12-07-2025, 11:37
NEW MUSIC FRIDAY 11.06.25 #38
What Did I Miss? - Drake (4/10)
I've already covered how much I dislike Drake for making the worst album of all time and of this year (so far) and how much I dislike this song, but this time I'll do it in more detail. This sounds like a more watered-down, boring version of his big hits, where the background champion theme is the only thing that partly stands out for the better. It's safe to say Drake is making music for the sake of making music. I'm flabbergasted that this is set to debut at Billboard no. 2; it really proves that commercially, even if you make a lazy rap/trap beat with a simple hook, then you can truly do anything. BOO!
IS IT—Tyla (8/10)
The loud drums pound onto a beat that feels glitchy but in a good way; this song isn't short of a bop, and it's honestly one of Tyla's best songs. It has a progression that gets stuck with you from the moment you hear it, with the essence of Tyla's Afro music fusing into a club song that has "all killer, no filler" written all over it.
JUMP—BLACKPINK (3.6/10)
I think too much focus was put into the bass and loop and an action-packed production rather than trying to maintain quality. This is your typical bad bitch K-pop song that happens to make you anything but care.
The Way—Juice WRLD/XXXTENTACION (8.1/10)
With an acoustic mix on top of both of the rappers soft and slow rapping, the song approaches the emo rap in the best open way possible without being cringe and even provides a nostalgic side to it. This could be something big.
Bad As The Rest - Jessie Murph (0.4/10)
Sure, her voice still sounds like a grandma is getting crushed by a train, but the song is somewhat decent in terms of the beats buildup. BUT I'M SORRY… The vocals overpower the song and add this really sour taste to the song; her screaming definitely didn't help either. You may see this in my Dishonourable Mentions for 2025.
Change Your Mind—Burna Boy/Shaboozey (6.4/10)
I was weirded out by this genre blend and curious how it would turn out… and it actually turned out alright. A fairly upbeat hook that has generic qualities, but despite that, there are still good points, such as how both artists manage to sort something out that at least has a sense of both their styles (despite the song feeling more fit for Shaboozey). I won't be returning, but I'm not angry at this.
Lady Lady - Olivia Dean (5/10)
I confess, I don't really like this new Olivia Dean… she can sure play jazz and sing, but I think she does it in the most uninspired way possible that begs the question, "How long can she keep this up?"
Vampire Diaries - MGK (3/10)
The stability of the chorus and vocals isn't good, and it honestly makes the song sound AI-generated; in fact, by the sound, I wouldn't be shocked if it was. MGK has this sound that feels like it could be replicated easily, and that's by no means good, so him putting out a poor attempt at a summer hit that feels basic from all angles and was never going to satisfy.
Butterflies—JVKE/TOMORROW X TOGETHER/LE SSERAFIM/TAEHYUN (7.4/10)
A fun, playful song about what you feel when you love someone; both sides have their essence, and nothing felt overpowered. It's also pleasant to see my liking a side of K-pop a little more.
A Song To Sing—Miranda Lambert/Chris Stapleton (8.3/10)
Yeah, I'll say it, Chris Stapleton is real American country music, and this is more proof of it. Both have this way of singing that sounds like an Elton John song with the old feel, but instead they bring even more of a smooth, soulful feel that is honestly one of the smoothest things I've heard in a while! And that violin near the ending was spot on too.
Vodka Cranberry - Conan Grey (8.1/10)
It's like "This Song," but with more sweetness and less of that high beat kicking in for the hook. Conan has these really soft vocals that fit a love or heartbreak song in a way that nobody else can, and I think that's something special.
Time Is Money - Joyner Lucas/J Balvin/Fireboy DML/DaBaby (3.8/10)
Four features, and yet the energy was so flat. We got the little separate culture sound in there, but it just didn't blend together, and instead it felt like whatever this song was trying to do did not turn out for the better.
The Mood - FLO/KAYTRANADA (5.7/10)
I've been listening to a lot of FLO over the past few months, so a new song was always welcome... and this? Yeah, I mean, it's good, but it partly sounds like a Tyla song, and you know I mostly don't like Tyla… it kinda just falls flat, and instead of making you feel like a bad bitch, it doesn't even get you moving. Disappointing.
Back To Me—Rudimental/Jess Glynne (7.3/10)
A feel-good dance summer jam that shows that Rudimental is upgrading and won't be putting the fries in the bag anytime soon. Jess had clean vocals that fit dance music really well, and Rudimental made a nice sound to go alongside her.
