NEW MUSIC FRIDAY REVIEW 28.02.25 #21
Sorry I'm Here For Someone Else - Benson Boone (5.5/10)
Rare Benson Boone L. As Benson was one of my most streamed artists ever and 95% of the time creates something I enjoy, I was very much excited (to say the least) about this upcoming new era, and the opening single will set the tone for how I'm going to feel. To keep it short and real, Benson played it safe and did exactly what he's been doing before but even worse, and the lyrics feel like they took a downgrade. The lyrics are like a page out of someone's diary about some cringe interaction with a waitress serving fries. Come on, Benson, what is this?? Is it due to the industry's high demand of quickly pushing out singles because this feels rushed and so damn boring that there's no room to have any new ideas of what Benson may be doing in the future with his music, move on, make something new, or at least up to quality like your previous hit singles?
Flood—Little Simz/Obongjayer/Moonchild Sanelly (8.5/10)
This felt like a well-constructed scene from a sci-fi movie; it had action, talent, and just a wide range of sounds that were constantly replaying through your head. If Simz executes the following songs after this correctly, then we could be seeing a possible album of the year. The way this was crafted felt so carefully put together, and with Obongjayer giving it more of the mystical experience, it truly felt magical and well made.
Love in real life—Lizzo (5/10)
YOU'VE GOT TO BE JOKING—I WAS THINKING TO MYSELF, "If only there was a Lizzo release," while scrolling down the page, and then in a matter of two seconds, I saw this. One in a trillion coincidence. Anyways, here's my actual review. I appreciate how she's not playing it safe here; she switches into a more 1970s mainstream pop sound where she continues her high, energetic attitude while adding in her aspects, even guitar, starting off the song. I get you have to take a new career move somewhere, but this wasn't for me, and as someone who's been waiting for a Lizzo release for years, this was pretty much a disappointment. It's about damn time to get the second single to redeem yourself.
Delete Ya—Djo (7/10)
The stranger things The actor is back with his second song from his upcoming album, and unlike the first song, this is actually quite good! It keeps the album's atmosphere, which is good for the fans sake, but this time it takes away the annoying alternative—neo-psychedelic downswing—which just ended up making the song feel uneven to me, and as much as that wasn't awful, the style just wasn't my thing, but here he continues the switch-up while making a good song, so things are looking more promising.
Man in the Sky—Tom MacDonald (5/10)
In the song he calls God a man "past the moon," but yet he also says that he's "watching from the sky." The song contradicts itself; both cannot be true. And if you are curious why I spared some points, it's because I really enjoy the bear; I think it's catchy and sounds like something that could go top 100, plus, I did agree with a few things he said in the song, which is rare because I usually never agree with him. I can't give it more than a 5, though, when the song lyrics are messed up and the annoying vocal holds are by Tom.
Not at this party—Dasha (6.5/10)
It's an acceptable attempt at getting a mainstream country song, but the pace feels rushed rather than going faster as part of the song. It also feels way too simple and could easily fall into American country radio play for just a day. I think she had the promo when she released 'Austin,' but she built on pushing other singles too late, and now she has to face the consequences of one-hit wonderland. I'll give a generous 6.5, though, because it's still pretty fun.
Pretty—JVKE (5.9/10)
This wasn't exactly bland, was it? It wasn't flavour-packed either; in other words, it's JVKE's usual but slightly different. It's a piano love song with a soft background that fails to pick up my emotions. I can understand that it may for some, but it's not something that pulls me in, and for that I'm going to have to give it the score I did.
Chemistry—Gigi Perez (6.7/10)
It has what all the Gigi songs have while still maintaining distance so not every song is the same; I respect that. Either way, Gigi's music isn't my thing and always feels lacking. Lacking in what? I don't know; it just feels like there needs to be more.
Wifey Riddim—Shygirl/Jorja Smith (2/10)
My brain can't compute how people will listen to this jumbled-up electronic nonsense.
Father—Jim Legxcy (7.4/10)
Ok, it's good, but how the hell is the average rating for this a 91/100? It's simply a few quick chops with an annoying voice that's sadly used a lot in modern-day rap upon a quick 1:27 song with sound effects. You are probably wondering why I said this and rated it so highly. I mean, it's still a good song, but it's not necessarily gold dust; it's just a simple and clean production and avoids rap crap territory, which I appreciate. BTW, I really miss the days of Jim's 'Nothings Changed.' I wish he would do something like that again.
Chemical Fashion—Charlotte Plank (6/10)
This just feels like your average drum n bass/electronic song; nothing new here.
