N*E*R*D "NO_ONE EVER REALLY DIES" Album Review

As we inch closer to the 100th review, it’s time to take a look at an album one of my close friends special requested. I missed this late in 2017 (and early this year, for that matter), but it’s time for a review of the latest N*E*R*D album “NO_ONE EVER REALLY DIES.”

N*E*R*D is a hip-hop/rock trio consisting of Pharrell Williams (sure you’ve heard of that guy), Chad Hugo, and Shay Haley, and this is their 5th studio album, and first since 2010. It’s also home to their first song to enter onto the Billboard Hot 100, as the opening track “Lemon” has thus far peaked at #36 on the chart. Now, I myself haven’t really heard of the group, and I’m not too familiar with their previous records, but this album admittedly intrigued me. For one, a third of their group is Pharrell, who’s kind of a big deal, I mean, he's had an illustrious career not only as a performer but as a producer. Chances are, even if you haven’t HEARD him on an album, he’s still been involved in some way with the production of several big albums. That alone fascinates me, but then when I hear that the album features artists like Kendrick Lamar, André 3000, Future, Gucci Mane, Rihanna, and Ed Sheeran, you automatically have my attention. Let’s see, though, if N*E*R*D will keep my attention:

Lemon (ft. Rihanna): The song from this album that has gained the most traction, N*E*R*D enlists the help of Rihanna on this one, a vaguely political track with a lot of bounce to it. I mean, obviously, with a refrain that says “bouncin’ around, bouncin’ around, bouncin’,” there should be some bounce, but this one really brings that bounce. It has some really interesting, glitchy production, I like Pharrell’s very charismatic performance, and Rihanna reminds everyone here that she has some great rapping flow. Also, that opening lyric “the truth will set you free, but first, it'll piss you off” is actually hilarious in the best way. Yeah, good track!

Deep Down Body Thurst: One of the few songs on this record that doesn’t have a feature, N*E*R*D speaks on this track about corporate and political corruption, and they do that over an instrumental that doesn’t start as brightly or as bouncily as the last track, but eventually explodes on the hook. There are some really cool guitars on said hook, and I like Pharrell’s more light vocals on the verses. He also comes through with some very emphatic chants on the hook, and it adds some really cool variance to the song. The very pronounced and really sweet click-clack production on the outro is only icing on the cake. Another great track!

Voilà (ft. Gucci Mane and Wale): N*E*R*D brings in Gucci Mane and Wale on this track to talk about magic. Abracadabra indeed. Anyway, I’m not all that crazy about Gucci’s vocals on the hook (I don’t really think Gucci’s much of a “hook master” at all), nor am I really digging Pharrell’s more pitched-up vocals on it either, but I do like his robot-filtered vocals later on alongside his energetic chants on his verse. He’s the real highlight of this song because, outside of that pitched-up beginning, his vocal performance is really varied and he blends well with the cool guitars on this one. I also really like how the song changes to something more tropical-sounding in the end, though I’m not as crazy about Wale’s performance. Not a bad track, but I do think it has some problems.

1000 (ft. Future): A song about fame and how life has changed N*E*R*D and featured rapper Future, for better and worse, this cut features a very energetic, bouncy instrumental, and it's really a highlight of the album. Pharrell’s chants on his verse feel kind of reminiscent of something like “Whip It” by Devo (those chants really work on this one), and even if Future’s performance doesn’t sound much different from a lot of his other verses, his vocals mesh incredibly with the instrumentals here! Shay Haley also has a lot of fun on his verse, and his flow is really interesting! I really love this track a lot!

Don’t Don’t Do It! (ft. Kendrick Lamar): You had to know I was looking forward to the Kendrick feature. Obviously, he’s one of my favorite rappers, anytime you call him in, you have my undivided attention. And the result is a track that sees Pharrell and Kendrick talk about the shooting of 43-year old Keith Lamont Scott in North Carolina. I like the fast-paced feel of the song and the great mix of vibes, as it feels both jazzy and rocking, and Pharrell’s vocals remain energetic and varied throughout here, as she switches pretty well between some smooth singing and more emphatic chants. And Kendrick’s rapid-fire flow is as strong as ever, as is his very charismatic vocal performance. Yet another great track!

ESP: Another more subtly political track that talks about having energy but not using it, this one actually sonically feels like a previous Pharrell hit song, “Blurred Lines” but with some more glitchy, electronic production. I once again find Pharrell’s vocals to be very charismatic here, and the track has a really cool vibe to it. It’s danceable but also a bit creepy-sounding, and even though Shay Haley’s appearance is very short (you almost forget he’s there), he and Pharrell have some solid vocal interplay on Shay’s verse. Good song!

Lightning Fire Magic Prayer: Not gonna lie, I gulped when I saw that this song was 7 minutes long. Songs of that length always scare me, real talk. The song is divided into two parts, though, and Pharrell talks throughout the track about the idea of world peace. What’s very impressive is that he manages to do it more subtly, without feeling like he’s just saying “can’t we all just get along?” Part 1 is a somewhat darker but very trap-flavored song with some smooth autotune-assisted vocals from Pharrell, but with the same fun sonic quirks that have made this album a success so far. I really enjoyed Part 1 a lot, and Part 2 brightens things up a lot while keeping the trap feel alive. It’s very danceable and easy to head-nod to, and Pharrell’s vocals remain very smooth on it. Overall, even despite the length, this is easily one of the best tracks on the album.

Rollinem 7’s (ft. André 3000): A very glitchy track that features none other than André 3000 of Outkast, Pharrell talks on here about his riches and how he has nothing to lose, and he does it over some, as I said before, very glitchy, somewhat overbearing production that, while interesting, sort of sounds like it has too much going on at once. Also, while the production is cool enough, it does kind of drown out some of Pharrell’s vocal charm (outside of his chants on the verses, of course). There’s definitely some enjoyment to this track, especially after the feel change where things become jazzier, and André 3000 proves that he’s still got energy, charisma, and flow, but it’s just not one of my personal favorites on the record. Definitely not one of the worsts, though, and there’s definitely some fun to be had with it.

Kites (ft. Kendrick Lamar and M.I.A.): Kendrick returns for one more track (and he’s joined by British rapper M.I.A.), as N*E*R*D and the aforementioned features use kites as a symbol of overcoming barriers and sending messages of hope and encouragement. The track does take some very interesting sonic twists and turns, showing no fear in changing the tempo and feel entirely throughout, and Pharrell remains as emphatic as ever on this one. M.I.A.’s hook is nothing all that special, but Kendrick comes through on this one with another really strong verse filled with energy and strong flow, and also some great back-and-forth interplay with Pharrell. M.I.A.’s verse at the end does start to feel a bit repetitive, but she still has some solid energy overall. Not one of my favorites on the album, but it’s a solid track overall.

Secret Life of Tigers: The final track on the record that doesn’t have a feature, this one is once again very upbeat and dance-y, as Pharrell portrays a character raised by a very strict, conservative family that he couldn’t disagree with more. I once again like the upbeat production on this one, and I can kind of relate to the feeling of political conversations with family becoming one-sided. I’m not really all that crazy about the whole “this the madness, this the madness, this the madness” thing that’s going on in the hook, but I still like Pharrell’s chants and energy throughout the song. Not the best that this album has to offer, but there is some enjoyment to be had with the track.

Lifting You (ft. Ed Sheeran): As he’s one of my favorite artists, N*E*R*D couldn’t have picked a better feature to end this record with, as Ed Sheeran joins the group here to talk about people who talk down on others, and how their down-talk on someone only brings more attention and love to the person being picked on. I’m not sure if that’s how it worked for me in middle school, but I get what they’re saying. In any case, I like the click-clack percussion on this one, and the song has a really cool vibe to it. The electronic production is kind of atmospheric and relaxing, and Pharrell’s vocals are nice, even as he jumps into his falsetto. Same can be said for Ed, who jumps into his higher register, but still sounds good as he does it. Both of them mesh well with the instrumentals here, and this track definitely serves as a nice conclusion to the album.

