KIDS SEE GHOSTS "KIDS SEE GHOSTS" Album Review

It was nice having a small break from album reviews and being relatively caught up on what I wanted to listen to, but now it’s right back into the grind: it’s time to review the new KIDS SEE GHOSTS album…it’s self-titled, so “KIDS SEE GHOSTS.”

KIDS SEE GHOSTS is a newly formed hip-hop supergroup consisting of two very well-known artists in Kanye West and Kid Cudi, both part of the GOOD Music label. Kanye needs no introduction, I’ve already covered two of his albums (including his most recent one, “ye”), and you’ve probably heard even more from him than I have. Kid Cudi, however, is someone I haven’t talked about much: in my reviews, he’s only made small cameo appearances on those two Kanye albums, and outside of his widely-known 2008 single “Day ’n’ Nite,” the most experience that I have with Cudi was listening to a small snippet of the title track from his 2015 album “Speedin’ Bullet 2 Heaven” but quickly turning it off because it was starting to make me physically ill. That’s how bad it was. And NO, I’m not gonna review that album anytime soon. Unless you pay me, I’m not putting myself through it. Much kudos to anyone that had to sit through it even once, and MORE kudos to those that had to sit through it multiple times.

I’m sorry, I’m digressing. Anyway, this was an album I wasn’t sure if I would be reviewing. On one hand, Kanye’s last two albums (the ones I reviewed) were solidly enjoyable and I had some fun with them, so even despite his strange persona and recent media brouhaha, I enjoyed “ye” enough that I wouldn’t mind covering him again with this project. On top of that, like the previous GOOD Music releases of “ye” and Pusha T’s “DAYTONA,” this one is jumping on the whole “short record that’s actually an EP masquerading as an album” trend, seeing as this is seven tracks and 23 minutes. However, as I mentioned earlier, I’ve never been too interested in Kid Cudi (even if he's had an influence on MANY of the artists I listen to), and given what I've heard about his recent output, part of me did have some worry that Cudi could potentially bring down the album to the point where the duo would feel like less than the sum of their parts. Still, early reactions to it seem pretty positive, so maybe this will keep up GOOD Music’s current trend of putting out solid (yet very short) albums. Let’s find out, shall we?

Feel the Love (ft. Pusha T): To start things out, Kanye, Cudi and Pusha T (yep, he’s here too) talk about how they feel love around them, even though there are several loud gun noises around them. Cudi’s vocals on the hook are jump-scare worthy (not that they sound bad, they’re just very weird and out-of-nowhere), but Pusha T’s verse is pretty strong as usual. The production is very minimal (there’s a cool drum beat at one point), but Kanye’s gun noises, while energetic, are pretty laughable. I feel like he wants to enter meme-territory with the gun noises, and I couldn’t help but laugh at them. They meshed well with the beat, but they were just strange. Overall, it’s got some good things going on, but it’s definitely a pretty flawed track. I want to say it’ll grow on me because of the production, but “growing on me” would require me to sit through Kanye’s gun noises a few more times and try not to laugh at them. Wish me luck.

Fire: Here, Kanye and Cudi talk about the failures they’ve had in life, and they basically talk about how said failures wouldn’t stop them, insisting that they “love all your shit talkin’.” Respect for actually liking the shit-talk. I like the kind of swingy, tambourine-driven beat on this one, and I really dig Kanye’s opening verse and his flow. It’s catchy and sticky, and the same could be said for Cudi. Sure, the both of them sound a little bit like they’re half-asleep here, but I must say they at least bring enough energy to not feel like they’re completely sleepwalking. Overall, yeah, I dig it. Pretty good track.

4th Dimension (ft. Louis Prima): Okay, hold on hold on hold on, so I was looking at the Genius.com entry for this song, as I tend to do, and apparently they said that one of the topics Kanye and Cudi talk about on this one is “accidental anal sex.” Excuse me? What in God’s green Earth is “accidental anal sex?” I may not know a ton about sex, but I’m pretty sure no one engages in anal sex, and then claims that it was an “accident.” Wow, that’s something. Either way, I didn’t really take a lot of time to think about the whole “accidental anal sex” thing because I was enjoying myself so much with the song. The duo picked a really strong sample to build this one around ("Someday" by Shirley Ann Lee), and it’s definitely got a very sticky, fun beat to it. Kanye’s verse honestly reminded me of “the old Kanye,” and Cudi’s verse featured some really great flow as well! Really like this one!

