08-02-2025, 22:22
NEW MUSIC FRIDAY REVIEW 7.02.25 #18
Born Again—LISA/Doja Cat/RAYE (6/10)
Tell me why the same women who dressed up as Satan and made a whole era demonic are on a song with LISA and RAYE telling you to pray to Jesus?? This must be a joke. I suppose this'll feature on LISA'S upcoming album, and thankfully, because it's the first good single from her I've heard and Doja and RAYE both had better parts, it's giving a more 2000s to 2010s pop twist, and the rapping is giving a modern era mix. This doesn't explore new boundaries too much, but it's definitely a good step to stretch out in music while keeping their original fanbase.
Abracadabra—Lady Gaga (8/10)
Seeing Gaga's upcoming album has songs called 'Garden Of Eden' and 'The Beast,' and seeing the song references the devil in a more darker setting, I wouldn't be surprised if she was going to pull another 'Judas' moment. But you know I'm not biased and only rate off the actual song, so it's actually very catchy and grew a lot from the first listen. It's a pump of electronic energy that reminds me of Gaga's older era of dance music and brings back her style in a jam-packed party bop that concerns finding the magic through the challenges. It's a pleasing song and sets a high standard for the rest of 'MAYHEM.'
Nosebleeds—Doechii (8.5/10)
Her victory lap after winning Album of the Year at the Grammys has come, and hopefully this is a start to an extraordinary era! The only thing I would change is the cutting in between bars—it is not as slick as Doechii thinks. The whole song really gives the essence of 'Denial Is The River' and presents a more solo side of Doechii without the excessive storytelling. I'll give it a must listen. If you like your rap to be art and have a very flavourful and expressive attitude, then this is for you! Also, you go, Doechii, slay.
Ordinary—Alex Warren (4/10)
Not only is this the same thing Alex has been creating over and over, it's also super dull. I just don't get how you can make something this lacking in originality… His ideas are running out as an artist, and this shows. I'm hugely disappointed.
ACTIN UP—Tommy Richman (5/10)
Not only is this the same thing I've heard from him (but less radio friendly), it's also a joke considering Tommy claims he's not a rapper or a TikTok artist because he keeps dropping rap music! He also won rap awards too. I can't take this guy seriously; at least a song provides a spring for all the ADHD listeners. I'm sure without it his career would mean barely anything; stay a one-hit wonder.
En Privado—Xavi/Manuel Turizo (7.5/10)
One of the rare times that I will rate Latin music this high, this just had such a feel to it and felt traditional yet full of a sound that'll make the westerns call it a hit, a true blend and a cultural song that if done correctly could make an amazing crossover into charts starting a new era; this was very well executed, and I hope to see this again!
Inside Out—Keshi (6.5/10)
A really enjoyable song, not as enjoyable as his hit 'Soft Spot,' but this has a more natural feel with clear instrumentals that back Keshi really well. I might give Keshi more of a listen because what I've heard from him so far is super solid and shows a clear artistic root.
One More Dance—D4vd (8.2/10)
A perfect song to capture a beautiful moment, the slow pulse feels like if Ed Sheeran's songs were a little more magical in a 'Soft Spot'-like way. This is truly magnificent, and I felt like I was zoned into an important moment in time—everything else faded away, and all I could think about was this song. A must listen, and I highly recommend it.
TWENTIES—GIVEON (7.4/10)
It sounds as if SZA was a male artist. I first heard of Giveon when he collaborated with Teddy Swims on 'Are You Even Real.' It turns out he has many views before this, though, with his most popular YouTube video amassing 437M views at the time of writing, and this sounds promising for anyone who came for the realness felt by him on the Teddy Swims collab; the heartbreak is expressed well and feels correctly approached. Keep up the good work!
Who Believes In Angels? - Elton John/Brandi Carlile (9.3/10)
Beautiful, a masterpiece! Their vocals were so peaceful to listen to but also shocking that this sounded so delightful! I'm glad that Elton is back and especially that he and Brandi are continuing to make songs like these. This seriously sounds like a timeless classic for any decade; the drums, piano, and percussion were engineered with the song so well! Elton doesn't miss a beat, and Carlile sounds astonishing with vocals that could be in a musical. This is so good that you have to check it out!
