The Black Keys certainly found a single sound and subsequently decided to never deviate from it. On Dropout Boogie it seems like Dan Auerbach and Patrick Carney set out to record a collection of songs that sound as though they are trying to cover their own material. This album is seriously so lacking in any sort of inventive or entertaining ideas, I don’t quite know why the band even decided it needed to be released. I don’t get anything more out of this project than I get out of watching a local band play for free at the farmers market. It feels like I’ve heard all of these songs before, seriously, note for note it feels like The Black Keys have been playing these songs for years. I know that they haven’t though. I know that the only reason I feel like this is because all of these ideas are just worse versions of the radio friendly garage blues songs on an album like 2011’s El Camino. Lyrically the album takes a pretty big hit as well. Most of these songs mean basically nothing, just a mash of words that rhyme and I guess kinda make sense in conjunction, but, I still definitely could not tell you what a song like “Your Team is Looking Good” is about. Even when the lyrics do tell a discernible story, it feels cliché and retired. That’s the best way to describe the sound of this album: retired. A boring album consisting of retired, recycled, unoriginal ideas. Dropout Boogie is not a horrible album, but by god, it is not an entertaining one either. The Black Keys prove themselves to be as one note, one dimensional, and formulaic as a band can be, they sound a little washed up, for lack of a better term. I guess you can only get so far writing blues songs for car commercials.

5/10

Leading up to the release of Kendrick Lamar’s Mr. Morale & the Big Steppers, the albumwas touted as Kendrick’s victory lap, a culmination of everything that he has accomplished over the course of his extremely lauded musical career, and a perfect send off from the label who has hosted him for the last 17 years. All this considered, it's hard not to feel a little disappointed with this offering. Shortly after the album was announced, I was talking about it with one of my good friends (THE Jackson Flint himself), he was speculating that this wouldn’t just be Kendrick’s last album on the TDE imprint, but his last album period. When he first told me the theory, I didn’t buy into it. After listening to the album however, part of me wants to agree. It feels like Kendrick is phoning it in here, merely checking off the boxes to be able to say he gave everybody one last Kendrick Lamar album. I don’t want it to seem like I’m saying the album is completely tired sounding, or uninteresting, because there are definitely memorable moments and ideas displayed here. The only problem is that they are few and far between, interlaced with songs that don’t try anything new or do anything very notable, a lot of this album sounds like it could just be Damn. b sides. Even the moments I do like on the album feel like they lack a certain depth -both thematically and sonically that was present on his truly great work. The opening track on the album “United in Grief” is easily one of the most progressive songs on the project, slowly building through numerous beat changes, sometimes using swooning strings, and other times divulging into dissonant samples, the song is competently constructed yet still lacks any serious drama or scale. “We Cry Together” is another one of the best songs on the album, with one of the best beats of any of these songs (The Alchemist is an impeccable producer) and a story told in a way that really is a little gut wrenching, and will probably be remembered by many as one of Kendrick’s best songs, although, I must say, it has a relatively unsatisfying conclusion that kinda comes out of nowhere. It probably goes without saying, but I really am not a fan of all of the Kodack Black on this album, also I must say that when it comes to someone who puts themself on as high a moral pedestal as Kendrick tends to, I find it a little ironic that he’s still working closely with objectively horrible people (not a criticism, just an observation). The interludes that Kodack talks through are grating (I seriously don’t know why you would choose Kodack Black of all people to do a spoken word song) and “Silent Hill”, the song that he actually features on sounds like something that would’ve gotten popular in 2016, but at this point it just sounds boring. Seriously, the song sounds like it was produced to have a Kodack Black feature and for nothing else. Funnily enough, I have the exact opposite problem with the song “Mother I Sober” in which the chorus sang by Beth Gibbons sounds completely ill-fitting and as though it was tacked on as a complete after thought. “Mother I Sober” is actually quite a good example of what I think of this entire album, I love the message behind the song and I commend Kendrick for writing about things that people in the hip-hop community so often turn a blind eye to, however the song just doesn’t feel as poignant or heart-dropping as I think it's supposed to, it's just a little lacking. Overall, Mr. Morale & the Big Steppers is a good album but a fairly unmemorable one. After the 73 minutes it takes to get through this thing, I’m always left feeling a little unsatisfied. Kendrick definitely does something with this album, but this is a time where something isn’t enough. The album falls just short of what it is trying to achieve, not so much a big step, as much as it is a normal sized halfway stumble. Perhaps overtime I will appreciate the album more, but currently it seems like there’s a lot of empty space to grow into in those big stepping shoes.

