I made a Spotify playlist of my favourite 50 songs of the year so far, check it out below! It arranged it backwards, the final song on the playlist is really #1
I made a Spotify playlist of my favourite 50 songs of the year so far, check it out below! It arranged it backwards, the final song on the playlist is really #1
Pop singer Bebe Rexha, mostly known for her collaborations with others, finally releases her debut studio album riding off the success of surprise hit single “Meant to Be” with Florida Georgia Line. Despite the interesting vocal quirks that have so many calling on Rexha for choruses, the team behind her delivers one of the most derivative and bland pop albums I’ve heard in a long time. Checking off the boxes of the many pop trends that are thankfully dying a slow death, Rexha sings some darker lyrics that harken back to her pop-punk experiments with Fall Out Boy’s Pete Wentz over instrumentals that largely consist of minimal acoustic guitar. The tracks are mostly interchangeable, and it’s safe to say that Expectations didn’t meet mine.
Opening track “Ferrari” is perhaps the greatest exhibition of the potential Rexha might have working with more consistent writers and producers. It’s easily the most memorable song here, Rexha displaying that surprising rock ‘n’ roll edge that sneaks into her vocal delivery at its most passionate, before a hi-hat roll drops the emotionally compelling pre-chorus back into a series of poppy whoa-ohs. Jason Evigan, whose latest hits are found on Maroon 5’s similarly uninspired Red Pill Blues, produces the track. Rexha honestly has some unique, defining aspects to her vocal delivery, but she’s stuck in the most cookie-cutter pop formula throughout this project. The next two tracks feature a chorus ripped from Meredith Brooks’ hit “Bitch” and a song which hands off half the mic time to Quavo, who just sounds so tired of being on everyone under the sun’s projects, the project eventually remembering to tack on the contractually obligated tropical house, Latin pop, triplet-flow trap and dancehall tracks as well.
The common thread uniting all of these tracks, mostly causing them to blend together, is the prominence of quiet acoustic guitar riffs, accentuated by the hip-hop percussion that dominates all genres at the moment, as if someone is trying to make us believe the “singer-songwriter” label that Wikipedia currently places beside Rexha’s name. Something like “Knees” opens beside the campfire with the telltale audible squeaks of the hands gliding along the strings, Rexha doing the bare minimum before the chorus is treated like the most casual EDM drop of all time, the percussion and swelling synths coming in to support the same acoustics. The minimalism of these tracks is presented as something much grander than it is, and this might work out fine if Rexha’s melodies were memorable, or at least catchy at all. Quite a few of these songs do sound like they could turn into SOMETHING with a bit more polish: “Sad” is one of the most energetic songs here, driven by an insistent synth-line built for the dancefloor, but the melody on top falls so flat and ends abruptly, Rexha drawing out a nasal “sahhd” and falling silent for the final bar.
I do have to give a few tracks credit here for standing out from the monotony of the rest of the pack: “Self Control”, despite riding on the same dancehall beat that was present on every song on Drake’s More Life, sees Rexha use her vocals to their maximum theatrical potential – the delivery on that “one little kiss can turn into a thousand” pre-chorus is genuinely chilling, and the chorus is one of the most immediately sticky – the slow descent into it reminds me of what turned “Despacito” into such a phenomenon. “Don’t Get Any Closer”, as well, is a great contrast between the sweet, prettier side of her voice and the darker, aggressive capabilities hiding underneath revealed with a surprise minor twist in the song, I just wish there was a little more to it – the instrumentation simply gets steadily louder and the producers call it an effective build-up.
By the time you reach the end of the Expectations and the tonally jarring “Meant To Be” is tacked onto the end, you come to understand that this is a lot more of a commercial than a well-thought out artistic work. You can feel this at a distracting level throughout the whole project, and it distills the most interesting bits of Rexha’s artistry into the most easily consumable format possible.
Favourite Tracks: Self Control, Ferrari
Least Favourite Track: Mine
Veteran pop-rock “band” Panic! at the Disco, down to its final member in multi-instrumentalist and vocalist Brendon Urie, releases its second studio album as a solo act which greatly improves on predecessor “Death of a Bachelor”. Fresh from a stint on Broadway, Urie elevates his usual flair for the dramatic here and delivers some impressively dynamic vocal lines. Most importantly though, Panic! pulls somewhat of a Paramore here and modernizes their sound, joining the current musical conversation without losing what made them unique in the first place. Their sixth studio album is potentially their poppiest, but roaring guitar underscores and Urie’s theatricality remains to ground these triumphant pop hooks in the darker, baroque atmosphere that’s always coloured their work. There are a few awkward moments of transition here and there, but Pray for the Wicked is one of their best.
Urie immediately floors the gas pedal on his huge voice when the first anthemic chorus of opening track “(F**k A) Silver Lining” explodes in listeners’ earphones, and he doesn’t let go for the rest of the project. He’s a true rock-and-roll frontman delivering some of the most pop-oriented and melodic hooks of his career, and the result is unique and refreshing. The singles across the board are some of the strongest in their career, carried by a constant, driving energy and smartly written melodies. The fast-paced and frenetic “Silver Lining” sees Urie hitting some seriously impressive high notes over a blaring horn section and a sample from a 1950s R&B track before leading into “Say Amen (Saturday Night)”, which is quintessential Panic! material with a modern update. The guitars in the background are accompanied by a chopped-up vocal sample and clacking percussion verging on a hip-hop sound, providing the perfect backdrop of crackling energy for the chorus, delivered through layered vocals and a deafening guitar pattern that Urie somehow manages to overpower.
“High Hopes” is another great single choice – I love the melody in the pre-chorus that builds up to the marching-band percussion and yet another immediately catchy chorus from Urie, which shows just how effective it is near the end of the track when the instrumental starts to strategically drop out. Urie sells all of this perfectly – his voice is built for Broadway – it’s one of the most capable male vocals in mainstream music right now. The very strong first half continues with “Roaring 20s”, which belongs in a legitimate rock musical (that half-time breakdown!) and “Dancing’s Not A Crime”, which wraps the listener in a very full sound with some warm, old-school funk pop chords. Quite a few of these tracks are great for similar reasons: an energetic horn section, music that cuts out at just the right time, a shouted anthemic chorus, but Urie sounds like he’s having so much fun, and it’s such a welcome change from the band, that it really doesn’t matter. He nods to a personal shift in character on “Old Fashioned”, believing to have been stuck in the persona of the 17-year old who initially formed the band until this album.