Overall, while “NO_ONE EVER REALLY DIES” doesn’t quite end as brilliantly as it started (it still ends well, it's just that some of the last few tracks aren't quite as strong), N*E*R*D comes through on this record with some very neat, glitchy, electronic production, and while Pharrell seems to take the lead more on vocals than Shay Haley, he proves on this album that he has plenty of energy and vocal charm to spare, as he gives us plenty of emphatic performances throughout the record. And even though Shay’s presence is downplayed compared to Pharrell, he does have some good moments when he does appear, and the group proves to have an ear for strong features. Special shoutout to that Future track “1000,” because not only was it probably my favorite song on the record, but I think they managed to blend Future’s vocals perfectly with the production on that one, and that alone deserves kudos. Obviously, this isn’t a traditional hip-hop record by any stretch (that’s why it’s EXPERIMENTAL HIP-HOP, after all), so don’t go into it expecting something you’ve heard before, but definitely expect to have a lot of fun with a vast majority of these tracks. Pharrell, Shay, and Chad Hugo really come through with a series of songs that, while being danceable and easy to turn up to, also have some very interesting lyrical themes under the hood. I highly suggest checking it out and, to the friend of mine that requested that I review this…thank you.

Now that N*E*R*D is out of the way, stay tuned, because reviews 98, 99, and 100 will be of BROCKHAMPTON’s “SATURATION” trilogy. I’ve received a lot of requests and recommendations for it, so…that’s up next.

Favorite tracks: Lemon, Deep Down Body Thurst, 1000, Don’t Don’t Do It!, ESP, Lightning Fire Magic Prayer, Lifting You

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

Rating: Excellent

Shawn Mendes "Illuminate" Album Review

Alright, sorry this one took a few days, I was busy promoting some new poetry that I wrote (which you can check out at mattapoetry.blogspot.com if you'd like), but it’s time to review the second (and, as of this writing, most recent) Shawn Mendes album, 2016's “Illuminate.” This album is home to two of Shawn’s biggest hits “Treat You Better” and “There’s Nothing Holdin' Me Back,” and it’s a record I’ve personally been interested in checking out, especially since I enjoyed Shawn’s first album “Handwritten.” So, let’s do our thing and go song-by-song to see how good this thing is!

There’s Nothing Holdin’ Me Back: Now, here’s a doozy: when this album was first released, this track was not included! However, when the album was reissued and Shawn began touring for it, this single was included as the opener to the reissue! Island Records didn’t even TRY to “sneak” in on! Either way, admittedly I wasn’t all that crazy about this track when I first heard it. I wasn’t sure what it was, but it didn’t initially click with me. However, after several repeat listens, the song really grew on me. I love the guitar riffs on this one, Shawn’s vocal delivery is great as always, and I find the hook to be really captivating! Very different from a lot of Shawn’s other songs, but it’s a pretty great one!

Ruin: A sort of bluesy, slow-jam sounding track, I like the guitar riffs on this one, and it’s another great way of showing that Shawn is a huge vocal powerhouse. He sings on this track about someone who he hopes still thinks about him. I don’t quite know if I’d call this one of my favorites on the album, but I definitely think it’s got a good vibe, some pretty potent instrumentals, and a strong enough vocal performance that it might grow on me with a few more listens.

Mercy: One of Shawn’s most popular songs, this piano ballad deals with heartbreak, as Shawn asks a (presumably ex) lover to be easy on him. It does stick to some of Shawn’s established formula, by feeling light on the verses and strong on the hook, but the beat does have some potency to it, and Shawn’s vocals do carry some emotional weight on this one. Personally, I’m not all that crazy about the hook on this one, but I do see the appeal of it and I think it’s a pretty solid track.

Treat You Better: I’m very well aware that a number of the big YouTube critics really disliked this song in particular. In some ways, I see why, it does feel like it treads some of the same ground as some of Shawn’s other big singles, and some of the lyricism may be a bit problematic, in how he portrays himself as a sensitive guy but abandons that persona to some degree on the hook, but…honestly, I’m not gonna lie, I actually dig the song. I once again really like the guitar riffs on this one, the hook is very catchy to me, I like Shawn’s vocals a lot, and I think the song is a nice mix of being light on the verses, but more booming on the hook. No, it’s not for everyone, and it’s clear there are several detractors of the song, but honestly, I really like it.

Three Empty Words: Right from the jump, I actually said out loud “oh, I’ve heard this somewhere before.” The acoustic guitar instrumental immediately reminded me of “It Ain’t Me” by Kygo and Selena Gomez and, in Shawn’s defense, that song DID come out later than this, but even so, this cut just felt somewhat derivative to me. Yes, the guitar was nice on the ears and Shawn’s vocals are wonderful, of course, but I just can’t help but feel like I heard this song before several times. And honestly, while Shawn’s vocals were good, as I was listening to this track, I couldn’t help but think “did Ed Sheeran just drop his accent and sing this?” because it almost felt like a copy. No, it’s not a bad track, but it just feels like a bunch of things I’ve heard several times before, unfortunately.

Don’t Be A Fool: A track that feels like something of a slow-jam, Shawn warns someone that is crushing on him not to wait, because he wants to support her but he worries a relationship might only cause him to hurt her. Interesting. But as some of you guys know, a lot of times I’ll really dig a track if I feel like I’m vibing with it, and yeah, I’m definitely vibing with this one. I really dig the hook a lot, the slow-jam style is really working for me, and Shawn’s vocals again carry some very real potency and emotion! Definitely really liked this track!

Like This: Another slower, more ballad-y track where Shawn talks about how a girl he likes tells him he’s wasting his time, I once again just feel like this sounds like a lot of songs I’ve heard time and time again. Don’t get me wrong, Shawn’s vocals are very beautiful on this one, and I do once again feel like the track has plenty of emotion to it, but I just again find it to be a bit derivative and I can’t help but try to count the number of ways I’ve heard this one. Not a bad track, it’s got a very pretty vibe to it, but you’ve heard this before, I’m sure of it.

No Promises: Admittedly, when this one started off much slower, I kind of feared I was getting into another more generic ballad. But then the chorus kicked in with the really danceable and fun percussion section, and I started really digging this one. Again, Shawn is a vocal powerhouse here, and the percussion adds some really nice variation to the song, to the point where I feel like it honestly wouldn’t have worked without said rather bouncy percussion. Good track!

Lights On: A more sex-driven song…I’m sorry, I have to ask: as someone that is less experienced in the realm of sex and love and things of that nature, is it better to make love with the lights on? Just curious. Anyway, talk about a strange blast from the past, because while this song played, I felt like I was listening to Jesse McCartney. Yeah, I know, it’s weird. That doesn’t mean I didn’t enjoy this song, though, I actually really loved it. There’s a really cool, head-noddy beat, I like the bright guitar plucking on this one, and while I’m still wondering if it’s best to love with the lights on, I do think the hook is really catchy, possibly one of the better choruses on the album. Really like this track a lot!

Honest: With this one, Shawn openly admits to a girl that he is just not good enough for her and that she needs to move on. This one also has some pretty neat percussion, and I think Shawn’s more soft vocals really mesh well with the smooth instrumentals here. I also have to say that I loved the hook, as not only is it very catchy, but we also see Shawn sneak into his higher register on said chorus to very solid results. Very head-noddy and fun song, I really loved this one!

Patience: Here, Shawn talks about an experience that he had hooking up with someone older and the awkwardness that he feels because of how young he is. Oddly, that’s something I haven’t heard much in music, so…at least there’s that. Either way, this one has a very basic but still bright guitar track and a subtle but somewhat bouncy drum beat, and while Shawn’s flow on the hook sounds like something you’ve probably heard several times over, it’s still very charming thanks to his beautiful vocal delivery. A familiar song, but one that I really liked!

