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NEW MUSIC FRIDAY 25.06.25 #40
Which One—Drake/Central Cee (7.5/10)
If you heard and liked "Blue Green Red," then you'll like this; it's just like that but with a Central Cee feature, which he sounds surprisingly decent on. I like when Drake puts on that accent; it gives his music a unique edge that turns regular beats into something special. This is also quite an upgrade from "What Did I Miss."
Dealer - Lola Young (8.2/10)
Not only the best single from the upcoming album so far but also one of her best songs, and I wouldn't even blame you for calling this better than everything on her last album! It has a sound and lyricism that feels like Lola but strays away from a cringe line, and the sound feels altered to sound different, but that actually gives it more of a live and real sound that complements the song. Great listen.
DYNAMITE - Tyla/Wizkid (7.1/10)
A fusion of two Afrobeat sounds that brings a lively and danceable tune, these two sound like they could connect well on a track, and I'm happy to report that they both brought flavour to the song.
With You—Jorja Smith (5/10)
A loud drum loop that sounds fit for rap/trap, but instead Jorja adds her brand of singing that often fits a soulful tone. I don't like the merge, and despite the unique take, it still ends up sounding basic.
Miami (Remix)—Morgan Wallen/Lil Wayne/Rick Ross (1/10)
"Miami" was the only song I hated on Morgan Wallen's "I'm The Problem," and you had to remix it with rap artists?? Once again, the "Miami" cut-in sounds so low quality, like it's playing from a decades-old device, and the rappers here could never change my mind; they just add two annoying vocal inputs. I guess the rappers do have a slightly better beat change and stop the "Miami" input from coming in as much, but overall, it's not a positive, and honestly, it's Morgan Wallen's worst song. My opinion has upgraded on the original song, though.
12 to 12 - Sombr (7.9/10)
I was not expecting to hear Sombr on a beat that sounds more like something Lizzo would be on. "12 to 12" has a funky, danceable sound that stays true to Sombr's vocal tone whilst balancing out new fields of music; he definitely didn't play it safe with this one, but he did that in an amazing way. Check it out!
Save Me—Olly Murs (8.2/10)
Olly Murs finally returns, and as expected, we've got a dancefloor hit on our hands. The song has a style that feels slightly jazzy but with a chaotic twist of getting into a bad situation in an argument where Murs plays it playfully and with energy. This truly is a new Murs era, and I'm honestly so proud of this guy for fighting through the horrible headlines about him and continuing with his weight routine for his fans. Olly is one artist who truly cares about the fans, and I love that!
STREET X STREET - Sia/Cypress Hill/DJ FLICT (7.5/10)
I'm not joking when I say that this sounds like something Playboi Carti would release! The beat has rap artists on and goes into trap elements with an intense sound that Sia uses autotune to blend into. And surprisingly… it's good.
HOT GIRL PROBLEMS - The Kid LAROI (6.9/10)
I guess I'll take it. I mean, it's an average score I'd give Laroi, and it's also for a usual Laroi song about girls, which uses the same production elements that made the sound for his previous albums. He needs to step into a new zone.
Back in the Saddle—Luke Combs (8.4/10)
Ok… but why is this BADASS?? The heavy rock and vocals lean into a style that feels like something the old real rockers did! Luke did exactly that and insanely well. WOW!! If you like rock, then give this a listen.
Gossip—Confidence Man/Jade (6/10)
Confidence Man is an artist I respect, but I was never a fan of Jade, and as much as I don't like Jade, I do have to respect how this is actually OK. Jade is a little boring and annoying in her tone of voice, but it's not too off-putting, and the beat has a nice synth and funky-like switch to give it some level of interest, although I think more of a pumping bass would do the song better.
Beautiful Colours—OneRepublic (7/10)
OneRepublic releases another song from Kaju no. 8; this one is more of a slower-paced song. As much as it's decent, I'm not getting too much feeling for this. Not amazing.
Uuu - J Balvin/Stormzy (6.4/10)
J Balvin's culture mixes with Stormzy to create a pop-ish and rough-ish rap blend; it doesn't work, but it's also not a terrible result. I don't care for it.
It Depends—Chris Brown/Bryson Tiller (5.5/10)
Chris Brown returns to the boring, kind of leisurely pace of R&B that satisfies nobody and leaves us thinking, "Was Holy Blindfold all he had in the tank??"
Sugar Sweet—Mariah Carey/Shenseea/Kehlani (5.6/10)
The opening era isn't looking too good; if this'll be the lead single (not saying it will be), it doesn't have any exciting energy and instead falls flat.
Sapphire—Ed Sheeran/Arijit Singh (7/10)
A surprisingly highly improved remix where Arijit brings a slice of culture that feels like the track needs to be complete!
Freak It—Kim Petras (3.5/10)
A hyperpop/electronic club song that keeps her style intact while blending into a more "How I'm Feeling Now" kind of vibe, I don't like this, and if you know me, I heavily dislike Charli XCX, so you know that anything similar probably won't be for me.
To Be Free - Sam Smith (5.6/10)
Sam continues to repaint the elegant and more natural side of his music. I'm not sure if this is due to the "Unholy" backlash or personal choice, but it's definitely not his best decision; his previous singles have done this but better.
Turn This Truck Around—Jordan Davis (7.3/10)
Jordan just keeps getting better; this is an even realer brand of American country that still feels partly like a copy, but at least he gives more energy to the song.
Beautiful Strangers - TOMORROW X TOGETHER (6.8/10)
Whisper—Rag'n'Bone Man/Max Chapman/Mischief (7.9/10)
Rag'n'Bone Man has his signature sound flow through, with the instrumentals providing arguably as much worth as the vocals; it sounds like old music but with a modern twist.
Reckless—Hanumankind/Daniel Curry (8.4/10)
Hanumankind brings an intense and rapid-quality energy that Denzel helps fuel; together they make something truly spectacular.
Midsummer pipe dream—Guitarricadelafuente/Troye Sivan (6.4/10)
End Of Summer—Tame Impala (5/10)
I just don't know; it's a long song, and nothing stood out to me.
Miss Sunshine - MGK (6.4/10)
It partly reminds me of if Alex Warren made a summer pop song, with the vocals leaning more towardshis tone. Surprisingly alright, though.
Holy—Mac DeMarco (6.3/10)
Same Thing - Ely Oaks/LAVINIA (8.1/10)
As long as it charts, I'm sure these two will keep collaborating, and as they do, I may as well say that I quite like the synths and bass; this is their best collaboration yet.
Professional - Offset (7/10)
I'll take it; from what I hear, it's the tough-appeal rap, and I think Offset plays the lead role well.
Chula Vente - Luis R. Conriquez/Fuerza Regida/Neton Vega (5/10)
Average Spanish song.
Learn To Love—Zoe Wees/Dean Lewis (6/10)
Occasionally Dean delivers a heart-pulling sound that makes you feel very strong emotions, and other times he doesn't; this is a time where he doesn't.
Dolce Vita - Sophie Ellis-Bextor (7.1/10)
Sophie's upcoming album is looking even more fun with a dance-club song that partly sounds (and only a little) like ABBA. I'm not sure if I'm the only one seeing it, but I kind of hear the oldish dance influences but with a more modernised sound… and Bextor's vocals help remind me of ABBA on this too.
Big Bag—French Montana/Lil Durk (6/10)
The Weight Of You (I'm Glad You Died) - Caity Baser (7/10)
Despite the song title being kind of wild and easily toned down… it's still kind of understandable, the feeling of not carrying the weight of someone because they're gone, and there being a good side of that. I feel the use of "I'm glad you died" was only put in to keep up Caity's ways of her over-exaggerating TikTok-pop phase.
Hot Body—Ayra Starr (6.8/10)
A sexual Afrobeat song that doesn't push past the replayable line or even reach it. Too basic.
Drama—Jordan Adetunji (7.5/10)
Partly reminds me of 4Batz when he made his quality grow more with the slow and dreamy rap melodies.
Have A Baby (With Me) - Daniel Caesar (5.5/10)
I'm sorry, but this is just too straightforward, and it comes across as weird. The song itself doesn't have any huge highlights either. I guess I could give a few points for the slightly dreamy instrumentals, though.
1942 - Clavish (5.5/10)
Standard UK Rap.
This Circle—Paramore (4/10)
I don't think I've heard something at this level of standard from them. This is so half-baked that it's painful.
A New Day—Sebastian Ingrosso/Celine Dion (8/10)
A DJ loop with occasional twists that has a very surreal feeling to it if you listen in the right place, preferably while looking at a great view.
Don't Care No More - Bay Swag/Cash Cobain (3.8/10)
What did I just listen to?? This was soulless mumbling, as if it was going to lead up to something, and then it led up to NOTHING. Disappointing.
N.O.V.A - Nova Twins (2/10)
Ear-splitting shouting that isn't even covered by anything good; it's like teenage girls in a drama show letting out a scream. This is horrid.
Dream Night—Jamie xx (7/10)
A chilled-out wave of synths. Needs more but still good, especially the last part.
By Myself—Kodak Black/DJ E Money/G6reddot (5/10)
The vocals are FRIED (as usual for Kodak), but there's still a level of decency to the track, and it's surprisingly not entirely expected. Still forgot it quickly, though.
I Know—IShowSpeed (6.7/10)
IShowSpeed is improving as he continues his rap career. I can't say this is better than his last single, but it is better than nearly all the others I've heard.
Happier—Remember Monday (6.5/10)
The UK's Eurovision entry comes back with guitar and drums in a basic yet kind of groovy pop girl background… It's definitely an improvement from their Eurovision entry, and it kind of reminds me of Sabrina's "Manchild" slightly.
Next Life—24kGoldn (7.1/10)
Radio pop where whistling seems to make a catchy part of the whole song.
Turn Me Up - Mabel (6.5/10)
Mabel's career turning this route was unexpected and not for the better; the slower, Tyla-ish sound is losing her fans, and I'm one of them who's leaving her fanbase.
EURO-COUNTRY - CMAT (7/10)
It follows in the same field as "Take A Sexy Picture Of Me," but instead the background doesn't move with such difference, and that isn't good.
Nyash (Shake) - Pozer (6.4/10)
Dis Badman—Sammy Virji/Champion/IRAH (4/10)
Drum and bass is hitting lows with this; it's your average "badman." Big bass song that's repetitive in style... you get the idea.
I'm Not Hungry Anymore - MARINA (7.2/10)
After dropping her album "Princess Of Power," Marina is back after not even taking a real break (supposedly for FROOT's 10th anniversary). I've got to say that she hasn't cut quality despite having a large quantity; the vocals partly remind me of Gaga at points, with the beat adding a princess level of pop whilst being fun, with electronics and synths making up a sound that has the right amount of changes. I'm so happy that they didn't overproduce this.
Surrounded—Koe Wetzel (6.5/10)
Country-rock that's not exactly special, but it still holds a factor of quality. Quite expected for the current music around the genre.
One Condition—DJ Tunez/Wizkid/FOLA (7/10)
Jazz mixed with Afrobeats to create a blend that sounds partly artistic... strange, but I like it!
You Stole The Show—SIENNA SPIRO (6.5/10)
Case—CUBE/Thelonius (7.5/10)
Thelonious brings this raw feel to rap that follows in the likes of many other Black rappers; I love that.
Golden (David Guetta remix) - K-pop demon hunters cast/David Guetta (7/10)
It's good, but I don't think there was a huge need for this remix.
Easy - JVKE/LAY (6.6/10)
JVKE's music but without the piano or magical feeling.
Born To Fly - Anabel Englund/Mary Droppinz (5/10)
Well, at least it's not the horror that was the "PLB" remix.
Darlin' - Hudson Westbrook (6.4/10)
Your average country music.
Way To Go—Mercer Henderson (7/10)
Dumb Girl - Alessi Rose (6/10)
It's like "Way To Go" by Mercer Henderson, but it's too simple to satisfy.
My Girl—Isabel Larosa (8/10)
Did I miss an update? This is insane! This is full-on the girl pop that media craves; it's like Nessa Barrett with the quieter pitch that lets the beat smoothly run through the song. Wow, just wow.
Blame On You - Alexander Stewart (8.5/10)
Now THIS is music! A true display of true simplicity is when radio music has quality.
Say Something - Royel Otis (8.5/10)
"Say Something" is the best song by Royel Otis that I've heard so far; it has a sound that feels similar to "Suburbs" by Good Neighbours but without the upbeat tone. This feels real; it feels like it captures you in the moment. This could be an era.
BAD NIGHT—KARMA—Graham Barham (6.6/10)
Morgan Wallen if he had more of a teenage appeal.
Lonely in the Jungle—Khamari (7.2/10)
Gentle acoustic that has a hook that is worth the buildup; going gently into higher but softer was such an amazing transition.
What Do We Ever Really Know? - Balu Brigada (8/10)
A big step down from the release of "Backseat," but it still has growth that showcases that Balu can master different sounds.
Move It Along—Sasha Keable/Leon Thomas (7/10)
Slow and soulful, they could've made the song swing in a better direction, though.
Hecho Para Ti - LATIN MAFIA/Omar Apollo (6.7/10)
Higher Power—Gryffin/Lavern/AR/CO (6/10)
I don't like the beats "glitches."
Wet Hair—Audrey Hobart (3/10)
Basically Gracie Abrams but only different in the slightest.
BIRTHDAY—Jennifer Lopez (4.5/10)
It's a little like "Gnarly" by KATSEYE, but if it wasn't a K-pop song.
Crush - Indigo De Souza (5/10)
This week has really had its fair share of bland female pop music. I don't know what the point of these songs is; they do nothing but exist.
Inside Our Hearts—Martin Garrix/Alesso/Shaun Farrugia (2/10)
One of the most boring things I've ever heard. It's like the Jonas Brothers but somehow even more uninspired.
Baby Chop—Boylife/No Rome/Keshi (6.7/10)
Jammers Anonymous—MAVI/Niontay (2.2/10)
Both rappers sound intoxicated as they speak in a slow and hard-to-understand tone that doesn't fit their current era and stands as MAVI's worst drop I've heard, and I've heard quite a bit by him.
Worry About—Alfie Indra (6.6/10)
I got introduced to Alfie Indra when I heard his song "Comfort Zone" on Fresh Finds in 2024, but since then he hasn't lived up to that level.
Thinkin About You—Vedo (7/10)
If FLO was one male and instead went for more chill R&B, this would be the output.
Dopamine - Fireboy DML (7.2/10)
An Afro-dance tune that legit has potential. It's fun.
Playa Paradise—DJ Tennis/Eliza Rose (7.5/10)
It's like if Eliza's "Body Still Moving" collab wasn't funky but was still a dance song.
What's the Deal? - Hit-Boy (7.6/10)
A fun-filled rap song that isn't overcomplicated yet goes out in full style.
Church—Tasha Cobbs Leonard/John Legend (6.6/10)
A Christian worship song that feels so traditionally Christian that it's bad. If you know what I mean.
Primer Lugar—Eladio Carrion/Omar Courtz (4.4/10)
What If—Tors (5/10)
Sounds like something Alex Warren would make.
Rapture In Blue—Daniel Avery/Cecile Believe (5.8/10)
Desire—Noizu/Hannah Boleyn (7/10)
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Joined: Oct 2024
NEW MUSIC FRIDAY 1.08.25 #41
The Subway - Chappell Roan (5.8/10)
One million times better than "The Giver," but I still can't say this is a showcase of what Chappell can be capable of; instead, it's a calm pop-rock song with occasional high notes from Chappell and doesn't reflect what she usually goes for. I just don't think the simplicity and the dreamy chords helped as much as she thought they would; it's just fine and definitely extremely overhyped by AOTY.