Panic!’s journey crossing over into the more culturally relevant styles of pop, hip-hop and EDM production doesn’t come without a few hitches, one of which is their team-up with electronic DJ Dillon Francis on “Hey Look Ma, I Made It”. Like most featured vocalists in modern EDM tracks, Francis buries Urie’s vocals in the mix a little bit more than usual, his chopped-up horn samples dominating the poppiest song on the whole project. Urie’s voice is not something that should ever be restrained. By the time a trap beat drops near the end of the project and the chanting group vocals are at their peak, it feels like we’re listening to an average Galantis track. The second half of the album is noticeably weaker than the frenetic opening 6-track run. On an album full of spectacular choruses, “One Of The Drunks” feels like it falls short, something about the sample in the back not quite clicking with the melody line. Urie’s lyrics can be periodically distracting as well, sometimes not maturing alongside the musical direction. “The Overpass” falls into clichés: we’ve heard about the “sketchy girls and lipstick boys, troubled love and high-speed noise” before. Panic! returns to familiar tropes that the audience who grew up on their pop-punk material will recognize a few times.
Pray for the Wicked is still a great return to form for a Brendon Urie who seems to be sitting comfortably on top of the world at the moment. His many successes continue with his most cohesive project yet, delivering 11 slick choruses that will be sung in arenas for years to come.
Favourite Tracks: Dancing’s Not A Crime, Say Amen (Saturday Night), Roaring 20s, (F**k A) Silver Lining, High Hopes
Least Favourite Track: The Overpass
I really gotta listen to this huh? Look at those sales! These 5SOS fans are ridiculously loyal. Anyway, pop-punk band 5 Seconds of Summer release their third studio album and first since the disbanding of OneDirection, a major component of their rise to prominence. Working more closely with major producers and writers in the realm of pure pop, as the band grows older they grow out of the cringeworthy edge that coloured their earlier work, making some more polished and modern pop music. Even so, most of these tracks feel like they’re missing the soul and energy, as if they went too far in the new direction of sanitization. A few of these tracks connect surprisingly well, but for the most part they stand just on the edge of being good, each falling victim to an overused trope or a melody line that doesn’t quite line up.
5SOS are less reliant on their unique status as a more abrasive punk band setting them apart from others here, making some pretty by-the-numbers pop music. Of course, some of the people they’re working with are absolute pros and manage to craft some pretty catchy tunes, but there isn’t much about the delivery of frontman Luke Hemmings to keep me wanting to return. The opening title track “Youngblood” is a strange juxtaposition of energy, the chorus dropping down to a minimalistic rhythmic bassline while Hemmings’ distorted vocal screams the words. Fellow single “Want You Back”, written by superproducer Steve Mac (who recently stuck “Shape Of You” in our heads permanently), fares slightly better, integrating the louder lead guitars of the band into the bouncy pop mix well with a decent falsetto chorus melody, but as the tracks go on, the repetition makes you realize that initial head nod wasn’t deserved – there are other people doing this kind of thing in a much more lasting and engaging way.
This is the issue with most of these tracks – they open in a promising way, and the logistics of the track slowly diminish its value to the end. A track like “Valentine” throws away its promising doo-wop intro immediately and becomes something completely different, the darker vocal tones not meshing with the bright synths and modern percussion. “Lie To Me” is a legitimately great track that shows that there is some potential here – this is classic boy band material, using the other members to create some genuinely stunning harmonies, the chorus melody line sounding like the kind of simple yet heartbreakingly expressive pop melodies of the 90s. The band’s two-track team-up with Weezer frontman Rivers Cuomo and their frequent producer Jacob Sinclair on “Why Won’t You Love Me” and “Woke Up In Japan” yields some pretty fun results as well, Cuomo embracing the inherently cheesy nature of the band in the perfect way that only he could on the former, contributing some hilarious self-deprecating lyrics about rejection in a soaring chorus.
The songs already start to feel obnoxiously derivative of each other around “Better Man”, track 8, which lifts the same syncopated rhythm in the main riff from most of the trop-pop hit songs that dominated the radio waves in 2017 – most of the album’s ending few tracks feel like diet versions of Ed Sheeran songs, not written as expressively as Sheeran can. The previous track “If Walls Could Talk” can’t be saved by Julia Michaels’ songwriting, falling into yet another build-up into a distorted singalong chorus as they attempt to display some kind of unique identity that can’t coordinate itself with the new sheen placed on the surrounding production. The most awkward tonal collision might come on “More”, however, a driving, buzzy and almost EDM synth line dominating most of the space of the track before a drop, also structured like an EDM song, stumbles clumsily into the most directly rock n’ roll guitars at the forefront of the mix.
Youngblood certainly sees the band grow up and better attempt to integrate themselves into the current musical landscape and conversation, but end up playing it far too safe, failing to place a distinctive mark on most of these songs. Quite a few of them could easily have been recorded by anyone else. The lyrics and Hemmings’ delivery frequently sell these mostly well-structured pop melodies just short.
Favourite Tracks: Lie To Me, Moving Along, Woke Up In Japan
Least Favourite Track: More
Global superstar and woman of many talents Beyonce goes the route of surprise drop with no promotion once again, linking up with her famous husband Jay-Z to deliver a satisfying conclusion to the narrative of their familial drama outlined on respective projects Lemonade and 4:44. While EVERYTHING IS LOVE doesn’t quite measure up to either of their recent grand artistic statements, it comes close just coasting on how much fun the interplay between the two is. The couple celebrates emerging on the other side of a hardship having been made stronger for it with a series of boastful tracks that lean a lot closer to Jay-Z’s realm of hip-hop, with a modern trap-influenced edge. Is it any surprise that Beyonce can more than keep up with him as a rapper? Her decade-spanning career continues to impress.
Opening track “SUMMER” feels like a continuation of Lemonade, sounding tonally similar to its closer “All Night” where Beyonce finally forgives Jay-Z. Produced by legendary hip-hop producers Cool & Dre, it’s one of the only times when Beyonce really gets to remind us just how timeless her vocal abilities are, making her runs and embellishments sound effortless while singing about summer romance over a funk bassline and reggae-influenced instrumental meant for blasting on a beach. This immediately transitions into the harder sound of the remainder of the album with the Migos-assisted “APESH*T”, wisely selected as a single. Jay-Z steps in with his speediest flow in years to deliver some clever zoological references and (accurately) assert that he’s bigger than the Grammys and the Super Bowl – “tell the NFL we playing stadiums too”, but it’s Beyonce who dominates the track’s hyperactive tempo and rapid percussion. She steps easily into the triplet flows and delivers a knockout third verse in a menacing lower tone. She gives everything she has into her delivery here.