Bad Reputation: I DON’T GIVE A DAMN ABOUT MY REPUTA…oh, wrong song, sorry. No, this is not that, nothing close in fact. This is Shawn talking about a girl that he has fallen for in spite of HER bad reputation…BECAUSE HE DON’T GIVE A DAMN ABOUT HER REPUTATION!!! Okay, that was shoehorned, I know, but sometimes, you gotta try to add some humor to the review. Anyway, this is actually a very slow ballad with guitar riffs that aren't nearly as pronounced as, again, Shawn’s vocals overtake the song. For the better, though, because those vocals are, as always, delivered with conviction and plenty of emotion, and when the beat does kick in, it meshes pretty well with Shawn’s powerful singing. I like this one!

Understand: A slightly more introspective, piano-driven, bluesy track, Shawn talks on this one about not wanting to let fame change him. Stuff we’ve heard before, yes, and I’m sure the song shares some sonic similarities with a number of others, but I find it to still be really charming and fun. The beat helps add a layer of head-nodding goodness to this one, and it fits nicely when juxtaposed with the bright, somewhat solo-driven piano keys and Shawn’s very emotional vocals. The interlude where Shawn talks about changing might seem a bit preachy to some, but I think it’s pretty sweet, honestly. Actually, I also really like this one because it gives me some throwbacks. Think like “Chariot” by Gavin DeGraw. I get those kinds of vibes, and they’re definitely good ones.

Hold On: A somewhat motivational song, as Shawn says what basically amounts to “hang on, it’s gonna be alright, there’s so much to live for,” I admittedly don’t mind when a song spreads that kind of message because it’s something I totally agree with. And I like the somewhat stripped-down nature of it: it’s just Shawn and his guitar. And once again, I find the hook to be really memorable and Shawn’s vocals to be potent and likable, even when he starts to approach his falsetto. He keeps things sounding smooth and pretty, and I really dig that!

Roses: Ending things off (well, not counting the acoustic version of “Mercy”), Shawn talks on this track about his fear of rejection, a cross I’m sure quite a few of us bear. I do like the slower, downbeat feel of this one, as it’s got a very pretty guitar melody, and Shawn’s vocals remain very lovely as he shows us once again that he really can craft a great hook. I really like that he chose to end things off with this one, because again, Shawn proves that even with some sonic similarities to other songs, he can still use his formula to churn out something beautiful.

Mercy (Acoustic): The “Deluxe Edition” of the album ends off with the acoustic version of “Mercy,” which if you remember from earlier, I found to be a pretty good track, even if it wasn’t one of my favorites on the album. And while this acoustic version didn’t necessarily change much about that, I did really like the unplugged feel of it, as it really brought Shawn’s vocals front and center and I personally found the track even more emotional without the beat. Having Shawn and the piano alone made it feel like there was a bit more weight to it. I still wouldn’t quite call it one of my favorites on the album, but I definitely like the acoustic version better, and I think it might even grow on me in the future.

How about that? Shawn’s first album “Handwritten” saw most of its highlights land in the first half, and the album slowed to a crawl in the second. Meanwhile, “Illuminate” had a very weak start, but saw a good portion of its highlights on the second half (in fact, I pretty much dug everything from track 8 onward). Huh, so maybe his next album will just level off and be more consistent. Either way, I actually really appreciate how, on this album, Shawn can generally work in his established formula, but still make some very sweet, emotional pop tracks with some occasional blues influence. He once again establishes that he is a singing powerhouse, and he’s got an ear for somewhat moody, very pretty, and often bouncy production that meshes well with his very potent and emotional vocals.

The only thing that’s really keeping this album from being an “Excellent” for me is how inconsistent the first half was. Outside of “There’s Nothing Holdin’ Me Back” and “Treat You Better,” there wasn’t all that much for me to love in the first half, and even the few “first half non-singles” that I did like were not quite as strong as some of the deep-cuts that came in the latter portion of the record. I’m not sure it would’ve easily been “excellent” if Shawn just switched the order of the tracks (though, it possibly could’ve been), but the fact that the album starts off so slowly just doesn’t really help matters much, and it might be a bit of a turnoff that makes some people not want to listen to the VERY enjoyable second half. Still, if you do power past that slow start, Shawn Mendes’ sophomore album has some very memorable tracks and is definitely worth a listen if you haven’t heard it already.

Alright, we’re getting closer to review #100, and I have a few albums I’ll review before the two new ones that drop this Friday. So, up next…N*E*R*D!

Favorite tracks: There’s Nothing Holdin’ Me Back, Treat You Better, Don’t Be A Fool, No Promises, Lights On, Honest, Patience, Bad Reputation, Understand, Hold On, Roses

Least favorite tracks: Three Empty Words

Rating: Good

Shawn Mendes "Handwritten" Album Review

As promised, here we are at review #95. We’re closing in on #100, and I’ve got some special plans for these next few reviews, I think you guys will be excited. Anyway, here we are, and we’re gonna be throwing it back just a few years by reviewing the 2015 debut album from Shawn Mendes titled “Handwritten.”

Shawn Mendes is a name you are probably familiar with: the Canadian singer-songwriter got his big break after a series of singing videos on the once-popular social media app Vine, and has released a pair of big albums since then, with several huge singles including three that have peaked in the Top 10 on the Billboard Hot 100, those being “Stitches,” “Treat You Better,” and “There’s Nothin’ Holding Me Back.” I’ve had an appreciation for those singles, but I haven’t heard Shawn’s music all that much, so I figured that, with his third album nearing release, what better time to look at his old work than now? So, let’s get started!

Life Of The Party: Shawn’s first single, this is a somewhat minimal, piano-driven track that features some rather romantic lyrics from Shawn. I love Shawn’s very beautiful vocals on this track, and I find the hook to be one of the best ones he’s created. Even though the track becomes a bit more booming during the final two choruses, Shawn’s vocals remain front and center on this one, and he retains the vocal conviction that he has typically shown. Good start to the album!

Stitches: One of the first big singles from Shawn, this is a song I’ve admittedly run hot-and-cold with since it became a huge hit. It used to play all the time when I worked in retail, along with “Treat You Better,” and there were times where I absolutely loved it, but there were also times where I definitely wanted it off. The tale of a huge pop song, I guess. Either way, re-listening to it for this review made me realize why I enjoyed it in the first place; it's a track about being so in love with someone that you don’t want them to leave, even after they hurt you. I like how the verses feel light, but then the hook changes to something more booming, and I think Shawn delivers the hook with such conviction and emotion that it really sticks. Maybe I just needed to get out of retail to more fully appreciate the song.

Never Be Alone: A song allegedly based on The Plain White T’s hit “Hey There Delilah,” Shawn tells a fictional story about love on this track, and I like his acoustic plucking on this one. It’s light but still energetic, and I think it also feels kind of bouncy. I wasn’t really all that crazy about the hook at first, but it grew on me as the song went on, and I once again love Shawn’s vocals and energy on this one. This is a very sweet cut, I definitely dig it.

Kid In Love: A track that gives me some really good John Mayer throwbacks (and also some Ed Sheeran vibes, obviously), Shawn sings another very sweet tale on this one about the kids who would do anything for those that they are head-over-heels about. Blame it on me being a 19-year old Gen Z kid, but I’m definitely one of those people. Either way, beyond the song being relatable, I love the very danceable feel of this one, and Shawn’s very passionate vocals make it really great. There’s a lot of good vibes from this cut, and I really enjoy it!

I Don’t Even Know Your Name: A “love at first sight” kind of song where Shawn talks about an experience that he had at a party, I get some vibes that remind me of something like James Taylor or Lee DeWyze, and maybe it’s because I’m a sucker for these kinds of songs, but yes, I dig this one. Very head-noddy drum beat, more beautiful vocals from Shawn, and a very captivating hook help this one work even if it sticks in some established acoustic formula.

