Within 2 songs, Sudan Archives brought the entire theater to their feet. Everyone clamored to get as close to the stage as possible. The intro to “Freakalizer” surged over the speakers, promising an impossibly exhilarating performance. Sudan Archives yelled, danced, and walked into the crowd at times, commanding the stage with the passion and raw energy of a seasoned performer. The show blurred into a stream of relentless excitement, emotion, and pure fun.

Performances of “Ciara” and “Loyal” kept grooves and energy high, but it was during more intimate moments like “Milk Me” and “Homesick” that Sudan Archives’ unreal range was on full display. Her vocal skills elevated every song, and her violin skills were unbelievable. The instrument felt like an extension of herself, seeming almost like second nature to the artist. She launched into the Irish violin song that inspired her to learn to play, and it felt perfectly integrated into her set of self-described “fiddle-funk.”

Her skill with the violin, however, was still not the full scope of her talents. “ChevyS10” turned the entire Englert Theatre into a nightclub, thanks to live mixing changes via a drum pad. Sudan Archives redefined the track with sample chops, bass hits, and mind-melding grooves that kept people on their feet. “NBPQ” was an unforgettable experience, with an entire crowd of people screaming the hook to one of the most exciting songs on “Natural Brown Prom Queen.”

Sudan Archives only took a few breaks to sip her drink and hype up the crowd. Her energy was seemingly boundless even as she danced, ran, and crawled across the stage. To say she put her whole heart into her performance would be an understatement. It was a spectacle on every level, with top-notch vocal performances, a level of raw passion rarely seen, and a cavalcade of immaculate violin and mixing masterpieces. It was a night to remember, and certainly an amazing addition to Mission Creek’s fantastic performances.

The post Sudan Archives is loud, bold, and phenomenal at Mission Creek 2023 appeared first on KRUI Radio.

Image via dazeddigital.com

Cincinnati-born Brittney Park was quick to discover her musical talents, learning by ear to play the violin as a child. Her range and ability, however, must be heard to be believed. 2022’s “Natural Brown Prom Queen” was a certifiable R&B opus, with songs so endlessly catchy and thoughtful that they can be listened to for decades. The project presents femininity, love, and raw emotion in an incredibly unique light, and the masterful production across the board only amplifies Sudan Archives’ incredible creative vision.

With so much incredible material under her belt and such refined musical skill at her fingertips, it’s safe to say that Sudan Archives will put on a fantastic performance Friday at The Englert Theatre at 8:00 pm. Be sure to stop by for what is sure to be an amazing performance!

The post Mission Creek Preview: Sudan Archives appeared first on KRUI Radio.

The album wastes no time in establishing its tone. “Lean Beef Patty” sets the stage for two of rap’s strangest figureheads to do what they do best. Its instrumental is as glitchy, eclectic, and warped as one would expect from JPEGMAFIA, and both artists deliver performances just as energized as the beat itself. The hilariously titled “Steppa Pig” employs a more focused (but still uniquely JPEGMAFIA) instrumental that allows the lyrics to shine through, and the results are ridiculous. Lines like “Boy, you ain’t Kai, one twitch and you banned” and “They off that 2chan high, incels just can’t let it go like Frozen” are as absurd and hilarious as one would expect from such a duo.

The title track brings jazz-rap to a new cutting edge, with an often squeaky saxophone lead paired against incredibly abrasive percussion and deep bass. It also provides some of the project’s catchiest material. The tongue-in-cheek hook declares that “We don’t wanna hear that weird shit no more.” “Fentanyl Tester” again allows JPEGMAFIA’s production to flourish. An expertly chopped sample from Kelis’ “Milkshake” provides a beat that alternates between poppy simplicity and intense distortion. Nevertheless, it keeps a head-bobbing groove throughout.

“Burfict!” is possibly the most fun track on the album. Triumphant horns serve the perfect backdrop for another set of hilarious lines from Brown and JPEGMAFIA. “Like NASCAR, you better not go there” and “But you better get your mind right before I leave that shit all over that windshield,” Brown says. It’s all gas no brakes after that. JPEGMAFIA’s declaration that he’s “Feeling like Speed who gon’ stop me? Not you” is another great follow-up. The song is a perfect demonstration of the two artists’ magnificent chemistry.

“Orange Juice Jones” and “Kingdom Hearts Key” showcase JPEGMAFIA’s sampling skills at their very finest. The former interpolates a Michael Jackson track, highlighting a uniquely smooth basis for Brown and JPEGMAFIA to flourish on lyrically. The latter is mind-bendingly gorgeous, and its atmosphere is uniquely enveloping. A gorgeous Japanese-pop sample is matched with light, airy percussion and bell hits, featuring a fantastic guest appearance from redveil.

“God Loves You” is a big tonal shift. The dance-gospel sample makes it stand out against an already insane instrumental selection. The song is laced with explicit biblical references, but it’s hard to focus on lyrics against the amazing instrumental. “Jack Harlow Combo Meal” is a similar case, where an unbelievably jazz piano sample matches with JPEGMAFIA’s eclectic percussion and distortion. It sounds like an excerpt from the “Peanuts” holiday specials, nothing out of the ordinary for either rapper.