They Wanna Have Fun - Metro Boomin (6.6/10)
Metro gave us free club rap with party vibe lyrics and a simple backing production; overall, it's meant to be a simple song and not overthought. My problem is that it sounds like a song Cash Cobain could get a feature on, because in reality this needs to be more than that.
Fast—Demi Lovato (7.6/10)
Demi Lovato returns with a scoop of upbeat pop that highlights the fun summer in a great light. I think it's a little on the lines of feeling like an already made image, but if you know me, then you know I'm quite one for those types of pop tunes, especially if they have big vibes.
Is It a Crime—Mariah the Scientist/Kali Uchis (8.2/10)
Kali has this smoothness to her voice that can glide along any song to provide a lighter feel, and that's exactly what she did with Mariah, adding onto the dreamy pop sound as a clever accompaniment.
Chevy Silverado - Bailey Zimmerman (7.3/10)
Bailey Zimmerman's voice makes it easier to like his music; at least for me, it sounds good for the style he goes for, and in this it's no different with the song Feeling Average. If anyone else sang it, but Bailey did it in such a way that it felt like he took care of the tune that I can't help but vibe.
L.O.V.E.U—D4vd/Hannah Bahng (6.9/10)
Usually D4vd's songs have a blend that you haven't heard before or at least a part that makes you go wow more than any other, but this one doesn't. It's like Beabadoobee from Dollar Tree, with the song being fine and having an appeal but not as widespread as his other music.
Superstars—Saweetie/TWICE (7.5/10)
A pop-rap collaboration that definitely goes down better than Twice's one with Megan Thee Stallion, Saweetie brings the fire, and Twice brings the sweetness, and together they go together really well.
ENEMY - TWICE (8/10)
A double release week for the K-pop group, as "Enemy" is the better of the two songs, with an earworm of an "oooo-oooo-oooo" melody that feels like a poor idea for some but really just proves that groovy execution is everything.
Somewhere Only We Go - Tom Grennan (7.7/10)
This single marks a period where we only have two weeks to wait before the album, and seeing I've been waiting for nearly half a year, this better be GOLD. Now onto the single, this song partly reminds me of a Sam Fender structure, but let's say instead he made it more for radio and, of course, in a Tom Grennan fashion. I really like how he leaned from party into emotional singles and actually kept the mood; it now feels like he's giving us an idea of the diverse sounds to expect and slowing us down with a song that may mark more of the album's sound, one from the heart and one that feels like some of the least engineer-altered singles.
Don't Look Down—Gary Barlow/Becky Hill (7.8/10)
The two legitimately have chemistry; it's slow and feels out of Becky's ordinary but has a charm that fits the people who love magical connected tunes… and on this, there's definitely passion in those notes.
Heavens Sirens - David Kushner (8.3/10)
We've heard "Daylights," but have we heard this? It feels like we're back to peak with a heartbreaking song about his own mental health that covers the downs of going through hard times. I think David's guitar and the background painted a message of struggle and dark times really well. Welcome back, David; we needed this.
Bottomland - HARDY (4/10)
Well, it's probably one of the most interesting country takes I've heard in a while, but that doesn't necessarily make it good, and this shows. I mean, I don't know if this is tuned, but at parts it sounds a little similar to that, and then it goes from being this interesting country take to church music. Weird song.
KELEBU—Rema (7.7/10)
Rema returns with a massively fiery Afrobeats tune with chants, trumpets, and one of the fastest-paced songs we've heard so far this year. Love the energy! Another banger!
South Of Sanity—Zach Top (6.9/10)
Zach Top's next song is basically a take on what he's already been doing—not good but not bad.
Worth Your Wild - Russell Dickerson (7/10)
This definitely has more power to be remembered than his current Hot 100 hit "Happen To Me." Fun country, here we come!
Buenos Términos—Rauw Alejandro (5/10)
Reggaeton music has taken a dive for the worst in the industry, and very few are showing redeeming factors of the genre; Rauw is not one of them. This is so expected in every way possible, from the simple loop to minimal effort. (To be fair, I haven't translated the lyrics, so it could be unexpected there, but every way possible is understandable.)
Darlin' - Luude/Sean Paul/Brodie (7.1/10)
I could certainly see this growing on me; the expectation of having a fun song that feels Luude-produced was met and was even near to taking me back to the bangers of 2022. There just needs to be more than the pie and filling, though—something special...
I Need You—Gucci Mane (4.5/10)
Lazy rap takes over again as this time Gucci goes into less of a rough rap territory and delivers what feels like a beat that Drake would accept.
See the World—Buddah Bless/Big Sean/2 Chainz/Bossman Dlow (4/10)
Four artists join together to make a song that's basically a rap crap breakdown. I can't believe four grown men got into a studio and made the main lyric "she a throat goat." It must be real hard to pay the bills and even harder to not make the same song over and over again.
Music for the Soul—Sam Barber (4/10)
Sam Barber's guitar and passionate folk songs easily get repetitive and feel like an unbaked cake.
Favor—A COLOURS SHOW—Chezile (7.7/10)
This song feels like a blend and blip of so many sounds from so many different styles; I really like it.
This Right Here—Ciara/Latto/Jazze Pha (6.4/10)
Seasalt & Teadrops - Horsegiirl (8.1/10)
The equivalent of PinkPantheress but if she didn't have the accent. "Seasalt & Teardrops" is a fun hyperpop song with the bass not overprovided but instead matching well to provide a girly queen pop song and a club song.
FLOTA - Chino Pacas/Neton Vega (5/10)
The playful cut-ins were strange and didn't serve as much of a purpose as they thought.
Bien Pedos—Xavi/Kapo (5.9/10)
Y'all have to hear this—I saw the title, and it had the word "pedo" in it, so I was like, "Does that mean something else in a foreign language??" So I went to Google Translate, and I kid you not, from Spanish (which is what I assumed the language was), it translates to "farts." So is Xavi singing about farting on a reggaeton beat?? And "bien" means good. BRO, IS XAVI SINGING ABOUT "GOOD FARTS"?? DOES BRO HAVE A FART FETISH??? WHAT??? Oh nah, I am NOT that kind of freak, bro. I'm out. I showed up for New Music Friday, not FETISH Friday. OK, but in all seriousness, to the song, it's just basic.
BEAT UP CHANEL$ - Slayyyter (6.7/10)
Very modern, very hyper, very poppy.
Blame It On You - Daniel Seavey (5.4/10)
Sunday Morning—Henry Moodie (7/10)
Ok, I'll admit that basic boy pop can easily be compared to this, but there's just something about Moodie… he does basic and gives it a charm.
Flower—Yung Kai (7/10)
It really is like his big viral hit, although despite the singularity and popularity, he still keeps up quality, at least somewhat.
On The Low—Tiwa Savage/Skepta (7/10)
Refuge - ILLENIUM/Norma Jean Martine (7.3/10)
A really passionate electronic song that brings the bass and the meaning—I'll definitely accept this.
Trinidad - Geese (2/10)
This sounds like something you'd hear at some ancient ritual. He randomly starts yelling with poor instrumental backing, and people eat this up?? I was starting to think that maybe I just don't get the "AOTY deluxe music taste," but now I'm concerned for who's listening to this.
LOVERS OR FRIENDS - YG/Leon Thomas (8.2/10)
Really groovy rhythm and a nice funky tone to it; it would've been a hit in the 2000s for sure. Also possibly Leon's most popular feeling song. The line referencing Epstein's island was so random though... crazyyyy.
What About Love—Cian Ducrot (7/10)
Accessories—That Mexican OT/Peso Peso (6.7/10)
It's giving me partly BigXthaPlug energy, but instead mixed with more of club-rap music, it's not any of those exactly but gives off them.
Let It Be A Hallelujah - Lauren Daigle (5/10)
It's not the annoying kind of traditional Christian music, which is good, but it is a little too similar with piano and vocals and lyricism and basically the whole song...
Whiskey Told Ya - Eli Young Band/Corey Kent (5/10)
You get the deal by now; same, same country.
Carried Away—$uicideboy$/Night Lovell (6.9/10)
Tension—Haiden Henderson (8/10)
It's got that intense beat drop that gives the song its shine, and even when that's not happening, it's still a greatly fun song that sounds like it could have a lot more popularity. Good on Spotify for finding this one.
Somethin—Miles Caton (6.7/10)
Tambourine - The Dare (6/10)
A simple, intense drum loop that doesn't feel like it serves a purpose other than to exist.
Chevron - BETWEEN FRIENDS (6.5/10)
Sophie—Haute & Freddy (6.5/10)
How To Live—Del Water Gap (8.2/10)
An absolutely beautiful song that discusses regret and trying to find purpose in life, it not only resonates with many people but also has amazing production values, with the instruments all providing anything but dull. I'll keep this song close to my heart.
Love, Bomb—Let Soul (7/10)
Peaceful and relaxing.
Clue—The Two Lips (7.8/10)
Basically almost exactly like Beabadoobee, I wouldn't blame you for thinking it was her.
ALIVE—Greek (5.8/10)
Forever—DE'WAYNE/I DON'T KNOW HOW BUT THEY FOUND ME (2.5/10)
It sounds like BTS went to the circus whilst on something.
Black Bear—Hey, nothing (7/10)
Personally—Kamran Khan/The Japanese House (6/10)
I respect how both tried to go for a lightened mood with woodwind instruments providing a feel that they probably thought was magical... but honestly, it's pretty boring, don't you think?
Perfectas - Emilia (8/10)
I don't usually like non-English songs this much, but the sound felt like it'll get nostalgic fast.
Fine Shyt—Bunna B (5/10)
BunnaB sounds like Sexyy Red as she raps about how she can't get "fine shit" off her mind; it's twice as bad when she cringely spells it as "shyt" in the title. Aside from that fact, it's not the end of the world, just cringe.
Gone—Aaliyah/Tank (5.5/10)
Summerinlove—Parcels (4.5/10)
Black Swan - Wisp (2/10)
Can you even call this music? A lot of it just sounds like noise to me.
Love Like This—Fujii Kaze (8/10)
Dreamy, summery R&B chords on easy male vocals that have a great pitch for the song, Mellope approved.
Blindsided - Arabian (8/10)
FLO but without the expensive pop sound. This song is some beautiful R&B.
WHAT IS FOREVER FOR—Frost Children (8.4/10)
WHAT JUST ENTERED MY EARS?? Someone needs to investigate this brand of electropop; it all feels so much more real with a louder beat! It puts you in the moment without messing up quality.
Corazón - Danny Ocean (7.5/10)
Jetpack—Fleshwater (8.5/10)
Fleshwater went full out in a dark, action-packed metal song that feels like a crowd-pleaser for any metal fan, truly spectacular sounds that highlight how they'll stay true to old metal routes whilst balancing in new ones that give the genre a fresh sound. They will experiment too, and that's what I love even more.
OK. - ROBI (7/10)
Chill.
Se7enteen5ive - Conway the Machine (7/10)
Parking Lot—Sofia Camara (7/10)
Strong structure for a sad pop song; you can tell it's modified, though... and a little too much for me.
Stuck On You - Ethan Campuzano (0.5/10)
The beat could have easily been spared, but DAMN. The vocals are AWWWWWWWWWWWWWWFUL... DAMN. DAMN. DAMN. The vocals sound AI and soulless in ways that are more painful than swallowing nails. It's very rare that one factor ruins a song this much.
Posts: 371
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NEW MUSIC FRIDAY 8.08.25 #42
A Little More – Ed Sheeran (7.5/10)
I'd 1000% call this the most appealing song from the "Play" rollout so far. It has a memorable guitar riff that is followed by what I believe is a synthesiser used in a part of a loop. It has a part similarity to some of the smaller English acts (I can't put a name on anyone exact), but if you've heard the song, you'd know that as much as it's good, it's not the most original thing out there. I still stand by what I say: "Play" is likely going to be Ed Sheeran's worst album. Someone send me back to the "=" era.
Lost – Bailey Zimmerman/The Kid Laroi (5.7/10)
An unexpected collaboration despite it playing out exactly the way I thought it would. Bailey brings the energy of a high-country rock song, and The Kid Laroi adds his touch and tone, ticking the boxes in a really boring way. Neither act delivered something apart from the usual message of feeling lost, and, as already said, just basically everything you'd expect from these two.
Bowery – Zach Bryan/Kings Of Leon (7/10)
Turns out Zach's style just needed a little rock push with an old tint that was flavoured through use of guitar; it's definitely something that Zach should try and make more of.
Forever Be Mine – Gunna/Wizkid (3.8/10)
First off, the lyricism and flow together are horrible. Gunna makes words rhyme at the end of every sentence whilst talking about stroking and massages in the most boring ways possible, and Wizkid follows with so many lyrics fitting the pattern that it ruins it. Not like there was anything to save anyway; it's another quick-made cash grab from Gunna.
Holy Water – Marshmello/Jelly Roll (7.5/10)
I'm as shocked as you that these two actually made something on this level! You remember Jelly Roll's feature on the Lil Wayne song? His verse on this is like that and adds this element of tone which builds more than basic, and Marshmello levelled up to that too! Both good and an interesting blend of the two styles, where they both got an equal amount of showcase.
Snow White – Laufey (6/10)
I'm glad that she didn't try and use the fairytale-ass pronunciation, but either way, this still isn't my slice of excellence; it's got the meaning, where it often talks about the struggles of appearance… but aside from that, I just find it forgettable; everything just feels like there isn't that return factor there.
Louisiana Stick – Jordan Davis/Marcus King (7.9/10)
Jordan Davis might be getting even better; "Louisiana Stick" has that F-1 Trillion feel-good countryness to it with high-pitched guitars and vocals that make you feel like you're experiencing the real deal of country.
Hell At Night – BigXthaPlug/Ella Langley (6.3/10)
BigXthaPlug's fanbase seems angry about his switch to country music, and honestly, I'm not mad, but it definitely doesn't work. Ella gives a half-decent performance that sounds like it needs more flavour, and BigX gives a usual rap part from him that feels like it could be on a different song. Please return to rap.
Fragile – Cameron Whitcomb (6/10)
A side of passionate vocals with a heavily brought-on vocal and guitar performance, it partly reminds me of Jessie Murph but without the terrible voice. I think Cameron went too heavy on this, though.
Vampire Bat – Glass Animals (6.6/10)
Think of "A Tear In Space (airlock)" but without the floating feeling and instead going for something that's more like a drum loop, despite it probably not being a drum loop. "Vampire Loop" just represents a fine but disappointing attempt at a return. I hope it's not the lead single for anything.
Loved You Better - Jonas Brothers/Dean Lewis (7/10)
Without Dean's emotional grip on the song, this would've been a lot more boring. It's a good feature and a rare moment where I enjoy a song by the brothers.
NO CAP - Disclosure/Anderson .Paak (7.2/10)
A fast-paced trance song with few words and just vibes. Quite fun, good club music.
Things I Haven't Told You - David Guetta/Audio Bullys/DJs From Mars (0.1/10)
This is just DISGUSTING, and when I say disgusting, I mean that I haven't had this much heavy dislike for a song for MONTHS. The song opens with a middle-aged-sounding man repeating the song's title and other yap, and he sounds DREADFUL!!! His tone sounds so out of it, like he's been working late and wants to go home, and to make it worse, they replay this over and over, making it become a key component of the song. Aside from that, they go into this cheap dance loop that sounds so cheap... I can't... it's like background music a YouTuber would have used OVER A DECADE AGO. It almost feels like a meme! David Guetta, do something with your life, for everyone's sake. Stop making these cash grabs; we'd rather see you happy.