Safeword—Halsey (3.5/10)
Well… it's sexual, messy, and reminds me of 'HOT To Go,' except more excess screaming. I get that messy was a part of this and meant to brand it, but I don't like it; it's straight up just shouting with a beat that feels all over the place. Instead of actually going for that diva look, it just looks odd. It's also cringe. Reminds me of the scream pop alternative artists try hard to promote.
FXCK UP THE WORLD—LISA/Future (7.9/10)
For the first time, I'll give LISA her flowers. Putting a beat that feels more made for Future was a good choice, and as much as I wasn't expecting LISA to work well on something this hardcore, she ended up coming through and smashing it! And for once in a rare time, I actually enjoyed hearing Future too, the collab we never knew you needed!
I HEART YOU—Confidence Man/Eliza Rose (7/10)
This is now my 2nd favourite song with Eliza Rose on; it's fun, it's a tune for the club, and it's straight-up fun. I could see myself vibing to this if it came on, not hugely, but I quite like it. It's one for the party rather than trying to make something artistic.
Crashing—D4vd/Kali Uchis (8/10)
Love the sound of these new D4vd singles; if this keeps up, then we are getting a huge high score album from me! This is lovely, passionate, and has a slow pace and a rhythm that makes everything feel intertwined with you; I have to say that this is beautiful.
Bleed—Malcom Todd/Omar Apollo (7.2/10)
It really has life and pulse to it, and that's what this song is all about—and I feel this energy, kinda a rock!
Sum out of nun—Bossman Dlow (3/10)
It's very rare that YouTube comments hate on an artist, but the comment section is this song is rightfully roasting Bossman Dlow, because HE KEEPS MAKING THE SAME DAMN THING. OK, WE GET IT, you are rich, you are happy, and you like women. And his flow is the same every time with beats that suck the life out of any hope of a new sound, rap crap.
NOS DESCONOXIMOS - Feid (3/10)
I hate judging off the music video, but the music video pissed me off so much that I can't bear to rate this high. The whole thing was AI with no meaning at all, some parts were a cow flying into a UFO, a child floating through a TV screen, and some weird-looking male guy with boobs, all with a glitchy look like the viral AI video of Will Smith eating pasta. To the song itself now, those vocals are so deep it's starting to be like Tiesto in 'Lay Low': nobody cares about them, and it's just a forgettable song.
Praise - Panda Bear (7.3/10)
Really good music; it doesn't sound modern, but it sounds unique and more chilled out. I'm glad to see this type of music is coming to fame more and being liked.
Proud Of Me—Fridayy/Meek Mill (1.9/10)
If you put the vocals rougher, it's almost a replica of a Tom Macdonald song. Also scrap this; I don't care if it's full-blown emotional; it's full-blown rap crap. The vocals showcase zero talent and are straight-up autotuned talking; this feels more like a vent than a song because everything here is just cheaply made and stuck onto the song.
Apex—Lil Tjay (6/10)
I'm trying to not rate rap songs low because of just talking about crap and lyrically equating to brain rot, and with that I want you to know that this rating is because of the catchy, upbeat feeling of the song. It should've been longer.
Next Summer—Damiano David (8.9/10)
Well-thought-out music video and song; it takes me back to his song 'Born with a Broken Heart,' but without the loud high note, it sounds like something Benson Boone is similar to. Whatever Damiano's music has in it is magic, and as a solo artist, he's full of potential; radio needs to pick this up!
TATTOO - Tito Double P (5/10)
Has Tito Double P made anything that's slightly different from his previous songs? No. Is it worth your time? No. That's enough questions, NEXT!
Radio—Steve Aoki/Trippie Redd/Jessica Baio/KABU (5.9/10)
Wow, an actual decent song with Trippie Redd on it; I never thought I would see the day. It's also radio-friendly and sounds specifically made for radio; it's not the most unique thing I've witnessed; in fact, it's simply just like any other radio song, but that doesn't always make it bad; it's just pleasant but not really something that gets you going.
I am a tower—Swans (7.5/10).
I said to myself before listening to this nearly 20-minute-long track, "If it's not an 80/100 at least, then it's a waste of time, and in the whole 20-minute listen, this tends to get barely anything done. The pieces that were in there were really good, which is what led me to give this a 75/100, but the fact that this is 20 minutes long is utterly ridiculous. This could've been 10 minutes, and I would've much more enjoyed that. This song was more of deep-thinking music, which doesn't really give you thoughts, just zones you out. Kinda pointless but kinda cool. It also doesn't have a simple-to-understand meaning.
