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

The post Robert’s Reviews: SoFaygo’s “Pink Heartz” is a mixed bag appeared first on KRUI Radio.

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

The post Robert’s Reviews: Smino stuns with “Luv 4 Rent” appeared first on KRUI Radio.

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

The post Robert’s Reviews: Carly Rae Jepsen continues to amaze with “The Loneliest Time” appeared first on KRUI Radio.

After a brief intro, Duckwrth comes out swinging with the mind-meltingly groovy “11:30.” The track employs constant deep bass and a subdued synth lead underneath his signature buttery-smooth vocals. The song feels romantic, hopeful and endlessly happy. It’s nearly impossible to listen without getting an urge to start dancing.

“Ce Soir” with Syd takes a much different approach, using light layers of distortion and robotic backing vocals. These sounds accentuate a sensual, deeper melody, perfectly crafted for two. The track resembles a conversation between two lovers: Duckwrth jokes that “We must be speaking a different language” before delivering a French chorus. Syd’s vocals are icing on the cake, making a short, sweet, and undeniably groovy song.

Duckwrth sets his sights on the club scene with “Sneaky,” a house-hop track. The plucky synth instrumental and smooth chorus keep things cool, chill and catchy. The second half of the track introduces gorgeous flute and saxophone sections to the mix, making the song even groovier than it began.

“Beg” explores an up-tempo and airy melody, like a trip through the clouds. Lyrics from Duckwrth and CLAY describe a relationship unbroken by physical distance. The beautiful and catchy chorus repeats that “You can travel the world, all seven seas, can’t find a love as pure as we.”

Calling “Pray” a highlight would be an understatement. A slick guitar lead, twinkling sound effects, and GAWD’s stunning backing vocals leave the song feeling as if it’s coated in gold. It fuses the energy of a gospel song with Duckwrth’s signature dance style. T

The closing song, “Power Power,” is another high-energy track with a distorted instrumental and powerfully confident lyrics. The song ends the EP, already full of high notes, on another high note.

In an interview with Forbes, Duckwrth said, “[Chrome Bull] sounds like the future, but I don’t want it to feel so much like the future. I just want it to feel new.” In seven songs, “Chrome Bull” shows listeners what the future of dance music can (and should) sound like.

Duckwrth continues to keep his fingers on the pulse of dance and pop. His ability to constantly innovate shines brighter than ever. The project is a necessary listen for fans of innovative dance music, and the world should keep its eye on Duckwrth.

Duckwrth – Chrome Bull: 8.8/10

The post Robert’s Reviews: Duckwrth astonishes with “Chrome Bull” appeared first on KRUI Radio.

British rapper M.I.A. is no stranger to controversy. From YouTube removing her 2010 “Born Free” music video for graphic depictions of police brutality and discrimination, to fines and legal troubles after flipping off a camera during her 2012 NFL Super Bowl appearance, the London-based artist has never held back her visions and ideas. It’s no surprise, then, that M.I.A’s sixth studio album “MATA” was overshadowed by her recent statements.

In a controversial tweet just days before the album release, she likened celebrity vaccine promotion to the Alex Jones/Sandy Hook defamation trial. “If Alex Jones pays for lying shouldn’t every celebrity pushing vaccines pay too?” M.I.A wrote. She then claimed she knew three people who died from taking the COVID-19 vaccine. While her words left a bad taste in my mouth, “MATA” is objectively a step up from her previous album.

“MATA” opens with the two-part track “F.I.A.S.O.M.”, an excellent introduction to the project. “F.I.A.S.O.M. Pt. 1” is an instrumental track structured primarily around echoing vocal samples and intense bursts of noises resembling blaring sirens and distorted horns. The track cascades directly into “F.I.A.S.O.M. Pt. 2,” which brings booming bass hits to a chopped version of the same vocal samples from the first track.

“Freedom is a state of mind,” M.I.A sings on the chorus. The verses on the track, however, don’t comment further on that idea and focus on keeping the energy high.

“Beep” is a short, sweet standout track featuring nonsensical lyrics over a fantastic instrumental. The production utilizes intricate drum and bass patterns with very distant chopped vocal samples. M.I.A.’s voice provides most of the melody, and a perfect amount of autotune makes each line feel like an extension of the instrumental itself.