“HOE (Heaven On Earth)” brings a great organ sample and a compelling outro. A beautiful chop of choir vocals creates a perfect conclusion and segues perfectly into “Where Ya Get Ya Coke From?.” The final track feels fittingly like an end credits roll for a movie. Lines like “Should be in the psych ward for what I do with vocal chords” and “Like terms of services, they all in agreement” close out the project with the same tone that it started with: ridiculously fun.

“SCARING THE HOES” is two already established talents doing what they do best. JPEGMAFIA’s unreal production and raps and Danny Brown’s hilarious deliveries feel simultaneously effortless and finely tuned. It’s fun, loud, and consistently exciting, and every fan of alternative hip-hop should absolutely check it out.

JPEGMAFIA & Danny Brown – SCARING THE HOES: 8.5/10

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Kali Uchis hasn’t ever been one to disappoint. Her 2018 debut album “Isolation” and its 2020 follow-up “Sin Miedo” defined her as one of pop’s most exciting new stars, and many waited eagerly for her next move. “Red Moon In Venus” is not only a third fantastic project, but possibly Uchis’ best work yet.

The production on the entire project is absolutely outstanding. It’s evident right from the start with “I Wish you Roses,” which welcomes the listener into an atmosphere unlike any other. It’s warm, it’s smooth, and it’s magnificently gorgeous. A sultry guitar lead and distant synths bring a sunset-like ambience to the album’s sonic palette. Uchis’ vocals are stunning as always, and the track sets the stage beautifully for the rest of the project.

“Worth the Wait” with Omar Apollo is a very sultry serenade. The downtempo funk-and-soul-influenced production perfectly underscores Uchis’ sentimental and characteristically excellent vocals.  “All Mine” then dials this up to 11. Uchis sings about being protective and possessive of her lover in yet another beautifully orchestrated sonic landscape. The warped synths and organic, simple drums allow Uchis to shine even brighter than usual vocally.

“Fantasy” enlists Don Toliver for one of the project’s grooviest cuts. A killer layer of subdued bass keeps a good bounce going over Uchis’ immaculate performances and Toliver’s excellent guest appearance. The following track, however, is a true show stopper. “Come Te Quiero Yo” is scored by light and airy chords that give way to Uchis’ stunning performance. She sings in both Spanish and English for this beautiful love song, and the background vocals alone are enough to warrant a complete discussion. The only issue that the track faces is that it doesn’t last forever.

The album manages to maintain its beautifully warm atmosphere even when recounting the unsavory aspects of a breakup, evidenced perfectly by “Moral Conscience.” Uchis sings of an ex realizing they were in the wrong, but the atmosphere she creates both vocally and sonically dispels any idea of bitterness or spite. Instead, she favors a more self-assured and confident mood.

“Blue,” marks a sharp tonal shift. The very emotional cut is stripped back to give way to a somber performance from Uchis detailing the pain of missing one person in particular. “What’s the point of all the pretty things in the world if I don’t have you?” Uchis sings, highlighting the track’s beautiful sentiment. Brief saxophone sections bring even more life to the track. The song feels reminiscent of some of Sade’s early balladry in all the best ways.

“Moonlight” is yet another smooth and infectious jam. Twinkling synths and a deep, warped instrumental paints the perfect background for another beautiful ballad from Uchis. “Happy Now” closes out the album beautifully with a more upbeat and bright experience on both the production and vocal ends. Airy guitars and fluttering vocals from Uchis puts a smile on any face. The project ends leaving the listener wishing it could last forever.

“Red Moon In Venus” presents Kali Uchis as a fully formed artist delivering a project that only she could, and I strongly urge every pop or R&B fan to give the project a full listen. Across 14 songs she manages to bring her unique style to life in a way that few others could. It’s hard to find flaw in such a concise and well-crafted project, and the album will no doubt be in rotation for quite some time.

Kali Uchis – Red Moon In Venus: 9.0/10

The post Robert’s Reviews: Kali Uchis’ “Red Moon In Venus” is Endlessly Stunning appeared first on KRUI Radio.

Since the release of 2021’s “Life Of A DON,” Houston native Don Toliver has been a very busy man. Placements on albums from Kanye West, SZA, Baby Keem, Metro Boomin, and plenty more have marked a meteoric rise in popularity for the Travis Scott signee. Naturally, then, his latest project “Love Sick” was very heavily anticipated by fans both old and new. The end result, though, while solid at times, feels half-baked and monotonous for most of its duration.

There is plenty to commend Toliver for on this project, with several standout tracks presenting some of his best work. “Let Her Go” with James Blake is a great example of this, showcasing a perfect stylistic fusion between Toliver and the prolific producer. Blake’s instrumental feels finely crafted for Toliver, who flourishes vocally over bursts of punchy bass and wavy chords. The song closes with a beautiful outro from Blake himself.

“4 Me” with Kali Uchis is another highlight, and the lovers’ duet feels perfectly placed on the album. It’s cute, flirtatious, and charmingly simple, and the chipper instrumental makes it stand out.

