20-09-2025, 21:16
NEW MUSIC FRIDAY 19.09.25 #48
⚠️ Sorry for the lessened track amount; Spotify had an update that made it hard to listen as much as before, and trying to listen on the TV was tiring. But I've still given you 45 song reviews rather than the average 70-80 zone. Hopefully I'll be back to usual in the coming weeks. I'm kind of looking for some new music song recs weekly to expand my taste, so feel free to share! And I'll post my album reviews this week to make up for it.
Post Sex Clarity - Lola Young (8.2/10)
This song is a strange but worldwiderelatable take on breakup music, as it explores the specific side of a breakup that I don't hear talked about often in music: still feeling good about someone despite not being together. This delves into more of a sexual topic at times, with the hook having a loud and big in-front-of-you feel, with the ending having the guitars and drums making every noise you can think of, tickling every part of the eardrum and weirdly reminding me of Maruja for a small segment. it in the end conquering the definition of how these feelings can feel messy. And thankfully she keeps to her pitch instead of trying this all-over-the-place scream effect.
Safe – Cardi B/Kehlani (8/10)
Near the end of "AM I THE DRAMA?" The rollout of the songs started getting slower and less like the big bounce rap songs like "WAP" and instead more like the recent "Imaginary Playerz", but instead now Cardi adds an airy feature from Kehlani which helps soothe the atmosphere of the song, and I must say that it's a LOT better than their previous team-up or even most of what I've heard from Kehlani. I also think that Kehlani's vocals fit the tone for a nice love song and a good relationship, which was well brought across.
Something In The Heavens - Lewis Capaldi (8/10)
"Something in the heavens" is about the sad realisation that you're separated from someone but still having a piece of hope that you can be reunited with them. This song displays that emotion in true melancholy, with the piano coming together to make a great contribution to Capaldi's vocals, which have this crystal-clear effect that makes them shine through; it's much more noticeable than the rest of the song, although the rest of the build-up is needed.
Secrets - Miley Cyrus/Lindsey Buckingham/Mick Fleetwood (8.5/10)
I just keep being blown away by Miley's change too; these lusciously vibrant sounds and the array of talents showcased in one track are actually phenomenal. Her ability to balance a loveable song for pop lovers whilst having that fresh character is beautifully artistic, almost like nobody else. For sure "Something Beautiful" was one of the top albums of 2025, and I don't think this deluxe track disappoints in following up such a large title.
WHERE IS MY HUSBAND? - RAYE (8/10)
I was waiting for that moment where RAYE would drop her next song that sounds like it could be a big hit, and this was that. She heads back to her upbeat jazz roots, and all the chaos and blasted loud instruments are at their fullest pop-radio core feel.Firstly teased at Glastonbury and now on the streaming apps too, this is the funky switched jazz jam we needed.
Yes Baby - Madison Beer (8/10)
The synths and very poppy claps are brought in almost instantly with this song, making the electronic disco feeling kick in as a lead moment in the song. I think Madison's tone really complements the choice of production; it's fun & flirty, as Madison describes it, and it's also a great fit for a party occasion.
Match My Mood – Sammy Virji/Spice/Flowdan (7.2/10)
Vocally I don't think the singer's presence matches the feel of the song too much, but it's only a small ask to get a new singer. It doesn't make me forget that there's actually a decent producer behind the song, and the song packs a nice punch. I would've been interested to see… let's say Skepta on this, or similar people who helped make "Badadan" or other Chase & Status songs. It's really giving that part of the UK music industry.
David's Brother - The Favours/FINNEAS/Ashe (7.7/10)
Revealed over two months before its release, this song certainly has more energy compared to their others, especially with the female singer's vocal holds and FINNEAS, who weirdly reminds me of Coldplay, and the natural production kind of mixes Coldplay's eras together, from a natural perspective and from the perspective of "Moon Music". I definitely see the appeal; it has its value in the people's eyes.