Joy – Rita Ora (6.4/10)
This new era still isn't hitting; it all feels more basic and calculated than her last era...
Love Has Gone – Alok/ALTA/Robert Falcon/Jess Glynne (7.5/10)
Hopefully we can let an actual fun dance song set into radio and let go of the Jet2holiday meme. Off topic (quick rant): I actually hate the Jet2holiday meme; it's clearly a company cashing in on the internet, and people (once me) are stupid enough to brand a company as a meme. It's the annoying equivalent of YouTube comment bots.
Waterfalls – James Hype/Sam Harper/Bobby Harvey (7.1/10)
James Hype is back with another dose of summer as he brings synths, high energy and a sound fit for a disco. My one issue is that I wish he added more of an expected fusion; it does feel like an already used formula.
Kryptonite – Denon Reed/Star.One (7.8/10)
The big question is will Denon Reed get that third charting experience when he's not collaborating with Cru2? And whilst I can't answer that, I will say he's upgrading with him finding his own path; it may be for a sound that strikes a resemblance to other music, but despite that, it still feels like he's starting to master the genre more. Good vibes.
White Horses - Wolf Alice (7.4/10)
Love how the lead's voice has a sense of elegance throughout the song.
WANTCHU – Keshi (6.9/10)
Keshi doesn't stick the magical landing that he was hoping for.
No Sharing - Bryson Tiller/Luh Tyler (2/10)
A rap and R&B mashupthat sounds like a "$$$4U" throwaway.
Rain – Craig David (6.9/10)
Craig David continues his brand of acoustic love songs that have a small appeal to radio but not enough to get lifted to hit song level.
Mr President - BabyChiefDoit (8/10)
Hear me out... BabyChiefDoit is one of the most interesting rappers we've seen in a while. I mean, he's young, so he's starting fresh and already has a sound that's Hot 100 worthy and has its own association with his name! His character also seems chill with videos of him vibing to his music in his bathroom or at a restaurant or really just anywhere. The only thing I want is for him to go a little slower on the rapping, as it sounds like he's tripping over words, but apart from that, his career is looking promising. And I mean really promising, and that's coming from someone who's just heard their second song by this guy.
WHAT'S HAPPENIN' – Young Nudy/Latto/Coupe (7.7/10)
In a way the careless tone sounds badass and adds a nonchalant cool feel to the song. I was expecting rap crap, but I'm actually surprised for the better.
Early Morning – K CAMP/Ty Dolla $ign/Chase Shakur (7.3/10)
Actually a solid little rap song; I love the take that R&B artists like PND often go for, but instead with the mellowness captured better.
Wavy Crete – Babyface Ray/Lil Yachty (7.2/10)
Rap crap formula but somehow twisted round to be good.
200 Bands – Bryson Tiller/Plies/T-Pain (6/10)
The first bearable song with T-Pain on in a while, despite him easily having the worst verse, as his use of autotune doesn't complement the song's texture.
Ugly – Tom Odell (5.6/10)
Piano and drums in a sluggish and mumbled tone that goes into a clearer expression of emotions with a high-pitched guitar. Can't say this really interests me, though, or Tom's music as a whole.
New body parts – Venbee (7/10)
I can see how much Venbee is straying away from "Zero Experience", but it appears she still kept the value of meaning and even built on it, with the message of this being simple: body insecurity and not being able to love yourself. It's portrayed in a very low synth sad way, with piano keys being put in the mix to give that feeling of floating into the depths of depression.
Lonyo! - Bakar (7.1/10)
Big Strap – Skillibeng/Young Nudy (5/10)
Big bad energy that isn't worked upon well.
Milk of the Madonna - Deftones (7.1/10)
Deftones talk about a spiritual connection with higher forces in a heavy background that reflects the rock scene. The song could have a slightly easier-to-understand meaning and maybe something special to separate the song from others a little more, but either way, it's still good.
Los Angeles - Big Thief (5.1/10)
Big Thief delivers a rather simple song... AGAIN.
SEE RIGHT THROUGH ME – Isaia Huron/Kehlani (7.3/10)
Smoothly, carefully approached ear-soothing R&B.
Blatt Blatt – Chuckyy/Rob49 (6.4/10)
I Don't Trust A Soul – Disco Lines/Ship Wreck (3.8/10)
The beat was almost fine; it's rave music meant for hype with its loud bass and claps, but the big no-no for me was the vocals, which were slow and sounded so out of it, which made this song feel cheap.
Shine – Donel/Bees & Honey (6.5/10)
Bees & Honey try to follow their two songs with WizTheMC with another similar summer attempt; the problem is that Donel just doesn't give the same energy as Wiz, and this feels more generic and poorly formulated than the other songs. I'll take it, but it's a disappointment; I can tell he's desperately going for the same sound, hoping for that next moment.
Days Like This – Larry June/2 Chainz/The Alchemist (8.2/10)
A mellow background with occasional voice inputs, this reminds me of something Kendrick Lamar would've rapped on over a decade ago but with a hint of Tyler, The Creator.
Bus Back To Richmond - Lucy Dacus (4/10)
Lucy Dacus is really the female Zach Bryan...
Better Days – KILIMANJARO/AMAKA (7/10)
Ego – Romy Mars (7/10)
Soft pop that really isn't anything that special, just something to say "cool" to.
Collapse - Chance Peña (NR/10)
An upbeat folky song that sounds like a mix of Noah Kahan and Dean Lewis in the best way possible, a high sense of emotion is brought in with a theme of high-pitched strings to back.
Call Me - Dom Innarella (5/10)
According to Google, Dom is 14 years old (probably the youngest person to enter New Music Friday), and to be honest, they sound 11, and the music sounds half-baked. Let's be real, he's probably only "popular" because of family wealth.
Memories – Michael Sanzone (5.5/10)
For anyone who isn't aware, I've known Michael Sanzone for quite some time. "Hooked" is in my most played songs of the year and follows a pattern like "The Door" by Teddy Swims. Aside from that, though, every other song (including this) in his discography sounds like Alex Warren in "You'll Be Alright Kid (Chapter One)" with general songs about memories with high vocals that honestly feel like they're missing the mark.
Then You Happened – Kylie Morgan (7.7/10)
Kylie's voice is very well flowing and sounds good for country, so her doing country is amazing. It's like an upgraded version of Ella Langley.
I'M GOOD. I'M GREAT. - Annika Rose (8.3/10)
When the female pop scene masters music this well, you know it's a good day; this feels like being surrounded by a nice windy freeze, being free, being beautiful. Love it.
Hvn High - Jenevieve (7/10)
A fun little summer song.
TESLA - Mau P (6/10)
Agnostic - Daya (7.4/10)
Delete - Ninajirachi (7.6/10)
A well-presented hyperpop song that feels bright and slightly makes me think of Bbno$, but without the kicking bass.
Last Forever – Bob Moses (7.3/10)
With extremely dreamy synths that feel layered beautifully along with a dreamy voice, this song feels like something you'd want to hear when you get lost in nostalgia.
Doing It Too - Rochelle Jordan (7.7/10)
START UP A RUMOUR - Sam Gellaitry (8/10)
Really liked how the synths were mixed with a very unused and forgotten funkiness that sounds like horns were used in the mix. As much as the beat is spot on for being something cool, I think it kind of drowns out the vocals in the mix, which isn't so cool.
456 Semm – Mick Jenkins/Smino (8/10)
A very artistic and interesting array of production choices
Grind 4 - Sheff G (8.1/10)
A nice rap song simply about grinding; my favourite part of the song was the outro, which was a classical harmony that felt like the end to a life-changing movie. Well played.
PILLOW – Nonso Amadi (6.6/10)
Te Juro Que Te Amo - Eden Muñoz (7.5/10)
My only Spanish song this week comes from an interesting take on the genre, where the usually used trumpets are toned down into an interesting pattern that isn't generic, and it's combined with what sounds like a harmonica and other instruments into this sweet little song. Finally, someone in the genre isn't following every other song from it.
Alone – Avenoir (7/10)
8ths – deadmau5 (5/10)
Glory Hole - DJ Premier/Roc Marciano (6.6/10)
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NEW MUSIC FRIDAY 15.08.25 #43
Crush – Zara Larsson (8.2/10)
Erm… Zara? Casually whipping up her quickest time between albums and actually a hit, I hope this doesn't fall down the way "Venus" did with the non-singles. But until we find that out, we've got this, which has Zara's voice blended with synths to talk about how it's called a 'crush' because it'll never be the actual thing. It's not the most appealing topic for an upbeat summer song with interesting blending, but I'll accept this because it's still mega fun!
Imaginary Playerz - Cardi B (7.5/10)
Cardi is weirdly having quite a good improvement recently; this and "Outside" actually aren't average. This song has an atmosphere that feels like despite Cardi taking it slower, she still delivers a fiery & classy punch. I do think the talking scenes should be taken out from the song, but aside from that, it's really nice.
Love Is Like - Maroon 5/Lil Wayne (7.9/10)
Woah, this actually isn't too bad; it kind of got me moving! The song has a feeling that's rich with vibes, with Maroon 5 delivering smoothly, and surprisingly, Lil Wayne actually matches it! The producer's choice of background too feels vibey yet calm, and I think that helped ease into the feel. This is shockingly great.
Man I Need - Olivia Dean (5/10)
I'm sorry, but I just can't with Olivia's music; it feels like she wants this fresh and captured-in-the-moment sound, but in reality it's one of the dullest takes on soul that we've seen this decade. The song does not convey warmth; it all just feels so dull from every angle.
Caramel – Conan Gray (7/10)
This may be the weakest single yet from the "Wishbone" album, but I've still got high hopes for a consistently luscious sound, especially since the warm company of the vocal softness here is enough to carry the song to a decent score, even if at times it does feel overused. Conan's higher pitch on the main segment could've also been conducted better, but I'll take this.
Nice Shoes – Steve Lacy (5/10)
I can't lie, not the follow-up I was hoping for… After each listen I just forget the WHOLE song. It appears to be alternative, with the drums adding nothing but that dull factor to the production, with everything in total just not hooking me.
Ain't Enough Road – Jordan Davis (6.3/10)
Jordan, you were getting better; don't start the slip back down. Alright, this isn't terrible, but it's got the same reminiscent feeling of nearly every other country artist who gets called out for trying typical marketing songs that'll hit country radio. Can't say I'm impressed, and it doesn't nail the spot on delving deep into anything either.
Aftermath – Edit – Dominic Fike (6.9/10)
Dominic's latest song is a nicely light mix of guitar plucks, drums and soft vocals but fails to have the one part which keeps you returning for an actually long time.
Diamond – Tom Grennan (6.4/10)
As we pull up the album release date, we get a taste of generic with what feels like Tom's usual songs but blended into one with a mix of everything, yet still needed some level of replay value. Not great.
Move Wrong - Polo G/VonOff1700 (7/10)
My head was shaking to this! As much as the flow isn't precise, with bars not sounding like they go together, I can still respect how this song's tough and more intense production actually has its pros here and there; it's fun, and it tells what the track is going for.
In plain sight – Khalid (8/10)
I'm totally rocking with this new Khalid, and unlike his past albums' collection of heartfelt emotional songs, this one is upbeat and has a nice amount of kick that doesn't go over the top. Fun yet easy.
Tantrum – Jonas Brothers (6.5/10)
Following the album release of "Greetings From Your Hometown", the Jonas Brothers make a quick return to releasing more, and as everybody expected and quickly found out, they're back to their same old brand of American diner music, and I don't hate it, but it really does get old, although if I heard this in Five Guys, then I would've been vibing. Any generic pop song that comes on there is a hit in the moment.
Thirst Trap - Audrey Hobart (7/10)
Audrey's latest song has a hook which talks about her thinking she looks bad in thirst traps; she once again brings the Gracie Abrams comparison up to my brain, with "Thirst Trap" sounding like something off "The Secret Of Us" but instead with more flavour and one burst of jazz instruments unexpectedly coming in last second.
You Don't Look At Me The Same - Mimi Webb (6/10)
The piano came in, Mimi's sad tone came in, and I was expecting some sort of hook which it was building up to... but no, the so-called "build-up" was just what the song was going to stick at. I don't want to say it again, but Mimi's music really isn't the same.
Passport – Coco Jones (7.3/10)
Light yet very groovy, with Coco having this beautifully lighter voice that adds this level of class to the groove. It's effective and one of the best I've heard yet from her.
Colours – JVKE/Tilly Birds/John Michael Howell (5.5/10)
I'm sorry... why is JVKE leaning away from this magical bliss music, and now he sounds more like Forrest Frank? I just can't with these fall-offs.
Through a Screen – Ty Myers (6.3/10)
An acceptable violin performance, and as usual, it tries to fit the tone of Ty's slow country songs. Doesn't do too much, but I'll take it.
Si Te Vas – J Balvin/Jay Wheeler (7.2/10)
Priceless - Bryant Barnes (6.9/10)
Bryant has done a fine job of creating a distinct sound that does sound like it would attract fans of Khalid, especially with his 2024 era. As much as Barnes can make a beat that's rich with flavours, I still think he could add more; it doesn't have that one notable part factor.
Shake Dat – Chief Keef/Mustard (7.5/10)
Very rarely do I hear a song that's most likely going to go under the radar despite having hit status potential. The bouncy beat is here; it's not too terrible for radio and certainly has some slick rap verses, with Mustard giving us a production that wouldn't have been turned down by Tyler or Kendrick for their fun rap eras.
Johnny – Sadboi/MOLIY (8.2/10)
Apart from the lyrics about sugar daddy and Bugatti and whatever in the hell I just heard, I do think that this is a MASSIVE improvement from "Shake It To The Max". It has the energy and pace that an ass-shaking song needs, and it's actually backed by some real funk! Thank you!
GHOST. - Armani White/Samara Cyn (8.6/10)
It's like Tyler The Creator's "Don't Tap The Glass" but even funkier and quality controlled, and without any cringeness, unlike what went into, I believe, the only other song I've heard by him, "Billie Eilish". This is amazing; such a party song, I'd say a new Music Friday gem.
Better Than the Floor – Sam Barber/Chande Peña (7/10)
Sam has a little emphasis in his voice that is an improvement from some of his other songs. Overall, a nice little country song, not exactly special.
Helium – The Chainsmokers/Anna Sofia (2/10)
I don't know, man; the random bass hit feels like something so worthless and cheap that CYRIL would try for it. It adds nothing to the song but feels like it's there for the overproduced factor, where they thought adding it was necessary. Boring song too.
All This Love - Cat Burns (7.5/10)
Cat took over 6 months to deliver again, and she delivers, as usual, an earworm of a hook with instrumentals that are packed with a flavour punch. Although I will admit that this is nowhere near her best and does feel a little bit same-ish, I'll take it.
Afters – BL3SS/Gravagerz (5.6/10)
This song doesn't do much apart from exist. More DJ music that sounds like it wouldn't even get into the club.
Pity – Mahalia/Tanya Stephens (5/10)
A short song with not much impact, it sounds like Mahalia thought it would hit better though. The soul is mixed with what I believe are loud trumpets in a party mix that not only feels short but also feels quite half-baked in terms of being memorable.
SPACE INVADER - KAYTRANADA (7.3/10)
A funky house song with summer chords that give a bright and refreshing feeling, although more could have been done to build upon that feeling.
SEE U DANCE - Joey Valance & Brae/Rebecca Black (8/10)
I'm going to be honest, "No Hands" is one of the cringiest rap albums I've ever heard, but I actually think there's hope for "Hyperyouth". Instead of the constant brain rot references and stupid inserts, it instead focuses on what's actually fun to a wider audience: real dance music! It's Joey but massively improved. Love that!