“Honeymoon” is a strange case, its off-kilter groove bringing an entirely different vibe than anything else on the project. It’s warped, wonky, and above all else, exciting. “If I Had” employs the legendary Charlie Wilson for a somber and laid-back cut that sees Toliver again meld his style with an unexpected collaborator.

Perhaps the greatest standout, however, is “Bus Stop” with Brent Faiyaz. The bouncy, sample-led beat lays the groundwork. Pair that with Toliver’s excellent vocals and melodies, plus a characteristically gorgeous appearance from Faiyaz, and it’s a recipe for success that works just as well as one would expect.

Although there are several songs that display Toliver in top form, the majority of the project unfortunately isn’t the same. Tracks like “Leave The Club” and “Private Landing” feel incredibly bland despite having two guest appearances each. Both songs feel bogged down by boring instrumentals and lackluster features. “Do It Right” feels like an attempt to score radio play, with a very drab instrumental and obnoxiously simple writing.

The issue that plagues the majority of the tracklist, however, is an endless feeling of similarity. Tracks like “Company Pt. 3,” “Go Down,” and “Leather Coat,” while not terrible, feel indistinguishable from each other due to incredibly similar and basic production. Many songs simply fail to grab any attention because of this, leaving the album feeling like one long drag.

While “Love Sick” is not a terrible body of work, one can’t help but feel that Don Toliver could release a more engaging and exciting project. Despite the album’s issuese, Toliver still provides some solid songs. I have faith that he can release something much more consistent in the near future.

Don Toliver – Love Sick: 5.6/10

The post Robert’s Reviews: Don Toliver returns with “Love Sick” appeared first on KRUI Radio.

25: Superorganism – “World Wide Pop“

Pop supergroup Superorganism return with a record so bright, energized, and exciting that it can be enjoyed by anyone around the world.

24: Vince Staples – “RAMONA PARK BROKE MY HEART“

While named after a heartbreak, Vince Staples’ latest project feels like a love letter to his home in California. The record provides endless summer jams with excellent production.

23: Metro Boomin – “HEROES & VILLAINS“

Metro Boomin’s return to hip-hop’s forefront was worthy of the fanfare it received. Songs like “Too Many Nights” and “Feel The Fiyaaaah” showcase how Metro has honed his craft since his last full-length project. On “Metro Spider” he lays the groundwork for one of the greatest Young Thug songs ever released.

22: Dreamville – “D-Day“

A label compilation album from J. Cole’s “Dreamville” is always a sight to behold, and D-Day is no exception. Released mostly as fuel for the label’s annual festival in North Carolina, the project boasts killer appearances from each label member with plenty of guests throughout.

21: Omar Apollo – “Ivory“

One of pop’s most exciting young stars came through with an emotional, gorgeous, and well-produced album. Omar Apollo is only scratching the surface of what he can accomplish.

20: Drake & 21 Savage – “Her Loss“

While it suffers slightly from the inconsistency that plagues most collaborative albums, Drake & 21 Savage’s “Her Loss” brought with it some of the best performances from each artist and some of the most engaging production that each has rapped over.

19: Carly Rae Jepsen – “The Loneliest Time“

“The Loneliest Time” is another smash hit for Carly Rae Jepsen, with highlights so creatively and emotionally rich that they could be enjoyed for decades. Her abilities to keep pop familiar and fresh at the same time are not to be understated.

18: Beabadoobee – “Beatopia“

Beabadoobee’s latest project, while deceivingly simplistic at first glance, is full of some of the year’s most emotionally poignant and beautiful songs. Gorgeous vocals meld perfectly with laid-back instrumentals to create a vibe unlike any other.

17: FKA Twigs – “CAPRISONGS“

FKA Twigs reaches new artistic heights on “CAPRISONGS,” a project so full of meticulously crafted and mindbogglingly brilliant ideas that keep the listener on the edge of their seat throughout. From dancehall to drill, she does it all on such a concise and enjoyable mixtape.

16: Ravyn Lenae – “Hypnos“

Ravyn Lenae stuck to her guns on “Hypnos,” and the end result was definitely worth it. Her distinct feathery vocals bring an ambience and warmth all her own. Simple but rich production paints the perfect backdrop for her fantastic performances.

15: Kilo Kish – “AMERICAN GURL“

“AMERICAN GURL” was a long time coming, and Kilo Kish certainly didn’t disappoint. The album is bold, loud, new, and above all else, exciting. Kish continues to redefine alt-pop, and her knack for experimentation provides some of the best songs of the year.

14: Steve Lacy – “Gemini Rights“

The internet was set ablaze by the release of “Gemini Rights,” and justifiably so. Steve Lacy demonstrated immense artistic growth on his latest project, an album with so much to offer that it’s hard not to get lost in its sonic landscapes. “Helmet” and “Bad Habit” demonstrate his ability to write fantastic and catchy pop jams. The album shines just as bright on deeper and more emotional cuts such as “Give You The World” and “Amber.”

