Pusha T "DAYTONA" Album Review

I guess in the spirit of fresh beef, this is something I kinda need to talk about right now: it’s time for a review of the new Pusha T album “DAYTONA.”

Pusha T is a New York rapper who was formerly part of the hip-hop group Clipse with his brother No Malice. Though the two split up to work on their solo projects, Pusha was signed to Kanye West’s GOOD Music label back in 2010, and he’s released several projects since, from the “Fear of God” mixtape and “Fear of God II: Let Us Pray” EP in 2011, to the “Wrath of Caine” mixtape and his debut album “My Name Is My Name” in 2013, and the follow-up album “King Push - Darkest Before Dawn: The Prelude” that he released in 2015. You may also recognize him because he’s popped up on several projects that I reviewed: he teamed with Desiigner on the track “Jet” from “New English,” he and Belly came together and made a pretty strong track with “Alcantara” on “Mumble Rap,” he surprisingly showed up to Linkin Park’s “One More Light,” where he and Stormzy collaborated with the band on the track “Good Goodbyes,” and he also helped Logic create the banger “Wrist” on “Bobby Tarantino.”

Now, while I’ve heard Pusha T several times as a feature, I never really considered myself a “fan” of his. I have no malice with him (no pun intended), but rather I just hardly paid much attention to his music and only thought of him as “that guy that shows up as a feature often.” That said, though, I wanted to review this album not only because of the high praise it’s getting, but because…yeah, we all know why. With all the recent beef heating up between Pusha and Drake, fueled by Pusha’s claims on the final track of this album “Infrared,” I wanted to see what else Pusha had to say here. So, let’s take a look, shall we?

If You Know You Know: Right off the bat, Pusha T starts the album by talking about crack and cocaine. Apparently, this is something he talks about often. This one’s very upbeat and loud, and Pusha does have a few clever bars on here, but I don’t really think there’s much of a hook on this one, and I’m not really that big on Pusha’s flow, to be honest. Still, he’s got a pretty energetic performance on here, and there are some really cool, weird sonic elements at play as well. Don’t think I’ll be coming back to it that much much, but it’s definitely not a bad song.

The Games We Play: Pusha talks a little more about drug dealing here, but he mixes in talk of his wealth and successes. The track has something of an old-school feel, and the production is really weird and plucky. Pusha once again proves that he has some good lyrical talent, though I don’t really feel like his performance is as interesting here, and I think the track does end rather abruptly. Still, it’s a nice song to nod your head to, even if I don’t think it’ll stick with me much in the future.

Hard Piano (ft. Rick Ross): Pusha brings in Rick Ross for this track to discuss the good and bad parts of being successful, and Pusha has some rather hard lyrics on this one (some of which subtly diss Drake). I like the click-clack percussion as well, but I honestly just don’t find myself vibing with either Pusha T or Rick Ross’s performances. Not that either one is bad, I just don’t find either of their performances all that interesting, I’m sorry. This one could grow on me with a few more listens, though.

Come Back Baby: Man, as a first-time listener, Pusha really loves drugs, doesn’t he? He continues to talk about his drugs on this track which features a more minimal beat that samples "The Truth Shall Make You Free" by The Mighty Hannibal and "I Can't Do Without You" by George Jackson. I really like the sampling here, as it adds some nice variance to the song, and I think Pusha once again comes through with some really clever lyrics. Again, though, I really don’t find myself all that interested in his somewhat repetitive flow. Still, his performance is energetic and I can see the appeal of a song like this. It’s definitely pretty decent.

Santeria: Pusha gets really personal on this one, talking about the murder of his good friend De’Von “Day Day” Pickett, who was also his road manager. It’s admittedly a pretty emotional song, and I do like the really dark, somewhat sinister production of the cut. While I’m not totally crazy about 070 Shake’s refrain, it does add to the rather scary feel of the song. I really love Pusha's emotional performance here, and I think his flow is his most interesting yet. I don’t see myself coming back to it regularly, but it’s a pretty solid track.

What Would Meek Do? (ft. Kanye West): A very braggadocious song, Pusha lets fellow GOOD Music artist Kanye West comes in on this cut to talk about the recent wave of attention he's been receiving, from wearing the “Make America Great Again” hat, to his controversial (and, frankly, stupid) claim that slavery “sounds like a choice,” to his “poopy-di scoop” lyrics on “Lift Yourself.” I really like the production on this track, from the pretty fun beat to the somewhat atmospheric instrumentals, and the performances of Pusha and Kanye are pretty decent. I wish the song was a little bit longer because it feels like it stops right as it’s getting good, but it’s definitely a solid track.

Infrared: The infamous track that started this whole beef that everyone is talking about between Pusha and Drake, with Pusha bringing back the talk about Drake’s lyrics being ghostwritten. I like the very minimal, atmospheric, somewhat ethereal production on this one, and I think his lyrics are some of his best on this album, as he comes at not only Drake but several other rappers on the song. Once again, though, I wish the track was either a little bit longer, or it had a hook to really bring me back into it. I unfortunately don’t get that here, so as it is, it’s a solid song, but not one I think I’ll be returning to.

Guys, I’m sorry, but, I really have no idea what to think of the album. I definitely didn’t “dislike” it, but I’m not sure that I particularly “liked” it, and I’m also not really sure if I thought it was “just okay.” Honestly, it’s just there. And I feel weird about that because I’m supposed to love this thing. It doesn’t have an 86 on Metacritic for nothing, it’s supposed to be amazing, and I’m sure others are loving it, but I really don’t know what to think of it. It’s a rare case where I don’t think the album fits into any one of my ratings. The production on this is pretty cool, and Pusha is a pretty good lyricist, but I don’t find his flows all that interesting throughout, and I find myself wishing there was some more beef to his songs. I don’t know, maybe there’s just something I’m not getting with the album, but it just doesn’t really stick with me.

You know what? This is gonna be a first for my reviews: I’m gonna add a new rating to the scale, and that’s “Not For Me.” This will probably be a very rare rating, and it’s basically for when I listen to an album, and I’m so neutral on it that I can’t properly put it on my rating scale. That’s what happens here with this album: it’s certainly not “Bad” or “Awful,” and I can’t call it “Okay” because it’s too well-written and well-produced to be “just okay,” but I can’t call it “Good” or “Excellent” because that indicates that I have some desire to return to it, which I honestly don’t. It didn’t really excite me enough to give it more listens, but I admit it is well-made. Thus, “Not For Me” indicates that an album doesn’t belong on my rating scale and that you have to listen to it to get a proper opinion. Think of it as a way of saying, “I don’t really love the album, but I still recommend you listen to it.”

Favorite tracks: I honestly don’t really have any favorites. They were all just “fine.”

Least favorite tracks: I also don’t really have any least favorites. As I said, they were all “fine.”

Rating: Not For Me

James Bay "Electric Light" Album Review

Not sure how many of you guys saw this coming, but here it is: it’s time for a review of the new James Bay album “Electric Light.”

James Bay is an English singer-songwriter who saw some massive success in 2014-2015 when he broke with huge singles like “Let It Go” and “Hold Back the River,” the former of which actually charted not only in his home country but here in America, as it reached #16 on the Billboard Hot 100 and ended at #44 on the Year-End Hot 100 in 2016. Those singles led up to the album “Chaos and the Calm,” an album that overcame some less-than-stellar critical reviews to reach #15 on the Billboard 200 and receive a Gold certification here in America. After a few years sort of reeling in that success, he returned earlier this year and released two new singles “Wild Love” and “Pink Lemonade” as the lead-ins to this record.

Now, honestly, “Let It Go” (not to be confused with the song from “Frozen,” by the way) is basically the whole reason I’m covering this album: I didn’t listen to “Chaos and the Calm” in its entirety, but “Let It Go” is a song that I absolutely adore, and it so happens that I really started to enjoy it more and more right after I heard that James was releasing singles for this album. So, even though I’m relatively inexperienced with his music, morbid curiosity got the best of me and made me want to give this record a shot. Let’s see if it delivers, shall we?

Intro: It’s a one-minute long, spoken-word intro between Nick Seltine and Ashley Jones, as they discuss the uneasiness of their relationship. There’s not much to say about it other than that it starts off the album and leads nicely into the next track. Yeah, that’s all I can say.

Wasted on Each Other: The first real “song” on the album, James talks about a relationship that he can’t get enough of, and the high that comes with it. Maybe it’s new to me because I’ve only heard “Let It Go,” but this song has a harder, more rocking feel to it. There are some very cool guitar riffs on this one, some neat open-close hi-hat moments, and it’s got a somewhat bouncy feel to it. I do think James has nice vocals, but there are some filters on his voice here that don’t really allow him to fully show them off. Still, it’s got a decent hook and, while I’m sure it won’t be the best song on the album, it’s not bad.

Pink Lemonade: On this track, James talks about the feeling of needing to escape without exactly knowing why, or how to feel. It’s actually got a somewhat sprightlier, funkier, more electronic feel to it than the last song, and it feels somewhat retro, honestly. It’s fast-paced and somewhat fun, and it’s got some really sweet guitar riffs, but I honestly don’t find it really sticking with me. Maybe I just need to give it a few more listens, but right now, it’s just alright.

Wild Love: Back to the relationship songs, this one sees James talking about a desire to be in the best, most carefree relationship that he could possibly be in, over a more filtered, electronic-influenced instrumental. It’s got a very smooth, moody vibe to it, and the electronic instrumentals do sound very nice. I do like James' vocals on this one, but I once again feel the filters are robbing him of showing off his true potential. Still, it’s a sweet, nice-sounding song, and it might grow on me with a few more listens.

Us: Another more light track with something of a gospel influence, this one sees James talking about someone he loves, and how he believes in the two of them. It’s got a very beautiful piano melody, and James does come through with some great vocals here. It does feel somewhat reminiscent of several other songs (I’m thinking “Stay With Me” by Sam Smith), but it’s got a nice, very pretty vibe to it and I can honestly see myself coming back to it in the future.

In My Head: Here, James talks about how he's so obsessed with a love interest of his that he wants to get her in his head until he can’t forget her. I once again like the somewhat gospel-inspired feel of this track, and it does have a very pretty sound to it, but my big problem with it is that it just feels a bit too experimental, to the point where it’s really not all that coherent. Same goes for James and his vocals, he sounds nice for the most part, but once again, some weird filters don’t quite allow him to really explore his vocal potential. It certainly sounds nice, but it’s not the best song on the album.

Interlude: Nick and Ashley from “Intro” continue their discussion here, and again, I really don’t have much to say about it. Without a visual component, the track just feels out-of-place, to be completely honest. It’s there, and that’s all I can say.

Just for Tonight: This song sees James take on something of a country feel, and it’s about James wanting to be with someone just for one night. It’s fast-paced and rather vibrant, and I do think the song is very head-noddy thanks to its fun drum and tambourine beats. James once again sounds nice, and the hook on here isn’t too bad, but I once again wish his vocals weren’t as filtered as they are because it feels like it’s taking away some of his charm as a singer. It’s still a pretty decent track, though.

