The 1975 "The 1975" Album Review

Here’s an album I’ve been kind of interested in lately: today I’ll be reviewing the self-titled 2013 debut album from The 1975. I’m largely unfamiliar with the band, but I have heard a few of their tracks: “Girls,” a track off of this record, appeared in “Guitar Hero Live,” and I enjoyed it overall, and then “Somebody Else” off of their next album became a replay-button breaker for me. So, I wanted to look through their studio albums to see if they were as worthwhile as those two singles. So, let’s take a listen:

The 1975: It doesn’t get any more meta than starting off your self-titled album with a self-titled track. Just saying. Either way, I do like the heavily synthed-up sound that this track provides in its short runtime, and I also think it feels like it’s a “warm-up” song, kinda giving me a feeling that the band is just warming up, tuning things, and raring up for action. It’s pretty clever, I’ll give it that.

The City: The song begins with a really punchy beat and a really bright sound, and it’s extremely head-noddy. I love Matty Healy’s vocals, the really catchy hook, and the really nice lyrics talking about finding love. This is a track I’m probably gonna end up breaking the replay button on, it’s really bright, fun, and all-around great!

M.O.N.E.Y.: A slightly lighter song, I like the guitar track on this and the lyrics that discuss cocaine use are really fascinating. There’s plenty of energy on this track, but there’s something about it that’s not quite grabbing me like the previous track. Maybe the overuse of strange filters on Matty’s voice makes it feel like the verses are not as strong as the hook? I’m not sure what it is, but I think this track might need to grow on me in the future.

Chocolate: One of the group’s most popular songs, I like the really bright, uptempo feel of this track, the really fun hook, Matty’s vocals, and the all-around fun vibe of this track. The way the lyrics use chocolate as a way to describe weed is also kind of interesting to me. I had way too much fun with this track, I feel like I’ll be replaying it quite a bit!

Sex: An energetic, but much harder, rockin’ track, this one talks all about that first awkward encounter with a girl that eventually escalates into sex, even though “she’s got a boyfriend anyway.” It’s all so strange, but the song succeeds in so many ways, from the extremely head-nodding and fun instrumental, Matty’s strong vocals, and the really memorable hook. Another replay-button-breaker for me.

Talk!: Sonically, this one sounds a bit strange to me, but it’s definitely pretty groovy overall, and I like Matty Healy’s vocals on this one. I’m not particularly struck by the hook, but I like the lyrics that talk about one’s encounters with drunken friends. Not one of my favorites on the album, but it’s a pretty solid track overall.

An Encounter: You know, it might seem odd to say that a minute-and-a-quarter track is one of my favorites on the record, especially when there are so many great tracks on here, but for the short runtime, I fell in love with this short interlude. I love the bright, wondrous sound of it, and I kind of feel like I want to go back to it in the future.

Heart Out: I once again love Matty’s vocals on this track, and while this initially didn't really leave much of a lasting impression on me, it grew on me with repeat listens. I love the hook a lot, and lyrically, it’s kind of sweet at points. Originally, I thought it would be something I wouldn't return to much, but I definitely slept on it when I first wrote this review; great track.

Settle Down: I like the guitar groove and the bass line on this track quite a bit, and as usual, Matty brings the goods with his vocals on this one. The track as a whole is pretty funky and, while it’s wasn't initially one of my personal favorites on the record, it really grew on me with repeat listens. The hook is infectious, and I had a lot of fun with the song.

Robbers: A slower song about a destructive relationship, I like Matty’s extremely passionate vocals, the general sad sound that this track provides, and the surprisingly dark lyrics throughout the track. I’m not in love with the hook, but this is another track that I feel has a lot of potential to grow on me.

Girls: The first 1975 song I’d ever heard, this one kind of feels like a sequel to “Chocolate” for me, and in a good way. It’s bright, it’s catchy, it’s fun, Matty’s vocals are strong, the hook is really memorable and catchy, the guitar track is really fun, and it’s a really memorable song overall. I’ve had quite a bit of fun with this track before, and I think I’ll definitely listen to it even more in the future.

12: The 1975 reminds us that they are meta on this song, naming it “12” while also making it the twelfth track on the album. It’s another instrumental interlude and, much like “An Encounter,” I feel a strange urge to keep revisiting this track in the future: I like that it’s really dark and beautiful-sounding, and while it again might be strange to call a minute-and-twenty-second interlude one of my favorite tracks, it really is!

She Way Out: I love the guitar intro on this track, and I like the bright, really fun vibe on this track! Matty’s vocals, as usual, are on point, and I like the lyrics on this one, talking about the girls who can dance. The hook is really fun as well, and I think I’ll be revisiting this track for sure.

Menswear: This track starts off with a light, largely instrumental song that has only a few occasionally synthesized vocals coming in here and there. It’s an interesting approach and the instrumental does sound really bright and really fun. Eventually, it transitions into something more upbeat. The track tells an interesting story of Matty’s experiences bringing drugs to a wedding, and his vocals are still as strong as ever. It’s not one of my favorites on this record, but I did have a lot of fun listening to it.

Pressure: Keeping things really upbeat on here, this song has one of the most fun hooks on the album. Beyond that, I love Matty’s vocals, the really bright and exciting instrumental, and the interesting, layered lyrics that talk about the pressure Matty Healy feels having celebrity parents. Another potential replay-button-breaker here.

Is There Somebody Who Can Watch You: Taking things MUCH lighter here, we have a piano-driven ballad where Matty talks about his obligation to watch his younger brother after the divorce of his parents. It’s a really nice song, and I love Matty’s more raw vocals on this track. My only real gripe with it is that seeing as how this is a largely poppy, energetic album, this track does kind of fly out of left field for me, and it does feel a little at odds with the rest of the record, but even if it’s not one of my favorite tracks on the album, I see the appeal in it, and I think it’s definitely an appropriate end to the record.