Something Big: A track that sonically calls back in some ways to Ed Sheeran’s “Sing,” this one is very upbeat and faster-paced than some of the other tracks on here. I once again like Shawn’s vocals and the acoustic guitar melody on this one, but I don’t think the hook, or the overall sound, are really sticking with me as much. On top of that, the song feels too short to me, so all in all, this one just isn’t clicking with me as much.

Strings: Shawn surprising sing-raps throughout this track, and I must say that he’s got some very solid flow! Here, Shawn talks about how he wants a relationship with all strings attached, and he does that over a really passionate acoustic guitar melody that, again, feels somewhat familiar, but is too damn charming to pass on. Shawn also reminds us that he has plenty of vocal conviction on the track, and he crafts a song that’s very easily head-noddy and fun.

Aftertaste: This song shows a more confident side of Shawn, as he believes that no one is gonna top him and that no man will ever replace him in a relationship. I really dig the very passionate hook on this one, and I like Shawn’s vocal flow and delivery throughout the song as well. The acoustic guitar melody is also very upbeat and fast-paced, and the song is all-around enjoyable from start to finish.

Air (ft. Astrid S): A somewhat lighter track compared to the last few, Shawn collaborates with Norwegian singer Astrid S on this one, and I think the two of them have solid vocal chemistry together. I like the bright feel of the track (even if it talks about two lovers that smother each other too much, which isn’t the most “bright” topic), and the beat is really fun on this one. I don’t think the hook is all that great on this one (especially the repetitive “air, air, air, air, air, air” part), but it’s still a pretty decent track, even if it’s far from the album’s best.

Crazy: Another light, but somewhat more sunny-sounding song, Shawn once again brings the John Mayer vibes on this track as he talks about a lover that he realized he can’t live without. It’s a very light song, and it definitely once again shows Shawn’s strong vocals off, but I don’t really find the hook all that compelling on this one, and I don’t find the song really sticking with me all that much. Definitely not a bad track, and maybe it’ll grow on me with a few more listens, but otherwise, I’m not really all that into it right now.

A Little Too Much: One more very light, somewhat minimal track that talks about how sometimes life can be a bit rough, I once again really dig Shawn’s acoustic guitar melody on this one, and his very powerful, passionate vocal performance meshes nicely with the emphatic guitar melody here. Again, not really all that crazy about the hook here, but it’s a decent enough track overall. Not one of my personal favorites on the album, but definitely not one of my least favorites.

This Is What It Takes: Right off the bat, I dig that this is a song about loving someone who is battling depression. This one is again very light and minimal, but it’s yet another very sweet song. Shawn’s vocals remain beautiful and passionate, and the minimal instrumental on here helps bring those very great vocals front and center. Very nice, very enjoyable song that, even if it works safely in established formula, I definitely think I’ll come back to quite a bit in the future.

Bring It Back: Another love ballad, this one has Shawn talking about how his ex, who he admits he no longer loves. He basically states throughout the song that, if he and said ex were to get back together, things would only get worse. I like the more energetic feel of this one, with a more pounding drum beat and a vocal performance that shows Shawn singing his heart out, but I feel like there’s not a whole lot about the song that really sticks with me. Sure, Shawn’s vocals are great, but the hook just isn’t all that captivating, and the song is very short and it feels like it ends all too quickly. Those drawbacks unfortunately make this one of my least favorite cuts on the album.

Imagination: I get a lot of different vibes from this track, and I feel like it’s one of the most notable examples of Shawn working off of formula and some established tropes. Still, there’s some very real charm to this one: a great guitar melody accompanies Shawn’s typically pretty vocals, as he talks on this track about how he imagines unlikely scenarios with someone he is infatuated with. Sure, this kind of song has definitely been done once or twice before, I’m sure of it, but at least Shawn brings some very nice emotions to the track.

The Weight: Shawn talks here about a girl who wants him to stay so badly, even though she slept with a next-door neighbor whom he grew up with. Ouch, that’s gotta sting. In any case, this is another very emotional track, with Shawn’s vocals feeling as though they have a very slightly more broken inflection. The instrumental is once again something I’m sure has been done before, but I do think the acoustic guitar melody on here is vibrant and yet emotional enough to blend well with Shawn’s vocals. A solid track, even if it’s not one of my favorites on the album.

I Know What You Did Last Summer (ft. Camila Cabello): A track that was (thankfully) included on the Deluxe Edition of the album on Spotify, this song features Shawn and former Fifth Harmony member turned solo pop star Camila Cabello singing about a relationship that’s obviously tearing the two of them up, but they just don’t want to admit it. I like the more upbeat and fast-paced acoustic guitar riffs on this one, and I think the vocal interplay between Shawn and Camila is quite solid. I also think the hook is really memorable and really ear-wormy, and the song as a whole is one I’ve enjoyed quite a bit. Good ending to the Deluxe Edition of the album.

Overall, I definitely have to say that I was really enjoying myself with the first half of the album. There were a lot of memorable tracks at the beginning that I felt would be worth coming back to from that first half, and I found pretty much the entire album to be a great showcase of Shawn’s very beautiful vocals, even if he sat very comfortably in acoustic pop formula. However, in the last half of the album, I really didn’t find all that much worth remembering. Outside of “This Is What It Takes,” “Imagination,” and “I Know What You Did Last Summer,” I felt like the latter half of the album just ended up turning a little too contrived, a little less sticky, and maybe a little too basic. Still, I do think this is an album that has some very real charm to it, and even if it’s a bit standard, and it’s nothing you haven’t heard before, it’s a great showcase of Shawn’s vocal talents and solid, emotional instrumentals. It could’ve been better, but at least there were a lot of songs that I took away from it and enjoyed. Hopefully, his next few albums will be a bit more consistent, and have a few more highlights in the back-end, instead of sticking them all in the front.

Next up, I’ll be looking at his sophomore album “Illuminate.” We’ll see if that rather quick follow-up was an improvement, or just an attempt to keep his name out there.

Favorite tracks: Life Of The Party, Stitches, Never Be Alone, Kid in Love, I Don’t Even Know Your Name, Strings, Aftertaste, This Is What It Takes, Imagination, I Know What You Did Last Summer

Least favorite tracks: Something Big, Crazy, Bring It Back

Rating: Good

Ty Dolla $ign "Beach House 3" Deluxe Edition Bonus Tracks Mini-Review

This might be a bit out of nowhere, huh? Today I’m gonna be doing a mini-review, which is something I haven’t done since November. Today, Ty Dolla $ign released the Deluxe Edition of his 2017 album “Beach House 3,” with six brand-new tracks.

Now, I covered “Beach House 3” right around its release back in October (in fact, it was the last review I wrote and posted exclusively to my Facebook before I opened this blog and moved all of those reviews over here), and while there were several songs I took away from it and really enjoyed, like “Famous,” “Don’t Judge Me” and “Love U Better,” among several others, I found the album to be just too long, too inconsistent, and a bit too cluttered with unnecessary interludes to be anything more than “okay.” However, much like I did with Lil Uzi Vert’s “Luv is Rage 2” back in November, I wanted to take a look at these new bonus tracks that released with the “Deluxe Edition” of the album to see if it was a good or bad idea keeping them off the record. So, let’s take a look:

Pineapple (ft. Gucci Mane and Quavo): Wasting no time bringing some huge features into the fold on this one, Ty Dolla $ign brings in Gucci Mane and Quavo (the latter of Migos’ fame) to create this somewhat dark-sounding turn-up song (I know, interesting juxtaposition there). Admittedly, as standard as it sounds, I actually dig this track, because even if it doesn’t sound too unfamiliar, I can commend the song for its charismatic vocal performances from all three artists. Ty Dolla $ign and Quavo provide their typical smooth autotune-assisted crooning on this one, and even Gucci Mane’s performance is pretty fun (honestly, it might be one of the better of Gucci Mane’s features). I dig this one a bit.