Dancing with your eyes closed—Jane Remover (4.9/10)
Much better than 'JRJRJR,' but still not good and most definitely overrated, just like the previous single. It feels glitchy rather than purposely made like this; it's the equivalent of if phonk music was made incorrectly.
Zig Zag—By Storm (4.8/10)
What the hell was this waste of time? He sounds like a drunk man with a stutter when he keeps repeating zigzagging; it's like he's badly trying to do something new with the beat resembling something that lacks any substance, most likely to portray a message over that. Well, it does it badly because this is a 7-minute waste of time.
Heathen—Deafhaven (7/10)
This represents absolute destruction in a good and bad way; the bad way is that this is music nobody understands and just jams out to (which I think is what a bad song does), but the good part is the build-up before the main heavy screams. The beat was put together fairly well, and for that it saves the song.
Cinderella—Model/Actress (4/10)
First of all, this had one of the weirdest music videos I've watched in my life (not in a good way), and second, rather than having artistic value (which people say there is), to me it feels like an alternative mess that badly tries to be something different.
Style—2 Hollis (7.8/10)
Short, sweet, and classy, and the timing of 1:37 was a weird timing for a song, but I actually think it fit this better.
The Chase—Heart2hearts (5.6/10)
It's just a really basic K-pop song by a band that probably has diehard stans that'll defend them at all costs. If you've heard a K-pop song that is bland, then you've heard this; it's spared a 0.6 extra because it has soft vocals that are quite pretty.
Uno II—Viagra Boys (6.9/10)
I understood this a lot more than "Man Made of Meat." It still felt a bit mixed up and not sorted, but I think that may be an element they input on purpose in their music—I don't understand it that much.
Salvation—Rebecca Black (6.5/10)
It turns out basic pop can be good pop, enjoyable, and give a modern feeling.
MAL DE AMORES—Myke Towers/Junior H (5.1/10)
It's not exactly harmful or a way to like other music, but it's just simply quite lacking in anything to compliment it on. Can we stop making these artists go super viral?
5 Night—Youngboy Never Broke Again (1.8/10)
The vocals on this are straight out of the gutter; it sounds like someone has a speech issue. And as you can tell, it's rap crap, nothing new about this recycled garbage disposal of a song.
Lifeline—Jonas Blue/Izzy Bizu (5/10)
Not memorable in the slightest.
Sounds like something I'd say—Kassi Ashton/Parker McCollum (6/10).
It's a laid-back, familiar country song that fails to do anything groundbreaking, still nice for what it is, though.
Replay—Cynthia Erivo (7.4/10)
Sounds like something Ariana Grande would make from a gentler side of her music. It's pop with a catchy hook that repeats over and over to become an earworm, and if anything, this proves you don't need a huge build-up to make a good single! Not many people can do that!
Flyover State—Michael Marcagi (6.6/10)
Never liked this guy's music that much, but this appealed to me slightly more. Yes, it's simple, but it's also still very heartfelt and true to what Michael wants to write about, and he creates the feeling of this song well, with the production doing a fairly alright job at supporting the lyrics and him.
Tell Me—Karan Aujila/One Republic/Ikky (1.4/10)
The idea of an English and Indian artist coming together to create a Western pop song already sounds like it's going to end in flames, and as you can expect, this did. I feel they try and put in as much of the Indian in there to purposely try and make you notice the culture blend as a main part of the song, and the song sounds so simple and just short of reaching any new highs; it's as dull as a Coldplay song. This overall was a hot, splattered mess, which I'm shocked they didn't notice that this isn't going to end well; at best, this will get played at a 5-year-old's birthday party.
System Shock—Subtronics/Hedex/IRAH (8.4/10)
Didn't think I would enjoy something this much, but this hits!! It has a hard, thumping pulse that IRAH tends to bring to the music, but this time it's even better and has a few mistakes, but there are some. The vocal pitch feels slightly harder to hear due to the pitch level of the beat, and I would also prefer a sped-up version of this.
Delulu—BANKS (7.8/10)
For any fan of SZA, I think you'll really enjoy this; it has a lot of similarities to her music. The guitar solo at the end was a perfect accompaniment to the song; it really brings out the groove of the song. My favourite part was the beat, although Banks vocals were quite fine.
CHAPTER & VERS - Serpentwithfeet (5/10)
No idea what this guy's yapping about. The beat sounds beginner level, though sadly, nothing special.
Ya Get Dat—LeoStayTrill (8.3/10)
Nothing about this bored me! This feels like the type of song people rate high due to it having the more naturally flowing rap rather than the pumped-out garbage. His flow, beat, and lyrics are smooth and match well while keeping a respectable level of distance from the average sounds you would hear. I recommend it for any rap fans. Also, I think he and Little Simz would do a good song together.
