31-08-2025, 12:38
NEW MUSIC FRIDAY 29.08.25 #45
Everybody's Looking At Me - Eminem (7.8/10)
We had one new Eminem drop to add to a collection of songs by him, and as an Eminem hater, this is actually good?! It's the grittiest thing I've heard from him, with the song making an Eminem take on the raw 90s and early 2000s street rap with influences from production as much as the raw rapping. Of course Eminem has to throw in the homophobic controversy, Elton John & Dr Dre… because that's basically all the guy talks about, but aside from that it's actually fine.
Tears – Sabrina Carpenter (6.8/10)
This song fits a little more of the older synth category, like a tiny bit of what Miley Cyrus tried to do but instead more modern and less designed than that. And I actually don't mind it; it's still Sabrina's usual sex jam, which'll probably go UK no. 1, but still, at least it's bearable. I'll take it.
Brother – DJ Khaled/Post Malone/Youngboy Never Broke Again (0.1/10)
DJ KHALED YOU CAN'T JUST KEEP DROPPING SOME OF THE WORST SONGS EVER. WHAT DID YOU DO TO POST MALONE?! Oh, don't piss me off again, especially after that song from The Smurfs. As you can expect, DJ Khaled's shouting inputs are scattered whenever in the song, with his yap taking up around 30 seconds of the song or some stupid amount, and then the beat progression is ASS, with it sounding like a throwaway Cash Cobain song. On top of that, Post Malone delivers one of the laziest and sloppiest verses of his career, with YNBA matching that title too. I don't think it can be any more apparent that this song is an absolute mess-up with a cringe cover and throwaway EVERYTHING. I'd say this is a contender for the worst song of 2025. GET RID OF IT.
London - Skepta/Fred Again... (7.8/10)
We went from thinking that the two were trying to recreate the success of "Victory Lap" to now suspecting an album... I mean, three songs this fast? And this is thankfully the best so far; the synths were constantly going up and down as if they were experimenting for the first time… but instead what's usually a test was put into the final result with the signature booming energy for a rave. Such a better shot at having a hit.
Seems Like Old Times - Laufey (7.7/10)
Laufey released bonus tracks for her newest album, this being one of them, and I can applaud it in some shape or form. As I've said a million times, I don't like the fake voice she puts on, but the production is quite fancy and elegant, and the arrangement of certain instruments was quite interesting too. I'll take this.
SHE DON'T NEED TO KNOW – The Kid Laroi (7.5/10)
"She was on her knees, but she was praying to the lord" was… erm… an interesting choice of words, but sure. Aside from that note, I actually think it helps cement this better narrative of his modern catalogue more, with groovy switches making up a fast-paced pop hit sound even better than what some of his 2023 stuff did.
Tell Her - Ella Mai (6.5/10)
It started by easing you into what sounds like a brighter version of R&B that you may have heard in the 2000s, before going into the main part of the song with this colourful piano that then leads into a third and final segment where the music comes to a fast slowdownand halt. All this at once is a little hard to balance in a song, and I don't think Ella did that to the best of her abilities... just better than some others.
Something Wrong – DJ Snake/Don Toliver (7/10)
I'm not hating on Don for once; this actually was interesting. It's pretty lighter, letting the beat be a main component; it also lets the production elements with what sounds like a guitar place nicely into the backing. It all feels fairly decent, enough for a good score.
When A Good Man Cries – CMAT (8.4/10)
The album's out, which hopefully gives a boost to the amazing "Take A Sexy Picture Of Me". Until we find that out, we have this, a fitting song from the era with what sounds like a lighter version of "Good Luck, Babe!" And country Chappell, but instead of what the era was trying to achieve, but BETTER! Those instrumentals and INSANE high-pitched notes are so strong that they may even top the popular single. Damn… I am excited for this album!
Bro Country - HARDY/ERNEST (5/10)
I'm sorry, but it's HARDY, isn't it? He's the American country copy and paste that tries way too hard to be Morgan Wallen but ends up being the Temu version.
Sideways - Balu Brigada (8.2/10)
The new album is out, and I'm more excited for this than a lot of releases, especially since I've heard this, with a slightly annoying but more interesting squeaky sound that sticks out... maybe a little too much. But aside from that, we're back to peak; every song has had distance from the others in terms of sound, yet they all remain hits.
You don't have to tell me – Artemas (8.1/10)
Artemas OCCASIONALLY but not often releases songs with the mysteriousness and intenseness just being so addicting… and this is one of those times; every second of sound is leaning more into that signature sound at its peak. Sounds like something I'd come back to.