Overall, I think this album just turned me into a 1975 fan, because it was too much fun! The 1975 clearly has a grasp on how to make catchy, fun, and energetic pop music, and Matty Healy succeeds as both a wonderful vocalist and a strong storyteller. Even if a lot of the tracks talk about love, he finds unique ways of keeping the stories interesting throughout. The album, as a whole, is also just fantastically enjoyable. It grabs you from the start and just never lets go, bringing a lot of energy, passion, and excitement throughout. If you haven’t given The 1975’s debut album a listen, give it a shot! I think you have a fun time!

Stay tuned, though, because next up, I’ll be reviewing the band’s second album “I like it when you sleep, for you are so beautiful yet so unaware of it.” Still a really strange title, honestly.

Favorite tracks: The City, Chocolate, Sex, An Encounter, Heart Out*, Settle Down*, Girls, 12, She Way Out, Pressure

Least favorite tracks: M.O.N.E.Y.**

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.)

(**"Heart Out" 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 to reflect that.)

Childish Gambino "'Awaken, My Love!'" Album Review (50th Review)

Here’s another album review I definitely wanted to get in before the end of the year: it’s time for a review of Childish Gambino’s 2016 album “‘Awaken, My Love!’” Donald Glover (A.K.A. Childish Gambino) is a singer, rapper, actor, writer, and comedian extraordinaire, and I’ve always had tremendous respect for how much he can do in the entertainment industry. However, I’m largely unfamiliar with his music: a friend of mine introduced me to “Sober” (I really like that track), and of course I’ve heard “Redbone,” but otherwise, I’m not sure what to say about his music. However, I’ve heard plenty of positive talk about this album over here, so why not give it a listen, huh? Let’s go:

Me and Your Mama: Already, I really like the very eerie piano intro on this song. And as it progresses, I continue to really appreciate its really dreamy, lighter, prettier instrumental on this, and even if the intro goes on for a really long time, it sounds so beautiful. Things take a really sudden change into a more rock-infused song, which kind of made me a bit sad because I was really digging the dreaminess of the intro. Still, I like Gambino’s really passionate vocals throughout the track and thankfully, the instrumental change ends up working and it makes the song very entertaining. Even if I won’t play this on repeat very often, I do think it’s a good start to the record.

Have Some Love: A very upbeat and funky track, I really like the instrumentation on this one, and I think Gambino’s vocal performance is really interesting, as he explores a lot of different vocal sounds and keeps things pretty interesting. The fact that the hook also talks a lot about togetherness and love is also icing on the cake. Again, nothing I’ll end up looping, but I do enjoy this overall.

Boogieman: Keeping things pretty funky and upbeat, Glover discusses racial fear in this track, and he continues to experiment with a lot of different voices and ideas, all of which end up sticking the landing. There’s also a healthy helping of cowbell on this track so that always helps things out. I also like how, for upbeat and catchy it is, it sounds rather eerie at several points. Definitely a pretty strong track.

Zombies: In what is a much slower jam than the previous songs on the album, Childish Gambino talks a lot about people trying to steal some of your success, doing so through another charismatic performance with another different voice, one that still sounds extremely nice, even if it’s intended to sound more “strange.” Karl Faux also provides some vocals on this track, and overall, her performance, even if it's hardly there, is still fun. I also love the instrumental on this thing, specifically in the guitar solo. I feel like this might end up being a replay-button breaker in the future.

Riot: The shortest song on this album, this track is nonetheless extremely energetic and funky in its short runtime. While Gambino’s voice on this track isn’t necessarily “different” per se, it’s still pretty exciting and fun, and the guitar track on this one is amazing. I don’t see myself breaking the replay button with it, but I do enjoy the song, even if it ends as soon as it starts.

Redbone: What would Redbone sound like if Matt reviewed it? Well, he’d probably tell you that it’s one of his favorite songs on the album, with a really soulful, old-school instrumental, some really strong vocals from Gambino, and a really strong eerie vibe that it has going on. He also really likes how it sounds in the context of the rest of the album, as this slow-jam is the perfect follow-up to the more loud and upbeat “Riot.” He would conclude by saying that, even though the song has been meme’d to death throughout 2017, those memes haven’t soured his impression on the track, and it remains a song that he still absolutely loves.

California: Less so a funk-song and more of a Caribbean-flavored track, Gambino talks about California throughout this track, complete with arguably his weirdest vocal performance yet, with its combination of strange delivery and strange filters on his voice. For a minute, I wasn’t even sure if it was him. But I actually like the track: the vocal performance, while weird, is rather charming, I love the bright instrumental sound on this one, and the track is pretty fun. I feel like this one might grow on me in the future.

Terrified: Much slower and much eerier than the last track, this song nonetheless feels like something of a sequel to “California,” where a more subdued Gambino sings about the girl from the previous track and begins to realize how much he likes her. While I like the eerie instrumentals and Gambino’s charismatic performance, I do think the track is a bit boring, and not as fun as some of the others on this album. Even so, I don’t think it’s one of the worst on the album, and it might grow on me in the future.

Baby Boy: Talking on this track about his newborn child and newfound responsibilities as a father, Gambino takes on the same vocal style from “Redbone,” singing in a higher register, and the song itself sounds a bit like it was made in some kind of video game. I do think it sounds pretty interesting, and Gambino’s vocals remain really strong. I also like Gambino’s ability to tackle a really personal topic on this track, and all in all, the song ends up being pretty enjoyable.

The Night Me and Your Mama Met: An almost entirely instrumental song (there’s some harmonizing here), I like the really funky guitar on this one a lot. Adding the choir also added a strong layer to the events of the song. I really liked it a lot.

Stand Tall: Ending things off, we have a two-part track. Part 1 features Gambino singing without any kind of accent or anything like that: it’s just Gambino singing with his normally impressive voice, and the considerably minimalist instrumental really adds to that. I also love that he chooses to end the album on a song that talks all about positivity. As something we can all use, I totally appreciate that. In Part 2, Gambino takes on a more filtered voice and, while I think his voice is perfectly fine without a filter, I understand the significance of it on this track, as it helps differentiate the two parts. The instrumental is also quite lovely, and even with two parts, this track takes so many interesting twists and turns and stays wonderful throughout.