Scared Of Getting Sober – Josh Ross (8.2/10)
I always grouped Josh Ross with many other US country acts, but I think this may change that view a little. Sure, it's about getting sober and topics that typical country acts may go for, but I think this is the most in-depth attempt at making something real, even if it uses very stereotypical country words. The way he sings and even the guitar and backing too support him is as raw as most country acts go, and it hits deep; I'll support this. Completely worth your time and more than a worthless company push-out song.
My Only Angel - Aerosmith/YUNGBLUD (8.3/10)
Ok, let's stop pretending and just say that this is 1. Real rock and 2. A legendary collaboration. The vocals on this stretch are also such a nice length for the song that it feels like it's supporting more of the vintage production elements (despite being slightly processed but still sounding older) rather than what mainstream rock acts would most likely choose to fit their fancy. If Aerosmith were going to choose someone to release their first song in over a decade (which is part of an upcoming collaboration EP between the two), then picking Yungblud wouldn't be a bad decision considering the good singles run he had recently.
Move On – Kevin Powers/Shaboozey (7/10)
This song is closer in resemblance to Shaboozey's most recent team-up with BigXthaPlug on "Home", but instead without the rap. It's still on a more generic side, and I'm not fully comfortable that Shaboozey is becoming more laid back with being lazier, but it still has an "on the road" country feel, and I wouldn't mind it coming on the radio... in fact, I may even slightly enjoy it.
Good Boy - Paris Paloma (7.5/10)
An anti-misogyny message with on-point strums & riffs, drum hits and deeply strong vocals. As much as the topic is something I feel like I need to do more research on, I mainly get the message. It works out for what the song is; I feel Paris spread her belief well without sounding like the "feminist" on X who wants all men to rot in hell.
Silver Lining – Lil Yachty/Sauce Walka (8/10)
Possibly the most noticeable thing I've heard from Yachty is that the slower rap and more stripped-back instrumentals feel very complementary to his sound, in a way that conscious rap could be rapped over the beat. I like when rappers take a route like this; it fits my type of rap more.
Out The Window – YoungBoy Never Broke Again (2.2/10)
I don't know what this guy's goal is for pushing a million songs a year. Is it passion? Does he think one will be a commercial hit? I have no idea what it is, but this guy's music is truly just not it. I've learnt to nicely accept some mumble rap, but this is excluded from that. This is simply a boring trap that pulls from the most lukewarm, mediocre patterns in the industry; on it he delivers nothing short of how I described the beat. This guy bores me to DEATH.
If Only – Hunxho/21 Savage (6/10)
It's like a PARTYNEXTDOOR song… but the big difference is that the artist behind it isn't him and doesn't sound like him. Oh, and Savage's sex lines have been getting more cringe than ever recently. Stop it.
Bleach - Bakar (6/10)
Yeah, there are some nice little R&B strums, but in the long run he sounds sluggish on this; I don't think the emotion is conveyed enough or in the right form. A surprisingly weaker serving by him.
Train - Dasha (8.4/10)
Call her an industry plant, a country company plant, or whatever. But I believe Dasha is more, and for the next project I will back her; she has this nostalgic and warm feel to her music. It feels like you're a part of an underrated character, but something that's meant for more than the charts. And the feeling of getting into something new and it feeling more like home when time goes on is very relatable, yet not talked about much; it's a good spot to find an audience for. I love this, Dasha; keep on showing your style!
Smooth – The Chainsmokers (7/10)
An electronic progressive house-dance song that's a less expected step up in quality for The Chainsmokers, I don't see this getting nostalgic, although I see that they're trying to come from that angle; it's cute but nothing great. Still happy that they made this rather than their remixes, though.
Crazy B*tch Song - Claire Rosinkranz (7/10)
A loud and distorted blend of production elements that all feels like it's on that line of good pop, just good and nothing more.
HIM - Denzel Curry (8/10)
From the HIM soundtrack (which I believe featured a song I previously reviewed by Tierra Whack), this feels fit for a movie fight scene, like a fearless moment that's brought together throughout every part of the two-minute song. The production also sounds haunting, which helps display the song in its own way.
Reason - G Herbo (7.5/10)
American rapper G Herbo returns after his small charting presence earlier this year, and I must say that he went hardcore. I get that he's not backing down from that energy. I also think the backing isn't the same all the way through; it offers something that's entertaining for a large audience. It's what I'm looking for too – clear artists like Cash Cobain out the charts.
