02-08-2025, 01:11
NEW MUSIC FRIDAY 1.08.25 #41
The Subway - Chappell Roan (5.8/10)
One million times better than "The Giver," but I still can't say this is a showcase of what Chappell can be capable of; instead, it's a calm pop-rock song with occasional high notes from Chappell and doesn't reflect what she usually goes for. I just don't think the simplicity and the dreamy chords helped as much as she thought they would; it's just fine and definitely extremely overhyped by AOTY.
They Wanna Have Fun - Metro Boomin (6.6/10)
Metro gave us free club rap with party vibe lyrics and a simple backing production; overall, it's meant to be a simple song and not overthought. My problem is that it sounds like a song Cash Cobain could get a feature on, because in reality this needs to be more than that.
Fast—Demi Lovato (7.6/10)
Demi Lovato returns with a scoop of upbeat pop that highlights the fun summer in a great light. I think it's a little on the lines of feeling like an already made image, but if you know me, then you know I'm quite one for those types of pop tunes, especially if they have big vibes.
Is It a Crime—Mariah the Scientist/Kali Uchis (8.2/10)
Kali has this smoothness to her voice that can glide along any song to provide a lighter feel, and that's exactly what she did with Mariah, adding onto the dreamy pop sound as a clever accompaniment.
Chevy Silverado - Bailey Zimmerman (7.3/10)
Bailey Zimmerman's voice makes it easier to like his music; at least for me, it sounds good for the style he goes for, and in this it's no different with the song Feeling Average. If anyone else sang it, but Bailey did it in such a way that it felt like he took care of the tune that I can't help but vibe.
L.O.V.E.U—D4vd/Hannah Bahng (6.9/10)
Usually D4vd's songs have a blend that you haven't heard before or at least a part that makes you go wow more than any other, but this one doesn't. It's like Beabadoobee from Dollar Tree, with the song being fine and having an appeal but not as widespread as his other music.
Superstars—Saweetie/TWICE (7.5/10)
A pop-rap collaboration that definitely goes down better than Twice's one with Megan Thee Stallion, Saweetie brings the fire, and Twice brings the sweetness, and together they go together really well.
ENEMY - TWICE (8/10)
A double release week for the K-pop group, as "Enemy" is the better of the two songs, with an earworm of an "oooo-oooo-oooo" melody that feels like a poor idea for some but really just proves that groovy execution is everything.
Somewhere Only We Go - Tom Grennan (7.7/10)
This single marks a period where we only have two weeks to wait before the album, and seeing I've been waiting for nearly half a year, this better be GOLD. Now onto the single, this song partly reminds me of a Sam Fender structure, but let's say instead he made it more for radio and, of course, in a Tom Grennan fashion. I really like how he leaned from party into emotional singles and actually kept the mood; it now feels like he's giving us an idea of the diverse sounds to expect and slowing us down with a song that may mark more of the album's sound, one from the heart and one that feels like some of the least engineer-altered singles.
Don't Look Down—Gary Barlow/Becky Hill (7.8/10)
The two legitimately have chemistry; it's slow and feels out of Becky's ordinary but has a charm that fits the people who love magical connected tunes… and on this, there's definitely passion in those notes.
Heavens Sirens - David Kushner (8.3/10)
We've heard "Daylights," but have we heard this? It feels like we're back to peak with a heartbreaking song about his own mental health that covers the downs of going through hard times. I think David's guitar and the background painted a message of struggle and dark times really well. Welcome back, David; we needed this.
Bottomland - HARDY (4/10)
Well, it's probably one of the most interesting country takes I've heard in a while, but that doesn't necessarily make it good, and this shows. I mean, I don't know if this is tuned, but at parts it sounds a little similar to that, and then it goes from being this interesting country take to church music. Weird song.
KELEBU—Rema (7.7/10)
Rema returns with a massively fiery Afrobeats tune with chants, trumpets, and one of the fastest-paced songs we've heard so far this year. Love the energy! Another banger!
