12-04-2025, 14:36
NEW MUSIC FRIDAY 11.04.25 #27
Henry, Come On – Lana Del Rey (8.3/10)
It's Lana's signature; she uses her soft vocals along with slow and expressive instrumentals that help bring across the meaning of the song. It's better than 'Tough' and brings hope for the rest of the album!
Blink Twice - Shaboozey/Myles Smith (7/10)
This just made it into a 7/10 or green rating; that was incredibly tight. Now, I may not be the biggest fan of Myles, and this collaboration may not be a big or even small step to making anything that's more original, but it's pretty damn catchy. It feels like the whole song hits as a hook with the guitar kicking in and the lively melody, which from the start pulls you into the experience quickly. This is a part of Shaboozey's deluxe version of his country album, which contains his hit song 'A Bar Song (Tipsy).'
ILMB - Travis Scott (4/10)
Travis, yet another forgettable rap song that adds to his already cluttered discography; let's just hope it doesn't debut as high as '4 × 4'.
Legends – Quavo/Lil Baby (4.9/10)
With the promo saying that the most comments get their rent paid, obviously to boost the algorithm, 'Legends' has been growing fast and might make a high-charting debut next week. Unfortunately, it's not anything special, and Lil Baby delivers the same as anything you could've heard off 'WHAM'. Quavo's verse is slightly better, as it adds more real character instead of the vocals feeling overaffected, and in the end, it serves as rap crap where the aim is mainly to flex about their status and what they've achieved, and the beat is a really tedious, overused one which you would hear in 50% of the rap songs which chart on Billboard.
Do What I Say – Kwn (4/10)
That was a waste of time... the snippet made me think that this was going to be somewhat enjoyable.
Blue Strips – Jessie Murph (6.1/10)
As said before, Jessie may have the worst voice in the entire music industry; she sounds like a cat clawing at the ground while being pulled away. But she's actually starting to slightly redeem herself; this is leaning into her more pop style instead of country, and I think the change suits her a lot better. If she keeps this up, then she'll no longer be one of my least favourite artists.
N Da Morning – 4Batz (8/10)
Who knew a song that eventually doesn't get to anything new could be so fun? Sure, it's just over two minutes of beat hits and a guitar that comes in and out, plucking one string along a chilled and relaxed beat. It's a good change to see for 4Batz.
Worst Of Me – Cynthia Erivo (7.6/10)
Outside of the wicked soundtrack, her solo songs are really promising and sound like something that, with a bit more popularity, could be highly remembered; these past few singles have been as good as some of the main pop stars! Cynthia showcases a powerful side of her vocals here alongside an expressive song where the spotlight heads to Cynthia and the ballad rather than the beat itself. I can see why she's meant for theatre; just don't go playing Jesus Christ, please.
Weightless – Martin Garrix/Arijit Singh (7/10)
Martin collaborates with arguably the biggest Indian artist, Arijit Singh, on a dance-house song which has a good tempo along with the synthesisers, which are sometimes paused at the right moments to give a solo vocal piece by Singh. I thought that added to the quality of the song.
A baby girl named Heaven – Sam Austin (7/10)
Another great showcase by Sam!
Bubble Pop – Bootsy Collins/Ice Cube (7.7/10)
Wow! This was pretty fun! It sounds like something people would've gone mad for decades ago as the male and female rap-pop was coming to light more and more. The production on this is quite old school; even the vocals are too, and it's like as if you were in Las Vegas in the 70s, at least from the movie descriptions.
Friday Prayer – AJ Tracey/Headie One/Aitch (7.8/10)
UK rap appears to be improving; every artist here delivered a clean verse, and nobody totally carried the others; they all played a part.
Candy stores – Charlotte Plank (5/10)
Honestly, really boring.
Heartstrings – Disrupta/Goddard/Charlotte Haining (6/10)
It has the thumping bass and high vocal melody but just feels like it's missing originality.
Doubt (Demo) – Twenty One Pilots (5/10)
Horrid use of autotune upon a forgettable beat layout.
That's What You Get - Anne-Marie (7/10)
Definitely better than the songs from her previous release of 'If You're Looking For A New Best Friend'. It's not cringe, unlike some of Anne's previous attempts, and instead has a really nice guitar and light violin intro with softer lyrics from Anne, which goes into a more up-and-down strumming motion with Anne's vocals reaching the higher-pitched hook in the breakup song – and this is one of the best things she's made in a while, which is a pleasant surprise, seeing I soured on her music for a second.
Knock Knock – Anne-Marie (4/10)
And the painfully cringe returns again, along with parts that feel excessively autotuned – the lyrics are like a preschooler having a bad day. What even is "Knock knock, I don't f-ing care"? You cannot be serious. ? It's got the high, loud sound but just doesn't bring the boom – not even AJ or Big Justice would give this a boom.
World At My Feet – Victor Ray (8/10)
R&B artist Victor Ray delivers a new song from his new EP, 'I WILL', which had all four songs as solo releases. Victor Ray once again proves how he's one of the strongest underground and upcoming big artists; he uses a boom bap beat with adlibs that actually support more of an R&B song instead of a rap song. Victor has fast-paced vocals that feel like they're the best pace for a catchy song; he plays it well and once again sets a high bar. Stop sleeping on this guy!
