NEW MUSIC FRIDAYS (#21+)

[Mellope]

NEW MUSIC FRIDAY REVIEW 28.02.25 #21

Sorry I'm Here For Someone Else - Benson Boone (5.5/10)

Rare Benson Boone L. As Benson was one of my most streamed artists ever and 95% of the time creates something I enjoy, I was very much excited (to say the least) about this upcoming new era, and the opening single will set the tone for how I'm going to feel. To keep it short and real, Benson played it safe and did exactly what he's been doing before but even worse, and the lyrics feel like they took a downgrade. The lyrics are like a page out of someone's diary about some cringe interaction with a waitress serving fries. Come on, Benson, what is this?? Is it due to the industry's high demand of quickly pushing out singles because this feels rushed and so damn boring that there's no room to have any new ideas of what Benson may be doing in the future with his music, move on, make something new, or at least up to quality like your previous hit singles?
Flood—Little Simz/Obongjayer/Moonchild Sanelly (8.5/10)

This felt like a well-constructed scene from a sci-fi movie; it had action, talent, and just a wide range of sounds that were constantly replaying through your head. If Simz executes the following songs after this correctly, then we could be seeing a possible album of the year. The way this was crafted felt so carefully put together, and with Obongjayer giving it more of the mystical experience, it truly felt magical and well made.

Love in real life—Lizzo (5/10)

YOU'VE GOT TO BE JOKING—I WAS THINKING TO MYSELF, "If only there was a Lizzo release," while scrolling down the page, and then in a matter of two seconds, I saw this. One in a trillion coincidence. Anyways, here's my actual review. I appreciate how she's not playing it safe here; she switches into a more 1970s mainstream pop sound where she continues her high, energetic attitude while adding in her aspects, even guitar, starting off the song. I get you have to take a new career move somewhere, but this wasn't for me, and as someone who's been waiting for a Lizzo release for years, this was pretty much a disappointment. It's about damn time to get the second single to redeem yourself.

Delete Ya—Djo (7/10)

The stranger things The actor is back with his second song from his upcoming album, and unlike the first song, this is actually quite good! It keeps the album's atmosphere, which is good for the fans sake, but this time it takes away the annoying alternative—neo-psychedelic downswing—which just ended up making the song feel uneven to me, and as much as that wasn't awful, the style just wasn't my thing, but here he continues the switch-up while making a good song, so things are looking more promising.

Man in the Sky—Tom MacDonald (5/10)

In the song he calls God a man "past the moon," but yet he also says that he's "watching from the sky." The song contradicts itself; both cannot be true. And if you are curious why I spared some points, it's because I really enjoy the bear; I think it's catchy and sounds like something that could go top 100, plus, I did agree with a few things he said in the song, which is rare because I usually never agree with him. I can't give it more than a 5, though, when the song lyrics are messed up and the annoying vocal holds are by Tom.

Not at this party—Dasha (6.5/10)

It's an acceptable attempt at getting a mainstream country song, but the pace feels rushed rather than going faster as part of the song. It also feels way too simple and could easily fall into American country radio play for just a day. I think she had the promo when she released 'Austin,' but she built on pushing other singles too late, and now she has to face the consequences of one-hit wonderland. I'll give a generous 6.5, though, because it's still pretty fun.

Pretty—JVKE (5.9/10)

This wasn't exactly bland, was it? It wasn't flavour-packed either; in other words, it's JVKE's usual but slightly different. It's a piano love song with a soft background that fails to pick up my emotions. I can understand that it may for some, but it's not something that pulls me in, and for that I'm going to have to give it the score I did.

Chemistry—Gigi Perez (6.7/10)

It has what all the Gigi songs have while still maintaining distance so not every song is the same; I respect that. Either way, Gigi's music isn't my thing and always feels lacking. Lacking in what? I don't know; it just feels like there needs to be more.

Wifey Riddim—Shygirl/Jorja Smith (2/10)

My brain can't compute how people will listen to this jumbled-up electronic nonsense.

Father—Jim Legxcy (7.4/10)

Ok, it's good, but how the hell is the average rating for this a 91/100? It's simply a few quick chops with an annoying voice that's sadly used a lot in modern-day rap upon a quick 1:27 song with sound effects. You are probably wondering why I said this and rated it so highly. I mean, it's still a good song, but it's not necessarily gold dust; it's just a simple and clean production and avoids rap crap territory, which I appreciate. BTW, I really miss the days of Jim's 'Nothings Changed.' I wish he would do something like that again.

Chemical Fashion—Charlotte Plank (6/10)

This just feels like your average drum n bass/electronic song; nothing new here.

Safeword—Halsey (3.5/10)

Well… it's sexual, messy, and reminds me of 'HOT To Go,' except more excess screaming. I get that messy was a part of this and meant to brand it, but I don't like it; it's straight up just shouting with a beat that feels all over the place. Instead of actually going for that diva look, it just looks odd. It's also cringe. Reminds me of the scream pop alternative artists try hard to promote.

FXCK UP THE WORLD—LISA/Future (7.9/10)

For the first time, I'll give LISA her flowers. Putting a beat that feels more made for Future was a good choice, and as much as I wasn't expecting LISA to work well on something this hardcore, she ended up coming through and smashing it! And for once in a rare time, I actually enjoyed hearing Future too, the collab we never knew you needed!

I HEART YOU—Confidence Man/Eliza Rose (7/10)

This is now my 2nd favourite song with Eliza Rose on; it's fun, it's a tune for the club, and it's straight-up fun. I could see myself vibing to this if it came on, not hugely, but I quite like it. It's one for the party rather than trying to make something artistic.

Crashing—D4vd/Kali Uchis (8/10)

Love the sound of these new D4vd singles; if this keeps up, then we are getting a huge high score album from me! This is lovely, passionate, and has a slow pace and a rhythm that makes everything feel intertwined with you; I have to say that this is beautiful.

Bleed—Malcom Todd/Omar Apollo (7.2/10)

It really has life and pulse to it, and that's what this song is all about—and I feel this energy, kinda a rock!

Sum out of nun—Bossman Dlow (3/10)

It's very rare that YouTube comments hate on an artist, but the comment section is this song is rightfully roasting Bossman Dlow, because HE KEEPS MAKING THE SAME DAMN THING. OK, WE GET IT, you are rich, you are happy, and you like women. And his flow is the same every time with beats that suck the life out of any hope of a new sound, rap crap.

NOS DESCONOXIMOS - Feid (3/10)

I hate judging off the music video, but the music video pissed me off so much that I can't bear to rate this high. The whole thing was AI with no meaning at all, some parts were a cow flying into a UFO, a child floating through a TV screen, and some weird-looking male guy with boobs, all with a glitchy look like the viral AI video of Will Smith eating pasta. To the song itself now, those vocals are so deep it's starting to be like Tiesto in 'Lay Low': nobody cares about them, and it's just a forgettable song.

Praise - Panda Bear (7.3/10)

Really good music; it doesn't sound modern, but it sounds unique and more chilled out. I'm glad to see this type of music is coming to fame more and being liked.

Proud Of Me—Fridayy/Meek Mill (1.9/10)

If you put the vocals rougher, it's almost a replica of a Tom Macdonald song. Also scrap this; I don't care if it's full-blown emotional; it's full-blown rap crap. The vocals showcase zero talent and are straight-up autotuned talking; this feels more like a vent than a song because everything here is just cheaply made and stuck onto the song.

Apex—Lil Tjay (6/10)

I'm trying to not rate rap songs low because of just talking about crap and lyrically equating to brain rot, and with that I want you to know that this rating is because of the catchy, upbeat feeling of the song. It should've been longer.

Next Summer—Damiano David (8.9/10)

Well-thought-out music video and song; it takes me back to his song 'Born with a Broken Heart,' but without the loud high note, it sounds like something Benson Boone is similar to. Whatever Damiano's music has in it is magic, and as a solo artist, he's full of potential; radio needs to pick this up!

TATTOO - Tito Double P (5/10)

Has Tito Double P made anything that's slightly different from his previous songs? No. Is it worth your time? No. That's enough questions, NEXT!

Radio—Steve Aoki/Trippie Redd/Jessica Baio/KABU (5.9/10)

Wow, an actual decent song with Trippie Redd on it; I never thought I would see the day. It's also radio-friendly and sounds specifically made for radio; it's not the most unique thing I've witnessed; in fact, it's simply just like any other radio song, but that doesn't always make it bad; it's just pleasant but not really something that gets you going.

I am a tower—Swans (7.5/10).

I said to myself before listening to this nearly 20-minute-long track, "If it's not an 80/100 at least, then it's a waste of time, and in the whole 20-minute listen, this tends to get barely anything done. The pieces that were in there were really good, which is what led me to give this a 75/100, but the fact that this is 20 minutes long is utterly ridiculous. This could've been 10 minutes, and I would've much more enjoyed that. This song was more of deep-thinking music, which doesn't really give you thoughts, just zones you out. Kinda pointless but kinda cool. It also doesn't have a simple-to-understand meaning.

Dancing with your eyes closed—Jane Remover (4.9/10)

Much better than 'JRJRJR,' but still not good and most definitely overrated, just like the previous single. It feels glitchy rather than purposely made like this; it's the equivalent of if phonk music was made incorrectly.

Zig Zag—By Storm (4.8/10)

What the hell was this waste of time? He sounds like a drunk man with a stutter when he keeps repeating zigzagging; it's like he's badly trying to do something new with the beat resembling something that lacks any substance, most likely to portray a message over that. Well, it does it badly because this is a 7-minute waste of time.

Heathen—Deafhaven (7/10)

This represents absolute destruction in a good and bad way; the bad way is that this is music nobody understands and just jams out to (which I think is what a bad song does), but the good part is the build-up before the main heavy screams. The beat was put together fairly well, and for that it saves the song.
Cinderella—Model/Actress (4/10)

First of all, this had one of the weirdest music videos I've watched in my life (not in a good way), and second, rather than having artistic value (which people say there is), to me it feels like an alternative mess that badly tries to be something different.

Style—2 Hollis (7.8/10)

Short, sweet, and classy, and the timing of 1:37 was a weird timing for a song, but I actually think it fit this better.

---

The Chase—Heart2hearts (5.6/10)


It's just a really basic K-pop song by a band that probably has diehard stans that'll defend them at all costs. If you've heard a K-pop song that is bland, then you've heard this; it's spared a 0.6 extra because it has soft vocals that are quite pretty.


Uno II—Viagra Boys (6.9/10)


I understood this a lot more than "Man Made of Meat." It still felt a bit mixed up and not sorted, but I think that may be an element they input on purpose in their music—I don't understand it that much.