South Of Sanity—Zach Top (6.9/10)
Zach Top's next song is basically a take on what he's already been doing—not good but not bad.
Worth Your Wild - Russell Dickerson (7/10)
This definitely has more power to be remembered than his current Hot 100 hit "Happen To Me." Fun country, here we come!
Buenos Términos—Rauw Alejandro (5/10)
Reggaeton music has taken a dive for the worst in the industry, and very few are showing redeeming factors of the genre; Rauw is not one of them. This is so expected in every way possible, from the simple loop to minimal effort. (To be fair, I haven't translated the lyrics, so it could be unexpected there, but every way possible is understandable.)
Darlin' - Luude/Sean Paul/Brodie (7.1/10)
I could certainly see this growing on me; the expectation of having a fun song that feels Luude-produced was met and was even near to taking me back to the bangers of 2022. There just needs to be more than the pie and filling, though—something special...
I Need You—Gucci Mane (4.5/10)
Lazy rap takes over again as this time Gucci goes into less of a rough rap territory and delivers what feels like a beat that Drake would accept.
See the World—Buddah Bless/Big Sean/2 Chainz/Bossman Dlow (4/10)
Four artists join together to make a song that's basically a rap crap breakdown. I can't believe four grown men got into a studio and made the main lyric "she a throat goat." It must be real hard to pay the bills and even harder to not make the same song over and over again.
Music for the Soul—Sam Barber (4/10)
Sam Barber's guitar and passionate folk songs easily get repetitive and feel like an unbaked cake.
Favor—A COLOURS SHOW—Chezile (7.7/10)
This song feels like a blend and blip of so many sounds from so many different styles; I really like it.
This Right Here—Ciara/Latto/Jazze Pha (6.4/10)
Seasalt & Teadrops - Horsegiirl (8.1/10)
The equivalent of PinkPantheress but if she didn't have the accent. "Seasalt & Teardrops" is a fun hyperpop song with the bass not overprovided but instead matching well to provide a girly queen pop song and a club song.
FLOTA - Chino Pacas/Neton Vega (5/10)
The playful cut-ins were strange and didn't serve as much of a purpose as they thought.
Bien Pedos—Xavi/Kapo (5.9/10)
Y'all have to hear this—I saw the title, and it had the word "pedo" in it, so I was like, "Does that mean something else in a foreign language??" So I went to Google Translate, and I kid you not, from Spanish (which is what I assumed the language was), it translates to "farts." So is Xavi singing about farting on a reggaeton beat?? And "bien" means good. BRO, IS XAVI SINGING ABOUT "GOOD FARTS"?? DOES BRO HAVE A FART FETISH??? WHAT??? Oh nah, I am NOT that kind of freak, bro. I'm out. I showed up for New Music Friday, not FETISH Friday. OK, but in all seriousness, to the song, it's just basic.
BEAT UP CHANEL$ - Slayyyter (6.7/10)
Very modern, very hyper, very poppy.
Blame It On You - Daniel Seavey (5.4/10)
Sunday Morning—Henry Moodie (7/10)
Ok, I'll admit that basic boy pop can easily be compared to this, but there's just something about Moodie… he does basic and gives it a charm.
Flower—Yung Kai (7/10)
It really is like his big viral hit, although despite the singularity and popularity, he still keeps up quality, at least somewhat.
On The Low—Tiwa Savage/Skepta (7/10)
Refuge - ILLENIUM/Norma Jean Martine (7.3/10)
A really passionate electronic song that brings the bass and the meaning—I'll definitely accept this.
Trinidad - Geese (2/10)
This sounds like something you'd hear at some ancient ritual. He randomly starts yelling with poor instrumental backing, and people eat this up?? I was starting to think that maybe I just don't get the "AOTY deluxe music taste," but now I'm concerned for who's listening to this.
LOVERS OR FRIENDS - YG/Leon Thomas (8.2/10)
Really groovy rhythm and a nice funky tone to it; it would've been a hit in the 2000s for sure. Also possibly Leon's most popular feeling song. The line referencing Epstein's island was so random though... crazyyyy.