TUCHAT - Quevedo (8.2/10)
The drop into a more soothing reggaeton beat and smooth sound is what made me like this more. I wish the reggaeton bass didn't come in as much on parts, but it's still very much enjoyable. Added to my liked songs!
Won't Diss You - Lil Yachty (6.2/10)
It follows in the steps of other rappers tuning, with a nice little groove that gets you into the mix a little. It's nothing crazy, but I'm happy to watch out for what's next!
Hurt So Bad - Dean Lewis (8.5/10)
Dean covers the topic of trying hard yet feeling heartbroken in a heart-pulling song that feels like it's not only one of Dean's best but also has production that is a treat for the ears; the ending piano and other instruments coming together form a beautiful harmony to end a vocal hold that felt nothing short of art.
Oh, Anna! - Dasha (8.4/10)
Guitar and drums that have a short buildupto an earworm of a country-pop chorus that may sound built for radio, but it still has that sweetness to it that feels like what real country music should be about.
Follow Excitement! - Rizzle Kicks/Rachel Chinouriri (6.7/10)
This felt more like a Rizzle Kicks song and less like a Rachel one, yet Rachel still did good in a new zone.
Bartender In Destin - Acoustic - Riley Green (7/10)
Acceptable country music with nice guitar.
THIS IS FOR - TWICE (5.4/10)
Can TWICE stop making songs that sound so repetitive for the genre?
I WANNA WIN—2 Chainz (4.6/10)
From a film, "I Wanna Win," starts with a slowed sample of "Gipsy Woman" before going into pure rap that doesn't have a big backing of instruments; instead, it's just bars and maybe some drum pads here and there. Can't say I'm a big fan, and the sample was not necessary at all.
Suburbs—Good Neighbours (8.7/10)
Kinda reminds me of "People Watching," where the instrumentals are purposely played on a heavy level to not go unnoticed—and this song does that with a loud guitar that accompanies Good Neighbours' traditional sound that makes you feel at home. I really like the sound of this; there's something special about it… it gives me a Christmas fuzzy feel, apart from the fact that it's not a Christmas song. This is their best song yet.
Friendly Fire—Skepta (8.1/10)
The song has a fiery punch with on-point fast bars and big bell sounds that make you feel like you're in a boxing ring. Skepta has been carrying UK rap recently.
The Sofa - Wolf Alice (8/10)
Love where the piano and vocal overlaps were placed; this sounds a little like Lola Young's music to me (but without the accent) and also has an elegant side of violin that hits really dreamy notes. This is getting added to my liked songs!
All Night All Day—Big Thief (4/10)
Creativity went out the window with this one. It's like unseasoned chips.
Riptide—Sigala/Jaxomy/IIan Kidron (3.8/10)
A sped-up version of Vance Joy's "Riptide" with vocal effects that make you feel like you're either listening to a David Guetta remix or are playing an Ibiza playlist on Spotify with an AI profile picture and two saves. You have to be really out of ideas to make this.
That's So True - Spotify Singles - Sofia Camara (9/10)
A cover of Gracie's global hit "That's So True," which sees piano and violins used in an elegant fashion to make a more cleaned-up version of the original song. This follows up Luna Li's cover of "Headlock" as one of my favourite covers EVER. GOOSEBUMPS. (This is 100X better than the original.)
Hotel Rock Bottom - Frankie Grande/Ariana Grande (6.8/10)
Stereo - Jax Jones/Emei (7.5/10)
Two artists who both have replayable value in their catalogue come together to make a dance banger that highly reflects Jax's popular music of 2022! I think we're nearly back at his peak.
Instructions—Mahalia (7.6/10)
Mellow and peaceful R&B/soul music.
POR SUS BESOS—Tito Double P (5/10)
Everything this guy makes sounds the same; that's why I don't bother to deep dive into his music anymore.
The Hudson—The Favours/FINNEAS/Ashe (8.5/10)
OH MY GOODNESS. GOOSEBUMPS AGAIN. The amount of beautiful vocals and angelic, crystal-clear instrumentals here is something out of a movie. This could be a hit no matter the decade.
Gimme Him - PLUTO (7/10)
This is the first song I've liked by her; it may follow the route that she usually goes down, but it kind of had this nice groove to it that felt like a head bopper. Surprised for the better.