Salvation—Rebecca Black (6.5/10)


It turns out basic pop can be good pop, enjoyable, and give a modern feeling.


MAL DE AMORES—Myke Towers/Junior H (5.1/10)


It's not exactly harmful or a way to like other music, but it's just simply quite lacking in anything to compliment it on. Can we stop making these artists go super viral?


5 Night—Youngboy Never Broke Again (1.8/10)


The vocals on this are straight out of the gutter; it sounds like someone has a speech issue. And as you can tell, it's rap crap, nothing new about this recycled garbage disposal of a song.


Lifeline—Jonas Blue/Izzy Bizu (5/10)


Not memorable in the slightest.


Sounds like something I'd say—Kassi Ashton/Parker McCollum (6/10).


It's a laid-back, familiar country song that fails to do anything groundbreaking, still nice for what it is, though.


Replay—Cynthia Erivo (7.4/10)


Sounds like something Ariana Grande would make from a gentler side of her music. It's pop with a catchy hook that repeats over and over to become an earworm, and if anything, this proves you don't need a huge build-up to make a good single! Not many people can do that!


Flyover State—Michael Marcagi (6.6/10)


Never liked this guy's music that much, but this appealed to me slightly more. Yes, it's simple, but it's also still very heartfelt and true to what Michael wants to write about, and he creates the feeling of this song well, with the production doing a fairly alright job at supporting the lyrics and him.


Tell Me—Karan Aujila/One Republic/Ikky (1.4/10)


The idea of an English and Indian artist coming together to create a Western pop song already sounds like it's going to end in flames, and as you can expect, this did. I feel they try and put in as much of the Indian in there to purposely try and make you notice the culture blend as a main part of the song, and the song sounds so simple and just short of reaching any new highs; it's as dull as a Coldplay song. This overall was a hot, splattered mess, which I'm shocked they didn't notice that this isn't going to end well; at best, this will get played at a 5-year-old's birthday party.

System Shock—Subtronics/Hedex/IRAH (8.4/10)


Didn't think I would enjoy something this much, but this hits!! It has a hard, thumping pulse that IRAH tends to bring to the music, but this time it's even better and has a few mistakes, but there are some. The vocal pitch feels slightly harder to hear due to the pitch level of the beat, and I would also prefer a sped-up version of this.


Delulu—BANKS (7.8/10)


For any fan of SZA, I think you'll really enjoy this; it has a lot of similarities to her music. The guitar solo at the end was a perfect accompaniment to the song; it really brings out the groove of the song. My favourite part was the beat, although Banks vocals were quite fine.


CHAPTER & VERS - Serpentwithfeet (5/10)


No idea what this guy's yapping about. The beat sounds beginner level, though sadly, nothing special.

Ya Get Dat—LeoStayTrill (8.3/10)


Nothing about this bored me! This feels like the type of song people rate high due to it having the more naturally flowing rap rather than the pumped-out garbage. His flow, beat, and lyrics are smooth and match well while keeping a respectable level of distance from the average sounds you would hear. I recommend it for any rap fans. Also, I think he and Little Simz would do a good song together.


Uma Amenaza - Chuyin/Chino Pacas (4/10)


We've heard rap crap, but now we're going to have to make Spanish crap because every Spanish song always sounds the same!! No difference!! Apart from the lyrics (kinda), this is getting ridiculous, boring song.


Machine Girl - ADELA (6.1/10)


An enjoyable modern song with effects; it's fine.


RiCH MAN DREAM—IDK/Ab-Soul (6.9/10)


Well, it's Ab-Soul; nothing really special here, but he manages to manoeuvre across the background well, so for that, it's a good song.


Kahore He Manu E—Marlon Williams/Lorde (5.1/10)


I don't want to be a hater of piano ballads, but I find this boring ?. It's just what it is; there's nothing else really to it.


NOTHING ELSE—Forrest Frank/Thomas Rhett (2/10)


First of all, I wasn't expecting to see Central Cee's "alright" sampled over and over in a Christian and gospel song lol; it was a bad sample for sure. The reason why I didn't like this, though, was how it felt so oversimplified in everything and just made so simple that it sounded like it would be on a Praise Jesus album for little kids, and none of the vocals are excellent either; they just add to the awkwardness that is this song.


TORCH—NGHTMARE/A$AP Ferg/Bekon (7/10)


Booming, loud, and a really hyped-up beat, I'm into it.


Til I Mawnin—Shaggy/Sting (6/10)


"Sting and Shaggy are killing this beat." It doesn't really sound like you're putting much energy into it, bud. It's still fine though; Sting or Shaggy hasn't lost their skill, so that's good to see.


Antidepressants - Bbno$ (6/10)


I like how all this guy's songs make you super want to dance and really stylish; this still is, but his voice lacks the energy, and this feels drained of character, not as good as his previous stuff.


Stripper Song—Paris, Texas (8/10)


Everything In this song, he plays a part really well, and in the end, it's a rock! I like the heavier layers that make the song memorable and catchy. Good song, but pretty sus title though. ?


Pickle Juice—T. Pain (3.9/10)


T-Pain is one of the worst musical artists to ever exist, and this song isn't even close to his worst performance. On top of this, the lyrics are lazy and just display utter nonsense; the production and flow feel like they're purposely trying to go off, and I really don't know if I can take this seriously, at least he hasn't drowned himself with autotune this time.


9th Heaven—Backwxsh (5.9/10)


I could tell it was something that had work put into it, but it just made me bored; it was just not my thing. It has that deep sound that tries to get you in a trance state.


Reprogram - Kilo Kish (3.3/10)


Not my thing; I'm taking nothing away from this listen apart from the lifeless mess that was this song.


Cancionera - Natalia Lafourcade (8.2/10)


Stunning song, it's crafted so elegantly and beautifully it feels like art, because it is! It reminds me of tuning into Classic FM because that's how peaceful this song is, and only a few people can do something like this, a work of art, and I love it! It's easy to ease into.


Brain Dead—Architects/House of Protection (4/10)


The only thing brain dead is the people who made this song and the song itself; it's blasphemous too. In short, it's just music idiots bop to because they don't know better or anything that's going on. The only thing I'll applaud is the instrumentals; they were kind of killer, ngl.


Girl—Anna Lunoe/Melanie C (7.7/10)

What a party bop! And it's not dry or dreary at all; the beat has those funky up-and-down motions that sound like they're meant for the dance floor, and Mel and Anna give a fun performance where they collab really well.


Commitment—Craig David/Tiwa Savage (4.5/10)


This sounds like a Jason Derulo collab that gets barely any views compared to his previous songs; in other words, it's basic and shows nothing worth your time.


Fruit Machine—Piri & Tommy (7/10)


I quite enjoy their softer tone; it's music that sounds like it would be played in an ad for a fun matching game or something. It has a cute sound and cover to ?.


Say My Name—Russ Millions (2.5/10)


This is a grown man making this rap crap, BTW! I genuinely can't understand people who listen to this; it drills into your brain, it's awful, and as you can expect, this is nothing new from the sex, rich, gangster song that everyone else puts out. Do better.


Let It Talk to Me—Sean Paul/INNA (6.8/10)


I was really into Sean Paul and INNA when they collaborated on 'Up' (I believe in the early 2020's) that song was widely streamed by me and became a big part of my life, so I was extremely excited to see what they would bring to the table thing time- and I'm a little dissapointed due to this being a big step down from 'Up' but this is still good, it has the party beat and the feel that both artists tend to give together, you can tell they've still got chemistry, I ain't gonna hate on this though it's solid.

[Mellope]

NEW MUSIC FRIDAY SUMMARY AND REVIEW 7.03.25 #22

Garden Of Eden—Lady Gaga (7.8/10)

Now that the Gaga album is out, we are left with the promoted single 'Garden Of Eden,' which is a good choice to put at the start of the album. It's fun, it makes you want to dance, and just like 'Abracadabra,' it's a rollercoaster of a party, which I truly believe has the power to get picked up by radio or even take Gaga to number one, and we need a hit single with staying power because right now 2025 has just been songs recycled from 2024. I'll be looking forward to hearing the full album 'Mayhem,' and this song is making me look forward to it even more!

Handlebars—JENNIE/Dua Lipa (5.5/10)

This song doesn't bring out complete utter nonsense, but it sure is boring. I've now heard multiple songs that are main singles from JENNIE'S new album, and they all don't really deserve any hype. In fact, this song is the best one yet; without Dua's verse, the score would drop, though. The interesting noises in production were also one of the only reasons why I spared it with this score. After these performances from her and the lack of interest that sounds like it's going to be in the album, the only thing pulling me in is the wide range of features on the project, disappointing.

Beautiful People—David Guetta/Sia (6.2/10)

This isn't the first time we've seen Guetta and Sia on a song together; last time we did, it went UK No. 1 and was a memorable smash radio hit that's still played on radio today. Now, will Beautiful People live up to that? No, I'm confident it won't, just like most musical duos after releasing a smash hit together; their next songs don't live up to the original hit, just like with Calvin & Ellie's 'Free' or Kendrick and SZA's '30 For 30,' etc. Guetta gave a less action-packed production, and it felt like the song didn't have much of a memorable hook, unsurprising because Guetta just sucks nowadays. The song still spares along the lines of fun and gives something that sounds like a summer song. I won't bash it because it's not terrible; it is repetitive, though, because now I see what people mean when talking about Sia's lyrics; they are the same as before and don't present much to the song, unfortunately.

Anxiety—Doechii (8/10)

And now the famous segment we all know and love is in a song, and Doechii nailed this too! The rest of the song kept the same level of sound, which I really enjoyed, and her vocals were soft and smooth, which was relaxing despite what she was rapping about. In the end, Anxiety sounds like it could be going places; social media should really pick this up!

Swing For The Fences—Elton John/Brandi Carlile (8.2/10)

LOVE to see Elton back, and just like the first single from these two, the second one is a smash hit! We could be having album of the year from these too! My only complaint is that Elton was a little hard to hear and got less time, and that's sad because I would've loved to see him get more of a part. Aside from that, this had a lovely, fun, and light piano melody along with an absolutely delightful production that sounds like the previous single along with sounds that feel very in tune with giving you a memorable listen. Elton has still got the power!! The rock along with the easy, stylish listen makes it sound like something that could be heard in a movie scene with a funfair; love this so much!

Future Tripping—Kelsea Ballerini (6.9/10)

Well, it just scraped the mark of acceptable to replay; it's not as good and as thought out as some of the singles from Kelsea's previous works, but it's definitely an alright step in the next journey of her career; it's just not an exciting step.