13: SZA – “SOS“

After a painful 5-year wait, SZA finally returned with an album that most would agree was worth the time. Across 23 songs, she is able to strike every chord and bring a cascade of emotions unlike anything else. Songs like “Kill Bill” and “Low” allow her to present some of her catchiest material yet, while “Open Arms” and “Gone Girl” present SZA at her most emotionally vulnerable. It’s a project that reflects on love, heartbreak, isolation, and much more in a way that only SZA could.

12: The Weeknd – “Dawn FM“

“Dawn FM” is the blueprint for what a throwback album should sound like. The Weeknd revels in 80’s pop nostalgia with a cavalcade of perfectly crafted instrumentals that feel ripped out of time but perfectly placed within the album. “Out Of Time” and “Take My Breath” are the best examples, while “Sacrifice” brings cutting-edge production to marvel at. It’s a pure joyride throughout, and The Weeknd is at the top of his game.

11: Brent Faiyaz – “WASTELAND“

Brent Faiyaz’s growth toward this project is something to marvel at, as it greatly surpasses everything that precedes it. “WASTELAND” excels in its ability to create an atmosphere so distinct and intriguing, due in equal amounts to Faiyaz’s incredible vocals and his excellent instrumental selections. It’s smooth, smoky, and constantly enthralling, and it’s incredibly exciting to see what Faiyaz will do next.

10: Smino – “Luv 4 Rent“

“Luv 4 Rent” is vastly different from anything else I listened to this year. It’s uniquely organic, in a way that every instrumental feels sourced from the earth and the natural world. The incredibly happy project feels made to be listened to outside on a gorgeous day. Smino’s voice is an instrument of pure joy across the tracklist. It’s impossible to not recommend such a beautifully crafted body of work.

9: Denzel Curry – “Melt My Eyez See Your Future“

In sparse contrast to his last full-length release “Unlocked,” Denzel Curry’s “Melt My Eyez See Your Future” is deeply meditative and thoughtful in a way that few other projects this year were. His reflections on his own state of mind, his environment, and his struggles bring to life a project that sounds like growth on both a personal and professional level. Seeing Curry continue to improve his craft is incredible, and he continues to outdo himself with each release.

8: Duckwrth – “Chrome Bull“

While technically an EP, “Chrome Bull” was far too impressive to leave off of this list. In just 7 songs, Duckwrth launches dance music decades into the future with some of the most exciting production on any project all year. It’s quick, sharp, endlessly replayable, and (hopefully) an indicator of what dance music will sound like soon.

7: Björk – “Fossora“

“Fossora” is really just another Björk release, meaning that she again has crafted a masterpiece. The album is a testament to her ability to create an entire world through music, with the object of her focus this time being Earth. It’s stunning, whimsical, and captivatingly gorgeous throughout.

6: Sudan Archives – “Natural Brown Prom Queen“

With “Natural Brown Prom Queen,” Sudan Archives has created an absolute R&B opus. The album twists and turns through an incredible sonic palate that highlights consistently impressive vocal performances. The entire project is sultry, smooth, and so finely produced that each moment is more exciting than the last.

5: ROSALÍA – “MOTOMAMI“

“MOTOMAMI” sees the complete transformation of ROSALÍA as an artist, something that has yielded mind-blowing results. The album is bold, loud, and entirely new, with ROSALÍA putting herself at the forefront of pop innovation. “SOAKO” and “BIZCOCHITO” are unlike anything else released in recent years, and one can hope ROSALÍA will continue being on the cutting edge.

4: Pusha T – “It’s Almost Dry“

Perhaps the most amazing part of “It’s Almost Dry” is that it comes several decades into Pusha T’s career. He’s been rapping at such a high level for so long that seeing him drop another masterpiece this late in his career is almost unbelievable. Killer raps with killer production craft a stellar project from one of the greatest rappers of all time.

3: JID – “The Forever Story“

“The Forever Story” is the realization of the immense potential that JID has been displaying for years. The entire project is concise, expertly executed, and nearly perfect all around. JID is confident, contemplative, and expertly scored by a barrage of immaculate instrumentals. “Kody Blu 31” is one of the most impactful songs of the entire year, and it only scratches the surface of how fantastic the project is.

2: Beyoncé – “RENAISSANCE“

For Beyoncé to release what is perhaps her best body of work yet at this point in her career is unbelievable. “RENAISSANCE” is a disco utopia, a nonstop dance party with all gas and no brakes. Across 16 songs she doesn’t break a sweat while presenting exciting and vibrant dance music. It’s a masterpiece in every sense of the word, and I cannot wait to hear the other two parts of the project.

1: Kendrick Lamar – “Mr. Morale & The Big Steppers“

With “Mr. Morale & The Big Steppers,” Kendrick Lamar turned inwards after a career of examining the world around him. The album is self-reflective on a visceral level, and the results of Lamar’s introspection is some of his most captivating lyrical content yet. “Father Time,” “United In Grief,” and “Auntie Diaries” stick out as some of the strongest examples, but truly any track could be examined as its own work of art. The album is a testament to Kendrick’s status as perhaps the greatest rapper ever, and it is undeniably the greatest album of the year.

The post Robert’s Reviews: The top 25 albums of 2022 appeared first on KRUI Radio.