Party All Night - PLUTO (3/10)
Oh… this legitimately sounds like if Sexyy Red had trouble speaking properly. This is exactly what the party rap industry shouldn't become: lazy and uninspired songs that are made by artists like PLUTO that are most likely industry plants.
When You See Me - Zach Top (5/10)
Try hard country copy and paste returns with this replicating all of the traditional music, and of course, it's not good.
Make It Rain – Riley Green (7.2/10)
I thought we were going to get another dose of our weekly country slop, but no, it's actually quite well made, very simple with guitars and vocals, but Riley gives a performance with actual feelings, and the guitar supports that. Good song.
I Stopped Trying - Sydney Rose/Delaney Bailey (7.3/10)
Could have a little more of something to it, but either way, it's still a pretty solid soft song that evokes feelings.
SUPAFLEE – Joey Bada$$/Bri Steves (8.1/10)
What's up with the recent funkiness in rap getting better? We had Armani White's "Ghost", and now this, and this serves. It's fast, it's fun and even has funky routes in the form of plucks outside of rap production that you see every day. This album could be legendary; I'll listen later.
Up to You – TWICE (7.3/10)
As TWICE is growing, their music is kind of growing… I mean, this isn't anything different, but it keeps up their streak of 7/10+ ratings from me. Just fun, but expected.
COMO OREO - Blessd/Fuerza Regida/Ovy On The Drums (7.6/10)
Just pure vibes! I could even expect this to go worldwide with Blessd being on this and it fitting too a dance beat that's more often popular in America. I quite like it.
No Capea - Xavi/Grupo Frontera (7/10)
A collaboration between two big acts of the same genre style that have both gone worldwide… I mean, it was bound to happen. And it actually wasn't as generic as I thought it was going to be; they made a nice little vibey harmonica tune and played it well. It definitely fits the Mexican scene.
XOXZ - IVE (7.8/10)
Sounds like the K-pop equivalent of a song from the "Charli" era, but even brighter and more vibrant. I actually think this has one of the most colourful productions that I've heard. And it actually works! It's more of a night-out kind of fun rather than something for a kids' party. (although it would work in both settings.)
Alibi – Nicky Youre (8/10)
What type of lyric is "You're my lucky charm, you're my lemon pie"? Anyways, it's actually a song that brings my hope up for this Nicky project. It feels like a more professional-sounding summer song than his past ones like "Sunroof" and "Eyes On You", and instead feels like a delve into what this project could be if he keeps up this momentum.
Scared Of Myself - Alexander Stewart (7.2/10)
Maybe Alexander could've used better vocal effects, but aside from that, it's rare to see a singer go deep into the exact details in lyrics like so, with this case being weight gain, which follows into a whole depressed topic. And as someone who's also had trouble with weight gain, this could touch closer… I just wish he built upon that sad hook better than just a background violin and an effect. Could be better.
Believe in Magic – Jessie J (7.6/10)
Essentially a FLO-like pop song with this magical background, which Jessie provides clear crystal vocals on. Everything here really does sound crystal clear.
Perfect Lies - Alison Goldfrapp (8/10)
Similar to the Jessie J song but instead with more poppy synths that add class to the elegance of the fresh sound.
Trenches - Maruja (9/10)
The songs really do spark the thought of revolution that they were aiming for, especially with the screaming noise rock, which is displayed in artistic bravery. One of the best and boldest songs of 2025, "Pain To Power" is on!
Vivid Light - Blood Orange (8.3/10)
So I've seen Blood Orange gaining some conversation recently, specifically on AOTY, but I myself haven't been keeping track of them. So this is my chance to give the music a little try, and I must say, the random placement of instruments, such as flutes and violins, gets weirder as the time goes on, not just in placements but in how they're played. It all feels like it shapes together in a wacky but wonderful way.
100 Horses – Geese (8.2/10)
Definitely less messy and more sorted out than their last song. The song also has an alternative take on other sounds like so, which I quite like; very interesting.
Bikini Bottom - Lefty Gunplay/RjMrLa (4.5/10)
This beat would usually be used on meaningless slop rap songs, but instead it was used on the opposite. An obvious thing that you think many could think of and create a rap fanbase from, but I guess I heard it first from Lefty. As much as the bell sounds and snaps along with this type of rap are not something you hear daily, I just think it's trying to be different… it doesn't exactly work. Nice try, though.