Sweet Dreams—J. Hope/Miguel (7/10)

I thought this was going to be interesting, and I was right; it's giving something that would've fit on Mac Miller's 'Balloonerism' as a good track. Miguel is very much capable of making something memorable, but when I saw J. Hope, I was questioning how this would sound. It turns out Miguel ruled most of the production elements, which I thought was a very good choice, and J. Hope did a great vocal job. A pleasant surprise!

Can You Please—GELO/Glorilla (5/10)

Flipping heck. GELO won't his breakout song Tweaker die will he? The start of this song is an obvious near-exact copy of that song, and the whole song ends up feeling like a tweaker remix with even lyrics of tweaker copied, not to mention the continuously rap crap lyrics where there are hawk tuah references from Glorilla, as the whole song is just about sex and the usual gangster activities, as the lyric video features money pouring down the screen. So, why did I spare this a five? The beat may not have been impressive, but it's definitely punchy and hits hard; it does what it's trying to do and well. What I don't get is why every rapper just talks about the same damn thing; it's so dull.

I'll be gone—SASAMI (7/10)

Just a really easy pop song that sounds easy to navigate, not special but not bad either, quite a calm listen.

Options—Cameron Whitcomb (6/10)

Sounds like something that Noah Kahan would do a great cover for, and it would even be good to push this to the American country radios as well. It's emotional, has those classic guitars often seen in the genre, and has a voice that sounds devoted to the song. As much as this isn't great, it sure will be for many people.

Enjoy Your Life—Tokimonsta/Oby Onyioha (6.3/10)

It's just a fun song with character flowing through the whole thing; it's not so common either; I respect this.

ILY - Kapo/Myke Towers (7.9/10)

Tell me why I'm not trashing this. I was expecting this to be a bland disaster after knowing more of the previous works by these artists, and it wasn't a disaster at all. The song made me feel like I'm on a beach in a foreign country and just enjoying my surroundings. Another way to say that would be that this song is relaxing in the way it sounds. I don't get the lyrics, so hopefully that doesn't stray far from what I've said, but I am just going off sound.


Do you think you could love me? - Yung Kai (3.9/10)

I don't know if I could love you, but I definitely cannot love this song. The mood just feels so depressing, and that's not to do with how it's supposed to be; I'm saying that in a critical way. Kai's voice is so languorous.

Classy Girl—Turbo/Gunna (4/10)

Yeah, yeah, it's also all the good-looking girls and how they want to take them all over the world; the beat is so dead and reflects no improvement for Gunna; it equals lazy.

Pop n Olive—Samara Cyn/Sherwyn (5/10)

Didn't really understand this.

I need a doctor—Youngboy Never Broke Again (0.2/10).

Grow up and get help. No way you can still be pumping out this poop stain of a song; you sound utterly LAUGHABLE. The vocal performance was so garbage that I'm seriously angry at this. He literally screeched "ANOO GARTAAAREAGHVCGHB," whatever the hell that means, and there's still YouTube bots commenting "real ones stayed up for this." I would have stayed up to stop this from coming out; the production choices were such a joke that I'm in shock this is a serious artist. I'm not even going to make a serious analysis on this because it's a waste of my time.

Run It Up—Hanumankind (7/10)

Really energetic and straight to the point, but this time not heading for virality it sounds more real to what they want to put out rather than trying to make their way up the charts.

Santiago - Richy Mitch And The Coal Miners (6.7/10)

I'm pretty much pleased with this; my favourite part was the extra boost at the end, which gives it a needed final push to uplift the song's quality. The vocals also were fittingly aside the beat; it totally works.

Happy Birthday—Black Country, New Road (4/10)

I can't hear anything that the singer is saying. The making of the song has some really questionable choices. Due to how dull they are. Black Country, New Road need to sort this out because just like their last song, this is nothing special. This is not special, and people overrate this just like K-pop stans, but instead it's not K-pop. Anyways, that was just some quick fire opinions to give.

Call me if you miss me—Max McNown (4.9/10).

Weak all over, some of the flow feels like a Taylor Swift filler when she's just rambling on about something even if it doesn't match anything about the song. Max's vocals felt like they weren't hitting the notes the song needed and instead were just going along for the ride as if he's shy.

Amigos? No. - Oscar Maydon/Neton Vega (5/10)

As you can expect, it's their usual, which if you've been following my reviews, you will very much know that I dislike their usual due to it being the same things heard everywhere else. I can be asked to explain the same thing again; I'll care when they make something new.

Edge of the world—MEDUZA/Innellea/GENESI/Nu-La (6.9/10)

It has some really loud and clear beats on this to keep you energised; it's a fun dance/electronic track that's sure to keep you going, but to me, it's nothing beyond the realms of fun.

BAD DECISIONS—Nemzzz (5/10)

It's the exact same rap/drill that we've seen from him and from others for possibly a decade on end; it's repetitive, it's supposed to be hitting, but now it feels tiring, and Nemzzz has lost the spark.

Satanised—Ghost (5/10)

Is this satanic or nah? Google won't make it clear. I don't want to promote Satanism, so I can't say this was good, but I don't want to be biased either, so I'll just say the beat was good.

Sex, Drugs & Existential Dread—Chloe Qisha (7.4/10)

Very different from her usual, it feels like something that a lot of music critics would like due to its more alternative sound that submerges you straight into the mix. Chloe Qisha has been one I've been keeping an eye out for a while; she legit sounds like she could be the next breakthrough. There just needs to be a lot more backing behind these singles, and voila, then we've got something going. Oh, and one piece of criticism: please take out the line "the world is on fire, let's go get Taco Bell." That one line makes me have a lot more dislike for the song and did affect the score, especially when the viewers thought they were working with a hot, getting-in-the-mood atmosphere.

Rich Junkies—Bay Swag/Kyle Ricch (5.2/10)

Sounds like a partly experienced rapper off of BandLab. That's not a huge insult, unlike the other things I've said to these rappers. Take it or leave it.

Nightlight—Livingstone (7/10)

Very well put together song; it's what you would expect from Livingstone, but I still pretty much like it. It's a "let's make an average but good song" move rather than trying to level up his skill set. After all this, though, I don't really care for the whole album. It's a sweet indie song about waiting for someone; it sounds like something Alex Warren would make in case you're interested.

If You Hadn't Been There—Dolly Parton (7.5/10)

Dolly is still rocking it at her age! It has that beautifully natural sound where it's clean and avoids using any non-natural extras that kill the clean feel. I love how she's keeping it real; hopefully, there's more!

Smoker—Jack Van Cleaf (9.3/10)

What an absolutely heartbreaking and truthful song that captures the feelings and stories around how he's smoking, from how he never thought he would to openly admitting that it became a habit. The pitch change in the vocals, particularly on the 'Smoker' part, was something that really added to the track and gave it a more raw and honest aspect. We should never let people promote smoking, but sadly many do, and now today we have people hooked up to oxygen masks fighting for their lungs. Don't smoke, and if you do, try to stop. This song really highlights everything on point and the guitar with the beat that makes you constantly think in a trance; it's truly a song we need in this world.

Back To Life—Wilkinson/Julia Church (6.2/10)

Reminds me of Sonny Fedora and Clementine's song a few weeks back, very simple and just lacks anything to propel its popularity forward; it just equals some DJ with an ascending beat and female vocals. We could've gotten better, but it's still alright.

WORTH SOMETHING—Icewear Vezzo/Big Sean/Skilla Baby (6.4/10)

Uninspired? Yes. Was the beat still kind of tough despite being part of rap crap lyrics? Yes. For that, it gets a 6.4 for channelling my inner gangster.

GFY - Julia Michaels (4/10)

Reminds me of Caity Baser or Mae Stephen's common and cringe song style, in the lyrics and in the production; Meghan Trainor probably would have gotten on this song without any question. It's the classic heartbreak framed in a more clever word style that doesn't sound clever at all; in fact, this just sounds stupid.

Girl I Never Met—Corey Kent (6.8/10)

I approve of a country song, finally, a random country song that keeps the country base while actually having style rather than sadly slugging along. The rock guitars fit well with Corey, and the production value is quite good for this.

Perdido—Gabito Ballesteros (3/10)

Yeah, I can't psychically get through all of this; from most of my listening, I can tell it's Mexican/Spanish crap (basically the same thing the artists here always pump out—when I say _____ crap, that's what I mean, and in this case it's the same trumpets and style of production that you can't tell apart from any other song of the genre).

Heaven On My Mind—Tobymac (7/10)

Finally, some good Christian music! We need to take out the common stereotypes that tend to come with Christian music, and this song does exactly that with an uplifting pop sound and easy-to-listen vocals. If only it would trend.

Abyss - Chloe Moriondo (6.9/10)

Really basic pop sounds like something that modern-day Rebecca Black could get on, and I don't mean that in an insulting way; basic doesn't always mean bad.

I got questions—Ken the man/Kaliii (4.9/10).

Rap crap, moving on.

---

Gone Girl—Neriah (5/10)

Sadly, this is like her previous song 'Don't Let Go,' which I tried to get into but feels as plain as your mouth when you wake up at 3am. Why can't Neriah stray out of making songs that sound like pop fillers that are only slightly liked for the sake of having an upbeat hook that sounds like 'Cruel Summer'?

Gone Fishing—Mackenzie Carpenter (8.2/10)

US country rock with a true powerful edge to it, Mackenzie's vocals have a powerful force. She's my new favourite Carpenter, much better than Sabrina Carpenter at least.

Sometimes—Tiago PZK/Teddy Swims (5.5/10)

Ok, so Teddy Swims needs to stop rapping because he's not good at it; instead, stick to the things like in 'I've Tried Everything But Therapy (Part One)' because this is a big downfall. Tiago gave a fairly okay opening; he did better than Teddy at least, just not by much. Teddy wants to step outside of playing it safe, but it's not working; the best I can do is applaud the effort.

Another Day—Adrien Nunez (5.6/10)

If Myles Smith was white, this is what his music would sound like. Flat and tasteless but somehow still manages to mean something in all its boringness.

Only God Knows—Struggle Jennings/Jelly Roll (4.5/10)

Do something different. Jelly Roll! Come on! This is the exact same rock he's been putting out for years with a message we've all heard, so repetitive, the same thing with the background, does nothing.

Can we talk about Isaac? - Rachel Chinouri (5.1/10)

Ok, I'm going to be honest, I've heard little from Rachel, but I don't get her huge appeal. The only thing I quite liked from her was when she did 'Even' with Cat Burns, but apart from that, it just sounds like there's nothing really to these songs; they're like unseasoned food, not really appealing. Rachel, try and jazz things up a bit, please.