Wanderlust: Going back to the more rocking feel, similar in ways to “Pink Lemonade,” James discusses how he didn’t want to travel without his love interest, but his desires to travel got the best of him. I like the fast-paced feel of the song, and the beat is very strong here. There’s not really much of a hook on this one, but it’s a nice infusion of what feels like several different styles and it might grow on me with a few more listens.

I Found You: Once again, we have another love song, where James talks about how much he can’t believe that he met this love interest of his. It’s a song that takes things slower, with a more soulful, doo-wop feel, and James does show that he has some pretty decent, somewhat raw vocals that mesh nicely with the beat of this cut. Not really much of a hook here, but it’s a decent little track with some cool, weird sonic ideas going on.

Sugar Drunk High: A song about young love, this one goes back to the more country-flavored feel that James went for on “Just for Tonight.” While James shows off some nice vocals, I can’t help but feel like I’ve heard this kind of song too many times before (like I said last night during my review of Snow Patrol’s album, I can’t help but shake the U2 “Songs of Experience” vibes on this one). It’s not a terrible-sounding song, but it just feels somewhat bland compared to the rest of the album.

Stand Up: Lyrically, I find this song to be one that’s a bit more empowering, as it feels like a song about being a child, but being unafraid to embrace your childlike nature. It also feels like he’s trying to say “don’t be a statistic” on the hook. Interesting, I haven’t heard a lot of songs that specifically say that. It’s a faster-paced, more electronic song, and admittedly, this one does have one of the better hooks on the album. That said, it just feels a little too bland on the whole, and given that genius.com says that the song is “avant-garde,” I definitely expected it to be a little bit more experimental. It’s not bad, it’s just not all that captivating.

Fade Out: James mixes R&B with psychedelic on here, as he sings about someone who only loves him in the dark when no one else is around. It’s admittedly got a very atmospheric and relaxed feel to it, and I think the production is some of the best on the record. This might also be one of the first times on this album where I’m fine with James' vocals being more filtered because they mesh well with the instrumentals. It’s a slow-paced jam that I can see myself coming back to quite a bit in the future.

Slide: Ending the record, James talks about how we all need to love one another, and how we all need someone to hold and care for. It’s a very light, piano-driven ballad that feels kind of closer to something you’d hear on his first album (like “Let It Go”), and given the more raw feel of the song, I appreciate that James didn’t filter his vocals, because they sound very nice on this one. No, it’s not quite enough to save the record or anything like that, but it is a nice song that wraps up the album solidly.

Overall, I can kind of see the problem some critics had with this album. I can’t really compare it to his first record, but if you’re like me and you know James Bay only from “Let It Go,” I wouldn’t really recommend jumping right into this album. It doesn’t really sound too bad, but I feel like it doesn’t really explore his vocal potential all that much, and it doesn’t really have much coherence. With “Intro” and “Interlude,” I think James tries to lead us to believe that this album has an overarching theme or story of some kind, but it really doesn’t. It’s an album of mostly love songs, and while that’s not necessarily a bad thing, none of the songs feel all that spectacular.

Inferring from the little bit that I’ve heard of James’ first album “Chaos and the Calm,” which was largely just folk-rock/soft rock, it feels like James tries here to dip his toes into several different styles, but he never really settles into just one. He tries some more retro-sounding rock, a little hard-rock, lighter ballads, gospel songs, and even some doo-wop, but he fails to really stick the landing in one particular field, and kind of just does each one in a “just okay” kind of way. It’s unfortunate because I did want to love this album, but I just don’t see myself coming back to it all that much in the future.

Favorite tracks: Us, Fade Out, Slide

Least favorite tracks: Sugar Drunk High

Rating: Okay

Snow Patrol "Wildness" Album Review

I didn’t expect this review to come next, but once again, life is pretty interesting sometimes. It’s time to take a look at the new Snow Patrol album “Wildness.”

Snow Patrol is an Irish/Scottish rock band that formed all the way back in 1993. This is their seventh studio album and their first since 2011’s “Fallen Empires.” Now, if you happen to reside in the United Kingdom, you’re probably far more familiar with this band than we Americans are, but here in America, we’ve definitely heard of Snow Patrol because of their iconic (and pretty damn fantastic) song “Chasing Cars,” a very beautiful and pure song about forgetting the world with the one person that you love. The song peaked at #5 on the Billboard Hot 100 back in 2006 and reached the Year-End Hot 100 twice (#29 in 2006 and #61 in 2007), and it has also gone 5x Platinum in the US. While they haven’t had a mega-hit like that here in America since, they have crossed over to the Hot 100 a couple times with songs like “Set the Fire to the Third Bar,” “Signal Fire,” and “Called Out in the Dark.”

Now, I wasn’t initially sure if I was gonna cover this album, but as someone that absolutely loves “Chasing Cars,” I will say that curiosity got the best of me. Not only that, but my personal favorite artist Ed Sheeran was advocating for the album on his Instagram, and he is also gonna have Snow Patrol opening for him on his upcoming arena tour here in America. Considering that I am planning to see him when he comes to my city in September, I further thought that it would be a good idea to give this album a listen so that I potentially have something to sing other than “Chasing Cars” when they open for him. So, let’s do it:

(DISCLAIMER: While I usually review “Deluxe Editions” of albums, I will not be reviewing the “alternate versions” of the songs on this record. Just the standard 10 tracks. The standard version is not on Spotify, only the Deluxe Edition, but because the bonus tracks are just alternate versions of five of the songs on here, I don’t really see much point in reviewing them. I’m sorry to anyone that wanted to hear my thoughts on them.)

Life on Earth: Kicking things off, we have a downtempo, acoustic guitar-driven song that introduces the album’s concept of “wildness.” I like the lighter feel of the verses, and the more pounding feel on the hook adds some nice variance, but all in all, I don’t really find this song to be terribly exciting. I feel like there isn’t too much to it that I haven’t heard before, and it doesn’t really have much charm or fun factor to really make up for that. It’s competently put together, but just nothing worth writing home about.

Don’t Give In: Lead singer/songwriter of Snow Patrol, Gary Lightbody, has considered this song a “self-fulfilling prophecy” as it discusses his struggles with depression and also his struggles to get this album out (the group worked for 5 years on it). I definitely dig the concept, and the faster-paced but still light guitar melody is plenty fun. I’m not super crazy about the beat on this one, especially on the verse as it makes some things feel a bit unfocused for me, but I do think Gary comes through with some nice vocals on this track. Not something I’ll come back to again and again, but it’s pretty decent overall.

Heal Me: A much brighter song, this one has Gary asking someone that he loves to “heal him” and help him figure out the weird things going on in his head. I really like the feel of this one, it’s very head-noddy, it’s got a pretty vibrant instrumental lead by a pretty guitar melody, some very nice vocals from Gary, and a really memorable hook. It’s definitely a pretty fun track, and I can see it getting some repeat listens out of me in the future.

Empress: A track that discusses how we’re all just people in the end, this one keeps things pretty uptempo and pounding, and it also feels very bright and vibrant, especially compared to the more mellow songs that start the album. I love Gary’s vocals on this song, especially on the pre-chorus, and the track as a whole has a lovely vibe to it. I’m not really all that into the hook, but once again, I like the vibe, and I think the song might grow on me in the future.

A Dark Switch: Here, Gary talks about how unafraid he is, and how someone brought him a storm that he actually liked. This one is very different from a lot of the other songs on the album, with a somewhat more dance-y, groovy feel than the earlier tracks. Once again, I love Gary’s vocals, and the upbeat feel of the song is very nice, but honestly, nothing about the song really sticks out to me. It’s certainly not a bad song, but it just doesn’t really feel all that memorable, and it sounds like too many songs I’ve heard before.

What If This Is All The Love You Ever Get?: Moving away from the more vibrant and upbeat songs on here, this one is a light, piano ballad about love. I do like the stripped-back feel of it, as it’s just Gary singing over the piano, and as he’s done throughout the rest of the album, he brings the goods vocally. I think he really carries some emotional weight in his performance, and while this ballad won’t go down in history like “Chasing Cars” has, it’s a very pretty, delicate song all its own.

A Youth Written In Fire: A track that seems to be about young love and nostalgia, things are more upbeat here, with a punchier drum beat and another bright, guitar-driven melody. I don’t find Gary’s vocals all that distinct on this one, though, and I definitely am not all too enthralled by the hook on this track. I don’t think it’s really an “in one ear and out the other kind of song,” but again, I don’t really think there’s much here that’s really grabbing me and demanding my attention. It’s not terrible, it’s just not special either.

Soon: A song that I interpret as being about growing old since Gary talks about how one day he and his father (be it a figurative or literal father) won’t remember anything, this is another slightly stripped-back song. Gary’s vocals are front and center, and the only real instrumentals at the start are some rather light keys. It does get a bit bigger later on, but it once again doesn’t really leave much of an impression honestly. I also think the track is just a bit too “empty-spacey,” and unfortunately, that empty space is again nothing all that memorable. Definitely one of my least favorites on the album, and honestly, I think the most memorable thing about it is that it’s 4:20.

Wild Horses: This one talks about how someone close to Gary is “holding back” their wildness. It takes things back to the upbeat feel, with a somewhat rocking guitar melody and a more snappy beat. Gary’s vocals do sound nice, and the hook has a very bright, very fun feel to it, but once again, there’s nothing all that memorable about the song as a whole that makes me want to come back. It’s not bad whatsoever, and it’s also not the worst that this album has to offer, but it’s just nothing overly special.

Life And Death: Finishing things off, Gary once again talks about love while tying things back into the album’s theme of wildness. The instrumental behind the song is rather light and stripped-back, led primarily by some spacey guitar strums and a really lowkey drum beat. Once again, I do think Gary’s vocals are nice and said stripped-back feel does work here, but the problem is that I feel like I’ve heard this kind of song before, and I don’t even really listen to this kind of music a lot. Hell, it wasn’t even that long ago that I listened to and reviewed U2’s “Songs of Experience” and I feel like I’m just listening to another version of it with this record. No, this song isn’t bad, it’s just not that special, and while it makes sense to end on this song from a lyrical perspective, I think “What If This Is All The Love You Ever Get?” should’ve been the finisher, honestly.

Overall, I unfortunately don’t really love this album. It’s certainly not bad, and I think quite a bit of it is competently put together, but the unfortunate problem here is that nothing about it really stands out all that much. It’s nice on the ears and it’s pretty relaxed, but it’s just not distinct. And as I’ve said before, I’m fine if something sounds “same-y” if there’s some kind of charm that makes it memorable. That’s not really on display here, and none of the songs really have that unexplainable “something” that makes them worth immortalizing in the group’s legacy. If you’re a huge fan of Snow Patrol, I’m sure you’re gonna love it, but for me, it doesn’t look like I’ll do much singing along when they open for Ed Sheeran (other than “Chasing Cars,” of course). Is it impressive that they’ve returned after 7 years? Most definitely. Am I happy that they were able to put this record out after 5 years of working on it? Well, yeah, that’s certainly commendable on their end. Is it a worthwhile record? Eh, could’ve been better, could’ve been worse. Will the songs from this have the staying power of “Chasing Cars?” Unfortunately, no.