Overall, I ended up enjoying this album a good bit. I liked Gambino’s really charismatic performances, his strong lyricism that deals with really strong themes that aren’t easy to talk about, and the instrumentals are funky, vibrant, and exciting. For being such a different album, Gambino takes some major risks to his style with this album, and he pretty much sticks the landing each time. I do think it might be a bit too weird for some, and his radical change of sound might scare off a few potential listeners, but I still had a really fun time with this album, and I definitely recommend that you give it a shot. I feel like this album has a lot of potential to grow on me and, even if I don’t listen to all of these tracks on loop, I can’t deny the album’s quality, and I can’t deny that everything about it, from the production, to the lyricism, to the performances, are made with incredible attention and care, and I think that’s why I love the album so much.

WHAT WOULD REDBONE SOUND LIKE IF ahh dammit, never mind.

Favorite tracks: Boogieman, Zombies, Redbone, The Night Me and Your Mama Met, Stand Tall

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

Rating: Excellent

U2 "Songs of Experience" Album Review

Why not give this a listen, huh? It’s time for a review of the new U2 album “Songs of Experience.” I know I mentioned before that I should stick to pop music, but U2 is one of my Dad’s favorite bands, and I’ve listened to and enjoyed plenty of their songs, such as “Sunday Bloody Sunday,” “With or Without You,” “I Still Haven’t Found What I’m Looking For,” and “Mysterious Ways,” and I also loved their feature on Kendrick Lamar’s song “XXX.,” from the “DAMN.” album. So, I figured I should look into this new U2 album and see if they’ve still got it. So, let’s do it!

Love Is All We Have Left: A really light song, I like Bono’s vocals on this track, even when they get filtered and strange. There’s not really much to the song, but it feels like it could be a great starter/finisher to a concert, given the rather nice lyrics and kind-of bright yet minimal instrumental. Not sure it’ll be a replay-button breaker, but it’s a solid starter, all in all.

Lights of Home: Things pick up here with the more rockin’ guitar intro, but the song itself doesn’t take things too fast. I do like the multitude of meanings by the lyrics that touch on ideas of death, and once again, Bono’s vocals are pretty solid. Pretty good track, I must say.

You’re the Best Thing About Me: Another rocking guitar track introduces this more loud, slightly faster-paced track. I like the really nice lyrics about love, the drum beat on the hook, and the overall brighter sound of this track. The instrumental breakdown is also a lot of fun. Another pretty good song.

Get Out of Your Own Way: While I love the brighter sound on this song, and I think U2 handles a more “modern” sound pretty well, I’m not really crazy about the hook, as I think the vocals are a little cheesy and laughable. It’s not enough to ruin the song, though, especially with the really solid, subtly political lyrics here, and Kendrick Lamar’s feature at the end is wonderful. Not a bad track, and it might grow on me in the future.

American Soul: The “ending” of Kendrick’s poem transitions to a more hard, guitar-heavy song that kind of serves as the culmination of U2’s feature in Kendrick Lamar’s “XXX.,” and again, while I’m not too crazy about the hook, I do like the more political lyrics (this time, specifically zeroing in on refugees) and the harder, more thrashing sound of this one. Another track that might grow on me in the future.

Summer of Love: Dialing things down, this track starts with a guitar melody that’s far less thrashing, but still fun and irresistible. Bono once again focuses on the Mediterranean refugee crisis in this song, and I really like his vocals a lot. The hook is also really strong, and the lyrics are pretty solid. I like this track a lot!

Red Flag Day: Continuing from many tracks already on here, Bono talks about self-image and lifestyle, along with the Syrian refugee crisis. He does this over a more lively, uptempo track that features some solid vocals, a good hook, and more interesting lyrics. Not one of my favorites on the album, but it’s a pretty solid track, all-in-all.

The Showman (Little More Better): While I do like the very personal lyrics on this track, I’m not really as crazy about Bono’s vocals throughout, and the hook is pretty unmemorable all-around. Definitely a track I can’t see myself coming back to.

The Little Things That Give You Away: This much lighter song features a more minimal drum beat that feels a bit more electronic, but the song just sounds really pretty. I like the bright guitar track, the lyrics that discuss Bono surviving an “accident,” Bono’s really wonderful vocals, and a hook that might be the album’s best. I think I’ll be replaying this one quite a bit.

Landlady: Keeping things pretty light, I once again really like Bono’s really nice vocals on this track and the lyrics feel pretty personal and solid. I’m not too drawn by the hook on this one, but it’s a pretty decent song overall.

The Blackout: I love the guitar intro on this track! I also really like how Bono talks about the band’s musical relevance on this track, his vocals remain sharp, the drum beat is straight but plenty of fun, the sound changes throughout are really interesting, and the hook is pretty memorable. Great track!

Love Is Bigger Than Anything In Its Way: With the more filtered vocals on the intro, I felt like this was going to be more of a “modern-sounding” track, but this more piano-heavy song actually feels like a wonderful balance between the old and the new! I once again also really like the more positive, love-driven lyrics on this song, the bright sound is wonderful and, as short as it is, the hook is plenty memorable! I had a lot of fun with this track, I really liked it!

13 (There Is A Light): The final track on the “non-Deluxe Edition” of the album is once again extremely light and kind of minimal, but Bono’s vocals are still quite nice, and I like the lyrics on this track, talking a lot about keeping the metaphorical “darkness” away by shining the “light” on it with love and kindness. The hook is also very sweet, and I think it feels like a really appropriate (and really strong) ending to the “non-Deluxe Edition” of the album.

Ordinary Love (Extraordinary Remix): A Golden Globe-winning song in 2013, this new Remix to “Ordinary Love” is exclusive to the Deluxe Edition of the album, and it’s a pretty fun, bright, energetic track with some more solid vocals from Bono and a catchy drum-beat. I probably won’t play it on loop or anything like that, but it’s a pretty fun listen overall.