Seguro Le Dolió – Banda MS De Sergio Lizárraga/Fuerza Regida (6.5/10)
Cmon Fuerza, you're one of the biggest artists in your field; put your back into it and stop pushing out the Jonas Brothers level of original. It's so unoriginal that it's hard to form new paragraphs with this stuff.
El Pleito - Miguel (6.5/10)
Miguel described this song as being about "making peace with the cost of change through chaos" – I hope it's a grower because this isn't gripping me on the first listen; it's kinda like his previous song, just like the way it was decent yet you forget it quickly.
No Heartbreak's Killed Me Yet – Julia Michaels (7.1/10)
I'm thankful that Julia gained traction; after I heard her song "Scissors" last year, I thought she needed more spice, although she could string together some actual decent pop music. Yes, this may still fit the topic of a blander, more stripped-back "Kiss Me More", but at least she can make something that might be considered for radio. I hope she does add something else to her music though. Something more original.
Measure – Corey Kent/Max Mcnown (7.2/10)
Yes, a little stereotypical, but to be fair… you can give some credit here; they have chemistry, and there was definitely some thought and effort in the making of this. And the thought of missing someone is brought up well, almost as if this was a laid-back track, but it isn't as such, with the meaning saying otherwise.
DEPRESSED - Anne-Marie (7.5/10)
You know… I'm trying this new technique where if I find a song cringe (like this), I remind myself that it's someone's true emotions and what they feel, and it helps me view the song in a less cringey way. But honestly, OK, ANNE- I love you, but you're one of the cringiest pop artists who's ever walked the planet. And I don't even hate her music; I just think it's cringe. Personality-wise, Anne is joyful and seems like a very fun person to be around, which is also often displayed in her music… but I just can't even lie at this point. This isn't her worst offence, and I'll admit that it's got some nice radio vibes, but by no means was this a cringe-free experience.
Settle – Lyn Lapid (7.4/10)
From what I gather, this is a deluxe version of her album "BUZZKILL", and as someone who's heard quite a decent chunk of that album, I can say that it belongs there. It starts with the easy production and introspective lyrics that go into a different blend near the end that isn't much different but is notable. This is one for her fans.
Original Don – Sub Focus/Fireboy DML/IRAH (7.5/10)
Fast drum & bass that makes an impact and makes me think of Chase & Status (especially "BACKBONE", but instead without Stormzy); it's music that's fit for a rave, something that'll get people hyped, and it's honestly just a good atmosphere.
Whatever You Like - Dove Cameron (7.5/10)
At times she feels too soft (vocally) for the beat, where the drum pattern feels pitched in the slightest bit to be louder for such elegant vocals, but that's only for a tiny section. On another note, it's interesting seeing her songs switch so much; sometimes I can't even tell it's from the same artist. Experimenting is good, but I think if she's looking to be defined specifically, then she shouldn't do this. This itself, though, is a bop; it feels kind of expensive at points but still has that mood for anybody to just dance too.
Guardian Angel – Carly Rae Jepsen (5.5/10)
For the 10th anniversary of her album "E*mo*tion" (which I've been hearing about quite a fair amount recently), she releases some new songs as a special, and I haven't heard the original, so I can't compare, but I will say that this does sound like it could've been recorded back then rather than as a new, super recent studio session. The song fits a simple pop song (simple in nearly every way) with a message about wanting to be someone's "guardian angel" in a protective way. The song's a little bland, but it's not necessarily bad.
Gets Like That - Max Dean/Luke Dean (7.3/10)
There are already both charting together, and now they've already got a new one for the collection, and this one is actually a nice blend of synths and really creates something for the trendy dance brand as well. Wouldn't mind hearing a DJ play this.
Miss You – Perrie (8/10)
The solo Little Mix members' album is dropping next week, and it's the second solo album from the group, following Jade's "THAT'S SHOWBIZ BABY!" (Which was surprisingly good). This is also good! Especially nearer to the second half, where Perrie gives her strongest solo performance to date, with the strings and piano forming into this ethereal vocal mix that can only be described as phenomenal.