Uma Amenaza - Chuyin/Chino Pacas (4/10)
We've heard rap crap, but now we're going to have to make Spanish crap because every Spanish song always sounds the same!! No difference!! Apart from the lyrics (kinda), this is getting ridiculous, boring song.
Machine Girl - ADELA (6.1/10)
An enjoyable modern song with effects; it's fine.
RiCH MAN DREAM—IDK/Ab-Soul (6.9/10)
Well, it's Ab-Soul; nothing really special here, but he manages to manoeuvre across the background well, so for that, it's a good song.
Kahore He Manu E—Marlon Williams/Lorde (5.1/10)
I don't want to be a hater of piano ballads, but I find this boring ?. It's just what it is; there's nothing else really to it.
NOTHING ELSE—Forrest Frank/Thomas Rhett (2/10)
First of all, I wasn't expecting to see Central Cee's "alright" sampled over and over in a Christian and gospel song lol; it was a bad sample for sure. The reason why I didn't like this, though, was how it felt so oversimplified in everything and just made so simple that it sounded like it would be on a Praise Jesus album for little kids, and none of the vocals are excellent either; they just add to the awkwardness that is this song.
TORCH—NGHTMARE/A$AP Ferg/Bekon (7/10)
Booming, loud, and a really hyped-up beat, I'm into it.
Til I Mawnin—Shaggy/Sting (6/10)
"Sting and Shaggy are killing this beat." It doesn't really sound like you're putting much energy into it, bud. It's still fine though; Sting or Shaggy hasn't lost their skill, so that's good to see.
Antidepressants - Bbno$ (6/10)
I like how all this guy's songs make you super want to dance and really stylish; this still is, but his voice lacks the energy, and this feels drained of character, not as good as his previous stuff.
Stripper Song—Paris, Texas (8/10)
Everything In this song, he plays a part really well, and in the end, it's a rock! I like the heavier layers that make the song memorable and catchy. Good song, but pretty sus title though. ?
Pickle Juice—T. Pain (3.9/10)
T-Pain is one of the worst musical artists to ever exist, and this song isn't even close to his worst performance. On top of this, the lyrics are lazy and just display utter nonsense; the production and flow feel like they're purposely trying to go off, and I really don't know if I can take this seriously, at least he hasn't drowned himself with autotune this time.
9th Heaven—Backwxsh (5.9/10)
I could tell it was something that had work put into it, but it just made me bored; it was just not my thing. It has that deep sound that tries to get you in a trance state.
Reprogram - Kilo Kish (3.3/10)
Not my thing; I'm taking nothing away from this listen apart from the lifeless mess that was this song.
Cancionera - Natalia Lafourcade (8.2/10)
Stunning song, it's crafted so elegantly and beautifully it feels like art, because it is! It reminds me of tuning into Classic FM because that's how peaceful this song is, and only a few people can do something like this, a work of art, and I love it! It's easy to ease into.
Brain Dead—Architects/House of Protection (4/10)
The only thing brain dead is the people who made this song and the song itself; it's blasphemous too. In short, it's just music idiots bop to because they don't know better or anything that's going on. The only thing I'll applaud is the instrumentals; they were kind of killer, ngl.
Girl—Anna Lunoe/Melanie C (7.7/10)
What a party bop! And it's not dry or dreary at all; the beat has those funky up-and-down motions that sound like they're meant for the dance floor, and Mel and Anna give a fun performance where they collab really well.
Commitment—Craig David/Tiwa Savage (4.5/10)
This sounds like a Jason Derulo collab that gets barely any views compared to his previous songs; in other words, it's basic and shows nothing worth your time.
Fruit Machine—Piri & Tommy (7/10)
I quite enjoy their softer tone; it's music that sounds like it would be played in an ad for a fun matching game or something. It has a cute sound and cover to ?.
Say My Name—Russ Millions (2.5/10)
This is a grown man making this rap crap, BTW! I genuinely can't understand people who listen to this; it drills into your brain, it's awful, and as you can expect, this is nothing new from the sex, rich, gangster song that everyone else puts out. Do better.
Let It Talk to Me—Sean Paul/INNA (6.8/10)
I was really into Sean Paul and INNA when they collaborated on 'Up' (I believe in the early 2020's) that song was widely streamed by me and became a big part of my life, so I was extremely excited to see what they would bring to the table thing time- and I'm a little dissapointed due to this being a big step down from 'Up' but this is still good, it has the party beat and the feel that both artists tend to give together, you can tell they've still got chemistry, I ain't gonna hate on this though it's solid.