Way Of The World—Noah Cyrus/Ella Langley (5.4/10)
I'm seeing a lot of recent appeal for Ella, and I honestly can't understand it; to me she sounds like any other country artist, and I think on this dull snoozer of a song it's even more apparent.
Leaving Carolina—Ty Myers (7.1/10)
Ty Myers had an improvement from his breakthrough; this still isn't what I was hoping for in my usual bar of good country music, but it still has something, and I'm also thankful he made use of background voices and the electric guitar near the end; it definitely helped kick off the boring feel.
Shook—Sugababes (7.6/10)
WHY ARE WE SLEEPING ON NEW SUGABABES?? This has a little bit of 80s and 90s dance vibes with a Madonna feel but also caters to modern music with a funky bass and class that gives the song its credit.
In It With You—Craig David/Jojo (7.2/10)
A ballad where the two singers intertwine to share a well-intertwined chorus that reflects their singing ability.
Grave - Kid Cudi (6.1/10)
Jayden - Claire Rosinkranz (5.3/10)
The sudden jump to a faster-paced hook was an interesting choice. This song feels like a girl-pop song that resembles a similar feel to "Manchild" by Sabrina Carpenter. Can't say I wanted this, as it's very obviously a quick generic release, but I can't say it's all trash. It's just mid.
Betty - AJR (6.8/10)
Despite AJR's lyricism and tone partly feeling like a childish TikTok song, I can still say this has a lot more real potential to it; there's flavour, and it's good… and it also gives a little bit of Alex Warren but better.
Alibi - Joan (7.2/10)
This sounds like something I'd hear in an emotional movie scene, and hearing the bells with the heart-grabbing high-pitched pull brought that feeling even more.
Two Sides Of Goodbye—Bryant Barnes (8/10)
I'm going to say this for the second time in the write-up: the vocals sound like Alex Warren, but this time REALLY like Alex Warren, as if he's trying to be him. Apart from that note, the song has a deep emotional main part that doesn't feel rushed or overacted on; instead, it feels like it was taken just right to give this feeling that slowly pulls you into the song.
Vicious Delicious - Luvcat (7/10)
This has got me into it! The constant tease to the big and clear main segment was executed to my demands; I'm happy.
I Didn't Come Here To Leave—Chris Young (6.7/10)
Chris tries hard to give a powerful vocal performance that fits the country-rock scene; did he succeed? Yes, but he didn't go over the mark of goodbyethat much.
Childhood—Barry Can't Swim (8.5/10)
I heard a loud blaring sound come through on the track, like horns, and that gave a huge uplifting sound into then what felt like a cosy feeling with the distinct vocal change.
Doggy - Geezer/Kevin Abstract/Dominic Fike/Love Spells/Truly Young (5.5/10)
I'm going to be the one to not follow the crowd and say it. I don't get it. It's unique... aaaaand nothing else; it all just bores me.
Starlight—Danny L Harle/PinkPantheress (7.6/10)
I don't like the glitchy sound at the end, but apart from that, the progression is dreamy and really fits PinkPantheress well. It's a replay.
Nothing Changes—Simple Plan (2/10)
The timing sounds wrong, as if it's artificial intelligence, and the song sounds like one of the cringiest and most generic things I've heard in a long time.
Messiah (Devil's Diss) - NLE The Great (3.9/10)
NLE the Great (also known as NLE Choppa) comes back with his new brand of religious music, and despite that it's better than some of his older stuff, I still can't say that I'm impressed. Also, what kind of line is "I'm that n****; you can ask ChatGPT"?
Slauson Ave - Karri (3.9/10)
Too slow, and it's not the relaxing state slow; it's boring kinda slow.
Hard To Be Happy—Rob Thomas (3.5/10)
Cat Burns if she was an uninspired church choir member.
Miami - Odeal/Leon Thomas (7.3/10)
It looks like Leon will probably be a one-hit wonder, although if he wasn't, then I couldn't complain. The guy can give valuable music, and on this it's no exception with some really real R&B and soul beats.
ASTROS - Paloma Mami (5.8/10)
The Shiver—Jayda G (6.6/10)
Strippers Lives Matter - Rob49 (4/10)
I'm going to say the phrase again! Rap crap.
Feeeeeeeeel—Cash Cobain (3.9/10)
Cash Cobain never disappoints in disappointing.
