'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.
'K.T.S.E.' was much more soulful, chilled out, and low key than I would have ever imagined, and while she showed a level of true artistry I never knew she had and Ye's production was generally strong, I went through all 8 tracks still without getting a clear picture of who she was as an artist or a person, and it just didn't make that strong of a statement - despite it being a pleasant listen.
Jorja Smith's debut shows just how wildly talented she is and why she has to potential to be a transformative force in music. A must listen.
It's almost impossible not to get caught up in the nostalgic bliss of Leon Bridges' "Good Thing" but there's enough modernity present to keep me coming back for more than just the family cookout.
Swae Lee just solidified the claim that he's the most talented out of Rae Sremmurd with a project full of lush cruising music and pop/R&B experimentation that paid off far more than one might imagine. Out of all 3 offerings, "Swaecation" is by and far the real standout of the bunch.
Yes, Tinashe does have a nice voice and yes there are a fair amount of head nodding pop numbers, but once again it was an experience that left me feeling largely indifferent. It checks all the boxes for what a pop album should have but misses out on the soul and personality needed to make it really stand out.
Throughout Western history, music has had a place in daily life - growing its foothold year after year. With the turn of each decade, music has turned as well. Perhaps in an effort to appeal to a developing society... Perhaps as an indicator of that same society's development...
Overall, Platinum Fire is just a really smooth, vibe heavy listen throughout and although it doesn't stray too far from typical R&B tropes, it's a really impressive debut that warrants people's attention and has made Arin Ray a name I'll be looking out for in the future.
Since its inception hip-hop has struggled to overcome misogyny in both its lyrics and in the way they depict women. But that doesn't mean that throughout its history feminism hasn't made its impact felt.
I couldn't help but find myself asking 'what's missing' the whole time while listening to Roy Woods' debut. I liked what I was hearing but it also felt like I've heard it all before. Either from him or some other artist that he's an approximation of.
Tove Lo creates an interesting dichotomy on her latest album with it's glossy, pristine production and her unabashedly sexually depraved and devious lyrics. It's a softcore raunchiness with incredible grooves that I can't help but continue to revisit.
T-Pain returns seemingly back from the dead with a project that feels like he picked up right where he left off. Which is both a good thing and a bad thing. Good if you love that T-Pain sound, bad if you were looking for something more current.
The Internet are a truly special group that's able to balance their warm nostalgia while still remaining refreshingly modern. 'Hive Mind' is a phenomenal project full of hypnotic grooves and hip-swaying rhythms.
Sonically 'Everything Is Love' is as good as you'd expect from Beyoncé & Jay-Z but I don't think there's anything here that's mind-blowing or different than what we've heard from them before (mostly like throwaways from the 'Lemonade' and '4:44' sessions). 'Everything Is Love' doesn't push either one of them artistically but it answers a lot of questions and lives up to their high musical standards.
Maybe it's true they say distance makes things grow fonder because after not hearing Ne-Yo's type of music/musical sensibilities in a long time, 'Good Man' felt like a breath of fresh air in the overly serious climate R&B finds itself in.
On Caer, for every moment of true brilliance there are moments of head scratching mundanity, but regardless of these concerns, it's still an extremely smooth listen and another lesson from Twin Shadow in crafting sparkling pop hooks.
Janelle Monáe is at her most authentic self here, but while much of it is about self expression and living your truth, it's still very timely and aware of the larger things happening in our society (protest music you can party to). An album all her own sound that can only be described as 'futuristic funk' - it's sonics are lush, it's synths are bright, and it's bounce is irresistible.
Despite the clear similarities to Amy Winehouse, Kali Uchis' music stands on it's own and it's a brilliant exploration of blues, funk, soul, R&B, and latin sounds, which she maneuvers through with impressive ease. Isolation is a breathtaking debut and a statement piece that shows she might just be music's next big thing.
Somehow The Weeknd manages to step back towards his original sounds while still implementing some of his more recent poppier inclinations, creating a whole new sound yet again. It's a great mix of listenable pop with his more sinister, cynical side and there's not a single track worth skipping.
SiR's debut is a refreshing listen and change of pace from what's out there today, as it's rooted in more traditional R&B tropes of true love and relationships, and while I don't think it'll set the world on fire, it's a very strong starting point for even greater things in the future. TDE has yet to miss on an artist.
Majid Jordan's latest is accentuated by some incredible synth work and a retro futuristic feel that does enough to create an infectious, almost dream like project with some serious grooves. It's good, clean, feel good music.
Miguel certainly has some of the mechanics of Prince down and even the vocal chops to measure up, he's just missing the real 'soul' to pull off this psychedelic R&B at a higher level.
Whatever your opinion about Chris Brown and his music won't be swayed in either direction by Heartbreak on a Full Moon; at this point in his career he's a master at his craft and rarely makes a musical (keyword 'musical') misstep. This however, would have definitely been a case where less is more. I only made it about a quarter of the way through this monstrosity before my interest and attention began to wane.
Sam Smith returned with a great follow up that's incredibly pleasing to listen to and radiant, putting his incredible voice front and center. However, I couldn't help but feel a bit disappointed that it didn't deviate much from his debut. More of a continuation than something wholly new and original.