One of the biggest musical trends over the previous year was pop music beginning to draw from many different aspects of various Latin-American genres, perhaps none more so than Latin trap. Already a global superstar, it was Bad Bunny’s feature verse on Cardi B’s “I Like It” that turned him into a household name in North America, and he shows off a diverse range of sounds from his native Puerto Rico across his first official full-length project, bridging the gap between them with his distinctively lower register and charismatic Auto-Crooned sound. The title a Spanish shorthand meaning “Por siempre”, or “Forever”, X 100PRE isn’t at all structured like your typical pop album, more like a shifting, changing playlist – many of these tracks have abrupt beat switches, and the flow of sounds from one track to the next is somewhat disjointed. While that does bring me out of the experience a bit, this is certainly a solid and wide-reaching debut.
Opener “NI BIEN NI MAL” is a pretty perfect example of the important presence Bad Bunny serves in the music industry right now, built primarily on some traditional acoustic Latin-sounding chords with the odd interspersed heavy trap beat that always complements these sounds so well, Bad Bunny sing-rapping a catchy, repetitive tune on top. The track eventually morphs into a more minimal, industrial hip-hop track and then a calming string section in its instrumental without the vocal track changing much, showing just how malleable Bad Bunny’s voice is – it’s strangely soothing even when in a more aggressive, hip-hop influenced register, and can fit over almost anything. He shows off his laid-back register at its peak on the track “Otra Noche en Miami”, the chorus a more electronic synth-based explosion as he repeats the title, sounding like he’s relaxing by the beach and taking the city in – the track reminds me of something from The Weeknd’s STARBOY. Drake is honestly a pretty perfect guest to join him on the single “MIA” which closes the project – even as both sing in Spanish, their voices and the charismatic energy they are clearly bringing to the track match each other in a surprisingly great way.
In the next few tracks after the opener, we get “200 MPH”, which comes with a Diplo feature, “Caro”, with surprise vocals from none other than Ricky Martin, and one of the experiments that doesn’t really work, “Tenemos Que Hablar”, which ventures into what almost sounds like a 2000s-era alternative rock territory with a watered-down guitar riff and out-of-place trap beat.
While the project does run throughout various areas of reggaeton, bachata and dembow music – that same reggaeton beat you hear on every pop track isn’t quite dead yet when Bad Bunny augments it with some of his most emotional vocals on “Si Estuviésemos Juntos” – he is at his best dropping the high-energy trap bangers we know him for. The track “¿Quien Tu Eres?” is a shorter one that packs a serious punch, the beat dropping just as he raises his voice up into this higher-pitched yelp as he celebrates his success.
There are quite a few moments on the project where it loses direction a bit with a beat switch or the track listing’s order putting some sounds that aren’t incredibly complementary beside each other in the track listing, making it tougher to rank favourite tracks since so many of the greatest musical moments here come as part of a longer track that also features a strange diversion from what the track was trying to accomplish. Ricky Martin’s appearance on “Caro” is one of these moments, the track abruptly dropping in tempo to deliver the slower ballad pace Martin is more known for before Bad Bunny closes the track with a very brief return to the original high-energy section. “Solo de Mi” is split into two very good sections with completely opposite tones, vaulting into a chaotic hip-hop beat for less than a minute after a more emotional ballad – I’m all for a good beat switch, but there has to at least be a tiny bit of a through-line.
“La Romana” is another track that begins excellently with one of the most fun Latin trap beats over this maddeningly catchy picked mariachi guitar pattern complete with airhorns as the beat drops, but glitches out Bad Bunny’s verse early and diverts into this more straightforward, percussive ragga/riddim section delivered by El Alfa that goes on for too long. The track listing probably could have been shortened as well – as much fun as Bad Bunny always sounds like he’s having, when he’s attacking a few of these Latin trap instrumentals with more of a melodic angle to complement a beat that isn’t quite so active, on tracks like “Ser Bichote”, the language barrier loses me a bit when I don’t have lyrics to spice up a less immediately exciting instrumental.
Alongside J Balvin, Bad Bunny has emerged as one of the Latin stars poised for continued dominance in a post-Despacito world, and the range of his talents on this project is a clear indicator of why. You could throw him on any vaguely Latin track and he’d turn it into a hit. Despite some structural qualms, this is the sound of an artist just getting started.
Favourite Tracks: NI BIEN NI MAL, ¿Quien Tu Eres?, Otra Noche en Miami, La Romana, MIA
Least Favourite Track: Tenemos Que Hablar
Score: 7/10
The last song Mac Miller ever performed live, his look back on his career and personal growth over some uplifting piano chords took on an added level of meaning after his passing.