Pull Me In - Labrinth (6/10)
Unique genre blends are a good way to get a reputation for being something new, but it's very easy to mess up. This is a weird mix between opera blended into something fast-paced that could fit the rap definition more, and honestly… I understand the appeal; it sounds a little like they're onto something… but no, it's not it. At least not to what the song could be.
Friends Don't - Alexander Stewart/Lauren Spencer Smith (8.5/10)
THE DUO WE NEVER KNEW WE NEEDED UNTIL NOW!! The amount of chemistry they have together, especially on the high-pitched hook, is magical; they needed each other for this to be as good as this! Throughout every second these two put effort into what felt like their true all, something that opens your eyes to a new level of chemistry; this is truly amazing stuff. Haters will say, "Oh, it's TikTok artists!" But real ones will see the vision clear as day.
I Want You – Debbii Dawson (7/10)
I'll still bet on it; Debbii will be a big pop girl one day, and most likely (hopefully) soon. Every song has its sweet time taken out until it's dropped, but most are worth the wait. This may not be anywhere near her strongest, but it's got the dance beauty aesthetic that helps her newer music become more addictive. Honestly, I'd most likely hear this in a phone advert… but despite that, it's still a good song. Debbii can do better, though.
Dirty Dog – David Kushner (8/10)
With the song title, I thought we were going to get David Kushner going full-on "WAP" style ?. Ok, but seriously, I like the beat crunch in the middle of the dark and intensely mysterious feel, and I think David's darker tone all helps intensify the mix; it's definitely one to save.
Meet Me Anywhere – Wicca Phase Springs Eternal/Ethel Cain (8.1/10)
Two genres (folk and rock) come together in what can be described as ethereal and too short; it could have been double two minutes and thirty, and I still think I'd like this!
Pistol Grip - Lefty Gunplay/DJ Whoo Kid/Wacka Flocka Flame (7.5/10)
Continuing his list of 2025 drops, he brings a tough, bold rap song that's on the darker side, with sirens being used often, coming in and out as a main component of the song.
Back From Abu Dhabi – Wyclef Jean/French Montana/Rick Ross (7.4/10)
An absolutely big culture blend of so many sounds, where the main genre coming through is hip-hop/rap; aside from that, it's in general something too unique to describe everything in full. Even Wyclef described this as a journey. Not all parts blend to the finest, but it's still interesting enough.
I Got Love – CYRIL/Kelland/Nate Dogg (7.5/10)
A dance looper remix on top of the original rap song, which, despite having a nice loop, is still quite lazy and not something that people were specifically looking for. I'm marking scores mainly out of enjoyment, though.
My Everything - Bryant Barnes (7.7/10)
Bryant Barnes is essentially the Black soul/R&B version of Joji on this, with the dreamier tone fitting what he might've made in his distorted tone. I wasn't a big fan of the drum loop coming in, but it doesn't ruin the song, but it shouldn't make the guitar strums almost unhearable; they'd work better at a louder pitch.
I Ain't Coming Back - Ian (7.4/10)
It's just usual autotuned rap but more upbeat and with trumpets that help make me think of Lil Nas X's "Industry Baby" a little. I don't see the huge hate.
Nobody (make me feel) – Oskar Med K/Khalid (7.9/10)
Since Khalid's looking to blend into his new surroundings more, I think these two working together would help that better, and even for the fans! We've got a simple little jam from the producer, whilst Khalid's soulful voice stays the same as his other songs and weirdly fits this. I think it's a nice move by the two, and I'm looking forward to that album, Khalid!
MOUNT PLEASANT - Armani White (8.2/10)
A lighter acoustic song without rap, which strays away fully from his previous "Squabble Up", like "Ghost". This song, despite being different, sacrifices barely any quality, and it instead brings in new qualities that highlight that we might get a more diverse album. I'm interested, and I think many are too.
Voodoo – Martin Garrix/R3HAB/Skytech (3.5/10)
This makes me uncomfortable... am I tuning into the newest dance jam or a cult ritual?
