Janelle Monáe "Dirty Computer" Album Review (90th Review)

And of course, on the topic of albums that I missed reviewing on time as a result of intense finals, what better one to talk about than one of the year’s most well-received albums thus far? And what better time to talk about it than in my milestone 90th review! It’s time to take a look at the new Janelle Monáe album “Dirty Computer.”

Janelle Monáe is an Atlanta-based singer, songwriter, rapper, actress, and model, among several other things. who broke through with some EPs that go as far back as 2007 before really hitting it big with her first studio album “The ArchAndroid” back in 2010. She followed that with “The Electric Lady” back in 2013 (though not before receiving a prominent feature on the Billboard Hot 100 #1 single “We Are Young” by fun. back in 2012), and she also saw some major acting roles in films liked “Hidden Figures” and the Academy Award winner for Best Picture in 2017, “Moonlight.” Now, she’s here with this new album, one that’s not only been getting rave reviews but has gotten a lot of buzz thanks to its early singles, specifically “Make Me Feel.”

Now, while Janelle isn’t an artist I’ve listened to regularly, I’ve always had respect for her. Back in high school, I took a class known as “Black Music as Rebellion,” and while I don’t really remember a lot of the class, I do recall Janelle’s music being featured quite a bit (it probably helps that I took the class in the 2013-14 school year, and “The Electric Lady” released pretty much right at the beginning of the school year), and I do remember enjoying it quite a bit. Not only that, but having recently listened to “Make Me Feel,” I thought it was a very infectious and really great single, so I wanted to give this record a shot and see what it’s all about. Is it worth the hype? Let’s find out!

Dirty Computer (ft. Brian Wilson): The first track on this album introduces the complexities of what is the “dirty computer” and how we are all essentially born as computers. Right off the top, I like the somewhat swingy feel of this track, and I love Janelle’s harmonizing with Brian Wilson as well. Right when it started, I fell in love. There’s a really beautiful vibe to the track that I’m sure will keep me listening far in the future.

Crazy, Classic, Life: Moving right along, we have a song where Janelle talks about how she wants to be able to live in a world where people can feel like they want to be themselves without being so harshly judged. I feel that, Janelle. I really like the very bright, vibrant instrumentals on here, and I think Janelle’s performance oozes charisma. The hook on this one might need to grow on me a little, but I feel like it’s got a really good vibe to it and some strong lyrical content (especially in the outro). I really liked this track!

Take A Byte: When this started, it almost felt like an extension of “Crazy, Classic, Life.” It keeps the very danceable and bright feel of the last track, and it features Janelle making several biblical references, taking inspiration from the Book of Genesis. She’s got some great vocals as always, her performance is very charismatic, and the song once again has a really great vibe to it. And if nothing else, how many artists do you know that can mix the story of Adam and Eve with computer language? Probably not many, so Janelle has my respect not only for doing that but for pulling through with a great song in the process.

Jane’s Dream: It’s a 19-second instrumental that leads into the next song. I’m sure Janelle, being forward-thinking and unique like she is, placed this track on here for a significant reason (probably has something to do with computer jargon again), but without the context of the 46-minute short film Janelle released with this, it’s just an interlude, so there’s not much to say.

Screwed (ft. Zoë Kravitz): A song with a pair of meanings, in that it talks about sex, while also talking about America, with its use of the term “screwed.” Again, Janelle is over here making double-meanings out of some completely different things, and dammit all, she’s sticking the landing. This song has a really cool vibe with a really great guitar track, good vocal interplay between Janelle and featured artist Zoë Kravitz, and some pretty great lyrics. I found myself chuckling about how Janelle and Zoë were constantly saying “let’s get screwed” on this track, and how she related sex to the state of America on here. Really good track!

Django Jane: Something of a continuation of “Screwed,” this is a straight rap track where Janelle talks about female empowerment and her past accomplishments. I have to ask after hearing this, why is Janelle Monáe not charting on the same level of girls like Nicki Minaj and Cardi B? No disrespect to them at all, and obviously, I’m not trying to turn this into a competition, but wow, Janelle really has some great bars on here, strong flow, and a performance that just oozes genuine, effortless confidence. Janelle really pulls through with an amazing track right here, one that begs you to come back more and more in the future!

