BensBeat Top 50 Songs of 2018

Music in 2018 can be mostly defined by the continued rise in prominence of hip-hop, taking over from rock as the most listened to genre for the first time. As both a rather limitless, rule-free form creatively and a way to express protest, almost every genre drew elements from hip-hop this year. We also got a huge number of high-profile releases as the album form slowly evaporates and artists become more prolific. A Spotify playlist of this list is linked at the bottom of the article!

Here are my favourite songs from the huge tide of great music we got this year.

Honourable Mentions:

  • 21 Savage – a lot (Ft. J. Cole)
  • Carly Rae Jepsen – Party For One
  • The Carters – SUMMER
  • The Decemberists – Sucker’s Prayer
  • Denzel Curry – SWITCH IT UP | ZWITCH 1T UP
  • Johnny Balik – Honey
  • Lil Wayne – Dedicate
  • Migos – Narcos
  • ScHoolboy Q, 2 Chainz, Saudi & Kendrick Lamar – X
  • Vince Staples – FUN!

50. Mac Miller – 2009

Image result for mac miller swimmingThe 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.

49. Hozier – Nina Cried Power (Ft. Mavis Staples)

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.

48. Twenty One Pilots – Morph

Image result for twenty one pilots trenchThe 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.

47. The Internet – Hold On

Image result for the internet hive mindA 6-minute slow burn, Steve Lacy’s instantly recognizable guitar work is entrancing throughout as Syd’s soothing vocals complete the picture.

46. Maggie Rogers – Light On

HIIAPL Maggie Rogers.jpgSuperproducer Greg Kurstin strikes again with an exciting rising star, as Rogers blends her near-gospel sensibilities with a more traditionally structured pop track.

45. Hayley Kiyoko – Curious

Image result for hayley kiyoko expectationsFeaturing a pretty perfectly structured pop chorus, Kiyoko’s harmonized rapid-fire vocals stuck with me throughout the whole year.

44. Amy Shark – The Slow Song

Image result for amy shark love monsterAmy 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.

43. Anderson .Paak – Cheers (Ft. Q-Tip)

Image result for anderson paak oxnardOn 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.

42. Pusha T – The Games We Play

Image result for daytona pusha tI 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.

41. Joji – SLOW DANCING IN THE DARK

Image result for joji ballads 1A 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.

40. BROCKHAMPTON – NEW ORLEANS

Image result for iridescenceThe 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.

39. Nao – Another Lifetime

Image result for nao saturnRecorded 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.

38. Bas – Purge

Image result for bas milky wayOne 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.

37. Ariana Grande – God is a woman

Image result for sweetener coverWhen 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.

36. Kero Kero Bonito – Make Believe

Image result for kero kero bonito time n placeOne 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.

35. James Bay – Pink Lemonade

Image result for james bay album coverAn energetic retro-pop track featuring Bay’s new, more upbeat style over some crunchy guitars and a conclusion with some seriously catchy harmonized chants.

34. BTS – Paradise

Image result for bts love yourself tearWestern 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.

33. Jack White – Corporation

Image result for jack white boarding house reachA 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.

32. KIDS SEE GHOSTS – Reborn

Image result for kids see ghosts“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.

31. Janelle Monae – Make Me Feel

Image result for dirty computerFeaturing a guitar riff produced by Prince himself, Janelle Monae proves she’s the closest living artist with this slick and sensual synth-funk track.

30. J. Cole – Kevin’s Heart

Image result for kod j coleOn 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.

29. Lauren Jauregui – Expectations

Image result for lauren jauregui expectationsThe 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??

28. Blood Orange – Saint

Image result for negro swanThe 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.

27. Charlie Puth – Empty Cups

Image result for charlie puth voicenotesThe 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.

26. Mitski – Nobody

Image result for mitski be the cowboyIndie-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.

25. Cardi B – I Like It (Ft. Bad Bunny & J Balvin)

Image result for cardi b invasion of privacyLatin 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.