Tweaker - Gelo/Lil Wayne (5/10)
Still average like the original that I previously reviewed, also what is the line "crush your ass like Jesus, baby" supposed to mean??
Baby (Is it a crime) - Rema (3.8/10)
Oh hell naw!! Did he make this on the free version of BandLab?? What's up with this guy's quality lately? Everything sounds like he was using an online keyboard, and just every other aspect of this is something we all know about Rema. In other words, this is Afrobeat music from Temu. Uninspired, dreary, and garbage.
Dumb—Tyga/Big Sean/Flo Milli (6/10)
The lyrical content may fall under rap crap, but the beat on this and Big Sean's verse is irresistible! It slaps, club energy.
ROMEO—Anitta (3/10)
Three things I got from this song:
1. Anitta will mock Jesus just for some fame.
2. She cannot stop twerking in her music videos.
3. She can't separate herself well enough from others and seems thirsty for a hit.
Bonus thing: Calling the lover daddy multiple times in the song is so cringe.
Dreamin—Dom Dolla/Days (6.7/10)
It's not usually that I rate repetitive house music this high, but this caught me off guard and got me in a trance-like state. I feel like taking it slow instead of going for a higher-octane move was a key to making this such a powerful song. You did good here, Dom! This is what I want.
In case you missed it—Jordan Davis (5/10)
You get the idea; it's the same country music you've heard before, the American country pumped out of generic music.
American Beauty—Nessa Barrett (3.7/10)
This sounds like a track on an album that nobody minds, but they just skip it every time because it's kind of like a filler and just for the fact that it's as depressing as unsalted chips and presents nothing new at all leaves me to give it the score I did; Nessa has made much better pop.
Roll With The Punches—Bryan Adams (4.8/10)
It feels like he's continuing his career for the sake of it; you can tell he's lost what he used to have; this is so forgettable and seen before.
Can We Live? - NLE Choppa/B.O.A Mook (5/10)
What a shocker to see NLE Choppa not making a song about some crap for once! He talks about the gangsta life, about how kids shouldn't die, and he just wants to live his life in peace. If I believe correctly, NLE Choppa tried to get someone beat up too (I just googled NLE Choppa fight, and there are so many results ??). Anyways, it's still autotuned rap crap, but not the worst; it fits in at average, just saved by the lyrical content.
Lost Your Faith—Ava Max (5/10)
This sounds like Ava Max had a Temu version, no dance? No fun? Just straight generic and borderline simple, all the freshness and attitude often mixed into Ava's tracks has been thrown away for something that sounds like Kygo has made it, such a joke.
Toot It Up—Pardison Fontaine/Cardi B (6/10)
Never thought I would like a song about shaking booty, but here we are! This legit sounds like it could hit the top 40; it has a snazzy flow, and Cardi's vocals are fiery on this party high beat. Pardison's vocals remind me of DaBaby's on 'Levitating,' and they work well. Both verses are memorable in my eyes; I just wish there could've been more effort to make this song different.
Como Estrella - Calle 24/Fuerza Regida (4.5/10)
Fuerza just makes mid; this is the same, and it's frustrating to see it. Maybe a few minor changes were made to this, and I liked how the tone was set less as a Mexican party and felt more toned down, but this could still be better, and the fact Netflix used this is crazy. Can they not find anyone better?
Keep It—Coi Leray (3/10)
Never sing again. Coi Leray, stay to rap; whatever this take was, it was bad.
Million Good Reasons—Robin Schulz/FAST BOY (3/10)
This nearly matches David Guetta's level; it's painfully average EDM.
Generation—Larry June/2 Chainz/The Alchemist (/10)
I'm so glad that rap artists could finally do modern-day rap in the modern way it is but without the autotune frying their voice or some heavy trap beat on every note.
