Sam Harkey

A bit confused by why he’s trying to give us an album of sounds that were popularized 5-10 years ago and now should only be done by Bladee and his posse.

Way more inconsistent than his typical releases. This one was a bit bewildering. The few I liked felt like copycats of other musician's styles ("Gum Tree" sounds like Thom Yorke on an Ed O'Brien cut). There was enough dynamics for an album that tended to just drag on through his depressive attempts at dreary hopeful music.

Pretty sure I forced myself to hit the like button on too many tracks here (6 tracks). Felt pretty generic and about half the tracks blended together into one song. Still some promising tracks on there (I.e. “Progress”, “Ghosts”).

This album is just super fine and gets almost boring in it's attempt at a quirky dreamscape. It's a lackluster comeback 6 years following a very solid sophomore album that almost feels like they came back to make some extra cash.

While I love her live shows and think she’s remarkably creative and talented, Leah’s musicianship doesn’t channel through well on her extended releases. This felt like a step backward from her studio debut and her Grateful Dead remix album. Filled with easy listening cuts sprinkled with the occasional bright star (I.e. “Feel” or “Succession”) and fun interludes, this album feels more like the smooth jazz of house than a showcase of one of the brighter stars in house.

On their first fully english album, the group went with a New Order-esque new wave and synth rock album that opts on the side of simplicity, oftentimes to a fault. The angle was likely some catchy dance floor club rock songs, but the result was forcing myself to enjoy a majority of the tracks. Don't get me wrong, all is not lost here. The first half is very fun from "Clover Paradise" through "Love Is Over" until you get the sense that this is all you're going to be getting for the rest of the album. La Femme was always nuanced with it's sonic exploration, but this time things don't seem to be fully clicking as they try to penetrate… More

chill vibes, not a lot of replay value. honestly, starting to wonder why i continue to return to Wu-Lu's stuff since i've been vastly unimpressed so far.

Despite the fact that I don't find Beatrice to be that talented, I appreciate her artistry and willingness to try [slightly] new sounds and genres in a light-hearted way. However, one has to think that by her 5th record she would have come into her own more. With Rick Rubin production, I did expect more at the end of the day.

This was a bit of a head-scratcher. Coming off their most commercially successful album, Glass Animals took the sounds that produced the most streams and just turned it into a 40-minute album. Dave, coming out of a relationship, was primed to take them back up a level to the How To Be A Human Being days of experimentation and raw energy. Instead we got some half-baked over-polished emotional cliches. “Wonderful Nothing” is a banger, though.

Not much to write home about here. Headie One has been an artist that has ridden the coattails of other Drill and UK Hip-Hop artists for a while, being able to secure some creative and high fidelity collaborators. The outcome: diluted "hip-pop". I will get it credit, the album has cohesiveness and consistency, just not at a very high bar. it's easy listening for the most part, but a listen through in one swing is a challenge.

Plz do something different for once

Pretty corny bars for 80% of the record masked in decent production. Most of the features actually showed out, which felt out of place and didn’t help his case. The Kendrick diss solidified his place out of the top 3.

Really lost all of the magic of his prior releases. While I appreciate the attempted shift in vision, stadium rock makes this feel a whole lot more shallow