Pynk (ft. Grimes): A synth-driven song featuring Canadian musician Grimes, this one uses the color pink (or, “pynk,” as the song says) as a euphemism for vaginas, though it's also used in several other metaphorical ways. The song is essentially Janelle celebrating the female body in all of its forms and variations. Janelle’s voice has a much softer tone this time around, but her vocals remain very beautiful, and Grimes comes through with some really gorgeous production and a very danceable beat on this track. I think I’ll definitely come back to this one quite a bit in the future!

Make Me Feel: The first single released from the album, and one that kinda shook the music world upon release as everyone immediately fell in love with it (myself included), this track sees Janelle embracing her sexuality, and doing so over some absolutely brilliant production. Her vocals also remain incredibly charismatic and exciting, the hook is possibly one of the most captivating choruses of the year, and the song itself feels like an incredible throwback to the 80s. Forget being one of the best on the album, this might end up being one of the best singles of the year when all is said and done.

I Got the Juice (ft. Pharrell Williams): Janelle collaborates on here with Pharrell Williams and it seems like she says “down, dog” as a way to tell men to stop trying to be “dominant.” I really like the production on this track, and I like the pre-chorus a lot, though I’m not 100% hooked on it. Probably because the chorus itself isn’t the strongest on the album. Still, I do like Janelle’s charismatic vocals on this one, and Pharrell’s verse is plenty of fun, too. Not my favorite on the album, but it’s still a good track!

I Like That: Another track that sees Janelle talk about her sexuality and embrace it, I really love her vocals a lot here. This song in particular is a great showcase of her vocal talents, and I also find something really clever in the lyric where she says “I’m the random minor note you hear in major songs.” The production is also sharp, with a really solid 808-driven beat and a nice, bright sound. The vocal harmonizing is also really great, and Janelle’s rapping on her third verse is very strong as well. Definitely one of my favorites on the album.

Don’t Judge Me: Here, we have Janelle talking to us about the media and her fans, and she basically tells them to accept her for who she is. It’s got a very nice, slow-jam kind of feel, and it’s got more of Janelle’s very beautiful vocals. The lyrical content is also pretty great, I particularly like the line “even though you tell me you love me, I’m afraid that you just love my disguise.” That honestly sounds like nothing I’ve heard before in a song, so respect to Janelle on that. It does feel like the song goes on a bit too long at points (it is 6 minutes long, mind you), but it’s definitely a really enjoyable track.

Stevie’s Dream: A track with a spoken word bit from the legend himself, Stevie Wonder, this 47-second cut once again probably makes more sense in the context of the short film Janelle released alongside this album. As it is now, it’s just a short interlude, but it’s still an interesting concept and the little bits of instrumentals behind it are nice enough.

So Afraid: Given the name “So Afraid,” it seemed likely that this track would see Janelle in a more vulnerable state. And sure enough, it does, as Janelle legitimately talks on the hook about how she’s afraid of love. It’s a lighter, more downbeat track compared to a lot of the rest of the album, and it features a somewhat more minimal instrumental behind it, but it has cool guitar riffs and some very beautiful vocals from Janelle. Not one of my favorites on the album, but I feel like this one will grow on me with repeat listens.

Americans: Ending off the album, we have a track that tackles racism head-on. She does that over a bright, poppy instrumental and she sings some great lyrics that talk about a number of the societal problems America is still facing, from sexism to homophobia to immigration to police brutality. It’s an important call for action, and it’s the one we need. Beyond the great lyrical content, the song itself is also a great general listen, with even more charismatic vocals from Janelle and very punchy production. This is how you end an album right here, definitely an amazing track!

Overall, Janelle Monáe comes through with what will most likely end up being one of 2018’s best albums. Janelle tackles a number of different important topics on this album, some personal and some pertinent to the world around us, and she circles them back to this interesting concept about “computers.” She proves here that she’s great with concepts and she’s very forward-thinking, and she takes the album down several roads while showcasing the ability to tie them all together nicely. And beyond the very great lyrical content throughout these songs, it also just so happens that Janelle is an amazing singer and rapper with quite an ear for production, thus allowing her to make an album that has plenty of very vibrant, energetic songs that are accessible but stronger than the average pop song. This was a fantastic album, and I’m glad I got to look at it for my 90th review. No better way to celebrate a milestone than with an album that will go down as one of the year’s best!

Favorite tracks: Dirty Computer, Crazy, Classic, Life, Take A Byte, Screwed, Django Jane, Pynk, Make Me Feel, I Like That, Don’t Judge Me, Americans

Least favorite tracks: I guess the “Dream” tracks? Nah, it's not fair to be that harsh to tracks that aren't even a minute (and probably make more sense in the context of the short film), so……yeah, none of them, really.