Sonríele - DY (6/10)
It sounds like if Shakira's "Waka Waka (Eh Eh)" song wasn't made for Africa and instead was more generic.
Our Time—AFROJACK/Martin Garrix/David Guetta/Amél (7.2/10)
An EDM song that reminds me of the ones that gave me nostalgia from 2022 with the lower bass.
My Mind Is a Mountain—Deftones (8/10)
A strong, heavy rock song that really symbolises what Deftones do. And they do it well.
Steve - La Dispute (3/10)
Rock that sounds like the main artist is on drugs.
Don't Cry For Me Argentina - Andrew Lloyd Webber/Rachel Zegler (8/10)
Celestial vocals that are absolutely spot-on for a musical.
Da Du Dah—Kokoroko (7/10)
Life or Death—Declan J Donovan (7/10)
Stranger - SOLOMON (7.1/10)
If I believe correctly, SZA promoted one of this guy's songs on her Spotify, so I have high hopes for the music itself; this is quite soulful, and he could feature with SZA.
Die For This - Syd (6.6/10)
Better In Person - Nina Cobham (7.1/10)
I Love You—Belters Only (7/10)
A nice little groove but doesn't have their big pulse energy.
The Bank—Jaya Had a Dream (5.6/10)
Your New Place—Racing Mount Pleasant (9/10)
A over seven-minute MASTERPIECE of chamber pop that has guitar strings, drums & every other instrument mastered. I rarely hear things like this; I guess I'll have to keep my eye out for more music by them.
Saoirse—Maruja (8.5/10)
To call this one of the most well-composed songs you've ever heard would honestly be valid. This song is a stand-up for peace for Palestine. I don't know too much about the war's history, but I honestly love peace, so I'm happy to hear this! This song follows an upcoming album that hopefully has the force of a whole orchestra, just like this one. The timing and playing of the jazz instruments is just beautiful; it creates this harsh truth around the song that captivates you in the story they're trying to tell.
Rescue Lights - Hybrid Minds/Homesick (4.5/10)
DnB that doesn't reflect much apart from a lack of creativity.
Love On—Elliot Schooling (4/10)
This had a nice rhythm and danceability level, but the weird vocals ruined it for me... Why are these shaky vocals used by DJs??
What Did I Miss? - Drake (4/10)
I've already covered how much I dislike Drake for making the worst album of all time and of this year (so far) and how much I dislike this song, but this time I'll do it in more detail. This sounds like a more watered-down, boring version of his big hits, where the background champion theme is the only thing that partly stands out for the better. It's safe to say Drake is making music for the sake of making music. I'm flabbergasted that this is set to debut at Billboard no. 2; it really proves that commercially, even if you make a lazy rap/trap beat with a simple hook, then you can truly do anything. BOO!
IS IT—Tyla (8/10)
The loud drums pound onto a beat that feels glitchy but in a good way; this song isn't short of a bop, and it's honestly one of Tyla's best songs. It has a progression that gets stuck with you from the moment you hear it, with the essence of Tyla's Afro music fusing into a club song that has "all killer, no filler" written all over it.
JUMP—BLACKPINK (3.6/10)
I think too much focus was put into the bass and loop and an action-packed production rather than trying to maintain quality. This is your typical bad bitch K-pop song that happens to make you anything but care.
The Way—Juice WRLD/XXXTENTACION (8.1/10)
With an acoustic mix on top of both of the rappers soft and slow rapping, the song approaches the emo rap in the best open way possible without being cringe and even provides a nostalgic side to it. This could be something big.
Bad As The Rest - Jessie Murph (0.4/10)
Sure, her voice still sounds like a grandma is getting crushed by a train, but the song is somewhat decent in terms of the beats buildup. BUT I'M SORRY… The vocals overpower the song and add this really sour taste to the song; her screaming definitely didn't help either. You may see this in my Dishonourable Mentions for 2025.
Change Your Mind—Burna Boy/Shaboozey (6.4/10)
I was weirded out by this genre blend and curious how it would turn out… and it actually turned out alright. A fairly upbeat hook that has generic qualities, but despite that, there are still good points, such as how both artists manage to sort something out that at least has a sense of both their styles (despite the song feeling more fit for Shaboozey). I won't be returning, but I'm not angry at this.
Lady Lady - Olivia Dean (5/10)
I confess, I don't really like this new Olivia Dean… she can sure play jazz and sing, but I think she does it in the most uninspired way possible that begs the question, "How long can she keep this up?"