Straight Rhymez—Aitch (6/10)

There's one problem here that makes me have a sour taste towards the whole song. Is it the beat? No, the beat is excellent and adds a funky side along with a clear character beat that sounds anything but boring. Is it the vocals? No, Aitch has great flow and can keep up easily and is great at doing that. Now, I'll tell you what it is: Aitch is chatting absolute rubbish as usual; you are NOT a top 5 rapper, and anyone who doesn't bring you up in a conversation about the top 5 rappers just has common sense! Don't let the pride get the best of you. Aitch, he then talks about how he never lies, despite what he says contradicting itself, as I explained when reviewing 'A Guy Called.' Aitch simply thinks he's the biggest and can brag about anything, and because he has a few great songs upon a mountain load of bad ones, he thinks he's entitled, and for that, the track gets me mad. There's a load of other lies there to which I'm not going to waste my time on. Without these bad lyrics, the song would be an 8.5 or so.

KAROAKE - James Arthur (3.7/10)

It appears James Arthur's run of making ok songs is over. The start sounded like it wasn't mixed to the best potential, the middle sounded like one of the most basic pop songs known to man, and the end sounded like I hired a Lewis Capaldi impersonator from Fiverr.

Maria Magdalena—Sevdaliza/irmas de pau (2.5/10)

Just unneeded filth that seems satanic, Sev's viral hit 'Alibi' was a lot better.

Function—Big Zuu/Capo Lee/INFAMOUSIZAK (6/10)

Biz Zuu carried; if the other artists lived up to his verse, then this would've been like an 8/10, but sadly, though, they didn't give their all at all, and it ended up just being entertaining because of Zuu.

Take A Pic—Ashley Walters/Giggs (5/10)

This was not as slick as they think it was; in fact, nothing here was worth listening to or talking about. What I do want to talk about is how Ashley Walters sounds like the name of a retired 95-year-old white grandma who spends her last days baking cookies; turns out it's a young, Black male who looks like they make gangsta music. Dude, get a name change right away. ???

Lonely Love—Hybrid Minds/Ashley Singh (6.4/10)

We can take this; it's not the worst. It just doesn't hit the point on whatever it's trying to give; the verses, background, and style all feel like they miss the mark and instead deliver average.

PSILOCYBIN & DAISIES - Jessie Reyez (8/10)

It reminds me of another song that I can't remember; the name is on the tip of my tongue. Anyways, this is too short. I would love a longer version because this song feels super refreshing, and there's some tone in the track's vocals and bass that just makes me fall in love with it.

Cage El Paso - HUGEL/DERON/La Payara (3.8/10)

Pretty forgettable, don't you think?

Mandigo—Wu-Tang Clan (9/10)

Ladies and gentlemen, this is how you do a rap song. It's gritty and has those backing vocals that bring the before 2000s sound, although it still sounds like it's fit for modern day. I believe this could be part of the movie due to the credits and character scenes inside the song; if so, this must be a great movie because this is awesome! Not only that, but it has a wild and full, out-loud and clear sound that is bound to turn any frown upside down, with the screams and cuts fit into the perfect place.

Gethsemane—Car Seat Headrest (5/10)

I can't make it through this; I just can't sit through 11 minutes straight of an old progressive/indie rock with guitar and vocals, and for me not being able to listen to it, I can't like it. If it was shorter, this would have gotten more points from me, though; instead, this is just time-consuming.

Skullcrusher—Yeule (4/10)

Eugh, what is this two-minute mash-up of ear-splitting sounds? What is even going on here?

Ripped apart by hands—Weatherday (6/10)

Sounds pretty deep; if the production was a bit clearer, that would've been nice. Sounds like something Gigi Perez might make.

NASTYWERKKK! - I legit can't say the artist's name because it could get autocorrected and then my content could get banned. (5.9/10)
, ,
It started pleasant, but then the vocals were drowned in the high volume and meant nothing. Sad. I'm only giving it 5.9/10 because of the good beat.

Thousand Yard Stare—Kmoe (7/10)

Production was the key element that made me give the score I did; the fade-out to the vocal blend captures a real essence in the song that I love to see.

Destiny Arrives—SPELLING (6.9/10)

Nice addition to the album, powerful vocals on a really well-made soul-rock song. I still don't feel the need to hear the full album, though.

High Horse—NMIXX (4/10)

I don't care what the mega stans say; it's still boring girl group K-pop. I don't care if there were a few vocal changes and it's not an identical copy of others in the genre; it's still incredibly boring because not much is done here.

Head Hunting—Key Nyata/Pouya/Denzel Curry/Shakewell/KXLLSWXTCH (8/10)

I like the detail and care that sounds like it was put into this. I rarely like southern hip hop, especially ones overpacked with artists, but this was a switcheroo from the usual. The hook feels sharp and intense to keep you hooked with a continuous loop that holds up really well.

Magic Clock - F5ve (4/10)

It's the same K-pop girl group that somehow probably has diehard stans despite them making music like any other K-pop band that has no flavour to it at all.

UK B*tches - Ovine Hall/Kurtains (3.8/10)

Maybe if it wasn't hard to understand piled-up slop, then the beat could actually be used.

+ Sargasso + - Vildhjarta (8/10)

I have no way to understand their words, so I'm just basing my rating off the sound, and the piano parts along the heavy rock were pieced well. I think Linkin Park would put a great addition to this song.

The Strip—The Orchestra (For Now) (6/10)

This has a really unexpected drop in depth, which needs to make you change the volume (which isn't the best). The rest of the song is well put together; it goes all out for the guitars and screams and puts on a good image for the act. Sadly, there's blasphemy, which makes me like it less, and due to that, I can't get into this.

Bad Influence Freestyle—LUCKI (5.2/10)

I have mixed views on this; some lyrics appear sharp and well phrased, while others feel paused to think for the freestyle, along with this not doing much anyway. It definitely doesn't need to be 5 minutes.

Stardoll—Ninush (8.2/10)

Seeing that I'm lying down at 10:30pm, it's very nice to get a soothing and easy listen; most likely the most relaxing thing I've heard in a while. The orchestral instruments coming in made me smile so hard because the gentle vocals with it just want to make you drift away in sleep, honestly beautiful, and I'm thankful to witness this.

Tongues—Thornhill (6.9/10)

It's really giving the 90s nu metal sound really well; reminds me of Deftones.

Love You Anymore - Mario Judah (3/10)

No offence here, but I'm not a fan of Mario's accent; his voice doesn't feel like something I can get into. This song was also just less than two minutes of confusion for me because I didn't get the end goal of the song; either way, nothing here impressed me.

Blue Demon—The Voidz (8/10)

The song is really catchy and sounds like something that the radio could pick up; the problem for me is that the immense autotune doesn't help with the song like they think it might. I think it's better using a more natural vocal choice. I'm getting into these synth-funk songs a lot more now, though.

Hell Raiser (Freestyle) - Lil Uzi Vert (3.8/10)

Why should I be surprised? Lil Uzi is putting out more demonic music as usual, but that's not even the main issue because what the hell is this beat? It's just random noises and sounds put onto his freestyle as if he never had a real producer. I mean, who would want to produce this anyway? His freestyle wasn't the sharpest.

Selekta - Kyle Gordon/Albie Wobble/Trixie B/SIDEQUEST (4.7/10)

At most this track will get a play on a Radio One show that nobody chooses to listen to by choice. Some of these verses were so bad that they escaped the studio.

Pumpkin—c418 (8.2/10)

I'm so glad that I discovered this guy! Really peaceful song; it's gentle and something you could fall asleep to, but at the same time, it's addictive to replay. No wonder why they got this guy to make the Minecraft songs; he's a pro.

Crystal Roses—Spiritbox (6.9/10)

I wish I could hear what they are saying, but apart from that, everything else is a check.

Pondeggi - E Wata/Yaeji (3.2/10)

The track is so long that it feels tiring, and whoever the second person on the song is sounds AWFUL; they are not cut out for music; they show no music talent whatsoever and completely ruined the song due to them being all over it.

Double See Freestyle—Lil Uzi Vert (4.8/10)

It's not as bad as his last freestyle, but in parts, Lil Uzi does sound like the majority of gang rappers who flood their vocals with autotune, resulting in them sounding like an alien species. At least he can rhyme.

Damn Right—JENNIE/Childish Gambino/Kali Uchis (7.1/10)

This is the first really good thing I've heard from the JENNIE album. Childish Gambino had the best part here; his part was executed correctly, and it provided the clean change in the song. Thankfully, that was followed by another clean vocal change by JENNIE. I think working rap into the album went away from playing it safe, which I'm pleased to see JENNIE do.

Like JENNIE - JENNIE (8/10)

And this comes as the second single. I really liked this from this album! Wow, I really think this should've been a main single! It's got an incredible dance routine as well. It has that constant pattern and fast ups and downs that make it like an action movie and keeps you hooked; Jennie's vocals are on point and fit in well with the constant pulse of the song. Give this a try!

[Mellope]

Last weeks:

NEW MUSIC FRIDAY SUMMARY AND REVIEW 14.03.25 #23

GOOD CREDIT—Playboi Carti (7.9/10)

With an uncredited Kendrick Lamar feature, Good Credit is off his long-awaited 'I Am Music' album, and I can't even lie, the Kendrick verses carry. Kendrick's flow is a lot more catchy and feels more naturally strong. Carti does deliver a good verse, though. The gritty trap/rap beats are really giving the centre of what rap is, and that makes the song a lot better. I think this definitely has potential!

The Giver - Chappell Roan (1/10)

In this song, "The Giver", Chappell Roan is in it, and in this case, she has given us a pile of steamy hot garbage. The Giver represents the pop-to-country crossover that nobody wanted; the lyrics follow the same cringe copy and paste from Chappell's other songs, where she tries to spread the message about how a country boy doesn't know how to treat a woman right and only a woman knows how to treat a woman right, if only she didn't put this message across without sounding like she's Nikocado Avocado at a pride parade. The production here really resembles basic country music that poorly gives across her fun energy and instead feels forced. Please don't lean into this era, Chappell.

SMOKE THE PAIN AWAY—Calvin Harris (1/10)

Yeah… It's a big fat NO from me. Calvin Harris has never even come close to failing this bad; most of the time he impressed me by always coming out with a summer hit, but this time he just destroys his reputation. For once in a long while, Calvin is the vocalist on the track, and his vocals are absolutely horrid; he sounds like a grandpa who's been smoking too much. The song background goes into more country music with a harmonica to make up the key part of the sound. It genuinely sounds so cheap, and I'm frankly just really shocked that Calvin Harris would put out something so low quality that sounds like the equivalent of a country filler song. Whatever he thought he did, he didn't do; this sounds like a troll.

FUFN - JADE (2/10)

JADE is making yet another solo mess with this one! JADE is a definition of a diva without the D, I, V, or A. This song resembles exactly what we don't want from someone trying to give off bold and main character vibes. It feels like it has no substance whatsoever and instead is just a pop song that's incredibly basic and doesn't even have any part that wows you. I'm sure the JADE fans will like this regardless, though.