M.I.A. strikes a perfect groove on “Zoo Girl,” which might be the album’s best song. Organic drums and switches between backing vocals and pitched flutes create a perfect backdrop for her relentless flows. “I still got fight, I still got vision,” M.I.A reminds the listener. On such a confident and tightly structured song, her words are undeniable.

“K.T.P. (Keep The Peace)” is an intriguing piece, and feels uniquely familiar and nostalgic. M.I.A. sings a catchy hook over airy guitars. An uncredited group of children provides backing vocals, bringing a profound joy, like a breath of fresh air on a gorgeous spring morning. The song feels like a logical and modernized continuation to M.I.A.’s smash hit “Paper Planes.”

The album’s closing track “Marigold” emphasizes a much more emotional tone than the rest of the track list. M.I.A. sings of “the world in trouble” with stirring chords and choral vocals backing her, sounding like a distinct call to arms. “We need something practical, a real miracle,” she states.

While “MATA” shimmers with brilliance at many points, several tracks hold the project back. The two lead singles, “The One” and “Popular,” are the worst offenders, demonstrating M.I.A. at her weakest artistically.

“The One” is backed by a bland instrumental from producer T-Minus, and M.I.A.’s excessive use of autotune creates drawn-out and grating vocal sections. “Popular” faces similar issues. The instrumental sounds out of key, and the vocals suffer from abused autotune techniques.

While “MATA” is far from perfect and does not reach her early-career highs, it’s an improvement from 2016’s “A.I.M.” The album stays engaging, and feels like a step towards something more like her impressive, genre-bending projects from the late 2000’s. “MATA” is a solid, albeit inconsistent, addition to M.I.A.’s catalogue. Fans of her previous work should give it a listen.

M.I.A. – MATA: 6.5/10

Robert’s Reviews is a weekly column by KRUI staffer Robert Rysz. Check out krui.fm every Monday for more of Robert’s Reviews.

The post Robert’s Reviews: M.I.A. returns with “MATA” appeared first on KRUI Radio.

Jean Dawson epitomizes thinking outside the box. His 2020 album “Pixel Bath” was one of the year’s most innovative and genre-bending albums, and solidified Dawson as a force to be reckoned with in the alternative music scene. Although “CHAOS NOW*” is not as striking and vibrant, it is more consistent and organized than his previous works.

The project opens with “THREE HEADS*,” an electrifying start with nonsensical lyrics about three-headed monsters and invincibility. The track is scored by a simple guitar lead and nostalgia-infused synth hits. The energy stays high on “GLORY*”, surging during choruses and post-choruses as Dawson embraces craziness. 

“Young bull might be crazy… young bull might kill a matador,” Dawson sings. “I’m bout it, bout it, I’ma laugh until my last day.”

“KIDS EAT PILLS*” features similar bursts in energy to those on “GLORY*.” A standout verse from Isaiah Rashad details struggles with addiction and relapse. “Nodding off, I been lost all my senses… woke up, it was dark as my vision, I’m livin’ a nightmare,” Rashad raps.

Possibly the most poignant and attention-grabbing track on the entire project, “BAD FRUIT*” is a solemn duet with Earl Sweatshirt. “I’m just an apple, I’ll fall when I turn ripe. Hit the floor hard, I was never picked,” Dawson sings. After a stunning transition, Earl Sweatshirt takes the lead and details his experiences with depression and failure.

“Messin’ with my mind, what the pills did… workin’ overtime, fakin’ like we’re fine,” he sings, a rare emotional display from the Chicago rapper.

The energy picks up again on “0-HEROES*.” Dawson describes taking a leap of faith to live life to the fullest. “Standin’ on the cliff and there’s no way down… this could be the day that you soar,” Dawson sings. Motivational and foreboding, the guitar-led instrumental manages to stand out even in an album driven by guitar.

“SCREW FACE*” feels uniquely nihilistic as Dawson emphasizes that death is the outcome for everyone. Despite this fact, the track maintains an indifferent attitude towards death, saying that people should live how they want while they can.