So So Good – Live – Phil Wickham/Brandon Lake/Elevation Worship (2/10)
Wow, this song is SO creative; this has reached the levels of creativity and artistic reach of Alex Warren, the Jonas Brothers and Lil Dicky. Ok, but let's be real, popular Christian music is on a constant nosedive of quality, with everything having this chanting sound that feels so worn out and tired of music.
Make Believe - Luke Dean/Omar+ (7.4/10)
Two artists who are both having their trending dance moment in the UK charts this year collaborate in an attempt to both score themselves a second hit, and I must say that this is a much-improved return. What sounds like heavy breathing creates this catchy tune when mixed with the pumping bass and synths, which sometimes get bubbly in the mix. It's a hit, and oh, the vocals kind of sound like Charli XCX but are weirdly engineered to sound actually bearable, even good. Never thought we'd see that day.
See You Again – &ME/Rampa/Adam Port/Sevdaliza/Keinemusik (5/10)
Adam tends to be that artist who makes the hit formula but without that one part which connects the hit formula to a painfully generic formula, and that's good, but what's not good is how he always features with the same people with the same results, and that missing piece is bigger than we expect. This song is missing some spice.
Times Square Jesus – The Favours/FINNEAS/Ashe (8.5/10)
I love the little slightly upper-pitched part of the hook; it makes me think of "Fairytale Of New York" a little. The song is near close to what sweet magic feels like, with care and love put into the folk duet.
Wear and Tear – Everything is Recorded/Sampha/Florence + The Machine/Danielle Ponder/Jah Wobble (6.3/10)
Before You Broke My Heart - Tobiahs (6/10)
Tobiahs returns after his mini charting achievement in the UK. Can't say I'm too happy to have another overused-sounding DJ tune with the altered voice, but at least it's not the worst thing. Just basic.
Running Home - Jade Lemac (7/10)
After "Constellations" having minor success, Jade returns with a much more straightforwardupbeat pop song. I get one song doesn't determine every other song you should make, but for a shot at success, something a little more lent into that magical feeling would definitely work.
Imma sh**t – Kodak Black (2/10)
I get that violent gangsta rap has often been normalised in rap culture, but not like this?? I'm sorry, but this is just disturbing. This song describes the plotline to a brutal murder, with lyrics describing the model of gun, the scene and "shitting up blood", "brain fragments", killing someone on camera and more. I'm seriously worried for Kodak, man, because this is not only cringe rap crap but genuinely just disturbing. Seek help. And apparently after more research people are branding this as raw life stories and about him fighting with legal issues, but honestly... just what? I need more links than that.
BIRTHDAY BEHAVIOUR - BIA/Young Miko (7/10)
A song that has lead rap potential with the mix of singing and rapping blending in the right amount for the two. Quite fun, it's definitely one for the party attendees.
Summer Skies (Love To Cry) - Lost Frequencies/Argy/Rhys from the Sticks (5.2/10)
Lost Frequencies really is one of the many artists who had that 2022 peak and then came crashing down to this, where the hook includes emotionless speaking that is often included in the DJ culture of DJs who really don't know how to make music and think they're going to hype up the club by shouting "we ready" (spoiler: they're not).
The Devil Is A Democrat - Tom Macdonald (3/10)
I don't even hate it... I'm just sick of it.
Carrying The Club - Flo Rida/Cooper Alan/Shaylen (1.4/10)
The AI-sounding country-rap song that sounds like a part two to "Yippee Ki Yay"
Hoes Be Mad – Cash Cobain/BunnaB (5.7/10)
These two collaborating was never going to be good… but you know what? It actually wasn't as doggy doo-doo as I thought it was going to be. Just dull, not an overly exaggerated annoyance.
Dogg' Em - Jozzy (7.1/10)
Funky guitar plucks with fast-paced R&B in the mix. It's certainly acceptable.
Running – That Mexican OT (3/10)
This sounds like a song you'd hear a drunk homeless man mumbling on a public bench at 3am; in fact,the song sounds like this. Parody songs have a vocal tone like this, which makes this song even harder to take seriously. Rap crap but without the usual rap crap features.
Shake The Nation - Riva Starr/Hyperloop/Carl Cox/Eliza Rose (8/10)
The mysteriously, slow & intenseness sound transforms dance and groove into something beyond thinking.
Dumb N Dumber Flo – Rio Da Yung Og/RMC Mike (0.6/10)
Lil Dicky's lyrics are on this level, and the overly rough feature sounds like an animated American truck driver. Then we get to this talking snippet, which honestly feels more unnecessary than the ASMR ending to Nicki Minaj's "Big Foot"; they should've kept this unreleased.
Niña Mala - Xavi/Omar Montes (7.5/10)
They're onto something with this; the Latin groove is addictive and gets stuck in your head, with the upbeat pace just making you vibe instantly.
Piece Of My Heart - ROSIE (5.5/10)
ROSIE sounds like ROSÉ, but she isn't as sad in her sad songs.
Daughter - Elizabeth Nichols (6.5/10)
Calm country music. Sounds like something that needs Lainey Wilson for a spice-up.
Dancer - Claire Rosinkranz (7.2/10)
400 – Kal Banx/Pink Siifu/Reggie/Outlaw Mel (5.1/10)
Lesbian Of The Year – The Beaches (7.5/10)
Calm, light, yet still has this vibe to it that feels nearly similar to songs that give a "floating" feel.
The Good Ones – Stacey Ryan (8.1/10)
The pop girlies are well and truly back! This had the energy, the vibe and basically the structure of a well-formed yet successful-sounding song. It's underrated, and you should check it out!
Have Your Way – Katy Nichole (8/10)
Christian music like this needs to enter the scene instead of whatever Forrest Frank is putting out. The vocals are strong and have purpose, the message is simply Christian and not some Forrest Frank-ass lyrics, and it's well executed to the point of something that can be understandably loved. If there was a movie scene of a character boldly standing on top of a mountain, this song's vibe would fit it.
Useless (Without You) - Elmiene (7/10)
Actually a very nice voice and a nice little R&B song.
Sliver - Mother Soki (5/10)
The definition of 'boring' and 'mid'.
Back Outside – Nija (8/10)
Sounds like Chris Brown's music but if it actually was kind of good. I like how there was a wide range of sounds from chords to hits to whatever I heard, and yet the song still doesn't feel overproduced.
Anyways, whatever – KenTheMan (7.7/10)
If Cardi B's and Kaliii's styles merged together but in the best possible way. Don't overthink this; it's just simply fun.
Amaya Papaya (No Me Digas Bebé) - Alex Ponce/Zulia (6.5/10)
Picking out my Spanish music to listen to by preview is turning out a lot better and giving me at least a better spin on the genre. It also really shows how mainstream messes up by churning out the same fart-ass trumpets in every mix; show us something like that actually focuses on prioritising better quality with the instruments having flavour instead of just existing. Still not amazing but definitely better than what I usually hear from the genre's trend.
DND - Reggie Becton (6.5/10)
March - Skullcrusher (7.9/10)
Flyest In The Room – Mike Dimes (7/10)
Rougher and bolder rap.
Jazzy Glazzy – Jdr (7.5/10)
An interesting mix of jazz instruments and dance music put into this fun and appealing bop.
My Bones - Mega (7.1/10)
Mega's music has went from controlling the simples to controlling whole productions. So cool!
Posts: 371
Threads: 130
Joined: Oct 2024
NEW MUSIC FRIDAY 22.08.25 #44
I wish I knew how to quit you – Sombr (6.4/10)
I was afraid that the album's release was just going to be watered-down versions of hits like "Back To Friends" and "Undressed", and... I was correct, at least with this song. I guess we had an interesting end blend with drums and lighter yet impactful notes being hit, but the vocal effects that go along with Sombr just feel overused to a sad extent, with the song not coming close to what the singles were capable of.
Jealous Type - Doja Cat (7/10)
A summer synth sound with notes sounding like they could be part of an old gameshow's theme tune. And as much as this has that fast-paced and energetic rush that I can see people getting, I don't think it has enough of that for radio. I don't think this'll do well commercially, but who knows? I could be proved wrong.
We're Onto Something – Kings Of Leon/Zach Bryan (7.6/10)
Another collaboration by them happened quickly, but this time Kings Of Leon is the main artist... and despite that, not a load is changed… but it doesn't have to be. The harmonica and drums are addicting and natural in a production that sounds like it could be live. Love that live feeling when it's showcased like this.
Cigarettes – Maroon 5 (5.5/10)
From the deluxe version of Maroon 5's recent album, "Love Is Like", this song is definitely going a more Jonas Brothers pop route with a very simplified sound that many artists have done. The original songs are better, but not this.
Different Species - Offset/Gunna (4.9/10)
After a 25-song Gunna album (with an Offset feature), of course we got another collaboration just a week later… because of course we all need that ?. Anyway, as expected, the same uninspired drum trap beat flows across the rap genre, with it being used on this too. And the lyricism is careless sex lyrics… nothing worth checking out.
Drum Show – Twenty One Pilots (6.9/10)
Yes, I like it. But am I hyped for the upcoming album? No. I mean, The Contract just wasn't it, and this only falls slightly better. I mean, it's exactly as the title suggests, a drum show. But amongst the fine heavy drums, is there anything more? The performance died out quickly.
Mr. Eclectic - Laufey (3/10)
I'm sorry, but I just hate the way Laufey sings… and I don't like using the term 'hate', but I have to. The way she sings sounds so forced and cartoonishly bad; it's like the slightly refined but more vocally annoying version of Kim Kardashian's "Santa Baby". If Laufey improves on the rest of the album, I might just give this album a 5/10... but I doubt it.
Back 2 Back - Skepta/Fred Again... (4/10)
The constant new parts and remixes of "Victory Lap" and now a new collaboration that sounds like it's trying to be part two of "Victory Lap". I respect the hustle for another hit, but there are problems. The lyricism often feels like something Joey Valance & Brae would do or a bad freestyler, and then the random cut-off isn't unneeded, unexpected and just doesn't even work. A bad re-attempt at making something new.
Don't Click Play - Ava Max (8/10)
This song is the title track for Ava's new album, and it happens to be the main single. As for the whole album, it's definitely a lazier step down in many ways, but that being said, there are still many great moments on the album, this being one of them. It's an intense bop that has a creative layer of club energy to fuel it. Could've even been a single!
Box Me Up – BigXthaPlug/Jelly Roll (8/10)
On rap songs Jelly Roll keeps tending to deliver a verse in a separate tone, one that kinda fits his "Sharks" feature with Lil Wayne… it sounds more dark and mysterious, and with this it actually works really well. Especially with the outro, it feels like an ascent to heaven... beautiful.
Nights Like These - Rudimental/Rag'n'Bone Man (5.6/10)
I'm really not a fan of all these recently strange Rag'n'Bone Man collaborations. If you're going to do upbeat music, then make it you; stick to "Rush Of Blood" or "Pocket", not whatever these songs are that contain nothing memorable and don't even fit him. I'm starting to think that this guy's good songs were a fluke... 
Sacrifice – Mariah The Scientist (8.2/10)
This is the type of song that sounds like it's from a sparkly dream world... the atmosphere of the summer keys is used elegantly and in a fine way to showcase the track in full form. Amazing stuff.
Like It Like That – Dasha (8.1/10)
Dasha keeps making these interesting country twists that keep the genre fresh, and she does it again by combining an upswing sound that usually sounds like it's used in dance music into a fun country song. Radio, play this!
Great Pretender - Dominic Fike (7.4/10)
I haven't positively rated a Fike song since "Mona Lisa", but here it goes, because it appears that in his career he's putting more and more thought into every release, and it's starting to all fuse together in an amazing way.
Peace, Love and Cowboys – Lainey Wilson (7.4/10)
Five extra songs have dropped on 2024's "Whirlwind" for a deluxe version; this is one of them, and it certainly has that charm that Lainey brings with a relaxing and smooth set of country vocals and instrumentals. She just keeps doing it, and it still hasn't got boring!
My Side Of Town – Josh Ross (5/10)
Following the success of "Single Again", we get this, which wasn't set to be anything amazing… and wasn't. I swear these acts just keep making the same country songs with guitars, towns and the same kind of covers.
Call On Me - Daniel Caesar (7.6/10)
Daniel Caesar's interesting alternative-rock and R&B song hits the point of unique and is an interesting follow-up from his last single. It'll be fun to see how the album turns out.
Love That I Love You - Russell Dickerson (7/10)
Basic but good – a rare occasion that I'd say that for North American trending country artists.
Song For My Son - Walker Hayes/Kane Brown (5/10)
Basically exactly how I described "My Side Of Town" by Josh Ross. A whole bunch of country copy and paste.
Perfect Person - Flo Milli/Coop (3.5/10)
If it wasn't for the hyper synths and claps, this would sound like an exact replica of an Ice Spice song.
Just Two Girls – Wolf Alice (7.3/10)
I'm delighted to hear what is hopefully some peak rock later on... until then, this is good but doesn't raise the bar for the album; in fact, it drops it.
TOURMALINE - Earl Sweatshirt (8/10)
Artistic and creative rap that follows his collaborations with MAVI but instead sounds more focused on creating a memorable sound.
Like 1 - TWICE (7.3/10)
As TWICE gets bigger and bigger, they keep on a professional level with cute J-pop fun little tracks. What's interesting is putting rock in the mix, which honestly blended really nicely. I like this.
More - Carly Rae Jepsen (7.2/10)
Don't overthink this; it's a little fun dance jam, a bit basic, but once again, it's Carly Rae. I wasn't expecting to hear "Chromakopia". It's a good song and doesn't really need additional commentary.
Phantom – Mac DeMarco (7.4/10)
Mac's one name who's big, but I don't tend to hear, so I'm glad I get another delve into what some say was a release they marked in their calendar. This is quite light; it has some guitar, but it's played to a less light tone despite still fitting the lighter, gentle melody.
Burning Up - Leigh-Anne (7.3/10)
This track is closest in resemblance to her collaboration with Ayra Starr on "My Love"; as for a return since her 2024 EP, I'd expect something greater due to the wait... that being said, it's still acceptable, especially from someone who isn't a huge Leigh-Anne fan. It has the fiery side that feels like it fuels a song which gets you slowly moving.
Sweet Nothing – 2025 Edit – D.O.D/Calvin Harris/Florence Welch (0.6/10)
OOF. The vocals sound so distorted and low quality that I can't even take this seriously as a professional song. They were either low on budget or just thought they made the future sound for the next decade. Oh, and the pitch on each layer just goes terribly. Worst blending I've heard in a while.
Daydream - Joel Corry/Jelly Cooke (7/10)
Maybe it was the feature, but Joel made a small but noticeable bounce back in quality with this. Instead of feeling soulless, the progression had some movement; nothing special, but definitely good to see.
Hold Me – Morgan Seatree/Abi Flynn (7/10)
Nothing we haven't seen before... just your usual DJ dance song.
21 - Kingfisher (5/10)
For the people not aware, Kingfishr is quite successful in the Irish charts… but I never tend to hear their name outside of those charts despite their multiple Irish top tens. So is Kingfisher an underrated one-country-fame artist? The way I look at it is that Kingfisher is essentially a Zach Bryan replica, flavourless and with a formula that doesn't impress. Literally, if you've heard Zach, then you've heard this.
DARK AURA - Joey Bada $$ (8/10)
A very clear message and bold energy that pays off in the form of an applaudable rap song.