Relationships—HAIM (6/10)

Passable and fun pop, nothing more than that.

OG crashout—Bhad Bharbie (3/10)

After the success of Bhad Bhabie’s first diss track, 'Mrs Whitman', she lands at YouTube trending No. 1 once again, sadly. And I can just smell the attention-seeking from a mile away with this; I don't really care for diss tracks; I think they're stupid, and especially with this one because it takes me back to 2015, where YouTubers were making disses on their mothers; that was a really corny era. I will say, though, Bhad Bhabie can rap, and she had some lines that were alright for a diss, if only she didn't advertise her OnlyFans while doing so or constantly just repeat the same words and phrases. Not as bad as 'Mrs Whitman', though; let's hope we don't get another one of these songs.

Boys Don't Cry—Tom Grennan (7/10)

These singles from the upcoming album have all been pretty good! If everything on the album is this consistent, then we could be seeing a hugely memorable album of 2025. This has the power the first singles had, and Tom's power, his vocals, are like no other in the music industry and are really refreshing to hear. What we need is a better rollout. Tom has so many hits that sadly don't get recognised, and they sound like something that'll bring a unique edge for radio. The hook is thumping with the high frequencies and has really solid backing bass that supports the layers of the song.

Sunset Blvd - Selena Gomez/Benny Blanco (1.8/10)

Yeah… this album is lined up to be exactly the way 'The Secret Of Us' went. Selena sings in a whisper-like tone where she appears to eat Benny Blanco in the music video. The buildup to the chorus is unstable and comes out of nowhere while not even matching the buildup; it's horrible. This could be the worst album of 2025 already.

HOTBOX—Lil Nas X (7/10)

I don't like Lil Nas X due to the disgusting attention seeker he is, but I must admit that this is still really fun while maintaining a distance from playing it safe; whatever effect he used on the vocals and sound gives it a really cool futuristic vibe.

Still Bad—Lizzo (7.7/10)

Much better than the main single! It has the Lizzo that the people want, the fun Lizzo, the positive Lizzo; this is the good Lizzo. I'm still not convinced that this lives up to some of her previous chart toppers, but I'm still in for it. I doubt this will go anywhere, and sadly for Lizzo, this album is prepared to fail unless this goes top ten minimum. But at least it sounds like another route Lizzo is going down; it's nice to hear something different.

Let Me In—Dermot Kennedy (5.1/10)

Sad to see Dermot miss; he didn't really do anything to make this song a replay. Sounds like his usual but even more boring.

Misery—Billy Woods/Kenny Segal (7/10)

This had some really interesting production choices that are really good. The drum loop worked well with the clean rapping.

Emergence—Sleep Token (5.5/10)

I really can't see what separates this song from others and makes it amazing.

[Mellope]

NEW MUSIC FRIDAY SUMMARY AND REVIEW 21.03.25 #24

Just Us – Jack Harlow/Doja Cat (2.5/10)

Bro, Jack Harlow dropped one of the best albums I've ever heard in my life, and now he's back to doing the same songs that you might have heard from the 'Come Home the Kids Will Miss You' era. First of all, the lyrics in this song are worse than basic, and here are a few examples:

"Cause I'm tryna bust nuts in this b*tch."

"Slow it down like macaroni."

"Yeah, I'm that stupid, like, duh."

And then more lyrics which just have "Huh" as the cutoff point and just get cut off mid-vocals – especially for a chorus; this is really off-putting. Doja's vocals also usually follow a sharp, quick flow, but this doesn't have anything closely resembling that; it's like watered-down Doja. The production is really weak and feels like how most couple songs go; they tone it down on the production, and on this, it doesn't even feel like it was engineered to its best potential. The backing sounds like it's someone talking with a drum loop, and it doesn't work well with the vocals. Overall it's weak and a disappointment.

I'm A Little Crazy – Morgan Wallen (5.9/10)

Not again. Morgan... goodness. Every single from this upcoming album gets worse and worse than the last, and it's happened again; Morgan needs to stop this. This is the same country music that has no hook or real reason to have the song propel, and instead is just really simple, low-effort music that sounds ok to the ears, but that's about it. It'll probably still go high in the US charts, though, because it's Morgan Wallen.

BOUNCE – Aitch (4/10)

This guy really thinks he's a top five rapper – the best thing here was the production, which partly reminds me of 21 Savage's 'Redrum'. The song is just about Aitch wanting sex and the classic rap crap activities, I presume the title is supposed to refer to bouncing people's bums, seeing as he mentions that in the song.

Younger and hotter than me – Selena Gomez/Benny Blanco (7.9/10)

This feels so much deeper and has a lot more soul in it; a pleasant surprise considering that I didn't like the first three pushed songs from the album.

Love Me to Heaven – Jonas Brothers (3.9/10)

Wow, the Jonas Brothers are still making songs that sound like they came out of an animated Disney movie or an American fast food restaurant with a ball pit. So unoriginal and soulless, put the fries in the bag.

Southbound – Artemas (5/10)

The production is the same throughout and doesn't constantly amaze, but rather it's just in front of you.

Your Name Forever – MGK (6.2/10)

A strong beat and vocal performance that's impressive but not a replay.

LEAN ON MY BODY – Lil Nas X (6.5/10)

Is he just going to keep dropping singles until we have the whole project? Well, either way, the rapping on this was smooth, and the production fits with 'Hotbox'. I think he's onto a unique summer sound; I think the album will perform well.

Bed Rest – Conan Grey (5.9/10)

I can see why this wasn't put on 'Kid Crow'; most cut-out tracks don't have the potential to be in a full project, and I think releasing this was a show of quantity over quality.

CUPID'S GIRL – MARINA (8.4/10)

Elegant yet fiery and so damn well made!! It sounds like Debbi Dawson's style of production.

Galt – LP Giobbi (8.1/10)

Such an amazing instrumental, and it's combined with sounds that make it feel like house music, but yet it still has that range of piano keys that give it a unique feel – collaborating two known sounds so it sounds like something new is a smart idea, and it works!

Starry Eyes – Good Neighbours (6.5/10)

Stargazing but better. 

Don't Wake Me Up – James Hype (6/10)

I've been a bit of a fan of some of the EDM and drum and bass that's come out of James, but this just feels made for a Radio 1 show that nobody cares about. In other words, it's really bland and dull.

Can't Hide It – Lil Durk/Jhene Aiko (6/10)

It's definitely an improvement from Durk's previous songs, but I feel that's because of Jhene Aiko; it's not the first time Jhene has made a bad artist sound good.

Wish You Well – Avery Anna (6/10)

Basic, but yet again, that's not a surprise considering that we are talking about Avery Anna, the same woman who made 'Indigo'.

[Mellope]

NEW MUSIC FRIDAY 28.03.25 #25

WW3 – Kanye West (0/10)

This song was deleted by Kanye, but I'm still reviewing it since he dropped it. 'WW3' is an under-two-minute rant where Kanye talks about how he's a n*zi and addresses and defends his disgusting rants on X. The lyrics on this are just straight insane; here's a summary of them:

"I'm antisemitic, fully."

"They say I'm acting like H*tler.
But how am I acting like H*tler?
When Am I A F****** [N word]"

"They're telling me to get off Twitter; I voted for Trump, not Biden. I know some went to that island."

Yeah, there are a gazillion more terrible lyrics, but I just really can't be asked to go through them all. And the beat is not savable one bit; it's totally a cheap layout that was only designed for an attention-seeking rant. Not to mention that Kanye sounds completely AI on this. Don't listen! Contender for worst song of 2025.

Twilight Zone – Ariana Grande (7/10)

We have finally got the deluxe version of Eternal Sunshine, and with that comes this song. It sounds like a mix of 'The Boy Is Mine' and 'We Can't Be Friends', but something that doesn't equal the value of either. I mean, it's not bad, but it's not great. It would've totally fit on Eternal Sunshine, though. And this song has the lyrical value and the emotional value; Ariana has always been one artist with a signature style, and to balance herself out, but she does it especially well on this, and she takes it more easy while still sounding radio-friendly. Good song!

Physical – Dua Lipa/Troye Sivan (5/10)

Dua Lipa really took a feminist power song that's about how she doesn't need a man to save her, and then she put a man in her lyrics... that makes zero sense, but Dua isn't the smartest cookie, so I'm not really surprised. The original was a dance banger, but Troye doesn't work and adds overly autotuned verses while trying to unsuccessfully align with Dua's voice.

FOMDJ – Playboi Carti (4/10)

After the second half of 'Music' had a downfall, it appears that the main single on the Deluxe follows the dominoes of bad songs; Carti's meaning is blurred, he uses a pumped-up sound and just creates crap that goes in one ear and out the other.

Up From The Bottom – Linkin Park (8/10)

Linkin Park once again show they are still strong after returning 5 months after their album. Emily still has those roaring and fiery vocals! She was a great choice for the lead singer! Parts of the mixing give the 2000 classic DJ sound where they put their fingers on the record deck; the effect worked really well with the rock guitars giving the booming effect that Linkin Park commonly gives! I'm looking forward to seeing what's next!

Stained – Selena Gomez (3.8/10)

Ok, we got rid of the TikTok song feeling. But there's still a problem: this is like some of the songs on her collab album, but instead, this is even slower and more boring. Any life or potential was sucked out of this song, and in the end, no talent is really showcased.

YIPEE-KI-YAY – Kesha/T-Pain (0/10)

I'm going to be completely honest; I've only ever been disappointed with a song this much a few times in my life. This song now stands as a contender for the worst song of 2025. This song combines country-pop (yes, another country transition in 2025!). Yikes.) With T-Pain's soul-crushing, ear-melting, brain-liquefying auditory ebola of autotune and vocals. The mix ends up sounding like Desi Trill's and DJ Khaled's collaboration earlier this year. This sounds like a song from a Pixar movie that involves two animated cowboys in a dancing scene; it's truly the worst of the worst. I think Kesha forgot that she's not serving her music to babies. And I can't say I expected good from Kesha, but I didn't expect her to give us something equivalent to this! Oh, and for T-Pain, he's one of the worst artists (maybe the worst) to ever exist in the history of mankind, and that's coming from someone who's heard thousands upon thousands upon thousands (AND THOUSANDS) of different artists! He's contended for the worst song of the year not once, not twice, but three times! And that's a lot, considering I've only been doing the worst songs of the year list for two years and wasn't even paying a tonne of attention to the deeper music scene last year. I'm shocked how this is getting a mid-user rating too. THIS IS A SIGN THAT THE WORLD IS ENDING. THE BLUMMIN GEDIGADIGADIGADIGO CHICKEN NUGGET BRAINROT SONG WAS BETTER THAN THIS!!