Vampire Diaries - MGK (3/10)
The stability of the chorus and vocals isn't good, and it honestly makes the song sound AI-generated; in fact, by the sound, I wouldn't be shocked if it was. MGK has this sound that feels like it could be replicated easily, and that's by no means good, so him putting out a poor attempt at a summer hit that feels basic from all angles and was never going to satisfy.
Butterflies—JVKE/TOMORROW X TOGETHER/LE SSERAFIM/TAEHYUN (7.4/10)
A fun, playful song about what you feel when you love someone; both sides have their essence, and nothing felt overpowered. It's also pleasant to see my liking a side of K-pop a little more.
A Song To Sing—Miranda Lambert/Chris Stapleton (8.3/10)
Yeah, I'll say it, Chris Stapleton is real American country music, and this is more proof of it. Both have this way of singing that sounds like an Elton John song with the old feel, but instead they bring even more of a smooth, soulful feel that is honestly one of the smoothest things I've heard in a while! And that violin near the ending was spot on too.
Vodka Cranberry - Conan Grey (8.1/10)
It's like "This Song," but with more sweetness and less of that high beat kicking in for the hook. Conan has these really soft vocals that fit a love or heartbreak song in a way that nobody else can, and I think that's something special.
Time Is Money - Joyner Lucas/J Balvin/Fireboy DML/DaBaby (3.8/10)
Four features, and yet the energy was so flat. We got the little separate culture sound in there, but it just didn't blend together, and instead it felt like whatever this song was trying to do did not turn out for the better.
The Mood - FLO/KAYTRANADA (5.7/10)
I've been listening to a lot of FLO over the past few months, so a new song was always welcome... and this? Yeah, I mean, it's good, but it partly sounds like a Tyla song, and you know I mostly don't like Tyla… it kinda just falls flat, and instead of making you feel like a bad bitch, it doesn't even get you moving. Disappointing.
Back To Me—Rudimental/Jess Glynne (7.3/10)
A feel-good dance summer jam that shows that Rudimental is upgrading and won't be putting the fries in the bag anytime soon. Jess had clean vocals that fit dance music really well, and Rudimental made a nice sound to go alongside her.
TUCHAT - Quevedo (8.2/10)
The drop into a more soothing reggaeton beat and smooth sound is what made me like this more. I wish the reggaeton bass didn't come in as much on parts, but it's still very much enjoyable. Added to my liked songs!
Won't Diss You - Lil Yachty (6.2/10)
It follows in the steps of other rappers tuning, with a nice little groove that gets you into the mix a little. It's nothing crazy, but I'm happy to watch out for what's next!
Hurt So Bad - Dean Lewis (8.5/10)
Dean covers the topic of trying hard yet feeling heartbroken in a heart-pulling song that feels like it's not only one of Dean's best but also has production that is a treat for the ears; the ending piano and other instruments coming together form a beautiful harmony to end a vocal hold that felt nothing short of art.
Oh, Anna! - Dasha (8.4/10)
Guitar and drums that have a short buildupto an earworm of a country-pop chorus that may sound built for radio, but it still has that sweetness to it that feels like what real country music should be about.
Follow Excitement! - Rizzle Kicks/Rachel Chinouriri (6.7/10)
This felt more like a Rizzle Kicks song and less like a Rachel one, yet Rachel still did good in a new zone.
Bartender In Destin - Acoustic - Riley Green (7/10)
Acceptable country music with nice guitar.
THIS IS FOR - TWICE (5.4/10)
Can TWICE stop making songs that sound so repetitive for the genre?
I WANNA WIN—2 Chainz (4.6/10)
From a film, "I Wanna Win," starts with a slowed sample of "Gipsy Woman" before going into pure rap that doesn't have a big backing of instruments; instead, it's just bars and maybe some drum pads here and there. Can't say I'm a big fan, and the sample was not necessary at all.
Suburbs—Good Neighbours (8.7/10)
Kinda reminds me of "People Watching," where the instrumentals are purposely played on a heavy level to not go unnoticed—and this song does that with a loud guitar that accompanies Good Neighbours' traditional sound that makes you feel at home. I really like the sound of this; there's something special about it… it gives me a Christmas fuzzy feel, apart from the fact that it's not a Christmas song. This is their best song yet.