Glory – Nova Twins (6.7/10)
Nova Twins mean for their music to be loud and messy, but I don't think they do it in a way that highlights chaos; it just highlights production that could be better.
Borracho Y Loco – IAmChino/Pitbull/Flo Rida (6/10)
This sounds like a desperate attempt to recreate that high-energy sound of the 2010s, which was remembered in clubs for a decade... except it feels like every aspect of this feels dialled down in quality. Definitely something that would not be remembered.
You Remind Me – DJ Khaled/Vybz Kartel/Buju Banton/County Killer/Mavado/Rorystonelove/Kaylan Arnold (6.5/10)
Definitely could've been better for all the features, but they definitely all played a part in this weird song where any random style could be thrown into the mix. Half of which sucked, and the others didn't.
Below Zero - Fridayy (3/10)
Sounds like if "$$$4U" had singing, and if you know me, you'll know if I compare something to that album, then it's never gonna be good.
Will We Ever Be Friends Again - Bryan Adams (7/10)
What I heard so far from the new release didn't get me that happy, and neither does this, but it definitely raised the bar by a notable amount. It's got more of a rock sound that people respect; it feels more like something that would be close to people who used to follow the genre into the older eras more.
Flood – Bossman Dlow (4/10)
Tuned mumble crap. Those two things don't mean that the song will be crap, but it does identify in that category of rap crap. Did we really expect better from Bossman Dlow, though?
Red Flags & Love Hearts - Ella Eyre (8.1/10)
OK!! Now we're talking! The song has a clear and upbeat drum pattern on top of which Ella Eyre sings like she's trying to do an Amy Winehouse impersonation. I think it's one for the radio… but it would've had a bigger shot to go viral in the early 2020s.
Lost In Translation – Carín León/Kacey Musgraves (9.2/10)
Think about traditional-sounding Spanish music that could be featured in an older movie scene of a Spanish village, but instead with this earworm of a spin where the male voice accompanies a sweet female voice that sounds so magical, so magical that it's too good for a musical... this is one of the best collaborations between two artists I have heard. I genuinely am telling you THAT YOU HAVE TO LISTEN TO THIS. IT'S ONE OF THE MOST BEAUTIFUL REMAKES OF A BEAUTIFUL SOUND I'VE HEARD. And wow, GOOSEBUMPS. Just goosebumps.
GANGSTA – Major Lazer/Diplo/Busy Signal/Kybba (5.8/10)
Sounds like "Victory Lap" but rushed.
Deep Dive – Shen/T-Pain (7.2/10)
I usually just listen to T-Pain's music for humour value for how bad it usually is… but this was actually pretty decent and had a good producer. The starting tuning had me questioning the quality, but afterwards I quickly got into this.
Red, White And Jersey - Bon Jovi (7/10)
POWER HOUSE HOBBS – Westside Gunn (7.1/10)
A mix of tough rap and tough vibes. Can't knock the weight of the song; it's actually solid.
STRUGGLE - Spinall/Summer Walker/Buju Banton/Jaz Karis (7/10)
We had smooth reggae vocals that created a nice tone and showcase for the genre, but then these rough male vocals came in that sound like an elderly wizard casting a spell... it really gave the song an awkward follow-up to a good first half.
Leave A Message – Josh Baker/Poppy Wright/Trick Shady (6.9/10)
I see that these artists have no passion to explore the genre, especially Josh Baker, who seems eager for another charting moment. But seeing the state of dance music with songs like "Dior" gaining traction, I'm not shocked if this were to be something bigger.
Daddy's Little Girl - Key Glock (6/10)
We could all see this coming; it's basically like a 21 Savage rap song, but Key Glock made it.
Hold you down - Mnelia/Strandz (7/10)
Out Here Looking – Gary Barlow/Rosa Linn (7/10)
After his song with Becky Hill, we continue having more pop artists matching Gary's style more in a slower (but not slow) sweet performance where they come together in a very friendly-sounding way.
Relojito Cartier - Luis R Conriquez/Anuel AA (7.1/10)
Reggaeton that's nothing out of the ordinary but still kind of beautifully simple.
Ricochet – Andy C/Felix Samuel (7.6/10)
It's basically the less upbeat version of 2024's "Indestructible", with nice synths and a feel-good electronic feeling.
Fón Póca – Interplanetary Criminals/Tracy (8/10)
Stewpid - Steve Aoki/Gabry Ponte (7/10)
Obviously altered vocals that are fit for a DJ club song, and it's exactly for that, nothing special… it's something that I could've expected from Joel Corry.