Book of Your Heart: Another more “electronic” song that features some nice, more subdued, and filtered vocals from Bono. I like the brighter instrumental on this song, but I don’t really find the hook all that memorable, especially compared to some of the other hooks on this record. It’s not a bad track overall, though, just not one of my favorites.

Lights of Home (St. Peter’s String Version): A more string-heavy version of one of my favorite songs on this record, a lot of what I said about the original version applies here. The extra string track just serve to make the song feel a bit more epic. I do still like the original version a bit more, but this version is still pretty great, and I feel like I’ll be able to enjoy the song, regardless of which version I choose to listen to.

You’re the Best Thing About Me (U2 vs. Kygo): This track is supposed to be exclusive to the CD version of the “Deluxe Edition,” but apparently, it made its way to Spotify, so I was able to listen to it. Kygo has done some remixes that I’ve really enjoyed before (look no further than his re-creation of “Starboy”), but I was interested to see what he would do with this track, and while I think he successfully keeps it pretty faithful and fun, and I think the hook sounds a bit more fun on this version, there’s something I like better about the original cut. I’m thinking it’s that I like the original version’s instrumental breakdown, and I’m not crazy about this song’s drops. Still, it’s a nice end to the album overall.

Overall, I didn’t know what to expect, but I really enjoyed this album! U2 shows me on this album that they can maintain a strong balance between their older, established sound, and a more modern, “current” sound, and I think they nicely re-established their musical relevance, if it was ever gone before. Beyond the sonic, instrumental merits of the record, I also really love the layered lyrics and Bono’s vocals throughout the songs on this record. And even if there were a few not-so-memorable hooks on one or two of the songs on here, the songs with good hooks were very memorable. This one might polarize some critics, U2 fans, and general music lovers, but for me, this was an album I had a lot of fun with, and I’m glad I gave it a listen.

I’m probably in the minority on this one, though.

Favorite tracks: Lights of Home, You’re the Best Thing About Me, Summer of Love, The Little Things That Give You Away, The Blackout, Love Is Bigger Than Anything In Its Way, 13 (There Is A Light)

Least favorite tracks: The Showman (Little More Better)

Rating: Excellent (yes, strike me down for that)

Kendrick Lamar "To Pimp A Butterfly" Album Review

It’s high time I gave this a listen: it’s finally time for my review of Kendrick Lamar’s 2015 album “To Pimp A Butterfly.” If you go all the way back, you’ll see that the first review on this site is Kendrick’s latest album “DAMN.,” which I absolutely loved and still love, for that matter. However, ever since I listened to “DAMN.” (and even before that, for that matter), I’ve been hearing that “To Pimp A Butterfly” is even better, and that it’s potentially one of the best rap albums of the decade. So, I definitely wanted to give it a listen. Let’s see if I end up loving it as much as I loved “DAMN.,” shall we:

Wesley’s Theory (ft. George Clinton and Thundercat): A really funk-driven song, Kendrick talks on this song about the music industry, in ways alluding to the industry as his “first girlfriend.” It’s a really interesting listen, and I also like the way the song kind of alludes back to Wesley Snipes and his income tax conviction. It’s an interesting start to the album, for sure, and beyond all of the interesting ideas it presents lyrically, it’s energetic, instrumentally wonderful, and it also features the same great flow that we expect out of Kendrick. Great start to the record.

For Free? (Interlude): Wow…wow…this track, absolutely blew me away. Kendrick does a better job in a 2-minute interlude than a lot of rappers can do in full-length songs. His rapid-fire flow on this track is absolutely incredible, and the way he speaks to this “woman” during the track (and the way that he connects this woman to America) is really intriguing to me. Even for a short interlude, Kendrick pulls no punches, and he creates such an incredible, memorable track.

King Kunta: Another really funky, head-nodding track, Kendrick refers to Kunta Kinte, a fictional slave, as a king to show that he is at both the highest and lowest point in life: he feels he is oppressed but still powerful, and he discusses how on this track, he’d rather be broke and remain humble than to give in to the industry. And even beyond the lyrical content, the song is bouncy and exciting, it features a typically strong performance from Kendrick, and the hook is really strong. The track also ends with the first line of a poem that Kendrick adds to throughout the album. Another fantastic song.

Institutionalized (ft. Bilal, Anna Wise and Snoop Dogg): Kendrick takes things a bit slower on this track that talks about how people are so blinded to have as much money as possible, and how the idea of being rich blinds and corrupts us. He does this through a track that is light, dark, and mysterious but still featuring the same strong flow we’ve always gotten out of Kendrick (the addition of some voice manipulation definitely helps), and we also get some strong guest performances from Bilai, who performs the hook, and Snoop Dogg, who raps on the bridge and the outro, and does a great job setting the stage for Kendrick’s story. Another strong track all-in-all.

These Walls (ft. Bilal, Anna Wise and Thundercat): Another really funky track, Kendrick explores different metaphorical walls on this song, from the walls of a woman’s genitals to the walls of a prison cell, to the walls inside his mind. The “walls” he discusses represent a form of imprisonment on an entire sexual situation he encounters, and through incredible wordplay, he creates lyrics that are layered and meaningful, and he performs them over a really fun, rather sexy track that has a really fun hook from guest artists Anna Wise, Thundercat and Bilai. On this track, he also further continues the poem from “King Kunta,” now discussing how he misused his power as a “king” and thus, feeling resented, he goes on an alcohol-driven rage in his hotel room. Another track with a lot going on, and one that remains so powerful and fantastic.

u: Beginning with Kendrick’s screams (thus serving as a continuation to the portion of the poem seen in “These Walls”), Kendrick goes into the darker recesses of his mind and heart on this song, discussing his own negative thoughts that purge him, and continuing from the idea of the rage in his hotel room, his last two verses feature him getting more and more depressed about himself, drinking himself to death and rapping despite being at his emotional lowest. He also delivers a really emotional performance that was enough to almost bring tears to my eyes. Really incredible track.