The album’s opening run is pretty incredible, continuing with “BOSS”, translating the marching-band vibes Beyonce has been exhibiting in her live shows to horn section-assisted braggadocio over a looped choral harmony … “My great-great-grandchildren already rich” is the flex of the year. Jay-Z takes more of a starring role on the Pharrell-produced “NICE”, offering a catchy and repetitive hook over distorted piano chords while Beyonce hilariously brings back daughter Blue Ivy’s immediately iconic “ceiling” freestyle line from 4:44. Jay-Z’s full-voiced New York accent translates well to this celebration of the Carters’ excellence, belting out swaggering hooks and turning tracks like “BLACK EFFECT” into classic entries in his canon. The song is immediately arena-ready, Jay instructing hands up and inserting satisfied “hm”s when the knocking trap beat cuts out. He’s been a master at navigating around vocal samples since Kanye West was producing them for him, and the soulful background vocal complements his thunderous raps well here. The Carters additionally pay respect to their hip-hop backgrounds on the more rap-heavy album, interpolating the hooks to Notorious B.I.G. and Dr. Dre classics on “HEARD ABOUT US” and “713” respectively.
The album sags a bit in the middle section, showing that these artists are still at their best when creating fully fleshed-out conceptual stories, less time clearly going into the creation of this project. “713” strangely places a very pronounced Auto-Tune effect on Beyonce’s vocals, the looped piano beat not containing enough nuance for Jay-Z to work his characteristically complex flows over and ending a little abruptly – that beat-switch where Beyonce starts singing backup is great though. “FRIENDS” has a great message outlining that the Carters didn’t reach this position without a lot of help from others, but their take on modern alt-R&B with a slower-paced moody instrumental and basic trap beat doesn’t have the same energy over its nearly 6-minute runtime.
The love for each other and admiration for each others’ talents is evident across the whole project – you can hear it when Jay-Z introduces his wife with a stunned “oh my God” on “HEARD ABOUT US” – but closing track “LOVEHAPPY” is a perfect way to wrap up the whole trilogy, the two artists on the same level as they trade bars and put everything that’s transpired in the past – but not before Beyonce sends one last infuriated shot at the famous Becky that prompts a “Yo, chill” from Jay. Beyonce’s R&B vocals return on the harmonized hook where she sweetly sings “We’re flawed but we’re still perfect for each other” and shows appreciation for Jay’s efforts to change.
EVERYTHING IS LOVE continues to offer us glimpses into the ups and downs in the relationship of the original power couple. Musically, they’ve been playing off of each other for 15 years now and know just what buttons to press. Beyonce is idolized to such a degree for a reason, and Jay-Z’s flows returned in a huge way ever since 4:44. It’s certainly no Lemonade, but it’s a very satisfying conclusion.
Favourite Tracks: SUMMER, APESH*T, BLACK EFFECT, BOSS, LOVEHAPPY
Least Favourite Track: FRIENDS
21-year old rising UK R&B singer Jorja Smith, more widely known after collaborations with mega-rappers Drake and Kendrick Lamar, releases her debut album Lost & Found, a subdued and minimal experience that shows off her unique tone. I’ve seen comparisons to everyone from Lauryn Hill to Erykah Badu to Amy Winehouse, but Smith honestly reminds me most of early career Rihanna in terms of the sound of her voice. Leaving the popular garage and grime trends of her home nation that coloured her earlier music behind, Smith sounds a lot more assured of her artistic direction, even if the music isn’t as immediately exciting as it could be.
The title track which opens the album is framed by sparse piano, lazy, chilled-out background guitar embellishments and steadily knocking R&B percussion, Smith not even descending onto the track in full for a minute and a half while she unleashes some muted falsetto vocal runs. This kind of improvisational quality is applied over the course of most of the project, Smith placing her voice front and center and showing us all of the things that it can do. It’s a smart choice – her tone is entrancing at times, she has a huge, capable range that frequently surprises and the right amount of sweetness in her delivery to balance out the sharper edges she naturally possesses with a voice lower than most popular female singers. “Teenage Fantasy” is one of the best vocal showcases here, apparently written when Smith was only 16 – it’s a smartly written chorus that lets her hit a sweet spot at an essential time, her voice at its most passionate and abrasive before dropping back to her smooth, breathy quieter delivery in a great contrast. She shows off her falsetto in the catchy chorus of “February 3rd”, explaining the concept behind the album’s title over some jazzy piano chords.
Smith’s meandering approach to the project – you always know when one of the tracks of an album is dubbed “(Freestyle)” – turns it into an intimate and engaging experience to get lost in, but it also means that none of the tracks end up sticking to the listener – I have a hard time remembering which of these tracks are which since they aren’t especially distinctive, mostly containing Smith’s vocal acrobatics over a jazzy instrumental that doesn’t want to intrude on what she’s doing in the front. A few of the choruses aren’t as structured as they should be and could have benefited from more experienced producers – something like “On Your Own” falls off the melody line before it turns into a satisfying musical phrase. Despite her vocal experimentation, she often sticks to formula here and follows about the same structure on quite a few songs here with the way she executes her delivery. For an artist with a voice so dynamic, I wish she had included some more upbeat tracks, or at least some varied instrumentation here to break up the monotony a bit.
“The One”, for example, is a track that really benefits by standing out from the pack instrumentally, with an orchestral intro that explodes into Smith’s layered harmonies over a more tropical vibe like the ones she was introduced to us over on Drake’s “More Life”. It’s one of the fullest instrumentals here, slowly adding more and more elements as it progresses to a beautiful outro as the percussion gets more complex over the same orchestral strings. “Blue Lights” is another very unique track, the percussion more up front than most of the other tracks over a watery synth-piano line that reminds me of old Nintendo video game music, like a boom-bap “Dire Dire Docks” – it samples a song from grime pioneer Dizzee Rascal, explaining its more hip-hop sound.
Smith is a classically trained vocalist and clearly very experienced, I just wish there was more variation across this project to make me give the whole album repeated listens. The high points on this project are some of the best lo-fi R&B tracks we’re likely to receive this year, and for an artist so young there’s only up to go from here.