Let The Church Sing – Tauren Wells/Gio./ELEVATION RHYTHM (5/10)
You're average Christian praise song that slides into the genre's stereotypes with ease.
Rich in Rome - ian/LAZER DIM 700/Nino Paid (7/10)
I'm just going to say that Ian isn't that bad... at first he's the white equivalent of Bossman Dlow at times, but on this that actually blends into a weirdly better perspective of that comparison.
Luck Of The Draw – Laci Kaye Booth (8/10)
Laci sounds like she took the necessary amount of time to craft a chilled and emotional country song that reflects what beautiful music can do.
Cinnamon – BENEE (8/10)
BENEE has a lighter yet effective voice on songs that would work better on Bebadoobee-type music, but pushing into the radio-pop worked too; actually, it's one for a little dance.
New Song - Bentley Robles (7.7/10)
Groovy, modern and a great use of electronics that highlights a fresh sound that modern DJs should at least aim to get somewhat like.
Lonely - Bella Kay (8.6/10)
After the charting minor success "The Sick", we get a quick follow-up with an even better and more well-formed emotional and lonely song; the way she plays the guitar and sings feels like a way of capturing emotions that not even Billie Eilish could get to... and Billie is awesome. Bella just takes it so real yet so gentle that it makes you feel the emotion in such a real way.
I MISS YOUR LOVE – GRANT KNOCHE (6.6/10)
Reminds me of something a more dull pop Craig David would make. Still fine regardless, though.
Parachute – Hayley Williams (7.5/10)
The messy rollout was one of the weirdest I've seen, but through the confusion, at least we got good music that, in the end, had powerful vocals and a strong guitar backing that came together to make an actually decent blend.
Can I Call You in the Morning? - The Beaches (7/10)
Nice & Slow – Rin (8.1/10)
More of these Bebadoobee-like artists are appearing as of recent times, and I think this one has the highest level of similarity to her, especially with Bebadoobee's most recent era, "This Is How Tomorrow Moves". If you want soft vocals and acoustics at a peak, then hear this.
Sin Un Corazón – Cuco (8/10)
The Spanish equivalent of The Maria's, but instead with instrumentals that sound like they'd be in a 70s western cowboy movie. Very interesting, worth a listen.
Sickness – Runo Plum (7.1/10)
A sound you've heard before but can't pinpoint where. This still keeps a level of respect, though.
DEEP - Abbie Gamboa/Aodhán King (7/10)
The sound is the right amount of processed, which creates dreamy vocals which admittedly could be nailed better, but they do fit the synths; just a more professional touch, and we could get a floating feel out of this.
10% - Tiwa Savage (7.4/10)
A very simple meaning: Tiwa's going somewhere, and her phone's on 10%, which is basically the easy part to catch on to in the song. Quite fun; it could work as a hyperpop song, but she didn't take that route and instead made something that I can't exactly pinpoint what to say about. It's just quite fun.
Beautiful Strangers – Mavis Staples (6.5/10)
I can completely tell that there's a market for these 6-minute soulful acoustic songs, which some see as pure excellence, but I don't think she sells it enough for the length. It's definitely relaxing and bearable, but most of the time I wouldn't be in the mood for a song like this of this length, and I think most would agree.
Excited - dvsn (5.4/10)
I mean… it could've been made by a new starting-out artist with 500 monthly listeners, and I couldn't tell the difference. It's one of those ok songs that you forget right after you listen too.
USA BABY - Elias Rønnenfelt (7.2/10)
UNDEFEATED – Nate Smith/Marquis Hill/JSWISS (7.6/10)
Wings - Allie Paige (8/10)
It's basically like Lizzy McAlpine's "Ceilings" without the accent and instead just the soft, gentle acoustics that make you feel like you're peacefully sitting with a soft breeze. This is great stuff.
DA HEAT – Tommy Royale (8/10)
The vocals are exactly like Bad Bunny's, but the background is as if hell broke loose but in the most badass way possible.
So Ghetto - Peezy/Icewear Vezzo (3/10)
Forever - TTSSFU (8/10)
An easy listening experience of upbeat pop-rock.
When Ya Young - Tydus (2/10)
Do what you want, but I think he's too old for this music. If this guy keeps going like this, then it may turn into the money-milking situation that Ryan's World got into. And yes, it's autotuned kid brainrot rap…I don't know why I wasted my time on this.