⚠️ Sorry for the lessened track amount; Spotify had an update that made it hard to listen as much as before, and trying to listen on the TV was tiring. But I've still given you 45 song reviews rather than the average 70-80 zone. Hopefully I'll be back to usual in the coming weeks. I'm kind of looking for some new music song recs weekly to expand my taste, so feel free to share! And I'll post my album reviews this week to make up for it.
Post Sex Clarity - Lola Young (8.2/10)
This song is a strange but worldwiderelatable take on breakup music, as it explores the specific side of a breakup that I don't hear talked about often in music: still feeling good about someone despite not being together. This delves into more of a sexual topic at times, with the hook having a loud and big in-front-of-you feel, with the ending having the guitars and drums making every noise you can think of, tickling every part of the eardrum and weirdly reminding me of Maruja for a small segment. it in the end conquering the definition of how these feelings can feel messy. And thankfully she keeps to her pitch instead of trying this all-over-the-place scream effect.
Safe – Cardi B/Kehlani (8/10)
Near the end of "AM I THE DRAMA?" The rollout of the songs started getting slower and less like the big bounce rap songs like "WAP" and instead more like the recent "Imaginary Playerz", but instead now Cardi adds an airy feature from Kehlani which helps soothe the atmosphere of the song, and I must say that it's a LOT better than their previous team-up or even most of what I've heard from Kehlani. I also think that Kehlani's vocals fit the tone for a nice love song and a good relationship, which was well brought across.
Something In The Heavens - Lewis Capaldi (8/10)
"Something in the heavens" is about the sad realisation that you're separated from someone but still having a piece of hope that you can be reunited with them. This song displays that emotion in true melancholy, with the piano coming together to make a great contribution to Capaldi's vocals, which have this crystal-clear effect that makes them shine through; it's much more noticeable than the rest of the song, although the rest of the build-up is needed.
Secrets - Miley Cyrus/Lindsey Buckingham/Mick Fleetwood (8.5/10)
I just keep being blown away by Miley's change too; these lusciously vibrant sounds and the array of talents showcased in one track are actually phenomenal. Her ability to balance a loveable song for pop lovers whilst having that fresh character is beautifully artistic, almost like nobody else. For sure "Something Beautiful" was one of the top albums of 2025, and I don't think this deluxe track disappoints in following up such a large title.
WHERE IS MY HUSBAND? - RAYE (8/10)
I was waiting for that moment where RAYE would drop her next song that sounds like it could be a big hit, and this was that. She heads back to her upbeat jazz roots, and all the chaos and blasted loud instruments are at their fullest pop-radio core feel.Firstly teased at Glastonbury and now on the streaming apps too, this is the funky switched jazz jam we needed.
Yes Baby - Madison Beer (8/10)
The synths and very poppy claps are brought in almost instantly with this song, making the electronic disco feeling kick in as a lead moment in the song. I think Madison's tone really complements the choice of production; it's fun & flirty, as Madison describes it, and it's also a great fit for a party occasion.
Match My Mood – Sammy Virji/Spice/Flowdan (7.2/10)
Vocally I don't think the singer's presence matches the feel of the song too much, but it's only a small ask to get a new singer. It doesn't make me forget that there's actually a decent producer behind the song, and the song packs a nice punch. I would've been interested to see… let's say Skepta on this, or similar people who helped make "Badadan" or other Chase & Status songs. It's really giving that part of the UK music industry.
David's Brother - The Favours/FINNEAS/Ashe (7.7/10)
Revealed over two months before its release, this song certainly has more energy compared to their others, especially with the female singer's vocal holds and FINNEAS, who weirdly reminds me of Coldplay, and the natural production kind of mixes Coldplay's eras together, from a natural perspective and from the perspective of "Moon Music". I definitely see the appeal; it has its value in the people's eyes.
Scared Of Getting Sober – Josh Ross (8.2/10)
I always grouped Josh Ross with many other US country acts, but I think this may change that view a little. Sure, it's about getting sober and topics that typical country acts may go for, but I think this is the most in-depth attempt at making something real, even if it uses very stereotypical country words. The way he sings and even the guitar and backing too support him is as raw as most country acts go, and it hits deep; I'll support this. Completely worth your time and more than a worthless company push-out song.