50: Vince Staples – “AYE! (Free The Homies)“

A perfect summer jam for the windows rolled down and a sunset drive along the coastline.

49: Flo Milli – “Conceited“

Flo Milli continues to bring amazing energy and personality to hip-hop, and her latest smash hit proves that she’s here to stay.

48: Lil Yachty – “Poland“

Released as something of a joke, Lil Yachty’s comeback single is fun, catchy, and endlessly replayable.

47: Raveena & Vince Staples – “Secret“

A beautiful fusion of middle eastern sounds with catchy pop melodies and a Vince Staples verse to top things off.

46: Homixide Gang – “Lifestyle“

Chaotic, unchained, and as exciting as one would expect from a duo signed to Playboi Carti’s “Opium” label.

45: Logic & DJ Premier – “Vinyl Days“

A very finely crafted instrumental from DJ Premier scores some of Logic’s best rapping to date.

44: $NOT & A$AP Rocky – “Doja“

A short, explosive, and incredibly fun song that sees both artists in top form.

43: Freddie Gibbs & DJ Paul – “PYS“

Freddie Gibbs over a beat that could have very well been used by Three 6 Mafia is something I never knew I needed.

42: Cochise, Sam Wise, BlazeYL, & Mally – “DON’T RUN“

A high-octane posse cut with Cochise at the forefront is just as entertaining as it sounds.

41: Fivio Foreign – “For Nothin“

Fivio slides perfectly on a beat spearheaded by a pitched-up vocal sample, just a solid rap song all around.

40: Leikeli47 – “BITM“

Leikeli47 sounds cool, calm and collected over a very subdued and head-bobbing instrumental.

39: Post Malone & Doja Cat – “I Like You (A Happier Song)“

The smash hit from Post Malone’s latest album is bright, beautiful, and infectiously happy.

38: Gorillaz & Thundercat – “Cracker Island“

Gorillaz return at their very grooviest and funkiest with an amazing helping hand from Thundercat.

37: Beabadoobee – “Don’t Get The Deal“

Beautiful guitars, drums, and vocals craft a song that feels blissfully nostalgic and bittersweet.

36: Pharrell Williams, 21 Savage, & Tyler, The Creator – “Cash In Cash Out“

The lead single from Pharrell’s upcoming solo album sets expectations high with killer appearances from 21 Savage and Tyler, the Creator.

35: Lil Nas X & NBA Youngboy – “Late To Da Party (F*CK BET)“

Lil Nas X’s tongue-in-cheek diss track against BET also serves as a fantastic pop jam with a great NBA Youngboy feature.

34: Monaleo – “Faneto Freestyle“

Describing Monaleo’s viral hit freestyle is hard with words alone. The Houston native delivers a seemingly endless stream of absolutely hilarious bars over the instrumental from Chief Keef’s “Faneto,” and the accompanying video is just as great.

33: Kilo Kish & Jean Dawson – “CHOICE COWBOY“

A trippy, urgent, and amazing collaboration from two of the best innovators in alternative music today.

32: Lil Uzi Vert – “CIGARETTE“

Uzi sounds right at home over such an ethereal and fantastic instrumental.

31: Superorganism – “On & On“

Superorganism’s boundless creativity is ever-present on such a fun and exciting pop tune.

30: FKA Twigs & Shygirl – “Papi Bones“

A dancehall song from FKA Twigs & Shygirl is perhaps one of the greatest ideas realized this year.

29: Nas & 21 Savage – “One Mic, One Gun“

Hit-Boy’s ceremonious production is the perfect background for slam dunk after slam dunk from Nas & 21 Savage lyrically.

28: Sudan Archives – “Home Maker“

A twisting and turning R&B jam with beautiful production and even more beautiful vocals.

27: Kenny Mason & Jean Dawson – “NOSEDIVE“

“NOSEDIVE” is one of those songs that makes you feel like you could punch a hole through a brick wall.

26: Drake & 21 Savage – “Jimmy Cooks“

Drake & 21 Savage’s creative chemistry was only further emphasized with such a catchy and well-produced song.

25: Cardi B, Lil Durk, & Kanye West – “Hot Shit“

“Hot Shit” sees Cardi B operating at her finest, and she manages to outdo both of her featured artists on a visceral Tay Keith beat.

24: Whethan, midwxst, Yeat, & Matt Ox – “LOCK IT UP“

“LOCK IT UP” stars one of the most triumphant and exciting instrumentals of the year, and each guest verse feels like a perfect addition to a perfect beat.

23: Drake & 21 Savage – “Major Distribution“

The second collaboration from Drake & 21 Savage on this list opens with a fantastic false start from Drake that unleashes the amazing beat switch to set the song in motion. The end result sees both artists excelling and doing what they do best.

22: Glorilla & Cardi B – “Tomorrow 2“

Glorilla’s fiery energy was matched perfectly by Cardi B on such a great remix, and Cardi’s verse was one of the best features of the entire year.

21: Björk & Sindri Eldon – “Ancestress“

Björk’s emotional tribute to her late mother with her son was one of the most emotionally poignant moments in music of the year, and the song is still just as touching and magical.