What About Love—Cian Ducrot (7/10)
Accessories—That Mexican OT/Peso Peso (6.7/10)
It's giving me partly BigXthaPlug energy, but instead mixed with more of club-rap music, it's not any of those exactly but gives off them.
Let It Be A Hallelujah - Lauren Daigle (5/10)
It's not the annoying kind of traditional Christian music, which is good, but it is a little too similar with piano and vocals and lyricism and basically the whole song...
Whiskey Told Ya - Eli Young Band/Corey Kent (5/10)
You get the deal by now; same, same country.
Carried Away—$uicideboy$/Night Lovell (6.9/10)
Tension—Haiden Henderson (8/10)
It's got that intense beat drop that gives the song its shine, and even when that's not happening, it's still a greatly fun song that sounds like it could have a lot more popularity. Good on Spotify for finding this one.
Somethin—Miles Caton (6.7/10)
Tambourine - The Dare (6/10)
A simple, intense drum loop that doesn't feel like it serves a purpose other than to exist.
Chevron - BETWEEN FRIENDS (6.5/10)
Sophie—Haute & Freddy (6.5/10)
How To Live—Del Water Gap (8.2/10)
An absolutely beautiful song that discusses regret and trying to find purpose in life, it not only resonates with many people but also has amazing production values, with the instruments all providing anything but dull. I'll keep this song close to my heart.
Love, Bomb—Let Soul (7/10)
Peaceful and relaxing.
Clue—The Two Lips (7.8/10)
Basically almost exactly like Beabadoobee, I wouldn't blame you for thinking it was her.
ALIVE—Greek (5.8/10)
Forever—DE'WAYNE/I DON'T KNOW HOW BUT THEY FOUND ME (2.5/10)
It sounds like BTS went to the circus whilst on something.
Black Bear—Hey, nothing (7/10)
Personally—Kamran Khan/The Japanese House (6/10)
I respect how both tried to go for a lightened mood with woodwind instruments providing a feel that they probably thought was magical... but honestly, it's pretty boring, don't you think?
Perfectas - Emilia (8/10)
I don't usually like non-English songs this much, but the sound felt like it'll get nostalgic fast.
Fine Shyt—Bunna B (5/10)
BunnaB sounds like Sexyy Red as she raps about how she can't get "fine shit" off her mind; it's twice as bad when she cringely spells it as "shyt" in the title. Aside from that fact, it's not the end of the world, just cringe.
Gone—Aaliyah/Tank (5.5/10)
Summerinlove—Parcels (4.5/10)
Black Swan - Wisp (2/10)
Can you even call this music? A lot of it just sounds like noise to me.
Love Like This—Fujii Kaze (8/10)
Dreamy, summery R&B chords on easy male vocals that have a great pitch for the song, Mellope approved.
Blindsided - Arabian (8/10)
FLO but without the expensive pop sound. This song is some beautiful R&B.
WHAT IS FOREVER FOR—Frost Children (8.4/10)
WHAT JUST ENTERED MY EARS?? Someone needs to investigate this brand of electropop; it all feels so much more real with a louder beat! It puts you in the moment without messing up quality.
Corazón - Danny Ocean (7.5/10)
Jetpack—Fleshwater (8.5/10)
Fleshwater went full out in a dark, action-packed metal song that feels like a crowd-pleaser for any metal fan, truly spectacular sounds that highlight how they'll stay true to old metal routes whilst balancing in new ones that give the genre a fresh sound. They will experiment too, and that's what I love even more.
OK. - ROBI (7/10)
Chill.
Se7enteen5ive - Conway the Machine (7/10)
Parking Lot—Sofia Camara (7/10)
Strong structure for a sad pop song; you can tell it's modified, though... and a little too much for me.
Stuck On You - Ethan Campuzano (0.5/10)
The beat could have easily been spared, but DAMN. The vocals are AWWWWWWWWWWWWWWFUL... DAMN. DAMN. DAMN. The vocals sound AI and soulless in ways that are more painful than swallowing nails. It's very rare that one factor ruins a song this much.