My Only Angel - Aerosmith/YUNGBLUD (8.3/10)
Ok, let's stop pretending and just say that this is 1. Real rock and 2. A legendary collaboration. The vocals on this stretch are also such a nice length for the song that it feels like it's supporting more of the vintage production elements (despite being slightly processed but still sounding older) rather than what mainstream rock acts would most likely choose to fit their fancy. If Aerosmith were going to choose someone to release their first song in over a decade (which is part of an upcoming collaboration EP between the two), then picking Yungblud wouldn't be a bad decision considering the good singles run he had recently.
Move On – Kevin Powers/Shaboozey (7/10)
This song is closer in resemblance to Shaboozey's most recent team-up with BigXthaPlug on "Home", but instead without the rap. It's still on a more generic side, and I'm not fully comfortable that Shaboozey is becoming more laid back with being lazier, but it still has an "on the road" country feel, and I wouldn't mind it coming on the radio... in fact, I may even slightly enjoy it.
Good Boy - Paris Paloma (7.5/10)
An anti-misogyny message with on-point strums & riffs, drum hits and deeply strong vocals. As much as the topic is something I feel like I need to do more research on, I mainly get the message. It works out for what the song is; I feel Paris spread her belief well without sounding like the "feminist" on X who wants all men to rot in hell.
Silver Lining – Lil Yachty/Sauce Walka (8/10)
Possibly the most noticeable thing I've heard from Yachty is that the slower rap and more stripped-back instrumentals feel very complementary to his sound, in a way that conscious rap could be rapped over the beat. I like when rappers take a route like this; it fits my type of rap more.
Out The Window – YoungBoy Never Broke Again (2.2/10)
I don't know what this guy's goal is for pushing a million songs a year. Is it passion? Does he think one will be a commercial hit? I have no idea what it is, but this guy's music is truly just not it. I've learnt to nicely accept some mumble rap, but this is excluded from that. This is simply a boring trap that pulls from the most lukewarm, mediocre patterns in the industry; on it he delivers nothing short of how I described the beat. This guy bores me to DEATH.
If Only – Hunxho/21 Savage (6/10)
It's like a PARTYNEXTDOOR song… but the big difference is that the artist behind it isn't him and doesn't sound like him. Oh, and Savage's sex lines have been getting more cringe than ever recently. Stop it.
Bleach - Bakar (6/10)
Yeah, there are some nice little R&B strums, but in the long run he sounds sluggish on this; I don't think the emotion is conveyed enough or in the right form. A surprisingly weaker serving by him.
Train - Dasha (8.4/10)
Call her an industry plant, a country company plant, or whatever. But I believe Dasha is more, and for the next project I will back her; she has this nostalgic and warm feel to her music. It feels like you're a part of an underrated character, but something that's meant for more than the charts. And the feeling of getting into something new and it feeling more like home when time goes on is very relatable, yet not talked about much; it's a good spot to find an audience for. I love this, Dasha; keep on showing your style!
Smooth – The Chainsmokers (7/10)
An electronic progressive house-dance song that's a less expected step up in quality for The Chainsmokers, I don't see this getting nostalgic, although I see that they're trying to come from that angle; it's cute but nothing great. Still happy that they made this rather than their remixes, though.
Crazy B*tch Song - Claire Rosinkranz (7/10)
A loud and distorted blend of production elements that all feels like it's on that line of good pop, just good and nothing more.
HIM - Denzel Curry (8/10)
From the HIM soundtrack (which I believe featured a song I previously reviewed by Tierra Whack), this feels fit for a movie fight scene, like a fearless moment that's brought together throughout every part of the two-minute song. The production also sounds haunting, which helps display the song in its own way.
Reason - G Herbo (7.5/10)
American rapper G Herbo returns after his small charting presence earlier this year, and I must say that he went hardcore. I get that he's not backing down from that energy. I also think the backing isn't the same all the way through; it offers something that's entertaining for a large audience. It's what I'm looking for too – clear artists like Cash Cobain out the charts.