20: Mura Masa, Shygirl, & Channel Tres – “Hollaback Bitch“

Mura Masa has been producing at such a high level for years, and a stellar dance song with Shygirl & Channel Tres feels like yet another slam dunk.

19: Ravyn Lenae – “Deep In The World“

A somber, guitar-led ballad coated in Ravyn Lenae’s signature feathery vocals is a recipe for success, and she nails it as per usual.

18: Bree Runway – “THAT GIRL“

Bree Runway’s ability to push pop-rap decades into the future is as clear as ever with “THAT GIRL,” an industrial and synth-led banger that marks a new era for one of pop’s most exciting new stars.

17: Jack Harlow & Drake – “Churchill Downs“

While Jack Harlow’s “Come Home The Kids Miss You” was largely a disappointment, his collaboration with Drake brings fantastic verses from both artists to a great instrumental.

16: Brent Faiyaz – “ANGEL“

The guitars on “ANGEL” feel like they were pulled from some of Stevie Wonder’s early works, and Brent Faiyaz does justice to such a beautiful sonic palate. He shines brighter vocally than he ever has before, and the song is one of the greatest he has ever released.

15: Steve Lacy – “Helmet“

“Helmet” is so simple, short, and fun that it can be replayed for hours without feeling dull or annoying. Steve Lacy’s bright vocals and gorgeous guitar leads forge a track perfectly suited for a bike ride with the sun shining and the wind blowing in your face.

14: Nigo & Tyler, The Creator – “Come On, Let’s Go“

Tyler, The Creator has continued to improve in recent years, and another collaboration with Pharrell has proven no different.

13: Shygirl – “Firefly“

“Firefly” is perhaps the best song that Shygirl has ever released, and the magic of the incredibly layered production really does replicate the feeling of catching a firefly.

12: The Weeknd – “Sacrifice“

The combination of The Weeknd and Swedish House Mafia is a recipe for success, and “Sacrifice” is a slick, grooy, head-bobbing pop masterpiece.

11: ROSALÍA – “BIZCOCHITO“

“BIZCOCHITO” feels like an auditory sugar rush (fitting for a song whose name translates into cupcake), with a choppy and high-pitched instrumental that melds perfectly with pitched-up vocals from ROSALÍA.

10: Smino, Doechii, & Fatman Scoop – “Pro Freak“

Smino struck gold with “Pro Freak,” an endlessly exciting, bouncy, and all-around fun musical joyride.

9: Dreamville, JID, J. Cole, Kenny Mason, & Sheck Wes – “Stick“

“Stick” feels like a modern day war anthem, with blaring horns and a screamed chorus from Kenny Mason that will energize absolutely anybody.

8: JID – “Raydar“

“Raydar” sees an already developing young talent reach his peak. JID raps like his life depends on it, and its lyrical content alone could warrant an entire dissection.

7: Duckwrth – “11:30“

Duckwrth has already been at the forefront of music innovation, and “11:30” finds him continuing to make the most exciting dance music in recent years.

6: Omar Apollo – “Tamagotchi“

A spanglish pop tune with a beat from The Neptunes is another thing I never knew I needed, but now i can’t live without it.

5: Denzel Curry & Robert Glasper – “Melt Session #1“

The opener to “Melt My Eyez See Your Future” is contemplative, thoughtful, and enchanting in a way that none of Curry’s previous works ever have been. Beautiful instrumentation from Robert Glasper only adds to such a masterfully made song.

4: Carly Rae Jepsen & Rufus Wainwright – “The Loneliest Time“

“The Loneliest Time” feels like one of the most cinematic songs I’ve ever heard, and Carly Rae Jepsen shines brighter than ever before both vocally and artistically on such a masterpiece.

3: Pusha T, JAY-Z & Pharrell Williams – “Neck & Wrist“

“Neck & Wrist” is really a victory lap from two of the greatest rappers of all time, and putting the greatest producer of all time on the boards only adds fuel to the fire.

2: Beyoncé – “BREAK MY SOUL“

Choosing the best song from “RENAISSANCE” is nearly impossible, but “BREAK MY SOUL” feels like the best pick from the project. Beyoncé is confident, loud, and stunning vocally, and the incredible instrumental brings energy galore.

1: Kendrick Lamar & Tanna Leone – “Mr. Morale“

It’s hard to imagine any other track as my song of the year. Kendrick Lamar tore one of Pharrell’s most menacing beats to pieces, and the entire song is simply amazing. Its lyrical content bounces from self-analysis to trauma and struggle, and throughout it all Kendrick feels fired up in a way rarely seen. It’s a lyrical and sonic masterpiece, and is absolutely worthy of being called song of the year.

The post Robert’s Reviews: The top 50 songs of 2022 appeared first on KRUI Radio.

Sofaygo is an interesting case when it comes to career management in the modern music landscape. The Michigan-born Atlanta resident released some of his most popular tracks in 2019 and 2020, but he went virtually radio silent after signing to Travis Scott’s Cactus Jack label in early 2021.