Sunshine & Rain... - Kali Uchis (4.9/10)

So... I'm the first person to say that this song isn't decent out of around 150 ratings. The song is really tedious for me; I can't get into the mindset the song wants me to even if I try. I don't think Kali gave her all here.

UNLIMITED – NAV/Playboi Carti (4.8/10)

I listened to thirty Carti tracks the other day, plus some of the Deluxe. Trust me, we do NOT need more music; I'm fine.

Bullseye – Lucy Dacus/Hozier (5/10)

Hozier was on a good run, but that's now over. This is just extremely lacking of Hozier's style or even Lucy's previous songs; it feels like there had to be another single, so they just put this forward. I actually can't name one thing they did which separates themselves from others.

Godstained – Qaudeca (7.5/10)

Really chilled-out harmony that's relaxing to the ears; it's my first listen to Qaudeca, but it won't be my last! Oh, and I love those gentle guitar strums.

Vanish Mode – Lil Durk (2/10)

Lil Durk was never a master of lyricism, but this is awful; definitely not listening to his new album. This guy is rap crap official.

What Are You Waiting For – D4vd (8.9/10)

Never thought this would release with a Fortnite montage lol. Anyway, this album could be album of the year! And this single leans into a whole new realm; it's giving summer vibes with fresh drum pads and then a melody that sounds like a lighter summer version of the one on 'People Watching'. It's unique and something that radio can jump on! Which is a match made in heaven if everything goes well! Please check this out; you'll love it!

Caroline – Mumford And Sons (7.1/10)

Yet again, another great song from Mumford and Sons! That's 3/3 good songs that I've heard from this! I feel really enticed to hear the full album. The things I've heard from this are a good balance of folk-pop and strong melodies that hook you; I hope they get more attention.

You – Coco Jones (7/10)

Coco has really on-point and luxurious-sounding vocals; she adds her character really well on her songs, and this shows. It sounds like the 2000s R&B but with a Coco twist, and I like that twist.

Free – Little Simz (7/10)

It's a step down from 'Flood', but we could still very well be in for an amazing album; I'm just hoping Simz doesn't dip in quality that much. She's keeping the artistic ability on this, and her rapping brings an edge to the music scene, and she shows it really well on this; the layering on the production blends well with Simz, and I'm hoping the album (out May 9th) can do the same.

Bad Boys – Jax Jones/Rebecca Black/Sooyeon (3/10)

Rebecca went straight from 'Salvation' to sin. What the heck is this?! Don't tell me Rebbecca is just trying to chase the bag because this is Jax Jones worst dance mash-up to date. This song has the core pulses of EDM, but it plays it safe and only changes the song by adding vocal effects, which are honestly quite annoying and feel so artificial.

DILEMMA – Nemzzz/Central Cee (6.8/10)

Yeah… I'll give Central Cee this one; I wasn't expecting him to be good, but he actually gave me hope for this future music. His verses were quick and well delivered, even better than Nemzzz's part!

Blue – Chezile (8/10)

Honestly... this is matching his viral hit 'Beanie'. We need to make this guy go viral again because he made yet another deep song that captures you in a state where you feel like the song is really personal to you, and that's only after one listen. Chezile makes his music well; he's more than some viral TikTok artist. He uses angel-like singing along with beautiful instrumentals to create a heavenly harmony.

NYB – Jessie Reyez (8/10)

Wow! Another 8/10 for Jessie; after that, I'm seriously considering giving her new album a chance! This is really fun; it's a fun party song that sounds like it's good for mainstream radio while straying away from the generic stereotypes.

HARD LIFE – NLE Choppa/Carey Washington (6.7/10)

Ok.. conscious rap NLE is getting better and better, and it's definitely better than what he was before; the production level just needs to raise, though, because if it doesn't, then he won't look like a serious artist, especially on this with the overlapping of sounds not working the best.

Woah, man! - Mae Stephen's (3.5/10)

Mae showcases the cringe teen-girl pop that made her famous; her career is becoming like yellow teeth; it needs a clean.

Like You – Fire Salamander/Joji (0.4/10)

Nobody seemed to talk or notice this release, and I think it's because of a lack of promo. To put it in the clearest way, this sounds like glitchy WiFi on a Zoom call along with a heck load of mumbling and a beat that basically sounds like something you would hear on phone call hold music. It's a pathetic mash-up, to say the least, and extremely disappointing from Joji's last album. Big step down.

Dove – Model/Actress (8/10)

This is a very unique case of industrial electronic rock that uses high-pitch sounds and production voices that capture your attention – it's a keeper!

Could've Been Different – Blu/Shamir/McKinley Dixon (7.9/10)

This reminds me of Kendrick Lamar's older conscious jazz rap. Oh, and it's definitely a good build-up to the full album; this is 2/2 good songs now! And I also enjoyed the more orchestral sound this brings; this is real rap!

Baby Face Maniacs – Yung Lean (6.4/10)

A good job at an experimental beat, but the meaning and focus are unclear.

Child Again – Aimee Carty (4/10)

OH MY WORD IT'S SO BORRRRRRRRING. Everything she's making is getting so boring because there's little to no change. I also really dislike the way she sings; it's not as bad on this song, though.

Indigo – Henry Moodie (6.3/10)

Too common for Moodie; we need more songs like 'Drunk Text'.

[Mellope]

NEW MUSIC FRIDAY 4.04.25 #26

Azizam – Ed Sheeran (4/10)

This is Ed's weakest lead single ever, and now I've just lost hope in him entirely... He's not going to go out of his comfort zone, and he's still going to try and push bland radio pop that sounds like it's made for a children's costume party. I really regret having hope in this because I should've known that he was going to continue getting worse! This as a main single is laughable, and the worst part is radio will probably eat it up and make it go number one. Oh, and for anyone thinking, "Maybe the next singles will be better," he's actually already revealed three other song titles and performed one live. The live song is called 'Old Phone', and it's a standard sad guitar song! So it's official; we get a hyped-up hook, which is really Ed singing louder, and some low-effort dance-pop melody. Thanks a lot.

End Of The World – Miley Cyrus (7/10)

You know I'm happy to see Miley taking a new path in music and all, but this still just isn't the crème de la crème like people say it is. Sure, she's got some nice raspy vocals along with the more polished pop-rock sound, but this isn't exactly anything never seen before.

Potion – Djo (5/10)

I'm just not really feeling this… The only really good single from this is 'Delete Ya', and that barely made the 7/10 mark. The sound here feels like it's missing something… There's no spark here, just some romantic guitar song that has some effects on it to make it sound less generic; it just doesn't do much for me.

Tonight – Pinkpantheress (7/10)

It has her signature style while still maintaining an enjoyable sound!

23:42 - Rachel Chinouriri (8.1/10)

Rachel makes one of her best songs yet! This is epic! The slightly heavier background made Rachel stand out more, along with a more futuristic-sounding intro which blends into the sound more; it's a repeat!

Hoochie Coochie – Sexxy Red (2/10)

I hate how she screams in a weird voice near the end on top of an already lacking production. Imagine making your whole personality about how h*rny you are.

Silver Lining – Laufey (7.4/10)

Laufey has such a talent! My favourite part about her is her voice – it works so well on gentle melodies.

Back To Me – The Marias (6.4/10)

It works, but it just doesn't impress me. The Marias won't make any new turns with their style or make anything that hasn't been done; it's getting dull, but at least it's still a decent style they're doing.

Caramel – Sleep Token (7/10)

Better than their previous single, it brings more hope for what's to come.

All The Way – BigXthaPlug/Bailey Zimmerman (8/10)

BIGXTHA WENT HARD!! I actually love his deep vocals and the unapologetic way he raps! I didn't expect this to work with a country artist, but it did, and they changed back and forth in verses really smoothly; well made.

Gucci Mane - Jessie Murph (6/10)

Considering she's one of my least favourite artists ever and her vocals usually sound like a cat meowing out of pain, I'll take this! 6/10 is EXTREMELY high for Jessie Murph, and I think she's taken vocal lessons and picked a new direction because this softer sound suits her, and despite her inner vocal break coming in when she goes higher, she manages to maintain it slightly better on the emotional high hook.

Law N Order – GELO (6.4/10)

GELO is really for the funky rap beats! This still has some of the production placements that 'Tweaker' has; it feels like he's just trying to keep remixing his hit to get another hit.

Surrender – Alesso/Becky Hill (5.5/10)

Really basic electronic music.

Money Talks – Bossman Dlow (3/10)

Can this guy make anything else? Even his YouTube comment section constantly roasts him, and YouTube is like the nicest social media.

God Knows – Calum Scott (8/10)

I'm starting to really like this guy's stuff more and more! His vocals have powerful holds and deep emotion in them, and he sings the song how it sounds like it should be sung – the chord changes are smooth and develop more character with the song that further moves you.

Sweet danger – Obongjayer (6.4/10)

I was getting excited for the album, but this just doesn't do it for me – it needs more than the culture or influence; it needs more style.

The Flood – Aurora (7/10)

Aurora adds such personality and sounds like no other. Her music has a magical sound as if you're in another dimension.

Hello Again – Zoe Wees (6.3/10)

Sinners – Rod Wave (4/10)

After his tedious and disappointing 'Last Lap' album, Rod continues to go into the same roots that got him nowhere.

CCF – Car Seat Headrest (6.2/10)

I liked the composed sound of everything, but overall this just didn't click for me.

Double Trio Two – By Storm (4/10)

The Loud jazz instrumentals just ends up covering up all the vocals to the point where you can't hear anything and it sounds poorly produced. The beat could've been saved if it wasn't for that.

From me to you – Poppy/Babymetal (8.1/10)

These two have chemistry! The hard-core metal with the lighter singing voice is two things that many expect not to work, but this did, and it sounds like something which would work really well in a shooting game. It gives off gaming vibes.

[Mellope]

NEW MUSIC FRIDAY 11.04.25 #27

Henry, Come On – Lana Del Rey (8.3/10)

It's Lana's signature; she uses her soft vocals along with slow and expressive instrumentals that help bring across the meaning of the song. It's better than 'Tough' and brings hope for the rest of the album!

Blink Twice - Shaboozey/Myles Smith (7/10)

This just made it into a 7/10 or green rating; that was incredibly tight. Now, I may not be the biggest fan of Myles, and this collaboration may not be a big or even small step to making anything that's more original, but it's pretty damn catchy. It feels like the whole song hits as a hook with the guitar kicking in and the lively melody, which from the start pulls you into the experience quickly. This is a part of Shaboozey's deluxe version of his country album, which contains his hit song 'A Bar Song (Tipsy).'