I'm so glad that rap artists could finally do modern-day rap in the modern way it is but without the autotune frying their voice or some heavy trap beat on every note. This may not be perfect and may still fall under gangsta rap (which the lyrics definitely aren't the best). But because I highly respect the beat on this, it's going to be a 6. It's chill and slow-moving. Surprisingly, the rap is too. I feel this beat could be fell asleep to (in a good way)
Tell Me—Sonny Fedora/Clementine Douglas (5.3/10)
Bad? No, it's just extremely basic, like most things coming from Sonny and Clementine.
Making Good Time—Old Dominion (7.2/10)
This noise feels really relevant and shows proper cool country! The storytelling plays a big part in the song, and it kept country roots in it while also giving a nice swing that sounds like traditional country music done better.
Mud—Waxahatchee (5.2/10)
With help from MJ Lenderman 'Mud' feels droopy and dull. I respect that it's not the same country that we often hear, but it's still got no real reason to replay it and just leaves no good first impression.
9 - 5 - Biig Piig (7/10)
I really like what they did with the vocals here! It sounds as if Beabadoobee tried to make a dance song. This is perfect for a slower dance song that isn't romantic, but you can take your pace, and putting lighter vocalisation with this makes it sound beautiful, like PinkPantheress without the autotune, just natural singing.
Sucker—Chloe Slater (4.9/10)
This sounds exactly like Olivia Rodrigo, but some of the verses are kind of painful because they sound like they aren't sung correctly.
WHO ARE YOU ANYWAY? - Rory/Leon Thomas (5/10)
WANDERER—Serpentwithfeet (8.5/10)
Really well composed, it gets you into a mood like Ethel Cain does.
SONAR - Ichiko Aobo (6/10)
Yeah... I am not going with the crowd on this. I appreciate its gentle creation, and it sounds like care and time was put into this, but it sadly failed to get me into any state. I don't even understand the full meaning of this and probably never will. It stands as a good creation engineering-wise, but it doesn't stand out in all ways.
Aon - Maruja (8/10)
Listened to the 7+ minutes of this, and the whole thing felt like a very well-mastered composition; every second was a journey, and it didn't get boring for one part. Also, an amazing instrumental performance too! Check this out!
Cro Magnon Man—Squid (6/10)
They cooked up something, but I'm still not really sure what the hype is about. I mean, yeah, everything is quality, but it's not over the top. I've heard better songs in the alternative/indie scene, and for AOTY to give a 79, I'm expecting a lot more.
S.U. - IDK/Denial Curry (4/10)
Just really wasn't feeling this… feels like rap crap; after seeing Denzel's hype, I was really expecting something else, but I guess we just got the same thing most rappers are giving us, crap.
No Loss, No Love—Spiritbox (8.4/10)
FULL PROPER ROCK!! WHAT A JAM FOR THE HEAVY METAL FANS ? Pure energy matched with actual talent, Emily Armstrong would shiver in their presence (No hate to Emily's vocals—they're actually good).
Woes of the World—Saba/No I.D. (7/10)
In less than 10 seconds in, I could tell this was going to be a greatly unique listen, which it was. This is how the rap/hip-hop community should take more rap if they want to keep their language too. This is a win for the east coast.
Blade Bird—Oklou (7/10)
On My Way—Kenzie Vois (8.8/10)
This is the most experimental out of the three songs. I'm so glad to have followed Kenzie's musical journey after finding him on Fresh Finds. Every release is a hit song that sounds like it could go mainstream, and the trumpets along with the clever range of sounds go perfectly. The bed creaks is the only sound I would take out, and one lyric is kind of awkward, but they're minor. The song is still one that showcases every point with sounds that fit the verses. It's cleverly thought out and has a charm to it that is begging me to replay! Expect to see this on my most streamed.
We're Not The Same—Bea And Her Business (8/10)
So glad this was released! It's relatable and gives the needed amount of attitude to elevate the track's feel; the realness to this is refreshing!
Oxygen—Gio./Dell Mac (7.5/10)
It's been years since I've listened to Gio.! The last time I did was when I was introduced to his song "Mess it up," which legit sounds like a number one hit that radio would LOVE!! He's also a great artist in the Christian music scene because this doesn't disappoint; its flow feels chilled yet controlled with Gio delivering some really nice verses. If they sounded more willing to delve into the track (especially with the vocals), then that would be the improvement I would like to see.