Rating: Excellent

Dua Lipa "Dua Lipa" Album Review

Here’s another catch-up review for you guys! It’s time to look at the 2017 self-titled debut album from Dua Lipa.

Dua Lipa is a London-born singer who has been making music since 2015. Even before the release of this album, she was featured on the Sean Paul song “No Lie,” which is a track I really like and I wish charted a bit higher here in the states. This album made her a pretty hot commodity over here, however, thanks largely to decent-sized singles like “IDGAF” and “Scared to Be Lonely,” though none have been bigger than “New Rules,” which has thus far peaked at #6 on the Billboard Hot 100. I missed this one last year and, with news that Dua Lipa has started working on material for her next album, I figured that now would be a better time than ever to take a look at her first album. So, let’s do it!

Genesis: Starting things off, we have a track that talks about love, but through a rather biblical lens, comparing her relationship to the beginning of the universe. I…honestly don’t really know what to say of this song. It’s got a snappy beat, sure, and Dua’s vocals are nice and all, but…I don’t know, I can’t really think of too much to talk about with it. It’s a fine track with a rather interesting concept, but it doesn’t necessarily excite me or beg me to come back to it. Maybe there’s something I don’t get about it and I’ll have to come back to it in the future? I’m not too sure.

Lost In Your Light (ft. Miguel): A track about being carelessly in love with someone, this one’s got a very funky beat, and I like the vocal interplay between Dua Lipa and her guest vocalist Miguel. It’s a very easily danceable song that also doubles as a good showcase of the talents of its vocalists, and while I wish the song didn’t really end so suddenly, I can see this getting some replays. It’s definitely some good, catchy pop that doesn’t feel like every other song out there.

Hotter Than Hell: A song that sees Dua Lipa embrace more of her dark, bad-girl side, I have to say that I like how this one works around some of the typical bland tropes that electronic songs tend to carry. A lot of them just feel too generic, and this one does have some of that formula to it, but it’s able to transcend those negative tropes because it’s so easily catchy, and it really showcases Dua Lipa’s very confident, exciting vocals. Really like this track a lot!

Be The One: The first single to release from this album, Dua talks on here about wanting her lover to return to her. I like the very bright, fast-paced instrumentals on this one, and I think the hook is pretty solid on this one. Dua once again sounds very confident on this track, and her vocals are quite beautiful. Again, I wish it didn’t end as abruptly as it does, but it’s got a good vibe to it, it’s very head-noddy and fun, and I definitely dig it.

IDGAF: One of the bigger singles from the record, Dua talks about an ex of hers that seems to be creeping on her and trying to come back as a result of her fame. I like the guitar plucking on this track, and I really love the very confident tone as well. From Dua’s vocals to the catchy hook that literally says “I don’t give a fuck,” this one just drips confidence and just seems to throw the middle finger high in the air. It’s a really breezy, fun track that I think I’ll come back to quite a bit in the future.

Blow Your Mind (Mwah): Dua talks here about a relationship that seems to be staying alive because of one-night stands. Work that out. Either way, I really find this one to be one of the most infectious tracks on the album: it’s catchy, upbeat, and punchy, and I love Dua’s vocals as always. And while I personally am not all that big on “mwah” sounds (honestly, they kinda make me shiver a bit), I can stomach them here because the song is so energetic and enjoyable. Figure that out, Dua Lipa made a song that I like even with a sound that typically bothers me. That’s something right there.

Garden: Another more biblical-song, this one referring more to the Garden of Eden and focusing on themes of reminiscing and paradise, I really love the more slow-paced feel of the song. It’s another very impressive showcase of Dua’s very real vocal talents, and even when the beat gets a little bit heavier, it still remains a very beautiful song with a really captivating hook. I really like this one a lot!

No Goodbyes: Another somewhat slower, ballad-esque track (I use the term “ballad” somewhat lightly here), this one talks about a couple that’s soon to be breaking up. Even if it’s a little slower than some of the earlier songs, it’s certainly not lacking in power, as it features a very booming instrumental with a very bright sound to it. It’s a very beautiful-sounding song that once again showcases Dua’s incredible vocal abilities. And I can also appreciate this song because it takes some interesting twists and turns as an electronic track, instead of feeling like everything else out there. Great song.

