It is time for the third edition of Album Katchup 2021! This is the series where I look back to the past few months and talk about albums. New albums, as a matter of fact. To check out my thoughts on albums from January-March, click here. To look at the last Album Katchup, discussing the months April-June, click here. For this edition, I am talking about July-September. As always, to get a taste of each project, click on the album title to take you to one of their songs. And, of course, this is all my opinion. I feel like I should remind you, especially considering there will be some hot takes in this edition. Without further ado, let's get started!
Vince Staples: Vince Staples
Genre: Hip Hop / Trap
Release Date: July 9
I like Vince Staples. While he's not my favorite rapper, I do like his charisma and his flows. I haven't listened to everything he's released, but I have enjoyed what I've heard. Big Fish Theory is pretty solid and, while I wasn't expecting anything on that level in terms of production or ambition, I was wanting this self titled album to be good. After listening to it... I dunno. Honestly, I found it kind of boring. There are some nice songs here and there with a nice vibe, but most of what Vince offers goes in one ear and comes out the other. I get that this project is a lot softer with more of an emphasis on mood and vibe than bangers, but many of the tracks here lack a pulse. It sounds like Vince is going through the motions. I think the album starts pretty strong with its first three tracks. They each have a nice vibe, setting a solid tone. However, after "SUNDOWN TOWN," the album starts to flatline. Vince sounds disinterested and the beats don't really progress in captivating ways. Plus, the 22 minute runtime makes the entire project come and go with little in the way of impact. Yeah, sadly, I wasn't feeling this one. There are some nice vibes here and there, but the album, as a whole, was not for me. If you're a hardcore Vince Staples fan, then I think you will get a lot more out of this than I did. It's not bad, but it is forgettable.
Grade: C
Best Tracks: ARE YOU WITH THAT?; SUNDOWN TOWN; LIL FADE
Worst Track: THE SHINING
Tkay Maidza: Last Year Was Weird, Vol. 3 (EP)
Genre: Pop Rap
Release Date: July 9
This is the latest EP in Australian singer/rapper Tkay Maidza's Last Year Was Weird trilogy. Volume one is not very good, but volume two is fantastic. As for volume three, it's somewhere in the middle. I do think it's pretty good, but it didn't grab me like volume two did. My biggest problem with this EP is that the rap cuts are weak. Sure, they go hard, but the writing is not very compelling. Plus, there are a few questionable lines in "Syrup" that concern me. "I go hard, I'm a boner?" Really? Interesting. Anyways, I think the songs that are centered on pop and R&B turn out well. There are some sweet melodies here, offering a lot of nice grooves. Plus, "Cashmere" is one of my favorite pop songs of the year. I think there are some great spots on Last Year Was Weird Vol. 3. Unfortunately, it doesn't have quite the presence that I was hoping for. I definitely wanted this to click with me more than it did, but as is, it's pretty decent.
Grade: B-
Best Tracks: Onto Me (with UMI); So Cold; Cashmere
Worst Track: High Beams
Clairo: Sling
Genre: Folk / Singer-Songwriter
Release Date: July 16
Clairo's sophomore album sees her going in a somber, down trodden, intimate folk direction. Sling is full of soft acoustic tracks, with Clairo singing closely to the mic, as well as some embellishments of electric guitars, strings, pianos and drums. I've listened to this album twice and while it has grown on me since my first listen, I can't say that I'm in love with it. Don't get me wrong. It's a very pretty album. The musicianship is nice and Clairo's singing is as pretty as it is intimate. Her lyricism is mature, discussing topics of depression, motherhood, broken relationships and more. It's a nice album to listen to. However, there's something about this album that's holding me back from loving it. In general, I can't but feel like most of the songs start to turn into background music as I listen to them. It's beautiful background music, but it's not something I find myself drawing my attention towards. Besides that, there are a few songs on here where the songwriting gets clunky. For example, "Zinnias" has a really awkward electric guitar riff that's introduced halfway through the song. It's out of place, the performance is pretty weak and the tone of the guitar is pretty bad. Little things like that make some of these songs not as great as they could be. Plus, there is a general mixing problem throughout the run of the album. The electric instruments all sound too hot in the mix, while the acoustic guitars and the vocals sound muddy. It's a shame, because I want to love this album. And even with the problems I have with Sling, I do like it overall. And who knows, maybe I'll appreciate it more with another listen to two. However, as of right now, I can't bring myself to get super invested in it. I think it's fine. But hey, if you like intimate folk music, then give it a shot. It's very nice to listen to and you might like it more than me.
Grade: B-
Best Tracks: Bambi; Amoeba; Blouse; Harbor; Just For Today; Management
Worst Track: Zinnias
Leon Bridges: Gold-Diggers Sound
Genre: R&B / Pop Soul
Release Date: July 23
This Leon Bridges album is very... safe. It doesn't take risks, it doesn't do anything out of the box and it doesn't draw attention. As a result, Gold-Diggers Sound sounds nice, but it never reaches beyond that. I will say that the album does start of promising. "Born Again" is a beautiful album opener with a great horn section and "Steam" is a nice, groovy time. And while I don't love "Motorcycle," it has a good vibe. These three songs kick off the album well, but unfortunately, it gets quite boring after that. The minimalist production makes none of the songs after track three pop and the songwriting is generic throughout. "Don't Worry" is the one spot where I actually got invested in what's being performed after those first three songs. Other than that, I don't know what else to say. Gold-Diggers Sound has a nice sound, but I can't stop myself from getting bored pretty easily. This is the kind of music that plays on the loudspeakers of a clothing store. It's fine for what it is, but it's not something to come back to.