Mathematics - Joy Crookes/Kano (8.3/10)
Joy Crookes voice reminds me of Eliza Rose but with a more steady pattern in her vocals; this did not disappoint one bit! The Neo-soul and R&B ballad was fit perfectly with the bass and piano. I really hope Joy makes an album because this just got me hyped!
Introvert—K-trap (4/10)
A two-minute-long song of whatever this was… K-trap provided us with no real flavour to make us want more and gave us something that even Central Cee could've done, but the vocals actually seem to be more dry than Cench's.
Watch That Girl (She's going to say it) - Caity Baser (2.5/10)
One of the most annoying girl pop artists on the scene, thank goodness this only has 18 likes on YouTube after two days; I've seen better from Jojo Siwa. It really sounds like she's trying to go mainstream again, but this is just giving off a TikTok music impression. Caity is also all over the place on this, and it's not in a good way. In fact, I'm not sure if TikTok would even allow this; it fades from your head in record-breaking time. Her last era produced more cringe, and this just lacks in trying anything new.
Light Years—Nao (6.8/10)
The key part of the song is Nao's voice; it's perfectly interlaced with the song's touch, beautiful.
Sirens—Issey Cross (5/10)
Aaaaaargh! Stop making things that sound so general and just common; I miss the days of 'Bittersweet Goodbye' when Issey would actually make music worth taking the time to listen to.
Bass Boys—Hannah Laing (6/10)
I would like it if the crazy number of swears was less, but it's actually kind of a jam, the first time I've said that about Hannah! It's really giving late-night chilling and party vibes.
Whisper In The Waves—Olly Alexander (6/10)
This may actually be good, but every single release on this album has less attention than the last, and it all just feels disappointing to the album's build-up. Well, now 'Polari' is out; I may as well review it, but this isn't a huge lead to get this a high score. The ending saved the song more and felt more artistic, which I appreciate.
Born Again—LISA/Doja Cat/RAYE (6/10)
Tell me why the same women who dressed up as Satan and made a whole era demonic are on a song with LISA and RAYE telling you to pray to Jesus?? This must be a joke. I suppose this'll feature on LISA'S upcoming album, and thankfully, because it's the first good single from her I've heard and Doja and RAYE both had better parts, it's giving a more 2000s to 2010s pop twist, and the rapping is giving a modern era mix. This doesn't explore new boundaries too much, but it's definitely a good step to stretch out in music while keeping their original fanbase.
Abracadabra—Lady Gaga (8/10)
Seeing Gaga's upcoming album has songs called 'Garden Of Eden' and 'The Beast,' and seeing the song references the devil in a more darker setting, I wouldn't be surprised if she was going to pull another 'Judas' moment. But you know I'm not biased and only rate off the actual song, so it's actually very catchy and grew a lot from the first listen. It's a pump of electronic energy that reminds me of Gaga's older era of dance music and brings back her style in a jam-packed party bop that concerns finding the magic through the challenges. It's a pleasing song and sets a high standard for the rest of 'MAYHEM.'
Nosebleeds—Doechii (8.5/10)
Her victory lap after winning Album of the Year at the Grammys has come, and hopefully this is a start to an extraordinary era! The only thing I would change is the cutting in between bars—it is not as slick as Doechii thinks. The whole song really gives the essence of 'Denial Is The River' and presents a more solo side of Doechii without the excessive storytelling. I'll give it a must listen. If you like your rap to be art and have a very flavourful and expressive attitude, then this is for you! Also, you go, Doechii, slay.
Ordinary—Alex Warren (4/10)
Not only is this the same thing Alex has been creating over and over, it's also super dull. I just don't get how you can make something this lacking in originality… His ideas are running out as an artist, and this shows. I'm hugely disappointed.