Thinkin’ Bout You: Hmm, a pop artist makes a song called “Thinkin’ Bout You,” and it’s an acoustic jam? I wonder who Dua got her inspiration from...OH HI, ED SHEERAN! Okay, no, in all seriousness, while you might think there is some correlation, they are two far different tracks with two different vibes. This one’s got a bit of a faster pace to it and less of a “wedding song” feel to it. It’s still a pretty fun track with a cool guitar groove, a great hook, and strong vocals from Dua. Another potential replay-button breaker in the future.

New Rules: A song that made it into the Top 10 on the Billboard Hot 100 after a rather slow crawl (and then seemed to leave almost as soon as it entered), this is a song I’m ashamed I didn’t listen to sooner: it’s a really infectious dance-banger with a really catchy hook, really great vocals from Dua Lipa, and some pretty empowering lyrics about moving on from your ex. This is definitely gonna get plenty of repeat listens out of me in the future, I wish I had listened to it sooner.

Begging: A song about really badly wanting to be with someone, to the point where Dua talks about how her body is “begging her to beg” for another person’s love, this more piano-driven electronic track has more great vocals from Dua and a really catchy drum beat. I’m not all that crazy about the hook on this one, but it’s got a really great sound to it that really works. Not one of my favorites on the album, but it’s certainly an enjoyable track and it might even grow on me in the future.

Homesick: A piano ballad about finding some kind of meaning in your relationship when the other person in said relationship isn’t with you, I definitely love the stripped-back production on this one, and I think Dua definitely has an ear for hooks with this track. And I like her vocals quite a bit, and I also find it fascinating that this cut features uncredited vocals from Christopher Martin (the lead singer of Coldplay), and I think there is a great interplay between the two of them. It doesn’t really excite me, honestly, but I feel like it’s an appropriate end to the “non-Deluxe Edition” of the album, and it’s a really nice ballad altogether.

Dreams: The first of five bonus tracks, I like the very upbeat feel of this one, and I like Dua’s performance and flow on her verses here. I also really like the pre-chorus, where Dua sings “can I get it like that, that, that, let me know,” it’s really catchy. At first, I was not all that crazy about the hook itself, but it definitely became catchier when I heard it back a couple of times. Overall, it’s got a really cool vibe to it and I'm happy to say it’s grown on me a lot with repeat listens.

Room for 2: Another far more stripped-down, somewhat minimal track, this one consists of a light instrumental, as Dua’s vocals are front and center here. I love her passionate and expressive performance on the verses, and I also like how it changes up on the hook when things begin to feel a bit more eerie and mysterious. It’s far different from what a lot of the album has to offer, but Dua really sticks the landing on this one and creates a really good track!

New Love: Another more eerie-sounding track about heartbreak, this one is also not lacking in energy, as it has a pretty pounding, really interesting drum beat and a very powerful performance from Dua. I also found myself really liking the hook on this one, it’s very energetic and, even for a more downbeat song, pretty danceable, and it also once again shows us Dua’s strong vocal range. Definitely feel like I’ll be coming back to this one in the future!

Bad Together: A song about two damaged people finding love for one another and hoping it will fix their problems, this one also has something of a dark edge to it sonically before exploding into something brighter on the hook. Said hook is really catchy and memorable, and the song as a whole is led by a pretty cool 808-drum beat and more very beautiful vocals from Dua. For as danceable as it is, it’s a track that also feels pretty emotional and, overall, really likable.

Last Dance: The final song on the Deluxe Edition was oddly released as the album’s second single, but excluded from the standard tracklist. Wonder what went wrong there. Either way, the song has a darker, somewhat more downbeat feel to it (well, before the breakdown on the hook), and it talks about wanting to love someone like it’s the last day you two will be together. I like said darker feel on the verses, and luckily, the breakdown has a cool vibe to it, too. It’s a very emotional track that’s powered by Dua’s beautiful vocals, and it’s a really great end to the Deluxe Edition of the album.

Overall, I don’t really have much to say in my sum-up to this, but Dua Lipa’s debut album is a very infectious and fun collection of neat electro-pop songs. It’s a good showcase of Dua’s incredible vocals, and it takes some neat twists and turns on the typical electronic/pop song. Even if her vocals sound somewhat familiar throughout the album, she still oozes expression and confidence throughout the album. Sure, a lot of the songs seem to circle back to the same topics, but she manages to keep them interesting with her solid ear for production and strong hooks. Is it one of my personal favorite albums ever? Probably not. Did I love a vast majority of the album? Yep, and I’m sure you guys will, too.