Everybody's Looking At Me - Eminem (7.8/10)
We had one new Eminem drop to add to a collection of songs by him, and as an Eminem hater, this is actually good?! It's the grittiest thing I've heard from him, with the song making an Eminem take on the raw 90s and early 2000s street rap with influences from production as much as the raw rapping. Of course Eminem has to throw in the homophobic controversy, Elton John & Dr Dre… because that's basically all the guy talks about, but aside from that it's actually fine.
Tears – Sabrina Carpenter (6.8/10)
This song fits a little more of the older synth category, like a tiny bit of what Miley Cyrus tried to do but instead more modern and less designed than that. And I actually don't mind it; it's still Sabrina's usual sex jam, which'll probably go UK no. 1, but still, at least it's bearable. I'll take it.
Brother – DJ Khaled/Post Malone/Youngboy Never Broke Again (0.1/10)
DJ KHALED YOU CAN'T JUST KEEP DROPPING SOME OF THE WORST SONGS EVER. WHAT DID YOU DO TO POST MALONE?! Oh, don't piss me off again, especially after that song from The Smurfs. As you can expect, DJ Khaled's shouting inputs are scattered whenever in the song, with his yap taking up around 30 seconds of the song or some stupid amount, and then the beat progression is ASS, with it sounding like a throwaway Cash Cobain song. On top of that, Post Malone delivers one of the laziest and sloppiest verses of his career, with YNBA matching that title too. I don't think it can be any more apparent that this song is an absolute mess-up with a cringe cover and throwaway EVERYTHING. I'd say this is a contender for the worst song of 2025. GET RID OF IT.
London - Skepta/Fred Again... (7.8/10)
We went from thinking that the two were trying to recreate the success of "Victory Lap" to now suspecting an album... I mean, three songs this fast? And this is thankfully the best so far; the synths were constantly going up and down as if they were experimenting for the first time… but instead what's usually a test was put into the final result with the signature booming energy for a rave. Such a better shot at having a hit.
Seems Like Old Times - Laufey (7.7/10)
Laufey released bonus tracks for her newest album, this being one of them, and I can applaud it in some shape or form. As I've said a million times, I don't like the fake voice she puts on, but the production is quite fancy and elegant, and the arrangement of certain instruments was quite interesting too. I'll take this.
SHE DON'T NEED TO KNOW – The Kid Laroi (7.5/10)
"She was on her knees, but she was praying to the lord" was… erm… an interesting choice of words, but sure. Aside from that note, I actually think it helps cement this better narrative of his modern catalogue more, with groovy switches making up a fast-paced pop hit sound even better than what some of his 2023 stuff did.
Tell Her - Ella Mai (6.5/10)
It started by easing you into what sounds like a brighter version of R&B that you may have heard in the 2000s, before going into the main part of the song with this colourful piano that then leads into a third and final segment where the music comes to a fast slowdownand halt. All this at once is a little hard to balance in a song, and I don't think Ella did that to the best of her abilities... just better than some others.
Something Wrong – DJ Snake/Don Toliver (7/10)
I'm not hating on Don for once; this actually was interesting. It's pretty lighter, letting the beat be a main component; it also lets the production elements with what sounds like a guitar place nicely into the backing. It all feels fairly decent, enough for a good score.
When A Good Man Cries – CMAT (8.4/10)
The album's out, which hopefully gives a boost to the amazing "Take A Sexy Picture Of Me". Until we find that out, we have this, a fitting song from the era with what sounds like a lighter version of "Good Luck, Babe!" And country Chappell, but instead of what the era was trying to achieve, but BETTER! Those instrumentals and INSANE high-pitched notes are so strong that they may even top the popular single. Damn… I am excited for this album!
Bro Country - HARDY/ERNEST (5/10)
I'm sorry, but it's HARDY, isn't it? He's the American country copy and paste that tries way too hard to be Morgan Wallen but ends up being the Temu version.
Sideways - Balu Brigada (8.2/10)
The new album is out, and I'm more excited for this than a lot of releases, especially since I've heard this, with a slightly annoying but more interesting squeaky sound that sticks out... maybe a little too much. But aside from that, we're back to peak; every song has had distance from the others in terms of sound, yet they all remain hits.
You don't have to tell me – Artemas (8.1/10)
Artemas OCCASIONALLY but not often releases songs with the mysteriousness and intenseness just being so addicting… and this is one of those times; every second of sound is leaning more into that signature sound at its peak. Sounds like something I'd come back to.