Favorite tracks: Heal Me, What If This Is All The Love You Ever Get?

Least favorite tracks: A Youth Written In Fire, Soon

Rating: Okay

Shawn Mendes "Shawn Mendes" Album Review

I had a few albums I was gonna review before this one, but I figured you guys would care more about this than the others, so let’s do this first! Yep, it’s finally time for a review of the new Shawn Mendes album…"Shawn Mendes." It’s self-titled, yeah.

This is the third full-length studio album from Canadian singer-songwriter Shawn Mendes, who you may recognize from his variety of hits, such as “Stitches,” “Treat You Better” and “Mercy.” I’ve covered both of his previous albums on this blog, as well, with his 2015 debut album “Handwritten” and his 2016 follow-up “Illuminate.” Though he didn’t really release too much new material in 2017 on account of him being on his Illuminate World Tour, he did release the big single “There’s Nothing Holdin’ Me Back,” a song that hit #6 on the Billboard Hot 100, finished at #23 on the Year-End Hot 100, was considered by some critics to be one of the better pop singles of the year, and received so much praise that Island Records tried to “sneak” it on the reissue of “Illuminate” by not so subtly making it the very first track. Nice try, Island. Anyway, he didn’t slow up to begin 2018, releasing singles like “In My Blood” and “Lost In Japan” to kick off the year.

Now, as you know, I personally enjoyed both of Shawn’s previous projects, and I have been looking forward to this new album since a lot of people were saying that it’s a more intimate and different album from Shawn’s other work. However, I don’t really know entirely what to expect, as I haven’t gotten enough time to really sit down and enjoy the first few singles. I’ve given “In My Blood” and “Lost In Japan” a listen or two and I remember enjoying them, but I haven’t returned to them too much because other music has taken up my time. But now that this new record is upon us, it’s time to focus in on it and see if it’s worth the early praise it’s getting.

In My Blood: Right from the start, we’re getting heavy here, as Shawn talks to us about his anxiety. That’s definitely a welcome reprieve from the love ballads on his previous album (not that those ballads were bad, it’s just nice to see him trying something different). It’s got a very pounding drum beat and a very arena-rock kind of feel. Though it’s not as fast-paced, I think it’s to Shawn what “Castle on the Hill” was to Ed Sheeran. Maybe that’ll help out. But I love Shawn’s very passionate vocals on this one, and I think it mixes nicely between being light and booming. Really digging this track, good start to the album.

Nervous: Right here, we are back to the love songs, and Shawn talks about the butterflies one gets when they are near someone they have a crush on, something I’m sure a number of us have felt. I really like the acoustic guitar melody on this one, and the song has a more danceable feel to it. Shawn also jumps into his higher register on the hook of this one, and finally I get why people have been comparing him to Justin Timberlake lately. Or, maybe that’s just social media being jokey as usual. *shrugs* I don’t know. Either way, this is another very different-sounding song for Shawn, and it really works. I dig this one a lot.

Lost In Japan: Shawn, I’ve gotta hand it to ya, man, considering that you’re so committed to your girl that you’d go to Japan to visit her…if that’s not love, I don’t know what the hell is. Anyway, this one has a much different feel from “In My Blood,” with a more grooving bassline and a much more danceable vibe. If "In My Blood" was Shawn's "Castle on the Hill," this is his "Shape of You" (at least, stylistically speaking because, in terms of chart success, that's a different story). It’s a really great song with a very bright feel and fun instrumentals, but where it really shines is with Shawn’s vocals, as his performance is so filled with effervescent, irresistible charm. Really loving this one a lot!

Where Were You In The Morning?: I was sleeping, thanks for asking. Anyway, this song is more stripped-back than some of the past few tracks, but it’s got a really nice, snappy, and relaxed feel to it with a very nice acoustic guitar melody. Shawn’s vocals on the hook again give me some Justin Timberlake vibes (so maybe it’s not a joke after all), but he sounds very smooth throughout and he brings some emotional weight, especially on the bridge. I like this one!

Like To Be You feat. Julia Michaels: A conversational song between Shawn and Julia Michaels, genius.com said that this was the “most anticipated collaboration” from this album. I dunno, though, that Khalid collaboration sounds a bit more enticing to me. Either way, this one is again more minimal, as Shawn and Julia sing over a somewhat more fast-paced acoustic guitar. It’s a sweet song and I think Shawn’s lighter vocals mesh well with Julia’s very pretty, soft vocals. It’s not one of my favorites on the album, and I kinda wish it was a bit longer, but it’s not a bad track whatsoever. I definitely think it could grow on me in the future.

Fallin’ All In You: A song co-written by none other than Mendes’ contemporary Ed Sheeran, I can see Ed’s influence in Shawn’s vocals on this one. Hell, when I first heard a snippet of this, I had a gut feeling that Ed provided background vocals on here (apparently, genius.com says he does). It’s got a light, but still head-noddy feel, and I think the song has one of the most captivating hooks on the record. Shawn also sounds great throughout the entire song, regardless of which register he’s in. Great track, I honestly think it’s single-worthy. Think about it, Shawn.

Particular Taste: You know, for what was supposed to be a very personal album, I thought this would be a bit more about Shawn. This is another track about a girl, and while that’s not necessarily a bad thing (especially since the album itself has been enjoyable so far), I was expecting things to focus a bit more on him. Even so, this is another very dance-y song fueled by Shawn’s irresistibly charming vocals, a snappy feel, and a great, plucky guitar melody. It’s once again very different from a number of Shawn’s other songs, but it’s a pretty great track!

Why: A song about a love between two people that don’t want to admit it. Another relatable scenario, I’m sure. This one takes things far slower from the last track, and many have speculated that this song is about Camila Cabello. Because, of course they have. It has a very soft instrumental melody, lead primarily by the keys, and Shawn once again brings the goods with his vocals. The hook isn’t one of my favorites on the album, and it does feel a bit too much like a few other songs I’ve heard, but it’s a pretty solid song.

Because I Had You: On this track, Shawn talks about a girl whose heart was broken by him, who moved on to another guy, thus making Shawn regret breaking her heart and feeling that he can’t love anyone because he loved her the whole time. I wanna make a snarky comment about that sounding like a film, but I can’t. Reason being, because I like the song. Sure, it’s pretty short, and I’m sure some people have heard a song that sounds like this before, but I love the acoustic guitar melody on this one, and I think Shawn’s very light vocals give this one some solid emotional weight. It’s a really nice track that I think I’ll be coming back to quite a bit in the future!

Queen: Contrary to what you might believe, this is not a love ballad, it’s about the kinds of people that put themselves on pedestals and try to act like they’re more important than you. So already, I’m digging the concept. And the song itself is more vibrant and more uptempo than the last one, with more pretty good vocals from Shawn. I don’t find it as memorable as some of the other songs on here, and I don’t love the hook on this, but it’s definitely a pretty decent track.

Youth feat. Khalid: Shawn Mendes and Khalid team up to talk about how no one can take their youth away, and that they won’t be intimidated to be who they are. There’s also a somewhat political undertone here, as the two refer to different tragedies such as the Manchester bombing of May 2017. I like the very bright, positive feel of the song, as Shawn and Khalid give something of an empowering message here, and they have some pretty good vocal interplay here. It’s not my favorite song on the album, but I definitely think it has more than enough potential to grow on me in the future.

Mutual: Shawn says here what most people hear a lot: if you don’t love back, it might be best to leave. Simple message, and the song itself features a very simple (but pretty fast-paced) guitar melody and very light drum beat, and with Shawn’s very nice vocals, it gives me something of a throwback to “There’s Nothing Holdin’ Me Back,” though somewhat more stripped-down. It’s still very beautiful despite its short length, thanks again to the nice, head-nodding instrumentals and Shawn’s typically strong vocals. I really like this one a lot!

Perfectly Wrong: A track that seems to take inspiration from Romeo & Juliet, this one is about a doomed relationship. It’s a very light, piano-driven cut, and the instrumentals are minimal, as Shawn is front and center on this very emotional song. Shawn’s more delicate vocals give this track a lot of emotional weight and said vocals mesh so well with the instrumentals that the song feels legitimately heart-wrenching. Easily one of Shawn’s best songs, I really love this one!

When You’re Ready: Shawn ends off his album with a song to a love interest of his, where he promises that he’ll wait for this crush to be ready to be with him. I’m just saying, I write poetry and the first free-verse poem I ever wrote was about that topic, so I know what Shawn’s going through here, and I think this topic is pretty solid to end the album on. And he keeps things pretty light on this one, with a more low-tempo feel, minimal beat and guitar melody, and some very delicate, vulnerable vocals. It’s another very emotional track, and Shawn once again pulls off said emotional vibe very well on this one! Great end to this very great album!

Overall, I’m not 100% sure that this album is as “personal” as some people really made it out to be, given that a number of the songs are still ballads that can be applied to a lot of situations. Even so, that’s not really a big problem because I think this album is Shawn’s best to date. Even if it’s not as “personal” as some critics have said so far, it’s clear here that Shawn is still making some very nice, pretty-sounding pop music with some very nice, different production from his earlier records, and his vocals are even more charming than they were before. I also have to applaud this project because, where his first two albums were a bit more inconsistent (“Handwritten” didn’t end as well as it started, and “Illuminate” didn’t start as well as it ended), this album was far more consistent, with highlights spread across the entire thing. And, on top of that, even some of the lesser songs from this project still sounded quite nice. Even if I don’t agree with the critics on the “personal” angle, I have to agree with them on one thing: Shawn is making his best material yet with this album, and I’m very impressed with the record as a whole.

Favorite tracks: In My Blood, Nervous, Lost In Japan, Where Were You In The Morning?, Fallin’ All In You, Particular Taste, Because I Had You, Mutual, Perfectly Wrong, When You’re Ready

Least favorite tracks: Queen (only if I had to pick one)

Rating: Excellent

NAV "Reckless" Album Review

I didn’t think this would be one of the albums I needed to catch up on, but hey, life works in mysterious ways sometimes. It’s time for a review of the new NAV album “Reckless.”

The Brown Boy himself, Canadian XO artist NAV is back with what is being billed as his debut studio album. You may recognize NAV for several reasons: for one, he is signed to XO, the record label that The Weeknd is part of, but also because on this very blog, I’ve covered both his self-titled debut mixtape, as well as his and Metro Boomin’s collaboration mixtape “Perfect Timing.” NAV dropped both of those projects in 2017, and towards the end of the year, he released “Wanted You,” which became his first single to chart on the Billboard Hot 100, and he opened 2018 by releasing the single “Freshman List.”

