in Cardi’s wheelhouse, but at the same time, it's different enough to the point where it doesn't just feel like 13 “Bodak Yellow” variations or “Bartier Cardi” rip-offs. Cardi also brings in some great features throughout the album, as artists like Chance the Rapper, Kehlani, and SZA make great songs even better.

Admittedly, though, I do think the album does go down a few detours I’m not all that crazy about, and there were a few songs that could’ve used better hooks. Obviously, not every hook you make is going to be 100% perfect, but there definitely were some repetitive moments on some of these hooks, and admittedly, while I liked a majority of the tracks on here, the weaker cuts on here were rather noticeable. Even so, I’d definitely say that Cardi proved beyond being one of recent hip-hop's biggest hitmakers that she can back up that success with a really enjoyable debut album, and while my rating may come as a bit of a surprise, this is a rare case where, despite having a few weak tracks, they don’t detract from my enjoyment of this project. I really found myself digging a lot of it, and I definitely think I’ll be coming back to it quite a bit in the future. Good job, Cardi, really excited to see where you go from here.

OWWW

Favorite tracks: Get Up 10, Bodak Yellow, Best Life, Ring, Money Bag, Bartier Cardi, Thru Your Phone, I Do

Least favorite tracks: Bickenhead, Be Careful, She Bad

Rating: Excellent

THINK PIECE: 30 Songs That Invoke My Nostalgia

Sometimes, for better or worse, one listen to a song can take you back to a certain time, event, or period of your life. You’ll play it once, thinking “ah, I used to love that song!” And then, as you listen to it, it feels like you’ve been teleported back to the past, and you’re kind of overcome by nostalgia when you listen.

Okay, I know, some of that felt cliché, but the point is, music can really easily invoke nostalgia. I’ve noticed this a lot when I listen to music, so I went through a lot of songs - some from albums I’ve reviewed, some from albums I haven’t reviewed - and picked out several tracks that take me back to some previous time in my life whenever I listen to them. Here are the songs that bring me back, and the times they bring me back to.

Oh, and spoiler alert, this list is chock full of personal anecdotes because I'm a naturally nostalgic person, so don't worry, I won't give every single minuscule detail of my personal life, but expect a little bit of cheese and cliché imagery here. If that's not your thing, you don't have to keep reading. You've been warned. If you've decided to stay because you don't mind that...well, great, let's get started!

NE-YO - SINGLE

Back around 2015, I started to actually care more about listening to music. At that time, I was a junior in high school, and even though I was in a music school and enjoyed playing music, my first two years of high school saw me not really care to listen to it all that much. Then, in 2015, when I started to get more interested in the medium (and stopped being so stubborn about pop music), I would bump Ne-Yo's music day in and day out. Prime example with this track, “Single.” I never really fell in love with the original New Kidz on the Block version, but this one really got me, and I still love it to this day. I could’ve also put “Miss Right” here because I love that song, but since “Single” probably got the most plays, I’ll pick it instead.

KURT HUGO SCHNEIDER - HEY THERE DELILAH (COVER)

Okay, I might be cheating a bit by picking a cover, but you know what, we’re gonna do it. The song is in my Spotify playlist, so I’m counting it. Kurt Hugo Schneider has helped make some of my favorite cover songs ever, and I remember when I first heard this cover of the Plain White T’s hit song “Hey There Delilah,” I immediately fell in love with it. Kurt turned an already-sweet song into something so emotional and so beautiful with it, and I remember staying up late nights and always singing that song. Seeing that this was one of my favorites out of his many covers, it takes me back to the days of 2014 and 2015 when I would listen to his covers every late night and just have the best time doing it.

ED SHEERAN - LEGO HOUSE

While “Thinking Out Loud” was the first Ed Sheeran song I heard, and I really enjoyed it, “Lego House” was actually the first song of his that I truly adored and looped. After hearing “Thinking Out Loud” for the first time in the car on a ride home with my mom, I went and decided to listen to a bunch of his other songs, and I remember just destroying the replay button on this one. Something about it just immediately grabbed me, and as I listen to it, I remember back to being 16, staying up late and listening to the song endlessly, more so than any other Ed Sheeran song at the time. Even though it cooled on me a bit over time, I still go back to it and really enjoy it.

SECONDHAND SERENADE - FALL FOR YOU

No, I don’t listen to a lot of this group’s music, but this song came on Pandora one day, and I thought it was so beautiful and so emotional. Slowly, it became another one of those “stay up super late in my room and sing along to it” kind of songs. It was a go-to sad song for me, and it was a song that I always hoped would come on my Pandora stations (and it did, because I had it thumbed-up on probably 3-4 stations). Even though I don’t listen to it as often now, it’s one of those tracks that, whenever it comes on, I fall in love with it all over again, and I just go back to those days of staying up late and feeling all emotional while listening to it.