Grade: C
Best Tracks: Born Again (feat. Robert Glasper); Steam; Don't Worry (feat. Ink)
Worst Track: Magnolias
Billie Eilish: Happier Than Ever
Genre: Art Pop / Alternative R&B / Ambient Pop
Release Date: July 30
In my opinion, Billie Eilish is one of the most exciting artists to come out of the mainstream pop scene. While I don't love everything that she's made, I think her singing and songwriting makes her stand out. Combine that with the production from her brother, Finnias, who often gives great examples on how negative space can improve a song, and you get one of the most unique and captivating artists working right now. Her debut album was pretty solid, so I was excited to see what she would do next. I'm happy to see that her songwriting has matured since then. The lyrics are often vulnerable and even revealing at times. It makes for some moments of pretty compelling poetry. Plus, Billie has improved tremendously as a vocalist. There's still a hushed quality to her voice, but it's nice to hear her open up and belt on this project. Now, as for the songs themselves, they can be hit or miss. The production can be cool and even beautiful at times, but there are a handful of songs that drag hard. Tracks like "GOLDWING" and "Lost Cause" sound pretty monotonous, while tracks like "Not My Responsibility" grow tedious very quickly. And yes, I do know this song was created for her concert and then got thrown onto this album, but it didn't add much that was already being communicated with every other track here. That leads into my big problem with the album. It feels thrown together. The sound jumps all over the place, resulting in an inconsistent, and sometimes incohesive, listen. But don't get me wrong, I do think this is a good album. Some of her best songs land on here, like the folk ballad "Your Power," the tragic yet gorgeous opener "Getting Older," the club banger "Oxytocin" and, of course, the title track, which somehow manages to be half 1950s ballad and half alt rock rager. There are some fantastic moments here. There's also a giant chunk in the middle that is boring. As a whole, Happier Than Ever feels more like a playlist than an album. It's still good and I wouldn't mind listening to it again, but it's inconsistencies leave me wanting more.
Grade: B
Best Tracks: Getting Older; I Didn't Change My Number; my future; Oxytocin; Everybody Dies; Your Power; Therefore I Am; Happier Than Ever; Male Fantasy
Worst Track: Not My Responsibility
Bleachers: Take the Sadness Out of Saturday Night
Genre: Pop Rock / Indie Pop
Release Date: July 30
I'm sure I'm not the only person who's more familiar with Jack Antonoff as a producer than as a songwriter. He's one of the biggest producers in the mainstream right now, producing for the likes of Taylor Swift, Sia, Lorde, St. Vincent, Pink, Lana Del Rey, Carly Rae Jepsen and more. This is my first experience listening to a full album of his where he's actually the focal artist. I've heard a few fun. songs in the past, as well as a Bleachers song or two, so I wasn't fully sure what to expect. Here's what I'll say about this album: I can definitely hear his passion. He sounds like he put his all into this project. As a result, there are a couple of highlights. "Stop Making This Hurt" is a great single that sounds like it would be amazing live, and "How Dare You Want More" has a really cool guitar and saxophone solo duel at the end. I like those two tracks. Everything else kinda sucks. My biggest problem with this album is, ironically enough, the production. Everything sounds muddy as the instruments clash together in a hideous way. Jack has this effect on his vocals throughout most of the album that makes many of these songs hard to listen to. Tracks like "Secret Life" and "Don't Go Dark" become grating with this effect and tracks like "Big Life" are flat out unbearable to listen to. It's clear that there's a heavy influence of the 1970s heartland rock genre, especially considering Bruce Springsteen has a guest appearance, but it comes across in such an obnoxious way. I'm sorry, but I did not like this album. It was very annoying. After listening to this, I definitely realize that I prefer Jack's producer work a whole lot more.
Grade: D+
Best Tracks: How Dare You Want More; Stop Making This Hurt
Worst Track: Big Life
Yola: Stand for Myself
Genre: Country Soul / Pop Soul
Release Date: July 30
On her sophomore album, Yola has made one of the most likeable albums of the year. She combines country, pop, soul, R&B, gospel and rock to make a very tight, 12 track project full of beauty, confidence and fun. The genres fuse together seamlessly, as Yola sings about love, the hardships of life and the fight to feel alive, over tight, well performed instrumentals. It's uplifting stuff, and it gives me a big smile on my face as I listen to it. Also, Yola's vocals are outstanding. She has so much control and range, and the husky, raspy quality of her voice adds a lot of character. As for the songwriting, it's amazing. From the catchy country bop that is "Diamond Studded Shoes" to the powerful soul jam "Starlight" to the gorgeous, dreamy ballad "Now You're Here," it becomes very difficult to not like this album. As for negatives, there are a few songs that don't grab me as much as the majority. That's not a big deal, though, as not every song has to be a masterpiece. My biggest critique is that, as Yola's sound is very much drenched in 50s nostalgia, it is easy to compare her to her contemporaries and see how much she wears her influences on her sleeve. Some parts of specific songs sound borrowed from past works, like the beginning lick off of "Like a Photograph." I can't remember where I've heard it from, but I've definitely heard it before. Despite that, I loved Stand for Myself. It's one of the most enjoyable projects I've heard all year and while it's not perfect, it has such an infectious, positive energy. I can easily see myself returning to this a lot as the year goes on.