6.9/10 (funny score, right?)

Simple. is a great collection of tracks to usher in the summer months. This mixtape sounds bright, breezy, fun, and incredibly groovy. I could totally see songs like “Drugstore” and “Taco” becoming party anthems over the course of the summer. In terms of rapping, IDK completely delivers, perfectly laying his savage, gritty rhymes and flow which does not let up for anyone or anything over these sunny, summery, flowing beats. Denzel Curry is the perfect match for IDK on the song “Dog Food”, both rappers have such vicious styles and quick witted word play, I could honestly see the two of them making a full project together. Both have mastered a style of hip hop that has an insane reach, so many different people could get totally absorbed by these two. IDK’s music sounds like it could easily get played at a high school party or in a trap house, or even perhaps, a high school party in a trap house. For only 18 minutes, this mixtape feels completely satisfactory. I think my favorite thing about Simple. is that it doesn’t try to be anything more than it is. As the name implies this is simply a collection of fun, breezy, easily digested, poppy trap songs with some absolutely killer production, and personally, I’m here for it. I would love to hear IDK transition this brighter, groovier sound to a long form release. This mixtape leaves me confused about just one thing however; his name. Why IDK? What does he not know? He seems pretty aware to me.

6.8/10

Bad Bunny’s Un Verano Sin Ti gives me the feeling I think I’d have if I sat in on a Quinceanera or Bat Mitzvah; objectively out of place, yet still welcomed and made at home. I have no idea what is being said or what is going on when I listen to this album, but I am still more than happy to be along for the ride. Bad Bunny has an undeniable gift for writing latin pop-trap that transcends the language barrier. Over dense, layered, crisp production, Bunny’s flow never stops, it's almost overwhelming how constant his barrages of words can seem. I have no idea what’s being said, but from the sounds of it, it's a lot. Bad Bunny’s voice also works incredibly well here, to a point where part of me wants to call him an overlooked vocalist, or at the very least a man with an overlooked voice. He sounds so gruff and hard hitting, while at the same time sounding clear and smooth. With an 81 minute run time, the album definitely starts to drag on when listening to it in one sitting, which I suppose is sort of a given when you have a project that is as long as this one by an artist who pushes the boundaries as little as Bad Bunny tends to. That’s not to say that this album doesn’t have interesting moments though, in fact, I was pleasantly surprised at the amount of intriguing sounds on here, especially in terms of the production. I love the classical flamenco driven beat on the song “Yo No Soy Celoso”. I love the pop rock sounds provided by The Marías on the song “Otro Atardecer”. I love the EDM breakdowns on the songs “Party” and “El Apagón” which sound completely fit for a rave. Every song on Un Verano Sin Ti sounds like it was either made to be a latin radio hit or a latin club banger, or, at times, both. What more could you really want from this type of album? Thematically the album works quite well too, despite the fact that I don’t speak a word of the language, I can still tell that Bad Bunny made this album as a tribute to Puerto Rico. The songs sound tropical. These songs are bright and happy, made to be played on beaches and as the background for drives through the islands. As someone who most definitely does not fall into the category of people that this album was intended for, I have to say, I like it. This is a good pop album. Good job Bad Bunny!