Alright: A song that’s almost become iconic at this point, this track is often seen as the anthem of the Black Lives Matter movement, and something of a second-coming of “We Shall Overcome” for black youths. And beyond its anthem-like nature, it’s just a truly incredible song. A catchy hook with a positive message of “we gon’ be alright” perfectly accompanies some verses that feature some really incredible flow from Kendrick, a really great instrumental, and fantastic lyrics about finding trust in God to help achieve solidarity. He also continues the poem last seen in “These Walls,” now discussing how, in his rage, he ran from the devil to find himself. There’s so much going on in this song, and it’s one of Kendrick’s most powerful, resonant, and fantastic songs to date.

For Sale? (Interlude): Continuing from the poem’s discussion of “Lucy,” Kendrick begins the track out of breath on his search for “answers,” Kendrick spends this song talking about “Lucy” (obviously short for “Lucifer”), who he portrays through a woman trying to take him away from God’s visions. He recites the poem again, adding on a line that, on his run for answers, he found himself returning home. He does all of this through a really dark track that features Kendrick putting on a far different voice but nonetheless reminding us of his really strong flow. It’s a great song with a really interesting story behind it.

Momma: On this track, Kendrick reveals that he outran Lucy and returned “home” (what that home may be is up to interpretation), and he talks about how he has grown and come to accept himself in a track that is layered and filled with different meanings. The instrumental on this one is also really interesting, and Kendrick’s flow remains unmatched. And even when the song changes its feel on the outro, it still sounds wonderful, and the fact that Kendrick uses a fade-out on the ending kind of makes me want to hear more. It makes me wonder if there was more he wanted to say on this one.

Hood Politics: With this track, a slightly higher-pitched, younger Kendrick transports back to a time when he was just a child, knowing only of the area he lived in. He does go on to discuss things like politics and the rap industry, in a track that features some interesting tonal changes, a strong instrumental sound, a pretty catchy hook, and typically impressive flow from Kendrick. He also continues the poem from “For Sale?” but this time, there’s a lot more to be said: even though Kendrick returned home, he questions whether or not he really made it out of the ghetto successfully and should feel like he succeeded. It’s another extremely layered, interesting track that begs repeat listens.

How Much A Dollar Cost? (ft. James Fauntleroy and Ronald Isley): On this track, Kendrick tells us a story where he met a homeless man who asked for 10 Rand (the African equivalent to $1). Kendrick says no and resents the man, only for the man to ask if he had ever read Exodus 14 (the story of Moses crossing the Red Sea and guiding the Israelites to safety). Still guilty, the homeless man reveals that he is God and that Kendrick has lost his place in Heaven. It’s a really interesting story, and Kendrick tells it through a song that features some really great flow, a solid, sort of atmospheric hook, and a punchy instrumental. Once again, great song.

Complexion (A Zulu Love) (ft. Rapsody): Another pretty funky, punchy track, this one features Kendrick discussing colorism, and reminding us to love those around us, regardless of how light or dark we are. It’s a really bright, really nice track that features more strong flow from Kendrick, a pretty fun hook, and a strong guest performance from Rhapsody. This is another one I feel like I’ll be replaying quite a bit, a great track.

The Blacker the Berry: Heading towards the end of the album now, this song discusses the idea of self-hatred of your own race. Kendrick does it through a much more angry performance, feeling aggression towards the haters of his black skin, and uncredited featured artist Assassin explores this idea on his very angry, patois-driven hook where he talks about the pain that is experienced as a result of having black skin. Yet another really powerful song that I think will only get better with repeat listens.

You Ain’t Gotta Lie (Momma Said): Once again, Kendrick attempts a far different vocal sound on this track, speaking from the perspective of his mother giving him advice, and throughout the song, he talks about the crossroads that someone can reach when they are stuck in a state of not being one of the most successful people in the world, but not being anonymous to the point of going unnoticed by those around you. This is conveyed on a track that is a bit looser and slightly brighter than some of the others on the record, and it also features a pretty fun hook and strong flow from Kendrick. Once again, great song.

i: Contradicting the messages that he spreads on the song “u,” Kendrick makes a far more positive track with “i,” and the track provides a sense of redemption not really seen in a lot of the other tracks seen on the album. He does this in a really upbeat, bright, vibrant track that’s really fun, and I really like how in the song Kendrick breaks up the spoken argument and tries to keep the spread of positivity alive on this one. His a cappella verse is extremely strong on this one. Another great track.

Mortal Man: I’m not even gonna lie when I saw that this was the final song on the album and that it’s 12 minutes long, I got pretty scared. You guys know that it takes a lot for me to love a long song, and a 12-minute one? Even wilder. Still, I had confidence that Kendrick could handle it because he’s Kendrick. And, as it turned out, he did handle it well! Name-dropping a lot of people on this one, the instrumental is really nice, Kendrick’s performance is once again rock-solid, and Kendrick’s many discussions on loyalty are really fascinating. And the reason the track is 12 minutes is that it ends with an “interview” Kendrick had with 2Pac (which is essentially a series of voice recordings of Pac that Kendrick fit over his own voice), where he read the completed poem, one that is actually about racism and discrimination. The final poem is so powerful, as is his discussion with Pac, and it’s what keeps the song so interesting for the entire duration. Really a fantastic end to the album.

Overall, I can’t believe I waited to listen to this album in its entirety, because it’s really an incredible album. Kendrick pours his heart and soul into this record, and his abilities as a lyricist and a rapper are on full display here. On this, he creates songs that are incredibly layered and meaningful, songs that can be interpreted in several ways, songs that spread messages, and songs that tell stories. Kendrick tells stories that are well-crafted, poignant, and intense, and his performances throughout the album reflect the many different emotions that go on inside of his head throughout the record, and from there, he makes what is one of the strongest rap albums I’ve ever heard. While I’m a little ashamed I listened to it as late as I did, I’m glad I listened to it at all because this is one of those albums I think we’ll remember decades from now as one of the all-time greats.