24. Kim Petras – Heart To Break

Image result for kim petras heart to breakAn 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.

23. RL Grime – Take It Away (Ft. Ty Dolla $ign & TK Kravitz)

Image result for rl grime novaI 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.

22. Kacey Musgraves – High Horse

Image result for golden hour kacey musgravesThe 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.

21. Robyn – Because It’s In The Music

Image result for robyn honeyThe 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.

20. Ella Mai – Trip

Image result for ella mai album coverThe 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.

19. Anderson .Paak – Tints (Ft. Kendrick Lamar)

Image result for oxnard album coverTwo 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.

18. Janelle Monae – Screwed (Ft. Zoe Kravitz)

Image result for dirty computerA call for a final party before the bomb drops, this might be the most overtly political track on an already defiant and revolutionary album. The track’s title serves as a poignant double entendre, Monae sounding like she’s having the time of her life in the studio over some shiny guitar riffs.

17. Nas – Cops Shot The Kid (Ft. Kanye West)

Image result for nasirThe 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-

16. DRAM – Best Hugs

Image result for dram that's a girls nameThe 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.

15. Camila Cabello – Consequences

Image result for camila album coverOof. 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.

14. Denzel Curry – SUMO | ZUMO

Image result for denzel ta13ooThe 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.

13. SOPHIE – Faceshopping

Image result for oil of every pearl's un-insidesI’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.

12. Troye Sivan – Dance To This (Ft. Ariana Grande)

Image result for troye sivan bloomAnother 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.

11. Childish Gambino – This Is America

Image result for this is america artworkEven 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.

10. Kali Uchis – Flight 22

Image result for kali uchis isolationKali 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.

9. Pusha T – If You Know You Know

Image result for pusha t daytonaI knew I was in for something mindblowing with the Daytona album when this was the opening track. Featuring some of the most quotable lines of the year and a crisp, chopped-up guitar sample from Kanye West, Pusha T is absolutely out for blood on this one and he doesn’t care who gets caught in the crossfire.

8. Ariana Grande – thank u, next

Image result for thank u nextAriana 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”.

7. Travis Scott – SICKO MODE (Ft. Drake)

Image result for astroworldThe 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.

6. Kanye West – Ghost Town (Ft. PARTYNEXTDOOR, Kid Cudi & 070 Shake)

Image result for ye album coverIt’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.

5. Kacey Musgraves – Rainbow

Image result for kacey musgraves golden hourI’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.

4. Rina Sawayama – Cherry

Image result for rina sawayama cherryThe 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.

3. KIDS SEE GHOSTS – 4th Dimension

Image result for kids see ghostsWhere does Kanye find these samples? One of the most creative sample flips I’ve ever heard, this was easily the standout on one of the year’s best albums as West completely refigures a Christmas song from the 1930s for his own purposes, isolating the part of the track that has the most untapped energy and applying a driving, tribal rhythm overtop. Kid Cudi doesn’t often spit a purely rap verse, but he more than keeps up with West here.

2. Amy Shark – Don’t Turn Around

Image result for amy shark love monsterIt’s shocking how singer-songwriter Amy Shark can describe such a detailed, specific scenario in her songs that still comes across as so relatable, to the tune of some smartly written pop melodies. Shark keeps getting into situations where she’s forced to see her ex, simultaneously imagining a future whirlwind reconnection and frantically telling herself to just let it go. Some of my favourite lyrical content of the year, Shark’s unassuming vocal delivery fits the picture while her strummed acoustic chords are warm and easy to return to.

1. Janelle Monae – I Like That

Image result for dirty computerMy favourite track off of Dirty Computer, it represents the culmination of all the powerful statements of self-assertion Monae delivers across the project. “I’m the random minor notes you hear in major songs” might be my favourite song lyric of all time. Monae might not be for everybody, but she couldn’t care less – deviation from the norm is exactly where she belongs, and if she’s the only one on board with what she’s putting forward, then that’s perfectly fine. Monae sounds effortlessly cool on the track, delivering some impressive vocal runs and even a rap verse addressing a school bully, and the repeated backup vocal line is just the perfect set of soulful chords that keeps me returning. Keep doing what you do best, Janelle.