ILMB - Travis Scott (4/10)

Travis, yet another forgettable rap song that adds to his already cluttered discography; let's just hope it doesn't debut as high as '4 × 4'.

Legends – Quavo/Lil Baby (4.9/10)

With the promo saying that the most comments get their rent paid, obviously to boost the algorithm, 'Legends' has been growing fast and might make a high-charting debut next week. Unfortunately, it's not anything special, and Lil Baby delivers the same as anything you could've heard off 'WHAM'. Quavo's verse is slightly better, as it adds more real character instead of the vocals feeling overaffected, and in the end, it serves as rap crap where the aim is mainly to flex about their status and what they've achieved, and the beat is a really tedious, overused one which you would hear in 50% of the rap songs which chart on Billboard.

Do What I Say – Kwn (4/10)

That was a waste of time... the snippet made me think that this was going to be somewhat enjoyable.

Blue Strips – Jessie Murph (6.1/10)

As said before, Jessie may have the worst voice in the entire music industry; she sounds like a cat clawing at the ground while being pulled away. But she's actually starting to slightly redeem herself; this is leaning into her more pop style instead of country, and I think the change suits her a lot better. If she keeps this up, then she'll no longer be one of my least favourite artists.

N Da Morning – 4Batz (8/10)

Who knew a song that eventually doesn't get to anything new could be so fun? Sure, it's just over two minutes of beat hits and a guitar that comes in and out, plucking one string along a chilled and relaxed beat. It's a good change to see for 4Batz.

Worst Of Me – Cynthia Erivo (7.6/10)

Outside of the wicked soundtrack, her solo songs are really promising and sound like something that, with a bit more popularity, could be highly remembered; these past few singles have been as good as some of the main pop stars! Cynthia showcases a powerful side of her vocals here alongside an expressive song where the spotlight heads to Cynthia and the ballad rather than the beat itself. I can see why she's meant for theatre; just don't go playing Jesus Christ, please.

Weightless – Martin Garrix/Arijit Singh (7/10)

Martin collaborates with arguably the biggest Indian artist, Arijit Singh, on a dance-house song which has a good tempo along with the synthesisers, which are sometimes paused at the right moments to give a solo vocal piece by Singh. I thought that added to the quality of the song.

A baby girl named Heaven – Sam Austin (7/10)

Another great showcase by Sam!

Bubble Pop – Bootsy Collins/Ice Cube (7.7/10)

Wow! This was pretty fun! It sounds like something people would've gone mad for decades ago as the male and female rap-pop was coming to light more and more. The production on this is quite old school; even the vocals are too, and it's like as if you were in Las Vegas in the 70s, at least from the movie descriptions.

Friday Prayer – AJ Tracey/Headie One/Aitch (7.8/10)

UK rap appears to be improving; every artist here delivered a clean verse, and nobody totally carried the others; they all played a part.

Candy stores – Charlotte Plank (5/10)

Honestly, really boring.

Heartstrings – Disrupta/Goddard/Charlotte Haining (6/10)

It has the thumping bass and high vocal melody but just feels like it's missing originality.

Doubt (Demo) – Twenty One Pilots (5/10)

Horrid use of autotune upon a forgettable beat layout.

That's What You Get - Anne-Marie (7/10)

Definitely better than the songs from her previous release of 'If You're Looking For A New Best Friend'. It's not cringe, unlike some of Anne's previous attempts, and instead has a really nice guitar and light violin intro with softer lyrics from Anne, which goes into a more up-and-down strumming motion with Anne's vocals reaching the higher-pitched hook in the breakup song – and this is one of the best things she's made in a while, which is a pleasant surprise, seeing I soured on her music for a second.

Knock Knock – Anne-Marie (4/10)

And the painfully cringe returns again, along with parts that feel excessively autotuned – the lyrics are like a preschooler having a bad day. What even is "Knock knock, I don't f-ing care"? You cannot be serious. ? It's got the high, loud sound but just doesn't bring the boom – not even AJ or Big Justice would give this a boom.

World At My Feet – Victor Ray (8/10)

R&B artist Victor Ray delivers a new song from his new EP, 'I WILL', which had all four songs as solo releases. Victor Ray once again proves how he's one of the strongest underground and upcoming big artists; he uses a boom bap beat with adlibs that actually support more of an R&B song instead of a rap song. Victor has fast-paced vocals that feel like they're the best pace for a catchy song; he plays it well and once again sets a high bar. Stop sleeping on this guy!

Stick – Jim Legxcy (8/10)

The only song that's ever stuck with me from Jim was 'Nothing's Changed', but this is now the second song that I'll replay. His vocal effects on parts like 'The rain keeps crashing down' are my favourite part, and his smooth rapping works well along this.

I hate that it's true – Dean Lewis (8.4/10)

Easily his best song that I've heard by him, the amount of raw passion that went into this song, along with the guitar strums, helps create that deep state where you are constantly thinking about the song, how Dean Lewis hates that he can't get through a heartbreak and he hates that it's true. It's truly a devastating experience, and that's conveyed so much to me when I hear it, so well put across.


Rich - Bea And Her Business (4/10)

The song was going well... It started with a fun party feeling where Bea is sick of everyone and just wants to party; a clap and a unique sound that I can't make out start the song, which goes into faster claps, a higher volume and a hot pop sound that gets you moving... So, what went wrong? One specific lyric made me cringe so much that I can't ever hear the song again – and I mean ever. In the midst of the party lyrics of touching and having fun, she said, "I was holding competitions to see who could kiss the most, and extra points if you end up sucking on somebody's toe," followed by a cringe laugh. WHAT THE HELL?! DON'T TELL ME SHE'S MAKING FOOT FETISH MUSIC ? This just destroyed the whole song because I'm sure 95% of the people listening to it don't like feet, and even if you did, it's just weird to throw it into the mix randomly. I WOULD'VE REPLAYED IT IF IT WASN'T FOR THAT... and that would've been another replayable song by her, so much for that.

Bout U - Rema (6.5/10)

What the heck happened to 'HEIS'? We got a whole album of notable songs that was just a new opening for the whole Afrobeat genre, and then we get this and his previous single, which have nothing to them? This is awful, and people agree, and by awful, I mean the fall-off is awful, not saying this song is, but it's definitely just not what he used to be. Instead of 'HEIS', it takes a more subtle approach and focuses on themes of love a lot more.

Evangelic Girl Is A G*n - Yeule (6.9/10)

What in the gothic darkness is this about?? At least the beat is decent but pretty creepy.

CUNTISSIMO – MARINA (6.9/10)

It fell much flatter compared to her last single and didn't bring as much impact; the production felt seen before and predictable.

NEVER ENOUGH – TURNSTILE (6/10)

I wish the song had more of a clear understanding and just gave more.

Year Of The Snake - Arcade Fire (3/10)

I'm not even going to hide how insanely boring this is.

[Mellope]

NEW MUSIC FRIDAY 18.04.25 #27 (SHORT VERSION – limited time this week)

Bluebird – Lana Del Rey (8.7/10)

Lana has such a gentle and beautiful voice, and her background is always so lovely and relaxing; the harmonica here, along with the well-composed orchestral-like sound, does a really good job… Dare I say it's better than the main single, 'Henry, Come On'?

This is what floating feels like – JVKE/Tori Kelly (8/10).

The free-flowing piano melody, along with JVKE's up-and-down vocal melody and Tori's elegant singing, made the song sound magical, as if you're actually floating. This is so amazing!

I Ain't Comin Back – Morgan Wallen/Post Malone (7/10)

After hearing this and finding out Tate McRae is on the album – I'm hyped! This legit might be a good album... but I'm still scared about there being 37 songs on it. This is a classic country song with a more pop radio hook, which is a good follow-up from the 'I Had Some Help' collab. Post delivered a good verse alongside Morgan, but Morgan did better. The use of drums added to the instrumental effect, which I quite enjoyed.

Invincible – OneRepublic (6.8/10)

Not as good as their 'Nobody' song from Kaiju, but still is good. This is giving a summer feeling where it's an empowering, strong song. Sure, it could give a little bit more to be more unique, but it's not bad.

Headphones On – Addison Rae (4/10)

Yay! Yet another female pop act who fails to impress no matter what they release; that's another added to my list of the ones I dislike. I've never been a fan of Addison and wasn't expecting anything good out of this, especially seeing she's been on an insane streak of bad, but this is actually better than her usual; 4/10 is an improvement... but overall this is still just some forgettable pop song.

Proud to be a problem – Tom Macdonald (2/10)

Whether it's rap or country, Tom is still crap, and I am one of many who share that opinion. The one thing that separates this guy's music from others is how bad it is; this is repetitive, talking about the same thing Tom always does; it's sad. It's a country where Tom sounds worn out and gives no effort; instead, it's a sad rant about how he's disliked, and I know why he is.

[Mellope]

NEW MUSIC FRIDAY 25.04.25 #28

Unshatter – Linkin Park (5/10)

Great... we had three songs from their new deluxe, which came down to two after 'Up from the Bottom' was released, and now we're waiting 20 days for one extra song… It's more about the song now instead of a deluxe! What a terrible rollout. To the actual song, it's the most basic rock song from the 'From Zero' era that I've heard so far; the raging expression on the hook is the best part, but even that feels mild like the rest of the song; it just gets you nowhere.

LUV? – Aitch/Anne-Marie (7/10)

Anne-Marie delivers a fine and fun performance, but yet again Aitch ruins another song with his lyrics that sound so unoriginal; his lyrics are so straightforward it's painful. It's literally straight up; I want to drink, and I'll give you my penis; it's said in the most uninteresting way, with Aitch delivering a more forgettable performance than his 'Psycho' collab with Anne-Marie. It's not all terrible, though, as I can save this; it's club music.

Mystical Magical - Benson Boone (7/10)

A step up from 'Sorry I'm Here For Someone Else', this has a melody resembling 'Physical', which is shown more in the chorus. Benson gives a tune which makes you want to dance, but in an elegant way; it's Benson's usual, but it feels like it has more class to it.

Pretty Ugly – Zara Larsson (1.5/10)

So boring!! Reminds me of JADE. If this is the main single for an upcoming album, then I can't imagine what's next. She thinks that the electronic wave with a high vocal sound brings a dance queen energy, but in reality it reminds me of JoJo Siwa's 'Karma'. Pathetic.

Stateside - PinkPantheress (8/10)

She does it again and even better than last time! This new era by her is looking to be her best yet; the dance-pop has her fun and bouncy feel, which she's known for, and her vocals aren't even annoying to me; I like them.

Tyrants – Sam Fender (6.5/10)

You can never really understand what Sam's saying, but you just know that it's something emotional. I presume this could be part of People Watching Deluxe; it sounds as good as the collection of songs on that album.