Now, with how often I listen to NAV’s songs, you’d think I’m a big fan of his. The thing is, I’m not necessarily a “fan,” it’s just that both projects had a few tracks that I’ve gravitated towards very heavily, and I’ve found myself giving them a lot of repeat listens. Even though NAV has several songs that I absolutely love, I find that he unfortunately just hasn’t been able to put it all together for the duration of a project. His self-titled mixtape, while it had some songs that I can vibe to, felt too ordinary, from NAV’s rather basic vocals to his very cheesy lyricism, and while he had an ear for moody, ethereal production, he really didn’t have much versatility as a vocalist. That rang even more true on “Perfect Timing,” where again, NAV had a few cool songs to vibe to, but otherwise seemed to repeat himself over and over; his lyrics went from cheesy to just bland, his vocal inflection became far more boring and monotone, and he seemed to waste some pretty damn good Metro Boomin production. So, at this point, a lot is riding on this project, because while NAV is a good producer, this album will be a true test as to whether or not he can actually be an interesting vocalist. Let’s find out:

Reckless Intro: How does NAV open this new album? By basically talking about the same tired topic that he’s discussed all throughout his previous albums: his reckless lifestyle of drugs, money, and sex. Great. And it seems like NAV establishes right from the beginning of this song that no amount of autotune or odd filters will make his vocals interesting. And, other than that, the track feels pretty weak even by his standards. The hook is nothing special and the production, even if it’s moody, it’s not very sticky. Not a great start to the album.

Never Change: NAV talks here about how he feels old because apparently, 28 is old in Lil Uzi Vert years, but he talks about how he doesn’t want his “rockstar life” to end. And again, what really bothers me about this song is that he legitimately repeats lines, word for word, from his previous songs. And look, I actually didn’t mind NAV’s vocals on his previous projects, even if they were somewhat robotic and ordinary, but I guess NAV decided to add more filters to his voice to make him sound more emotional or something? I’m not quite sure but said filters end up coming off as more annoying than emotional, and the production just feels very bland. This is not going well to start off.

Hold Your Hand: A song about a girl who has been leeching off of NAV for money for “financial reasons” only to use it for pointless things (because, you know, originality and NAV apparently don’t mix), I literally feel like I’ve heard this song SEVERAL times over already because it literally sounds like a lot of what NAV has done before. And it sounds like he copied and pasted the instrumental of the last few songs, used the same weak autotuned vocals that just come off as more annoying than anything, and just thought it was fine. And while it might seem clever that he sings the titles of pretty much all of his songs on the outro of this one, it honestly isn’t, because it feels like he’s repeating himself again. Ugh, next.

Faith (ft. Quavo): Another song about a girl, this time one who he wants to earn the trust of (because, ya know, he didn’t explore anything like that before…oh, hello, “Held Me Down!”), NAV brings in Quavo from Migos for the track (because I guess being an XO artist means that you automatically get big co-signs even if you’re the least interesting of the bunch?). That said, this song doesn’t even really work as a vibe to me, because it just can’t shake that it sounds like a bunch of other songs that he’s done. Admittedly, the hook isn’t too bad, and Quavo’s vocals mesh decently with this one, but it just can’t shake that it’s a really boring song that feels under-written, undercooked, and just plain bland. And of course, because he needed to artificially lengthen the runtime, he did that slowdown thing at the end FOR THE ENTIRE CHORUS. Can we just move away from this one? Great, thanks.

Champion (ft. Travis Scott): Another flex song, this time featuring Travis Scott, this one does feel a bit more upbeat and more like a turn-up jam. I do like Travis’s vocals here, but once again, this feels like literally everything that NAV has done before. NAV himself is the worst part of the track, because for one, his higher-vocals just come off as really annoying and somewhat strained, and some of his lyrics on here are just laughably bad. NAV, I don’t think anyone wants to know that you had sex to Future’s song “Mask Off” (why that song, by the way? Really? That was the best you could come up with?). Seriously, this is just becoming tedious. Let’s just get through the rest of this.

Glow Up: Hmm, I wonder, is this song that called “Glow Up” gonna be about, A. a lightbulb, B. the sun, or C. NAV talking about how much fame has changed him? Well, if you answered C…well, duh, of course, it’s not about a lightbulb. In all seriousness, NAV literally opens up this track the same way that he ended the last cut. Yeah, that’s how basic this one is. And look, I know he collaborates with Lil Uzi Vert a lot, but it kinda sounds like he’s doing an Uzi impression on this one (and a pretty damn bad one, at that). He tries to jump into a higher register here, to very little success, and once again, NAV is no lyrical genius, so it’s not like he’s telling us anything that exciting here (in fact, considering that he says things like “Said that she don't got no boyfriend, but sure / I grabbed her ass, and she call me a perv / Opened her legs, so I had to insert,” I never want to have story time with NAV). Next!

Just Happened: Right, another song about a soured relationship. NAV, if I want to vibe to sad songs about lost relationships, I’ll listen to your boy The Weeknd. Just saying. Anyway, if you were like me and you thought the last song sounded like NAV jacking Lil Uzi Vert’s sound...well it sounds like he’s jacking the sound of several artists here. I can’t put my finger on whether or not it’s a dollar-store version of Drake, Migos, or Travis Scott, but the fact that it sounds like a discount version of any of those artists should tell you how bland and unoriginal it is. The basic trap beat and monotone vocals just feel sleep-inducing, and some of the lyrics are terrible, for example, the line “When I lost you feel like I lost one of my kidneys.“ I get his songs are sad, but come on, that’s TOO sappy…and plus, you can live without a kidney. Ugh, this is getting really bad, let’s just move on.

Wanted You (ft. Lil Uzi Vert): The big single that dropped before this album, NAV once again collaborates with Lil Uzi Vert (who I may point out has not quite had successful collaborations with NAV before) for the sake of flexing. Yayyyyyyy. Anyway, I was admittedly somewhat interested in this track, because I was hoping NAV would do right with it, given that it was good enough for him to release it as a single. Nope. It’s just a slightly brighter version of all the other songs on here. NAV’s still damn boring, his hook doesn’t stick whatsoever, and even if Uzi’s vocals on his verse are pretty good, the unfortunate part is that you have to get past a whole NAV verse and a hook to get to it. I wouldn’t recommend it.

With Me: NAV talks on this cut about how he wants a girl to vibe with him. I know, I know, you probably weren’t expecting that. And literally, I feel like NAV deserves to win an award for unoriginality at this point because man, he is literally just copying and pasting the same style, sound, flow, and vocals at this point. And with lyrics as laughably silly as “My belly was hurting now I order extra shrimp,” it’s not like he’s winning anything for his writing either. It’s honestly ridiculous at this point, I thought this album would at least be good for a vibe, but instead, it’s a test to see just how long it will take me to lose my sanity.

EAT (ft. Gunna): Yep, another flexing song. If it’s not about a girl, it’s about the come-up and the luxury. This one features an artist named Gunna. No idea who that is, but he doesn’t really have much of a distinct sound. And again, even though NAV tries to have a somewhat more sad inflection on his vocals here, THE SONG LITERALLY SOUNDS EXACTLY THE SAME AS ALL THE OTHER SONGS!!!!!! NAV is supposed to be a great producer, I have to wonder if this album was just a bet between him and the other guys at XO to see if he could possibly make an album where pretty much every song has the same beat. He’s winning so far, I know that.

Freshman List: At first, I thought this would be the most interesting song lyrically (I know that’s not saying much but still) in that it’s essentially a diss towards XXL and their annual “Freshman List” (in case you haven’t heard, NAV doesn’t want to be a XXL Freshman and basically says “fuck XXL” at this point), but I would’ve liked the song a bit more if it didn’t feel so bland and emotionless like pretty much everything else on the album. I feel like I’ve heard this kind of song a bunch of times on his previous projects, and I feel like this whole “Freshman List” thing is hardly used. It would’ve been interesting if he based the song more around that concept, but instead, he just seemed to do that to get people talking about an otherwise bland song. Good thing this is almost done.

What I Needed / Daheala Outro: This album ends with what may be a shoutout to co-producer Daheala, but lyrically. it just sounds like another love song. At first, it reminded me of “Dark Queen” by Lil Uzi Vert…but then it reminded me of all of the other songs on this album. When you’re rapping about the same exact things in every single song, you’re gonna have to come through with something interesting in terms of either vocals or production. NAV comes through with neither: he still sounds very bored (outside of the autotune-filters and all that jazz) and the production does little to vary itself from the rest of the album. And it should be obvious, but NAV is not nearly interesting enough to handle a 5-minute song. Why this song is that long, I don’t know, but I’m just glad this damn album is over.

Woooooooowwwwwww…wow wow wow wow wow…I never thought in a million years that I would review an album and literally dislike every single song on it. I never thought I would dislike an album so much that, under "least favorite tracks" I would write “all of them,” and under "favorite tracks" I would write “none of them.” Low and behold, NAV has taken the fall for everyone and released what is easily the worst album in his short discography thus far. Even on his self-titled tape and his “Perfect Timing” tape, there were at least a few tracks I listened to and continued to enjoy a lot simply for the sake of a vibe. I couldn’t vibe with these. They literally all sounded the same to me, from the basic trap beats to NAV’s bland vocals to the corny lyrics, it just felt like I couldn’t even recommend this for a vibe. I just…I have to wrap this up here, this album is atrocious, please don’t torment yourself by listening to it. There’s a glut of trap-rap albums out there that are far better than this (because it’s not hard to do), and unless NAV finds some way to switch his style or make his current style more interesting, I don’t see him putting it all together for the duration of a project anytime in the near future. I’m sorry, I didn’t want to hate this. I wanted to find something in it that others didn’t, but I couldn’t.

I need to go sleep now, bye.

Favorite tracks: None of them. I can’t lie, there was not one song I liked on this thing.

Least favorite tracks: Literally all of them. I’m not even kidding. I had each one listed as a “least favorite.”

Rating: Awful (actually, can I go lower? No? Damn.)

KYLE "Light of Mine" Album Review

WOO! 100 reviews down, 100+ more to go! Well, so long as this string of albums I need to catch up on now doesn’t make me hate music altogether, but anyway, this is an album I’ve been wanting to look at for quite some time now. It’s time for a review of the new KYLE album “Light of Mine.”

This is the debut studio album from 2017 XXL Freshman KYLE (also known as SuperDuperKyle), who has been releasing mixtapes since 2013, with “Beautiful Loser” and his 2015 follow-up “Smyle,” the latter of which even charted on the Billboard 200. He really hit his stride in 2017, when his late 2016 single “iSpy” peaked at #4 on the Billboard Hot 100 (it also reached #28 on the Year-End Hot 100), leading to him being signed to Atlantic Records and, as I said earlier, being chosen as a XXL Freshman. Though some have proclaimed that he “fell off” and he didn’t really have a big follow-up to “iSpy,” he has continued to release singles in 2018, like “To the Moon,” “Playinwitme,” and “Ikuyo.”