Way to go, K-Dot.

Favorite tracks: ALL OF THEM

Least favorite tracks: NONE OF THEM

Rating: Excellent

Post Malone "Stoney" Album Review

I’m sure you guys weren’t exactly expecting this review, but today I’m gonna be taking a look at the Post Malone 2016 album “Stoney.” It might seem like a strange choice, but Post is currently on top of the US with his hit single “Rockstar,” and he recently announced that his new album “Beerbongs and Bentleys” will be releasing on December 1st. So, since I will be reviewing that, it seemed right to take a look at his debut record. So, let’s see what he has to say here, shall we?

Broken Whiskey Glass: Post starts off his album with some kind of Western standoff-styled song, and while it’s different, it’s also really boring. and while Post’s vocals are usually pretty good, the gigantic amount of filtering on his vocals make it really hard for me to enjoy them. Definitely not the best way to start the album.

Big Lie: While this song is nothing amazing, I do think it’s relatively fun, the hook is pretty great, and I like Post’s vocals on this track. I still feel like it’s one of those tracks that’s better as background music to space out to than as a legit banger, but it’s not a bad track overall.

Deja Vu (ft. Justin Bieber): I do like Post’s vocals a lot on this track, and his flow on the verses is really fun. I’m not really all that impressed with the hook on this track, and while Justin Bieber’s vocals are solid as always, I’m not as struck by his performance on this track as I am about some of his other performances. Still, another solid, “spacing out background music” kind of jam.

No Option: The fact that Post is essentially bragging about the fact that his album actually made it out after a delay is strange to me, but the track is still relatively fun and Post’s vocals are still really solid. Nothing I’ll listen to on repeat, but nothing too bad overall.

Cold: Even though I like the instrumental on this one, the hook is extremely boring and repetitive, and the verses aren’t any more memorable. Once again, the only fun I think you can have with this track is if you’re spacing out, and trust me, I tried that while listening to the song. I had more fun with it while spaced out than I did while actually giving it a critical analysis. That’s not a good thing.

White Iverson: One of Post’s biggest tracks, this song has continued to stay fun even after a ton of repeat listens. I love Post’s vocals through the track, his lyrical connections to famed basketball star Allen Iverson are clever, even as someone that knows very little about the sport, and the instrumental is rock solid. Definitely a great song, even after all this time.

I Fall Apart: Seeing as how this song is about a breakup, here’s an even better scenario: this song isn’t just for when you’re spacing out, it’s for when you just broke up with your significant other and then just got high. Honestly, I’ve never been high before, but I can only imagine this being the song playing. Slow, boring, but still featuring some solid vocals from Post. You’ll love it if you’re not paying attention to it.

Patient: Okay, this song definitely has a bit more energy than the last few, and it’s far less boring overall. Post’s performance is nice, his flow is really fun on the verses of this thing, and this is one of the few tracks so far that’s worth listening to, even if you’re not spacing out.

Go Flex: You know, I find it kind of clever that Post is making a song about flexing, but it’s light and rather acoustic. I had a lot of fun with it, though: I like the slower beat, the kind of brighter sound, and Post’s more raw vocals keep this track pretty exciting for me. One of the better on this album so far.

Feel (ft. Kehlani): I’m repeating myself to death, but I really like Post’s vocals on these tracks. Featured artist Kehlani’s performance isn’t amazing, but she has a solid voice and her flow on her verse is pretty fun. This is another track that’s better to listen to when you’re spaced out, but it’s better than some of the other “space-out” jams on this album.

Too Young: Even with some solid vocals, the hook on this track is really repetitive, and I feel like, vocally, he was trying a bit too hard to cash in on the success of “White Iverson” with this one. His verses are still pretty fun, though, and they keep this track from falling into the pits. It’s not a great track at all, but you can do worse than this one.

Congratulations (ft. Quavo): This track features another pretty strong performance from Post, who has a lot of fun on his verse, and his hook is also admittedly pretty catchy. Quavo’s performance is not as strong as Post’s, but it’s not too bad overall. While I’m starting to tire a bit of the songs talking about the success he got from one single, this is a track that grew on me a bit with some repeat listens, and I actually enjoy it quite a bit.

Up There: This track is one of the album’s most easy-going songs, and it’s relatively fun and groovy overall. It does feel like another “listen when you’re spaced out” kind of song (especially when you consider the lyrics), but of all the “space out jams,” this is one of the better ones.

Yours Truly, Austin Post: Post ends off the non-Deluxe edition of the album with ANOTHER track talking about his success, and this is where it starts to feel really contrived. And I don’t find his vocals on this track to be as memorable as some of his other songs. It’s not one of the album’s worst, but as the finisher to the non-Deluxe album, it could’ve been better.

Leave: Another song with some more country vibes, this perfectly exemplifies the “spacing-out” thing I was talking about with Post. Even if he brings yet another solid vocal performance on the song, the mere fact that he is talking about heartbreak again just makes it feel bland. However, the song is paced well enough that this feels like good background music for when you’re zoned out, or for the opening credits of a western film. Outside of that, though, I can’t really recommend listening to it in any way, because it’s just too bland and too long for its own good.

Hit This Hard: Oh, this was a track? Sorry, I wasn’t paying attention. The track was minimal enough that, even when I did zone out, I forgot anything was even playing. But when I did actually listen to it, it was another really boring track with a weaker vocal performance from Post than many of the other songs. When a Post Malone song fails to even be successful as “spaced out background music,” there’s something wrong here.

Money Made Me Do It (ft. 2 Chainz): A pretty bright song with another really nice vocal performance from Post, despite having a kind of forgettable performance from featured artist 2 Chainz. Even so, this song feels like a small tribute to Atlanta rapper Bankroll Fresh, and it’s actually a pretty sweet song overall, even if it’s not one of the album’s best.