Sorry I'm Here For Someone Else - Benson Boone (5.5/10)
Rare Benson Boone L. As Benson was one of my most streamed artists ever and 95% of the time creates something I enjoy, I was very much excited (to say the least) about this upcoming new era, and the opening single will set the tone for how I'm going to feel. To keep it short and real, Benson played it safe and did exactly what he's been doing before but even worse, and the lyrics feel like they took a downgrade. The lyrics are like a page out of someone's diary about some cringe interaction with a waitress serving fries. Come on, Benson, what is this?? Is it due to the industry's high demand of quickly pushing out singles because this feels rushed and so damn boring that there's no room to have any new ideas of what Benson may be doing in the future with his music, move on, make something new, or at least up to quality like your previous hit singles?
Flood—Little Simz/Obongjayer/Moonchild Sanelly (8.5/10)
This felt like a well-constructed scene from a sci-fi movie; it had action, talent, and just a wide range of sounds that were constantly replaying through your head. If Simz executes the following songs after this correctly, then we could be seeing a possible album of the year. The way this was crafted felt so carefully put together, and with Obongjayer giving it more of the mystical experience, it truly felt magical and well made.
Love in real life—Lizzo (5/10)
YOU'VE GOT TO BE JOKING—I WAS THINKING TO MYSELF, "If only there was a Lizzo release," while scrolling down the page, and then in a matter of two seconds, I saw this. One in a trillion coincidence. Anyways, here's my actual review. I appreciate how she's not playing it safe here; she switches into a more 1970s mainstream pop sound where she continues her high, energetic attitude while adding in her aspects, even guitar, starting off the song. I get you have to take a new career move somewhere, but this wasn't for me, and as someone who's been waiting for a Lizzo release for years, this was pretty much a disappointment. It's about damn time to get the second single to redeem yourself.
Delete Ya—Djo (7/10)
The stranger things The actor is back with his second song from his upcoming album, and unlike the first song, this is actually quite good! It keeps the album's atmosphere, which is good for the fans sake, but this time it takes away the annoying alternative—neo-psychedelic downswing—which just ended up making the song feel uneven to me, and as much as that wasn't awful, the style just wasn't my thing, but here he continues the switch-up while making a good song, so things are looking more promising.
Man in the Sky—Tom MacDonald (5/10)
In the song he calls God a man "past the moon," but yet he also says that he's "watching from the sky." The song contradicts itself; both cannot be true. And if you are curious why I spared some points, it's because I really enjoy the bear; I think it's catchy and sounds like something that could go top 100, plus, I did agree with a few things he said in the song, which is rare because I usually never agree with him. I can't give it more than a 5, though, when the song lyrics are messed up and the annoying vocal holds are by Tom.
Not at this party—Dasha (6.5/10)
It's an acceptable attempt at getting a mainstream country song, but the pace feels rushed rather than going faster as part of the song. It also feels way too simple and could easily fall into American country radio play for just a day. I think she had the promo when she released 'Austin,' but she built on pushing other singles too late, and now she has to face the consequences of one-hit wonderland. I'll give a generous 6.5, though, because it's still pretty fun.
Pretty—JVKE (5.9/10)
This wasn't exactly bland, was it? It wasn't flavour-packed either; in other words, it's JVKE's usual but slightly different. It's a piano love song with a soft background that fails to pick up my emotions. I can understand that it may for some, but it's not something that pulls me in, and for that I'm going to have to give it the score I did.
Chemistry—Gigi Perez (6.7/10)
It has what all the Gigi songs have while still maintaining distance so not every song is the same; I respect that. Either way, Gigi's music isn't my thing and always feels lacking. Lacking in what? I don't know; it just feels like there needs to be more.
Wifey Riddim—Shygirl/Jorja Smith (2/10)
My brain can't compute how people will listen to this jumbled-up electronic nonsense.
Father—Jim Legxcy (7.4/10)
Ok, it's good, but how the hell is the average rating for this a 91/100? It's simply a few quick chops with an annoying voice that's sadly used a lot in modern-day rap upon a quick 1:27 song with sound effects. You are probably wondering why I said this and rated it so highly. I mean, it's still a good song, but it's not necessarily gold dust; it's just a simple and clean production and avoids rap crap territory, which I appreciate. BTW, I really miss the days of Jim's 'Nothings Changed.' I wish he would do something like that again.
Chemical Fashion—Charlotte Plank (6/10)
This just feels like your average drum n bass/electronic song; nothing new here.