Hozier recruits one of the greatest to pay tribute to artists who recorded impactful protest songs throughout history, backed up by some soulful choral vocals.
The band finally perfects their manic genre-mixing, creating a rollercoaster of a track that flawlessly shifts through eerie rap verses, an 80s pop chorus and even some tropical house elements.
A 6-minute slow burn, Steve Lacy’s instantly recognizable guitar work is entrancing throughout as Syd’s soothing vocals complete the picture.
Superproducer Greg Kurstin strikes again with an exciting rising star, as Rogers blends her near-gospel sensibilities with a more traditionally structured pop track.
Featuring a pretty perfectly structured pop chorus, Kiyoko’s harmonized rapid-fire vocals stuck with me throughout the whole year.
Amy Shark’s incredibly specific yet overwhelmingly relatable lyrics, in combination with her blend of hip-hop influenced beats with her softer singer/songwriter tone, reach their peak on this emotional ode to looking out at that one person across the dance floor.
On the closing track of .Paak’s Oxnard, he teams up with the capable Q-Tip to reminisce on good times with their recently departed friends – Mac Miller and Phife Dawg – over some hard-hitting synth-funk chords.
I could never get tired of the griminess in Pusha T’s vocal delivery. His energy is in top form here, dropping non-stop bars of vivid imagery and clever wordplay.
A complete evolution from the former absurdist comedian, Joji’s take on the current trend of moody alt-R&B features some absolutely beautiful and explosive digitized synth tones that support his emotionally charged delivery.
The rap collective opens their first major label studio album with a bang. The off-the-wall group trade some equally bombastic verses over a supercharged instrumental.
Recorded after a breakup, hearing this much genuine emotion in Nao’s usually calm and collected vocal tone is incredibly moving as she sings about the loss of a once-in-a-lifetime connection.
One of my biggest growers this year, the Dreamville rapper’s speedy flow and switch-ups are top-notch as he easily navigates through an entertaining and soulful sample flip.
When I saw the video for the first time I became convinced that this would slowly grow into one of Grande’s most memorable career songs years down the road. The choral ending of this track is truly transcendent.
One of the most similar tracks to their earlier work on the experimental pop collective’s latest, heavier project, Sarah Bonito’s adorable voice is at its best over some colourful and animated synth tones.
An energetic retro-pop track featuring Bay’s new, more upbeat style over some crunchy guitars and a conclusion with some seriously catchy harmonized chants.
Western pop music watch out – the K-pop invasion is coming over quickly. The wildly popular boy band applies some aspects of 90s West Coast hip-hop to this track.
A lengthy, mostly instrumental monster of a track – I was so happy to observe White doing something so innovative and different with the rock and roll format. This is White at his most theatrical, embodying some sort of deranged preacher.
“Keep moving forward”. The centrepiece of the spectacular Kids See Ghosts album, Kanye West and Kid Cudi lean on each other for support as they discuss their respective mental health issues.
Featuring a guitar riff produced by Prince himself, Janelle Monae proves she’s the closest living artist with this slick and sensual synth-funk track.
On an album where J. Cole talks about the dangers of giving yourself over to various addictions, love proves the strongest drug of all as Cole embodies a character struggling with fidelity – with a fun videogame-esque beat and some serious technical skill to back it up.
The ex-Fifth Harmony member sounds like a young Alicia Keys over a minimal beat that places the spotlight on her impressive and emotional vocal showcase. How great would her boyfriend Ty Dolla $ign sound on this soulful track??
The producer extraordinaire goes in more of an R&B/funk direction than ever before, offering a complex and jazzy musical world amplified by some great gospel-tinged harmonies – “doing the most”, as the album’s powerful theme puts it.
The song that never left my head all year, this is just a smartly structured, bouncy 90s R&B chorus from the classically trained pop singer who really surprised me this year.
Indie-pop singer-songwriter Mitski’s voice already sounds like it belongs to another era, and the near-disco, overly energetic flavour of the instrumental here, in stark contrast with Mitski’s lyrics nearly losing her mind due to loneliness, completes the retro-pop image.
Latin trap exploded into the mainstream this year, and none harnessed it better than Cardi B, recruiting two of the genre’s biggest stars. Cardi’s aggressive flow never fails to enliven me, and that sample flip is a great added touch.
An all-out bubblegum pop extravaganza. Petras hits some seriously impressive notes on the chorus, but the whole song moves along with this irresistible driving energy that’s hard to ignore.
I was sent to another dimension the first time I heard the drop on this track. Those deafening, steadily growing synths and well-placed silences makes it feel like someone is repeatedly firing up some kind of generator. Ty Dolla $ign is always more than capable on the mic as well.