Freeee (Ghost Town Pt. 2) (ft. Ty Dolla $ign): The follow-up to the song “Ghost Town” from “ye,” this track sees Kanye and Cudi continuing to discuss the idea of self-mastery and basically defying boundaries and criticisms set on them by others. Good to see them getting away from “accidental anal sex” on this one. This one’s got a more upbeat feel to it, and once again, the sampling of "Stark" by Mr. Chop allows them to build a really fun drum beat. Even so, I personally don’t really dig a lot of the vocal performances here. Kanye’s performance on the hook is somewhat silly, Cudi doesn’t really get enough time to do much on the track, and not even guest vocalist Ty Dolla $ign can bring much strong energy. Definitely a song that could’ve been better.

Reborn: On this one, Kanye and Cudi talk about how they’ve been through so many personal issues lately, but that they are going to learn from their past mistakes, rise above them, and keep moving forward. Good message, and they talk about this over a very nice, moody instrumental with a fun, kick drum-driven beat. Cudi’s vocals are very nice here, and the hook is extremely sticky as well. Kanye once again brings his A-game on his verse, with great flow and energy, and I also like the vocal interplay here: where Kanye just raps through his verse, Cudi’s verse (and presence as a whole, for that matter) is more melodic and sing-y. They work well together and, thus far, they really bring out the best in each other.

Kids See Ghosts (ft. Yasiin Bay): I’ve said this before, but it doesn’t get more meta than self-titling your debut album, and then having a title-track on said self-titled debut album. Thus, we have the track “Kids See Ghosts” on the group KIDS SEE GHOSTS’ first album “KIDS SEE GHOSTS.” Meta, people…meta. Anyway, this song sees Cudi becoming introspective, while Kanye discusses his competition over a more catchy, bouncy beat. Yasiin Bay comes in as a feature, and he brings some decent, if not overly exciting, vocals. Kanye’s verse steals the show here, from his energetic flow and performance to his confident lyrics, but Cudi’s verse does feature some nice, if very minimal, vocals as well. Overall, the song really works in spite of its flaws, and I can see myself coming back to it quite a bit in the future.

Cudi Montage: This song samples Kurt Cobain’s “Burn the Rain,” which you’d think would be shocking if you didn’t know that Cudi’s “Speedin’ Bullet 2 Heaven” was actually an alternative rock record. All that said, though, anytime I connect/relate a song to anything from “Speedin’ Bullet 2 Heaven,” my stomach drops a bit, so I definitely went into this closing track a bit scared. Luckily, the song sees Cudi providing some really fast-paced (and really great) flow on his first verse, as he raps over a relatively head-noddy beat about the damage caused by gang-based violence. Once again, Kanye’s verse is really strong, from the rapid-fire flow to his overall charismatic and energetic performance, and he does have some nice vocals on the hook. Very good end to the album!

Overall, I’m gonna try to keep this sum-up a bit short, because a lot of my thoughts on this record are similar to my thoughts on Kanye’s “ye,” which I reviewed a week ago: it’s an enjoyable project that definitely surprised me a bit, but I do wish it was a bit longer. Kanye and Cudi really bring out the best in each other, as Cudi brings some nice, melodic vocals to the record, while Kanye brings great rap flow and solid lyricism, and much like the recent wave of Kanye West-produced albums (Pusha T’s “DAYTONA” and his own “ye”), the production on this record is strong. I was worried that Kanye would end up carrying Cudi on this one, and while I did often gravitate a bit more to Kanye’s verses on the album, I don’t think Cudi brought the record down at all or made the duo feel like less than the sum of their parts. He still played his part to make it enjoyable and make the album work.

Once again, though, the only real issue I have is that it’s too short. While keeping an album from being over-stuffed is a great thing, making a record under a half-hour and claiming it to be an “album” and not an “EP” indicates that you have some pretty high standards for the record and that every song on the “album” is fantastic. Unfortunately, not every song is, and while certain tracks work in spite of their flaws, others just don’t (off-topic, but I think this is the first time in any of my reviews where every single song on an album made it to the favorites AND least favorites, and no song was left off one or the other. I dunno, I just found that interesting). Still, it is an enjoyable project, especially considering it’s their first as this “supergroup,” and I do think that Kanye and Cudi really do have something great going on as a duo. I’m very excited to see what other KIDS SEE GHOSTS projects will drop in the future.