After months of anticipation and the release of a short precursor EP, SoFaygo released his debut album “Pink Heartz.” Whether it lives up to the hype is up for debate.

“Out” brings big energy to the beginning of the project and finds SoFaygo completely in his element. A wavy and synthetic instrumental scores a confident set of verses from SoFaygo while his signature vocal manipulations bring another layer of melody to the song. It’s slick, fun, and catchy, and feels like a perfect tone-setter for the project.

“Hell Yeah” enlists Ken Carson, known for his rage-rap style. Although it’s Carson’s signature, SoFaygo sounds right at home as well. The distorted sirens layered over deep booming bass and trap drum hits are the perfect backdrop for both artists’ energetic deliveries. The track is quick, fun, and radically exciting.

“Blitz V2,” while not as bold as other tracks, is one of the most engaging songs on the project. SoFaygo reflects on his successes and how far he has come, but a greater focus on lyrics doesn’t sacrifice his unique vocals or delivery.

“Everything I got on this side it was a risk / Nah I don’t think I regret anything I did,” he says. This reflective track does feel a bit out of place so early in the track list, but it’s an incredibly solid song nonetheless.

SoFaygo flourishes on “Stay Awake,” another highlight. His melodic chorus combined with a more downtempo instrumental creates one of the most relaxed songs on the record. A great guest appearance from Lil Uzi Vert only adds fuel to the fire.

 “I’ll Say” is one of the most interesting tracks on the album. This is partly because it is the only one to feature a beat switch. While the song’s intro is just alright, the beat switch around the 1-minute mark sees SoFaygo finding a fantastic groove and excelling sonically.

“Price” continues this streak and features one of the most interesting instrumentals on the project. Distant electric guitars meld perfectly with atmospheric synths to create a vibe unlike any other on the album. The song feels laid-back, mesmerizing, and airy.

“Greed” brings the energy back up and is another definite highlight. Hearing SoFaygo over horns was very unexpected, but he executes his style flawlessly over such a great instrumental.

While “Pink Heartz” has plenty of commendable ideas, it is vastly inconsistent. Certain tracks feel uninspired or sometimes just too long, and this creates quite a drag on a project that is nearly an hour in length.

Songs like “Me Too” and “Goin Back” are incredibly bland and boring. “Fasho” and “Slip” go on far too long and are simply not as engaging. The amount of songs that bog the project down leave it feeling like a mixed bag, and the album would have benefited from a few cuts to the track list.

Although “Pink Heartz” is brought down by multiple unnecessary songs, SoFaygo does still shine as an innovative voice in modern hip-hop. The project, while flawed, showcases his burgeoning talents and brings some solid ideas to the table.

One can hope that SoFaygo will release a more consistent and solid project in the future. I have no doubt that he is capable of it.

SoFaygo – Pink Heartz: 5.4/10

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Over the last several years, Smino has seemingly exploded into the modern hip-hop and R&B scenes. The St. Louis natives’ 2017 debut album “blkswn” and its 2018 follow-up “NOIR,” while not the most popular releases of each year, earned him a dedicated fanbase.

Several appearances on 2019’s “Revenge of the Dreamers III” from J. Cole’s Dreamville label brought him even further into the limelight, but Smino kept a relatively low profile in the years following. The wait is over, and “Luv 4 Rent” proves that Smino wasted no time.

“No L’s” is a perfect introduction to the album, and features spaced out deliveries from Smino. The lyrics are scored excellently by a twinkling instrumental sample with heavy bass hits beneath it. The track is incredibly relaxed, and it’s hard to not match Smino’s energy while listening.

The same goes for “90 Proof,” which pairs a beautiful guitar lead with organic drums and light background vocals. Smino’s voice twists and turns with the melody, and he sings of finding a love better than anything he has had before. “I’m gettin’ used to bein’ loved, girl, the right way,” he sings.

A fantastic guest appearance from J. Cole opens up with a shoutout to his wife. “I got a real one, if I was broke, she never would leave me, no,” Cole says. The song sees Smino flourishing lyrically and vocally, and the aforementioned J. Cole appearance feels like an alley-oop to close out the track beautifully.

“Pro Freak” is hard to describe with words alone. Stellar vocals, incredibly layered and lush instrumentation, and top-notch energy create a vibe unlike anything else on the project. The track feels perfectly crafted for a barbecue or a downtown drive in the spring with the windows down. Wherever you play it, it’s endlessly infectious and replayable. Quick and punchy bass hits along with a subdued guitar lead keep heads bobbing consistently.

A wide array of backing vocals feel excellently matched with Smino’s relentlessly smooth delivery. A dizzying assist from Doechii keeps things energized. To top it off, a beat switch near the end hands the microphone back to Smino for one of his few rap verses on the project. The song is about as close to perfect as it gets, and will be on repeat for months to come.

The project’s pure joy continues on “Matinee.” This quick, cute, and flirtatious ballad brings yet another helping of Smino’s incredibly diverse vocal inflections. Lines such as “I don’t text her, let it fester, I don’t stress her, I just stretch her” and “If it’s cold, I Moncler her, make no error” perfectly emphasize the track’s playful nature. The simple but gorgeous instrumental puts a beautiful bow on the song.