The country artist’s poppiest song yet, we all know someone like this song’s subject. Musgraves blends the slightest of country aspects in the instrumental with an 80s dance beat and some sharp harmonies.
The Swedish pop savant has always found the perfect way to encapsulate the feeling of crying on the dance floor, partying the pain away, and this track is no exception. The track feels like an escape, easy to get lost in the inviting musical world.
The piano-heavy R&B track brings a classic sound back in a big way, Mai’s effortless and silky-smooth vocals commanding your attention. Something about that staccato phrasing in the hook makes the track irresistably catchy.
Two of the most charismatic artists in the industry link up for this paranoid and humorous funk track where .Paak just wants some privacy. I absolutely love songwriter Tayla Parx’s contribution to the harmonized outro – her discography this year alone is incredible.
The cops shot the kid the cops shot the kid the cops shot the cops shot the kid the cops shot the kid the cops shot the cops shot the kid the cops shot the kid the cops shot the cops shot the kid the cops shot the kid the cops shot the cops shot the kid the cops shot the kid the cops shot the cops shot the kid the cops shot the kid the cops shot-
The most lovable guy in the music industry is back to steal your girl – the one with the incredible hugs – and criticize you for letting her get away. My most listened-to song of the year, it’s the combination of ridiculousness and legitimately great musicality that only DRAM can pull off.
Oof. This song hit me right in the feels from the first time I heard it, a sparse piano ballad where Cabello offers some deeply personal lyrics about the end of a relationship where her trust was broken beyond repair. The orchestral version released as a single just brought the tears back in full force.
The sheer force with which Denzel screams that second introductory “OKAY?!” signals just what kind of a punishing track lies ahead. Heavy bass rattles as the horrorcore rapper goes to work with his dexterous flow. Charlie Heat is one of the best rap producers in the game.
I’m just now realizing that I shouldn’t have put these two tracks beside each other. Another track out to unleash a full frontal assault on the listener, the experimental producer’s work is constantly disorienting, yet connected by a recognizable, pop-influenced thread, represented here by a rhythmically spoken – and likely sarcastic – ode to materialism.
Another track with an unreasonable amount of plays on my personal Spotify this year, Ariana Grande tones down her usually powerhouse vocals to match the subtle yet powerful approach of Australian pop artist Troye Sivan. A perfect slow dance song straight out of the 80s, that synth hook that introduces the song makes it a grower.
Even without the brilliant and viral music video associated with the track, Childish Gambino’s views on the state of the world presented through the intentionally inane and distracting lens of trap music is still one of the most important statements of the year – even if I wish the standalone song still had those gunshots in it.
Kali Uchis has often stated that she draws heavy inspiration from Amy Winehouse, and it’s never more evident than on this track. A downtempo track that verges on dreampop, the twinkling keys and string section highlight her smooth and sensual vocal inflections.
Ariana Grande has been having a horrible year – and this was the most brilliant way possible to address it in song form. Recorded only a few months after her Sweetener album, Grande speaks out about how she’s learned from the pain and come out better for it, thanking each one of her ex-lovers for the person she’s become. But of course, we still need that dismissive and cathartic “next”.
The fact that this disjointed, endlessly creative track became a #1 hit single is nothing short of amazing. Most of Travis Scott’s latest work is as chaotic and disorienting as the amusement park it’s inspired by, and this endlessly fun rap track shifts through 3 completely different segments as Scott keeps things lively with an energetic flow. For all the average work he’s put out this year, Drake absolutely steals the show with his verse.
It’s impossible not to feel something when new G.O.O.D. Music signee 070 Shake arrives on the outro of the track with her repeated and earnest mantra about freedom, breaking free from the pack. I can only imagine the experience singing it live with a crowd. The classic soul sample flip provides an excellent backbone to the track as well, West delivering some of the best singing he’s done in his career on his verse.
I’ve always loved the complete purity in Kacey Musgraves’ vocals – she definitely has one of my favourite voices in the industry right now. The closer to her excellent Golden Hour is a lower-key track that highlights just how much emotion she can put into it as well, and it never fails to make me tear up just a little. A bittersweet track, Musgraves sings to someone who is incapable of seeing all the love they have around them.
The best pure pop song of the year, the always eccentric Rina Sawayama once again recruits experimental producer Clarence Clarity for an upbeat and endlessly layered track where Sawayama can’t contain her desire. Her dedication to taking the sound of early 2000s pop and modernizing it in a huge way is so engaging, those chords so familiar but twisted in such a new way as well. Every instrumental aspect of this track is a maddeningly catchy hook in and of itself.