Seguro Le Dolió – Banda MS De Sergio Lizárraga/Fuerza Regida (6.5/10)
Cmon Fuerza, you're one of the biggest artists in your field; put your back into it and stop pushing out the Jonas Brothers level of original. It's so unoriginal that it's hard to form new paragraphs with this stuff.
El Pleito - Miguel (6.5/10)
Miguel described this song as being about "making peace with the cost of change through chaos" – I hope it's a grower because this isn't gripping me on the first listen; it's kinda like his previous song, just like the way it was decent yet you forget it quickly.
No Heartbreak's Killed Me Yet – Julia Michaels (7.1/10)
I'm thankful that Julia gained traction; after I heard her song "Scissors" last year, I thought she needed more spice, although she could string together some actual decent pop music. Yes, this may still fit the topic of a blander, more stripped-back "Kiss Me More", but at least she can make something that might be considered for radio. I hope she does add something else to her music though. Something more original.
Measure – Corey Kent/Max Mcnown (7.2/10)
Yes, a little stereotypical, but to be fair… you can give some credit here; they have chemistry, and there was definitely some thought and effort in the making of this. And the thought of missing someone is brought up well, almost as if this was a laid-back track, but it isn't as such, with the meaning saying otherwise.
DEPRESSED - Anne-Marie (7.5/10)
You know… I'm trying this new technique where if I find a song cringe (like this), I remind myself that it's someone's true emotions and what they feel, and it helps me view the song in a less cringey way. But honestly, OK, ANNE- I love you, but you're one of the cringiest pop artists who's ever walked the planet. And I don't even hate her music; I just think it's cringe. Personality-wise, Anne is joyful and seems like a very fun person to be around, which is also often displayed in her music… but I just can't even lie at this point. This isn't her worst offence, and I'll admit that it's got some nice radio vibes, but by no means was this a cringe-free experience.
Settle – Lyn Lapid (7.4/10)
From what I gather, this is a deluxe version of her album "BUZZKILL", and as someone who's heard quite a decent chunk of that album, I can say that it belongs there. It starts with the easy production and introspective lyrics that go into a different blend near the end that isn't much different but is notable. This is one for her fans.
Original Don – Sub Focus/Fireboy DML/IRAH (7.5/10)
Fast drum & bass that makes an impact and makes me think of Chase & Status (especially "BACKBONE", but instead without Stormzy); it's music that's fit for a rave, something that'll get people hyped, and it's honestly just a good atmosphere.
Whatever You Like - Dove Cameron (7.5/10)
At times she feels too soft (vocally) for the beat, where the drum pattern feels pitched in the slightest bit to be louder for such elegant vocals, but that's only for a tiny section. On another note, it's interesting seeing her songs switch so much; sometimes I can't even tell it's from the same artist. Experimenting is good, but I think if she's looking to be defined specifically, then she shouldn't do this. This itself, though, is a bop; it feels kind of expensive at points but still has that mood for anybody to just dance too.
Guardian Angel – Carly Rae Jepsen (5.5/10)
For the 10th anniversary of her album "E*mo*tion" (which I've been hearing about quite a fair amount recently), she releases some new songs as a special, and I haven't heard the original, so I can't compare, but I will say that this does sound like it could've been recorded back then rather than as a new, super recent studio session. The song fits a simple pop song (simple in nearly every way) with a message about wanting to be someone's "guardian angel" in a protective way. The song's a little bland, but it's not necessarily bad.
Gets Like That - Max Dean/Luke Dean (7.3/10)
There are already both charting together, and now they've already got a new one for the collection, and this one is actually a nice blend of synths and really creates something for the trendy dance brand as well. Wouldn't mind hearing a DJ play this.
Miss You – Perrie (8/10)
The solo Little Mix members' album is dropping next week, and it's the second solo album from the group, following Jade's "THAT'S SHOWBIZ BABY!" (Which was surprisingly good). This is also good! Especially nearer to the second half, where Perrie gives her strongest solo performance to date, with the strings and piano forming into this ethereal vocal mix that can only be described as phenomenal.