DRAKE - CONTROLLA

This was my song of the summer from 2016. I remember that year, I was in a Pre-College program at my current college, and I just remember listening to this song all the time when I got the chance to. It wasn’t easy because, with Drake not having his songs on YouTube, I had to rely on Pandora/Spotify to pick it at random, but whenever I hear it, I get flashbacks to those hot summer days, being in a classroom drawing dynamic artwork that goes off of the page and meeting people that would become some of my closest friends. As polarizing of an album as “Views” was, I have to appreciate it for giving me quite a few memorable songs, and especially for gracing me with “Controlla.”

CHILDISH GAMBINO - SOBER

During my freshman year of college, a close friend of mine showed me this song. I hadn’t really listened to Childish Gambino at all beforehand, but we were paired up on a project, and we used this song for said project. I remember listening to it and just immediately digging it, to the point where I would just go on YouTube and listen to it like 4-5 times in a row because it was that good. When I listen to it now, I transport back to that time working endlessly with said friend on said project, hearing it so many times, and literally never getting tired of it. I still haven’t gotten tired of it now, so that’s really something.

LIL UZI VERT FT. OH WONDER - THE WAY LIFE GOES

I know what you’re thinking, “how did this make you feel nostalgic if you reviewed this album less than a year ago?” Well, for starters, “Luv is Rage 2” was my fourth album reviewed, and it was the first album I reviewed right around its release date. Ed Sheeran’s “÷” was my first, and I reviewed it about four months after its initial release. Desiigner’s “New English” came second, and I reviewed that record over a year after its release. And then Kendrick Lamar’s “DAMN.” was my third album review, and that was also about four months after release. Meanwhile, I remember being right there on Spotify at midnight to listen to and review “Luv is Rage 2,” so when I listen to it, it brings me back to that night, where I came home from work and just sat on my couch at midnight listening to this album. That, and the sheer number of repeat listens while walking to school during my first semester of sophomore year (thank you Pandora/Spotify) certainly helped. Luckily, it’s remained a great song even after so many listens, so I can commend that.

THE WEEKND - NOTHING WITHOUT YOU

Get ready for more somewhat cliché imagery, but this song takes me back to the summer of 2017 when I worked a part-time job in retail. During that summer, I worked largely closing shifts, so I would walk from work to the subway and take the subway home. I remember those late-night walks to the subway - and subsequent trips home from the subway - would just consist of me, headphones in ears, listening to The Weeknd. The dark night sky really went with the moody atmosphere of his songs, so it was always nice listening to his stuff when it was dark out. You could interchange this with several tracks off of “Starboy,” but “Nothing Without You” was one that I heard a lot during my walks, and again, at risk of sounding cliché, the song took me to another world. It felt great, I’ll tell you that much.

ED SHEERAN - CASTLE ON THE HILL

Ed Sheeran again? Yeah, I had to, because this one brings me back, too. In July 2017, just days after my 19th birthday, I went with a good friend of mine to see Ed Sheeran in concert, since he was on his “÷” tour at the time. It was really one of the most beautiful nights of my life. This is the song that really brings me back to that night since it was the concert-opener, and it really set the mood for the night, because it was so loud and so beautiful. I also remember, at the time, I wasn’t really all that into the song, but after the concert, I went back and listened to it more and more, and I just fell head-over-heels in love with it. This also kind of brings me back to those late nights walking home from work, as well.

CHILDISH GAMBINO - REDBONE

Another artist making the list multiple times! “Redbone” really rang off for me throughout the summer of 2017, I heard it on the radio several times over, on VERY early-morning rides to work (think 4:30 AM) and nighttime car rides. This is a song that really brings me back to those late nights and very early mornings. It was a dark and nocturnal enough track to really work with the darkness of the night sky, and the general feel of those late nights. Summer of 2017 may have seen this song become a huge meme, but for me, there was more to it than just the meme: it’s an amazing song, and it's also a nostalgia-trip in and of itself.

BACKSTREET BOYS - AS LONG AS YOU LOVE ME

Believe it or not, the first time I heard this song was at a Prom I went to in the summer of 2017. I heard it on the ride home, and my friends in the car were talking about the song a bit, but oddly enough, I hadn’t heard it before. While it was playing, I secretly went onto YouTube, found a lyric video, hit like and favorite on it, and then just started looping the song because I just fell in love with it. From there, I can’t lie to you when I say that I would listen to the song multiple times consecutively because I loved it so much, and every time I listen to it, I get goosebumps because I think back to that night - which was easily one of the best nights of my life - and I tell myself, “you know, being in traffic on the way home didn’t suck that bad, because it meant I got to hear this song for the first time!”

STARLEY - CALL ON ME (RYAN RIBACK REMIX)

Once again, a Summer 2017 song. When I worked in retail, I would also work the occasional morning truck shift, thus allowing me to leave around 1:00-3:00 in the afternoon. I remember this song coming on often and putting me in such a good mood all the time. It’s such a feel-good track, so easily danceable and so fun, and even on the days that weren’t so sun-spanked, I would feel good walking home to this. As stressful as it was working at that job during the summer, at least I had this to listen to on my way home.