Favorite tracks: Fire, 4th Dimension, Reborn, Kids See Ghosts, Cudi Montage

Least favorite tracks: Feel The Love, Freeee (Ghost Town Pt. 2)

Rating: Good

Kanye West "ye" Album Review

Well, here it is, I’m sure this is the album everyone’s been waiting for, and the review anyone that reads this blog has been waiting patiently for (thank you for waiting, by the way), it’s time to take a look at the new Kanye West album “ye.”

Rapper/singer/producer/entrepreneur/life coach Kanye West is back with his eighth studio album (although, like Pusha T’s “DAYTONA,” this one is more like an EP masquerading as an album), and it’s the follow-up to his 2016 record “The Life of Pablo.” Since the release of that album, Kanye has been through some turbulent times: it started with the cancellation of the end of his Saint Pablo Tour (resulting from his frequent no-shows, rants, and cut-short performances), continued with his admittance to the UCLA Medical Center for psychiatric observation and an 11-month break from social media, and came to a height upon his return to social media, where a series of at-first innocent “life coach-esque" tweets turned into controversy. From his support of Donald Trump and pictures of himself wearing the “Make America Great Again” hat, to his claim that slavery “sounds like a choice,” Kanye seems to have done whatever he can to make sure people were talking about him, and he kept that in mind when he released the early, non-album singles “Lift Yourself” and “Ye vs. the People.”

Now, I’m walking into this album extremely conflicted because, on one hand, I did review his last album “The Life of Pablo” and I actually found it to be pretty good. Sure, it was inconsistent, messy, and flat-out unfinished even in its “final form,” but there were quite a few tracks from it that I really dug that I continue to go back to, like “Wolves,” “Saint Pablo,” and, especially, “Ultralight Beam.” On the other hand, though, I can’t really say I was all that excited to listen to this record, because with Kanye’s recent media debacle (and after hearing “Lift Yourself,” with its poopy-di-scoop lyrics and “Ye vs. the People,” which was honestly a hideous attempt for Kanye to defend himself), the less I have to talk about Kanye, the better. Still, the album is just 7 songs long, so Kanye is definitely keeping things concise this time around. That said, he is under a lot of pressure here, because at just 7 songs and 23 minutes, he leaves no room for error and every track needs to be perfect. Let’s see if he delivers on that, I guess:

I Thought About Killing You: Okay, so I heard that this thing was gonna have some controversial lyrics, but damn, Kanye starts off his album with some death threats? Okay, I’m just gonna slide away…okay, no, I can’t, but still, Kanye actually seems to talk about killing his old self on this track, as he discusses his mental state, his opioid addiction, and his recent controversial comments. The production is very atmospheric, minimal, and dreamy on this one, and I do find it interesting that Kanye has a pitch-shift on his voice in the intro, to further add to the album's theme of bipolarity. I’m not crazy about his flow when he actually starts rapping, and I think it’s kinda boring, but it does have a good vibe to it and it’s a nice starter to the album.

Yikes: Here, Kanye talks a bit about prescription drugs and addiction, and he even name-drops artists like Michael Jackson and Prince (legendary artists whose deaths resulted from overdosage in prescription drugs) to make a point about his own addiction to them. I think the hook on this one sounds very catchy, it reminds me a bit of “Wolves,” and Kanye once again proves that he can create some really interesting, ethereal production. It might not seem like a traditional banger based on the lyrics (special shoutouts to the line “Russell Simmons wanna pray for me too / I’ma pray for him 'cause he got #MeToo’d,” I thought that was a pretty hard bar), but I like how Kanye also explores his bipolarity on this cut by feeling frightened but also talking about why he loves himself. Definitely a good track.

All Mine: Something of a “tell-all” track, Kanye actually calls out several artists that have cheated on their significant others. Bold. The song has something of a church-organ intro with a pretty catchy hook from Valee and a fun first verse from Ty Dolla $ign. And while Kanye still comes through with a cheese bar every once in a while (“I love your titties, 'cause they prove / I can focus on two things at once” and “Let me hit it raw like fuck the outcome / Ayy, none of us would be here without cum” are particular lowlights for me), I like the minimal approach to the production on this one and Kanye’s energetic vocal performance is great, too. It’s not my favorite song on the album, but I do think it has a lot of potential to grow on me, it’s pretty solid.