Stick – Jim Legxcy (8/10)
The only song that's ever stuck with me from Jim was 'Nothing's Changed', but this is now the second song that I'll replay. His vocal effects on parts like 'The rain keeps crashing down' are my favourite part, and his smooth rapping works well along this.
I hate that it's true – Dean Lewis (8.4/10)
Easily his best song that I've heard by him, the amount of raw passion that went into this song, along with the guitar strums, helps create that deep state where you are constantly thinking about the song, how Dean Lewis hates that he can't get through a heartbreak and he hates that it's true. It's truly a devastating experience, and that's conveyed so much to me when I hear it, so well put across.
Rich - Bea And Her Business (4/10)
The song was going well... It started with a fun party feeling where Bea is sick of everyone and just wants to party; a clap and a unique sound that I can't make out start the song, which goes into faster claps, a higher volume and a hot pop sound that gets you moving... So, what went wrong? One specific lyric made me cringe so much that I can't ever hear the song again – and I mean ever. In the midst of the party lyrics of touching and having fun, she said, "I was holding competitions to see who could kiss the most, and extra points if you end up sucking on somebody's toe," followed by a cringe laugh. WHAT THE HELL?! DON'T TELL ME SHE'S MAKING FOOT FETISH MUSIC ? This just destroyed the whole song because I'm sure 95% of the people listening to it don't like feet, and even if you did, it's just weird to throw it into the mix randomly. I WOULD'VE REPLAYED IT IF IT WASN'T FOR THAT... and that would've been another replayable song by her, so much for that.
Bout U - Rema (6.5/10)
What the heck happened to 'HEIS'? We got a whole album of notable songs that was just a new opening for the whole Afrobeat genre, and then we get this and his previous single, which have nothing to them? This is awful, and people agree, and by awful, I mean the fall-off is awful, not saying this song is, but it's definitely just not what he used to be. Instead of 'HEIS', it takes a more subtle approach and focuses on themes of love a lot more.
Evangelic Girl Is A G*n - Yeule (6.9/10)
What in the gothic darkness is this about?? At least the beat is decent but pretty creepy.
CUNTISSIMO – MARINA (6.9/10)
It fell much flatter compared to her last single and didn't bring as much impact; the production felt seen before and predictable.
NEVER ENOUGH – TURNSTILE (6/10)
I wish the song had more of a clear understanding and just gave more.
Year Of The Snake - Arcade Fire (3/10)
I'm not even going to hide how insanely boring this is.
Henry, Come On – Lana Del Rey (8.3/10)
It's Lana's signature; she uses her soft vocals along with slow and expressive instrumentals that help bring across the meaning of the song. It's better than 'Tough' and brings hope for the rest of the album!
Blink Twice - Shaboozey/Myles Smith (7/10)
This just made it into a 7/10 or green rating; that was incredibly tight. Now, I may not be the biggest fan of Myles, and this collaboration may not be a big or even small step to making anything that's more original, but it's pretty damn catchy. It feels like the whole song hits as a hook with the guitar kicking in and the lively melody, which from the start pulls you into the experience quickly. This is a part of Shaboozey's deluxe version of his country album, which contains his hit song 'A Bar Song (Tipsy).'
ILMB - Travis Scott (4/10)
Travis, yet another forgettable rap song that adds to his already cluttered discography; let's just hope it doesn't debut as high as '4 × 4'.
Legends – Quavo/Lil Baby (4.9/10)
With the promo saying that the most comments get their rent paid, obviously to boost the algorithm, 'Legends' has been growing fast and might make a high-charting debut next week. Unfortunately, it's not anything special, and Lil Baby delivers the same as anything you could've heard off 'WHAM'. Quavo's verse is slightly better, as it adds more real character instead of the vocals feeling overaffected, and in the end, it serves as rap crap where the aim is mainly to flex about their status and what they've achieved, and the beat is a really tedious, overused one which you would hear in 50% of the rap songs which chart on Billboard.
Do What I Say – Kwn (4/10)
That was a waste of time... the snippet made me think that this was going to be somewhat enjoyable.
Blue Strips – Jessie Murph (6.1/10)
As said before, Jessie may have the worst voice in the entire music industry; she sounds like a cat clawing at the ground while being pulled away. But she's actually starting to slightly redeem herself; this is leaning into her more pop style instead of country, and I think the change suits her a lot better. If she keeps this up, then she'll no longer be one of my least favourite artists.
N Da Morning – 4Batz (8/10)
Who knew a song that eventually doesn't get to anything new could be so fun? Sure, it's just over two minutes of beat hits and a guitar that comes in and out, plucking one string along a chilled and relaxed beat. It's a good change to see for 4Batz.
Worst Of Me – Cynthia Erivo (7.6/10)
Outside of the wicked soundtrack, her solo songs are really promising and sound like something that, with a bit more popularity, could be highly remembered; these past few singles have been as good as some of the main pop stars! Cynthia showcases a powerful side of her vocals here alongside an expressive song where the spotlight heads to Cynthia and the ballad rather than the beat itself. I can see why she's meant for theatre; just don't go playing Jesus Christ, please.