Who's your boyfriend – Royel Otis (8.1/10)
Royel Otis has recently been putting real work into these releases... damn! This is making the album probably worth checking out.
PAY ME – ODUMODUBLVCK/Stormzy/Zlatan (8/10)
Glad to see Stormzy continuing to explore new career opportunities, and with this he features Nigerian rap that has its fun kick to it but also the bold African sound that really showcases how diverse Africa's music can be! Really enjoy this! I bet Rema would call this another banger.
Light That Leads Me – Netsky/Bebe Rexha (6.9/10)
I liked when Bebe made music that felt fit for her, and I mean her; this just sounds like she was slapped on as a dance feature for a song that doesn't showcase anything about her. It's good but not for Bebe.
SE LO JURO MOR - Feid (4.9/10)
Whoever said this guy was "pushing the boundaries of reggaeton" must have been high because this is straight up the exact same and most overused reggaeton formula you can use.
Sunscreen - LIZ/SOPHIE (7.8/10)
SOPHIE finally releases a song that's worth a replay, and people dump on it? It doesn't have those really high-pitched electronic sounds that sound like something gone wrong in the production... but that's what people wanted? I'm sorry, but composed and summer-chilled SOPHIE is so much better.
The Suburbs – Ruel (7/10)
It's a follow-up that definitely feels like it fits the vibe of "I Can Die Now"; that being said, it's not great, and the main single grew off me even more. Things aren't looking good.
Portage Bonito – Anuel AA/Blessd/Ovy On The Drums (8/10)
I was familiar with the fact that Ovy has a hit in other countries (as a feature), but I myself never actually got to hear anything by him until now, when I made the decision to check this out. I can tell he and the others want to keep the traditional reggaeton vibe but instead transform it into multiple forms, such as the space between the clicks or the pace and variety of textures and tones. Sometimes we can transform a song style in the simplest way and make it sound fresh, and this song is an example of that.
Pack U Up – French Montana/Cash Cobain (7/10)
Yes, I'm as shocked as you that I liked (and am starting to like more) these shawty mumble rap songs more. Despite this just being a song to chill and have fun to, it is by no means making me like Cash Cobain to a fan extent.
Make A Baby – Tori Kelly/Lucky Daye (7/10)
Daniel Caesar and now Tori? What's up with these song names with 'make a baby' in them? Anyways, it's a pretty chill song; Tori has smooth vocals… nothing out of the ordinary.
If He Wanted To He Would – Perrie (7.5/10)
Just like Jade, Perrie explores more topics that Little Mix didn't seem to, and I like how she's becoming more comfortable in her own shoes. I didn't like the recent songs by her as much, but this is certainly a better delight. I'm not a fan of the way she said the sex line, but that's the small nitpick. It makes me think of an Ella Henderson song a little.
Mr. Miracle – Kid Cudi (7.2/10)
I'm definitely more satisfied with this than his last single. It has the right amount of umph and definitely builds upon the tuned sound a lot more... and even transforms it with other additions!
CAM GIRL - LUDMILLA/Victoria Monét (7/10)
A slow and groovy R&B song that sounds like something Tyla might put out. Not hugely It's my thing, but I can still see the effort; I'll definitely accept it.
No Comment - Fredo (8/10)
This song is what Fredo claims is a truthful insight into him, and he does this in a bold tone that does fit the rap scene of London a lot more. I quite like it; this should be a charting success rather than some other songs by him.
FREE - 2 Chainz/Vory (7.5/10)
Ridin' With That - BAK Jay/Chuckyy (4/10)
As expected, the artists sound out of it, and the background is composed of the same old sounds that are basically just little effects. Not even properly produced. I don't even hate it; it just sucks.
Butterflies – Issey Cross (7.6/10)
Issey doesn't deserve to be beaten around by critics, you know. We could even bring her back, and I'd be happy! This isn't her best, but at least it's faced towards a more fast-paced and upbeat direction, where the high-pitched volume feels like it adds a level of life to the song. It could be more diverse in sound, but I'm ok with this.
3AM IN SOUTH – Kairo Keyz (7.2/10)
London rapper Kairo Keyz gives a solid performance that reminds me of the Fredo song I reviewed in this write-up: bold and tough.
CEREMONY - Stray Kids (7/10)
I Don't Care... - LUCKI/Lil Yachty (3.8/10)
Mumble rap crap... skip. The vocals sound like the rapper is drunk.
Crystalise – Billy Gillies/Nu-La (8.4/10)
In 2023 Billie Gillies had such a nostalgic radio hit with Hannah Boleyn (which I'd call peak radio back then); he comes back with something that I think could almost fill that spot. The bass isn't up in your face; instead, it's chilling and dreamy. It pulls you into some of the most relaxing synth-dance sounds you'll hear. Love it.
Echoes – Hybrid Minds (6/10)
Despite being fine, it's still synths & patterns that I could have got from any EDM artist.
Beautiful Girl – Caity Baser (7.5/10)
YOU KNOW WHAT? She's actually getting even better! It's not OTT; it's catchy, and it's just simply fun.
Set Me Free – Martin Garrix/Arcando/Bonn (6.4/10)
Did we really need a Martin Garrix song in 2025? Hopefully he doesn't go downhill to a David Guetta level.
925 - Sammy Virji/Chris Lake/RoRo (7/10)
Exactly the style I expected but not the exact quality I expected... this was actually fine in terms of a generic DJ song.
Politix - Balu Brigada (7.1/10)
A respectful move from Balu Brigada, but they can't seem to recreate their upcoming album's lead single... It just had so many connecting components that it's simply an extremely high bar to top. But I still believe they can come closer than this simple rock song.
Everybody Scream – Florence + The Machine (7/10)
Dance With Me – Ciara/Tyga (5.7/10)
The dance voice input sounds like traditional DJ rap, and the Tyga rap was mediocre.
Found u/me - Good Neighbours (8.3/10)
This and "Suburbs" have both been their best songs yet! What is going on with their lock-in period... hopefully an album is coming ?. So yeah, this song has that same fresh and lively-like vocal effect with, of course, the wonderfully alternative sound of pop. I haven't been this excited with this kind of sound for a while!
Sexonthebeat - ADÉLA (6/10)
A strange but not exactly wonderful layering of moaning sounds on top of whispering and dance music that sounds like ASMR and sex were combined into one activity. Oh, and the main line being "sex on the beat" when the song is literally sex on the beat just moves me in the wrong way… not pleasant but not awful.
Fort Knox - Sigrid (7.5/10)
Erm…are we ascending? The level of emphasis and kicks on this made it feel majestic, and that violin? An absolute treat, and it surprisingly worked on a synthpop song.
Headphones – Lecrae/Killer Mike/T.I. (5.4/10)
Coming Of Age - Pixie Lott (3/10)
I know specks of dust worth of information on Pixie Lott lore. On the topic of songs, I can see why this stuff doesn't give her the charting hits. It's on the level of uninspired as the Jonas Brothers, with all creativity going out the window on simple everything. It's not half-baked; it's unbaked.
The Way You Love – Xander/Timbaland/Aaron Cole/Jon Keith (7.2/10)
I MISS MY FRIEND - Maxwell Luke (5/10)
I really will appreciate the value of passion in any form of music, but the value of making an interesting song is also a big one, and this song lacks that for me.
Dirty Shirley – Mikayla Geier (7.2/10)
Love the light ASMR-like voice! Especially when blended with fun and elegant dance music.
Watch Your Mouth – Josiah Queen (8.2/10)
Sounds like a mix of Noah Kahan and Mark Ambor in a fast-paced country song. The fast-paced sound and the passionate high notes make the song a million times better!
Let Me Love You – Amber Mark (7.2/10)
Female radio pop that I think shows that the artist has potential.
I don't know you – Jeremy Zucker (7/10)
HOT BOYS MAKE HOT MUSIC – Samxemma (5.7/10)
Hyper glitch pop that doesn't fit the "HOT MUSIC" category.
Feelings Gone – SG Lewis/London Grammar (6.7/10)
LEAN ON MY LOVE - Jon Batiste/Andra Day (8/10)
A comfortable and easy listen with a natural sound with a sprinkle of vocals that make me think of the 2000s.
Rock A Bye Baby – Jean Dawson (8/10)
A funky reminder that it's summer!
Scatter – Lila Iké (7.4/10)
A flavourful reggae/R&B song that revives hope for the genre! Glad to see we still have the genre's roots in there whilst embracing something new.
All My Friends Are So Depressed – Joyce Manor (6.6/10)
Wheels at Night - TOPS (7.2/10)
Lightweight pop, very chilled.
Posts: 371
Threads: 130
Joined: Oct 2024
NEW MUSIC FRIDAY 29.08.25 #45
Everybody's Looking At Me - Eminem (7.8/10)
We had one new Eminem drop to add to a collection of songs by him, and as an Eminem hater, this is actually good?! It's the grittiest thing I've heard from him, with the song making an Eminem take on the raw 90s and early 2000s street rap with influences from production as much as the raw rapping. Of course Eminem has to throw in the homophobic controversy, Elton John & Dr Dre… because that's basically all the guy talks about, but aside from that it's actually fine.
Tears – Sabrina Carpenter (6.8/10)
This song fits a little more of the older synth category, like a tiny bit of what Miley Cyrus tried to do but instead more modern and less designed than that. And I actually don't mind it; it's still Sabrina's usual sex jam, which'll probably go UK no. 1, but still, at least it's bearable. I'll take it.
Brother – DJ Khaled/Post Malone/Youngboy Never Broke Again (0.1/10)
DJ KHALED YOU CAN'T JUST KEEP DROPPING SOME OF THE WORST SONGS EVER. WHAT DID YOU DO TO POST MALONE?! Oh, don't piss me off again, especially after that song from The Smurfs. As you can expect, DJ Khaled's shouting inputs are scattered whenever in the song, with his yap taking up around 30 seconds of the song or some stupid amount, and then the beat progression is ASS, with it sounding like a throwaway Cash Cobain song. On top of that, Post Malone delivers one of the laziest and sloppiest verses of his career, with YNBA matching that title too. I don't think it can be any more apparent that this song is an absolute mess-up with a cringe cover and throwaway EVERYTHING. I'd say this is a contender for the worst song of 2025. GET RID OF IT.
London - Skepta/Fred Again... (7.8/10)
We went from thinking that the two were trying to recreate the success of "Victory Lap" to now suspecting an album... I mean, three songs this fast? And this is thankfully the best so far; the synths were constantly going up and down as if they were experimenting for the first time… but instead what's usually a test was put into the final result with the signature booming energy for a rave. Such a better shot at having a hit.
Seems Like Old Times - Laufey (7.7/10)
Laufey released bonus tracks for her newest album, this being one of them, and I can applaud it in some shape or form. As I've said a million times, I don't like the fake voice she puts on, but the production is quite fancy and elegant, and the arrangement of certain instruments was quite interesting too. I'll take this.
SHE DON'T NEED TO KNOW – The Kid Laroi (7.5/10)
"She was on her knees, but she was praying to the lord" was… erm… an interesting choice of words, but sure. Aside from that note, I actually think it helps cement this better narrative of his modern catalogue more, with groovy switches making up a fast-paced pop hit sound even better than what some of his 2023 stuff did.
Tell Her - Ella Mai (6.5/10)
It started by easing you into what sounds like a brighter version of R&B that you may have heard in the 2000s, before going into the main part of the song with this colourful piano that then leads into a third and final segment where the music comes to a fast slowdownand halt. All this at once is a little hard to balance in a song, and I don't think Ella did that to the best of her abilities... just better than some others.
Something Wrong – DJ Snake/Don Toliver (7/10)
I'm not hating on Don for once; this actually was interesting. It's pretty lighter, letting the beat be a main component; it also lets the production elements with what sounds like a guitar place nicely into the backing. It all feels fairly decent, enough for a good score.
When A Good Man Cries – CMAT (8.4/10)
The album's out, which hopefully gives a boost to the amazing "Take A Sexy Picture Of Me". Until we find that out, we have this, a fitting song from the era with what sounds like a lighter version of "Good Luck, Babe!" And country Chappell, but instead of what the era was trying to achieve, but BETTER! Those instrumentals and INSANE high-pitched notes are so strong that they may even top the popular single. Damn… I am excited for this album!
Bro Country - HARDY/ERNEST (5/10)
I'm sorry, but it's HARDY, isn't it? He's the American country copy and paste that tries way too hard to be Morgan Wallen but ends up being the Temu version.
Sideways - Balu Brigada (8.2/10)
The new album is out, and I'm more excited for this than a lot of releases, especially since I've heard this, with a slightly annoying but more interesting squeaky sound that sticks out... maybe a little too much. But aside from that, we're back to peak; every song has had distance from the others in terms of sound, yet they all remain hits.
You don't have to tell me – Artemas (8.1/10)
Artemas OCCASIONALLY but not often releases songs with the mysteriousness and intenseness just being so addicting… and this is one of those times; every second of sound is leaning more into that signature sound at its peak. Sounds like something I'd come back to.
Party All Night - PLUTO (3/10)
Oh… this legitimately sounds like if Sexyy Red had trouble speaking properly. This is exactly what the party rap industry shouldn't become: lazy and uninspired songs that are made by artists like PLUTO that are most likely industry plants.
When You See Me - Zach Top (5/10)
Try hard country copy and paste returns with this replicating all of the traditional music, and of course, it's not good.
Make It Rain – Riley Green (7.2/10)
I thought we were going to get another dose of our weekly country slop, but no, it's actually quite well made, very simple with guitars and vocals, but Riley gives a performance with actual feelings, and the guitar supports that. Good song.
I Stopped Trying - Sydney Rose/Delaney Bailey (7.3/10)
Could have a little more of something to it, but either way, it's still a pretty solid soft song that evokes feelings.
SUPAFLEE – Joey Bada$$/Bri Steves (8.1/10)
What's up with the recent funkiness in rap getting better? We had Armani White's "Ghost", and now this, and this serves. It's fast, it's fun and even has funky routes in the form of plucks outside of rap production that you see every day. This album could be legendary; I'll listen later.
Up to You – TWICE (7.3/10)
As TWICE is growing, their music is kind of growing… I mean, this isn't anything different, but it keeps up their streak of 7/10+ ratings from me. Just fun, but expected.
COMO OREO - Blessd/Fuerza Regida/Ovy On The Drums (7.6/10)
Just pure vibes! I could even expect this to go worldwide with Blessd being on this and it fitting too a dance beat that's more often popular in America. I quite like it.
No Capea - Xavi/Grupo Frontera (7/10)
A collaboration between two big acts of the same genre style that have both gone worldwide… I mean, it was bound to happen. And it actually wasn't as generic as I thought it was going to be; they made a nice little vibey harmonica tune and played it well. It definitely fits the Mexican scene.
XOXZ - IVE (7.8/10)
Sounds like the K-pop equivalent of a song from the "Charli" era, but even brighter and more vibrant. I actually think this has one of the most colourful productions that I've heard. And it actually works! It's more of a night-out kind of fun rather than something for a kids' party. (although it would work in both settings.)
Alibi – Nicky Youre (8/10)
What type of lyric is "You're my lucky charm, you're my lemon pie"? Anyways, it's actually a song that brings my hope up for this Nicky project. It feels like a more professional-sounding summer song than his past ones like "Sunroof" and "Eyes On You", and instead feels like a delve into what this project could be if he keeps up this momentum.
Scared Of Myself - Alexander Stewart (7.2/10)
Maybe Alexander could've used better vocal effects, but aside from that, it's rare to see a singer go deep into the exact details in lyrics like so, with this case being weight gain, which follows into a whole depressed topic. And as someone who's also had trouble with weight gain, this could touch closer… I just wish he built upon that sad hook better than just a background violin and an effect. Could be better.