Now, personally, I only learned about KYLE through “iSpy,” but that song was one of my personal favorite Top 10-peaking singles in 2017, and it’s a song I’ve continued to play on loop even now. I’m particularly glad that he chose to include the single on this album, even though he seemed to mention that the song was a mere throwaway (best damn throwaway you could ask for, I’d say). And while I don’t regularly listen to a lot of his songs, I found him to be my personal favorite of last year’s XXL Freshmen, because it seemed to me like he was the one that was the most excited to be there, and I loved his energy and positive vibe that he had throughout a lot of his performances. The fact that he lined this album with huge features like Khalid, 2 Chainz, Kehlani, and of course one of my personal favorite artists Alessia Cara, was only icing on the cake. So, let’s see if “this shit’s still so cold,” as he proclaimed in “iSpy,” shall we?

Ups & Downs: A track that feels somewhat ethereal and woozy, KYLE talks about how the moments that get him down won’t keep him from staying up and feeling excited. It’s honestly a different side of KYLE that I didn’t really expect to see since he talks about his sad side a bit more on this one. I like the production here, it’s very bright and considerably upbeat, and I like KYLE’s performance here, it kinda gives me some Chance the Rapper vibes. I also really like that lyric “you could be a Budden or a Boat,” referring to the now-infamous “Everyday Struggle” interview with Lil Yachty and Joe Budden. Speaking of Yachty, he actually appears on this one as the voice in KYLE’s head in a skit in the end, and admittedly, it’s kinda funny. I like this one quite a bit.

Coming, Going? (ft. Take 6): The album just started and we already have an interlude? Huh, that’s strange. Either way, I’ve been saying for a while that KYLE reminded me of Drake, and with the moody, atmospheric production on this track, along with some of KYLE’s vocals, I get that here. Still, it does have a nice relaxed vibe to it, and KYLE’s autotune-assisted vocals do sound nice, even if this track could’ve used a better hook. Take 6 doesn’t really have a huge presence on the track, and that’s what makes their feature a bit weirder to me, especially since this is essentially an interlude. Still, not a bad track, even if it's not one of my personal favorites on the album.

Zoom: What kind of serves as a continuation of the last track, KYLE talks on here about how he’s zooming past his problems and keeping himself thinking about his fame and success. It does once again give me some Drake vibes, but I do like the very moody production on this one that meshes well with the head-noddy 808-drum beat. And again, while KYLE’s vocals feel Drake-esque, they’re still pretty smooth and nice on the ears. Good song.

Ikuyo (ft. 2 Chainz and Sophia Black): A track with some Japanese influence, none the more noticeable than in Sophia Black’s Japanese lyrics on her pre-chorus, KYLE once again talks about how he's changed from “lame to fame” on this one. While the production doesn’t really change up too much from the previous tracks, it is a pretty neat, upbeat song with some great vocals from KYLE and, as you’d expect, a great guest verse from 2 Chainz. Pretty cool track that I definitely see myself coming back to a bit.

Games: Knowing that KYLE loves video games (which I also love), I’m really glad that he made a track called “Games” that has video game-inspired production. Said production is very bright and infectious, and while it might again seem generic that KYLE is talking about how he wants to accumulate more wealth and fame, I think his vocals mesh well with the production on this one, and I think the track as a whole just has a nice fun vibe to it. It’s not super deep or lyrical (it’s turn-up music, is it supposed to be?), but it’s still really fun and woozy and I can see myself coming back to it a lot in the future.

Babies (ft. Alessia Cara): This track was the one I was probably looking forward to the most (it features Alessia Cara, after all), and this one actually isn’t about fame or wealth. Instead, it’s about young love and the confusion that is felt in young relationships. The song has a very moody, sad feel to it, and KYLE takes a bit of a backseat on this one, allowing Alessia to soak up more of the attention. Even so, they both come through with some very pretty vocals, and they have some solid vocal interplay with one another. Really dig this one!

OpenDoors (ft. Avery Wilson): Lil Yachty returns to this one to talk to KYLE about his girl problems. And while the song itself has a pretty cool, bright vibe to it, I think the hook on this one is kind of weak, and KYLE’s verse, while funny in that he’s kinda speak-rapping, just feels a bit silly, honestly (especially when he’s dropping bars about how doesn’t play that many games on his Xbox and how he’s “cheeks” and “butt” because of that). The production also doesn’t really try to differentiate itself from much else on the album, and while Avery Wilson has some nice vocals, it feels like he doesn’t have enough of a presence on the track. It’s another nice song to vibe to, but it’s definitely far from the best on the album.

To the Moon: While I didn’t really listen to a lot of the singles from this thing prior to the album's release, this was one I did get a few listens out of before the album dropped. In it, KYLE talks about the fame that he’s received since releasing “iSpy,” becoming a XXL Freshman, and getting big performances. This one is definitely a much slower jam than some of the other songs on the album, but it’s still plenty energetic and I like KYLE’s flow throughout his verses. His vocals remain smooth, and while there’s not a lot to the hook, it’s still pretty catchy. I definitely like this one quite a bit!

Playinwitme (ft. Kehlani): One of the big singles from this thing, KYLE and Kehlani sing here about a girl who is wasting their time by playing with their emotions. I like the very bright, bouncy piano-driven melody on this one, and I think the hook is easily one of the most infectious on the record. I think KYLE and Kehlani both bring the goods with their vocals, and I can totally see why this track got the single treatment: it’s pretty damn good.

iMissMe (ft. Khalid): KYLE got Khalid on a track? Nice! This one definitely had my attention from the jump, and I really dug the more funky feel of it. A very synth-driven song about the end of a relationship, this one also has a really grooving bassline and a very danceable vibe. KYLE’s vocals mesh well with the production here, as does Khalid's, who brings a really fun sing-rap feel to his verse. The two of them also have some really great vocal interplay as well. Word of advice, KYLE: release this one as a single. It’s probably already in the plans, but hey, it’ll be worth it, it’s a great track!

ShipTrip: A track where KYLE takes on a slightly different persona to talk about his struggles, this is another song that has a somewhat ethereal but still upbeat vibe that, unfortunately, I just don’t really find all that interesting. Obviously, it’s a pretty emotional track and I like KYLE’s vocals here, but I just think this cut just feels a bit too much like a lot of the other stuff on here, without much to differentiate it or make it super interesting. Decent to vibe to, but not much else.

Rodeo: A pretty bouncy track where KYLE talks about a girl who becomes so starstruck by Los Angeles and rap culture, this one has a really nice piano melody unfortunately hidden behind the overpowering drum beat. Said drum beat is still very catchy, though, and I do like KYLE’s vocals a lot throughout this one. Not really all that crazy about the hook, but it’s got a good flow and a head-noddy feel to it and I think it might grow on me if I give it a few more listens.

It’s Yours: Okay, so apparently this track is about KYLE losing his virginity. I don’t know why, but something about that made me laugh. Either way, it’s a much slower track (you know, they talk about taking it slow and all with sexual activities) and I like the beat on this one, but I’m not all that crazy about some of the vocal filters on KYLE’s voice. Still, I have to applaud him because he takes a topic that could easily be silly and actually makes it pretty fun. The speech at the end is pretty funny, too, though I wouldn’t take KYLE’s advice: if she doesn’t text you back, leave her the hell alone, don’t text again. And if she doesn’t give you her address, PLEASE don’t look her house up in Google Maps, that’s creepy. Anyway, the song isn’t one of my favorites on the album, but it’s not too bad.

Clouds: A really short track about KYLE finally finding that positive feeling inside of him, I really dig the very minimal instrumentals on this one, as it feels like it puts KYLE is front and center. This song is about him, it’s his most personal, he’s gonna talk about how he’s found himself and how he’s finally happy. I love his vocals on this cut (as usual), and though the instrumental is very minimal, I think it sounds very pretty and meshes well with his vocals. This could’ve worked as the final song on the album, but like Lil Uzi Vert did with “Luv is Rage 2,” the more emotional song will obviously be followed by the big hit, but at least that still works in the context of this album’s story.

iSpy (ft. Lil Yachty): I’m glad KYLE included this song to end off the album because this is one I just can’t get out of my head. I love the very tropical, danceable vibe of this song, KYLE’s vocals and rap flow are really fun, and even Lil Yachty comes in and has some fun, even if he comes through with a couple cringe bars (it’s Yachty, so I’m not shocked at this point). This song rang off for me last summer, and I couldn’t stop listening to it. Funny thing is, I still can’t stop listening to it! It’s such a fun, exciting track that’s gotten a lot of replays out of me, and I’m glad KYLE included it at the end of this album. Also, with the record’s theme of Yachty being KYLE’s “conscience,” I think the song makes even more sense in the context of the record, as his conscience guided him through the album and now gets to jump on the song with him. Definitely a great track, I’m glad this was what ended the album.

Guys, honestly, I’m not sure if people will agree or disagree, but I REALLY liked this record! KYLE is an artist with a very feel-good personality, and I think he really brings that here, even on the lower moments of the record. It’s an exploration of a different side of him, but it’s also a very upbeat and charismatic album with some great vocal performances and very woozy, fun production. Is this album gonna go down as one of the all-time classics in hip-hop? Maybe not, in fact, I kinda worry it’s gonna end up going underrated and not see huge chart-numbers, and that’s a shame because there are some really fun tracks on this thing. At least “iSpy” became a hit. Either way, regardless of whether or not the songs on this thing end up reaching the Top 10, I think KYLE really comes through with a great first project here, and I’m interested in hearing more out of him in the future. I hope nothing ever gets in the way of his positive vibe and fun-loving demeanor.

Favorite tracks: Ups & Downs, Zoom, Ikuyo, Games, Babies, To The Moon, Playinwitme, iMissMe, Clouds, iSpy

Least favorite tracks: OpenDoors, ShipTrip

Rating: Excellent

BROCKHAMPTON "SATURATION III" Album Review (100TH REVIEW!!!!!)

Guys, here it is. My 100th album review. It’s pretty crazy to think that I’ve hit 100 this quick, but it’s been really fun, and here’s to 100 more. Before we think about that, though, let’s make the 100th review special, and take a look at BROCKHAMPTON’s latest album they released at the tail-end of 2017, “SATURATION III.” Last but not least in the “SATURATION” trilogy, you all should know these guys if you’ve read my last few album reviews, so let’s not waste time, let’s jump right in.