Weightless – Martin Garrix/Arijit Singh (7/10)
Martin collaborates with arguably the biggest Indian artist, Arijit Singh, on a dance-house song which has a good tempo along with the synthesisers, which are sometimes paused at the right moments to give a solo vocal piece by Singh. I thought that added to the quality of the song.
A baby girl named Heaven – Sam Austin (7/10)
Another great showcase by Sam!
Bubble Pop – Bootsy Collins/Ice Cube (7.7/10)
Wow! This was pretty fun! It sounds like something people would've gone mad for decades ago as the male and female rap-pop was coming to light more and more. The production on this is quite old school; even the vocals are too, and it's like as if you were in Las Vegas in the 70s, at least from the movie descriptions.
Friday Prayer – AJ Tracey/Headie One/Aitch (7.8/10)
UK rap appears to be improving; every artist here delivered a clean verse, and nobody totally carried the others; they all played a part.
Candy stores – Charlotte Plank (5/10)
Honestly, really boring.
Heartstrings – Disrupta/Goddard/Charlotte Haining (6/10)
It has the thumping bass and high vocal melody but just feels like it's missing originality.
Doubt (Demo) – Twenty One Pilots (5/10)
Horrid use of autotune upon a forgettable beat layout.
That's What You Get - Anne-Marie (7/10)
Definitely better than the songs from her previous release of 'If You're Looking For A New Best Friend'. It's not cringe, unlike some of Anne's previous attempts, and instead has a really nice guitar and light violin intro with softer lyrics from Anne, which goes into a more up-and-down strumming motion with Anne's vocals reaching the higher-pitched hook in the breakup song – and this is one of the best things she's made in a while, which is a pleasant surprise, seeing I soured on her music for a second.
Knock Knock – Anne-Marie (4/10)
And the painfully cringe returns again, along with parts that feel excessively autotuned – the lyrics are like a preschooler having a bad day. What even is "Knock knock, I don't f-ing care"? You cannot be serious. ? It's got the high, loud sound but just doesn't bring the boom – not even AJ or Big Justice would give this a boom.
World At My Feet – Victor Ray (8/10)
R&B artist Victor Ray delivers a new song from his new EP, 'I WILL', which had all four songs as solo releases. Victor Ray once again proves how he's one of the strongest underground and upcoming big artists; he uses a boom bap beat with adlibs that actually support more of an R&B song instead of a rap song. Victor has fast-paced vocals that feel like they're the best pace for a catchy song; he plays it well and once again sets a high bar. Stop sleeping on this guy!
Stick – Jim Legxcy (8/10)
The only song that's ever stuck with me from Jim was 'Nothing's Changed', but this is now the second song that I'll replay. His vocal effects on parts like 'The rain keeps crashing down' are my favourite part, and his smooth rapping works well along this.
I hate that it's true – Dean Lewis (8.4/10)
Easily his best song that I've heard by him, the amount of raw passion that went into this song, along with the guitar strums, helps create that deep state where you are constantly thinking about the song, how Dean Lewis hates that he can't get through a heartbreak and he hates that it's true. It's truly a devastating experience, and that's conveyed so much to me when I hear it, so well put across.
Rich - Bea And Her Business (4/10)
The song was going well... It started with a fun party feeling where Bea is sick of everyone and just wants to party; a clap and a unique sound that I can't make out start the song, which goes into faster claps, a higher volume and a hot pop sound that gets you moving... So, what went wrong? One specific lyric made me cringe so much that I can't ever hear the song again – and I mean ever. In the midst of the party lyrics of touching and having fun, she said, "I was holding competitions to see who could kiss the most, and extra points if you end up sucking on somebody's toe," followed by a cringe laugh. WHAT THE HELL?! DON'T TELL ME SHE'S MAKING FOOT FETISH MUSIC ? This just destroyed the whole song because I'm sure 95% of the people listening to it don't like feet, and even if you did, it's just weird to throw it into the mix randomly. I WOULD'VE REPLAYED IT IF IT WASN'T FOR THAT... and that would've been another replayable song by her, so much for that.
Bout U - Rema (6.5/10)
What the heck happened to 'HEIS'? We got a whole album of notable songs that was just a new opening for the whole Afrobeat genre, and then we get this and his previous single, which have nothing to them? This is awful, and people agree, and by awful, I mean the fall-off is awful, not saying this song is, but it's definitely just not what he used to be. Instead of 'HEIS', it takes a more subtle approach and focuses on themes of love a lot more.
Evangelic Girl Is A G*n - Yeule (6.9/10)
What in the gothic darkness is this about?? At least the beat is decent but pretty creepy.
CUNTISSIMO – MARINA (6.9/10)
It fell much flatter compared to her last single and didn't bring as much impact; the production felt seen before and predictable.
NEVER ENOUGH – TURNSTILE (6/10)
I wish the song had more of a clear understanding and just gave more.
Year Of The Snake - Arcade Fire (3/10)
I'm not even going to hide how insanely boring this is.