6/10

When it comes to cliches and pretension, Arcade Fire gets a pass. These sounds weren’t cliche or pretentious until every band that fell under the “alternative music” label in the mid to late 2000s tried to replicate what Arcade Fire achieved with 2004’s Funeral. On WE, Win Butler and company don’t reinvent their sound. On WE Arcade Fire doesn’t experiment much at all actually. What the band does do with WE is prove that they can do what they know how to do extremely well. These songs just sound good. The production is big and perfectly interlaced with warm, heartfelt strings and guitars, as well as spacey and cold synths. There are also many creative-yet-subtle techniques incorporated, ticks and drones that pass quickly and get easily lost in the mix if you’re not looking for them. This aspect of WE reminds me greatly of what I thought made the production on an album like Funeral so enthralling. It feels like the band is making music to be enjoyed by the mainstream, as much as they are making it for those with trained ears. It’s truly an amazing balance, and one that so many musicians fail to replicate, despite their best efforts. Arcade Fire’s innate ability to write beautiful, absolute earworms of melodies and choruses is on full display here as well. Whether it be the outro of the song “The Lightning I” or the impeccably sung chorus on the song “Unconditional II (Race and Religion)” (which features Peter Gabriel for some reason, not that I’m complaining, it's just interesting) these songs get stuck in my head. Lyrically Arcade Fire have more or less always had moments that delve into cheesiness a little too far or feel a little too far removed from the real world (just because it makes sense in your head, Win, does not mean the rest of us get it). WE definitely has these moments, that being said, they are surprisingly few and far between and a lot of the lyrics have actually grown on me quite a bit upon repeated listens. I kinda like the use of weird, off hand remarks and the references to things that have only become so mundane in the modern age. Win’s stream of consciousness style of lyricism works well on this album. It seriously feels like Arcade Fire really knew what they wanted to create with WE, sonically and thematically the album feels consistent and cohesive. These songs belong with one another, the track listing feels like it has real reason, it's not just mindlessly thrown together. It’s a real, thought out project. Not just an album or a collection of songs but an actual project, with a reason to exist. Arcade Fire have crafted an album that is unabashedly and unapologetically them. This is undeniably Arcade Fire. If you generally like Arcade Fire’s sound, you will enjoy this album. It has all of the staples; the overproduction, the beautiful pop and melodic sensibilities, the genre-defying progressions, the streamlined, consistent narrative, and all of this is, of course, steeped in the highest degree of melodrama. Seriously, Win, you made a pretty good album, why do you sound so dramatic?

7/10

This album is not good. This album is really, really bad. This album is the shittiest thing I’ve heard all year, and I would not be surprised in the least if that fact remains unchanged. Believe it or not, Come Home the Kids Miss You seriously challenged me as the album is far from void of entertainment, however, all of the entertainment value is derived solely from how absurdly, hilariously bad it is. With this album Jack Harlow cements himself as one of the least talented lyricists in modern hip hop. I seriously can’t think of a time that I’ve ever heard an MC that is simultaneously this corny, as well as this lacking in self-awareness. The only person I can think of that even comes close would be Russ. Harlow has nothing to talk about on this album, 90% of this album is just him talking about sex, which isn’t necessarily a negative on its own, but he does so in the most predictable, formulaic, cheesy way imaginable. Harlow is influenced by Eminem in the worst way possible. He’s not influenced by good, early era Eminem. He’s influenced by middle era Eminem. Call of Duty era Eminem (which, if you ask me, is arguably worse than modern era Eminem). There are also times where Harlow puts some really strange images into the listener’s head. Some of the lyrics on this album could only be written by someone who is completely shameless or... maybe... brainless? All I can say is that the Dua Lipa song is WEIRD, I have no idea why he felt the need to write that. And no, I don’t mean that he made a song with Dua Lipa, I mean he wrote a chorus talking about wanting to fuck her. It is incredibly bizarre, I wonder what he’ll do if he ever happens to run into her anywhere. The lyrics on Come Home the Kids Miss You sound like they were written by a twelve-year-old, a twelve-year-old who is legitimately trying their best maybe, but a twelve-year-old nonetheless. Listening to this album, I find part of myself wondering if I’m even supposed to take it seriously, but then a larger part of me always concludes that I am (a task I don’t see anybody being able to accomplish, including Jack). Unsurprisingly the album features some pretty solid production, handled by about 100 different people (a constant phenomenon when it comes to pop rap albums made by artists who are this high profile). However, as competently produced as these beats are, the majority of them still feel somewhat lacking, they’re strong, dense, and clean, but that's all that they are. The beats don’t go anywhere interesting, they lack soul, they lack true dedication to the project, it feels like the producers on this album were only a part of it for a big paycheck. Come Home the Kids Miss You is truly an amalgamation of all of the worst aspects of popular music today, a manufactured, mindless, meandering offering from an artist whose reason for relevancy eludes any critically minded individual. If this album didn’t have solid production I probably wouldn’t even bother rating it but, I feel it wouldn’t be fair to the people with actual talent who worked on it. When Drake’s verse is better than any of your verses on your own album, you have a serious problem. I don’t really know how Jack is ever going to rectify this one.