Favorite tracks: Lost In Your Light, Hotter Than Hell, Be The One, IDGAF, Blow Your Mind (Mwah), Garden, No Goodbyes, Thinkin’ Bout You, New Rules, Dreams*, Room for 2, New Love, Bad Together, Last Dance

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

Rating: Excellent

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

Thirty Seconds to Mars "AMERICA" Album Review

I know, I’m REALLY LATE to this album. Sorry about that, but it’s finals time at school, so I’ve been busy and I’m just slowly catching back up to these new albums. Hope you guys are doing well, though, hope your April is ending off nicely and I hope you all have a great Summer and whatnot! In any event, it’s time for a review of the new Thirty Seconds to Mars album “AMERICA.”

Thirty Seconds to Mars is an alternative rock band fronted by Jared Leto, not only a talented singer and multi-instrumentalist but also an Academy Award-winning actor. This band has been around since 1998 (the year of my birth), and this is their 5th full-length album and their first since 2013. Now, I’ve appreciated the group from afar thanks to tracks like “The Kill” and “Kings and Queens,” but I’ll be honest, I had NO expectations for this album. EVERYWHERE I LOOKED, someone was saying something bad about it, and it just seemed like the general consensus was “this album sucks.” But, ya know, I’m a glutton for punishment, so I’ll occasionally subject myself to terrible albums. Let’s see if this is one of them!

Walk On Water: Off the bat, I’m not excited because Eminem started his last album off with a song called “Walk on Water,” and that album turned out to be less-than-stellar, so my stomach is kinda turning on this one. And off the top, it’s a song about joining together and being together as one. Obviously, this album is gonna be politically-minded, but I’m still nervous because the topic of "coming together as one" can be a little too easy, somewhat cheap, and really weak if done wrong. Sure, I’ve enjoyed a song like “Bridges” by Fifth Harmony despite it talking about “bridges, not walls,” but this kind of thing can come off as very preachy very easily if the song accompanying it sucks. So, does it? Well, eh. I do like Jared Leto’s vocals on this track, and the electronic production has some nice sonic elements, but I can’t help but feel like it sounds like a lot of other songs I’ve heard plenty of times before. Not terrible, but nothing all that special.

Dangerous Night: A more synth-driven song about a couple that just doesn’t seem right for each other, this one oddly works for me. I have a feeling some will be driven away by the production of the track, as well as its general familiarity, but it honestly kinda works for me. There are some cool sonic elements, and I really liked Jared Leto’s vocals here. Sure, it’s probably been done a billion times before by a billion different artists, and Thirty Seconds to Mars is probably the last band that should be making these kinds of songs, but it’s still got a nice sound to it, admittedly.

Rescue Me: A song that talks about wanting to be rescued from your own inner demons, this is a cut that unfortunately doesn’t have enough charm to make up for the abundance of familiarity it possesses. Sure, Jared Leto’s vocals are solid as always, but the synth-driven production just feels like it’s too generic and overdone, without having the excitement to make up for that, and the breakdown after the hook only helps this to feel like any other EDM song in this universe. Yeah, not digging this track. Next.

One Track Mind (ft. A$AP Rocky): For some reason, Thirty Seconds to Mars enlisted the help of A$AP Rocky on this song. Let your mind work with that for a second. And, I just want to say, when this track opened, I for some reason thought I was listening to U2’s “Summer of Love” from their last album “Songs of Experience,” and I started to wonder if Jared Leto just decided not to sing for this one, and instead just took that song and put it in here. Luckily, he didn’t, so at least the group isn’t that lazy, but man, this is generic, EDM dumpster fire at its absolute worst. Awful hook, weak breakdown, and an electronic instrumental so predictably boring it’s got no entertainment value whatsoever. Sure, A$AP Rocky’s verse isn’t all bad, but he can’t save this train wreck of a song.

Monolith: An entirely instrumental song (the only instrumental-only song on here), this too feels like quite a few things I’ve heard plenty of times before. No, it’s not a bad track, it’s got a good sound to it, and it’s suitably epic in a very movie trailer type of way, but I just don’t see myself coming back to it in the future.

Love is Madness (ft. Halsey): Once again, on the list of strange features, Thirty Seconds to Mars brings in Halsey for…whatever reason, to help them sing about a dysfunctional relationship. You know, for an album called “AMERICA,” I was honestly expecting more political themes here, not songs about relationships. And while I like some of the filters on Jared Leto’s vocals in his verses, the song just feels like yet another dull and lifeless EDM song with a Halsey feature I forgot about as soon as the song ended. Hell, it’s honestly like a skeleton of an EDM song, it’s not even a full-blown EDM song. Just the skeleton. Oh, and it felt like the song ended twice before it actually did, so, maybe a clearer ending would’ve been nice. Yeah, can we move on to the next song, please?