Wouldn’t Leave: Kanye touches on his “free-thinking” on this track, talking about his outburst on “Sway in the Morning” and his “slavery was a choice” comments, using them as a point to prove that he’s thankful for his wife for sticking with him even after that ridiculous outburst. Honestly, the fact that he’s still trying to defend that as “free-thinking” is baffling, but either way, Kanye brings in PARTYNEXTDOOR, Jeremih, and Ty Dolla $ign to provide some very pretty vocals throughout the song, and they all sound nice up against the very minimal, ethereal production on the track. I also really like that Kanye talks about being loyal to Kim and makes something a tribute to the women that ride for their men even in the worst of times. It’s a really soft track that shows us a slightly different side of Kanye than most of his other work, and I like it all the more for that.

No Mistakes: Kanye reflects on the turbulent times I mentioned in my preamble, while also taking more shots at Drake and the “Duppy Freestyle” that he put out in response to Pusha T’s “Infrared.” The production on this one is far grander, and the song features additional vocals from Charlie Wilson and Kid Cudi, whose vocals are somewhat drowned out by the very loud production. Kanye’s flow is solid as always, but I do wish he had a little more time to really talk on this track. His verse just honestly felt unfulfilling to me, and I would’ve liked more presence out of him. Definitely not a bad track, but certainly not the best the album has to offer.

Ghost Town: Something of a reference to Kanye’s upcoming collaborative project “KIDS SEE GHOSTS” that he and Kid Cudi are dropping next week, this track has a really interesting sample of “Someday” by Shirley Ann Lee. PARTYNEXTDOOR comes through with some solid vocals here (even if he kinda mumble sings through his intro), and Cudi’s refrain isn’t too bad. Kanye’s verse steals the show, with a very nice vocal performance and good flow that meshes nicely with the pretty moody, somewhat spacey instrumentals. 070 Shake shows up here and she brings a pretty charismatic vocal performance on the outro as well. This track gives me a vibe that reminds me a bit of “Saint Pablo,” and I really dig it.

Violent Crimes: Ending the album off, Kanye talks about how his perspective on women has changed since the birth of his daughters North and Chicago, and he raps about how he fears for their futures and worries about how they will be treated. Just as 070 Shake closed out the last track, she opens up this one with a pretty nice, autotune-assisted vocal performance that meshes nicely with the ethereal, moody instrumentals and minimal drum beat. I also like Kanye’s very emotional performance on this cut, as it genuinely feels like he’s talking to his daughters and wanting to see them be happy. Ty Dolla $ign’s vocals on the final hook, and Nicki Minaj’s outro add some nice, extra layers to this track, and it’s a really great closer to the album.

Overall, if Kanye proves nothing else, it’s that he still has the musical chops after all this time. No, you may not agree with the things he says (I sure as hell don’t), and you may not feel inclined to listen to a new album from a man claiming that “slavery sounds like a choice,” but Kanye actually creates a really interesting record with “Ye.” It feels like he’s bearing his soul to some degree, talking a bit more about his insecurities and the things he has gone through in the time since releasing “The Life of Pablo,” and he comes through with some very beautiful tracks. He remains an interesting performer (even if he does come through with a few struggle bars here are there), and an even better producer, creating some very minimal, moody, and quite lovely instrumentals. And after how long “Pablo” was, it’s nice to see him focusing things down and not trying to bloat the album out too much.

That does, however, lead into one of my problems with the album, and the thing that really stops it from being an "Excellent" record: while I’m glad he cut down on the runtime compared to “Pablo,” I do think he cut it down just a little too much. I came out of it enjoying quite a few of the tracks, but I did feel just a little unfulfilled, and I wasn’t all the way “wowed” with it. I feel like it’s because, as I said at the beginning, at just 23 minutes, you leave no room for error and every track needs to be perfect, and unfortunately, not every song is. There are a few cuts on here that are flawed, and unfortunately, a 7-song record doesn’t leave you too much room for flawed songs. Still, while I walked away from this album not quite “loving” it, I can say that it was a surprisingly solid listen, and I definitely think it’s worth checking out. Much like a lot of Kanye’s other records, I’m sure this is gonna be a polarizing one, so it’s definitely worth listening to at least to see which side you’re on. Me? It’s not gonna be one of my favorite records of the year, but given the media storm, the craziness, and the non-album singles “Lift Yourself” and “Ye vs. the People,” this could’ve been far worse, so I’m glad I enjoyed listening to it.