Party All Night - PLUTO (3/10)
Oh… this legitimately sounds like if Sexyy Red had trouble speaking properly. This is exactly what the party rap industry shouldn't become: lazy and uninspired songs that are made by artists like PLUTO that are most likely industry plants.
When You See Me - Zach Top (5/10)
Try hard country copy and paste returns with this replicating all of the traditional music, and of course, it's not good.
Make It Rain – Riley Green (7.2/10)
I thought we were going to get another dose of our weekly country slop, but no, it's actually quite well made, very simple with guitars and vocals, but Riley gives a performance with actual feelings, and the guitar supports that. Good song.
I Stopped Trying - Sydney Rose/Delaney Bailey (7.3/10)
Could have a little more of something to it, but either way, it's still a pretty solid soft song that evokes feelings.
SUPAFLEE – Joey Bada$$/Bri Steves (8.1/10)
What's up with the recent funkiness in rap getting better? We had Armani White's "Ghost", and now this, and this serves. It's fast, it's fun and even has funky routes in the form of plucks outside of rap production that you see every day. This album could be legendary; I'll listen later.
Up to You – TWICE (7.3/10)
As TWICE is growing, their music is kind of growing… I mean, this isn't anything different, but it keeps up their streak of 7/10+ ratings from me. Just fun, but expected.
COMO OREO - Blessd/Fuerza Regida/Ovy On The Drums (7.6/10)
Just pure vibes! I could even expect this to go worldwide with Blessd being on this and it fitting too a dance beat that's more often popular in America. I quite like it.
No Capea - Xavi/Grupo Frontera (7/10)
A collaboration between two big acts of the same genre style that have both gone worldwide… I mean, it was bound to happen. And it actually wasn't as generic as I thought it was going to be; they made a nice little vibey harmonica tune and played it well. It definitely fits the Mexican scene.
XOXZ - IVE (7.8/10)
Sounds like the K-pop equivalent of a song from the "Charli" era, but even brighter and more vibrant. I actually think this has one of the most colourful productions that I've heard. And it actually works! It's more of a night-out kind of fun rather than something for a kids' party. (although it would work in both settings.)
Alibi – Nicky Youre (8/10)
What type of lyric is "You're my lucky charm, you're my lemon pie"? Anyways, it's actually a song that brings my hope up for this Nicky project. It feels like a more professional-sounding summer song than his past ones like "Sunroof" and "Eyes On You", and instead feels like a delve into what this project could be if he keeps up this momentum.
Scared Of Myself - Alexander Stewart (7.2/10)
Maybe Alexander could've used better vocal effects, but aside from that, it's rare to see a singer go deep into the exact details in lyrics like so, with this case being weight gain, which follows into a whole depressed topic. And as someone who's also had trouble with weight gain, this could touch closer… I just wish he built upon that sad hook better than just a background violin and an effect. Could be better.
Believe in Magic – Jessie J (7.6/10)
Essentially a FLO-like pop song with this magical background, which Jessie provides clear crystal vocals on. Everything here really does sound crystal clear.
Perfect Lies - Alison Goldfrapp (8/10)
Similar to the Jessie J song but instead with more poppy synths that add class to the elegance of the fresh sound.
Trenches - Maruja (9/10)
The songs really do spark the thought of revolution that they were aiming for, especially with the screaming noise rock, which is displayed in artistic bravery. One of the best and boldest songs of 2025, "Pain To Power" is on!
Vivid Light - Blood Orange (8.3/10)
So I've seen Blood Orange gaining some conversation recently, specifically on AOTY, but I myself haven't been keeping track of them. So this is my chance to give the music a little try, and I must say, the random placement of instruments, such as flutes and violins, gets weirder as the time goes on, not just in placements but in how they're played. It all feels like it shapes together in a wacky but wonderful way.
100 Horses – Geese (8.2/10)
Definitely less messy and more sorted out than their last song. The song also has an alternative take on other sounds like so, which I quite like; very interesting.
Bikini Bottom - Lefty Gunplay/RjMrLa (4.5/10)
This beat would usually be used on meaningless slop rap songs, but instead it was used on the opposite. An obvious thing that you think many could think of and create a rap fanbase from, but I guess I heard it first from Lefty. As much as the bell sounds and snaps along with this type of rap are not something you hear daily, I just think it's trying to be different… it doesn't exactly work. Nice try, though.