Safeword—Halsey (3.5/10)
Well… it's sexual, messy, and reminds me of 'HOT To Go,' except more excess screaming. I get that messy was a part of this and meant to brand it, but I don't like it; it's straight up just shouting with a beat that feels all over the place. Instead of actually going for that diva look, it just looks odd. It's also cringe. Reminds me of the scream pop alternative artists try hard to promote.
FXCK UP THE WORLD—LISA/Future (7.9/10)
For the first time, I'll give LISA her flowers. Putting a beat that feels more made for Future was a good choice, and as much as I wasn't expecting LISA to work well on something this hardcore, she ended up coming through and smashing it! And for once in a rare time, I actually enjoyed hearing Future too, the collab we never knew you needed!
I HEART YOU—Confidence Man/Eliza Rose (7/10)
This is now my 2nd favourite song with Eliza Rose on; it's fun, it's a tune for the club, and it's straight-up fun. I could see myself vibing to this if it came on, not hugely, but I quite like it. It's one for the party rather than trying to make something artistic.
Crashing—D4vd/Kali Uchis (8/10)
Love the sound of these new D4vd singles; if this keeps up, then we are getting a huge high score album from me! This is lovely, passionate, and has a slow pace and a rhythm that makes everything feel intertwined with you; I have to say that this is beautiful.
Bleed—Malcom Todd/Omar Apollo (7.2/10)
It really has life and pulse to it, and that's what this song is all about—and I feel this energy, kinda a rock!
Sum out of nun—Bossman Dlow (3/10)
It's very rare that YouTube comments hate on an artist, but the comment section is this song is rightfully roasting Bossman Dlow, because HE KEEPS MAKING THE SAME DAMN THING. OK, WE GET IT, you are rich, you are happy, and you like women. And his flow is the same every time with beats that suck the life out of any hope of a new sound, rap crap.
NOS DESCONOXIMOS - Feid (3/10)
I hate judging off the music video, but the music video pissed me off so much that I can't bear to rate this high. The whole thing was AI with no meaning at all, some parts were a cow flying into a UFO, a child floating through a TV screen, and some weird-looking male guy with boobs, all with a glitchy look like the viral AI video of Will Smith eating pasta. To the song itself now, those vocals are so deep it's starting to be like Tiesto in 'Lay Low': nobody cares about them, and it's just a forgettable song.
Praise - Panda Bear (7.3/10)
Really good music; it doesn't sound modern, but it sounds unique and more chilled out. I'm glad to see this type of music is coming to fame more and being liked.
Proud Of Me—Fridayy/Meek Mill (1.9/10)
If you put the vocals rougher, it's almost a replica of a Tom Macdonald song. Also scrap this; I don't care if it's full-blown emotional; it's full-blown rap crap. The vocals showcase zero talent and are straight-up autotuned talking; this feels more like a vent than a song because everything here is just cheaply made and stuck onto the song.
Apex—Lil Tjay (6/10)
I'm trying to not rate rap songs low because of just talking about crap and lyrically equating to brain rot, and with that I want you to know that this rating is because of the catchy, upbeat feeling of the song. It should've been longer.
Next Summer—Damiano David (8.9/10)
Well-thought-out music video and song; it takes me back to his song 'Born with a Broken Heart,' but without the loud high note, it sounds like something Benson Boone is similar to. Whatever Damiano's music has in it is magic, and as a solo artist, he's full of potential; radio needs to pick this up!
TATTOO - Tito Double P (5/10)
Has Tito Double P made anything that's slightly different from his previous songs? No. Is it worth your time? No. That's enough questions, NEXT!
Radio—Steve Aoki/Trippie Redd/Jessica Baio/KABU (5.9/10)
Wow, an actual decent song with Trippie Redd on it; I never thought I would see the day. It's also radio-friendly and sounds specifically made for radio; it's not the most unique thing I've witnessed; in fact, it's simply just like any other radio song, but that doesn't always make it bad; it's just pleasant but not really something that gets you going.
I am a tower—Swans (7.5/10).
I said to myself before listening to this nearly 20-minute-long track, "If it's not an 80/100 at least, then it's a waste of time, and in the whole 20-minute listen, this tends to get barely anything done. The pieces that were in there were really good, which is what led me to give this a 75/100, but the fact that this is 20 minutes long is utterly ridiculous. This could've been 10 minutes, and I would've much more enjoyed that. This song was more of deep-thinking music, which doesn't really give you thoughts, just zones you out. Kinda pointless but kinda cool. It also doesn't have a simple-to-understand meaning.
Dancing with your eyes closed—Jane Remover (4.9/10)
Much better than 'JRJRJR,' but still not good and most definitely overrated, just like the previous single. It feels glitchy rather than purposely made like this; it's the equivalent of if phonk music was made incorrectly.