Grade: A-
Best Tracks: Barely Alive; Dancing Away in Tears; Diamond Studded Shoes; Great Divide; Starlight; If I Had To Do It All Again; Now You’re Here; Break the Bough; Stand for Myself
Worst Track: Whatever You Want
Darkside: Spiral
Genre: Art Rock / Neo-Psychedelia / Krautrock
Release Date: July 30
Darkside return with their sophomore album only eight years after their debut. I went into this project not knowing what to expect, as I had not been familiar with Darkside's work up until this point. I must say, I was pleasantly surprised! Spiral is a haunting and dark display of music, mixing the stylings of electronica, psychedelia and art rock. What this album does so well, probably better than any other album I've heard this year, is create an atmosphere. Every song here fits into this somber, dystopian tone. The sound of this project reminds me of a sci-fi spaghetti western. I love the sound design. Whether it's the soft grooves of "Lawmaker" and "Liberty Bell" or the ambient, spine chilling hits of oddly toned guitar strings of "Narrow Road" and "I'm the Echo," this album has a mysterious darkness about it that I cannot get enough of. This mood does, however, make the ballads drag more than the others. "Inside Is Out There" is especially longwinded, as it's eight and a half minutes long without much in the way of progression or change ups. Other than that, I love Spiral. This is one of those projects where I can't see myself individually listening to any specific song on here. Instead, the full album experience is very much needed. It did take me a few listens to get invested, but I am totally into it now. If you're curious, don't expect to love it immediately. Give it a few listens and, hopefully, it will seep into your mind, and you'll eventually fall in love with it. That's what happened to me.
Grade: A-
Best Tracks: Narrow Road; The Limit; Lawmaker; I'm the Echo; Liberty Bell; Only Young
Worst Track: Inside Is Out There
LUMP: Animal
Genre: Indie Pop / Art Pop
Release Date: July 30
LUMP is the supergroup consisting of English folk singer/songwriter Laura Marling and producer Mike Lindsay. I'm not crazy familiar with either, but I loved Laura's last solo album, Songs for our Daughter. And the self-titled LUMP debut was pretty good as well. So, I was interested to see what this album would be like. The debut was a short but sweet display of folktronica. It was full of atmosphere and emotion, resulting in a gripping 32 minute project. The sophomore album, Animal, is a lot groovier. There are more consistent drum patterns with synth leads coming in at the forefront. It makes the tracks more immediate and gripping. I think the album starts off especially strong with the one-two-three punch of "Bloom At Night," "Gamma Ray" and the title track. All of them have these mesmerizing keyboard melodies, each with their own distinct instrumental tone. The songwriting is consistent throughout, mixing bright sounds with lyrical themes of love and desire. The combination is enchanting, to say the least. There are a handful of nice ballads as well. "Red Snakes" is a gorgeous piano track and "Phantom Limb" has these two lovely guitar melodies that intersect with each other as the songs go on. I do feel like the shorter tracks were unnecessary. They don't leave much of an impact and, after listening to this project a couple times, feel like afterthoughts. Plus, I think that "Climb Every Wall" has the weakest vocals and hook out of the entire album. The melody doesn't grab me and it sounds like the singing is just a touch out of Laura's range. Despite that, I really enjoyed Animal. It's full of colorful production, great performances and nice, groovy, beautiful tunes. Check this one out if you haven't.
Grade: B+
Best Tracks: Bloom At Night; Gamma Ray; Animal; Red Snakes; We Cannot Resist; Phantom Limb
Worst Track: Climb Every Wall
Isaiah Rashad: The House is Burning
Genre: Southern Hip Hop
Release Date: July 30
After a 5 year hiatus, rapper Isaiah Rashad has returned with a collection of moody, vibe filled hip hop tracks that, more often than not, work better as background music. There are a handful of standouts, like the fantastic single "Headshots" and the Kenny Beats produced "Score," but most of the songs play without leaving any real impact. Isaiah's lyricism is pretty decent, but his flow is average at best, causing him to be outshined by most of his features. There are also numerous songs on here that are either half baked or could have benefited from a rewrite. There is quite a bit of filler on here. Get rid of around 5-6 songs and you would have a very solid album. As is, it's pretty mid.
Grade: C-
Best Tracks: RIP Young; Headshots (4R da Locals); All Herb (feat. Amindi); Don’t Shoot; Score (feat. SZA & LACK)
Worst Track: 9-3 Freestyle
Jungle: Loving in Stereo
Genre: Neo-Soul / Nu-Disco / Synth Funk
Release Date: August 13
I discovered the band Jungle thanks to the music video for "Keep Moving." It's one of the best music videos of the entire year. The choreography and the cinematography are amazing and the song is a lot of fun to boot. As a result, I was curious to see what a full album of theirs would be like. Luckily, Loving in Stereo came out, so my wish was granted. So what did I think of this album? It's fine. It's a perfectly enjoyable and serviceable collection of funk music with soul, disco and rock influences. Most of the songs have nice grooves, and production and the writing, while not spectacular, have a nice, uplifting vibe. I can't bring myself to love any of it, though. With the exception of the aforementioned "Keep Moving," there's no song on here that wows me. Nothing here is terrible, or even bad, but none of the songs really stand out. But hey, that's just me. I do recognize that Loving in Stereo is fun. If you want a fun album that'll keep you dancing, then this is perfect. I'm not going to say that I would willingly put this on and listen to it again, but if any of these songs were to come on in the background at some social gathering, I would enjoy myself.