BOOGIE: Well, that’s interesting: BROCKHAMPTON actually decided to start the album with a very braggadocious song about how unstoppable they are. Different side of them, that’s for sure. Anyway, the album starts off with a track that has a very punchy, loud instrumental that calls back to some of the more abrasive songs from the first “SATURATION” album. It’s slightly hard on the ears, and Joba’s verse adds to that abrasiveness. Still, I do like the very exciting flow throughout the verses, and any group that samples Wii Menu music has respect in my book (more specifically, they sampled the Mii Channel song). I don't know why I didn't consider this one of my favorite tracks before, but after several repeat listens, this is an amazing track.

ZIPPER: Already, I was interested in this song because it name-drops popular YouTube critic (who pretty much has been an inspiration to a number of us music critics) Anthony Fantano with the lyric “head was clean, Tony Fantano” on Merlyn’s verse (spoiler: that’s not the only hilarious bar that Merlyn drops). I also like how this one starts off in a somewhat sinister way, and then changes into something that gives me some old-school Eminem vibes. As always, the boys also have some really interesting filtered vocal performances on this one, and the hook is particularly ear-wormy here. Really like this one a lot!

JOHNNY: Here, the boys get a bit more personal, talking about how, even despite their success, they still have demons that they deal with. I like the somewhat jazz-flavored instrumentals on this one, and I also really like Kevin’s vocals, as they give me some Outkast vibes. The percussion on this one is also really great, and I think each verse is filled with some really fascinating lyrics and solid vocal performances. Definitely digging this one, it’s got a really great, somewhat nocturnal vibe to it that I love!

LIQUID: One of the shorter tracks on this thing, the boys talk about life before fame, and somehow Ameer, Dom, Merlyn, Matt, and Kevin all manage to fit on this 1-minute long song. Once again, the group does things that shouldn’t be possible for a boyband of their size. This one has a really downbeat feel to it, with the very moody piano melody and the more sad-sounding inflection on each member’s vocals. I once again appreciate how, even on these rather short interludes, the boys are still bringing their very wacky and fun production and really giving it their all. Good stuff.

CINEMA 1: As always with the “SATURATION” trilogy, we have skits. This time, as “SATURATION III” has song titles with 6 letters, each one is referred to as “CINEMA.” Robert comes back on this one to talk about how much he misses his family and how much he wants to see them again, and he also talks about some of the stories of the group’s music videos. I do again like the flute-driven production on this one and how it leads into the next track very well. It’s got some very majestic production and, while I again won’t sit and loop a skit, I do find that they did a great job putting a lot of thought into this.

STUPID: Back to the full-length tracks, the boys keep things very personal on this one, performing over a song that’s more downtempo but is no less energetic than the other songs on this trilogy. I like Kevin’s filtered, child-like vocals on the hook on this one (a hook I’d say is one of the best on the trilogy), and their very odd instrumentals make this one sound somewhat creepy, but still energetic and easy to turn-up to. It’s a case where even talking about the same thing remains interesting because the boys bring so much interesting production and clever lyricism to the table here.

BLEACH: Okay, so I was really looking forward to these next few tracks because an individual who commented on one of my Instagram posts talking about the group stated that “BLEACH,” “ALASKA” and “HOTTIE” were all amazing. I had high hopes going into this for sure, and I find it to be pretty sweet. It’s a slightly more downbeat and introspective track, but it’s got even more great flow (specifically on Matt’s verse), and it’s got a solid pitched-up hook provided by Ryan Beatty. The little string bits on the song are pretty cool, too, and I like the more melodic final parts of the song, handled by Joba, Kevin, and then bearface, respectively. To the person that told me this track was a highlight…well, this group has a lot of highlights, but yeah, this was a good one.

ALASKA: Another track dealing in one of the broad themes of the “SATURATION” trilogy (which is how the group has changed since becoming famous), this one has a much slower feel to it, driven primarily by its very simple but still pounding drum beat. I particularly love a lot of the lyrics on here, specifically on Kevin’s verse, for example when he says that he loves his friends like how white people love rap. One, because I relate as a white person that listens to rap music (and has several people reminding me of that), but also because it kind of works as something of a message about the growing amount of “culture vultures” in the rap scene. Matt also comes through with some clever lyrics as well, like when he talks about not conforming to standards while also name-dropping Ozzy and Sharon Osbourne. Yep, another great track!

HOTTIE: A song that talks about the group’s uncertainty with who they are in the world, this one also sees the boys accepting that they are good enough. This one has a more upbeat, somewhat danceable sound to it that also feels a bit more melodic (Dom’s verse contributes to that with a bit more sing-y feel to it). I love Kevin’s hook on this one, and the production on this one, while a little less weird than some of their other tracks (it honestly feels a slight bit more poppy), is no less energetic and it remains infectious and exciting. To the person who pointed to “BLEACH,” “ALASKA,” and “HOTTIE” on that Instagram comment…yep, they’re all really good.

CINEMA 2: Onto the next skit! Here, Robert tells a really sad story about his reclusiveness and how he wants to stay in and watch his internal, mental world collapse. He also discusses another story from one of the music videos, a story where Robert couldn’t save his friends from seeing their own internal worlds collapse. It’s a really heartbreaking narrative, and the very sad-sounding instrumentals only add to that heartbreak. These skits were definitely really well put-together.

SISTER / NATION: This is also unusual: the first two-part track on the “SATURATION” trilogy. I’ve seen that apparently this was influenced by Tyler, The Creator, who always makes the tenth song on his albums a two-parter, and given that the group has shown a lot of influence from other artists, I wouldn’t be shocked if Tyler was one of them. Anyway, this one’s got a much faster feel to it, with a beat that’s very exciting and energetic. I’m not really all that crazy about the hook on “SISTER,” but there are some solid performances on the song, specifically on Matt’s verse and Dom’s bridge. “NATION,” the second part of the song, takes things just a little bit slower, and feels a bit more bright than “SISTER.” Once again, the flows on the verses are exciting here, specifically Dom’s verse, but I could do without the hook on this part as well. Overall, this one does feel a little too long, but it’s not a bad track, and I’m impressed they were able to at least make a two-part song like this work.

RENTAL: Here, BROCKHAMPTON talks about how they feel relationships are just temporary things, and they discuss the sadness that they feel because they struggle to find something bigger. This track immediately grabbed me because of Kevin’s vocals on his first verse, and he kept me excited with his really fun hook. The production here is very upbeat and punchy as well, and I like the overall more sing-y feel of the song, as it makes things just generally feel more melodic and pretty. And as always, a lot of the vocal filters the boys use really add to the excitement of the track, and help their vocals mesh with the instrumentals even better. Personally, this might be one of my favorites of the entire trilogy.

STAINS: This song talks again about how well the boys have turned out as a result of being in the group, and it also pokes fun at the ideology that all of their songs talk about the same thing, as well as YouTube channel Dead End Hip Hop’s review of them. The song also features some surprise vocals from the group’s photographer Ashlan Grey, who provides a lot of humor in his interlude. The production is somewhat more minimal, relying more on the more snare drum-driven beat and the boys' charismatic performances. Luckily, the song is successful because of those vocal performances, and the very exciting rhythms and flows on the verses. Ameer, Matt, and Dom have some of their best performances on the album on here, and Joba rounds things out with some energetic vocals as well. I really like this!

CINEMA 3: The final skit of the “SATURATION” trilogy, Robert acknowledges his struggles and prays to God, asking Him to help guide him in his rough times. This is a really strong way to end off the skits, with Robert praying for hope, asking for God’s help, and connecting to Him in his turbulent time. It gives off a small sense of hope that things will finally come up Robert. And once again, I love the majestic production, and it gives off this feeling that Robert is specifically asking for God’s help inside of a church. If this is how BROCKHAMPTON is choosing to end of the skits in the “SATURATION” trilogy, they did a pretty damn good job on this one.

TEAM: The final track of the “SATURATION” trilogy, this one actually has 4 letters to its name, much like the tracks on the first “SATURATION” album. Pretty easy to understand why, the group obviously envisions that, instead of this having a 7-letter name leading into a fourth “SATURATION” project, this one will go back to 4 letters to symbolize that the “SATURATION” trilogy kind of works in a loop. Clever concept indeed. This one is another two-parter that, much like “WASTE” from the first “SATURATION” album, is an acoustic ballad talking about love (at least on the first part, “EVANIE”). Once again, bearface takes the lead on this first part, and I love his vocals as always. They’re so naturally pretty, and they mesh well with the beautiful, light guitar melody. Part 2 of the song, this one titled “TEAM,” honestly feels something like a slow-jam, as the boys talk about their personal lives here. I once again love the vibe of this second part, and I like the vocal interplay between the boys on here and how natural it feels. It’s also really cool that the song ends with a small sample of “HEAT,” the opening track from the first album, perfectly adding to the idea of the trilogy being on a loop. This is definitely the “as good as it gets” ending to this fantastic trilogy of albums.

I wanted my 100th review to be special, and I must say, this was NOT a disappointment. “SATURATION III” rounds out BROCKHAMPTON’s tremendous trilogy with a bang, as the boys prove once again that being par for the course is not a bad thing when your sound is so refreshing and different. And, to the point of their lyricism being the same, they prove that this also isn’t a bad thing when they talk about topics that other rappers don’t seem to talk enough about. I’ve also heard some criticisms that apparently Pitchfork said that none of them really have true rapping talent, which not only do I totally disagree with, but I also want to point out that, regardless of how good or bad their flows are, they really come through with some very energetic and exciting vocal performances on this trilogy. I don’t think there’s much else that I can say that hasn’t been said by others, but the “SATURATION” trilogy as a whole is fantastic, and BROCKHAMPTON as a group is really a breath of fresh air for boybands, and for hip-hop. I’m glad I got to write about this album for my big 100th review.

Also, I don’t want to make this super long, but I want to just quickly say thank you to the people that have been reading this blog and sticking with it for my 100 reviews, along with my scattered mini-reviews and think pieces. I know I’m not the most analytical critic in the world, and I tend to get a little nervous in sharing some of my musical opinions, but I’m glad you guys have checked these reviews out and made doing this really fun, even when I have to cover a terrible album. You guys are amazing, and I appreciate the love so much. Here’s to 100 more album reviews!

Favorite tracks: BOOGIE*, ZIPPER, JOHNNY, LIQUID, STUPID, BLEACH, ALASKA, HOTTIE, RENTAL, STAINS, TEAM

Least favorite tracks: Uhh...I'll be honest, I don't think I have one.**

Rating: Excellent

(*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.)

(**"BOOGIE" was originally listed as a "least favorite" track. However, repeat listens helped it to grow on me, hence the double asterisks. Text in the review has been changed so as to reflect that.)

BROCKHAMPTON "SATURATION II" Album Review

Alright guys, you already know what’s next, it’s time to look at BROCKHAMPTION’s next album from 2017, “SATURATION II.” Let’s not waste any time with an intro, you probably saw my review of the first “SATURATION” album, and you know who these guys are, so let’s jump right into this second album.