Pull Me In - Labrinth (6/10)
Unique genre blends are a good way to get a reputation for being something new, but it's very easy to mess up. This is a weird mix between opera blended into something fast-paced that could fit the rap definition more, and honestly… I understand the appeal; it sounds a little like they're onto something… but no, it's not it. At least not to what the song could be.
Friends Don't - Alexander Stewart/Lauren Spencer Smith (8.5/10)
THE DUO WE NEVER KNEW WE NEEDED UNTIL NOW!! The amount of chemistry they have together, especially on the high-pitched hook, is magical; they needed each other for this to be as good as this! Throughout every second these two put effort into what felt like their true all, something that opens your eyes to a new level of chemistry; this is truly amazing stuff. Haters will say, "Oh, it's TikTok artists!" But real ones will see the vision clear as day.
I Want You – Debbii Dawson (7/10)
I'll still bet on it; Debbii will be a big pop girl one day, and most likely (hopefully) soon. Every song has its sweet time taken out until it's dropped, but most are worth the wait. This may not be anywhere near her strongest, but it's got the dance beauty aesthetic that helps her newer music become more addictive. Honestly, I'd most likely hear this in a phone advert… but despite that, it's still a good song. Debbii can do better, though.
Dirty Dog – David Kushner (8/10)
With the song title, I thought we were going to get David Kushner going full-on "WAP" style ?. Ok, but seriously, I like the beat crunch in the middle of the dark and intensely mysterious feel, and I think David's darker tone all helps intensify the mix; it's definitely one to save.
Meet Me Anywhere – Wicca Phase Springs Eternal/Ethel Cain (8.1/10)
Two genres (folk and rock) come together in what can be described as ethereal and too short; it could have been double two minutes and thirty, and I still think I'd like this!
Pistol Grip - Lefty Gunplay/DJ Whoo Kid/Wacka Flocka Flame (7.5/10)
Continuing his list of 2025 drops, he brings a tough, bold rap song that's on the darker side, with sirens being used often, coming in and out as a main component of the song.
Back From Abu Dhabi – Wyclef Jean/French Montana/Rick Ross (7.4/10)
An absolutely big culture blend of so many sounds, where the main genre coming through is hip-hop/rap; aside from that, it's in general something too unique to describe everything in full. Even Wyclef described this as a journey. Not all parts blend to the finest, but it's still interesting enough.
I Got Love – CYRIL/Kelland/Nate Dogg (7.5/10)
A dance looper remix on top of the original rap song, which, despite having a nice loop, is still quite lazy and not something that people were specifically looking for. I'm marking scores mainly out of enjoyment, though.
My Everything - Bryant Barnes (7.7/10)
Bryant Barnes is essentially the Black soul/R&B version of Joji on this, with the dreamier tone fitting what he might've made in his distorted tone. I wasn't a big fan of the drum loop coming in, but it doesn't ruin the song, but it shouldn't make the guitar strums almost unhearable; they'd work better at a louder pitch.
I Ain't Coming Back - Ian (7.4/10)
It's just usual autotuned rap but more upbeat and with trumpets that help make me think of Lil Nas X's "Industry Baby" a little. I don't see the huge hate.
Nobody (make me feel) – Oskar Med K/Khalid (7.9/10)
Since Khalid's looking to blend into his new surroundings more, I think these two working together would help that better, and even for the fans! We've got a simple little jam from the producer, whilst Khalid's soulful voice stays the same as his other songs and weirdly fits this. I think it's a nice move by the two, and I'm looking forward to that album, Khalid!
MOUNT PLEASANT - Armani White (8.2/10)
A lighter acoustic song without rap, which strays away fully from his previous "Squabble Up", like "Ghost". This song, despite being different, sacrifices barely any quality, and it instead brings in new qualities that highlight that we might get a more diverse album. I'm interested, and I think many are too.
Voodoo – Martin Garrix/R3HAB/Skytech (3.5/10)
This makes me uncomfortable... am I tuning into the newest dance jam or a cult ritual?