The Subway - Chappell Roan (5.8/10)
One million times better than "The Giver," but I still can't say this is a showcase of what Chappell can be capable of; instead, it's a calm pop-rock song with occasional high notes from Chappell and doesn't reflect what she usually goes for. I just don't think the simplicity and the dreamy chords helped as much as she thought they would; it's just fine and definitely extremely overhyped by AOTY.
They Wanna Have Fun - Metro Boomin (6.6/10)
Metro gave us free club rap with party vibe lyrics and a simple backing production; overall, it's meant to be a simple song and not overthought. My problem is that it sounds like a song Cash Cobain could get a feature on, because in reality this needs to be more than that.
Fast—Demi Lovato (7.6/10)
Demi Lovato returns with a scoop of upbeat pop that highlights the fun summer in a great light. I think it's a little on the lines of feeling like an already made image, but if you know me, then you know I'm quite one for those types of pop tunes, especially if they have big vibes.
Is It a Crime—Mariah the Scientist/Kali Uchis (8.2/10)
Kali has this smoothness to her voice that can glide along any song to provide a lighter feel, and that's exactly what she did with Mariah, adding onto the dreamy pop sound as a clever accompaniment.
Chevy Silverado - Bailey Zimmerman (7.3/10)
Bailey Zimmerman's voice makes it easier to like his music; at least for me, it sounds good for the style he goes for, and in this it's no different with the song Feeling Average. If anyone else sang it, but Bailey did it in such a way that it felt like he took care of the tune that I can't help but vibe.
L.O.V.E.U—D4vd/Hannah Bahng (6.9/10)
Usually D4vd's songs have a blend that you haven't heard before or at least a part that makes you go wow more than any other, but this one doesn't. It's like Beabadoobee from Dollar Tree, with the song being fine and having an appeal but not as widespread as his other music.
Superstars—Saweetie/TWICE (7.5/10)
A pop-rap collaboration that definitely goes down better than Twice's one with Megan Thee Stallion, Saweetie brings the fire, and Twice brings the sweetness, and together they go together really well.
ENEMY - TWICE (8/10)
A double release week for the K-pop group, as "Enemy" is the better of the two songs, with an earworm of an "oooo-oooo-oooo" melody that feels like a poor idea for some but really just proves that groovy execution is everything.
Somewhere Only We Go - Tom Grennan (7.7/10)
This single marks a period where we only have two weeks to wait before the album, and seeing I've been waiting for nearly half a year, this better be GOLD. Now onto the single, this song partly reminds me of a Sam Fender structure, but let's say instead he made it more for radio and, of course, in a Tom Grennan fashion. I really like how he leaned from party into emotional singles and actually kept the mood; it now feels like he's giving us an idea of the diverse sounds to expect and slowing us down with a song that may mark more of the album's sound, one from the heart and one that feels like some of the least engineer-altered singles.
Don't Look Down—Gary Barlow/Becky Hill (7.8/10)
The two legitimately have chemistry; it's slow and feels out of Becky's ordinary but has a charm that fits the people who love magical connected tunes… and on this, there's definitely passion in those notes.
Heavens Sirens - David Kushner (8.3/10)
We've heard "Daylights," but have we heard this? It feels like we're back to peak with a heartbreaking song about his own mental health that covers the downs of going through hard times. I think David's guitar and the background painted a message of struggle and dark times really well. Welcome back, David; we needed this.
Bottomland - HARDY (4/10)
Well, it's probably one of the most interesting country takes I've heard in a while, but that doesn't necessarily make it good, and this shows. I mean, I don't know if this is tuned, but at parts it sounds a little similar to that, and then it goes from being this interesting country take to church music. Weird song.
KELEBU—Rema (7.7/10)
Rema returns with a massively fiery Afrobeats tune with chants, trumpets, and one of the fastest-paced songs we've heard so far this year. Love the energy! Another banger!
South Of Sanity—Zach Top (6.9/10)
Zach Top's next song is basically a take on what he's already been doing—not good but not bad.