GUMMY: Right from the start, the boys try in some ways to sound like M.I.A. (specifically on the hook), and I do like the darker feel of this one. It’s very mysterious-sounding, and I’m glad it doesn’t feel as abrasive as the opener of the last album. The vocals here are a lot smoother and easier to get into, and I really dig how Kevin, Ameer, Dom, and Merlyn provide some very energetic and charismatic performances on this one. It’s got something of an old-school vibe, but with the same neat, weird production that made the previous album successful. Good start to this project!

QUEER: I know, you may be looking at that title and you’re thinking the song is about Kevin’s sexuality, right? Well, not necessarily. Instead, the song traces back to the original definition of the term “queer,” that being “odd or strange” and instead, the boys talk about why they all feel like they are strange: Matt’s famous and he has girls chasing after him, but he still battles with depression; Merlyn seems to hate famous designer-brand clothing from Dolce & Gabbana; Dom is a very intelligent and good-looking rapper, which he feels threatens the ideology that rappers are just dumb thugs that do drugs, and Ameer also talks about how money and fame have changed him. Once again, this song is very upbeat and energetic, and I love the hook as well! I also love that, even as upbeat as it is, it isn’t as hard on the ears as some of the tracks on the last record. Definitely a really great song!

JELLO: A song that talks a bit about the way BROCKHAMPTON has changed with fame, the group really keeps the vibrant feel going on this one. I really like each boy’s flows: the rapid-fire style and really hilarious lyricism make this song really enjoyable. I also dig the bouncy yet dark production here, and I think the boys keep this one exciting with their really interesting, filtered vocals meshing well with said typically weird production. And as I’ve said earlier, I’m glad that, with the boys going for a more upbeat feeling on these first few tracks, I respect that they are creating some less abrasive cuts. Some of the more upbeat songs on the last record were just personally a bit hard on my ears, I’m glad they’re not trying to break any eardrums so far. And beyond that, they’re making some very catchy, energetic songs to start this record off!

TEETH: Ameer raps on this very short interlude about his own experiences with racism growing up, and this cut features some very minimal production, with only a light piano melody and some choir vocals. Still, it’s a track that I absolutely adore: Ameer’s vocal performance is very confident and exciting, and as short as the track is, I really feel like it leaves a lasting impression: it really builds Ameer’s character and it’s honestly a rather scary-sounding track. It’s one of those songs that honestly has a presence to it where I have to stop everything and pay full attention to it. Really fantastic interlude!

SWAMP: Another song about the group’s come-up, this one keeps things very vibrant and loud, but somewhat downtempo compared to the earlier songs, as Kevin and Matt handle the hook on this track, a hook that I find pretty ear-wormy. Each boy also brings something different on their verses that I love: I like Ameer’s very youthful-sounding vocals, I love Merlyn’s lyrics, and I find Dom’s flow to be really great. JOBA also jumps in for a verse, and I find his performance to be the highlight of the song: it’s melodic but it’s also got really great flow! There’s also some great electronic production here, and I find it to be one of the bests on the album by far.

SCENE: Much like the previous album, this one does feature a few spoken-word tracks. They now call them “SCENE” instead of “SKIT” because, ya know, “SATURATION” had track names that were each 4 letters, “SATURATION II” is gonna have 5-letter names as tracks. Neat idea, honestly. Anyway, this time there are only two, not sure if that’s intentional or not but either way, this one features Robert talking about his youth and a time when he was in love. And I gotta say, I obviously won’t add these skits to my “favorite tracks” because I won’t listen to them over and over, but they just get better and better. Not only does this one tells a rather sad story, but there’s some damn sinister production here, too. It’s a very creepy-sounding track, and I’m glad to see that the group is approaching their skits with as much attention as they’re approaching the big songs.

TOKYO: Here, we see the boys delve into ideas of insecurity and regret, as they dig deep into their past while also fearing for their future, JOBA starts off this one and I love his vocals here, they kind of remind me of some old-school Justin Timberlake, honestly. I wasn’t really in love with the hook at first, but it really grew on me, I like the effects on Kevin’s vocals. Ameer and Dom have some good verses, even if Ameer’s flow isn’t as interesting to me, and the production is appropriately weird, as it reminds me a bit of video game music. There’s a lot of good things going on in this track, I can see myself coming back to it in the future.

JESUS: Another shorter track, this one sees Kevin rap over a sad-sounding piano melody, and it also sees the return of bearface. The piano melody is quite beautiful, though, and I like Kevin’s lyrics on his verse, as he name-drops several celebrities on this (I particularly laughed at the lyric where he mentions falling in love with a stripper, but then talking about how he really didn’t and how that’s a Drake thing). And, once again, I LOVE bearface’s vocals, they’re just so beautiful and, as soon as he starts singing, it feels like he just grabs your attention and leaves you wanting more. I really hope we get more of him, he’s really great. Again, I love that there is even replay value to the short interludes on this record.

CHICK: Keeping in with one of the bigger themes of the “SATURATION” trilogy as the whole, this cut sees the boys discussing the idea of being self-conscious (largely in regards to your looks). After “JESUS” was a light piano track, this one goes right back to the more upbeat, aggressive sound of some of the earlier cuts. It’s got some very strange and intriguing production, but I don’t really find this one as exciting as some of the others on this record. I love the vocals on the outro, but I don’t really think any one boy’s verse is “highlight-worthy,” they’re all just fine enough. Definitely not a bad track, but I don’t find it as great as some of my favorites on the album.

JUNKY: Something of a “soul-searching” song, where the boys talk about their demons in regards to the social injustices they face (i.e. homophobia, drug abuse, suicidal thoughts, sexism, wasting their educations, and several others), I like the very loud, sinister production on this one, and Kevin’s verse is a real standout: not only does he sound very confident, but he talks about his sexuality and all that comes with it, from the fear of coming out to his mom, to how homophobic the rap community can be. As someone that was afraid to come out to my mom, I feel like a lot of this verse stuck with me. No disrespect to Ameer, Merlyn, Matt, or Dom’s verses, though, because they all come out here with some very emotional performances as well, as they talk about their own fears and struggles. This is easily one of the best songs on the album.

SCENE 2: The second and final skit on this record (again, odd that it’s not three this time around, but oh well), this one has Robert reciting a prayer and discussing his family. Whether that’s referring to BROCKHAMPTON or his actual family is still much discussed (I feel it could be both), but again, the track has some very sinister, scary production (even if it is just reused from the last skit), and I once again really feel for Robert after hearing this. He’s a character that fascinates me that I just want to keep learning more and more about. This skit only helps get me more interested in learning who he is.

FIGHT: Bringing in a new (maybe, maybe not?) theme of expectations on this song, this one is all about the boys’ experiences growing up as black children, and how they want to defy the predetermined victimization that came as a result of their skin color. There are some very sinister strings on this one that give off a very creepy vibe, and I think the flows on this one are strong as always. It’s a very loud track and, once again, I’m glad it’s not as overly-abrasive as some of the tracks on the last record. The vocal filters on this one also add some great variation to the song. It’s not one of my personal favorites on the album, but I can see it growing on me in the future.

SWEET: As we get closer to the ending of this second album, we see the boys talking about the way they handle themselves as “celebrities.” I think the song once again has a subtle old-school feel to it, and it has that same weird production that we love from BROCKHAMPTON. I like that the track is a little more atmospheric and low-key in comparison to the rest of the record, and I find the hook on this one to be one of the album’s best. I don’t think there’s one particularly standout verse on this one, but in this case, that’s not a bad thing because each verse is pretty damn solid. This album is definitely rounding out quite nicely.

GAMBA: Here we have another love song, this one with a slightly more poppy feel to it. It’s got a very bright, very neat, moody instrumental and I have to say this is definitely one of the more melodic tracks on the album, as Dom’s (very strong) verse is more sing-y than any of his previous ones. I also like that, while Kevin goes for a more sing-y feel, he continues to use really fun filters to make his melodies interesting. And, of course, if you’re gonna make a sing-y track, you’ve got to bring in bearface, which they do and for the better, as his voice is so naturally pretty that it meshes well here. Another personal favorite from the album!

SUNNY: With a title like “SUNNY,” you wouldn’t be wrong to expect this to be a brighter song. And sure enough, the boys create a vibe here that just feels more uplifting than some of the previous tracks. It’s got a very nice, very light guitar melody and a very beachy feel (it also sounded like there were some xylophones on this one that made it really great). Ameer’s verse really steals the show here, as his flow and vocals mesh the best with the instrumentals. While the hook is repetitive, it can be very ear-wormy. This one definitely had to take a few listens to grow on me, but I really dig it!

SUMMER: As with the last record, this is the only track on the album to not have a 5-letter name, indicating “SATURATION III” will have all 6-letter names. Once again, the song is handled entirely by bearface, who sings over a very light, moody piano melody about a boy that he wants to be his. As always, his vocals sound lovely, and the guitar solo that comes in after his verse is very cool. I can appreciate that this one is a bit more atmospheric and laid-back than some of the other songs on here, and while I wish bearface had a little bit more of a presence on it, I do think it’s a very emotional, pretty end to the album.

As if a group this large making ONE great album wasn’t shocking enough, BROCKHAMPTION does it AGAIN with “SATURATION II.” Taking on a slightly more upbeat feeling with this record, I can appreciate that the group makes some of the louder tracks here a little less abrasive than some of the stuff on their last record, and even if they go down some of the same routes here, this is a case where that’s not really a bad thing because the group has such a great, weird, different sound to them that, honestly, staying the course was really all they needed to do to keep the good times rolling. And obviously, by staying the course, the boys brought along the same kooky, energetic production and strong performances that made the last album great, and they just do it again here. Most of the time, repeating yourself might not be the best idea for a “sequel” album, but when your style is as refreshing as these guys, it’s actually okay. And even then, they still find ways to make things feel different here! I just really can’t complain much about “SATURATION II,” another great release from BROCKHAMPTON.

“SATURATION III” will be next. I’m very excited, not only because of the album itself but because that will be my 100th album review. Let’s make it special.

Favorite tracks: GUMMY, QUEER, JELLO, TEETH, SWAMP, TOKYO, JESUS, JUNKY, SWEET, GAMBA, SUNNY*, SUMMER

Least favorite tracks: CHICK (if I really had to pick one)

Rating: Excellent

(*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.)

BROCKHAMPTON "SATURATION" Album Review

It is finally time. I’ve been getting a lot of requests, a lot of recommendations, and even a demand or two, to review this trilogy of albums, and I’m sorry I kept you waiting for so long, but here it is: it is finally time to review the 2017 BROCKHAMPTON album “SATURATION.”

BROCKHAMPTON is a Texas-based hip-hop group consisting of A LOT of members that saw some big success throughout 2017 with the release of this critically-acclaimed trio of albums. While they weren’t necessarily noticed too much in the mainstream, they seemed to be much-loved by several music critics and fans. I’ve had some curiosity about this group for some time now, and I think that it’s high time I give them a look. So, let’s do it!