Favourite Tracks: Blue Lights, The One, Teenage Fantasy, February 3rd, Lifeboats (Freestyle)
Least Favourite Track: On Your Own
Now that I’ve finally caught back up to the present with these reviews, I’ll be returning to the original, longer format and hopefully returning to a consistent release schedule starting next week. Jorja Smith review coming shortly, then back to Tuesday/Thursday or something similar. I’m also going to be back on Instagram, follow me at bensbeatmusic! Here are my thoughts on one of my favourite albums of the year:
Kanye West and fellow G.O.O.D. Music artist Kid Cudi bring the best out of eachother to maximum potential on the third of West’s 5 Wyoming releases, Kids See Ghosts. Saving his innovative production and completely new sounds for this project, West combines his style with Cudi’s alternative and grunge-rock influences for a collision of sounds we haven’t heard executed this well anywhere else before. Where ye felt hurried and open-ended, these 7 tracks all feel connected, deliberately sequenced and encapsulate a perfect microcosm of West’s incredible ability as a producer, with some old-school Cudi vibes and impressive political wordplay from West on top as well. It’s easily the best Wyoming release, and that’s saying a lot with the strength of DAYTONA and ye.
Influential artist Takashi Murakami designed the cover art.
The project opens with “Feel The Love”, a song that goes to three completely different places in under three minutes. Pusha T’s menacing intro verse gives way to West’s completely unexpected emulation of gunshot noises, completely upsetting the natural flow before the beat finally clicks and perfectly lines up for the most exhilarating musical moment I’ve heard in a while, feeding off primal energy. More contemplative synths reintroduce Cudi’s hook, as the rhythm of West’s vocalizations come back in on the percussion to complement it more quietly. The experimentation and energy only continues after the smooth transition to “Fire”, the track carried by a steadily driving deathmarch tempo backed by Cudi’s trademark hums and a distorted acoustic guitar. Cudi’s singing on this track and across the board is a lot more on key than usual, competently delivering hooks and tapping back into his older style to carry a longer track like “Reborn” almost all by himself. The song itself is a bit of a breather from the aggressive stranglehold of the first 4 songs here, Cudi singing about defeating his demons over a contemplative synth piano. As the hook – “keep moving forward” – continues repeating into the end of the track, Cudi continues to layer his vocals on top, emphasizing that it still isn’t that easy – “which way should I go?” he asks.
“4th Dimension” is one of the craziest ideas West’s ever had, and he pulls it off flawlessly. Taking a Louis Prima Christmas song from the 1930s, he orchestrates a sample flip, picking out the group vocals on the melody line from the original. He speeds up the tempo with a steady, knocking beat and uses reversed vocals to completely repurpose it. West sounds absolutely triumphant on his verse, like he’s fully aware of the incredible musical feat he’s pulled off with the track. He truly could turn anything into a hip-hop song. He brings Ty Dolla $ign on board once again for “Freeee”, a continuation of his own track “Ghost Town” that takes the emotion of the original and translates it into a grandiose, godlike rock anthem. The heavy guitar loop gives way to Ty’s vocals, layered multiple times for a deafening sound as he simply repeats “Free”. West and Cudi are on top of the world here, repeating the title as well in an echoed, booming deeper voice. It’s incredibly empowering stuff. I also love that quickly descending synth that comes in near the end of the track. The title track “Kids See Ghosts” is yet another track carried by West’s innovative beat, a more minimal, driving jungle rhythm with ominous synth bass and high-pitched clicks, Mos Def’s “civilization” verse at the end framing the artists’ words as some kind of ancient knowledge.
Closing track “Cudi Montage” tastefully takes a very raw acoustic sample from Kurt Cobain, a man who suffered through clinical depression and bipolar disorder as Cudi and West respectively have. It’s a great wink to the audience after an album where the two artists repeatedly embrace their flaws and proclaim their freedom and supremacy over it all, moving forward where Cobain couldn’t. The track itself actually sees West turn poignantly political in his verse, speaking on the culture of gang mentality and its contribution to the crime rate in Chicago. West and Cudi’s repeated mantras to close out the album – “Lord shine your light on me”, “Stay strong” – see the two as having found a place of freedom, peace and empowerment outside the elements that hold them back, both in the form of West’s political talk and their own disabilities.
West and Cudi stand together as kindred spirits building each other up and helping each other through their respective personal hardships. It’s truly amazing to hear them speaking about these topics with such a level head, having moved past them. West’s production is at it’s most innovative here, creating a new movement of sound instead of reverting to old tricks like on his solo Wyoming project. Every track here feels like it belongs, and Kids See Ghosts stands as one of West’s all-time greatest works in a discography that has plenty of contenders.
Favourite Tracks: 4th Dimension, Feel The Love, Reborn, Fire, Cudi Montage
Least Favourite Track: Impossible. Each track serves a very specific, essential purpose.
Shawn Mendes – Shawn Mendes
Shawn Mendes releases his third self-titled studio album at the age of only 19, expanding his musical influences to explore genres past his trends of safe, acoustic pop balladry. Working with a high-profile set of collaborators, Mendes delivers a solid set of pop tracks that splits about half and half with working what he knows and trying his hand at more upbeat pop tracks or venturing into more of an R&B The experimentation works out for him more often than not, the tracklisting weighed down by just a bit too much of what we’ve already heard from him – or someone like him (looking at you once again, Ryan Tedder).
Single “In My Blood” opens the album, and it’s probably the strongest single Mendes has ever released, transcending the cheesy and derivative pop tracks for a more rock-leaning song featuring live instrumentation and a nice build-up to a passionately sung chorus, his trademark crackles creeping into his delivery – those huge drums in the background are a nice break from the trap hi-hats we hear everywhere. The opening run of the album contains it’s best tracks, two of them co-written by the frequently outstanding Julia Michaels: “Nervous” is an R&B-funk adventure with a quickly delivered falsetto chorus and persistent bassline, and it’s the first time I could ever imagine a Mendes song on a dancefloor. Michaels actually sings on quiet acoustic duet “Like To Be You”, and they blend together shockingly well for two artists with very distinct voices. Mendes is surprisingly believable as an R&B vocalist, stating that he drew inspiration from artists like Justin Timberlake. “Where Were You in The Morning?” is his most obvious draw from the Man of the Woods, some lazy guitar chords and the slightest hint of a trap beat framing Mendes’ smoothest vocal yet, sounding much older than his age. Ed Sheeran lends his reliable hand to “Fallin’ All In You”, which sounds like a huge hit, blending his old and new styles impressively with the hint of a doo-wop bassline and Sheeran’s tendency to pack in as many syllables as possible.