The 1975 – A Brief Inquiry Into Online Relationships
Meek Mill – Championships
Rita Ora – Phoenix
Ironically named rap label Quality Control continues to drop overlong project after project, and Migos star Quavo’s debut kicks off what is apparently the first of 3 solo albums from the members of the group to be released in rapid succession. It’s been easy recently to get burnt out on the Migos sound and formula, and Quavo more or less adheres to it here. Surprisingly, there are still a couple fun moments to wring out of it here: Migos have developed into rap superstars for a reason, and it’s because they really know what they’re doing. If they hadn’t oversaturated the market, I might enjoy this project a lot more than I do. While many pegged Quavo as the breakout star from the group due to his more versatile, melodic flow, it’s become a lot clearer to me over the years that he’s easily the least talented of the group both rhythmically and lyrically. A solo project without the other two members to spice things up had me worried, and while most of this 19-track project is uninspired filler as expected, there are still a couple of enjoyable moments scattered here and there where Quavo holds his own more than you’d think.
The year is 2018. Lil Baby and Gunna have narrowly eked out a sales victory over Beyonce and Jay-Z. And the tide of average yet wildly successful trap albums keep on coming. Drip Harder is a collaboration project between two of the bigger names on Young Thug’s YSL label, as well as a sequel of sorts to last year’s high-profile Atlanta collab project SUPER SLIMEY, featuring Thug and Future. Unfortunately, there’s almost nothing across the entire project that gets me excited in any way, and that’s pretty difficult to do – usually there’s at least a couple tracks that’s are at least a lot of mindless fun. The best rap collabs are usually rather unexpected, their differences playing off of each other well – here, I can barely tell which is which, each doing their greatest impression of their label boss. The incredibly uninspired trap production doesn’t do much to help either, running through the same moody trap-piano instrumentals we’ve heard ad nauseam since the genre was popularized.
Travis Scott’s third album, ASTROWORLD, firmly cements himself in the pantheon of today’s rap superstars with a project where he does everything expected of him and then adds a little more creative flair on top. Of course, nobody is looking to Scott for a work of art, and he delivers fully on a fun and enjoyable summer rap album. While it may not be his best album yet, it’s certainly his most risky, and comes with a truly impressive selection of guests that elevate Scott’s performance to another level entirely. It’s definitely a huge step up from the mundane and disinterested Birds In The Trap Sing McKnight (2016), and it’s great to see what Scott can produce when he slows down his speedy release schedule for the first time.
Canadian singer, rapper, walking meme, marketing genius, and – gasp – FATHER, Drake, only 16 months removed from his previous project More Life, releases yet another bloated project where the biggest artist in the world sees fit to deliver the bare minimum, attempting to coast through on charm. Scorpion certainly has more highs than More Life did, largely thanks to the production work from primary OVO sound man Noah “40” Shebib and some experienced classic hip-hop producers that tap into an era of samples and sharp rhythms, but Drake himself is once again simply going through the motions of exactly what people expect from him. As he does, he drops the odd brilliant or terrible line or melody into the mix, often directly adjacent to each other, but for the most part Scorpion upholds Drake’s reputation as the guy who always stops at “good enough”. This is interspersed with some frustrating responses to Pusha T’s attempted career demolition where he contradicts himself – both trying to act tough and place himself above the situation on differing tracks. But, of course, it’s so hard not to like the guy when he’s on his game.
Atlanta rap trio Migos return with the sequel to the album that catapulted them to superstardom, which extends to a gargantuan hour and 45 minutes in length and recruits some high-profile guests as they flex their newfound muscles in the industry in the way only they can.
Singer, rapper, OVO label boss and debatable biggest artist in the world Drake defies the typical strategy of release once again, unleashing his fourth project in about a 2-year span on his adoring fans and dubbing it a “playlist”, inventing a new category between the mixtape and the album. As the speed of his projects increases and popularity rises, More Life unfortunately only continues the trend which most recently culminated in 2016’s sprawling, overlong and unfocused Views.
Songwriter, producer, Drake protégé and R&B artist PARTYNEXTDOOR’s third studio effort latches on to the rising tide of the popularized OVO sound which is currently infiltrating its way into every facet of the music industry. The minimalistic alt-R&B presented here makes for a project which is incredibly sonically unified, even as the runtime extends past an hour. But rather than aiming for hits on this project like some of his contemporaries, PND slows things down for a more stripped back and intimate listening experience. While it would be fantastic if this had translated to PND offering a higher degree of artistry than his labelmates, it mostly sounds like emulation, albeit quite masterful.