Believe in Magic – Jessie J (7.6/10)
Essentially a FLO-like pop song with this magical background, which Jessie provides clear crystal vocals on. Everything here really does sound crystal clear.
Perfect Lies - Alison Goldfrapp (8/10)
Similar to the Jessie J song but instead with more poppy synths that add class to the elegance of the fresh sound.
Trenches - Maruja (9/10)
The songs really do spark the thought of revolution that they were aiming for, especially with the screaming noise rock, which is displayed in artistic bravery. One of the best and boldest songs of 2025, "Pain To Power" is on!
Vivid Light - Blood Orange (8.3/10)
So I've seen Blood Orange gaining some conversation recently, specifically on AOTY, but I myself haven't been keeping track of them. So this is my chance to give the music a little try, and I must say, the random placement of instruments, such as flutes and violins, gets weirder as the time goes on, not just in placements but in how they're played. It all feels like it shapes together in a wacky but wonderful way.
100 Horses – Geese (8.2/10)
Definitely less messy and more sorted out than their last song. The song also has an alternative take on other sounds like so, which I quite like; very interesting.
Bikini Bottom - Lefty Gunplay/RjMrLa (4.5/10)
This beat would usually be used on meaningless slop rap songs, but instead it was used on the opposite. An obvious thing that you think many could think of and create a rap fanbase from, but I guess I heard it first from Lefty. As much as the bell sounds and snaps along with this type of rap are not something you hear daily, I just think it's trying to be different… it doesn't exactly work. Nice try, though.
Glory – Nova Twins (6.7/10)
Nova Twins mean for their music to be loud and messy, but I don't think they do it in a way that highlights chaos; it just highlights production that could be better.
Borracho Y Loco – IAmChino/Pitbull/Flo Rida (6/10)
This sounds like a desperate attempt to recreate that high-energy sound of the 2010s, which was remembered in clubs for a decade... except it feels like every aspect of this feels dialled down in quality. Definitely something that would not be remembered.
You Remind Me – DJ Khaled/Vybz Kartel/Buju Banton/County Killer/Mavado/Rorystonelove/Kaylan Arnold (6.5/10)
Definitely could've been better for all the features, but they definitely all played a part in this weird song where any random style could be thrown into the mix. Half of which sucked, and the others didn't.
Below Zero - Fridayy (3/10)
Sounds like if "$$$4U" had singing, and if you know me, you'll know if I compare something to that album, then it's never gonna be good.
Will We Ever Be Friends Again - Bryan Adams (7/10)
What I heard so far from the new release didn't get me that happy, and neither does this, but it definitely raised the bar by a notable amount. It's got more of a rock sound that people respect; it feels more like something that would be close to people who used to follow the genre into the older eras more.
Flood – Bossman Dlow (4/10)
Tuned mumble crap. Those two things don't mean that the song will be crap, but it does identify in that category of rap crap. Did we really expect better from Bossman Dlow, though?
Red Flags & Love Hearts - Ella Eyre (8.1/10)
OK!! Now we're talking! The song has a clear and upbeat drum pattern on top of which Ella Eyre sings like she's trying to do an Amy Winehouse impersonation. I think it's one for the radio… but it would've had a bigger shot to go viral in the early 2020s.
Lost In Translation – Carín León/Kacey Musgraves (9.2/10)
Think about traditional-sounding Spanish music that could be featured in an older movie scene of a Spanish village, but instead with this earworm of a spin where the male voice accompanies a sweet female voice that sounds so magical, so magical that it's too good for a musical... this is one of the best collaborations between two artists I have heard. I genuinely am telling you THAT YOU HAVE TO LISTEN TO THIS. IT'S ONE OF THE MOST BEAUTIFUL REMAKES OF A BEAUTIFUL SOUND I'VE HEARD. And wow, GOOSEBUMPS. Just goosebumps.
GANGSTA – Major Lazer/Diplo/Busy Signal/Kybba (5.8/10)
Sounds like "Victory Lap" but rushed.
Deep Dive – Shen/T-Pain (7.2/10)
I usually just listen to T-Pain's music for humour value for how bad it usually is… but this was actually pretty decent and had a good producer. The starting tuning had me questioning the quality, but afterwards I quickly got into this.
Red, White And Jersey - Bon Jovi (7/10)
POWER HOUSE HOBBS – Westside Gunn (7.1/10)
A mix of tough rap and tough vibes. Can't knock the weight of the song; it's actually solid.
STRUGGLE - Spinall/Summer Walker/Buju Banton/Jaz Karis (7/10)
We had smooth reggae vocals that created a nice tone and showcase for the genre, but then these rough male vocals came in that sound like an elderly wizard casting a spell... it really gave the song an awkward follow-up to a good first half.
Leave A Message – Josh Baker/Poppy Wright/Trick Shady (6.9/10)
I see that these artists have no passion to explore the genre, especially Josh Baker, who seems eager for another charting moment. But seeing the state of dance music with songs like "Dior" gaining traction, I'm not shocked if this were to be something bigger.
Daddy's Little Girl - Key Glock (6/10)
We could all see this coming; it's basically like a 21 Savage rap song, but Key Glock made it.
Hold you down - Mnelia/Strandz (7/10)
Out Here Looking – Gary Barlow/Rosa Linn (7/10)
After his song with Becky Hill, we continue having more pop artists matching Gary's style more in a slower (but not slow) sweet performance where they come together in a very friendly-sounding way.
Relojito Cartier - Luis R Conriquez/Anuel AA (7.1/10)
Reggaeton that's nothing out of the ordinary but still kind of beautifully simple.
Ricochet – Andy C/Felix Samuel (7.6/10)
It's basically the less upbeat version of 2024's "Indestructible", with nice synths and a feel-good electronic feeling.
Fón Póca – Interplanetary Criminals/Tracy (8/10)
Stewpid - Steve Aoki/Gabry Ponte (7/10)
Obviously altered vocals that are fit for a DJ club song, and it's exactly for that, nothing special… it's something that I could've expected from Joel Corry.
Let The Church Sing – Tauren Wells/Gio./ELEVATION RHYTHM (5/10)
You're average Christian praise song that slides into the genre's stereotypes with ease.
Rich in Rome - ian/LAZER DIM 700/Nino Paid (7/10)
I'm just going to say that Ian isn't that bad... at first he's the white equivalent of Bossman Dlow at times, but on this that actually blends into a weirdly better perspective of that comparison.
Luck Of The Draw – Laci Kaye Booth (8/10)
Laci sounds like she took the necessary amount of time to craft a chilled and emotional country song that reflects what beautiful music can do.
Cinnamon – BENEE (8/10)
BENEE has a lighter yet effective voice on songs that would work better on Bebadoobee-type music, but pushing into the radio-pop worked too; actually, it's one for a little dance.
New Song - Bentley Robles (7.7/10)
Groovy, modern and a great use of electronics that highlights a fresh sound that modern DJs should at least aim to get somewhat like.
Lonely - Bella Kay (8.6/10)
After the charting minor success "The Sick", we get a quick follow-up with an even better and more well-formed emotional and lonely song; the way she plays the guitar and sings feels like a way of capturing emotions that not even Billie Eilish could get to... and Billie is awesome. Bella just takes it so real yet so gentle that it makes you feel the emotion in such a real way.
I MISS YOUR LOVE – GRANT KNOCHE (6.6/10)
Reminds me of something a more dull pop Craig David would make. Still fine regardless, though.
Parachute – Hayley Williams (7.5/10)
The messy rollout was one of the weirdest I've seen, but through the confusion, at least we got good music that, in the end, had powerful vocals and a strong guitar backing that came together to make an actually decent blend.
Can I Call You in the Morning? - The Beaches (7/10)
Nice & Slow – Rin (8.1/10)
More of these Bebadoobee-like artists are appearing as of recent times, and I think this one has the highest level of similarity to her, especially with Bebadoobee's most recent era, "This Is How Tomorrow Moves". If you want soft vocals and acoustics at a peak, then hear this.
Sin Un Corazón – Cuco (8/10)
The Spanish equivalent of The Maria's, but instead with instrumentals that sound like they'd be in a 70s western cowboy movie. Very interesting, worth a listen.
Sickness – Runo Plum (7.1/10)
A sound you've heard before but can't pinpoint where. This still keeps a level of respect, though.
DEEP - Abbie Gamboa/Aodhán King (7/10)
The sound is the right amount of processed, which creates dreamy vocals which admittedly could be nailed better, but they do fit the synths; just a more professional touch, and we could get a floating feel out of this.
10% - Tiwa Savage (7.4/10)
A very simple meaning: Tiwa's going somewhere, and her phone's on 10%, which is basically the easy part to catch on to in the song. Quite fun; it could work as a hyperpop song, but she didn't take that route and instead made something that I can't exactly pinpoint what to say about. It's just quite fun.
Beautiful Strangers – Mavis Staples (6.5/10)
I can completely tell that there's a market for these 6-minute soulful acoustic songs, which some see as pure excellence, but I don't think she sells it enough for the length. It's definitely relaxing and bearable, but most of the time I wouldn't be in the mood for a song like this of this length, and I think most would agree.
Excited - dvsn (5.4/10)
I mean… it could've been made by a new starting-out artist with 500 monthly listeners, and I couldn't tell the difference. It's one of those ok songs that you forget right after you listen too.
USA BABY - Elias Rønnenfelt (7.2/10)
UNDEFEATED – Nate Smith/Marquis Hill/JSWISS (7.6/10)
Wings - Allie Paige (8/10)
It's basically like Lizzy McAlpine's "Ceilings" without the accent and instead just the soft, gentle acoustics that make you feel like you're peacefully sitting with a soft breeze. This is great stuff.
DA HEAT – Tommy Royale (8/10)
The vocals are exactly like Bad Bunny's, but the background is as if hell broke loose but in the most badass way possible.
So Ghetto - Peezy/Icewear Vezzo (3/10)
Forever - TTSSFU (8/10)
An easy listening experience of upbeat pop-rock.
When Ya Young - Tydus (2/10)
Do what you want, but I think he's too old for this music. If this guy keeps going like this, then it may turn into the money-milking situation that Ryan's World got into. And yes, it's autotuned kid brainrot rap…I don't know why I wasted my time on this.
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This forum has repeatedly shown glitches multiple times where certain messages can't be posted, and I have to do a reCAPTCHA to enter the website too apparently "fight against cybercrime".
My post contains no content that violates the guidelines, so instead I'd like to kindly redirect anyone who wants to read my new music review to another common music website thread I posted it on:
https://www.buzzjack.com/forums/topic/27...nt-7799103
Posts: 371
Threads: 130
Joined: Oct 2024
13-09-2025, 12:25
(This post was last modified: 13-09-2025, 12:25 by Mellope.)
NEW MUSIC FRIDAY 12.09.25 #47
DOG HOUSE – Drake/Julia Wolf/Yeat (7.5/10)
The production is giving a mix of Travis Scott and Playboi Carti's biggest hits, and Drake is matching the energy in what feels like it has the potential to be his next remembered moment. It's a strong song; its loud and infectious energy can't be forgotten, but I'm not sure if it's one for autumn. We'll have to see what happens with this one.
Camera – Ed Sheeran (8/10)
Yes, it's very simple but still sweet. I view "Swag II" in a similar way, where the emotion and soul are what give this life. I may not be looking forward to "Play", but at least I can go into it knowing that the best single yet has been released from it, one with dreamy instrumentals that fit looking up at the stars.
Cry About It! - Kali Uchis/Ravyn Lenae (7.8/10)
The song sounds luxurious and expensive, especially with the addition of a beautifully angelic touch of another language. This is rested upon smooth and easy soul that makes me think of a much more improved version of Olivia Dean's recent music. I think maybe not laying in so expensive and instead making it more like Carin's natural "Lost In Translation" would've worked better, but this works.
Unconditional - JADE (8/10)
I admit that the build-up wasn't executed perfectly, but I have to admit that she adds this layer of elegance to the 2000s, like a sounding melody, but with the modern sound coming through more, and I think this fits her unlike any other single I've heard yet. Not only that, but you can hear the passion for the deep topic of Jade's mum, who has certain conditions too, which Jade feels sad about, in her words, "not being the one who can help her or save her." Keep Jade in your prayers, everyone. This is deep.
City Walls – Twenty One Pilots (8.5/10)
EASILY the album's best single, it brings this loud and blood-pumping drumbeat that's topped with clear production motives, which make this a killer album opener. Honestly, it should've been the main single. I think a breakthrough like this would've set such a better tone for what's next.
Mr Mounteback – Djo (3.9/10)
There's so much electronics in his voice that you can't understand what he's saying, nor does it sound pleasant to the ears, at least in the first minute or so. I think in the middle it blends more with the fast-ish and earworm-y beat, but the general producers didn't do a good job with balancing the layers. It sounds gone wrong, like a display of Charli XCX's worst autotuned moments.
Tennessee - Kesha/Orville Peck/Hudson Mohawke/Tayla Parx (3/10)
If there's one thing that I hope we all learn from Kesha's newest era, it's that she should be kept away from country music at all costs. "Yippee Ki Yay" is already in my top 5 worst songs of 2025, so we don't need more songs like that... but unfortunately we got another country crap song that sounds like if a Facebook mum stood up on a bar table and started dancing and singing. You get it, awkward and cringe. And to make it worse, the way the woodwind instrument is played in between the hook sounds like the person playing it has breathing difficulties and can't hold their breath. This song is a throwaway; hopefully it's her last country rodeo.
Talk To Me – Damiano David/Tyla/Nile Rodgers (8.1/10)
Damn, this song had LIFE to it! This song reminded me a little of 2010's boy band pop but instead with a slightly modern and much slicker feel that makes it a killer song to drive on the highway too. I usually don't like Tyla, but she didn't actually take over the song with her style; instead, she slipped nicely into the song's vibe in a way that I haven't heard from her yet. Very interesting; I think it could seriously be something for European radio airwaves.
Don't Leave Too Soon – Little Simz (8.7/10)
One of the UK's best rappers who just keeps delivering; earlier this year we had the artistic "Lotus", and now we're served with something more choir-like, something that sounds like it should be bigger in the future... The piano, futuristic synths and drums all blend in a weirdly beautiful, expressive way to talk about grief, with even violin coming in to support the song's structure. Truly heartfelt and amazing! Hopefully this goes even bigger than the Netflix show it'll be in.
Here All Night - Demi Lovato (7.5/10)
An action-packed club-breakup song that uses poppy synths in an electronic disco-house dance song, it's one for the radio, and if there's a shot to get that hit, then it could be now.
What A Life – Rachel Chinouriri (7.9/10)
A much lighter version of her instrumentals she uses, and also lighter lyrics with a passion for this love that Rachel never wants to leave being described. If I had to say what could've been done better, I think If it led up to a hook that was bigger and louder, that could've worked better, but regardless, this works as it is. Some may argue that this feels more natural the way it is.
(Listen To The) Flower People – Spinal Tap/Elton John (9/10)
From the newest Spinal Tap soundtrack, this song feels like it could open a theatre with a strong opening that's artistic but balances the mood of the actors' presence. It's fitting of Elton's previous songs that were made in his peak, with the band's backing just feeling heavenly. We love you, Elton!
Cups And Cakes – Spinal Tap/Paul McCartney (8.9/10)
The fact that artists like Paul, who inspired many, can still shine today with replicas of their older music (and even better!) It's insane; this song is like the Elton John song I described earlier, with the powerful instrumentals that make this a song to sit in the garden to or listen to with family. Beautifully calming music for beautiful people – it matches Classic FM's level of calming!