The main problems with this project come when, standing at 14 tracks, Mendes and his collaborators can’t help but exercise a few tried and true ideas that edge closer to the slower, minimalist ballads that don’t capture my attention quite as easily. Other than “Perfectly Wrong”, a track where Mendes’ songwriting shines above the less showy instrumental with some heartbreaking commentary on forcing himself out of a toxic relationship he desperately wanted to save, tracks like “Youth”, a duet with similarly minded artist Khalid, and “Because I Had You”, itself a complete rip-off of Justin Bieber’s hit “Love Yourself” never really pick themselves off the ground. The notoriously unoriginal Ryan Tedder also contributes to “Particular Taste”, which lifts a few too many elements from Prince’s catalogue – someone else has already delivered the word “particular” like that in an iconic fashion. Most of the back half of the project feels too similar to its counterparts and I feel like the tracklist easily could have been shortened. “Why” shows potential with an extravagant, dreamlike instrumental, but as Mendes reaches up into his falsetto the breaks in the instrumental reveal a few awkward transitionary places in his range.
Mendes’ steps towards risk-taking on this project easily make it his best collection of songs – still very young, he’s showing a definite upward trajectory and is beginning to understand where his greatest strengths lie. For now, Shawn Mendes exists as a pleasant surprise that shows his potential despite a few of his old ways still sticking around.
Favourite Tracks: Fallin All In You, Where Were You In The Morning?, Perfectly Wrong, Nervous
Least Favourite Track: Love Yourself, uh, I mean Because I Had You
Father John Misty – God’s Favorite Customer
Master songwriter Father John Misty’s fourth narrows his focus on his fourth studio album, dialing back the wide range of topics he addressed on his sprawling breakthrough Pure Comedy, a satirical takedown of politics, religion and everything under the sun. While he does return to some similar musical themes across this project, his trademark blunt and darkly humorous songwriting makes his tales of his mental health and familial relations just as compelling.
“Hangout at the Gallows” introduces listeners to the kind of material that will be featured on the album well, Tillman in complete command of a piano rock instrumental that previews the darker thoughts of suicide and paranoia he brings up over the course of the project. Tillman makes this kind of thing work perfectly for him, like a modern-day, extremely cynical Elton John. “Mr. Tillman” is a hilarious track spoken from the perspective of a worker at the front desk of a hotel, observing Tillman’s clear signs of a mental breakdown while he sings in a cheerful melodic loop intended to be just a little obnoxious. It’s not the only moment where Tillman picks up another character on the album, the incredible “Please Don’t Die” being sung from the position of his wife. It’s just as bluntly, beautifully Tillman as the track suggests, as it turns into something of a country ballad, a slide guitar twanging in the background as he softens his voice and expresses concern that Tillman might kill himself with some somber, falsetto harmonies.
Tillman has one of the most poignantly expressive vocal deliveries I’ve ever heard, capable of delivering raw emotion believably even when he doesn’t have much of an instrumental to support him. “God’s Favorite Customer”, the title track, continues his troubled relationship with religion, turning back to a faith he stopped believing in long ago in his time of mental instability. His knowingly futile calls to an angel on the stark chorus is just another example of his brilliant songwriting ability.
The instrumentals on this project are largely similar to what we’ve heard from Tillman in the past, potentially even sparser and more minimal on this one than something like Pure Comedy as he shows a clear focus on the clear delivery of his lyrical content. Without issues so enormous and pressing to offer his philosophical thoughts on, a few of these tracks with little more than a slow piano accompaniment aren’t carried by Tillman’s thoughts alone. “Just Dumb Enough To Try” is a pretty straightforward love song that rides on a very familiar acoustic strumming chord progression without much of the hilarious turns of phrase we’re used to, while the closer “We’re Only People (And There’s Not Much Anyone Can Do About That)” is one of the first times I’ve ever felt like Tillman tried to make a huge statement and didn’t actually manage to say anything, offering baseline analysis while I wait for the twisted joke to land.
It’s clear that Tillman decided to play it safe a bit coming down from such an ambitious project released only last year, but he has the skills that even that elevates him over most singer-songwriters of his kind. He’s certainly the only person that can deliver the lyric “Last night I wrote a poem, man, I must have been in the poem zone” with as much genuine emotional weight as he does.
Favourite Tracks: Please Don’t Die, God’s Favorite Customer, Mr. Tillman, Hangout at the Gallows, Disappointing Diamonds Are the Rarest of Them All
Least Favourite Track: Just Dumb Enough To Try
Kanye West – ye
Innovative rapper Kanye West’s eighth studio album is the second of five he plans to produce this summer, a brief 7 tracks like its predecessor DAYTONA. Supposedly completed in a matter of a couple weeks after the originally planned Love Everyone was scrapped due to controversy, ye is a journey through everything we’ve come to love about West’s music over the course of his entire career. Although I have come to expect West to completely reinvent the wheel on every project he releases, ye utilizing old themes of industrial beats and soul samples, the production is still on a level no other artist comes close to touching.
ye sees West at perhaps his most introspective and confessional in his whole career, revealing his inner thoughts on his troubled years post-Saint Pablo Tour with his bipolar diagnosis and opioid addiction. The album opens with “I Thought About Killing You”, West delivering a spoken-word intro over some beautiful Francis & The Lights Prismizer work where he details his need to speak his mind freely to exorcise demons, even his darkest thoughts concerning suicide, directing threats at himself in second person emphasizing his bipolarity. The first half of the project resembles Yeezus more than anything, as the opener explodes into a chilling scream and knocking industrial beat. “All Mine” is an aggressive and minimalist grinding carnal track, eerie, breathy vocal samples and crashing percussion framing West’s hilariously blunt lyrics, while “Yikes” is the most immediately commercially viable song here. Pi’erre Bourne assists with the production as West delivers his best flow on the project and a great melodic hook – “find help, sometimes I scare myself”.
The back half, on the other hand, reverts back to the soulful “Old Kanye” sound that troll song “Lift Yourself” hinted might return. “Wouldn’t Leave” is a touching track dedicated to his famous wife’s loyalty despite his many mistakes, thanking her for remaining by his side in the wake of a breakdown about her own career repercussions and West himself suggesting she leave if she needed to. Harmonized soulful backing vocals from Ty Dolla $ign, an uncharacteristically passionate PARTYNEXTDOOR hook, and somber synth-piano chords complete the emotional track. The love is affirmed with a triumphant Charlie Wilson hook on “No Mistakes”, West’s flow coming a little unhinged but coasting through on a fun, rhythmic gospel sample from Edwin Hawkins. The best track is the emotional peak of “Ghost Town”, however, featuring a shimmering, soulful organ sample and Kid Cudi getting so into the hook he falls off the pitch in his usual endearing way. West’s verse is the best singing (no Auto-Tune!) he’s done in a long time, but new G.O.O.D. Music signee 070 Shake steals the show, turning the second half into a repeated anthemic mantra, the music cutting down to an enormous stomp-clap. I can’t wait to sing it in a huge crowd. It’s great to hear more adept lyricism from West after Yeezus and Pablo as well, acting as an adorably overprotective father towards his daughters on “Violent Crimes” and delivering some of his best wordplay in a while on “Wouldn’t Leave”.