Friendly Fire—Skepta (8.1/10)
The song has a fiery punch with on-point fast bars and big bell sounds that make you feel like you're in a boxing ring. Skepta has been carrying UK rap recently.
The Sofa - Wolf Alice (8/10)
Love where the piano and vocal overlaps were placed; this sounds a little like Lola Young's music to me (but without the accent) and also has an elegant side of violin that hits really dreamy notes. This is getting added to my liked songs!
All Night All Day—Big Thief (4/10)
Creativity went out the window with this one. It's like unseasoned chips.
Riptide—Sigala/Jaxomy/IIan Kidron (3.8/10)
A sped-up version of Vance Joy's "Riptide" with vocal effects that make you feel like you're either listening to a David Guetta remix or are playing an Ibiza playlist on Spotify with an AI profile picture and two saves. You have to be really out of ideas to make this.
That's So True - Spotify Singles - Sofia Camara (9/10)
A cover of Gracie's global hit "That's So True," which sees piano and violins used in an elegant fashion to make a more cleaned-up version of the original song. This follows up Luna Li's cover of "Headlock" as one of my favourite covers EVER. GOOSEBUMPS. (This is 100X better than the original.)
Hotel Rock Bottom - Frankie Grande/Ariana Grande (6.8/10)
Stereo - Jax Jones/Emei (7.5/10)
Two artists who both have replayable value in their catalogue come together to make a dance banger that highly reflects Jax's popular music of 2022! I think we're nearly back at his peak.
Instructions—Mahalia (7.6/10)
Mellow and peaceful R&B/soul music.
POR SUS BESOS—Tito Double P (5/10)
Everything this guy makes sounds the same; that's why I don't bother to deep dive into his music anymore.
The Hudson—The Favours/FINNEAS/Ashe (8.5/10)
OH MY GOODNESS. GOOSEBUMPS AGAIN. The amount of beautiful vocals and angelic, crystal-clear instrumentals here is something out of a movie. This could be a hit no matter the decade.
Gimme Him - PLUTO (7/10)
This is the first song I've liked by her; it may follow the route that she usually goes down, but it kind of had this nice groove to it that felt like a head bopper. Surprised for the better.
Way Of The World—Noah Cyrus/Ella Langley (5.4/10)
I'm seeing a lot of recent appeal for Ella, and I honestly can't understand it; to me she sounds like any other country artist, and I think on this dull snoozer of a song it's even more apparent.
Leaving Carolina—Ty Myers (7.1/10)
Ty Myers had an improvement from his breakthrough; this still isn't what I was hoping for in my usual bar of good country music, but it still has something, and I'm also thankful he made use of background voices and the electric guitar near the end; it definitely helped kick off the boring feel.
Shook—Sugababes (7.6/10)
WHY ARE WE SLEEPING ON NEW SUGABABES?? This has a little bit of 80s and 90s dance vibes with a Madonna feel but also caters to modern music with a funky bass and class that gives the song its credit.
In It With You—Craig David/Jojo (7.2/10)
A ballad where the two singers intertwine to share a well-intertwined chorus that reflects their singing ability.
Grave - Kid Cudi (6.1/10)
Jayden - Claire Rosinkranz (5.3/10)
The sudden jump to a faster-paced hook was an interesting choice. This song feels like a girl-pop song that resembles a similar feel to "Manchild" by Sabrina Carpenter. Can't say I wanted this, as it's very obviously a quick generic release, but I can't say it's all trash. It's just mid.
Betty - AJR (6.8/10)
Despite AJR's lyricism and tone partly feeling like a childish TikTok song, I can still say this has a lot more real potential to it; there's flavour, and it's good… and it also gives a little bit of Alex Warren but better.
Alibi - Joan (7.2/10)
This sounds like something I'd hear in an emotional movie scene, and hearing the bells with the heart-grabbing high-pitched pull brought that feeling even more.
Two Sides Of Goodbye—Bryant Barnes (8/10)
I'm going to say this for the second time in the write-up: the vocals sound like Alex Warren, but this time REALLY like Alex Warren, as if he's trying to be him. Apart from that note, the song has a deep emotional main part that doesn't feel rushed or overacted on; instead, it feels like it was taken just right to give this feeling that slowly pulls you into the song.
Vicious Delicious - Luvcat (7/10)
This has got me into it! The constant tease to the big and clear main segment was executed to my demands; I'm happy.