Clout (ft. 21 Savage): Another somewhat darker-sounding but far more uptempo track, this one just feels very standard to me, and it unfortunately doesn’t really play to Ty’s vocal strengths all that well. Sure, his vocals still sound nice enough, but I feel like he’s at his best when he’s on brighter, less “wallpaper trap” kind of instrumentals. On top of that, as nice as his vocals sound, you know the song is doing something wrong when I find 21 Savage to be more of a highlight than Ty. Sorry, I’m not digging this one as much.

Number: One of the few bonus tracks that don’t have a feature, this one has another more upbeat instrumental, but in some ways, it still feels a bit atmospheric. Ty croons about how he got a girl’s number right despite being completely wasted. Interesting stuff, Ty. Either way, while the trap beat on this one is rather standard, I do think Ty’s vocals are very nice, and the hook is relatively fun. As upbeat as the production is, it again feels oddly relaxed, and I definitely enjoy it.

Drugs (ft. Wiz Khalifa): It’s an “Or Nah” reunion! Well, minus The Weeknd, but eh, beggars can’t be choosers. Anyway, this one features yet another rather standard trap-flavored beat, and while Ty’s vocals remain pretty smooth, it is kind of getting to the point where a number of the tracks just feel the same. The one thing that keeps this song from really being one of the worst on the Deluxe Edition is Wiz Khalifa’s really solid verse. I like his flow quite a bit on this one, and he really makes the song better. Without him, it’s just a rather standard trap song that ends far too quickly.

South Beach (ft. Quavo and French Montana): A song with not one, but two pretty big features, French Montana leads off this somewhat bright but still rather standard trap song with some slightly autotune-assisted singing on his verse, and while his verse is fine, it’s just nothing too special. Same goes for Ty and Quavo’s verses (though, points to Quavo because he has some decent flows on his verse), though I did think Ty’s hook was relatively fun here. Enough to make the song great? No, not really, but it’s serviceable enough.

Simple: Ending things off, we have a track that doesn’t credit its feature, Yo Gotti. Strange. Anyway, in this song, Ty talks with his girl about wanting to keep things simple. I love it when the subject matter of the song is laid out so perfectly in the title…no, seriously, I didn’t mean that sarcastically, I’m actually totally okay with it. Ugh, I’m rambling, sorry. Anyway, this one has yet another rather standard 808-driven beat and somewhat nocturnal instrumentals, but I do commend the track for featuring a pretty fun vocal performance and solid hook from Ty himself, along with a decent verse from Yo Gotti. It’s nothing wholly new, but it’s definitely a decent song and a solid end to the Deluxe Edition of the album.

Overall, the story behind the set of bonus tracks in the Deluxe Edition of “Beach House 3” is essentially the same as the story behind the base album itself: it’s fine, it’s decent, but it’s not super consistent, and it’s not the best material Ty’s ever created. There are a few fun vocal performances, but the songs as a whole are just okay, and I was kind of disappointed that, for an album called “Beach House 3,” Ty didn’t play with that idea of making the songs a bit more beachy, and instead stuck to some more nocturnal, trap-inspired cuts instead of pushing some more bright songs in the style of, say, “So Am I” from the base album. Still, they aren’t really bad listens at all, and Ty’s big fans probably won’t be too disappointed by any of them.

Now, if this “Deluxe Edition” came out with the album back in October and I reviewed it then with these songs, would they have swayed my opinion in either direction? Meh, probably not too much. If anything, including them with the base album would’ve felt a bit excessive, given that it was already 20 songs and a number of those were unnecessary interludes. On top of that, given that these six songs were mostly just “fine,” I don’t see how they would’ve made the album any better or worse outside of increasing the length a bit too much. As it is, though, “Beach House 3” was an “okay” album back then, and these new tracks didn’t really do anything to move that in either direction. It’s still just “okay,” nothing more, nothing less.

By the way, this obviously doesn’t count as my 95th review, since it’s a mini-review. The 95th will be coming soon. Keep on the lookout!

Favorite tracks: Pineapple, Number, Simple

Least favorite tracks: Clout

Rating: This is a mini-review, so I’m not giving it a rating

Charlie Puth "Voicenotes" Album Review

Well, after several delays and much ado, it’s finally here: it’s time for a review of the new Charlie Puth album “Voicenotes.”

This is the latest full-length album from New Jersey pop artist Charlie Puth, who you may remember I looked at before with his 2016 debut album “Nine Track Mind.” The album was home to some high-charting singles like “Marvin Gaye,” “One Call Away,” and “We Don’t Talk Anymore,” but it definitely received some very negative critical reviews. At the time I had written my review for the album (back in October), it was the 15th worst-reviewed album in Metacritic’s history. That distinction still stands at the time of THIS writing and given some of the comments I’ve seen from him, it felt a bit like he reciprocated those feelings to an extent. However, instead of taking time to reflect on that, Charlie spent 2017 dropping two more high-charting singles as leadoffs to this record, those being “Attention” and “How Long,” which have peaked at #5 and #21, respectively, on the Billboard Hot 100 thus far (“Attention” actually hit #22 on the Year-End Hot 100 for 2017).

Now, if you recall, I was admittedly a bit more forgiving towards “Nine Track Mind” than most, and while I get that a lot of people disliked it for being “so inoffensive that it WAS offensive,” I did admittedly take some tracks away from it and really enjoy them (though, that may have been helped by the fact that the Deluxe Edition’s tracks helped save it). Still, even in that review, I was conflicted on whether the album was deserving of a “bad” or an “okay” (I settled on the latter, and admittedly I don’t regret it too much), and under normal circumstances, you may think I wouldn't be all that excited to listen to this album. However, I have to admit, I’m cautiously optimistic this time around, as “Attention” and “How Long” have become singles I’ve absolutely adored. So, given that this album seems to be taking things in a different direction, I was relatively interested in giving it a shot. Let’s see how it turns out, shall we?

The Way I Am: Well, already this is much different from Charlie’s other music! A very groovy track with a really great guitar melody, Charlie talks on this track about how he is going to be exactly who he is, regardless of whether or not people love him or hate him. And I have to say, Charlie seemed to believe this track could “irritate” people, but I don’t see what he’s talking about, because it’s just too infectious and fun to be irritable! Of course, if he releases this as a single and the radio overplays it, that’s different, but still, it’s fast-paced, upbeat, and it features a really captivating hook and good vocals from Charlie! Great start to the album!

Attention: The leadoff single to this album, this is one that has continued to ring off for me into 2018. A track that sees Charlie singing about an attention-seeking girl that wants to make him think that she wants him back (even though she’s just playing with him), this one has a very groovy bassline and a really fun, danceable vibe to it. I also like Charlie’s vocals on the track, and the hook is extremely hypnotic. This was a song I enjoyed from my very first listen, and it’s one that I’ve continued to hold on to even after several repeat listens.

LA Girls: A track that shows Charlie in a somewhat vulnerable state, as he just broke up with a girl because he was looking for something better, only to find that the girls in Los Angeles make him regret the breakup and miss the girl he was previously with. This track has some really interesting, plucky strings, and I like the very danceable beat and funky vibe of the track. I also find the hook to be extremely strong on this one! Wow, so far, I’m really digging this album!

How Long: Something of a “sequel” to “Attention” with its very groovy, danceable feel and slick bassline, this song sees Charlie basically apologizing to a girl that he was being unfaithful to. Standard stuff, yes, but the song is still extremely fun and vibrant, Charlie brings some really solid vocals to the table, and much like “Attention,” the hook is hypnotic and ear-wormy. This has become another favorite of mine, I really like it!