Since the project was so quickly assembled and West’s favourite subject material in his lyrics is, of course, himself, many of the current topical references to his life that happened mere weeks or days before its release makes the project feel less larger-than-life than his past albums, his quotables becoming law, or at least Instagram captions. Referencing things like G.O.O.D. Music’s war with Drake on “No Mistakes” or drawing specific attention to that fateful TMZ interview, regardless of how interesting a light he paints on the intrapersonal repercussions of his actions, on “Wouldn’t Leave” will end up sounding extremely dated in comparison to something like The College Dropout, which still resonates 14 years later.
West hasn’t made a perfect album since My Beautiful Dark Twisted Fantasy, but he’s getting a lot better at finding beauty in the chaos. Although the album could use a little more polish, his artistry is still unquestioned and a closer look into his psyche and personal life is appreciated for the 9-year old in me who overplayed “Gold Digger” to death.
Favourite Tracks: Ghost Town, Yikes, All Mine, Wouldn’t Leave
Least Favourite Track: No Mistakes
James Bay – Electric Light
James Bay completely revamps his image on sophomore album Electric Light, linking up with Adele producer Paul Epworth to take his music in a much poppier direction, while still maintaining the soulful, almost gospel-influenced delivery that lent itself well to his stirring rock ballads. The transition isn’t always seamless, the album coming across as quite a mixed bag at times, the songs containing a lot of raw power that doesn’t always fall perfectly into the structure of a song. But when Bay settles into a groove, his delivery stands out among his contemporaries.
Opening track “Wasted On Each Other” is a pretty good representation of what we’re going to get over the rest of the album, Bay introducing the chorus with some falsetto vocals and a steadily building synth line before his heavier guitars and powerful delivery cascades back in too quickly. Bay doesn’t have the greatest grasp of his strengths on the project, offering some spectacular moments inconsistently. Many of these tracks are perfectly fine, but they could be a lot more as demonstrated by standout tracks like “Pink Lemonade” and the incredible gospel harmonies on “Fade Out” that feel so much more natural than the digitally altered companions “Wild Love” and “In My Head”. The latter especially feels like it’s teetering right on the edge of being something incredible, never reaching it. The sparse, passionate chorus feels immediately anthemic and iconic, but it’s brought down by abrupt shifts in energy and out-of-place pop synths. It feels like three genres collide awkwardly on the majority of the tracks, and when he focuses on a single one, he shines every time. Single “Pink Lemonade” is an energetic retro-pop track, driven by a prominent bass riff and a harmonized chorus. The crunchy guitars and electronic elements make the track chaotic in the best way, most of the musical elements dropping out near the track’s conclusion to showcase that standout voice before the drums roll back in for the dramatic conclusion.
For someone who seems so desperate for a change in his perception across the project, the most characteristically Bay songs frequently stand out, adding enough of a change with the fuller instrumentation while maintaining the things that make him a unique artist. “Us” is a beautifully-written gospel piano ballad, a choir backing him up as he returns to the intimate, confessional songwriting that drew him notice in the first place. Closing track “Slide”, as well, is a much quieter song detailing the rediscovery of love after the end of another relationship – and Bay’s ability to convey emotion absolutely sells it with every tiny warble and trill. But if there’s one thing he’s consistently incredible at, its the ability to write a dynamic and stirring chorus. “Just For Tonight” is another larger-than-life harmonized track that brings back the fuzzy guitars and coasts on its own energy.
Bay essentially performs a reverse Harry Styles here, shifting from cheesy rock to universally appealing pop rather than cheesy pop to universally appealing rock. In a similar way, he undergoes a dramatic shift to shed the image of the guy with the huge hat singing an acoustic rock ballad for something more ambitious and dynamic, citing Prince and Frank Ocean as influences, and overplays his hand. Still, the fact that about half of it works VERY well is incredible in and of itself.
Favourite Tracks: Pink Lemonade, Us, Slide, Fade Out
Least Favourite Track: Stand Up
BTS – Love Yourself: Tear
The staggering popularity of Korean boy-band BTS has become too great to ignore, the group debuting this album at #1 and receiving a Top 10 hit in the USA with their lead single “FAKE LOVE”. I didn’t know much about what to expect with this album, and I must say that BTS certainly exceeded my expectations. Love Yourself: Tear is a little erratic and trend-hopping due to the stronger focus on widespread commercial appeal in the K-pop market, but the interplay between the group’s many members and their inclusion of sounds from the 90s, even diving into some instrumentals that remind me of old-school West Coast hip-hop, make the project a lot of fun.
“FAKE LOVE” is a certified banger and absolutely deserves all of the success it’s getting. It introduces a lot of the 90s vibes of the album well, and it’s one of the rare occasions where the singers of the group steal the thunder from the rappers – those “just for you” backing vocals are delivered so well to support them, and there’s about three different hooks to get stuck in your head permanently here. RM, or Rap Monster, emerges as the true star of the group on most of the track he features on, however. “Anpanman” and especially “134340” clearly draw heavy inspiration from West Coast legends, RM sounding like he’s trying to emulate Snoop Dogg over the woodwind instrumental and G-funk tempo. His deep, laid-back vocals are effortless and distinctive from the group’s other rappers – and he has some seriously impressive technical skill as well, “Outro: Tear” verging on speedrap.
“Paradise” continues the streak, creating the most immediately catchy track here by adding a skittering trap beat to some classic 90s cascading synth chords and another chilled-out verse from another of the group’s rappers, Suga contrasting a pretty flawlessly written chorus melody. The producers here know exactly what they’re doing, and when you combine their dance ability with these catchy pop choruses and rap talent it’s easy to see why the group is such a worldwide phenomenon. There was never a popular boy-band quite this dynamic and versatile – the closest comparison being something of a much larger, male TLC. They try out a lot of styles across this project and succeed at most of them – I even love the enormous EDM breakdown on the cinematic, uptempo “Magic Shop”.
The project is carried by the energy generated by the group’s interplay and rapid-fire delivery, and the album does take a little while to get going in this regard. The intro, “Singularity”, and the Steve Aoki-produced “The Truth Untold” are both structured like a 90s slow jam, the singers of the group delivering passionate vocals over a waltz tempo, but knowing what I know now about the group I’m just waiting for RM to jump back on the mic and electrify the song. I can’t deny how well these tracks are produced, though – maybe this is a case of the language barrier stepping in. You can see the wheels of marketability turning behind the scenes a bit too much as well, a track like “Airplane pt.2” being a pretty watered-down imitation of the Latin pop explosion.