Zig Zag—By Storm (4.8/10)
What the hell was this waste of time? He sounds like a drunk man with a stutter when he keeps repeating zigzagging; it's like he's badly trying to do something new with the beat resembling something that lacks any substance, most likely to portray a message over that. Well, it does it badly because this is a 7-minute waste of time.
Heathen—Deafhaven (7/10)
This represents absolute destruction in a good and bad way; the bad way is that this is music nobody understands and just jams out to (which I think is what a bad song does), but the good part is the build-up before the main heavy screams. The beat was put together fairly well, and for that it saves the song.
Cinderella—Model/Actress (4/10)
First of all, this had one of the weirdest music videos I've watched in my life (not in a good way), and second, rather than having artistic value (which people say there is), to me it feels like an alternative mess that badly tries to be something different.
Style—2 Hollis (7.8/10)
Short, sweet, and classy, and the timing of 1:37 was a weird timing for a song, but I actually think it fit this better.
The Chase—Heart2hearts (5.6/10)
It's just a really basic K-pop song by a band that probably has diehard stans that'll defend them at all costs. If you've heard a K-pop song that is bland, then you've heard this; it's spared a 0.6 extra because it has soft vocals that are quite pretty.
Uno II—Viagra Boys (6.9/10)
I understood this a lot more than "Man Made of Meat." It still felt a bit mixed up and not sorted, but I think that may be an element they input on purpose in their music—I don't understand it that much.
Salvation—Rebecca Black (6.5/10)
It turns out basic pop can be good pop, enjoyable, and give a modern feeling.
MAL DE AMORES—Myke Towers/Junior H (5.1/10)
It's not exactly harmful or a way to like other music, but it's just simply quite lacking in anything to compliment it on. Can we stop making these artists go super viral?
5 Night—Youngboy Never Broke Again (1.8/10)
The vocals on this are straight out of the gutter; it sounds like someone has a speech issue. And as you can tell, it's rap crap, nothing new about this recycled garbage disposal of a song.
Lifeline—Jonas Blue/Izzy Bizu (5/10)
Not memorable in the slightest.
Sounds like something I'd say—Kassi Ashton/Parker McCollum (6/10).
It's a laid-back, familiar country song that fails to do anything groundbreaking, still nice for what it is, though.
Replay—Cynthia Erivo (7.4/10)
Sounds like something Ariana Grande would make from a gentler side of her music. It's pop with a catchy hook that repeats over and over to become an earworm, and if anything, this proves you don't need a huge build-up to make a good single! Not many people can do that!
Flyover State—Michael Marcagi (6.6/10)
Never liked this guy's music that much, but this appealed to me slightly more. Yes, it's simple, but it's also still very heartfelt and true to what Michael wants to write about, and he creates the feeling of this song well, with the production doing a fairly alright job at supporting the lyrics and him.
Tell Me—Karan Aujila/One Republic/Ikky (1.4/10)
The idea of an English and Indian artist coming together to create a Western pop song already sounds like it's going to end in flames, and as you can expect, this did. I feel they try and put in as much of the Indian in there to purposely try and make you notice the culture blend as a main part of the song, and the song sounds so simple and just short of reaching any new highs; it's as dull as a Coldplay song. This overall was a hot, splattered mess, which I'm shocked they didn't notice that this isn't going to end well; at best, this will get played at a 5-year-old's birthday party.
System Shock—Subtronics/Hedex/IRAH (8.4/10)
Didn't think I would enjoy something this much, but this hits!! It has a hard, thumping pulse that IRAH tends to bring to the music, but this time it's even better and has a few mistakes, but there are some. The vocal pitch feels slightly harder to hear due to the pitch level of the beat, and I would also prefer a sped-up version of this.
Delulu—BANKS (7.8/10)
For any fan of SZA, I think you'll really enjoy this; it has a lot of similarities to her music. The guitar solo at the end was a perfect accompaniment to the song; it really brings out the groove of the song. My favourite part was the beat, although Banks vocals were quite fine.
CHAPTER & VERS - Serpentwithfeet (5/10)
No idea what this guy's yapping about. The beat sounds beginner level, though sadly, nothing special.
Ya Get Dat—LeoStayTrill (8.3/10)
Nothing about this bored me! This feels like the type of song people rate high due to it having the more naturally flowing rap rather than the pumped-out garbage. His flow, beat, and lyrics are smooth and match well while keeping a respectable level of distance from the average sounds you would hear. I recommend it for any rap fans. Also, I think he and Little Simz would do a good song together.