Stay On Me – Sophie Ellis-Bextor (7.6/10)
Not as modern as modern can be, but I think this fits. Sophie Ellis is a new and stylish fashion that represents a more floating disco feeling that elevates the mood slowly but surely rather than being that pumping bass hit. A good sign for her new album!
The Happy Dictator – Gorillaz/Sparks (7.2/10)
The lead single for Gorillaz's next album follows nicely with the "Feel Good Inc" re-trend; with this we unpack an almost sarcastic tone behind the lyrics of "Control" with an alternative and at times electronically artistic feel that sounds like it could've come out of an older decade. They're definitely sticking to some roots of their music with this one, but I'm happy to see that.
Caroline – Venera/FKA Twigs (7.5/10)
A mix that blends the artistic elegance of "Eusexua" with some of her older releases, too, to create something that sounds like it could be on her second "Eusexua". It's futuristic; it's not something I've heard before, and it sure makes use of every detail and instrument. The light guitar touch at the end was interesting.
Take A Drive - Rex Orange County (4.9/10)
I expect better production for others by Pharrell Williams, better than a boring indie song with soulless riffs which just add to the soulless feel that this track has. Artists make this kind of music when they're starting out in their bedroom.
Met A Boy – Mimi Webb (8/10)
Give it a little more shine in terms of dance elements, and this'll be an almost exact replica of what the radio was playing in 2022. The radio likes these intense and upbeat songs that sound like they're from a female pop act who could catch on more, and that's what Mimi is. Think of Ariana's "The Boy Is Mine", but if Mimi covered it with her own style. I think you might get something a little similar to this.
The Dress (Dijon cover) (live) - Spotify Singles - Olivia Dean (7.2/10)
Olivia's voice should be used in these ways rather than on jazz songs that have a whole lot of nothing. I think she covers this song with the backing thankfully backing her too.
Lavender – Cat Burns (9.1/10)
OH MY WORD. I'M IN HEAVEN. THIS IS THE BEST THING SO FAR FROM THE "HTTB" ERA. The sound on this is so lush and deeply calming that I'm still imagining it playing for minutes after it finishes; it feels like possibly one of the greatest songs in history. Just relax with a breeze and a view; it just paints such a calming and lovely scene when Cat expresses her feelings in one of her most elegantly moving songs to date. I can't wait for this album; it might be album of the year!
RADIO - Frost Children/Kim Petras (8.8/10)
An electronic bop that represents a key quality change in Kim's discography, most likely due to Frost Children's addicting production that sounds like it should be bigger. This song is all about being someone's obsession and being obsessed, and I think for a song which has that as its meaning, it does an excellent job matching it.
Dreamflasher – Jane Remover (8.5/10)
I have a love-hate relationship with Jane's music; sometimes I like it, sometimes I don't. And with this, it's one of (or the) best attempts I've heard from her yet; it portrays the glitchy and messy sound in all its glory with a fiery bass and feel which lights up a hyped feel. Good song! Reminds me a little of a non-rap hyped Carti.
Last 2 Leave - BL3SS/LAVINIA (7/10)
The two charting electronic artists collaborate in an expected mashup, expected in many ways. The lines about boys kissing girls at the party are just so artificial and cheesy, and the summer background sounds like it's from somewhere else, but I can't pinpoint where exactly. Regardless of those inconveniences, I still think they have some chemistry; it's just blurred by the fact that a lot more has come out of the dance industry over the past few years.
Bloodsport - Maruja (9/10)
A hardcore opener too, Maruja's newest album, which if you've ever heard Maruja, you'll get most of the idea of this: rap, rock and jazz all coming through deeply in a song that's unafraid of controversial topics, mostly talking about Palestine. I think Maruja has a sound that should be cherished, something we haven't quite seen before. His devotion to music is one of a kind; it's special.
Act xvi: twentyfoe7 - 4Batz/FLO (8.5/10)
FLO must be the next big R&B group; their music just has a class to it unlike any other, and now coming to think of it, I think a team-up with 4Batz was a good idea. He's looking to make his music more in the R&B realm and dreamier, and with this, his music transcends into new levels of dreamy. Wow!
Hypnotic - Jazzy (7/10)
Think of Peggy Gou's "It Goes Like"; that's what the funky beat inputs and additions remind me of, and also quite noticeably. I think in general it's just a feel-good dance song, and that's what Jazzy tends to label many of her songs as, so it's not a song to overthink.
Motion – PLUTO/Sexyy Red/NaNaski (5.5/10)
The laughs in this song remind me of a made-up CBeebies character, and PLUTO's rapping in general just has an irritating tone to it. It was never going to work out, especially with Sexyy Red.
Shoot It Off - Polo G (6.3/10)
Chicago rap that doesn't feel like any effort was made to separate this; it's like a beat Gunna would reuse but slightly more upbeat (maybe). It's not impressive.
Breakin' Dishes - Ely Oaks (7/10)
Essentially a sped-up remix with a dance beat over that remixes Rihanna's now trending song "Breakin' Dishes" from her 2007 album "Good Girl Gone Bad", and as much as this remix will garner hate as it's cheap and what many DJs do, it still kinda has its qualities of fun despite sounding whipped up in three seconds. I'll actually take this. Just don't let David Guetta hear about this.
After You – David Guetta/Kiko/Olivier Giacomotto/FAANGS (7.5/10)
Most people who look at the pop scene as much as me will know that this is very typical for EDM and house music DJs to make, especially with the three collaborators tagging on. It's like "DNA Loving You" but without the full formula. Still sounds like it could catch on, though.
Phases – Joel Corry/Abi Flynn (6.8/10)
Let's be honest, it's generic, and Joel fell off, so he's trying to use the more recently trendy Abi Flynn to regain some attention. Maybe it would've worked if he locked in for the "comeback", but this is still down to straight basics. I can't give it bigger respect than a mark of "just good".
Forever – ILLENIUM/Tom Grennan/Alna (6.6/10)
Many artists shockingly match an ILLENIUM-style song, but I don't think Tom's one to pull it off, or maybe that's the illusion behind the slightly distorted-sounding vocal mixing, which doesn't sound good. Either way, this could've been made by someone starting out. It's just alright.
Backyard - TiaCorine/JID (2/10)
What's with the recent JID glaze? I may not have heard the whole lot but this is awful. Tia is screaming and sounds like she's upset, and then the beat delivered just feels whipped up in a second. I expect better, instead of what I'd always class under rap crap.
Pink Money – Coi Leray/Bktherula/G Herbo (5/10)
Coi returns to her more strictly rap style, but it feels more sloppy and like rap crap than ever, with the "tough" and "bad" energy falling flat as it's the same recycled garbage we've heard from other artists.
Unconditional - NOTION/Nate Sib (7.5/10)
The song doesn't bring me deep feelings, just some satisfaction and head bopping from the entertaining dance loop and fitting vocals that fit it from many perspectives. Definitely better than that remix NOTION did of "The Days".
EUPHORIA - IN PARALLEL/Charlotte Haining (7/10)
Both artists have made songs like the trending house-EDM acts, and they've done exactly that, but I don't always dump on those songs. I still think songs like those can often be filled with fun, just like this one, which is.
DADE - BIA/Key Glock (6.5/10)
A mild attempt at creating a similar rap song to others, with sounds used in trap production used here in what sounds like them holding back.
CANNIBALISM! - Slayyyter (7.6/10)
An addicting club song with a distorted and high-octane feel, kind of like some of Nessa Barrett's music!
Jersey King - Pozer (7/10)
2024's little breakthrough was a small moment for Pozer, but he aims to do better with this, a daring rap song with key production elements. It doesn't satisfy to its fullest, but it definitely keeps Pozer's name remembered for a little longer by some.
Aura - Strandz/RIMON (7.5/10)
Strandz's style blends into a 4Batz-like style.
How Far Does A Goodbye Go - Jason Aldean (7.4/10)
A heartbreak country song with very american roots, it feels quite like many artists who hit the Hot 100. But once again, I'm learning to find that songs that sound like another aren't always bad.
Atlanna – Jermaine Dupri/Ceelo Green (6.5/10)
The first two minutes are a Chris Brown-similar R&B/hip-hop song; they're pretty chill, nothing too out of the blue, and the second minute is mostly the same aside from the second person jumping on the mic (who I assume was Ceelo), who didn't do the greatest job of delivering a great verse. They "pass the vibe", but in such a dull way that it's only just acceptable.
Only Bible – Warren Zeiders (7.5/10)
The country rock singer delivers a strong performance vocally and matches that production-wise with what feels like traditional American country yet a welcoming song to others not so familiar.
Don't Give Up – SILK/Chicane/Bryan Adams (6.7/10)
A funky bass and solid EDM beat overall, but why pick BRYAN ADAMS when he sounds so old and out of it for the mix? I have no issues with old people featuring on dance songs, but you can hear the cracks in his voice, and he can't even reach the song's needed pitch. Why waste a well-built, jam-packed banger of a beat on him?!
Nobody But Us - Mario (5/10)
The lyricism is weirdly sexual and at times goes too far from the chilled love into something deeper, especially when you didn't think that's what you'd be served. Aside from that, it's a Chris Brown-styled R&B song with the tune being expected for the genre. In other words, nothing new.
Dip – Wallie The Sensei/Ty Dolla $ign/Blxst (6/10)
A rap cut from two separate sides, one showing a less altered upbeat rap side and another showing a more tuned version (Ty).
Guabansexxx – Rauw Alejandro (6/10)
Latin music that feels like a comfortable fit for Rauw, at least that's what I think.
April - Rose Grey (7.2/10)
Early this year Rose Grey dropped an album that I found fine; it was enjoyable but not a step in any direction that defines a new character. But she doesn't necessarily have to be defined; as much as it would be nice, I think making your brand of summer pop (that other artists make similarly too) can be ok! After all, the synths are poppy, and the fun elements feel great too. Blast at the beach reminds me of Calvin Harris! The dance claps make me think of the late 2010s style, maybe something that would be interesting to see Jess Glynne on.
Slow Burn – Sadie Jean (8/10)
Think of the gentle acoustic radio pop that many artists make on their smaller rise to fame, but the good side of it is a little like Tate McRae. This song feels like it could get nostalgic over time!
Eatcha Beatcha – Bunna B (7/10)
Sexy Red, but I actually understand her? OK, to be clear, this by no means should make you think I like Bunna B; I'm just understanding the negative impact on music more and learning. This isn't too bad.
REMIND ME – Chase Atlantic (7.9/10)
A noticeable use of tuning, but also noticeably good. Definitely a good sign for the modern R&B's push to make music more unique.
Better - Nimino/Manta (5/10)
Bright piano keys with a bright kick in from the bass; the bad part was the glitchy in-and-out hearing of the noise, especially on top of the chanting, which makes it feel like a mistake CYRIL would make.
Too Much – Rushy/Kairo Keyz (5/10)
Aitch could've done it, AJ could've, or, in fact, any UK rapper could've made the same rap you hear from the country's stereotypes. Boring.
Celosa – Ke Personajes/J Balvin (7.1/10)
I don't think the tone of the song fits the jealous, worrying girl definition they're aiming for, but at least this had one of the best rock pieces for this New Music Friday. So killer.
AP Freestyle - Nemzzz (6.5/10)
Basically exactly what I said for Rushy & Kairo Keyz, but instead slightly better.
High For You - Delilah (7.2/10)
A fine job at making a BBC-level playable radio song, but it would be better if she did another song with her previous collaborator Fred Again.
DEVIL IS A LIAR – Gio./John Michael Howell (8.5/10)
Was NOT expecting this from Christian artist Gio; his vocals sound like The Kid Laroi in the best way possible, with the beat sounding so professional and fresh, with all inputs having that clean and funky boogie that CARRIES the song. Oh, and the starting few guitar chords made me think of a sequence Ed Sheeran would use in his older songs lol.
Crystallised – John Summit/Inéz (7.5/10)
A strong electronic bass with vocals reminding me of Sia, and more so her stronger performances. Both of those two things come together into an addicting song.
Deep Clear Water – Gryffin/GRiZ (7/10)
There are elements from house, jazz and just singing, some you have to listen closely for, but they're all in there in a very interesting mix. My big problem is the layering and mastering isn't the greatest, along with the singing sounding unfit for this song... or, in fact, any song. But yes, there's still value here which I'll take.
Never The Same - Boy Soda (7/10)
MISUNDERSTOOD – Hannah Bahng (7.1/10)
Such a mellow listen, but instead it's faster and still packs a punch with guitars, but instead they're toned down too to a pitch that reflects what this song should be about.
IT'S SO BEAUTIFUL – FACESOUL (8/10)
A song about praying to see the light in a graceful display of true emotions and calming takes. It truly is lovely to the ears.
My Bad - George Birge (5/10)
Fake country that feels like the overly forced versions of the genre that only appeal to the worst radio stations.
Fall In Your Arms – James Vickery (7.2/10)
That's some soulful vocals that I don't often hear!
Is Anybody Out There? - Allie X (8.1/10)
A gothic pop-rock song with the echo-like wave on the hook providing a nice pattern before the drums kick in. I really like this; it certainly didn't take a bland route of choice.
Madeline - Carter Vail (6/10)
Yeah, it's a nice little radio song, but it does have this annoyingly generic and cheesy side.
Dreamin' – Cuco (7.2/10)
CURIOUS - Sam Gellaitry/Toro y Moi (8.1/10)
Lovely placed glitchy disco that gives hope for a Friday night funk. It does feel like something that would go from the radio to the club.
Driving me crazy - Snuggle (7.3/10)
Simply calming and nice for a sit-down.
No Lies Detected [Blind] - Oxymorons (8/10)
It kind of goes hard; I mean, it has a great use of the vocal and guitar balance in a hard rock song that sounds like Linkin Park would mess with it a little.
Let Down – Acopia (8/10)
808 HYMN - Erin Lecount (8/10)
The aesthetic for this feels like it's delving into something new, something artistic and something that can't be exactly compared to anything else. Wonderfully futuristic.
Drag – Yumi Zouma (7.1/10)
Good grief! - Jervis Campbell (7/10)
This has its similarities to Cian Ducrot and Mark Ambor, or a brand of starting-out acoustic pop. I'll take it.
Last Shot – VALORANT/Templuv/347aidan (7.5/10)
It fits a fast-paced shooting video game; it has action and energy, exactly what I'm looking for.
Making Love To Morgan Wallen - Limp Bizkit (7.5/10)
Yeah... I only listened to the song because of its title. But surprisingly I enjoyed it; it was a piece of pretty badass rock!
JUICY – Jordan Ward (7.2/10)
Change My Mind – Phantastic Furniture (7.7/10)
Sewers – mehro (7.8/10)
An emotionally gripping song with a strong guitar backing used in a production that kicks up the song to the biggest high around the 3:00 to 3:30 mark.
MAN ABOVE – Aaron Cole/nobigdyl. (7/10)
Christian rap – that's not your usual for those who don't explore the scene.
Tied To You - Lori McKenna/Medium Build (6.5/10)
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Joined: Oct 2024
NEW MUSIC FRIDAY 19.09.25 #48
⚠️ Sorry for the lessened track amount; Spotify had an update that made it hard to listen as much as before, and trying to listen on the TV was tiring. But I've still given you 45 song reviews rather than the average 70-80 zone. Hopefully I'll be back to usual in the coming weeks. I'm kind of looking for some new music song recs weekly to expand my taste, so feel free to share! And I'll post my album reviews this week to make up for it. 