Grade: C+
Best Tracks: Keep Moving
Worst Track: No Rules
Lorde: Solar Power
Genre: Folk Pop
Release Date: August 20
I have a confession to make: I am not a Lorde fan. Sure, she has a few good songs and she seems like a lovely person, but I've never been able to fully get into her music. Her last album, Melodrama, is overrated, in my opinion. With that said, I was still looking forward to Solar Power. Even though I wasn't crazy about most of the tracks on Melodrama, there was a lot of ambition and potential there. I was also interested in this track because, based on the title track, the sound of the album would go towards a sunnier, summer break kind of vibe. However, this album wasn't what I expected. Like the album cover, the sound of Solar Power is stripped down. Gone are the synths, EDM basslines and trap high hats. In their place is the handy dandy acoustic guitar, resulting in a sound that is more in line with folk than with traditional pop. In theory, this should be pretty nice. I'm a sucker for acoustic music and this has promise to be Lorde's most intimate and mature album yet. However... it is not. Solar Power might be the most boring album I've heard all year. Almost every single song here sounds so dull and lifeless. There's no bite to any of the performances or writing. Plus, the structures of many of these tracks are weak. They just kind of meander until they hit an uneventful end. Songs like "Dominoes" and "Leader of a New Regime" are so scant, they have zero impact or purpose, while songs like "The Man with the Axe" and "Mood Ring" sound amateurish. The vocals and the lyrics are even bad. There are some hideous harmonies in tracks like "Stoned at the Nail Salon," which completely wastes its backing vocals from Phoebe Bridgers and Clairo. Lyrically, this album leaves no impact whatsoever. There's nothing on here that particularly poorly written (except for the skit at the end of "Secrets from a Girl," like, why?), but there's nothing here that got me to really think about the themes that Lorde is trying to get across. The only song that I like is the title track, but even that song sounds unfinished. The build is nice, but the payoff could have been so much better. As a whole, Solar Power was a missed opportunity. It sounds nice as background music, but as an album, it's a snooze fest.
Grade: D
Best Tracks: Solar Power
Worst Track: Leader of a New Regime
Orla Gartland: Woman on the Internet
Genre: Indie Pop
Release Date: August 20
I wasn't originally planning on listening to this one. While I did like the singles leading up to this album, I didn't have a whole lot of interest in checking it out. But then, one day, I was bored at work, so I decided to put in my earbuds and listen to this album (I'm allowed to listen to music while at work, don't worry). And I have to say... I'm glad I did, because Woman on the Internet blindsided me in the best way possible. Orla Gartland's debut album is full of indie pop bangers, full of great production, catchy choruses and captivating, self reflective lyrics. I love the way Orla writes songs on here. They're so melodic, and yet they have a quality about them that is just so sticky. Whether it be the soaring chorus of "You're Not Special, Babe," the heavy distorted guitars of "Over Your Head," the added vocal layers of "Zombies!," or the acoustic simplicity of "Madison" and "Left Behind," her songwriting manages to be engaging and enjoyable throughout. I appreciate how vulnerable she is here, as she lays out many of her flaws in the lyrics. They draw me to her music even more. Plus, the songs in general just sound so good. The guitars and drums have a nice crispness to them. All of the instrumentation sounds completely organic, which I love to hear. While I do think that the first half of the album is stronger than the second half, there are still some great ideas and songs found there. I was really surprised by Woman on the Internet. This is a really good collection of indie pop tunes. If you like your music catchy and full of personality and vulnerability, then I think you'll like this quite a bit. Give it a shot.
Grade: A-
Best Tracks: Things That I’ve Learned; You’re Not Special, Babe; More Like You; Over Your Head; Zombies!; Madison; Left Behind; Bloodline / Difficult Things
Worst Track: Codependency
Chvrches: Screen Violence
Genre: Synthpop
Release Date: August 27
This was my first experience with Chvrches. I've heard a song or two of theirs in the past, but this is my introduction to them as a group. Screen Violence is the band's fourth album and I have to say, I'm pretty impressed. While this didn't blow me away, it is a very solid and enjoyable synthpop project. The production is great throughout, Lauren Mayberry's vocals are amazing and the references to horror movies are pretty cool. There are some great tunes here, like the dark and brooding "Violent Delights," the anthemic "How Not To Drown," with a fantastic feature from The Cure frontman Robert Smith, and the bright and soaring "Good Girls." The one thing that is holding me back from loving this album is the writing. Sometimes, the lyricism can be pretty basic. Whether it's lines about how they don't warn you about how terrible California is or lines about things being televised, there are some moments that can't help but illicit an eye roll. A rewrite or two would help moments like those become stronger. My writing gripes extend past the lyrics, however, as there are some songs that could have written better musically. A strong example is, oddly enough, one of my favorite songs on here sonically, which is "Nightmares." I love the dark, intense synths and how the distortion adds a level of urgency. Unfortunately, the chord progression of both the music and the vocals follows a basic four chords pop formula. It would be more interesting if more seventh and ninth chords were used during the chorus. Despite that, I quite enjoyed Screen Violence. It's definitely not a masterpiece and some of the songs definitely could have used some retooling, but I'm happy that this album was my first venture into Chvrches's music.
Grade: B
Best Tracks: Asking for a Friend; Violent Delights; How Not To Drown; Good Girls; Nightmares
Worst Track: California
Big Red Machine: How Long Do You Think It's Gonna Last?