Monday – Quadeca (6.9/10)

I just don't get the huge high scores for this guy. Yeah, this was pretty impressive still; it partly reminds me of Beabadoobee's newest album with the soft voice and real sound. The guitar always tends to provide Quadeca with a better sound and helps him.

COUSINS – Kanye West (1.5/10)

This is a song about how Kanye wants and has had s*x with his cousin and how the nitrous isn't really helping him; it sounds AI, and Kanye at times sounds like a whining, autotuned baby. Still a big improvement from 'WW3', though.

Money On Money – Young Thug/Future (7.8/10)

I must admit that I've gotten bored of Future, as many think so too. But this was a big improvement; the song had a more energised feeling with some beat bars that reminded me of the 'Fein' intro but lower in pitch.

Poplife – Umru/Underscores (6.5/10)

The bass is really there, but this just doesn't do it for me.

ILYSMIH – Kali Uchis (8.1/10)

This is an improvement from Kali's last song. The slow and soothing feel suits her well.

Amen – Shaboozey/Jelly Roll (8/10)

Rare Jelly Roll is a good song! I mean, Shaboozey most likely made this happen, but to see an actual improvement from Jelly Roll is nice. The guitar and claps, along with the hold on "Amen", create a good flow and a good hook, catchy country.

Whenever – Megan Thee Stallion (9/10)

Direct, fast, clean. As a Megan hater, I have to applaud this as one of the best female rap songs I've heard over the past few months. I love her fiery energy, but on this it's danceable and bossy and really comes across as giving us a true taste of her great side.

Gripper – Flo Milli/T-Pain (0.5/10)

This is T-Pain's third contender for worst song of 2025, and we aren't even four months into the year. I can't believe T-Pain is actually taken seriously by himself, and this vocal change on top of the already painful autotune is a killer. And let's not let Flo Milli off the hook; the country plucks into a rap beat sound like it was HORRIBLY mixed, and Flo's bad lyrics about "stroking it" are in the song, ewwww. The only positive here is that at least Flo can rap… But damn, this is criminally bad.

My First Heartbreak – Myles Smith (8/10)

Wow… Myles is stepping up to make better music! The emotion is here like always, and the slower ending is the best part because it feels like it leaves time to reflect on the song. It's delivered so well.

Falling 4 U – Pola & Bryson/MPH (7.3/10)

Simple but sweet.

Down To Be Wrong – HAIM (8/10)

An improvement from 'Relationships'.

Nostalgia – Sammy Virji/Issey Cross (7/10)

The song is about what the title suggests, wanting to be taken back in time, supposedly because of nostalgia. This is better than some of Sammy's other loops.

Damocles – Sleep Token (3/10)

Really tedious with poor vocals, a simple rock pattern and some piano. Sad that this will probably get traction.

Roar Of The Lion (The Lions Pit) – Wu-Tang Clan/U-God/Kool G Rap/RZA (8.4/10)

I loved 'Mandingo', and this does nearly as good; love to see it! It feels like it has an old edge and uses classic raps which we all know, but this time adds a Wu-Tang twist to it.

Tears Dry Tonight – CYRIL/James Blunt (4/10)

The only good thing CYRIL ever made was 'Stumblin In'. He needs to retire before he becomes modern-day David Guetta.

If Karma Doesn't Get You, I Will – Lauren Spencer Smith (5.7/10)

This is a turn in a different direction for Lauren. She takes off the overly expressive and plays this more like a radio pop song, but I prefer her expressive style, and this lightens down on it. A step down.

No Secrets – Jessie J (8/10)

Why am I not hearing of Jessie anymore? To the song, it has a sweet, lighter sound but also a sound that Muni Long or Coco Jones might give, a light R&B one.

Same Sh*t – Murda Beatz (7/10)

Partly reminds me of Playboi Carti.

Square One – Redveil (8.8/10)

Conscious experiential rap like Kendrick Lamar and Tyler, The Creator together – amazing!

Cruel – James Arthur (5.7/10)

I can tell he really wants to stay the same; 'Embers' is the only good song I've heard from this era so far.

Don't Let Me Go - Tom Odell (6.9/10)

The drums and piano with Tom's harmony were quite angelic, but overall, Tom still isn't at his full potential.

Tell Me Where U Go – Clean Bandit/Tiesto/Peony (5/10)

Standard electronic tuned music.

Gimme Dat – Ayra Starr/Wizkid (6/10)

Standard Afrobeats – I wish Ayra would get better.

At The Beach, In Every Life – Gigi Perez (5/10)

Hot take here, but Gigi Perez is kind of boring. Her sound isn't always a replica of the last song, but it's still pretty similar, and it's not like the same emotional indie-folk gets me or her anywhere.

Dollars And Dimes – Faithless/Bebe Rexha (1.3/10)

Wow… the most generic and pointless thing you will hear in a while. Bebe's worst song by far.

Vertigo – Sophie Ellis Bextor (7.2/10)

We need new Sophie to go viral instead of the 'Murder On The Dancefloor' re-trend. The beat on this reminded me of modern-day Kylie Minogue.

Diva - Model/Actriz (7/10)

Zoned off but in an enjoyable way.

[Mellope]

NEW MUSIC FRIDAY 2.05.25 #29

Old Phone – Ed Sheeran (4.5/10)

Ed Sheeran is just making the exact same music he made before but worse. 'Old Phone' is about Ed looking through his old phone and seeing his old memories. Ed believes they should be left in the past. The song uses a basic guitar and vocal melody that has a higher sound but is still a sad song; it feels too basic for me to enjoy and once again sends the album in a worse direction.

Priceless – Maroon 5/LISA (1.5/10)

This just made me mad; it's a flimsy love pop song, which Maroon 5 and LISA gave no energy to whatsoever. I know that LISA is trying to chase the bag, but this is just straight-up take all, give nothing. Uninteresting, no build-up and a song that leads you nowhere; even the music video was straight-up slop too.

Dope Boy Phone – Quavo/Takeoff (3.7/10)

Basically half this two-minute song is the words "Dope Boy Phone" being repeated on top of a few "Brrrrrrs" in the background; the rest of the production is the standard boom bap beat you would expect that adds nothing. Things aren't looking great for what's to come from Quavo.

Mind Reader – Mimi Webb/Megan Trainor (4/10)

This was straight mediocre pop that follows the likes of any young TikTok artist; the hook just isn't here either. From the point the song starts to the very end, there's just nothing to make the song get better; it's just flat out some disco song with no texture. But since Meghan Trainor is on the song, can we really be shocked?

Lose My Mind – Don Toliver/Doja Cat/F1 The Album (6.6/10)

You know, radio could pick this up. It has a fast-paced sound that fits F1, which is fitting, seeing it's going in an F1 movie. The verses aren't the clearest, and it feels like the notes are dragged on a little too much throughout the intense energy, but it's not bad. Both rappers gave a good effort.

Benz - Mabel/Clavish (5/10)

Uninteresting, and you forget that you're reviewing it before you even reach the end. Couldn't tell you about it because it's so easy to zone out on this.

Cowboy (Glorilla Remix) – Selena Gomez/Benny Blanco/Glorilla (2/10)

GloRilla adds fast and heavy rap to a soft pop song that is a million miles away from rap.

Think Of Me – HUGEL/David Guetta/Kehlani/Daecolm (6/10)

Sounds like generic drum loop electronic pop. I must admit that it still has somewhat of a catchy summer hook.

The First Time I Ever Saw Your Face – Barbra Streisand/Hozier (7.5/10)

Great chemistry that these two have together; it was a calm and beautifully composed song that's nearly as peaceful as something you would hear on Classic FM.

The Catastrophe (Good Luck With That, Man) – Car Seat Headrest (7/10)

Not the easiest thing to digest but still pretty catchy; I feel Sam Fender would do a good job on this!

EGYPT (remix) – Westside Gunn/Doechii (7/10)

I could tell it was good, but it kind of just went in one ear and out the other for me.

Gifted Every Strength – Loathe (7/10)

User score 92?? Only the fanbase is rating this. This is a bunch of pretty standard heavy rock that only saves itself when it slows down in the second half; overall, not worth a 92.

GNARLY - KATSEYE (1.5/10)

This sounds like something a cringe but pretty TikTok girl would dance to in the late 2010s who does nothing but dance. The vocals on this use an over-exaggerated fake strong accent that sounds like the typical "periodddd slayyy" accent; there's no way they thought a hyperpop with cuts worse than Skibidi Phonk would appeal.

Recitatif - Mckinley Dixon/Tellar Bank$ (8.4/10)

Mckinley is truly at a style which Kendrick Lamar did in his older eras, and I'm all here for it; he keeps his raps with the realest and best production quality, making it sound like the real old street rap we used to have. Dixon should be much bigger!!

Vacay - Animé (7/10)

Vitamin P – Lay Bankz (3.8/10)

The more we leave her and that "Tell Ur Girlfriend" song in 2024, the better. This is straight poorly made pop rap with bad effects and a short attempt at getting something for social media.

304 - E.K.E/Sexyy Red (4/10)

As usual, Sexyy ruined this.

Voices – Damiano David (7/10)

Not his strongest song; it lacks Damiano's deep energy he often gives. Just a catchy pop song.

Sweet Love – Burna Boy (7/10)

A refresh from his usual.

Where Have You Been - Kelly Clarkson (7/10)

Back in the day, I think this could've been a classic!

Me, U & Pride – 4Batz (7.2/10)

Am I the only one who doesn't think that 4Batz is the most repetitive person ever? I like how it's not always rough rap; the slow and well-produced sound actually has more to it than boom bap traditional rap.

Lost Highway – Kacey Musgraves (6.7/10)

The Spotify snippet sounded better; in the end, this was decent country guitar music but could've shown more.

Boom – Bbno$ (6.9/10)

Bbno$'s fun, bouncy rap is always fun, but this is too repetitive for me.

Microwave – Ro$ama/BigXthaPlug (8/10)

Quick, hard-hitting and a earworm. BigX isn't missing.

The Way I Love You – Jorja Smith (5/10)

In one ear and out the other.

Want You For Life - Mackenzy Mackay (6.6/10)

Sounds like he's really going for that radio song but with a sound that feels slightly overheard, not the greatest.

Find Xanadu – Alison Goldfrapp (7.6/10)

A club disco pop song in which Alison provides a smooth vocal delivery.

French Girls - Dove Cameron (8.1/10)

It's a more chilled version of something you might've heard on 'MAYHEM'. It has the main pop girl energy with some funky chords near the end that bring a packed pop song – really good!

Backup Plan – Bailey Zimmerman/Luke Combs (6.9/10)

Luke brings his deeper and rougher side to match Bailey on the country-rock song.