Worth Your Wild - Russell Dickerson (7/10)
This definitely has more power to be remembered than his current Hot 100 hit "Happen To Me." Fun country, here we come!
Buenos Términos—Rauw Alejandro (5/10)
Reggaeton music has taken a dive for the worst in the industry, and very few are showing redeeming factors of the genre; Rauw is not one of them. This is so expected in every way possible, from the simple loop to minimal effort. (To be fair, I haven't translated the lyrics, so it could be unexpected there, but every way possible is understandable.)
Darlin' - Luude/Sean Paul/Brodie (7.1/10)
I could certainly see this growing on me; the expectation of having a fun song that feels Luude-produced was met and was even near to taking me back to the bangers of 2022. There just needs to be more than the pie and filling, though—something special...
I Need You—Gucci Mane (4.5/10)
Lazy rap takes over again as this time Gucci goes into less of a rough rap territory and delivers what feels like a beat that Drake would accept.
See the World—Buddah Bless/Big Sean/2 Chainz/Bossman Dlow (4/10)
Four artists join together to make a song that's basically a rap crap breakdown. I can't believe four grown men got into a studio and made the main lyric "she a throat goat." It must be real hard to pay the bills and even harder to not make the same song over and over again.
Music for the Soul—Sam Barber (4/10)
Sam Barber's guitar and passionate folk songs easily get repetitive and feel like an unbaked cake.
Favor—A COLOURS SHOW—Chezile (7.7/10)
This song feels like a blend and blip of so many sounds from so many different styles; I really like it.
This Right Here—Ciara/Latto/Jazze Pha (6.4/10)
Seasalt & Teadrops - Horsegiirl (8.1/10)
The equivalent of PinkPantheress but if she didn't have the accent. "Seasalt & Teardrops" is a fun hyperpop song with the bass not overprovided but instead matching well to provide a girly queen pop song and a club song.
FLOTA - Chino Pacas/Neton Vega (5/10)
The playful cut-ins were strange and didn't serve as much of a purpose as they thought.
Bien Pedos—Xavi/Kapo (5.9/10)
Y'all have to hear this—I saw the title, and it had the word "pedo" in it, so I was like, "Does that mean something else in a foreign language??" So I went to Google Translate, and I kid you not, from Spanish (which is what I assumed the language was), it translates to "farts." So is Xavi singing about farting on a reggaeton beat?? And "bien" means good. BRO, IS XAVI SINGING ABOUT "GOOD FARTS"?? DOES BRO HAVE A FART FETISH??? WHAT??? Oh nah, I am NOT that kind of freak, bro. I'm out. I showed up for New Music Friday, not FETISH Friday. OK, but in all seriousness, to the song, it's just basic.
BEAT UP CHANEL$ - Slayyyter (6.7/10)
Very modern, very hyper, very poppy.
Blame It On You - Daniel Seavey (5.4/10)
Sunday Morning—Henry Moodie (7/10)
Ok, I'll admit that basic boy pop can easily be compared to this, but there's just something about Moodie… he does basic and gives it a charm.
Flower—Yung Kai (7/10)
It really is like his big viral hit, although despite the singularity and popularity, he still keeps up quality, at least somewhat.
On The Low—Tiwa Savage/Skepta (7/10)
Refuge - ILLENIUM/Norma Jean Martine (7.3/10)
A really passionate electronic song that brings the bass and the meaning—I'll definitely accept this.
Trinidad - Geese (2/10)
This sounds like something you'd hear at some ancient ritual. He randomly starts yelling with poor instrumental backing, and people eat this up?? I was starting to think that maybe I just don't get the "AOTY deluxe music taste," but now I'm concerned for who's listening to this.
LOVERS OR FRIENDS - YG/Leon Thomas (8.2/10)
Really groovy rhythm and a nice funky tone to it; it would've been a hit in the 2000s for sure. Also possibly Leon's most popular feeling song. The line referencing Epstein's island was so random though... crazyyyy.