Genre: Chamber Pop / Art Pop / Folktronica
Release Date: August 27
Big Red Machine is the supergroup of Bon Iver and The National frontman Matt Berninger. It's a giant album full of guest vocalists, clocking in at a little over an hour. In a way, it's like folk's take on Gorillaz. I was excited to check this out, though skeptical, as I was curious about how an ambitious undertaking like this would pan out. After listening to it a few times, I can't help but feel like something is missing. Here's what I will say: the first five songs on this album are fantastic. They are beautifully performed, with gorgeous piano pieces and lovely singing. I love the melding of organic instrumentation with electronics on the first five songs. It's a combination that works wonders, managing to not sound gimmicky at all. Plus, they all sound lovely. If this project were an EP consisting of only the first five songs, I would be completely happy. In fact, I would prefer that, because the quality drops hard after "Renegade." The songs start to grow stagnant, not offering much in the way of compelling melodies or interesting progression. Songs like "Hoping Then," "Easy to Sabotage" and "Brycie" get old really quickly. The guests also start to become more forgettable as the project goes along. Anais Mitchell, Robin Pecknold of Fleet Foxes and Taylor Swift all do fantastic when they're used, sounding well integrated and natural with the songs they're featured on. All of the other features sound shoehorned in. The worst is easily Naeem on "Easy to Sabotage," whose use of autotune sounds awful. Plus, that song did not need to be six minutes long. Luckily, the album does end on a positive note with "New Auburn," but everything between that song and "Renegade" is rough. I wish I liked this more than I did. While there are some brilliant and beautiful moments, there are also some moments that drag. If you're curious, then I do think this album is worth listening to at least once, but don't expect every song on here to be a winner.
Grade: C
Best Tracks: Latter Days (feat. Anais Mitchell); Reese; Phoenix (feat. Fleet Foxes, Anais Mitchell); Birch (feat. Taylor Swift); Renegade (feat. Taylor Swift); New Auburn (feat. Anais Mitchell)
Worst Track: Easy to Sabotage (feat. Naeem)
Kanye West: Donda
Genre: Experimental Hip Hop
Release Date: August 29
I'm going to be real with you. I'm not a Kanye West fan. I never have been. His approach to hip hop has never been my thing. Plus, his persona, as well as his fanbase, has turned me off from wanting to listen to his material. And I know there has been a lot of hype surrounding Donda, especially with the constant release date pushbacks and the live events. I managed to stay away from the hype, so this review comes from a directly outsider's perspective. I am not emotionally attached to Kanye, so I had no expectations coming into this. I also did not expect this album to be 27 songs, totaling at an HOUR AND FORTY EIGHT MINUTES! But I'm getting ahead of myself. I do think there are some really good songs on here. I like the more atmospheric ambient approach to the production that's being used this time around. It gives many of these tracks a weight to them, eliciting a strong impact. Kanye's writing is pretty hit or miss, but when it hits, it results in some of the most powerful music I've heard all year. "Come to Life" is genuinely one of the most gorgeous songs of 2021. As a whole, this album feels like a culmination and reflection of Kanye's entire life while looking through the lens of a brand new born again Christian. There's lyrics about sin, adolescence, divorce, being blessed by the love of God, the releationship with his mother and more. It makes for some very compelling moments. And the features, for the most part, are pretty good. They have some solid storytelling moments and they fit the mood of Kanye's production and themes quite well. However, need I remind you, THIS ALBUM IS AN HOUR AND FORTY EIGHT MINUTES LONG!!! There is no reason this album needed to be this long. The biggest problem with this album is that Kanye has no idea when to say no or when to cut a track. There are so many songs here that listening to this album grows exhausting very quickly. Plus, there is a lot of filler on here. Do we really need four "part two's" of songs earlier on the album, only for them to be the exact same songs but with new guest verses? Absolutely not. Did we need that posthumous Pop Smoke track that obviously sounds like it was thrown together at the last minute? Definitely not. Did we need a song that samples the "The Globglogabgalab?" Well... maybe. It seems like for every song that hits nice, there's two that are either tedious, annoying or just confusing. There are some truly amazing moments here, but I simply cannot make myself sit through this entire album again just to get to the good parts. Here's what I will say: if you're a Kanye fan, then you will love this. It's ambitious as all hell and it definitely has some strong highlights. However, if you don't care for his music or him as a celebrity, then I wouldn't bother. If this album were 10-15 songs shorter, then I'd say the whole project was worth it. But as is, Donda is just not for me.
Grade: C-
Best Tracks: Off The Grid; Hurricane; Junya; Believe What I Say; 24; Donda; Jesus Lord; Come to Life; No Child Left Behind
Worst Track: Tell The Vision
Drake: Certified Lover Boy
Genre: Pop Rap / Trap
Release Date: September 3
Drake is, in my opinion, the most overrated artist working today. Every song that I've heard from him has been boring, leaving little to no impression on me whatsoever. His flow and his lyricism are not great, and his beats are, from what I've heard, uninteresting. On top of that, he is SO overplayed for some reason. I don't fully understand, because he makes some of the most basic, boilerplate, meat and potatoes pop rap I've ever heard. There's also his persona, which is annoying, but I try not to pay attention to that. All I care about is the music, and I have not been impressed. With all that said... what the hell was I expecting to get out of this album? Like, seriously? From this artist? With that album title? With that album cover? I honestly don't know. And, surprise, it's not good. It's a Drake album. Boring beats, boring bars and boring features leads to a boring album. Hell, the best song on the album doesn't even feature vocals from Drake. That's the level we are at with this album. There are a few other tracks that are fine, but most range from mediocre to "yeah, say that you a lesbian, girl, me too." I will never listen to this again. Goodbye.