Done for Me (ft. Kehlani): Another song that feels kind of like a throwback to the 1980s, this one serves as the conclusion to the story that was strung along by “Attention” and “How Long,” as the boy (portrayed by Charlie) and the girl (portrayed by Kehlani) basically come to terms and fully apologize to each other. This one again feels very danceable and energetic, and I like the vocal interplay between Charlie and Kehlani, as they mesh well with the instrumentals on this one, but my only real issue is that I don’t think the hook sticks with me all that much. Still, it’s definitely a decent track, and it might even grow on me with a few more listens.

Patient: Carrying out the theme of the love story that goes throughout the album, here we see the phase of heartbreak and regret from Charlie, as he sings over a very throwback-y slow-jam. I think the track is a great showcase of Puth’s vocal talents, and the Rhodes Piano melody on this one is very pretty and relaxing. Definitely dig this song quite a bit, I can see myself coming back to it a lot in the future.

If You Leave Me Now (ft. Boyz II Men): Charlie Puth doing a track with Boyz II Men? Well, I can safely say that I wasn’t expecting this. In the context of the album, it definitely makes sense because this definitely has a throwback-y feel to it, but I definitely didn’t expect Charlie to land them on a track. What’s more, I definitely wasn’t expecting this song to be a cappella. It’s all the better for it, though: this track about Charlie not wanting his girl to leave features some beautiful vocals from him and, notably, from Boyz II Men’s Nathan Morris, and the song has a very gorgeous sound to it. I love this one a lot, it’s definitely got a great vibe to it.

BOY: A track with some very groovy synth pianos up against a very hi-hat driven beat, Charlie talks here about what it’s like to be treated like a “boy,” and the negative reactions that come from that. While it’s definitely got some really cool grooves to it, and Charlie’s vocals are very solid, I don’t really find myself all that into the song. The hook doesn’t really stick with me all that much, and I don’t find the song as danceable as some of the others on here. Not a terrible track (in fact, I’d wager it’s still much better than most of the stuff on “Nine Track Mind”), but it’s definitely one of the weaker cuts on the album.

Slow It Down: Another more personal song, Charlie talks here about a girl that’s coming on very strong for him, and he admits that, while he’s not ready to commit to her, she makes it hard for him to say no. Honestly, I might be a bit biased on this one because I felt like I related to it a bit, but I really found myself enjoying this track. It’s got a really danceable vibe to it, a very sticky and memorable hook, and a very catchy beat. Again, I could be biased because I relate to it, but it’s a track I definitely enjoy.

Change (ft. James Taylor): A collaboration with Rock and Roll Hall of Fame member James Taylor, I can safely say I wasn’t expecting this. And admittedly, in the context of the rest of the album, it felt a bit strange, given that this acoustic, soft-rock song comes after many R&B/funk-flavored throwbacks. It’s certainly interesting, and again, very different for Charlie Puth. The song is basically just about how there’s not enough love in the world, and how we should all get along. And look, I know that sounds a bit cliché and potentially preachy, and I’m sure there will be several people that dislike it for that reason alone, but I gotta say, I actually really dig the track. It’s very sweet and nice on the ears, and it’s got some solid vocal performances from both Charlie and James. It’s just too irresistibly sweet and the hook is delivered with conviction, I can’t help but smile as I listen to it. I don’t expect that many others will enjoy it as I do, but for what it’s going for, I like this quite a bit!

Somebody Told Me: Not to be confused with the famous song by The Killers, this is another track that feels like it has some rock influence, and it features Charlie talking about a girl who cheated on him. Honestly, I don’t know what it is, but this cut gives me some old-school Shania Twain throwbacks, oddly enough. It’s a relatively upbeat and energetic song, and I do like the guitar melody on this one, but I don’t really think it sticks with me all that much. It’s an interestingly different direction for Charlie to take, but I just don’t see myself coming back to it too often.

Empty Cups: A very bouncy track with a really catchy drum beat, this one has Charlie talking about a girl who, despite having a boyfriend, he feels he is better than. Charlie’s turning into the bad boy on this one, I see. Admittedly, while the lyrics on this one may rub some people the wrong way (it feels like Charlie is basically saying “hey, babe, cheat on your boyfriend with me because I’m better than him”), I actually really find myself enjoying this track. It’s got a really great beat to it, the hook is very captivating, and Charlie’s vocals remain rock-solid here. Again, I’m not sure others will enjoy this track as I did, but you know what? I dig it, oddly enough.

Through It All: The finishing track for the album, this one has a slightly different sound compared to the other songs on the album (apparently, it was recorded when he was touring for his first album), this track sees Charlie singing over a very grand, somewhat jazzy piano melody about how, through everything he’s done in his life, he did everything his way (it definitely feels like a tribute to Frank Sinatra’s iconic “My Way”). It’s different, but I really enjoy it a lot! I like Charlie’s vocals on this one a lot, and the piano meshes well with the slow, but still powerful, drum beat. Definitely a pretty great, more personal end to the album.

Overall, this album definitely threw me for a loop, I definitely didn’t expect to enjoy it at much at all! Charlie moves as far away from the slower ballads of his last album as possible, and in turn, crafts some more funk/R&B-driven throwbacks (with a few soft-rock moments) on the album, and luckily, he actually sticks the landing. Charlie has made it clear that he felt that “Nine Track Mind” wasn’t him, and that he was just hiding his true self and his real music with that album, and I have to say, if this is his real music, I’m digging it! Even at the album’s lower points, it feels like Charlie at the very least appreciates the old-school sound and vibe, and he really shows that with these very fun, well-produced tracks. On top of that, while his vocals were fine for the most part on “Nine Track Mind,” it feels like he’s tightened them up a bit, and even when he’s reaching into his falsetto, it’s not as annoying as it was on some of the tracks on that album. Overall, I definitely think he’s carved out a much better sound on this record with some very nice throwbacks and more funky, danceable tracks, and I can definitely recommend checking it out.

That said, I’m still not loving the album cover of this thing. Nope.

Favorite tracks: The Way I Am, Attention, LA Girls, How Long, Patient, If You Leave Me Now, Slow It Down, Change, Empty Cups, Through It All

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

Rating: Excellent (I know, I’m as surprised as you probably are.)

Anne-Marie "Speak Your Mind" Album Review

This might be a bit of an out-of-nowhere review for some of you guys, but it’s time to look at the new Anne-Marie album “Speak Your Mind.”

Anne-Marie is an England-born singer who I’m sure you’ve heard of if you live in England, as she's had several hits over there, but if you’re like me and you live in America, you may have heard of her in 2016-2017 when she worked with Clean Bandit and Sean Paul on the track “Rockabye,” a song that ended up being her first entry in the Hot 100 and one that ended up peaking at #9 on the chart (and also, ended up reaching #44 on the Year-End Hot 100). If that doesn’t ring a bell, you may know her from the recently-released single “FRIENDS” with Marshmello, a song that has thus far reached #21 on the Billboard Hot 100 and is also featured on this record right here.

Now I can’t really say much about my personal opinion on her in this part of the review as I only know her from “Rockabye.” And granted, I like that song…really like it, in fact, it’s stuck with me throughout 2017 into 2018, but I’m not familiar with her other songs. I’ve been hearing some not-so-positive things about this album, so I’m not sure what to expect, but hey, let’s just give it a shot, shall we?

Cry: Essentially a post-breakup song where Anne-Marie talks about an ex who is probably regretting leaving her, everything about this cut just feels so "whatever" to me. It’s got a very loud, poppy instrumental with an overpowering drum beat, and admittedly, I don’t really find her vocals to be all that interesting here. Sure, they’re powerful, but I just don’t feel like they’re anything too special. Same goes for the hook, it’s just nothing special. It’s just a “whatever” song.