Nicely done, Kanye.

Favorite tracks: Yikes, Wouldn’t Leave, Ghost Town, Violent Crimes


Least favorite tracks: No Mistakes

Rating: Good

BØRNS "Blue Madonna" Album Review

As per a request from a friend of mine, it’s time for a review of the new BØRNS album “Blue Madonna.”

BØRNS is a Michigan singer, songwriter, and multi-instrumentalist who has been releasing a series of indie psych-pop projects since 2012. He released his first studio album “Dopamine” in 2015, and this right here is his follow-up album. He has also collaborated with artists like Lana Del Rey and Titanic Sinclair, the latter of whom is well known for his collaborations with Poppy, an artist I’m sure some of you are familiar with if you’ve been reading my reviews for a while. (I’M POPPY!) Poppy, we’ve talked about this, you can talk to my readers when I’m reviewing YOUR albums. (I’M POPPY.) No, I’m not saying anything bad about Titanic, I haven’t even met him. I’m just letting my readers know that he’s collaborated with BØRNS. (I’M POPPY.) Good. I’ll see you when you drop your next album. (I’M POPPY!)

Now, where was I? Ah yes, BØRNS is an artist I’m not all that familiar with. Again, this album is being reviewed because a friend requested it. So, I have nothing to expect going into it, and sometimes that can be a good thing, so let’s see if BØRNS delivers with this project.

God Save Our Young Blood (ft. Lana Del Rey): BØRNS kicks off his album with a song that sees him singing about youthfulness and the speed of life alongside Lana Del Rey. The song's got some very dreamy, beautiful electronic production, some really fun percussion, and very great vocal interplay between BØRNS and Lana. Being my first time hearing BØRNS sing, he’s got a very nice, light voice, and he and Lana mesh wonderfully together. This is a nice start to the album!

Faded Heart: Moving right along, BØRNS discusses mortality and romanticism over a much faster-paced instrumental. BØRNS has some more filtered vocals on here, and he shows a little more range on the track as well. Where his vocals were lighter on the opener, he gives us more charisma and energy on this one. I do like the drum-beat and the rocking guitars as well, and while I’m not all that in love with the hook here, I do think this is a very fun song and I definitely see the appeal of it.

Sweet Dreams: A much more nocturnal track, BØRNS takes things just a little slower on this one, with a very laid-back feel as he discusses dreams and lost love. The track is much more minimal in regards to its lyrical content, but that’s fine because it’s led by a groovy bassline and a beat with some very nice bounce to it. I also have to say that I think the song has one of the most captivating choruses on the record. It’s got a really great vibe to it, and the filters on BØRNS’ vocals serve to help him mesh even better with the production. Really digging this one!

We Don’t Care: Another more rocking, fast-paced track with a somewhat more eerie feel to it, this one’s definitely very snappy and it’s got a really great beat. BØRNS also brings another interesting vocal performance here (even though I think the hook could’ve been better), and the bassline on this one is extremely fun as well. Not one of my favorites on the album, but it’s definitely a solid, upbeat track that’s nice to nod your head to.

Man: A track where BØRNS proclaims that he wants to be someone’s man even if the world ends, this one’s got a more hi-hat-driven drum beat and also some really cool piano melodies. The hook is plenty fun, the song has a danceable vibe and BØRNS once again brings plenty of energy with his vocal performance. It’s a bright, poppy track with plenty of bounce and a great feel, and I’m really liking it!

Iceberg: Here, BØRNS talks about his belief that his lover is way out of his league, and that she’s too perfect for him. This one’s a bit more low-key than some of the others, with a more minimal instrumental and hook, but the song does gain some very funk-driven bounce around the midway point, and the bright synths and pounding drum beat really add to the fun factor of the song. And while the hook, as I said, is very minimal, BØRNS has some very solid vocal charm here that makes the track really work as a whole.