That’s the music that got me through this year, stay tuned for my Top 25 albums of the year on Friday, when we’ll say “thank u, next” to the music of 2018.

Check out this list on Spotify below!

https://open.spotify.com/embed/user/22c72yrohsaragcu6c43zj6fa/playlist/6abpgfxueTZr6FspGVIHyE

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Rapid Fire Reviews (Shawn Mendes, Father John Misty, Kanye West)

Image result for shawn mendes self titled albumShawn 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

Score: 6/10

Image result for god's favorite customerFather 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

Score: 8/10

Ye album cover.jpgKanye 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

Score: 8/10

PARTYNEXTDOOR – P3

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.

Production is handled mostly by OVO beat mastermind 40, as well as PND himself, among some other lesser-known OVO associates. While these people have proven time and time again that they are amazing and very effective at what they set out to do, there is one again no new personnel coming in to provide a new perspective, and that is why the sound of this album hits every point of the framework of what is popular amongst the OVO camp at the moment. PND rides Drake’s current wave of dancehall-inspired instrumentals, which turns out to be a major strength of P3 as I believe he does it better than the boss himself. During a woozy section in the album’s middle, PND offers up the Weeknd’s brand of slowed-down, darkly beautiful alt-R&B numbers as well.

“Not Nice” is possibly the best song to come out of the OVO dancehall craze, speeding joyfully along and sounding like a caffeine-injected version of “One Dance”. PND’s instantly catchy melody adapts to the steel drum instrumental, the joy of recording coming across evidently to the listener. “Only U” follows and is equally as good. PND hails from Mississauga, Ontario of all places, but he could convince me he was born and raised in Jamaica with these songs. His voice adapts very well to the patois for some reason, unlike how awkward it can be when Drake says something like “ting”.

“Joy”, on the other hand, is the best Weeknd-style track. It really is quite ridiculous how thinly veiled PND’s imitation of his peers is on this project, as he adopts Abel’s grim worldview and desensitization to emotions in his lyrical content. This sounds like a track that was rejected from “Beauty Behind the Madness” for being too happy, actually entertaining the concept that finding joy in a relationship is possible. The Weeknd would never do such a thing! The song is the best showcase for PND’s voice over languid acoustic strumming and minimalistic backing piano. The Weekndisms and guitar-based R&B continue on standout track “Spiteful”.

A few of these songs overstay their welcome and become almost over-indulgent. There is no reason for a song which does not divert once from a singular idea – PND and his lady need 1942 tequila – to be nearly 6 minutes in length. Quite often after the main structure of a song has run its course, PND remains on a more minimal version of the beat for an extra minute crooning out variations of some of the lyrics we just heard. If PND was an absolute knockout of a singer, this would probably be beneficial, but at the moment it is just too much. The intro “High Hopes” could have been one of the best songs if it didn’t bore me to death with its 7:22 runtime.

PARTYNEXTDOOR was signed in tandem with The Weeknd by label boss Drake. Now only one of the two has become a burgeoning superstar, and I believe it may have to do with the fact that The Weeknd is one of the only people in the entire OVO camp who broke from the formula and started doing something new and interesting. It caused him to stand out from the crowd, whereas PND does not regardless of how good the songs actually are. PND at times sounds like the sonic baby of the OVO melting pot on this project, and carving out his own sound will ultimately be necessary for further success. When I honestly couldn’t tell the difference between PND and Drake on collaboration “Come and See Me”, I knew there was a persisting problem here. But then again, PND is a pretty fantastic imitator.

Favourite Tracks: Not Nice, Joy, Only U, Spiteful

Least Favourite Track: 1942

Score: 6/10