ACTIN UP—Tommy Richman (5/10)
Not only is this the same thing I've heard from him (but less radio friendly), it's also a joke considering Tommy claims he's not a rapper or a TikTok artist because he keeps dropping rap music! He also won rap awards too. I can't take this guy seriously; at least a song provides a spring for all the ADHD listeners. I'm sure without it his career would mean barely anything; stay a one-hit wonder.
En Privado—Xavi/Manuel Turizo (7.5/10)
One of the rare times that I will rate Latin music this high, this just had such a feel to it and felt traditional yet full of a sound that'll make the westerns call it a hit, a true blend and a cultural song that if done correctly could make an amazing crossover into charts starting a new era; this was very well executed, and I hope to see this again!
Inside Out—Keshi (6.5/10)
A really enjoyable song, not as enjoyable as his hit 'Soft Spot,' but this has a more natural feel with clear instrumentals that back Keshi really well. I might give Keshi more of a listen because what I've heard from him so far is super solid and shows a clear artistic root.
One More Dance—D4vd (8.2/10)
A perfect song to capture a beautiful moment, the slow pulse feels like if Ed Sheeran's songs were a little more magical in a 'Soft Spot'-like way. This is truly magnificent, and I felt like I was zoned into an important moment in time—everything else faded away, and all I could think about was this song. A must listen, and I highly recommend it.
TWENTIES—GIVEON (7.4/10)
It sounds as if SZA was a male artist. I first heard of Giveon when he collaborated with Teddy Swims on 'Are You Even Real.' It turns out he has many views before this, though, with his most popular YouTube video amassing 437M views at the time of writing, and this sounds promising for anyone who came for the realness felt by him on the Teddy Swims collab; the heartbreak is expressed well and feels correctly approached. Keep up the good work!
Who Believes In Angels? - Elton John/Brandi Carlile (9.3/10)
Beautiful, a masterpiece! Their vocals were so peaceful to listen to but also shocking that this sounded so delightful! I'm glad that Elton is back and especially that he and Brandi are continuing to make songs like these. This seriously sounds like a timeless classic for any decade; the drums, piano, and percussion were engineered with the song so well! Elton doesn't miss a beat, and Carlile sounds astonishing with vocals that could be in a musical. This is so good that you have to check it out!
Tweaker - Gelo/Lil Wayne (5/10)
Still average like the original that I previously reviewed, also what is the line "crush your ass like Jesus, baby" supposed to mean??
Baby (Is it a crime) - Rema (3.8/10)
Oh hell naw!! Did he make this on the free version of BandLab?? What's up with this guy's quality lately? Everything sounds like he was using an online keyboard, and just every other aspect of this is something we all know about Rema. In other words, this is Afrobeat music from Temu. Uninspired, dreary, and garbage.
Dumb—Tyga/Big Sean/Flo Milli (6/10)
The lyrical content may fall under rap crap, but the beat on this and Big Sean's verse is irresistible! It slaps, club energy.
ROMEO—Anitta (3/10)
Three things I got from this song:
1. Anitta will mock Jesus just for some fame.
2. She cannot stop twerking in her music videos.
3. She can't separate herself well enough from others and seems thirsty for a hit.
Bonus thing: Calling the lover daddy multiple times in the song is so cringe.
Dreamin—Dom Dolla/Days (6.7/10)
It's not usually that I rate repetitive house music this high, but this caught me off guard and got me in a trance-like state. I feel like taking it slow instead of going for a higher-octane move was a key to making this such a powerful song. You did good here, Dom! This is what I want.
In case you missed it—Jordan Davis (5/10)
You get the idea; it's the same country music you've heard before, the American country pumped out of generic music.
American Beauty—Nessa Barrett (3.7/10)
This sounds like a track on an album that nobody minds, but they just skip it every time because it's kind of like a filler and just for the fact that it's as depressing as unsalted chips and presents nothing new at all leaves me to give it the score I did; Nessa has made much better pop.
Roll With The Punches—Bryan Adams (4.8/10)
It feels like he's continuing his career for the sake of it; you can tell he's lost what he used to have; this is so forgettable and seen before.