HEAT: A track with some very abrasive and loud production, this is a very scary-sounding, incredibly aggressive cut overall. I don’t really love the hook on this one, but I do commend the song for having a number of very energetic performances. Special shoutouts to the charisma from Merlyn Wood, and the clever lyricism in Matt Champion’s closing verse (don’t get it twisted, though, Ameer Vaan and Dom McLennon have some very emphatic vocal performances as well). It’s honestly not really my kind of track, I think the song is just a little too abrasive for my liking (my heart started pounding as Joba started screaming “FUCK YOU” on this one), but I certainly see why the group is so popular, and I’m definitely fascinated by the fact that they keep this track tight and focused even though they’re such a large group.

GOLD: A far less abrasive track, this song has some really interesting, electro-funk production and a very ear-wormy hook from Kevin Abstract. Matt Champion’s lyrics on the verse are also extremely clever, and he proves to have great flow on this one. I also like the interplay between Ameer and Merlyn on their verse, and Dom’s verse is filled with some really hilarious lyrics (it’s also nice to hear that Joba isn’t yelling at me on this cut). I also really dig the percussion on this track. It’s easily head-noddy and so interesting. Really cool, funky track with an amazing vibe to it.

STAR: Another electronic track filled to the brim with references to film characters and actors (hence the title “STAR,” the group wants to be famous). The production on this one is really cool and somewhat mysterious-sounding, and the track really shines with the charismatic performances of Dom, Ameer, and Kevin. I also found myself chuckling frequently throughout the track because of the many really clever references to famous celebrities. The group shows no fear in name-dropping everyone under the sun on this one, and I’m also impressed that, even though the track ends abruptly, they still manage to make it feel like a full-length song. Really like this track!

BOYS: Here, the boys send a message that, while they may not look like it and while their music might not indicate it, Brockhampton IS INDEED a boy band (Ameer specifically name-drops Zayn Malik and Harry Styles and even refers to the group as “the southside One Direction”). They’re not a traditional boy band, but believe it that they are. While Kevin’s hook on this one can get a little repetitive, I do think he keeps it pretty interesting with some varied, interestingly-filtered vocals. I’m not as crazy about Ameer or Matt’s flows on their verses, but they do come through with a few neat lyrics here and there. Merlyn’s bridge is, again, somewhat repetitive, but Dom’s verse is the real highlight here, with interesting rapid-fire flow and a very confident performance. Overall, though, while there are some cool vocal performances here, I do think the track is, again, just a bit too repetitive. Not a bad song, just nothing I’ll really want to come back after this review.

2PAC: A very short, 1-minute long song, this is a piano-driven track with some higher-pitched vocals from Ameer that kind of indicate he is reminiscing on his childhood. His lyrics also indicate that, as he talks about living a life of crime and missing the days of just being a kid, eating his dinosaur chicken nuggets (which are still damn good, don’t try to tell me otherwise), and receiving the love and trust of his mama. I like his performance on this one, as his youthful voice blends well with the emotional vibe the piano melody creates, and Kevin’s vocals on the hook have some very cool filters to them. You know, even as a 1-minute long track, I really dig this one, it’s got a great vibe to it, and I can see myself coming back to it a lot in the future!

SKIT 1: The first of three short skits on the album, Jabari Manwa asks Robert Ontenient in English what happened to his house, and Robert responds in Spanish that he has burned down his house and that there is no going back for him. It serves its purpose as a short interlude, and it’s definitely better than most skits I hear on albums, but of course, it’s not like I’ll add this to my playlist and listen to it again in the future. It’s good for what it’s supposed to be, and it’s a nice touch to the album.

FAKE: A more laid back song, this one sees the boys talking about the idea of the music industry being fake, doing so through very distorted vocals that further add to the theme of famous musicians “putting on a face” or “only saying what you want to hear.” I really dig the bassline on this track, and the bright feel of it is really fascinating. I wasn’t initially crazy about Kevin’s hook, but it really grew on me throughout the song, and the filtered vocals really work, as they not only add to the theme, but they don’t detract from the strong flow and fun performances provided by Kevin, Ameer, Merlyn, and Dom, the latter of whom has vocals that sound like a direct shot at the overly-autotuned crooners that rule the industry today, i.e. Future. It’s a very relaxed, atmospheric song and I definitely dig it.

BANK: A somewhat more fast-paced track with something of a tropical twist, this one sees the boys talk about the changes in their lives that came from moving to California. I love the vibe of this cut, it’s very bright but also atmospheric, and Kevin’s hook has some really great filtered vocals. Dom shows versatility on the song with many great vocal performances, and while Ameer only has a very short appearance, he still comes through with some great flow on his very personal verse. So far, I can definitely see why a lot of people dig these guys because they are putting together some legitimately catchy and different hip-hop that shouldn’t be possible for a group of their size.

SKIT 2: Jabari and Robert return on this one, as Jabari asks Robert who he is (again, in English) and Robert responds (again, in Spanish) that no one will remember him after he kills himself in the night. It’s a really sad skit and, again, while I’m not gonna throw it on my playlist and listen to it over and over again, I do think it’s good for what it is, and it gives us an interesting look into Robert and his struggles with suicidal thoughts.

TRIP: Once again, focusing on one of the major themes of the album, the boys focus this song on the idea of self-accepting and being whoever they want to be. Dom also takes a minute to talk about his battles with depression, and how BROCKHAMPTON allowed him to find himself. So look, if you get nothing else out of this group or this series of albums, at least realize that they're really coming through with some pretty empowering lyrical themes, and respect should be given in that regard. And, in the case of this song, it so happens it’s very enjoyable. Kevin’s smooth vocals and fun flow make the hook on this track one of the best on the record, and the piano melody gives this one a really cool, moody vibe. Ameer and Dom also come through with some really cool filtered vocals on their verses, and their lyrical strengths are on full display. Joba’s filtered vocals are pretty great as well. Easily one of my favorites on the album.

SWIM: Another laid-back track, but one with a slightly different feel than several of the others on here (I’m honestly getting some kind of country/soft-rock vibes from the intro), this song talks about the boys’ love lives, and I think it’s got some really great things going on. Great guitar melodies, I love Ameer and Dom’s fun autotune-assisted vocals on their verses, and even if Kevin’s hook is a little repetitive, he keeps it interesting with solid filtered vocals. Great track with a really nice relaxed vibe, I love this one!

BUMP: Here, we move back to the more aggressive style that the boys showed on the opening track, and while I wasn’t totally digging it on that song, I think I’m just a little more used to it here. Just a little. Either way, I like Kevin’s hook, as he continues the self-acceptance theme on here by saying “and when this ends, at least I’ll have a reason to live,” and while I’m still not all that in love with the ear-piercing production as it’s just a bit too hard on my ears, I can at least commend that Matt, Merlyn, Ameer, and Dom provide some very wholehearted performances on this one. It is a bit shouty, and I’m sure others will get more enjoyment out of it than I will, but it’s still a decent track and I can certainly see the appeal of it, even if I won’t be coming back to it all that much.

CASH: A very subtly political track, the boys talk on this song about themes like racism, homophobia, classism, violence, and drug use on a series of short but still hard-hitting verses, while Kevin delivers a hook that simply talks about getting money. The track starts with some really interesting strings, and even though it’s far more downbeat than some of the previous songs, the lyricism alone makes this track worth listening to over and over again. Obviously, the vocal performances are front and center here, much like the rest of the album, and those vocals hook you in because they’re so energetic, but the real highlight of the song is the lyrical content. That alone makes the song worth coming back to.

SKIT 3: The final skit on this thing, we again see Jabari speaking in English to Robert, who speaks in Spanish, as the two of them talk about identity, one of the bigger, recurring themes of the album. Here, Jabari asks Robert about why he feels he doesn’t fit in, and Robert basically responds that sometimes it’s very hard to just “be yourself” and be comfortable in your own skin. He gives a really strong message about it, but then Jabari simply responds with “nice pants,” as something of a commentary on how you can tell a long story of self-discovery to someone, only to have them just brush it off in the end. It again serves its purpose and does what it is supposed to as a skit, and I find it to be the strongest one on the album. Again, it would feel wrong to say it’s one of my “favorite tracks” here, but I definitely think it’s the best of the skits.

MILK: This self-acceptance anthem has a much more minimal instrumental, as the performances of the boys are brought to the forefront here. I love Kevin’s vocals on the hook, and I think said hook is very ear-wormy and memorable, and I like how the song feels like something of a character study into these boys that we’ve been learning so much about during this album. It feels like Ameer, Merlyn, Kevin, and Dom (with Matt singing on the bridge) just had a sit-down and said “hi, this is who we are, and we love who we are.” It’s a very relaxed and atmospheric track that works on good performances and great lyricism. This album is definitely ending off quite nicely.

FACE: Another track about lost love and the pain that comes with it, Joba surprisingly handles the hook here after being largely delegated to a smaller vocal role, and he provides some pretty solid, higher-pitched vocals as the group performs over a much slower, somewhat swingy beat. I particularly love Dom and Matt’s flow on their verses, and once again, the track has a very atmospheric vibe to it. Ameer’s verse has some clever lyrics, and Joba gets a verse as well. He makes the most of his extended appearance, as his higher-pitched vocals are very charming on this one. Another good track!

WASTE: Ending off the album, this is the only song on the record to not have a 4-letter title. Intentional tease towards “SATURATION II,” which will have all 5-letter titles for tracks. Anyway, outside of some occasional vocals from R. Gomez, the song is handled entirely by bearface. This is the first time he provides any vocals on the album, and let me say, I find his performance to be really great, as his very sad-sounding vocals mesh nicely with the cool soft-rock vibes and really sweet guitar riffs, giving the track a really moody vibe that I really like. I really hope we see more bearface on “SATURATION II” because he’s a really interesting performer, and I think this song serves as a short, but very satisfying, conclusion to this first chapter of the “SATURATION” trilogy.

Wow, I don’t know how they did it. A group of this size? Making music this great? You’d think there’d be a complete lack of focus going on in there somewhere! Nope. BROCKHAMPTON knows exactly where to put everyone, and they surprisingly come through with some very catchy hip-hop music with some really interesting production and energetic vocal performances. This isn’t your traditional boyband; in fact, you should probably take everything you know about boybands and toss it out the window before going into this one. Regardless, BROCKHAMPTION proves right from the jump on the first volume of “SATURATION” that they are a group to watch for, with strong lyrical chops and an album with a great message of self-acceptance, vocal performances that are filtered and autotuned but still very fascinating, and some versatile production that, even at its most abrasive, can still have a lot of appeal. I’m very impressed with this, and I can’t wait to dig into the group’s next few records.

Obviously, “SATURATION II” is up next. Let’s see if the good times keep on rolling in the next record.

Favorite tracks: GOLD, STAR, 2PAC, FAKE, BANK, TRIP, CASH, MILK, FACE, WASTE

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

Rating: Excellent