“Settle Down” is another absolute standout and brings the energy up to 11. A fantastic guitar lead, bouncing drums and bass, and light background vocals feel like they’re ripped from the Earth itself. Smino continues to amaze vocally. Ravyn Lenae brings her signature feathery vocals into the mix, and her outro to the track stuns as well. Smino sings about doing his best and having no stress, and the song is likely to have the same effect on the listener.

“Pudgy” with Lil Uzi Vert is one of the most interesting songs on the album, with a unique saxophone-trap instrumental. This fantastic beat feels perfectly crafted for Smino, but Lil Uzi Vert somehow feels right at home on an instrumental that very few fans would expect to hear him on.

“Curtains” is one of the most emotionally poignant moments on the album. Smino utilizes a more simple instrumental to allow his voice to take center stage. The song bounces between multiple themes and ideas, including friends, wealth, love, and family. “I bought the big ol’ body with the pretty wheels, riding with the ones from when it was ugly,” Smino sings.

The album ends with “Lee & Lovie,” and Smino certainly could not have chosen a more perfect outro. The song is a testament to love in every sense, with Smino highlighting both romance and the importance of self-love. A twinkling and stunning instrumental provides the perfect backdrop for such beautiful speech, and the album ends just as fantastic as it began.

In an interview with Complex regarding “Luv 4 Rent,” Smino stated that “Self-love is definitely a big theme on this album, and I also think another way to interpret it is I was leading other people to self-love, too.”

His statement rings true throughout the entire project, as it’s nearly impossible to listen without feeling overcome with some sort of love or happiness. “Luv 4 Rent” feels like Smino truly coming into his own as an artist, and the project brings with it some of the best R&B/Hip-hop songs of the year.

Smino – Luv 4 Rent: 8.5/10

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Carly Rae Jepsen has had an interesting musical career to say the least. The Canadian pop star exploded into the mainstream with 2012’s “Call Me Maybe,” a relentlessly catchy track that was inescapable for years. After this viral success, Jepsen’s recent releases have been enjoyed primarily by a smaller, dedicated fanbase. These fans consistently praise her creativity and dedication to making authentic pop music rather than churning out chart-topping hits.

In an interview with Vogue, Jepsen said, “I feel like I actually have something to say now because I’ve lived some life. Now I can finally start writing the good stuff!” After listening to “The Loneliest Time,” it’s hard to argue with her assertion. Carly Rae Jepsen continues to produce some of the most engaging throwback jams in the pop scene today.

“Surrender My Heart” opens the album with emotional lines such as “So I’ve been tryin’ hard to open up, when I lost someone, it hit me rough” and “I paid to toughen up in therapy, she said to me, ‘Soften up.’” The song contrasts these lyrics with explosive energy. “I’m out here in the open, I wanna get closer, I’ll believe in you every night,” Jepsen loudly proclaims. She sounds motivated, excited and eager. The gorgeous instrumental surges back up her upbeat attitude.

The album’s third single, “Talking to Yourself,” hits all the right notes, using catchy vocal hooks and dance-worthy instrumental leads. Jepsen flourishes vocally over smooth guitars and drums that feel pulled straight from the 1980’s.

“Far Away” is a beautiful, airy track accentuated by suspended piano keys and distant horns. Simplistic synths surge with joy during a purely euphoric chorus. Like walking amongst the clouds, the lyrics add to the instrumental’s pure happiness. “Just tell me you need me side by side, the sweetest words of my whole life… I’d like to get to know you, let me kiss all of these tears coming down,” Jepsen sings.

The album temporarily suspends the energy with “Bends,” a stunning, bare track. A minimalistic synth instrumental provides an excellent backdrop for Jepsen’s breathy and light vocals. Emotion seeps through every moment of the song and highlights Jepsen’s immense vocal talent.

“Go Find Yourself or Whatever” takes this one step further, using simple organic guitar leads and light drums for an incredible vocal performance. “Maybe when my heart’s done breaking, then I could forgive what you tried,” Jepsen sings.

“Shooting Star” is the album’s strangest song, yet exciting and uplifting. The warped vocals feel out of place but perfect at the same time, melding with the wavy instrumental to create an exciting groove. The track is relentlessly blissful and marks an absolute highlight for the project.

The album closes with “The Loneliest Time,” and to call it a breathtaking finale would not do it justice. The duet with Rufus Wainwright feels like the auditory equivalent of ending the project with a show-stopping firework display. It’s hard to find a song in recent memory that feels this celebratory. Strings, synths, keys, drums, and magnificent vocals all come together for a phenomenal closer that feels nostalgic, radiant, and above all else, truly magical.

Carly Rae Jepsen continues to prove herself as a force to be reckoned with in the modern music sphere. “The Loneliest Time” contains some of the most exciting pop tracks of the year. While the track list does have the occasional dud such as “Western Wind” or “So Nice,” the highs outshine the lows on an album that pushes pop into exciting new horizons. Anybody looking for something fresh and exciting should check it out immediately.

Carly Rae Jepsen – The Loneliest Time: 8.0/10

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