Ciaos Adios: A song that sees Anne-Marie officially saying goodbye to the ex that had an affair with her, this is another track that just feels very “whatever” to me. I actually find Anne-Marie’s vocals at several points in the song to be somewhat charming, but I feel like this is just a very standard EDM track and, while the hook on this one isn’t too bad, it doesn’t really leave a lasting impression on me. Not one of the worst on the record, but nothing too special.

Alarm: Another track about someone doing bad things in a relationship? Come on, we’re only on track three and each song thus far has to do with a breakup! Either Anne-Marie has had some unfortunate luck with boys, or there’s one boy that really hurt her. Either way, this is another cut that doesn’t leave much of a lasting impression on me. The hook isn’t too bad on here, but a lot of this just feels like very basic EDM/pop-flavored music without any charm or energy to help it feel anything better than standard. Meh, next.

Trigger: ANOTHER TRACK ABOUT AN EX/THE END OF A RELATIONSHIP? COME ON!!!!! Ugh, anyway, I was liking the way this one started, it’s got a plenty bright instrumental that feels pretty bouncy, but slowly, it just starts to feel so bland and contrived, complete with a pretty weak hook and a beat-drop severely lacking in charm. I’m fine with the whole “beat-drop breakdown” thing in EDM if it’s something kind of charming, but here, it’s just whatever. Bleh, next.

Then: Do I have to repeat myself? It’s a track about an ex, what do you expect at this point? Anyway, this is a somewhat slower and darker track, and…you know what, I’ll just talk about this one in the form of a multiple-choice question: do you think I’m gonna say this track is, A. A wild ride filled with great twists and turns, B. Better than some of the others on the album, but still feeling like it’s been done better by others, or C. Complete dreck? If you answered “B,” then you are correct! The song isn’t TOO bad compared to the others here, but it just feels like something that’s been done better by other artists.

Perfect: Okay, finally, we have a song that DOESN’T talk about a breakup or the end of a relationship. Instead, she talks about how her imperfections make her perfect. Wow, I wonder where I’ve heard this before…oh, only EVERYWHERE!!!!! And when the track is so bland and Anne-Marie’s vocal delivery throughout the song just feels so unenthusiastic, it just doesn’t make the track feel genuine or exciting, it just feels like yet another “I’m perfect just the way I am” song, and while that’s definitely a good message to spread, the cut itself just doesn’t spread it enthusiastically. Though I did like the line where Anne-Marie says “I’ll love who I want to love, because this love is gender-free,” the rest of the song just feels dull and lifeless to me, unfortunately.

FRIENDS (ft. Marshmello): This song has apparently been described as the “friend-zone anthem.” Now look, I personally think that being in the friend-zone is not as bad as everyone makes it out to be, because at least you and the other person can remain as friends and not completely hate each other, so I’m not really all that interested in the more aggressive, hard tone the song takes about establishing the friend-zone. And beyond that, even though there are some cool acoustic guitar moments in the song, all of this just comes off as really laughable to me. I don’t know what it was but the song had me giggling uncontrollably throughout because of its sheer silliness. Partly because the song itself is pretty dull, but also because my mind couldn’t stop thinking “did anyone in the world really ASK for a ‘friend-zone anthem?’” I would hope not. Next.

Bad Girlfriend: Okay, so NOW we’re back on the ex-lovers and stuff, only this time, Anne-Marie flips it back to HER and claims that she is the bad one in the relationship…well, acceptance is the first step to recovery, I guess. That said, it seems like she essentially tells her lover to “get used to it,” indicating that she wants to stay in the relationship. I’m sensing some rather odd morals on the track. And beyond just feeling so dime-a-dozen, the song comes gift-wrapped nicely with a post-chorus that is beyond the typical EDM-annoyance. I thought you couldn’t get much worse after “FRIENDS,” to be honest. But, here we are. Let’s get away from this one. Quick.

Heavy: Oh hey, look, a song about fading love! Wow, Anne-Marie is clearly tackling SO MANY DIFFERENT TOPICS on this record. I see so many differences and intricacies throughout this album, don’t you? Oh, my sarcasm only makes this slightly more tolerable to sit through. Though, admittedly, this song wasn’t all that bad. Sure, it’s very standard, EDM music, but at least Anne-Marie has some vocal charm on this track. No, it’s nothing I want to go back to in the future, but hey, at least it’s listenable.

2002: A song surprisingly co-written by Ed Sheeran, Anne-Marie reminisces on a past relationship and thinks of all the big songs from 2002 that were important in the relationship…though I heavily question the nature of this relationship, given that Anne-Marie was 11 years old in 2002 (and I know she mentions that she and this lover were only 11 and acting like adults, but that doesn’t mean I won’t question it because they’re 11 and kissing, what’s going on here?). Now, admittedly, I find the hook to be kinda fun here, as it interpolates several big singles from 2002, and it’s got a cool, bright EDM instrumental, but it once again feels like something I’ve heard several times before. Also, the mere idea that this song is about a relationship between 11-year-olds honestly just has me yelling “SONG ABORT! SONG ABORT!” Seriously, Ed, you wrote this? Come on, man, have some dignity!

Can I Get Your Number: Is this an attempt to make a tropical dancehall song? Because it’s not a great one. Sure, it’s got a good idea lyrically (as cliché as these songs are, it’s kinda cool to see Anne-Marie kind of defying gender norms and being the one to ask for the guy’s number instead of the other way around), but I just feel like the song again gives off so much of a “been there, done that” vibe. It might be bright and somewhat fun, but it’s also extremely contrived, too.

Machine: A somewhat slower, more downbeat song, Anne-Marie decides to ask what it would be like to be a machine. Look, girl, I know I mentioned that I would’ve liked to see some variation in the lyrical topics, but with this one, you’re out in left field with a tennis racket. Not only that, but apparently while you’re out there, you also brought a very boring, overdone beat and instrumental with you and started singing over it. When you’re on a baseball field, you’re supposed to catch the ball that comes at you, not start singing! Ugh, and now we have five “bonus tracks” to get through. Greeeeeeeeat…….

Breathing Fire: A song that compares love to dragons, this once again feels like Anne-Marie trying to come through with a strange topic without putting any care into it. Meanwhile, she also provides some very cheesy vocals when she says “LIKE WE’RE BREATHING FIRE” on this one, and the instrumental is so painfully dull and overdone, I just can’t describe it any other way than that. But hey, if she wants to make this album so repetitive, she’s unfortunately gonna get a review with some repetition because it’s hard to describe these songs any other way. Sorry, Anne-Marie.

Some People: Soured relationship song #245 is upon us, and it’s a more downbeat, darker track than some of the other ones. It’s got a decent vibe to it, but it feels like it almost doesn’t even have a hook. The hook on this is so unenthusiastic that it just feels like Anne-Marie stepped in the studio, shrugged her shoulders before the hook, and just kinda half-heartedly sang it. With how basic this whole song feels, that doesn’t help whatsoever.

Used to Love You: I’ve been told that in the time between this song and the last, Anne-Marie managed to create double the amount of “relationships that went sour” songs that she had before, so I’m gonna called this “soured relationship song #490.” And honestly, in the intro, I couldn’t help but wonder if she was copying “She Loves Control” by Camila Cabello. Actually, given that her vocals don’t really sound all that distinct, I wouldn’t be shocked if Camila was one of the artists that she was inspired by. Either way, more dull, boring EDM/pop stuff here. Next!

Peak: Admittedly, I originally had a joke here about this being another generic “soured-relationship” song, but given the stripped-back feel of the cut, and the fact that this actually sounds like it came straight from the heart, I can’t make a joke about it. It’s honestly heartbreaking hearing Anne-Marie question if doing something as simple as breathing and eating caused her lover to walk away. And, for what feels like the first time, I think she pulls off that emotional angle really well here. It’s clear she’s singing from the heart on this, and that’s what makes it work. Anne-Marie, why did you just include this one in the Deluxe Edition? This is easily one of the best tracks you have, push it a bit more!