The album has a few final upbeat moments before the closer. “PORN ACTING*” utilizes one of the catchiest guitar leads on the album and describes “two-faced friends” and suggests “your life is a movie.” The tracklist continues with “SICK OF IT*,” a song inspired by 2000s punk rock. Dawson details frustrations with modern life and all that it entails, singing, “a little speck of nothing, I can promise I can barely even breathe.”

The closing track, “PIRATE RADIO*,” borrows from folk music to create a wistful outro. The lyrics describe Dawson, stranded in open waters and never dying– an interesting suggestion for an album that revolves around death.

While “CHAOS NOW*” is much more consistent than his previous works, Dawson downplays his greatest artistic strengths. The use of guitar leads on nearly every song, while not inherently a bad decision, makes the album slightly monotonous. Part of what made “Pixel Bath” one of the most interesting listens of 2020 was its constant twists and turns. Varied production, beat switches, and even language changes made sure no two songs felt the same.

“CHAOS NOW*” is a solid project, and its commitment to its themes is worthy of praise, but the lack of innovation does feel like a small step backwards for such a talented artist.

Jean Dawson – CHAOS NOW*: 6.3/10

Robert’s Reviews is a weekly column by KRUI staffer Robert Rysz. Check out krui.fm every Monday for more of Robert’s Reviews.

The post Robert’s Reviews: Jean Dawson embraces the crazy with “CHAOS NOW*” appeared first on KRUI Radio.

Björk has never been one to shy away from pushing musical boundaries. The 56 year-old Icelandic singer-songwriter-producer has had a nearly three decade long solo career that has consistently warped and redefined what pop music can be. She has created undeniable masterpieces, including “Homogenic,” “Post,” and “Vespertine.” Her recent material has pushed the envelope even further, exploring pop music’s sonic landscapes.

2015’s “Vulnicura” was a heart-shattering view into a failed relationship, while 2017’s “Utopia” ushered in much brighter horizons for Björk. Self-described as her “Tinder album,” the project contained feathery and light instrumentals. While “Utopia” felt like a concert in the sky, “Fossora” digs its roots deep into the earth for a unique conceptual piece.

Recorded over the course of 5 years, some of which were spent in full lockdown, “Fossora” explores the connection between humanity, music, and nature, a prevalent theme in Björk’s previous work. The album’s instrumentals are as sporadic and unpredictable as mushrooms, which influenced the record’s imagery and themes.

The opening track, “Atopos,” is a jarring listen, featuring an off-kilter instrumental arrangement. The song employs irregular bass clarinets that bring both a sense of urgency and uncertainty. The lyrics warn that we must overcome “excuses” for not connecting. “Hope is a muscle,” Björk sings. The idea that hope must be exercised regularly to avoid losing its strength was a bold one to include at the end of such an abrasive track, but Björk makes it work in a way only she could.

“Victimhood” was a personal standout. In a rare occurrence, Björk speaks directly about a topic instead of using metaphors and symbolism. The track employs upfront lyricism with a slow, dark, and foreboding instrumental that utilizes leads from the same bass clarinets as “Atopos.” Björk slowly delivers passages detailing the pitfalls that a mindset of victimhood can lead to. “Rejection left a void that is never satisfied,” she sings. “Only bird’s eye view can help me transcend this archetype, who am I that this has happened to?”

“Allow” with Emilie Nicolas was another favorite, and feels like an outtake from “Utopia.” Gorgeous flutes welcome the listener back to Earth’s surface, and the lyrics revolve around Björk’s undying love of the natural world. The song shimmers with happiness and light describing “the warm open wind on my skin.” “How I long to float there midair, between the branches amongst impossible magic,” Björk sings.

The track “Fungal City” featuring serpentwithfeet is another lighthearted track. The song, scored by winding horns, takes the listener on a trip into a fantasy world and makes the entire song feel endlessly whimsical and romantic. “Fungal City” also hints at a new love interest. “His capacity for love is enormous, his vibrant optimism happens to be my faith too,” Björk sings. The track ends with an instrumental surge that amplifies pure joy, creating a love song that is uniquely Björk.