Grade: D-
Best Tracks: Fair Trade (with Travis Scott); Yebba's Heartbreak; No Friends In The Industry; You Only Live Twice (with Lil Wayne & Rick Ross)
Worst Track: Girls Want Girls (with Lil Baby)
Little Simz: Sometimes I Might Be Introvert
Genre: UK Hip Hop / Conscious Hip Hop / Neo-Soul
Release Date: September 3
Sometimes I Might Be Introvert was easily one of my most anticipated albums of the year. I adore her last album, GREY Area. It's raw production, matched with Simbi's ferocious flows and lyricism, made for a collection of stellar tracks. The lead up to this album, however, promised a much grander spectacle, sort of like Stillness in Wonderland. I was very excited to see her go in this direction. Now, I don't want to speak so soon as this album is still quite new, but I think we have a classic on our hands. Sometimes I Might Be Introvert is fantastic, standing as the best rap album I've heard all year. Simbi has created a spectacle that sounds so big and epic, yet down to earth and full of heart and soul. In fact, to properly describe my thoughts on this album, I need to extend this review past my normal length, so bear with me.
This album goes through many phases and sounds. It should come across as a jumbled mess, yet it all fits together so well. The album kicks off with "Introvert," a big, bombastic, six minute epic, full of these glorious horn stabs that cut right to the soul. Simbi's lyricism on the inner turmoil she feels when in the face of corrupt government and greed is gripping throughout, and her flow is on point. It leads to a great conclusion with actress Emma Corrin narrating the central themes of how her upbringing lead Simbi to where she is now. Emma returns periodically during the interludes spliced through the album, tying the themes together quite well. But I'm getting ahead of myself. Let's continue.
"Woman" is a gorgeous ballad about the women that inspired Simbi matched with a beautiful chorus from Cleo Sol, and "Two Worlds Apart" is a lovely, elegant song with this nice arpeggiated lead melody that plays throughout the track. The song "I Love You, I Hate You" might be the most well written song of the entire year, with Simbi detailing the difficult relationship she has with her dad. Her rhyme scheme, her flow and her cadence is so well executed, and the use of the "I Love You, I Hate You" refrain that plays throughout the song is genius.
"Little Q, Pt. 2" tells the harrowing story of Simbi's cousin, Q, presented with a sunshiny beat and one of the best uses of a kids choir I've ever heard. Then we have "Speed," which is a certified banger while still keeping the organic instrumentation that has been used up to this point. It's a really fun track, and it flows perfectly into "Standing Ovation," which is one of the most insane tracks on the album. The dichotomy between the verses and the chorus is so well done, and I love how Simbi just goes off, giving respect to the everyday people at the end of the song. It's a powerful moment. Luckily, it does give you time to pick your jaw up off the floor.
"I See You" is a nice love ballad, with a chilled out vibe and one of the catchiest choruses on the album. "Rollin Stone" is a cold blooded banger with one of the most menacing flows Simbi has ever done. "Protect My Energy" is a synthpop jam all about being an introvert, which, as an introvert myself, I really relate to. Plus, this song showcases how much Simbi has improved as a singer. If you heard her singing on her first two albums, you would agree with me. The few moments where she sings on her first two albums are downright terrible. Here, she's quite good.
The album ends as strong as it begins. The one-two punch of "Point and Kill" and "Fear No Man" is full of traditional African rhythms and musicianship. I love the energy that both of these tracks offer, and they are infectious with how enjoyable, catchy and well written they are. Plus, the transition between these two songs is my favorite song-to-song transition of the year. Then, we have "How Did You Get Here," with Simbi looking back at her life and her growth as an artists. It's really compelling and results in one of the most gorgeous songs on the project. The album ends with "Miss Understood," a quiet, introverted ballad that works perfectly as the closer.
Y'all, I cannot stress how much I love this album. The production, the musicianship, the rapping, the writing, the features... it all culminates into an amazing album experience. This project is so good, even the interludes are great. They are all grandiose and dramatic, yet fit the mood and storytelling so well. I love this project so much. This is easily one of the best albums I've heard all year, and I can't wait to add this to my regular album cycle. If you haven't listened to this yet, do it. It's a hell of a lot better than what Drake released the same weekend, that's for sure.
Grade: A+
Best Tracks: Introvert; Woman (feat. Cleo Sol); Two Worlds Apart; I Love You, I Hate You; Little Q, Pt. 2; Gems (Interlude); Speed; Standing Ovation; I See You; The Rapper That Came To Tea (Interlude); Rollin Stone; Protect My Energy; Point and Kill (feat. Obongjayar); Fear No Man; The Garden (Interlude); How Did You Get Here; Miss Understood
Worst Track: uh... I guess Never Make Promises (Interlude)? If I really have to pick?
Kacey Musgraves: star-crossed
Genre: Folk Pop / Singer-Songwriter
Release Date: September 10
The dichotomy between Kacey's last album, Golden Hour, and this one is interesting. Golden Hour is a syrupy sweet pop album primarily about love, whereas star-crossed is a more downtrodden listen about heartbreak and her very recent divorce. Also, while Golden Hour is very much a crossover of country and pop, the country sound has pretty much completely gone away here. I was interested to see what Kacey would do with this album, even if I didn't particularly love Golden Hour. There are positive and negatives here. I generally like the instrumentation. The shift towards a more folkier sound makes for some nice balladry, enhancing the poignancy of the themes being brought up. The tracks "camera roll" and "hookup scene" stand out as being the two best ballads on the album for their simplicity and the way they handle their lyrical content. Some of the more pop oriented tracks have nice grooves to them. "breadwinner," though having a pretty cheesy chorus, does have a good beat that makes me bob my head, and the flute solo on "there is a light" is freaking SICK. I also think the album opens pretty strong with the grand title track and the beautiful "good wife." However, there are a few things that make this entire album not as good as it could be. The biggest reason is the production. I don't know what happened, but this album sounds rough as hell. The instrumentals sound muddy with uneven channel distributions. Sometimes, one channel will sound louder than the other, even in parts where the instrumental tracks are not dedicated to a specific channel. On top of that, the vocals sound way too compressed throughout the entire record. There are some songs where it sounds like Kacey is blowing out the mic, and she's not necessarily a power house vocalist. There is also a good chunk in the middle where the tunes start to blend together. The album becomes boring after a while, as not many tracks grabbed me. And that final track is an overblown, horribly mixed, pretentious way to close the album off. Overall, I'm conflicted. There are some great moments, but some of the tunes leave very little impact, and the mixing and mastering are quite bad. I do think the narrative and subject matter is more compelling here than on Golden Hour, but the songs on that project are stronger. It's not terrible, but it could have been so much better.