What About Love—Cian Ducrot (7/10)
Accessories—That Mexican OT/Peso Peso (6.7/10)
It's giving me partly BigXthaPlug energy, but instead mixed with more of club-rap music, it's not any of those exactly but gives off them.
Let It Be A Hallelujah - Lauren Daigle (5/10)
It's not the annoying kind of traditional Christian music, which is good, but it is a little too similar with piano and vocals and lyricism and basically the whole song...
Whiskey Told Ya - Eli Young Band/Corey Kent (5/10)
You get the deal by now; same, same country.
Carried Away—$uicideboy$/Night Lovell (6.9/10)
Tension—Haiden Henderson (8/10)
It's got that intense beat drop that gives the song its shine, and even when that's not happening, it's still a greatly fun song that sounds like it could have a lot more popularity. Good on Spotify for finding this one.
Somethin—Miles Caton (6.7/10)
Tambourine - The Dare (6/10)
A simple, intense drum loop that doesn't feel like it serves a purpose other than to exist.
Chevron - BETWEEN FRIENDS (6.5/10)
Sophie—Haute & Freddy (6.5/10)
How To Live—Del Water Gap (8.2/10)
An absolutely beautiful song that discusses regret and trying to find purpose in life, it not only resonates with many people but also has amazing production values, with the instruments all providing anything but dull. I'll keep this song close to my heart.
Love, Bomb—Let Soul (7/10)
Peaceful and relaxing.
Clue—The Two Lips (7.8/10)
Basically almost exactly like Beabadoobee, I wouldn't blame you for thinking it was her.
ALIVE—Greek (5.8/10)
Forever—DE'WAYNE/I DON'T KNOW HOW BUT THEY FOUND ME (2.5/10)
It sounds like BTS went to the circus whilst on something.
Black Bear—Hey, nothing (7/10)
Personally—Kamran Khan/The Japanese House (6/10)
I respect how both tried to go for a lightened mood with woodwind instruments providing a feel that they probably thought was magical... but honestly, it's pretty boring, don't you think?
Perfectas - Emilia (8/10)
I don't usually like non-English songs this much, but the sound felt like it'll get nostalgic fast.
Fine Shyt—Bunna B (5/10)
BunnaB sounds like Sexyy Red as she raps about how she can't get "fine shit" off her mind; it's twice as bad when she cringely spells it as "shyt" in the title. Aside from that fact, it's not the end of the world, just cringe.
Gone—Aaliyah/Tank (5.5/10)
Summerinlove—Parcels (4.5/10)
Black Swan - Wisp (2/10)
Can you even call this music? A lot of it just sounds like noise to me.
Love Like This—Fujii Kaze (8/10)
Dreamy, summery R&B chords on easy male vocals that have a great pitch for the song, Mellope approved.
Blindsided - Arabian (8/10)
FLO but without the expensive pop sound. This song is some beautiful R&B.
WHAT IS FOREVER FOR—Frost Children (8.4/10)
WHAT JUST ENTERED MY EARS?? Someone needs to investigate this brand of electropop; it all feels so much more real with a louder beat! It puts you in the moment without messing up quality.
Corazón - Danny Ocean (7.5/10)
Jetpack—Fleshwater (8.5/10)
Fleshwater went full out in a dark, action-packed metal song that feels like a crowd-pleaser for any metal fan, truly spectacular sounds that highlight how they'll stay true to old metal routes whilst balancing in new ones that give the genre a fresh sound. They will experiment too, and that's what I love even more.
OK. - ROBI (7/10)
Chill.
Se7enteen5ive - Conway the Machine (7/10)
Parking Lot—Sofia Camara (7/10)
Strong structure for a sad pop song; you can tell it's modified, though... and a little too much for me.
Stuck On You - Ethan Campuzano (0.5/10)
The beat could have easily been spared, but DAMN. The vocals are AWWWWWWWWWWWWWWFUL... DAMN. DAMN. DAMN. The vocals sound AI and soulless in ways that are more painful than swallowing nails. It's very rare that one factor ruins a song this much.