Great Wide Open: Once again, a song about love. You know, because this album wasn’t totally advertised under the ideology that it was going to be “political” whatsoever! Admittedly, though, this one sounds pretty nice overall, and I like Jared Leto’s vocals here. I just can’t help but feel like it's a song that's been done a few times before. I can appreciate it for not really feeling like an overly-contrived EDM track like the others (in fact, it feels a little toned-down compared to the earlier ones), but it still didn’t really sell me. A decent track, but nothing special.

Hail To The Victor: A song about victory…in some type of war, but while you might think it's talking about an actual battle, for the sake of this review, we’re gonna pretend that Jared is talking about chess in this song, because, why the hell not? Once again, this feels like generic, wallpaper EDM music with a similarly obnoxiously overdone and hideous EDM-breakdown in the hook. It’s songs like this that make me wonder why rock bands feel the urgency to step so far into EDM at this point (and it also makes me happy that Judas Priest kept things super metal on “Firepower"). It’s just bland and weak, and it needs to stop.

Dawn Will Rise: Oh, so you think that by having a French introduction on this song that you’re gonna win me over? Well, guess what? Non, tais-toi! That’s French for “no, shut up” if you didn’t get it. But anyway, I almost forgot a song was playing when this one was on. It’s so dull and flat and emotionless, and at first, I liked the somewhat stripped-back feel of it, but then you added in the electronics again, and bam, you lost me. And then you add in another weak breakdown, and I’m not coming back. Bye.

Remedy: Jared’s brother Shannon Leto sings the lead vocals, talking to Jared and trying to make sense of his emotions. Some are of love, others are not. Once again, it takes a stripped-back approach, consisting only of an acoustic guitar track and Shannon’s vocals. It’s a simple song, but I like Shannon’s vocals and the lyrical subject matter of the song. It’s pretty emotional, and there’s even a chance I’ll come back to it in the future.

Live Like A Dream: A track that starts off really nicely and stripped back (it’s just that acoustic guitar), but eventually turns into another one of those very weak, run-of-the-mill EDM songs with a chant from the crowd thrown in there for good measure. Here, Jared talks about…you know what, I don’t even care anymore, it’s not political, despite what you might be lead to believe, and it’s not good, which you probably will be led to believe.

Rider: The final track on this painful mess has a really cool, somewhat sinister intro to it, with some nice choir singing and cool guitar plucking, but once again, it moves away from that feel, though instead of moving towards EDM, it moves just towards a slightly heavier sound that just doesn’t create any excitement. There’s hardly a hook to this thing, and while there are no obnoxious breakdowns, it just feels it’s been done before. It tries a bit, but ultimately, it’s a pretty nothing special end to a really terrible album.

So, does this album suck? Oh yeah, big time. I’m not gonna waste much more of your time with this thing, but it’s clear Thirty Seconds to Mars is sticking firmly into cheap, contrived EDM beats that just feel dime a dozen. And while Jared Leto’s vocal performances are typically strong (and that’s no different here), I can’t help but wonder why he and the group called this thing “AMERICA” and advertised its political contents when this is a pretty not-so-political album overall. Easy answer: marketing ploy. Not easy answer: Probably still marketing ploy. Either way, this album really felt lackluster, and I don’t want to bore you with anything more about it, so I’m calling it here. Don’t listen to this. Please please please, just don’t. Don’t make the mistakes I made.

As Anthony Fantano said, “……….This album sucks.”

Favorite tracks: Dangerous Night, Remedy

Least favorite tracks: Rescue Me, One Track Mind, Love is Madness, Hail To The Victor, Dawn Will Rise, Live Like A Dream

Rating: Awful

Post Malone "beerbongs & bentleys" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Good stuff, Post.

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

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

Rating: Excellent

J. Cole "KOD" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Least favorite tracks: Photograph

Rating: Excellent

Lil Xan "TOTAL XANARCHY" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Don’t listen to this. Please don’t.

Favorite tracks: Shine Hard

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

Rating: Awful

Cardi B "Invasion of Privacy" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OWWW

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

Least favorite tracks: Bickenhead, Be Careful, She Bad

Rating: Excellent