Grade: C
Best Tracks: star-crossed; good wife; camera roll; hookup scene; there is a light
Worst Track: gracias a la vida
Sleigh Bells: Texis
Genre: Noise Pop / Electropop
Release Date: September 10
I had never heard a Sleigh Bells album before this one. I was curious because I liked the singles leading up this album, but I was skeptical, as I knew the general reception of this group is pretty mixed. However, I quite enjoyed Texis. It's a loud, wild and abrasive 35 minutes, mixing pop, noise, rock and metal. The performances are fiery and the vocals are a lot of fun. I love the odd synth leads of "Locust Laced" and how they lead into these heavy chugging riffs. "Justine Go Genesis" is insane, with its chanting vocals and its heavy as hell double kick drums. And the deepcuts are pretty great too. "Rosary" stands out in particular, as it has my favorite melody of any song here. This album, as a whole, is just a loads of fun. As for negatives, lyrically, it's not the best. The lines are pretty weak, and the use of repetition can get annoying. Plus, the project could have used some more dynamic contrast. The entire album sounds very uniform in its production and its performances. There's not a lot of sonic variation in the tracklist, causing the sound to become longwinded and tedious as it goes along. The one song that switches it up is "True Seekers." I would have liked to have one or two more of these tracks in a similar vein. Luckily, this album is pretty short, so it's not a huge issue. Besides, the performances are so much fun. They are skilled at their instruments, and the ferocity on display makes this a blast, resulting in my issues with the album not being as strong as they could be. Overall, Texis is a joy from start to finish. It's not perfect, by any means, but I can't stop myself from enjoying this. If you like your pop music going wild and heavy, and even metal, then check this out.
Grade: B+
Best Tracks: An Acre Lost; Locust Laced; Knowing; Justine Go Genesis; Rosary; True Seekers
Worst Track: Red Flag Flies
Injury Reserve: By the Time I Get to Phoenix
Genre: Experimental Hip Hop / Glitch
Release Date: September 15
By the Time I Get to Phoenix came from a tumultuous time for the rap group Injury Reserve. After riding high with their self titled debut and mixtapes, and creating a name for themselves with some very fun and creative displays of experimental hip hop, the collective began working on this project before two major events happened. One is, of course, the pandemic. The other is the tragic passing of founding member Stepa J. Groggs. As a result, the two remaining members, rapper Ritchie with a T and producer Parker Corey, decided to take what they had made thus far and do what Groggs wished for... make it weird. And, man, did they ever. By the Time I Get to Phoenix is one of the most wild, whacked out pieces of music I've ever heard. All of the beats are intentionally choppy and glitchy, often sampling post punk songs. The results are disjointed and disorienting, eliciting this feeling that your brain is melting. The vocals give that same feeling, as the pitch shifting and general tone of Ritchie's voice is matched to the bizarre levels of the music. Plus, his flows and his lyrics often feel like stream of conscious ramblings, as he repeats phrases and jumps from one thought to the next. The combination of the psychedelic, glitchy production and the frenetic vocal delivery creates an album that has this overarching feeling of red hot anger and a deep, powerful sorrow. This album is like a full body sob. You know, the kind of cry where you lose control of your basic motor functions because of how much you cry. Now, I must reiterate that this album is glitchy and weird. Often times, it starts delving into chaotic noise and would often detour from what would traditionally be considered "music." Because of that, this album will not appeal to everybody. Some will love it for its experimentation and pure originality, while some will describe this as annoying, pretentious nonsense. As for me, I respect the artistry and there are some tracks that I love, but I can't say that this entire project is for me. I can appreciate what they are doing and I certainly admire it, but sitting through the entire album is a struggle. I find myself enjoying these songs in isolation rather than in the context of the album, even though all eleven of these tracks fit together so well. What I will say is that this album is easily the most original album of the year. No other project sounds like this, and for that, I not only applaud Injury Reserve for their ambition, but also highly recommend this album. Most music does not sound like this. It just doesn't. It is worth checking out simply to see how far they are able to push the sounds of hip hop. All in all, By the Time I Get to Phoenix is very good. It's creative, original, depressing, angry, weird and quite impressive. I do wish that I liked it a little more. It might grow on me with a few more listens, but I don't know if I will come back to this one all that much, especially compared to their other projects. Still, i suggest that you check this one out. It might not be your taste, but you should experience at least one of these tracks because, like I said, nothing else sounds like this.