Feeling Whitney: Post ends off the album with a song that feels so out of whack but so fitting at the same time: it’s Post singing along to an extremely light acoustic guitar, and that’s about it. It’s easily the most minimal track on this thing, and while it feels so at odds with the rest of the album, it also feels so genuinely Post. It also has some pretty dark lyrics about Post believing he is “the man” even though he is in a difficult battle with drug addiction. It’s extremely raw, but there’s still quite a bit of passion on the track, and Post’s solid vocals kind of remind me of Jack Johnson. It’s a really strong end to the album, and I think it begs for some repeat listens.

Overall, though, I was generally pretty indifferent towards this album. Even though Post does a lot of interesting things vocally, a lot of the songs just feel too boring, and it feels like the album as a whole is a lot better if you zone out and don’t really listen to the lyrics or anything like that. If you treat the record as something you can critically analyze, you’re gonna have a rough time with it. However, if you treat the album as mere background noise (which isn’t as practical for a review, but go with it), it’s plenty of fun. I think that’s the first time I can say that an album is more fun to listen to if you’re not paying attention. Don’t get me wrong, there are some pretty fun tracks on this record, but all in all, it’s an underwhelming debut that, no matter how much it brags about the success of “White Iverson,” doesn’t do enough to capitalize on that track’s popularity.

I hope “Beerbongs & Bentleys” is better.

Favorite tracks: White Iverson, Patient, Go Flex, Congratulations*, Feeling Whitney

Least favorite tracks: Broken Whiskey Glass, Cold, Leave, Hit This Hard

Rating: Okay

(*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.)

Taylor Swift "reputation" Album Review

Alright, guys, it’s finally here: you guys have waited for this, it’s finally time for my review of Taylor Swift’s extremely-hyped, highly-anticipated, much-ballyhooed new album “reputation.” Sorry that it took so long to get here, but apparently someone has a very extreme hatred for streaming services, and her music is also heavily copyrighted on YouTube. Always fun. Anyway, Taylor Swift, major country singer turned pop singer that hardly needs an introduction: she’s seen incredible success ever since she first came into the music world with her self-titled first album. That album established her as a country star, and her next two albums “Fearless” and “Speak Now” expanded nicely on the “country pop” style. And, while I’ve never been a huge fan of her music, I did enjoy a few of her older tracks, like “Mine,” “Back to December,” “If This Was A Movie,” and “Superman,” all tracks I found to be light, pretty, and overall quite nice. However, in 2012, Taylor released “Red,” an album that took the country out of her, with songs like “We Are Never Ever Getting Back Together,” “22,” and “I Knew You Were Trouble” becoming huge successes. And while her next album “1989” brought more pop hits like “Shake It Off,” “Bad Blood,” “Style” and “Blank Space,” among others, I was generally pretty indifferent towards these records. They weren’t bad, but I can’t really say I loved them. However, this new album has been getting hyped up ever since the release of its hit single “Look What You Made Me Do.” So, let’s look to see if it lives up to that hype, yes?

…Ready For It?: I like the really loud and booming instrumental on this song, the hook is pretty solid, and while it does sound pretty familiar for Taylor, there is a pretty solid, dark edge on this track, and her performance is pretty solid overall. Good start to the album.

End Game (ft. Future and Ed Sheeran): I really like Future’s verse on this track, and I LOVE Ed Sheeran’s performance on this track, and while I initially found Taylor's "BIG REPUTATION" moments to be a little cheesy, I think she sounds pretty nice overall, especially on the hook, and the song as a whole is really fun and energetic. Definitely has grown on me with repeat listens, I like this one a lot.

I Did Something Bad: Once again, I like the darker sound on this track, and Taylor’s performance is pretty interesting, but the song just bores me. I can’t help but feel like, even with her going for a different sound, the whole “middle finger to the haters” thing she is doing already feels contrived, and we’re only three songs in.

Don’t Blame Me: Even with all of the energy on this track, it’s enough to put me to sleep. Sure, Taylor’s performance is kind of seductive, and the production is really grand, but I can’t help but feel like this “different sound” that Taylor is going for has been done by so many other artists, and far better.

Delicate: A much lighter, more-EDM inspired track that’s actually really enjoyable. Taylor reveals some insecurities on this track, and she does that well with some really interesting lyrics and a much lighter vocal performance. in what I think is one of the stronger songs on this album.

Look What You Made Me Do: Of all the songs that have reached #1 on the Billboard Hot 100 chart this year, this song is the worst of them. I do like the kind of darker edge that Taylor is trying to go for on this track, and some of the lyrics on the verses are pretty interesting, but the song is pretty much completely ruined by the clunky, bland, and overall awful hook. As I was listening to the track, I couldn’t help but wonder if Taylor had fallen asleep while recording the hook, because it sounds like even she is bored on it. It’s a track that had plenty of potential, but unfortunately, it’s less than stellar.

So It Goes…: Yeah, already, this darker “trap” sound she is trying to go for just feels boring and repetitive. Taylor’s more filtered vocals are not nearly as strong as some of her better songs, her performance as a whole is really boring, and the instrumental is, again, sleep-inducing. So adds another weak track to this album.

Gorgeous: While this song has some nice lyrics, I can’t help but feel like the song sounds like a bunch of other EDM-inspired songs we hear these days. Still, there is some charm here, a nice instrumental, and a really sweet, fun hook, so this one might grow on me in the future.

Getaway Car: I really like Taylor’s vocals on this track, and her flow is pretty interesting as well. The instrumental melody is also one of the album’s best, and the lyrical comparisons to a speeding vehicle are pretty interesting. Can’t lie, I do like this track quite a bit.

King of My Heart: I gotta say, this is another track I really like. I like the really bright instrumental, Taylor’s vocals are quite strong, the hook is a lot of fun, and I like the lyrical references to her new “kingdom” (her new sound) and the new lover that will take the crown to this kingdom. Definitely like this one a lot.