Second Night of Summer: Hey, now I’m kinda glad this review is coming right now because, hey, second day of summer…and it’s June..and summer’s kicking off...okay, I’m gonna stop now. Anyway, here, BØRNS mentions how not even the hot weather of the summer can distract him from how badly he is trying to forget about a certain girl. This cut has a somewhat more laid-back but still vibrant feel to it, and I love how BØRNS transitions from having slightly lighter vocals to exploding on the hook. The production is very easy-going and fun, and I definitely think it’s one of the stronger cuts on the record.

I Don’t Want U Back: A more emotional track with more moody production, BØRNS talks about a former lover who seems to have cheated on him and lied about it. The electronic beat on this one is really danceable and exciting, and the production is very dreamy, as are BØRNS' vocals. The hook is also very captivating and interesting, and I think this one is gonna get a ton of replays out of me in the future.

Tension (Interlude): A one-and-a-half minute interlude, this one sees BØRNS talking about a tension that he seems to have with a certain lover, one that leads him to ask said lover to “kick him to the side of the road.” Hmm, never really heard someone asked to be kicked to the curb in a song before. Interesting. Anyway, I actually find this interlude to be pretty damn sweet. I love the bright electronic production, it’s very danceable and vibrant and fun, and even though the track is very short, I think it really sticks and leaves a good impression. I can honestly see myself coming back to it in the future.

Supernatural: BØRNS questions the idea of external forces being an influencer on a song that has some very seductive synths and cool guitar riffs. The song is relatively upbeat but still very atmospheric, and BØRNS does bring the goods with his vocals here. My only big problem with the song is that I’m not all that crazy about the hook, but I do think this cut has a lot of potential to grow on me in the future.

Blue Madonna: Lana Del Rey actually returns to provide some vocals on this very seductive song, as BØRNS pictures a lover running back to him, and him making her feel like a virgin. I like the bassline on this one, and I think BØRNS and Lana once again have some solid vocal interplay, but I don’t think the track sticks with me like some of the others on here, and the lack of a hook doesn’t help as much. It’s certainly not bad, and it might even grow on me in the future, but I don’t find it quite as exciting as some of the other songs on here.

Bye-bye Darling: To close things out, BØRNS sings about the idea of life moving forward and saying goodbye to old times (fitting way to end the album, I might say) on a very piano-driven, ballad-esque track. While the song is led primarily by the piano, there’s also a very nice, light drum beat here along with some of BØRNS’ trademark electronic production. The synths here do feel a little bit out-of-place at times, but they definitely serve to make the song a bit more interesting, and BØRNS' vocals are again quite pleasant. It’s not my personal favorite song on the album, but it’s a thematically fitting song to end off of (given that the lyrics see BØRNS frequently saying goodbye), and I personally couldn’t think of a better song to put at the end. It’s definitely a nice-sounding track, too.

Overall, I’ve got to say, I’m glad I listened to my friend who requested this because I really dig this album! Being my first experience with BØRNS, I find him to be a really compelling and interesting artist that has a really keen ear for production and plenty of vocal charm. I’m also particularly pleased because, with some of my recent reviews from artists/bands like Snow Patrol, James Bay, and Pusha T, where part of me feels like I would’ve enjoyed those projects a little bit more if I was more familiar with the artists’ previous releases, I feel like this is a very accessible album that’s easy to jump into, even if you have no familiarity with BØRNS. I definitely think that he shows a lot of range in his styles, mixing upbeat and danceable songs with more laid-back and atmospheric cuts, and he also shows strong vocal range, mixing in some lighter vocals with more energetic and charismatic performances, and pretty much sticking the landing with each style. Definitely really dig this project, and I’d really like to hear more from BØRNS in the future!

Favorite tracks: God Save Our Young Blood, Sweet Dreams, Man, Iceberg, Second Night of Summer, I Don't Want U Back, Tension (interlude)

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

Rating: Excellent

Pusha T "DAYTONA" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rating: Not For Me

James Bay "Electric Light" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Favorite tracks: Us, Fade Out, Slide

Least favorite tracks: Sugar Drunk High

Rating: Okay

Snow Patrol "Wildness" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Least favorite tracks: A Youth Written In Fire, Soon

Rating: Okay

Shawn Mendes "Shawn Mendes" Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rating: Excellent