Grade: B
Best Tracks: Outside; Superman That; SS San Francisco (feat. Zelooperz); Top Picks For You; Postpostpartum; Knees
Worst Track: Bye Storm
Lil Nas X: MONTERO
Genre: Pop / Pop Rap
Release Date: September 17
Lil Nas X should be a one hit wonder. With a song like "Old Town Road," he should have flopped with his follow up single and disappeared off the face of the earth, considering how much of a novelty it is. However, against all odds, Lil Nas X has managed to become one of the most exciting new artists in the pop sphere. He has also become one of the most controversial, as "Montero (Call Me By Your Name)" managed to contain one of the most provocative music videos released in a while, as he slides down a stripper pole into hell and gives Satan a lap dance. Say what you want about that, but it, along with his sense of humor, his dealings with meme and his various other ploys, has made him a marketing genius. Now, we have his debut album, MONTERO. I've never been a fan of modern pop music, or at least the super popular stuff. A lot of it sounds soulless and without personality. Luckily, MONTERO is pretty damn great! The songs are very well crafted. The production is great throughout, offering a lot of booming beats that will keep your head bobbing. Like with everything he released before this album, Lil Nas X mixes genres into his tracks, like the Latin infused title track or the pop punk inspired "Lost in the Citadel" and "Life After Salem." Lil Nas X proves himself as a charismatic vocalist, offering a good range of pitch and emotion. Plus, the writing is solid. He sings about love, sex, heartbreak, imposter syndrome and more, and most of it comes across quite compelling. And the choruses bop. I have been humming "Industry Baby" and "Tales of Dominica" for the past few days, as this project will get stuck in your head so easily. As for negatives, despite his ambition, there are some pop clichés that the album falls into, at least sonically. "That's What I Want" has a chorus that sounds like something Maroon 5 would make later in their career. "Scoop" has a half baked chorus and an obnoxious feature from Doja Cat. And the song "Don't Want It," while a definite banger, sounds unfinished, as all of the award show clips take a decent chunk of the track. Though I will say, Lil Nas X's duet with the next member of the Cyrus family might be my favorite song of his yet. "Am I Dreaming" is a beautiful way to close the album, and the two sound so good together. So, yeah. I really liked MONTERO. It's a great pop album, and it's definitely one of the best of the mainstream. If his controversies have turned you off of his music, then I would give him another chance. There's something special about this project, and I can't wait to see where he goes from here. Not every song is a winner, but the ones that are are great to listen to. Check it out if you haven't already.
Grade: B+
Best Tracks: MONTERO (Call Me By Your Name); INDUSTRY BABY (feat. Jack Harlowe); LOST IN THE CITADEL; TALES OF DOMINICA; SUN GOES DOWN; VOID; LIFE AFTER SALEM; AM I DREAMING (feat. Miley Cyrus)
Worst Track: SCOOP (feat. Doja Cat)
Poppy: Flux
Genre: Alternative Rock
Release Date: September 24
With her last album, I Disagree, Poppy shifted from bubblegum pop to hard rock and nu-metal. It was a highly enjoyable album full of heavy riffs and cool experimentation. With Flux, there are two notable things about it. One is that this album is more geared towards alternative rock and pop punk. It's not as heavy in terms of its sonic direction, as it sounds more radio friendly than the previous album, but there are plenty of guitar riffs and licks that gear towards a rock direction. The other is how brief and straightforward it is. At nine tracks, clocking in at 32 minutes, it's a very quick listen. Unfortunately, that also means that the music is a lot safer this time around. For the most part, there's very little experimentation on this album. Poppy is going for the alternative rock sound in its purest form. That's not entirely a bad thing, as there are some great tracks on here. "Lessen The Damage" is a pop punk rager with an insanely catchy chorus. "On The Level" has an amazing groove and some surprising bursts of black metal blast beats during the bridge. "Her" might be the best song she's ever made at only two minutes, and "Never Find My Place" is an epic closer. All the rest of the songs, however, are relatively uninteresting. I wouldn't say I hate them, but they do not stand out. As a whole, Flux is fine. It has some good tunes, but there are just as many that leave very little impression. If you like alternative rock, then I think you might dig this. I do like alternative rock, but I couldn't help but feel underwhelmed by this one.
Grade: C+
Best Tracks: Lessen The Damage; On The Level; Her; Never Find My Place
Worst Track: As Strange As It Seems
Sufjan Stevens & Angelo De Augustine: A Beginner's Mind
Genre: Indie Folk / Singer-Songwriter
Release Date: September 24
I don't have a lot to say about this album. Simply put, A Beginner's Mind is quite possibly the most beautiful album I've heard this year. The acoustic guitars, the hushed vocals, the luscious pianos and the occasional string and electronic embellishments have crafted one of the most soothing albums I've heard in a while. This album is so gorgeous, I can't help but tear up in a couple spots merely due to how lovely everything sounds. That's how good it is. Really, the worst thing about A Beginner's Mind is the album cover. It makes me uncomfortable. Besides that, as well as a few songs where the melody gets clunky, I loved this album. This is definitely going to be an album I return to for relaxation purposes. Also, I love the movie tie-ins. They are great. Highly recommend this one.
Grade: A
Best Tracks: Reach Out; Lady Macbeth In Chains; Back To Oz; You Give Death a Bad Name; Beginner's Mind; Olympus; Murder and Crime; Fictional California; Cimmerian Shade; Lacrimae
Worst Track: It's Your Own Body and Mind
Favorite Singles:
JULY: "Bunny Is A Rider" by Caroline Polachek
AUGUST: "Knees" by Injury Reserve
SEPTEMBER: "Valentine" by Snail Mail
Stay tuned for part 4, where I talk about albums released in October, November and December, as well as a few albums from the year that I missed!
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