Dancing with Our Hands Tied: Unfortunately, we take a step backward on this one. While I once again appreciate the different sounds on this track, it’s again just really boring to me. Her vocals are pretty good on this track, and the production is not bad, but the song as a whole is just really boring and lacking in the usual charm that we’ve come to expect from her.

Dress: I’m not even gonna lie, as I hear this, I feel like it’s just “I Don’t Wanna Live Forever Pt. 2” without Zayn. That said, I do like that song, so by that logic, this track isn’t too bad: Taylor’s vocals remain really strong, the sexually-charged lyrics are pretty interesting, and the instrumental melody, like “I Don’t Wanna Live Forever,” is pretty good. Not an amazing song and the track it tries to be a sequel to is still better, but it’s not bad overall.

This Is Why We Can’t Have Nice Things: This is definitely Taylor’s most glaringly obvious call-out to Kanye and Kim, and it’s, again, really boring. The hook is nothing memorable, and I’m honestly laughing really hard at her extreme lack of subtlety on this track. While I do like the ad-lib where she laughs and says “I can’t even say that with a straight face,” that’s really the only memorable part of this very weak track.

Call It What You Want: Another sleep-inducing track. Taylor’s performance is nothing special, and the trap, EDM, whatever you want to call it, instrumental on this thing just feels really generic and bland. Sorry, Taylor, but you can do better than this.

New Year’s Day: Fortunately, Taylor ends off the album excellently, with a track that feels much rawer and subdued than many of the others on here. I love the really pretty instrumental on this, Taylor’s vocals are probably the best on this album, and this honestly feels like the best possible compromise between her new sound and her old sound. Easily my favorite track on this album.

Overall, though there are a few good tracks on this album, and “New Year’s Day” damn near changed my opinion on this thing, Taylor Swift’s “reputation” is a pretty disappointing new record. Taylor takes on a new sound with this album, and while I can appreciate an artist going through a natural change, this doesn’t feel natural at all: it feels like change for the sake of change, and while I appreciate that she’s trying to call out her critics and her haters, it starts to feel really forced after a while. And while there were a few good highlights on this record, as a whole, there was too much rough around the edges for me to enjoy it. I know Taylor said that she wished to be excluded from this narrative, but this only feels like a forced attempt at further including herself in a narrative that didn’t really need to be continued.

Here’s hoping I don’t get destroyed in the comments for this one.

Favorite tracks: …Ready For It?, End Game*, Delicate, Getaway Car, King of My Heart, New Year’s Day

Least favorite tracks: I Did Something Bad, Don’t Blame Me, Look What You Made Me Do, So It Goes…, This Is Why We Can’t Have Nice Things, Call It What You Want

Rating: Bad

(*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.)

Shay Amour "No Distractions" EP Review

Well, I didn’t think I’d be reviewing this, but let’s take a look at the new EP from Shay Amour, titled “No Distractions.” Shay Amour went to the same high school as me in her freshman and sophomore years (I was a junior and a senior in those years), and I’ll be completely honest, we never spoke a word to each other. However, I heard her sing more times than I can count and was always blown away by her voice. I just found out through Instagram that she released a new EP, and I wanted to give it a quick look, just to see if she sounded as good here as she did before. So, let’s go song-by-song and see what we’ve got here!

T.B.H.: I’m not even gonna lie here, I’m hearing Shay on this track and you know what I hear? The next Beyoncé/Rihanna. Vocally, she shows poise far beyond her age, and beyond that, the hook is really catchy and the beat is extremely fun. I had no idea what to expect going into this track, but it’s really enjoyable!

Supernatural: This track starts off a lot darker than the last one, and it’s a lot slower overall. Still, Shay’s vocal talents are on full display here, the hook is pretty catchy, and her flow is really fun on the verses. Really eerie, really great track overall.

No Distractions: The title track of this EP takes things back to a more bright, upbeat sound, and the hook and general instrumental melody on this track is very reminiscent of “Cold Water” by Major Lazer and Justin Bieber. Sonically, it’s head-nodding stuff, the hook is pretty fun, and Shay once again reinforces that she’s an incredible vocalist. Extremely fun, upbeat track overall.

Tell Me: Keeping things really upbeat on this one, Shay’s incredible vocals are hard to resist on this track, the beat is wonderfully snappy, and the hook on this track is probably one of the best this EP has to offer. The production on this track, as a whole, is really strong, and I think this has the potential to become a replay-button breaker for me.

They Wanna Know: Shay relies more on her rapping abilities on this track, and thankfully, her flow is really great. The song feels a bit more minimalist than before, in that it relies a bit more on the instrumental, but the beat is one of the best on the EP, and I still feel like Shay’s vocals indicate that we’re hearing a Rihanna/Beyoncé in the making. And I’m not talking about “a copycat” of those two, I think we’re hearing a singer that could be as big (and as good) as those two.

Sweet Dreams Zzzz: The hook on this track feels a bit mumble rap-esque, but it’s still really charming and fun, and Shay still finds opportunities in this song to show off her wonderful voice. Once again, the song feels a bit more minimalist than earlier tracks, but there’s a really strong instrumental behind this, and the beat is really catchy and really fun. A really rock-solid end to this EP.

Overall, Shay Amour’s first EP is really great stuff. At just (seventeen?) years old, Shay shows that she is well beyond her years, and despite the EP’s short length, there’s more than enough room for her to show that she is a vocal powerhouse. On top of that, the tracks feel like they’re really well-organized, and the production indicates there is an extreme amount of passion on the project. Even despite her “indie” status, the EP feels very professional and well-crafted, and it shows us that the potential for stardom is there. I’ll tell you this much, it’s really difficult to reach the level of modern-day stars like Beyoncé and Rihanna: to get to that level, you have to be really good. Even at such a young age, I think Shay is more than capable of reaching that level because she’s good. Really good.

Keep it up, Shay. I’m rooting for ya.

Favorite tracks: T.B.H., Tell Me, They Wanna Know

Least favorite tracks: None of them really

Rating: Excellent