The title track “Fossora” is another standout, backed by exciting instrumentals that sound like a “Legend of Zelda” soundtrack. The earthy horns and beautiful drum and bass hits accompany lyrics about the planet’s beauty, emphasizing the idea of spreading and growing roots.

A review would not be complete without discussing the emotionally significant “Ancestress” and “Her Mother’s House.” The songs feature Björk’s son Sindri Eldon and her daughter Ísadora Bjarkardóttir Barney, respectively. Each track focuses on motherhood and the deep emotional connections it entails.

“Ancestress” is a touching tribute to Björk’s late mother, who died in 2018. The song details Björk’s loss while also describing how she lives on. It’s more hopeful than mournful, with lines such as “you see with your own eyes, but hear with your mother’s.” “When I was a girl, she sang for me in falsetto lullabies with sincerity, I thank her for her integrity, Björk sings.

“Her Mother’s House” explores Björk’s own experiences with motherhood, and focuses primarily on how her children’s growth and departure has affected her. The chorus paints a bittersweet picture. “The more I love you, the stronger you become, the less you need me,” Björk sings. Another verse says, “when a mother’s house has a room for each child, it’s only describing the interior of the heart.” The song says that a mother is forever connected to her children through love, despite the physical distance between them.

With “Fossora,” Björk has once again proven that she is one of the greatest pop artists of all time. Her innovation and creativity knows no bounds, and this album cements her position in the upper echelon of modern music. Through its masterfully crafted instrumentals, stunning vocal performances, and exceptional thematic consistency, “Fossora” stands as one of the best albums released this year.

Björk – Fossora: 9.1/10

Robert’s Reviews is a weekly column by KRUI staffer Robert Rysz. Check out krui.fm every Monday for more of Robert’s Reviews.

The post Robert’s Reviews: Björk digs deep on “Fossora” appeared first on KRUI Radio.

The show sounded much like the planets in our solar system. DEBIT’s musical primordial soup demonstrated uncommon patience, like she was constantly fine-tuning her sound. She infused herself into the performance, breathing life into the speakers.

Her use of a special synthesizer known as “The Pipe” was particularly compelling. An instrument that functions by receiving incoming air and emitting synthesized tones, “The Pipe” is part vocoder, talk box, and kazoo all rolled into one. The results are unique sounds that command the audience’s attention.

The planetary music likened DEBIT’s performance to the Book of Genesis. The layered, droning, tonal weave reminded the audience that nobody had ever heard these exact sounds before, nor would they ever be heard again.

Like many creation stories, the purpose was not entertainment, but education. And with any good teacher, DEBIT was not the night’s subject. There were no crazy stage lights to claim our attention, no gaudy outfits, no other distractions. She drew all focus to her art. And for me, she was willing to give five minutes for an interview after the show.

I hung around afterwards, eavesdropping on her conversation with the theater crew. I learned that the crackling noises, which probably appeared intentional to most of the audience, were the reason the show ended early. DEBIT, who is currently on tour and departing for Europe soon, explained that “the challenge of electronic music is technical.”

The unintended feedback is just one of many technical issues that electronic artists have to deal with. But she embraces the challenge, saying that she enjoys “adding to the medium, and with experimentation comes risk.” She seeks catharsis for her audience, something that technical difficulties make difficult to achieve.

I asked her what she says to people who question whether her art is music. She smiled and said she hopes her art “encourages the question of what music is.” She spoke of her pride for the electronic genre and its acceptance into the cultural conscience as music. “Frequency creates tonality, which creates music, and at that point anything is up for grabs.”

Finally, I asked her what she hopes her audience takes away from her work. Without hesitating, she dove into what it means to be human and discovering “something fundamental to the human element, which everyone can relate to.” Her words leaned towards “cosmogony”: stories that explain creation in order to show how we relate to one another.

In speaking with her, I sensed wisdom beyond her years; an ancient soul who spoke eloquently and with authority. She is clearly a student of music and, through her vocation, has become a teacher. Her thirty-five minute lesson taught me that music’s capacity for inspiration (and dare I say catharsis) lies not in words nor sounds, but rather in the innate ability to reveal thoughts and emotions we did not know we had.

The post Witching Hour: DEBIT gives a lesson in cosmogony appeared first on KRUI Radio.