Wiz Khalifa's latest was somewhat of a mixed bag. While this was his best tape in years and a slight step back towards that Kush & OJ groove that everyone loved, he sounded lethargic throughout and lacking in that signature charisma that's carried him so far.
Black Panther The Album's greatest strength is that it can both stand on it's own and work in the context of the movie it's connected to, and much like Black Panther will undoubtedly change the movie scene I expect this to do the same for soundtracks.
'The Music Sounds Better With Whom?' dives into the intersection of music and AI, exploring technology's impact on music makers, listeners, and society.
Alison Wonderland's sophomore effort is a crazy mix of wide ranging sounds that kept me on my toes throughout, not really knowing what to expect next. I'm not the biggest EDM fan but I really enjoyed her brand of music and I never would have guessed that someone could make me like a Chief Keef EDM song as much as I did.
With 'Here For It All,' Sean Devine balances the Americana music concepts with a personal view, delivering an album well worth a listen.
Sheck Wes has great charisma and personality for an artist but he's severely lacking on the musicianship side of things and a full project isn't something we needed from him.
If you're already a fan of Mozzy then you'll fall right in with 'Gangland Landlord' and if you're not, then now's as good a time as any to check in.
WALLS is easy bake music, full of sing-a-long choruses and big, hypnotic guitars, and easy songwriting that'll leave you looking for something a little more to sink your teeth into. But damn if it isn't infectious.
Genres come and go, but on 'A Song of Your Own' Crossroad Saints have sussed out the essence of what modern Southern Rock should sound like.
On 'Border Patrol,' Farees — musician, producer, poet, and activist extraordinaire — is right on target with both his music and his important message.
D.D. Weis, aka Red Bird Rising, comes up with a powerful musical attempt to raise consciousness about the war in Ukraine with "My Revolution."
At Night, Alone. is an overall solid album that showcases Posner's ability to write a compelling song. It just suffers at times from a "sameness" feeling that often leaves me listening to the dance remixes more than the originals.
Her EP gave us a great look at the type of smooth, sultry music that SiR will bring to the table for TDE and it bodes well for the future. He already has such a strong grasp on his artistry and I can't wait to hear what he puts out next.
Rage & the Machine is Buddens' most focused project to date. AraabMUZIK kills the production, with smooth soul sampling and hard drums, giving Joe the appropriate space to lay down his dense, layered lyrics. I gotta give it to Joe, he goes the f*ck in and it's pure concentrated dopeness.
Kesha was definitely at a career crossroads and Rainbow was just the new direction and sound she needed to ensure it's longevity. It was a highly personal affair that felt like she was finally able to express her true artistic voice, and it's a good one.
"Concealed Little Weapon" is a dose of nostalgia for the 90s rock and grunge classics, but with its talented creator's unique and elusive touch.
I don't understand the hype NAV got outside of being associated with The Weeknd. There's nothing special or original here that differentiates him from the other "trendy" acts out there, and these acts are a dime a dozen these days. Just another checklist of everything that's considered cool at the moment.
On it's surface, MASSEDUCTION sounds like a straight up pop album but once you dig a little deeper you'll find something much more delightfully deep and subversive. Everything about MASSEDUCTION feels effortless and I couldn't help but get strong Bowie vibes from her, from everything from the music to the project's aesthetics, and I can't think of any higher praise to give someone who's so clearly all about the true 'art' of music.
Nikki Matsumoto and his group, Rock of Asia, deliver an inventive take on Asian roots/prog rock fusion.
On 'Everymen,' The Fugitives tap into classic sounds to deliver sophisticated, catchy pop suited for these modern times.
The fact that Father John Misty can carry such a musically stripped down album with not much more than his vocals and some superb songwriting should say it all. It's a stand out.
Putting their longtime DJ, Mathematics in charge of Wu-Tang's latest was the best choice they've made in years. It brought back that classic sound and feel that made me fall in love with the group and it clearly re-energized the other members to bring out their best as well. Things start to drag towards the end but the good far outweighs the bad here.
At one point a solo Quavo project was something that we all thought we wanted, but now it's painfully apparent that it's something that we definitely don't need.
'4275' is a nice trip down memory lane while Jacquees still brings enough new swagger to the table to make it not feel like a tribute album.


