Can We Live? - NLE Choppa/B.O.A Mook (5/10)
What a shocker to see NLE Choppa not making a song about some crap for once! He talks about the gangsta life, about how kids shouldn't die, and he just wants to live his life in peace. If I believe correctly, NLE Choppa tried to get someone beat up too (I just googled NLE Choppa fight, and there are so many results ??). Anyways, it's still autotuned rap crap, but not the worst; it fits in at average, just saved by the lyrical content.
Lost Your Faith—Ava Max (5/10)
This sounds like Ava Max had a Temu version, no dance? No fun? Just straight generic and borderline simple, all the freshness and attitude often mixed into Ava's tracks has been thrown away for something that sounds like Kygo has made it, such a joke.
Toot It Up—Pardison Fontaine/Cardi B (6/10)
Never thought I would like a song about shaking booty, but here we are! This legit sounds like it could hit the top 40; it has a snazzy flow, and Cardi's vocals are fiery on this party high beat. Pardison's vocals remind me of DaBaby's on 'Levitating,' and they work well. Both verses are memorable in my eyes; I just wish there could've been more effort to make this song different.
Como Estrella - Calle 24/Fuerza Regida (4.5/10)
Fuerza just makes mid; this is the same, and it's frustrating to see it. Maybe a few minor changes were made to this, and I liked how the tone was set less as a Mexican party and felt more toned down, but this could still be better, and the fact Netflix used this is crazy. Can they not find anyone better?
Keep It—Coi Leray (3/10)
Never sing again. Coi Leray, stay to rap; whatever this take was, it was bad.
Million Good Reasons—Robin Schulz/FAST BOY (3/10)
This nearly matches David Guetta's level; it's painfully average EDM.
Generation—Larry June/2 Chainz/The Alchemist (/10)
I'm so glad that rap artists could finally do modern-day rap in the modern way it is but without the autotune frying their voice or some heavy trap beat on every note.
I'm so glad that rap artists could finally do modern-day rap in the modern way it is but without the autotune frying their voice or some heavy trap beat on every note. This may not be perfect and may still fall under gangsta rap (which the lyrics definitely aren't the best). But because I highly respect the beat on this, it's going to be a 6. It's chill and slow-moving. Surprisingly, the rap is too. I feel this beat could be fell asleep to (in a good way)
Tell Me—Sonny Fedora/Clementine Douglas (5.3/10)
Bad? No, it's just extremely basic, like most things coming from Sonny and Clementine.
Making Good Time—Old Dominion (7.2/10)
This noise feels really relevant and shows proper cool country! The storytelling plays a big part in the song, and it kept country roots in it while also giving a nice swing that sounds like traditional country music done better.
Mud—Waxahatchee (5.2/10)
With help from MJ Lenderman 'Mud' feels droopy and dull. I respect that it's not the same country that we often hear, but it's still got no real reason to replay it and just leaves no good first impression.
9 - 5 - Biig Piig (7/10)
I really like what they did with the vocals here! It sounds as if Beabadoobee tried to make a dance song. This is perfect for a slower dance song that isn't romantic, but you can take your pace, and putting lighter vocalisation with this makes it sound beautiful, like PinkPantheress without the autotune, just natural singing.
Sucker—Chloe Slater (4.9/10)
This sounds exactly like Olivia Rodrigo, but some of the verses are kind of painful because they sound like they aren't sung correctly.
WHO ARE YOU ANYWAY? - Rory/Leon Thomas (5/10)
WANDERER—Serpentwithfeet (8.5/10)
Really well composed, it gets you into a mood like Ethel Cain does.
SONAR - Ichiko Aobo (6/10)
Yeah... I am not going with the crowd on this. I appreciate its gentle creation, and it sounds like care and time was put into this, but it sadly failed to get me into any state. I don't even understand the full meaning of this and probably never will. It stands as a good creation engineering-wise, but it doesn't stand out in all ways.
Aon - Maruja (8/10)
Listened to the 7+ minutes of this, and the whole thing felt like a very well-mastered composition; every second was a journey, and it didn't get boring for one part. Also, an amazing instrumental performance too! Check this out!