BTS have a lot of things going well for them, and it seems like the team around them know how to cater to those strengths. Love Yourself: Tear makes it impossible to deny the talent behind one of the world’s most popular acts.
Favourite Tracks: Paradise, 134340, FAKE LOVE, Outro: Tear, Magic Shop
Least Favourite Track: So What
Pusha T – DAYTONA
I really thought I was going to be reviewing A$AP Rocky’s latest disappointing release TESTING here, but Pusha T’s victory over him in sales is incredibly exciting for everyone at G.O.O.D. Music and it means I have no excuse but to talk about it. DAYTONA is the first of five 7-track albums in superproducer and controversy magnet Kanye West’s ambitious plan to release back-to-back projects produced primarily by himself. With a ruthless and dominating mic presence like Pusha T, it means there is absolutely no room for filler and the shorter length works wonders, Pusha taking no prisoners for just over 20 minutes. West’s beats are as soulful as they’ve ever been, with a new cold and calculating edge that matches Pusha’s menacing sneer and ominous wordplay.
As Drake may have famously learned, Pusha T is not to be underestimated as a lyricist, or anything else – even if the subject material is mainly the same, he has some of the cleverest wordplay and cultural references in the game. The real appeal for me has always been the way he delivers the lines, however. Pusha T’s voice is very distinct, very expressive with its inflections yet remaining at the deeper tone we know him for that complements darker instrumentals so well. His ability to sound so happy, or surprised, or angry by raising his voice just a tiny bit allows him to issue threats to his enemies with a kind of demonic glee. The project opens with a great 1-2 punch in “If You Know You Know” and “The Games We Play”, which are a welcome return to classic Kanye production. The former chops up a piercing guitar wail into a syncopated hip-hop beat, but “The Games We Play” sounds like it’s directly off My Beautiful Dark Twisted Fantasy, looping a catchy guitar riff with some cinematic horn stabs punctuating Pusha’s every gritty description of his drug-dealer past and yeugh ad-lib. It makes you feel like he puts everything he has into every single word he states, drawing out syllables and overpronouncing words to make sure we understand. We get the greatest display of commanding vocal presence on closing track “Infrared”, an incredibly thinly veiled shot at Drake and other members of what was once the Young Money label, accusing him of ghostwriting and losing his identity pandering to white audiences.
West’s production always succeeds both in bringing the absolute best out of Push and offering a bit of a counteraction to the non-stop verbal assault when necessary. “Come Back Baby” is the centerpiece of the album, Pusha T delivering a more basic flow that makes every word count over one of the most minimal beats here, not much more than two notes of creeping synth-bass, before the chorus transitions into a generous sample of soul singer George Jackson, a jarring shift to a completely different and catchy alternative that shouldn’t work as well as it does. West’s sample work is what he’s known for, and they show up on every single track here. “Hard Piano” has another great sampled chorus and looped, muted jazz piano that draws just enough attention as Pusha takes the spotlight – average Rick Ross feature aside. The beat switch in “Santeria”, the off-kilter soul organ picking the track back up from 070 Shake’s chilling, echoey vocals, is the best moment on the whole thing.
I almost want to say that the true star of the project is West, but that isn’t true at all – all the studio sessions in Wyoming resulted in a perfect fusion of their respective strengths. The beats are still characteristically West, but we’ve never really heard anything like this from him. Not incredibly different artists, Pusha accomplishes his aims through a no-nonsense approach where West might fall back on a joke, and the adaptation of his production style to a dark and straightforward approach gives Pusha T all the ammunition he needs to exert his dominance.
Favourite Tracks: If You Know You Know, Santeria, The Games We Play, Come Back Baby
Least Favourite Track: Hard Piano
Rae Sremmurd – SR3MM/Swaecation/Jxmtro
Brotherly hip-hop duo Rae Sremmurd embrace their inner OutKast on the third in their Sremmlife album series, branching out and turning into a sprawling triple disc edition that allows a full album for each member to shine individually. Rae Sremmurd’s youthful, jubilant cloud-rap sound is often a joy to listen to, with great beat selection and the two rappers balancing each other out – but individually I begin to miss some of that interplay that makes them so unique. The lesser known of the two, Slim Jxmmi, definitely gains the upper hand with his grittier Jxmtro, but for most of the project I just want the heights that they reach together on SR3MM.
The main appeal of Rae Sremmurd is contrast of the boyish, carefree yelp of Swae Lee brought down to earth with a more technical verse delivered in Jxmmi’s growl, and they demonstrate this over some pretty impressive production handled mostly by proven hitmaker and frequent collaborator Mike Will Made It here. He delivers his trademark high-tempo and erratic material that fits perfectly with someone as eccentric as Lee. Single “Powerglide” is one of the best tracks across the whole project – it’s 5 and a half minutes of absolute madness, a speedy violin instrumental, Swae Lee’s melodic rap delivery giving way to Slim Jxmmi’s goofy, old-school flow. It’s a constant rush of energy. The Weeknd lays down a great, melodic feature over the clicks and clacks of the contemplative 90s piano instrumental of “Bedtime Stories”, but for the most part SR3MM works so well because you can hear how much fun the duo are having bouncing ideas off of each other, and the instrumentals are creative enough, yet still maintaining the basic tenets of modern hip-hop, to just be an engaging and fun time.
Some of the worst times on this initial section are segments where the energy is lost through an extended Swae Lee singing section, and that’s basically what we receive for a full project on Swaecation. Lee definitely has a good grasp of what makes a good melody, delivering some pretty catchy choruses on tracks like “Touchscreen Navigation”, but most of these songs are one-note and go on for too long, needing an appearance from Jxmmi to return the track’s sense of direction and forward momentum. After the constant knocking hi-hats of SR3MM, Lee’s meandering, indulgent falsetto singing tracks feel a lot more boring. Not even Young Thug, a master of this element, can save “Offshore”, a track that goes on forever returning to a melody that ends abruptly before it gets good. Lee’s flow is too sparse to keep the spacey cloud-rap style interesting most of the time, repeating the same melody line with too much empty space on tracks like “Heartbreak in Encino Hills”. I do like those panflutes on “Heat of the Moment” though.
Jxmtro, by contrast, is a more straightforward album where Jxmmi draws on the more aggressive side of his flow to deliver some hard-hitting, short tracks. Often utilized less than Lee in their collaborative work, it’s great to hear Jxmmi hold his own by himself. “Brxnks Truck” and “Players Club” are an insane one-two punch to open up the album, Jxmmi delivering a rapid-fire triplet flow over a beat that keeps on cutting out at just the right moments on the former while the menacing piano instrumental of “Players Club” makes it sound like OG Maco’s “U Guessed It” if it were actually … a real song. Even this starts to lose steam as we get into the later segments though. It almost sounds like he’s trying to emulate Lee’s style on some of the later tracks, especially “Growed Up”, and while he’s great on these short tracks he’s ultimately not charismatic enough to carry a full album.