Uma Amenaza - Chuyin/Chino Pacas (4/10)
We've heard rap crap, but now we're going to have to make Spanish crap because every Spanish song always sounds the same!! No difference!! Apart from the lyrics (kinda), this is getting ridiculous, boring song.
Machine Girl - ADELA (6.1/10)
An enjoyable modern song with effects; it's fine.
RiCH MAN DREAM—IDK/Ab-Soul (6.9/10)
Well, it's Ab-Soul; nothing really special here, but he manages to manoeuvre across the background well, so for that, it's a good song.
Kahore He Manu E—Marlon Williams/Lorde (5.1/10)
I don't want to be a hater of piano ballads, but I find this boring ?. It's just what it is; there's nothing else really to it.
NOTHING ELSE—Forrest Frank/Thomas Rhett (2/10)
First of all, I wasn't expecting to see Central Cee's "alright" sampled over and over in a Christian and gospel song lol; it was a bad sample for sure. The reason why I didn't like this, though, was how it felt so oversimplified in everything and just made so simple that it sounded like it would be on a Praise Jesus album for little kids, and none of the vocals are excellent either; they just add to the awkwardness that is this song.
TORCH—NGHTMARE/A$AP Ferg/Bekon (7/10)
Booming, loud, and a really hyped-up beat, I'm into it.
Til I Mawnin—Shaggy/Sting (6/10)
"Sting and Shaggy are killing this beat." It doesn't really sound like you're putting much energy into it, bud. It's still fine though; Sting or Shaggy hasn't lost their skill, so that's good to see.
Antidepressants - Bbno$ (6/10)
I like how all this guy's songs make you super want to dance and really stylish; this still is, but his voice lacks the energy, and this feels drained of character, not as good as his previous stuff.
Stripper Song—Paris, Texas (8/10)
Everything In this song, he plays a part really well, and in the end, it's a rock! I like the heavier layers that make the song memorable and catchy. Good song, but pretty sus title though. ?
Pickle Juice—T. Pain (3.9/10)
T-Pain is one of the worst musical artists to ever exist, and this song isn't even close to his worst performance. On top of this, the lyrics are lazy and just display utter nonsense; the production and flow feel like they're purposely trying to go off, and I really don't know if I can take this seriously, at least he hasn't drowned himself with autotune this time.
9th Heaven—Backwxsh (5.9/10)
I could tell it was something that had work put into it, but it just made me bored; it was just not my thing. It has that deep sound that tries to get you in a trance state.
Reprogram - Kilo Kish (3.3/10)
Not my thing; I'm taking nothing away from this listen apart from the lifeless mess that was this song.
Cancionera - Natalia Lafourcade (8.2/10)
Stunning song, it's crafted so elegantly and beautifully it feels like art, because it is! It reminds me of tuning into Classic FM because that's how peaceful this song is, and only a few people can do something like this, a work of art, and I love it! It's easy to ease into.
Brain Dead—Architects/House of Protection (4/10)
The only thing brain dead is the people who made this song and the song itself; it's blasphemous too. In short, it's just music idiots bop to because they don't know better or anything that's going on. The only thing I'll applaud is the instrumentals; they were kind of killer, ngl.
Girl—Anna Lunoe/Melanie C (7.7/10)
What a party bop! And it's not dry or dreary at all; the beat has those funky up-and-down motions that sound like they're meant for the dance floor, and Mel and Anna give a fun performance where they collab really well.
Commitment—Craig David/Tiwa Savage (4.5/10)
This sounds like a Jason Derulo collab that gets barely any views compared to his previous songs; in other words, it's basic and shows nothing worth your time.
Fruit Machine—Piri & Tommy (7/10)
I quite enjoy their softer tone; it's music that sounds like it would be played in an ad for a fun matching game or something. It has a cute sound and cover to ?.
Say My Name—Russ Millions (2.5/10)
This is a grown man making this rap crap, BTW! I genuinely can't understand people who listen to this; it drills into your brain, it's awful, and as you can expect, this is nothing new from the sex, rich, gangster song that everyone else puts out. Do better.
Let It Talk to Me—Sean Paul/INNA (6.8/10)
I was really into Sean Paul and INNA when they collaborated on 'Up' (I believe in the early 2020's) that song was widely streamed by me and became a big part of my life, so I was extremely excited to see what they would bring to the table thing time- and I'm a little dissapointed due to this being a big step down from 'Up' but this is still good, it has the party beat and the feel that both artists tend to give together, you can tell they've still got chemistry, I ain't gonna hate on this though it's solid.