I Didn't Come Here To Leave—Chris Young (6.7/10)
Chris tries hard to give a powerful vocal performance that fits the country-rock scene; did he succeed? Yes, but he didn't go over the mark of goodbyethat much.
Childhood—Barry Can't Swim (8.5/10)
I heard a loud blaring sound come through on the track, like horns, and that gave a huge uplifting sound into then what felt like a cosy feeling with the distinct vocal change.
Doggy - Geezer/Kevin Abstract/Dominic Fike/Love Spells/Truly Young (5.5/10)
I'm going to be the one to not follow the crowd and say it. I don't get it. It's unique... aaaaand nothing else; it all just bores me.
Starlight—Danny L Harle/PinkPantheress (7.6/10)
I don't like the glitchy sound at the end, but apart from that, the progression is dreamy and really fits PinkPantheress well. It's a replay.
Nothing Changes—Simple Plan (2/10)
The timing sounds wrong, as if it's artificial intelligence, and the song sounds like one of the cringiest and most generic things I've heard in a long time.
Messiah (Devil's Diss) - NLE The Great (3.9/10)
NLE the Great (also known as NLE Choppa) comes back with his new brand of religious music, and despite that it's better than some of his older stuff, I still can't say that I'm impressed. Also, what kind of line is "I'm that n****; you can ask ChatGPT"?
Slauson Ave - Karri (3.9/10)
Too slow, and it's not the relaxing state slow; it's boring kinda slow.
Hard To Be Happy—Rob Thomas (3.5/10)
Cat Burns if she was an uninspired church choir member.
Miami - Odeal/Leon Thomas (7.3/10)
It looks like Leon will probably be a one-hit wonder, although if he wasn't, then I couldn't complain. The guy can give valuable music, and on this it's no exception with some really real R&B and soul beats.
ASTROS - Paloma Mami (5.8/10)
The Shiver—Jayda G (6.6/10)
Strippers Lives Matter - Rob49 (4/10)
I'm going to say the phrase again! Rap crap.
Feeeeeeeeel—Cash Cobain (3.9/10)
Cash Cobain never disappoints in disappointing.
Sonríele - DY (6/10)
It sounds like if Shakira's "Waka Waka (Eh Eh)" song wasn't made for Africa and instead was more generic.
Our Time—AFROJACK/Martin Garrix/David Guetta/Amél (7.2/10)
An EDM song that reminds me of the ones that gave me nostalgia from 2022 with the lower bass.
My Mind Is a Mountain—Deftones (8/10)
A strong, heavy rock song that really symbolises what Deftones do. And they do it well.
Steve - La Dispute (3/10)
Rock that sounds like the main artist is on drugs.
Don't Cry For Me Argentina - Andrew Lloyd Webber/Rachel Zegler (8/10)
Celestial vocals that are absolutely spot-on for a musical.
Da Du Dah—Kokoroko (7/10)
Life or Death—Declan J Donovan (7/10)
Stranger - SOLOMON (7.1/10)
If I believe correctly, SZA promoted one of this guy's songs on her Spotify, so I have high hopes for the music itself; this is quite soulful, and he could feature with SZA.
Die For This - Syd (6.6/10)
Better In Person - Nina Cobham (7.1/10)
I Love You—Belters Only (7/10)
A nice little groove but doesn't have their big pulse energy.
The Bank—Jaya Had a Dream (5.6/10)
Your New Place—Racing Mount Pleasant (9/10)
A over seven-minute MASTERPIECE of chamber pop that has guitar strings, drums & every other instrument mastered. I rarely hear things like this; I guess I'll have to keep my eye out for more music by them.
Saoirse—Maruja (8.5/10)
To call this one of the most well-composed songs you've ever heard would honestly be valid. This song is a stand-up for peace for Palestine. I don't know too much about the war's history, but I honestly love peace, so I'm happy to hear this! This song follows an upcoming album that hopefully has the force of a whole orchestra, just like this one. The timing and playing of the jazz instruments is just beautiful; it creates this harsh truth around the song that captivates you in the story they're trying to tell.
Rescue Lights - Hybrid Minds/Homesick (4.5/10)
DnB that doesn't reflect much apart from a lack of creativity.
Love On—Elliot Schooling (4/10)
This had a nice rhythm and danceability level, but the weird vocals ruined it for me... Why are these shaky vocals used by DJs??