Glory – Nova Twins (6.7/10)
Nova Twins mean for their music to be loud and messy, but I don't think they do it in a way that highlights chaos; it just highlights production that could be better.
Borracho Y Loco – IAmChino/Pitbull/Flo Rida (6/10)
This sounds like a desperate attempt to recreate that high-energy sound of the 2010s, which was remembered in clubs for a decade... except it feels like every aspect of this feels dialled down in quality. Definitely something that would not be remembered.
You Remind Me – DJ Khaled/Vybz Kartel/Buju Banton/County Killer/Mavado/Rorystonelove/Kaylan Arnold (6.5/10)
Definitely could've been better for all the features, but they definitely all played a part in this weird song where any random style could be thrown into the mix. Half of which sucked, and the others didn't.
Below Zero - Fridayy (3/10)
Sounds like if "$$$4U" had singing, and if you know me, you'll know if I compare something to that album, then it's never gonna be good.
Will We Ever Be Friends Again - Bryan Adams (7/10)
What I heard so far from the new release didn't get me that happy, and neither does this, but it definitely raised the bar by a notable amount. It's got more of a rock sound that people respect; it feels more like something that would be close to people who used to follow the genre into the older eras more.
Flood – Bossman Dlow (4/10)
Tuned mumble crap. Those two things don't mean that the song will be crap, but it does identify in that category of rap crap. Did we really expect better from Bossman Dlow, though?
Red Flags & Love Hearts - Ella Eyre (8.1/10)
OK!! Now we're talking! The song has a clear and upbeat drum pattern on top of which Ella Eyre sings like she's trying to do an Amy Winehouse impersonation. I think it's one for the radio… but it would've had a bigger shot to go viral in the early 2020s.
Lost In Translation – Carín León/Kacey Musgraves (9.2/10)
Think about traditional-sounding Spanish music that could be featured in an older movie scene of a Spanish village, but instead with this earworm of a spin where the male voice accompanies a sweet female voice that sounds so magical, so magical that it's too good for a musical... this is one of the best collaborations between two artists I have heard. I genuinely am telling you THAT YOU HAVE TO LISTEN TO THIS. IT'S ONE OF THE MOST BEAUTIFUL REMAKES OF A BEAUTIFUL SOUND I'VE HEARD. And wow, GOOSEBUMPS. Just goosebumps.
GANGSTA – Major Lazer/Diplo/Busy Signal/Kybba (5.8/10)
Sounds like "Victory Lap" but rushed.
Deep Dive – Shen/T-Pain (7.2/10)
I usually just listen to T-Pain's music for humour value for how bad it usually is… but this was actually pretty decent and had a good producer. The starting tuning had me questioning the quality, but afterwards I quickly got into this.
Red, White And Jersey - Bon Jovi (7/10)
POWER HOUSE HOBBS – Westside Gunn (7.1/10)
A mix of tough rap and tough vibes. Can't knock the weight of the song; it's actually solid.
STRUGGLE - Spinall/Summer Walker/Buju Banton/Jaz Karis (7/10)
We had smooth reggae vocals that created a nice tone and showcase for the genre, but then these rough male vocals came in that sound like an elderly wizard casting a spell... it really gave the song an awkward follow-up to a good first half.
Leave A Message – Josh Baker/Poppy Wright/Trick Shady (6.9/10)
I see that these artists have no passion to explore the genre, especially Josh Baker, who seems eager for another charting moment. But seeing the state of dance music with songs like "Dior" gaining traction, I'm not shocked if this were to be something bigger.
Daddy's Little Girl - Key Glock (6/10)
We could all see this coming; it's basically like a 21 Savage rap song, but Key Glock made it.
Hold you down - Mnelia/Strandz (7/10)
Out Here Looking – Gary Barlow/Rosa Linn (7/10)
After his song with Becky Hill, we continue having more pop artists matching Gary's style more in a slower (but not slow) sweet performance where they come together in a very friendly-sounding way.
Relojito Cartier - Luis R Conriquez/Anuel AA (7.1/10)
Reggaeton that's nothing out of the ordinary but still kind of beautifully simple.
Ricochet – Andy C/Felix Samuel (7.6/10)
It's basically the less upbeat version of 2024's "Indestructible", with nice synths and a feel-good electronic feeling.
Fón Póca – Interplanetary Criminals/Tracy (8/10)
Stewpid - Steve Aoki/Gabry Ponte (7/10)
Obviously altered vocals that are fit for a DJ club song, and it's exactly for that, nothing special… it's something that I could've expected from Joel Corry.