Cro Magnon Man—Squid (6/10)
They cooked up something, but I'm still not really sure what the hype is about. I mean, yeah, everything is quality, but it's not over the top. I've heard better songs in the alternative/indie scene, and for AOTY to give a 79, I'm expecting a lot more.
S.U. - IDK/Denial Curry (4/10)
Just really wasn't feeling this… feels like rap crap; after seeing Denzel's hype, I was really expecting something else, but I guess we just got the same thing most rappers are giving us, crap.
No Loss, No Love—Spiritbox (8.4/10)
FULL PROPER ROCK!! WHAT A JAM FOR THE HEAVY METAL FANS ? Pure energy matched with actual talent, Emily Armstrong would shiver in their presence (No hate to Emily's vocals—they're actually good).
Woes of the World—Saba/No I.D. (7/10)
In less than 10 seconds in, I could tell this was going to be a greatly unique listen, which it was. This is how the rap/hip-hop community should take more rap if they want to keep their language too. This is a win for the east coast.
Blade Bird—Oklou (7/10)
On My Way—Kenzie Vois (8.8/10)
This is the most experimental out of the three songs. I'm so glad to have followed Kenzie's musical journey after finding him on Fresh Finds. Every release is a hit song that sounds like it could go mainstream, and the trumpets along with the clever range of sounds go perfectly. The bed creaks is the only sound I would take out, and one lyric is kind of awkward, but they're minor. The song is still one that showcases every point with sounds that fit the verses. It's cleverly thought out and has a charm to it that is begging me to replay! Expect to see this on my most streamed.
We're Not The Same—Bea And Her Business (8/10)
So glad this was released! It's relatable and gives the needed amount of attitude to elevate the track's feel; the realness to this is refreshing!
Oxygen—Gio./Dell Mac (7.5/10)
It's been years since I've listened to Gio.! The last time I did was when I was introduced to his song "Mess it up," which legit sounds like a number one hit that radio would LOVE!! He's also a great artist in the Christian music scene because this doesn't disappoint; its flow feels chilled yet controlled with Gio delivering some really nice verses. If they sounded more willing to delve into the track (especially with the vocals), then that would be the improvement I would like to see.
Mathematics - Joy Crookes/Kano (8.3/10)
Joy Crookes voice reminds me of Eliza Rose but with a more steady pattern in her vocals; this did not disappoint one bit! The Neo-soul and R&B ballad was fit perfectly with the bass and piano. I really hope Joy makes an album because this just got me hyped!
Introvert—K-trap (4/10)
A two-minute-long song of whatever this was… K-trap provided us with no real flavour to make us want more and gave us something that even Central Cee could've done, but the vocals actually seem to be more dry than Cench's.
Watch That Girl (She's going to say it) - Caity Baser (2.5/10)
One of the most annoying girl pop artists on the scene, thank goodness this only has 18 likes on YouTube after two days; I've seen better from Jojo Siwa. It really sounds like she's trying to go mainstream again, but this is just giving off a TikTok music impression. Caity is also all over the place on this, and it's not in a good way. In fact, I'm not sure if TikTok would even allow this; it fades from your head in record-breaking time. Her last era produced more cringe, and this just lacks in trying anything new.
Light Years—Nao (6.8/10)
The key part of the song is Nao's voice; it's perfectly interlaced with the song's touch, beautiful.
Sirens—Issey Cross (5/10)
Aaaaaargh! Stop making things that sound so general and just common; I miss the days of 'Bittersweet Goodbye' when Issey would actually make music worth taking the time to listen to.
Bass Boys—Hannah Laing (6/10)
I would like it if the crazy number of swears was less, but it's actually kind of a jam, the first time I've said that about Hannah! It's really giving late-night chilling and party vibes.
Whisper In The Waves—Olly Alexander (6/10)
This may actually be good, but every single release on this album has less attention than the last, and it all just feels disappointing to the album's build-up. Well, now 'Polari' is out; I may as well review it, but this isn't a huge lead to get this a high score. The ending saved the song more and felt more artistic, which I appreciate.