Post Sex Clarity - Lola Young (8.2/10)
This song is a strange but worldwiderelatable take on breakup music, as it explores the specific side of a breakup that I don't hear talked about often in music: still feeling good about someone despite not being together. This delves into more of a sexual topic at times, with the hook having a loud and big in-front-of-you feel, with the ending having the guitars and drums making every noise you can think of, tickling every part of the eardrum and weirdly reminding me of Maruja for a small segment. it in the end conquering the definition of how these feelings can feel messy. And thankfully she keeps to her pitch instead of trying this all-over-the-place scream effect.
Safe – Cardi B/Kehlani (8/10)
Near the end of "AM I THE DRAMA?" The rollout of the songs started getting slower and less like the big bounce rap songs like "WAP" and instead more like the recent "Imaginary Playerz", but instead now Cardi adds an airy feature from Kehlani which helps soothe the atmosphere of the song, and I must say that it's a LOT better than their previous team-up or even most of what I've heard from Kehlani. I also think that Kehlani's vocals fit the tone for a nice love song and a good relationship, which was well brought across.
Something In The Heavens - Lewis Capaldi (8/10)
"Something in the heavens" is about the sad realisation that you're separated from someone but still having a piece of hope that you can be reunited with them. This song displays that emotion in true melancholy, with the piano coming together to make a great contribution to Capaldi's vocals, which have this crystal-clear effect that makes them shine through; it's much more noticeable than the rest of the song, although the rest of the build-up is needed.
Secrets - Miley Cyrus/Lindsey Buckingham/Mick Fleetwood (8.5/10)
I just keep being blown away by Miley's change too; these lusciously vibrant sounds and the array of talents showcased in one track are actually phenomenal. Her ability to balance a loveable song for pop lovers whilst having that fresh character is beautifully artistic, almost like nobody else. For sure "Something Beautiful" was one of the top albums of 2025, and I don't think this deluxe track disappoints in following up such a large title.
WHERE IS MY HUSBAND? - RAYE (8/10)
I was waiting for that moment where RAYE would drop her next song that sounds like it could be a big hit, and this was that. She heads back to her upbeat jazz roots, and all the chaos and blasted loud instruments are at their fullest pop-radio core feel.Firstly teased at Glastonbury and now on the streaming apps too, this is the funky switched jazz jam we needed.
Yes Baby - Madison Beer (8/10)
The synths and very poppy claps are brought in almost instantly with this song, making the electronic disco feeling kick in as a lead moment in the song. I think Madison's tone really complements the choice of production; it's fun & flirty, as Madison describes it, and it's also a great fit for a party occasion.
Match My Mood – Sammy Virji/Spice/Flowdan (7.2/10)
Vocally I don't think the singer's presence matches the feel of the song too much, but it's only a small ask to get a new singer. It doesn't make me forget that there's actually a decent producer behind the song, and the song packs a nice punch. I would've been interested to see… let's say Skepta on this, or similar people who helped make "Badadan" or other Chase & Status songs. It's really giving that part of the UK music industry.
David's Brother - The Favours/FINNEAS/Ashe (7.7/10)
Revealed over two months before its release, this song certainly has more energy compared to their others, especially with the female singer's vocal holds and FINNEAS, who weirdly reminds me of Coldplay, and the natural production kind of mixes Coldplay's eras together, from a natural perspective and from the perspective of "Moon Music". I definitely see the appeal; it has its value in the people's eyes.
Scared Of Getting Sober – Josh Ross (8.2/10)
I always grouped Josh Ross with many other US country acts, but I think this may change that view a little. Sure, it's about getting sober and topics that typical country acts may go for, but I think this is the most in-depth attempt at making something real, even if it uses very stereotypical country words. The way he sings and even the guitar and backing too support him is as raw as most country acts go, and it hits deep; I'll support this. Completely worth your time and more than a worthless company push-out song.
My Only Angel - Aerosmith/YUNGBLUD (8.3/10)
Ok, let's stop pretending and just say that this is 1. Real rock and 2. A legendary collaboration. The vocals on this stretch are also such a nice length for the song that it feels like it's supporting more of the vintage production elements (despite being slightly processed but still sounding older) rather than what mainstream rock acts would most likely choose to fit their fancy. If Aerosmith were going to choose someone to release their first song in over a decade (which is part of an upcoming collaboration EP between the two), then picking Yungblud wouldn't be a bad decision considering the good singles run he had recently.
Move On – Kevin Powers/Shaboozey (7/10)
This song is closer in resemblance to Shaboozey's most recent team-up with BigXthaPlug on "Home", but instead without the rap. It's still on a more generic side, and I'm not fully comfortable that Shaboozey is becoming more laid back with being lazier, but it still has an "on the road" country feel, and I wouldn't mind it coming on the radio... in fact, I may even slightly enjoy it.
Good Boy - Paris Paloma (7.5/10)
An anti-misogyny message with on-point strums & riffs, drum hits and deeply strong vocals. As much as the topic is something I feel like I need to do more research on, I mainly get the message. It works out for what the song is; I feel Paris spread her belief well without sounding like the "feminist" on X who wants all men to rot in hell.
Silver Lining – Lil Yachty/Sauce Walka (8/10)
Possibly the most noticeable thing I've heard from Yachty is that the slower rap and more stripped-back instrumentals feel very complementary to his sound, in a way that conscious rap could be rapped over the beat. I like when rappers take a route like this; it fits my type of rap more.
Out The Window – YoungBoy Never Broke Again (2.2/10)
I don't know what this guy's goal is for pushing a million songs a year. Is it passion? Does he think one will be a commercial hit? I have no idea what it is, but this guy's music is truly just not it. I've learnt to nicely accept some mumble rap, but this is excluded from that. This is simply a boring trap that pulls from the most lukewarm, mediocre patterns in the industry; on it he delivers nothing short of how I described the beat. This guy bores me to DEATH.
If Only – Hunxho/21 Savage (6/10)
It's like a PARTYNEXTDOOR song… but the big difference is that the artist behind it isn't him and doesn't sound like him. Oh, and Savage's sex lines have been getting more cringe than ever recently. Stop it.
Bleach - Bakar (6/10)
Yeah, there are some nice little R&B strums, but in the long run he sounds sluggish on this; I don't think the emotion is conveyed enough or in the right form. A surprisingly weaker serving by him.
Train - Dasha (8.4/10)
Call her an industry plant, a country company plant, or whatever. But I believe Dasha is more, and for the next project I will back her; she has this nostalgic and warm feel to her music. It feels like you're a part of an underrated character, but something that's meant for more than the charts. And the feeling of getting into something new and it feeling more like home when time goes on is very relatable, yet not talked about much; it's a good spot to find an audience for. I love this, Dasha; keep on showing your style!
Smooth – The Chainsmokers (7/10)
An electronic progressive house-dance song that's a less expected step up in quality for The Chainsmokers, I don't see this getting nostalgic, although I see that they're trying to come from that angle; it's cute but nothing great. Still happy that they made this rather than their remixes, though.
Crazy B*tch Song - Claire Rosinkranz (7/10)
A loud and distorted blend of production elements that all feels like it's on that line of good pop, just good and nothing more.
HIM - Denzel Curry (8/10)
From the HIM soundtrack (which I believe featured a song I previously reviewed by Tierra Whack), this feels fit for a movie fight scene, like a fearless moment that's brought together throughout every part of the two-minute song. The production also sounds haunting, which helps display the song in its own way.
Reason - G Herbo (7.5/10)
American rapper G Herbo returns after his small charting presence earlier this year, and I must say that he went hardcore. I get that he's not backing down from that energy. I also think the backing isn't the same all the way through; it offers something that's entertaining for a large audience. It's what I'm looking for too – clear artists like Cash Cobain out the charts.
Seguro Le Dolió – Banda MS De Sergio Lizárraga/Fuerza Regida (6.5/10)
Cmon Fuerza, you're one of the biggest artists in your field; put your back into it and stop pushing out the Jonas Brothers level of original. It's so unoriginal that it's hard to form new paragraphs with this stuff.
El Pleito - Miguel (6.5/10)
Miguel described this song as being about "making peace with the cost of change through chaos" – I hope it's a grower because this isn't gripping me on the first listen; it's kinda like his previous song, just like the way it was decent yet you forget it quickly.
No Heartbreak's Killed Me Yet – Julia Michaels (7.1/10)
I'm thankful that Julia gained traction; after I heard her song "Scissors" last year, I thought she needed more spice, although she could string together some actual decent pop music. Yes, this may still fit the topic of a blander, more stripped-back "Kiss Me More", but at least she can make something that might be considered for radio. I hope she does add something else to her music though. Something more original.
Measure – Corey Kent/Max Mcnown (7.2/10)
Yes, a little stereotypical, but to be fair… you can give some credit here; they have chemistry, and there was definitely some thought and effort in the making of this. And the thought of missing someone is brought up well, almost as if this was a laid-back track, but it isn't as such, with the meaning saying otherwise.
DEPRESSED - Anne-Marie (7.5/10)
You know… I'm trying this new technique where if I find a song cringe (like this), I remind myself that it's someone's true emotions and what they feel, and it helps me view the song in a less cringey way. But honestly, OK, ANNE- I love you, but you're one of the cringiest pop artists who's ever walked the planet. And I don't even hate her music; I just think it's cringe. Personality-wise, Anne is joyful and seems like a very fun person to be around, which is also often displayed in her music… but I just can't even lie at this point. This isn't her worst offence, and I'll admit that it's got some nice radio vibes, but by no means was this a cringe-free experience.
Settle – Lyn Lapid (7.4/10)
From what I gather, this is a deluxe version of her album "BUZZKILL", and as someone who's heard quite a decent chunk of that album, I can say that it belongs there. It starts with the easy production and introspective lyrics that go into a different blend near the end that isn't much different but is notable. This is one for her fans.
Original Don – Sub Focus/Fireboy DML/IRAH (7.5/10)
Fast drum & bass that makes an impact and makes me think of Chase & Status (especially "BACKBONE", but instead without Stormzy); it's music that's fit for a rave, something that'll get people hyped, and it's honestly just a good atmosphere.
Whatever You Like - Dove Cameron (7.5/10)
At times she feels too soft (vocally) for the beat, where the drum pattern feels pitched in the slightest bit to be louder for such elegant vocals, but that's only for a tiny section. On another note, it's interesting seeing her songs switch so much; sometimes I can't even tell it's from the same artist. Experimenting is good, but I think if she's looking to be defined specifically, then she shouldn't do this. This itself, though, is a bop; it feels kind of expensive at points but still has that mood for anybody to just dance too.
Guardian Angel – Carly Rae Jepsen (5.5/10)
For the 10th anniversary of her album "E*mo*tion" (which I've been hearing about quite a fair amount recently), she releases some new songs as a special, and I haven't heard the original, so I can't compare, but I will say that this does sound like it could've been recorded back then rather than as a new, super recent studio session. The song fits a simple pop song (simple in nearly every way) with a message about wanting to be someone's "guardian angel" in a protective way. The song's a little bland, but it's not necessarily bad.
Gets Like That - Max Dean/Luke Dean (7.3/10)
There are already both charting together, and now they've already got a new one for the collection, and this one is actually a nice blend of synths and really creates something for the trendy dance brand as well. Wouldn't mind hearing a DJ play this.
Miss You – Perrie (8/10)
The solo Little Mix members' album is dropping next week, and it's the second solo album from the group, following Jade's "THAT'S SHOWBIZ BABY!" (Which was surprisingly good). This is also good! Especially nearer to the second half, where Perrie gives her strongest solo performance to date, with the strings and piano forming into this ethereal vocal mix that can only be described as phenomenal.
Pull Me In - Labrinth (6/10)
Unique genre blends are a good way to get a reputation for being something new, but it's very easy to mess up. This is a weird mix between opera blended into something fast-paced that could fit the rap definition more, and honestly… I understand the appeal; it sounds a little like they're onto something… but no, it's not it. At least not to what the song could be.
Friends Don't - Alexander Stewart/Lauren Spencer Smith (8.5/10)
THE DUO WE NEVER KNEW WE NEEDED UNTIL NOW!! The amount of chemistry they have together, especially on the high-pitched hook, is magical; they needed each other for this to be as good as this! Throughout every second these two put effort into what felt like their true all, something that opens your eyes to a new level of chemistry; this is truly amazing stuff. Haters will say, "Oh, it's TikTok artists!" But real ones will see the vision clear as day.
I Want You – Debbii Dawson (7/10)
I'll still bet on it; Debbii will be a big pop girl one day, and most likely (hopefully) soon. Every song has its sweet time taken out until it's dropped, but most are worth the wait. This may not be anywhere near her strongest, but it's got the dance beauty aesthetic that helps her newer music become more addictive. Honestly, I'd most likely hear this in a phone advert… but despite that, it's still a good song. Debbii can do better, though.
Dirty Dog – David Kushner (8/10)
With the song title, I thought we were going to get David Kushner going full-on "WAP" style ?. Ok, but seriously, I like the beat crunch in the middle of the dark and intensely mysterious feel, and I think David's darker tone all helps intensify the mix; it's definitely one to save.
Meet Me Anywhere – Wicca Phase Springs Eternal/Ethel Cain (8.1/10)
Two genres (folk and rock) come together in what can be described as ethereal and too short; it could have been double two minutes and thirty, and I still think I'd like this!
Pistol Grip - Lefty Gunplay/DJ Whoo Kid/Wacka Flocka Flame (7.5/10)
Continuing his list of 2025 drops, he brings a tough, bold rap song that's on the darker side, with sirens being used often, coming in and out as a main component of the song.
Back From Abu Dhabi – Wyclef Jean/French Montana/Rick Ross (7.4/10)
An absolutely big culture blend of so many sounds, where the main genre coming through is hip-hop/rap; aside from that, it's in general something too unique to describe everything in full. Even Wyclef described this as a journey. Not all parts blend to the finest, but it's still interesting enough.
I Got Love – CYRIL/Kelland/Nate Dogg (7.5/10)
A dance looper remix on top of the original rap song, which, despite having a nice loop, is still quite lazy and not something that people were specifically looking for. I'm marking scores mainly out of enjoyment, though.
My Everything - Bryant Barnes (7.7/10)
Bryant Barnes is essentially the Black soul/R&B version of Joji on this, with the dreamier tone fitting what he might've made in his distorted tone. I wasn't a big fan of the drum loop coming in, but it doesn't ruin the song, but it shouldn't make the guitar strums almost unhearable; they'd work better at a louder pitch.
I Ain't Coming Back - Ian (7.4/10)
It's just usual autotuned rap but more upbeat and with trumpets that help make me think of Lil Nas X's "Industry Baby" a little. I don't see the huge hate.
Nobody (make me feel) – Oskar Med K/Khalid (7.9/10)
Since Khalid's looking to blend into his new surroundings more, I think these two working together would help that better, and even for the fans! We've got a simple little jam from the producer, whilst Khalid's soulful voice stays the same as his other songs and weirdly fits this. I think it's a nice move by the two, and I'm looking forward to that album, Khalid!
MOUNT PLEASANT - Armani White (8.2/10)
A lighter acoustic song without rap, which strays away fully from his previous "Squabble Up", like "Ghost". This song, despite being different, sacrifices barely any quality, and it instead brings in new qualities that highlight that we might get a more diverse album. I'm interested, and I think many are too.
Voodoo – Martin Garrix/R3HAB/Skytech (3.5/10)
This makes me uncomfortable... am I tuning into the newest dance jam or a cult ritual?
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