Let The Church Sing – Tauren Wells/Gio./ELEVATION RHYTHM (5/10)
You're average Christian praise song that slides into the genre's stereotypes with ease.
Rich in Rome - ian/LAZER DIM 700/Nino Paid (7/10)
I'm just going to say that Ian isn't that bad... at first he's the white equivalent of Bossman Dlow at times, but on this that actually blends into a weirdly better perspective of that comparison.
Luck Of The Draw – Laci Kaye Booth (8/10)
Laci sounds like she took the necessary amount of time to craft a chilled and emotional country song that reflects what beautiful music can do.
Cinnamon – BENEE (8/10)
BENEE has a lighter yet effective voice on songs that would work better on Bebadoobee-type music, but pushing into the radio-pop worked too; actually, it's one for a little dance.
New Song - Bentley Robles (7.7/10)
Groovy, modern and a great use of electronics that highlights a fresh sound that modern DJs should at least aim to get somewhat like.
Lonely - Bella Kay (8.6/10)
After the charting minor success "The Sick", we get a quick follow-up with an even better and more well-formed emotional and lonely song; the way she plays the guitar and sings feels like a way of capturing emotions that not even Billie Eilish could get to... and Billie is awesome. Bella just takes it so real yet so gentle that it makes you feel the emotion in such a real way.
I MISS YOUR LOVE – GRANT KNOCHE (6.6/10)
Reminds me of something a more dull pop Craig David would make. Still fine regardless, though.
Parachute – Hayley Williams (7.5/10)
The messy rollout was one of the weirdest I've seen, but through the confusion, at least we got good music that, in the end, had powerful vocals and a strong guitar backing that came together to make an actually decent blend.
Can I Call You in the Morning? - The Beaches (7/10)
Nice & Slow – Rin (8.1/10)
More of these Bebadoobee-like artists are appearing as of recent times, and I think this one has the highest level of similarity to her, especially with Bebadoobee's most recent era, "This Is How Tomorrow Moves". If you want soft vocals and acoustics at a peak, then hear this.
Sin Un Corazón – Cuco (8/10)
The Spanish equivalent of The Maria's, but instead with instrumentals that sound like they'd be in a 70s western cowboy movie. Very interesting, worth a listen.
Sickness – Runo Plum (7.1/10)
A sound you've heard before but can't pinpoint where. This still keeps a level of respect, though.
DEEP - Abbie Gamboa/Aodhán King (7/10)
The sound is the right amount of processed, which creates dreamy vocals which admittedly could be nailed better, but they do fit the synths; just a more professional touch, and we could get a floating feel out of this.
10% - Tiwa Savage (7.4/10)
A very simple meaning: Tiwa's going somewhere, and her phone's on 10%, which is basically the easy part to catch on to in the song. Quite fun; it could work as a hyperpop song, but she didn't take that route and instead made something that I can't exactly pinpoint what to say about. It's just quite fun.
Beautiful Strangers – Mavis Staples (6.5/10)
I can completely tell that there's a market for these 6-minute soulful acoustic songs, which some see as pure excellence, but I don't think she sells it enough for the length. It's definitely relaxing and bearable, but most of the time I wouldn't be in the mood for a song like this of this length, and I think most would agree.
Excited - dvsn (5.4/10)
I mean… it could've been made by a new starting-out artist with 500 monthly listeners, and I couldn't tell the difference. It's one of those ok songs that you forget right after you listen too.
USA BABY - Elias Rønnenfelt (7.2/10)
UNDEFEATED – Nate Smith/Marquis Hill/JSWISS (7.6/10)
Wings - Allie Paige (8/10)
It's basically like Lizzy McAlpine's "Ceilings" without the accent and instead just the soft, gentle acoustics that make you feel like you're peacefully sitting with a soft breeze. This is great stuff.
DA HEAT – Tommy Royale (8/10)
The vocals are exactly like Bad Bunny's, but the background is as if hell broke loose but in the most badass way possible.
So Ghetto - Peezy/Icewear Vezzo (3/10)
Forever - TTSSFU (8/10)
An easy listening experience of upbeat pop-rock.
When Ya Young - Tydus (2/10)
Do what you want, but I think he's too old for this music. If this guy keeps going like this, then it may turn into the money-milking situation that Ryan's World got into. And yes, it's autotuned kid brainrot rap…I don't know why I wasted my time on this.