LUKAS GRAHAM - 7 YEARS

If “Controlla” was my personal song of the summer in 2016, “7 Years” was a close second. “Controlla” was my feel-good, danceable track, and “7 Years” was that song that I remember walking up-and-down the stairs to during the Pre-College Program that summer, just feeling so emotional. Given that the song was about growing up, and the Pre-College Program was my first taste of the college atmosphere, it felt kind of fitting that I listened to that song a lot during such a transitional period. And it’s a good thing the song has stuck with me ever since because it’s a song I really enjoy!

CALVIN HARRIS FT. RIHANNA - THIS IS WHAT YOU CAME FOR

This wasn’t really a song I listened to throughout all of my summer in 2016, but I distinctly remember it for one reason: during my Prom Weekend that year, I was walking on the boardwalk with my date and her friend, and during the walk, I heard the song playing, and now for some strange reason, whenever I hear it, I think back to that night. For some reason, I’m not sure if it was also playing, but the SeeB remix of Mike Posner’s “I Took a Pill in Ibiza” brings me back to that night as well. And thankfully, I’ve continued to listen to both songs since then, so that’s something worth remembering.

TREY SONGZ - CAN’T HELP BUT WAIT

Forget just bringing me to something from a summer vacation, this brings me back to my childhood. I used to listen to this all the time when I was in 3rd/4th grade, and I distinctly remember one day when I went with my mom to the doctor and to run some errands, this song came on the radio AT LEAST four times. Each time, though, my mom was gracious enough to keep it on, and it was from those repeat listens that I just couldn’t stop listening to it and singing along to it. And while I don’t loop it now as I did then, it still gets a listen or two out of me, and it makes me feel like a kid again. Gotta like that.

ALAN WALKER - FADED

I first heard this song as an instrumental not even a year ago, but after hearing said instrumental, I searched up the actual song, and became so in love with it. There was something so uncertain about the song, especially in regards to its lyrics, but the one thing I found certain about it was that it sounded so sad, and I remember times when I would be in one of my classes working on a project with the song playing in the background. I don’t know what it was, but when I hear this song, I just picture myself back in those classes, imagining ideas for music videos. The song itself felt very music video-esque, and beyond just being a great listen, it’s a solid nostalgia burst for me.

ROB THOMAS - LITTLE WONDERS

This is a weird one for me because I only really started listening to the song like a month ago. I was watching the film that it came from, “Meet the Robinsons,” and this song played in the film, and when I heard the hook, and I heard Rob Thomas say “but these small hours, these small hours…,” I had vaguely recognized that hook from my childhood. I remembered that I heard it somewhere when I was just a young child, and now when I hear the song, my heart honestly races. I remember back to just being a carefree kid, and I wonder “what was my younger self thinking when he first heard this? I hope he liked it!” And regardless of whether or not my younger self DID like it, I’m definitely glad the song came back around and made its way into my regular playlist so many years later.

BRUNO MARS - COUNT ON ME

More so than “Just The Way You Are” or “Grenade,” this was the first Bruno Mars song I really fell in love with. Back around 2011, I started becoming a huge night-owl, and I would stay up until 2:00 in the morning just listening to music on my computer. This song appeared on several commercials, so I ended up finding it on YouTube, and I remember I’d just sit there at 1:00 in the morning hitting the replay button and singing along to this all the time. It was such a sweet song and I had so much fun with it!

CLEAN BANDIT FT. JESS GLYNNE - RATHER BE

Let me tell ya, this song brings me back to A LOT of different times. For starters, it played during that Summer 2017 Prom I told you guys about earlier, and I remember singing along to it with quite a few friends because I loved the song so much, but I also remember it used to play all the time when I worked that part-time retail job. There were times where I honestly just wanted to embarrass myself by just going all out and singing the song in front of everyone, that’s how much I loved it. And to this day, it remains one of my absolute favorite songs. It’s one of the few songs where, every time I hear it, I get goosebumps. Thank you, Prom 2017, and former part-time retail job, for helping me appreciate this song that I hadn’t fully gotten to appreciate before.

And speaking of said job, here’s just a short list of songs that remind me of when I used to work that part-time job in retail I was talking about earlier. I won’t be including cover art or descriptions for them, since they would all come down to “I heard this at work and it stuck with me.” Even so, while I have some bad memories of that place, and while my time there didn’t end as well as it started, some really great songs played all the time that I still listen to today, such as:

THE SCRIPT - THE MAN WHO CAN’T BE MOVED
TAYLOR SWIFT - FEARLESS
BBMAK - BACK HERE
NO DOUBT - RUNNING
COLDPLAY - ADVENTURE OF A LIFETIME
JASON MRAZ FT. COLBIE CAILLAT - LUCKY
LEE DEWYZE - SWEET SERENDIPITY
MALI MUSIC - BEAUTIFUL
JACK JOHNSON - UPSIDE DOWN
PASSENGER - LET HER GO
CÉLINE DION - THAT’S THE WAY IT IS

Well, how about that? I was able to fit 30 songs! Nice! Anyway, those are 30 songs that I listen to now that bring me back to the past. I apologize if I occasionally repeated myself or sounded a bit cliché, it was really hard not to. But what are some songs that make you feel nostalgic? Unless you feel like the reasons will be too personal, let me know some of your nostalgia-burst songs down in the comments!