Swae Lee’s appearance on Jmxtro, on the ecstatic “Chanel” that also features a show-stealing verse from Pharrell Williams, proves that even when the two brothers are in the midst of discovering what works for them on their own, they work best together. SR3MM is overall an interesting experiment, an inconsistent mixed bag with some incredible highs.
Favourite tracks: Buckets, Powerglide, Brxnks Truck, Chanel, Bedtime Stories
Least Favourite Track: Offshore
SR3MM: 8/10 – Swaecation 3/10 – Jxmtro 7/10
Charlie Puth – Voicenotes
Nostalgic pop singer Charlie Puth makes one of the most incredible improvements I’ve ever seen on his sophomore album Voicenotes, losing the Motown-emulating cheesiness of his obnoxious debut project and venturing into a soundscape of 90s R&B and pop which is much more comfortable for him. It’s clear that he drew heavily from Boyz II Men, who actually appear on the project on the song “If You Leave Me Now”. Overall, Voicenotes is full of the same kind of retro-pop bliss that artists like Bruno Mars and Carly Rae Jepsen have perfected, and it makes for an enjoyable journey through those classic 90s chord progressions.
Opening track “The Way I Am” introduces listeners to the kind of syncopated hooks and dramatic synth swells we can expect over the course of the album, one of the most unapologetically 90s songs here that could easily fit on an album like Justin Timberlake’s Justified. Puth’s speedy delivery mirroring the main guitar riff that ultimately creeps back in underneath the explosive chorus is a great use of layering. I knew we might be getting something enjoyable when I heard the surprising singles “Attention” and “How Long”, carried by a fun bassline groove and some jazzier chords than I expected from Puth. It’s all the more impressive that Puth produced the album nearly singlehandedly – coordinating all the vocal layering and interlocking musical elements here takes some serious skill and musicianship that I had no idea he possessed. Apparently a classically trained musician with perfect pitch, Puth knows how to structure chords to their greatest potential. Puth dives directly into the world of 90s R&B balladry with tracks like “Patient”, an earnest, somber track pleading for foregiveness directly from the Boyz II Men bag of tricks. This stuff was so popular back then because it really works – we don’t hear much of those classic pinging percussive noises or harmonies quite like this anymore.
He keeps it up through most of the back half, breaking out the vocoder for “Slow It Down” and closing with the beautiful piano ballad “Through It All”, reaching down into his lower register over a jazzy backing choir comprised of himself. The crown jewel might be penultimate track “Empty Cups”, a bouncy ode to house parties that’s endlessly replayable. The way the music cuts out before Puth drops into the chorus with that trademark wispy falsetto is perfect. Puth stated that he tried to write his chorus like a verse here, and the quicker delivery works well over the sparse bursts of inviting synth-bass chords.
This is still the guy who put out a single like “Marvin Gaye” we’re talking about, and he definitely doesn’t lose all the cheese, he just learns how to deliver it in a way that’s less annoying. Still, tracks like “Change”, featuring the legendary James Taylor, and “BOY” come across as awkward in their lyrical content – the first a fake-woke anthem as Puth attempts to capitalize on the troubled political climate without actually saying anything of consequence and the second dealing with rejection by an older woman and containing some pretty ridiculous lines: “You won’t wake up beside me cuz I was born in the 90s”.
This is guilty pleasure material through and through, and Puth’s defiance of pop trends to explore a dearly departed area of music to this particular reviewer is much appreciated. His capable vocals and musicality make Voicenotes a surprisingly great listen.
Favourite Tracks: Empty Cups, Slow It Down, The Way I Am, Attention, Patient
Least Favourite Track: Change
Playboi Carti – Die Lit
Well, here we are. I didn’t want to do it. I knew I probably wouldn’t like it. Then the rave reviews started coming in so I started wondering if I’d missed something about Playboi Carti, the trap rapper who is essentially nothing but one giant ad-lib, distilling the most obnoxious trends about trap music into one pointless exercise in minimalism. I was right the first time. Die Lit is the first major label studio album for Carti, teaming up with enigmatic trap savant Pi’erre Bourne across an hour of repetitive phrases, uninspired delivery and Carti making a bunch of really, really strange noises.
Die Lit is a long 19 tracks, most of which consist of repeating the same couple lines for the entire duration. While others claim that Carti’s unorthodox approach “recalibrates the brain’s pleasure centers”, as Pitchfork claimed, Carti isn’t present or likable enough on these tracks for me to submit to his jubilant disregard for song structure. His vocals often feel muffled behind the production, a strained, nasal bark that’s frequently buried behind the 5 adlibs he sticks onto the end of every line. His guests often make things a small bit better, but even someone who is pretty much the antithesis to Carti in Skepta – an aggressive, technically skilled grime rapper – gets lost in the watered-down sludge of “Lean 4 Real”. Nicki Minaj’s feature on single “Poke It Out” is the most enjoyable moment on the whole album, and it’s a pretty average verse by her standards – it’s pretty fun to hear her try to emulate Carti’s style for a bit though.
The whole thing is just exhausting to listen to in a world where trap is the most popular style, since Carti is just a reflection of these trends without anything that makes him unique, like trap that was created in a lab by robots without any semblance of anything human infused into the music. It’d be great if Carti could ever string a phrase or a complete idea together – there are so many other artists who are uniquely funny, more skilled, vary their flows, and still have fun with the trap format that gets them attention. It’s a testament to just how much Carti can bring down a track with his lack of musicality when all of these beats are hitmaker Bourne’s – there are genuinely some decent instrumentals on here that just have the energy completely sucked out of them by Carti’s disinterested drawl – “Shoota” is quickly becoming a hit with its shimmering, orchestral synth lines.
Die Lit is certainly unlike anything we’ve heard before, but at the same time, it’s only this way because I previously thought it impossible to replicate trends to such a degree that the artist loses a distinct sense of self. I criticize people for using the Migos flow or riding dancehall or tropical waves, but at least you can still usually identify something unique and worthwhile that each person brought to the table. Carti is trap minimalism for the sake of minimalism, and simply ad-libs and mumbled triplets do not a decent trap song make.
Favourite Tracks: Poke It Out, R.I.P. Fredo
Least Favourite Track: Home (KOD)