Rockabye (Clean Bandit ft. Sean Paul and Anne-Marie): Oddly enough, though, despite this being one of Anne-Marie’s most popular songs, she only included it on the Deluxe Edition of her album. Probably because it’s actually Clean Bandit’s and she’s just a featured artist, but either way, it’s a song that I still dig. I’m usually a fan of Clean Bandit’s production on songs, and that's no different here. It’s bright and energetic, and I find the hook to be really catchy and fun. Anne-Marie proves she’s got some good vocals here, and Sean Paul provides one of his typically fun performances on his verse of this one. I’m glad Anne-Marie decided to end her album with this, especially after the rest of the record outside of “Peak” was…yeah, you know.

Yeah, this album was that bad. I didn’t think I would dislike it this much, but man, Anne-Marie had such a great song with “Rockabye.” How did she not follow it up with anything remotely interesting? Actually, it probably had to do with Clean Bandit not being around for it, but eh, whatever. This is painfully dull and basic electronic/pop music that focuses on a lot of the same topics throughout, handling them in a very generic, cookie-cutter way. And to top it all off, outside of “Peak,” Anne-Marie just doesn’t come across on many of these tracks as an interesting performer! You know what, I don’t want to waste any more of your time, so let’s just wrap this up: this album sucks, don’t listen to it, stay far, far away from it, be nice to the people you’re in love with, and don’t write songs about falling in love at 11. It’s creepy.

If anything, just listen to “Peak” and “Rockabye.” They’re both pretty worthwhile tracks.

Favorite tracks: Peak, Rockabye

Least favorite tracks: Trigger, Perfect, FRIENDS, Bad Girlfriend, 2002, Machine, Breathing Fire, Used to Love You

Rating: Awful

Desiigner "L.O.D." EP Review

I did not think this would be my next review, but life works in mysterious ways sometimes. It’s time for a review of the new Desiigner EP “L.O.D..”

This is the latest project from the young Brooklyn rapper Desiigner, who you may remember rose to prominence in 2016 with the release of his hit single “Panda,” a song that, thanks in no small part to it being sampled on "Pt. 2" from Kanye West's "The Life of Pablo," shot to #1 on the Billboard Hot 100, and even finished at #6 on the Year-End Hot 100. He continued to make waves in 2016 when he was signed to Kanye’s GOOD Music Label, was part of that year's XXL Freshmen List, released his debut mixtape “New English,” and released another big single in “Tiimmy Turner,” which hit #34 on the Hot 100, and #98 on the Year-End Hot 100 in 2016. He did have a relatively quiet 2017 as, outside of his feature on BTS’s “Mic Drop Remix” with Steve Aoki charting at #28 on the Hot 100, none of the five singles he released last year (all of which, might I add, are not on this EP) charted in the Hot 100, leading many to proclaim that he “fell off” and writing him off as a “one-hit wonder.”

Now, admittedly, while I’ve appreciated Desiigner’s energetic personality from afar, I never really took him all that seriously as an artist. Sure, I liked “Panda” when it first came out, but I reviewed the “New English” mixtape (a year late, mind you, but it was still the second music review I ever wrote) and found it to be pretty lackluster, repetitive and flat-out unfinished in the worst of ways. On top of that, while I initially liked “Tiimmy Turner,” repeat listens helped me realize that it was just like all of his other tracks: repetitive and leaving a lot to be desired. I thought he would be down and out, but here he is with this new project, and admittedly, I can smell disappointment in the air because, while this album doesn’t have any 30-second tracks like the last one did, he has been hyping this up for years as a full-length album, but it’s upon us, and it’s instead a 7-track EP that he dropped out of the blue with no promotion. That said, it’s under 20 minutes, so hopefully, it’s not too much wasted time. Let’s check it out!

Priice Tag: Desiigner wastes no time bragging about his success on this track, talking all about money, drugs, clothes, and jewelry over a very basic trap beat. It’s standard trap-music for sure, and Desiigner doesn’t really switch up his flow a lot on this one, but I will admit it’s a decently energetic track and the hook is not all that bad. Not something I feel like I’ll come back regularly, but as repetitive as it might feel, it does feel like a bit of a step up from a lot of his “New English” material.

Tonka: A more bouncy track, Desiigner continues to talk about his wealth and his position in the rap game. Again, a lot of what I said about the last track applies here: it’s very standard trap-rap music and Desiigner’s flow and cadence don’t really change too much throughout the track, but it does have a pretty cool vibe to it and it definitely feels more like a full-length cut than most of what was on “New English.” It’s not reinventing the wheel, but it’s fine enough overall.

After Party: A song that talks all about after-parties and the experiences that go on at said after-parties, it’s a pretty bright and upbeat track that does see Desiigner go a bit more rapid-fire at certain moments. It does occasionally feel a little repetitive, but it’s certainly head-noddy and it does have a very intoxicating vibe to it. Admittedly, for as long as it goes on, the hook is kinda catchy. Definitely think this is a decent track.

Pop iiT: A song that sees Desiigner doing some autotune-assisted sing-rapping on the hook, he gives off a pretty woozy performance on this track. The trap beat on this one again feels somewhat standard, but it’s definitely exciting enough to work. And admittedly, as woozy and half-asleep as he sounds on the hook, I think it actually works in some really weird way. I don’t know if it’s one of my favorites on the EP, but I’m definitely willing to give it a few more listens and let it grow on me a bit.

Destiination: A much more somber, emotional song, Desiigner croons on this track about a girl that’s trying to “get to him.” I definitely think it feels very basic, and doesn’t quite pull off the “emotional feel” amazingly, but it does have a pretty neat, moody vibe to it and, for as much of a Future clone as he seems to be, Desiigner still gives a pretty smooth vocal performance on this track. It does have a little too much empty-space to it, which isn’t amazing since the instrumental is nothing too special, but it’s not a bad cut overall.

LA to NY: Again, Desiigner gives a pretty energetic performance over a very standard trap beat on this one, but I definitely find this to be one of the least interesting tracks on the EP. Everything about it just feels pretty basic to me, and while Desiigner has some fun on the hook and on some portions of the song, it just feels like a very painfully standard trap-rap song, and I also find the lyricism uninteresting even by his standards (I get it’s supposed to be turn-up music with no obvious meaning but “Ape, Bape, Planet, Ape, Snake, Jake?” That the best you’ve got, Desiigner?). Yeah, not a great track.

HOOD: The final song on this EP sees Desiigner autotune-crooning on the hook about how he doesn’t want to lose his life. I get if he’s trying to go for an emotional feel here, and I do think he tries to switch up his flow at points to keep things interesting, but when he’s also throwing out lyrics like “Take a plane to China / To go test the rifle / I like fuck vagina / Shotgun homicidal,” I don’t get that emotional feel (I also want to dispute when he says “And I don’t recycle” since everyone always calls him a Future clone). Still, there is a somewhat interesting vibe to the song and the hook is kind of interesting, I just wish he had taken a bit more time to really polish it up.

Overall, is the long-awaited “L.O.D.” an improvement on “New English?” Well, to a degree, yes, but that’s on the strength of the songs on here not really being “bad” and most of them just being “eh, whatever.” I feel like very little from this EP will really stick with me long after this review gets posted, but I do think his hardcore fans that have stuck around, while they might be disappointed that it’s an EP and not an album, might find the songs to be pretty decent. For the most part, though, this EP just feels like Desiigner upgrading his songs from being “so bad you’ll unfortunately remember them” to “decent but nothing you’ll care to come back to after one listen,” which again, is better than “New English,” but it’s pretty easy to be better than that. Is Desiigner back? It most certainly seems like it. Is this EP bad? Not really, it’s got a decent vibe to it and it’s nice on the ears. Does Desiigner make a convincing argument with this project that he’s more than just a one-hit wonder? I’m afraid not.

Favorite tracks: After Party

Least favorite tracks: LA to NY

Rating: Okay