1.5/10

Why is Q-Tip on this album? Why the hell is Q-Tip on this album? Seriously, Jack, even you had to have known this does not sound good. The other day I accidentally licked the back of my hand and tasted something salty. At first I thought it was a booger but when I looked down I saw I had cut myself. Jack White’s Fear of the Dawn gives me a very similar feeling, not as bad as I expected it to be but still not good. The album seriously lacks any sort of cohesion or structure, making for an extremely disorienting and confusing listen. Jack White didn’t set out to do something with this album, he set out to do anything, anything that came into Jack White’s electric blue colored head. It makes as little an amount of sense as you would expect. The album follows a loose narrative about somebody who’s scared of the sun or... something. I’m not completely sure if I’m being quite honest. I haven’t heard an album that is thematically this bizarre since I listened to Jennifer Lopez’s weird, obsessive love letter to Ben Affleck (This Is Me... Then). It is somewhat interesting to hear Jack White in such an overproduced environment, but the production is just as weirdly random and all over the place as any of the other aspects of Fear of the Dawn. From the weird sampled Middle Eastern sounding backdrop on the song “Hi-De-Ho” (featuring Q-Tip) which sounds like something Al Jourgensen would’ve come up with on one of those early Ministry albums to the strange, up front, mixing on the (slightly annoying) female vocals on “Into the Twilight”. The production throughout the album feels like it was handled by a carnie that’s been taking hits off of the c02 supply behind everyone’s back. It’s just so random. It’s just so weird. Fear of the Dawn is the type of album that makes people wonder if an artist is on their way to becoming a caricature of themself. In the case of Jack White, I can clear that question up pretty easily: he already is. Captain Beefheart was unpretentiously weird, the music was weird because the artist legitimately didn’t know any other way to be. With Fear of the Dawn, it feels like White is leaning more towards the Frank Zappa end of the weird spectrum, weird for the point of being weird, performatively weird some might say. Fear of the Dawn is an interesting study, because the problem with this album isn’t that White is an unskilled or incompetent musician (the guitar work on this album alone is enough to prove that). The problem here is a mixture of a tired out persona and a lack of direction. I seriously do not think Jack White knew what he wanted this album to sound like before he began recording it, and at this point in his career, no one is going to question anything that he does. Had there been proper review and refinement, this project could’ve been much better. Instead we got 40 minutes of Jack White running absolutely rampant and, as someone who generally considers himself to be a fan of Jack White, it's a little too much for me. And once again, why is Q-Tip on this album? Surely nobody could’ve thought that was a good idea. “Hi-De-Ho” is legitimately one of the worst songs I’ve heard this year.

5.4/10

Listening to the new Future album leaves me with two questions: How long will Future keep releasing the same, forgettable, formulaic music? And more importantly, how long will people keep hyping it up to no end? Am I going to be seeing people posting on social media about how excited they are for the upcoming trap album by a 60 year old Future? The latter half of Future’s discography is the musical equivalent to the modern day Star Wars films, more or less a worse version of what made the name so well known in the first place, produced not out of passion for the project but passion for quick and easy cash flow. I NEVER LIKED YOU is quite possibly the most boring listening experience I’ve had all year. This album lacks everything that made Future so good at the peak of his career, there’s no personality or charisma. The production, while not technically deplorable, does not do anything interesting. These beats carry no weight, no grandiosity, and no grittiness. These beats do the bare minimum, they sound like they were made just good enough to be on some high school sophomore’s Spotify playlist entitled “Party”. All of the features on this album are also completely stripped of anything even remotely entertaining. Kanye West gives a short, half assed verse that barely makes any sense (as expected), Drake’s verses are ill fitting, lyrically strange and a little creepy at times (as expected), and Kodak Black’s voice sounds like audible cyanide (once again, as expected). Future is completely asleep at the wheel here, there is absolutely no way he is trying anymore. I feel like this review isn’t saying enough, but there seriously just isn’t much to be said for this album. For a project that’s only 48 minutes long, this thing feels like it takes an eternity to get through. The most memorable thing about this album is that it marks the first time an ad lib has annoyed me so much I see it as, well, a mark against the project. Seriously, this dude shouts out ATL Jacob so often it disrupts the flow of the album. Everytime I hear him say “ATL Jacob” it's like hearing the Wilhelm scream in a movie, it completely takes me out of it for a second. Judging by the amount of effort it sounds like Future put into this project, the title is extremely fitting. Future most definitely does not like me. If Future liked me he wouldn’t have wasted my time with an offering that was this mindless. I’d like to end this review with one piece of advice for the Future Hendrix himself; maybe think about changing your name to Past, as you sound more and more like a relic of it with every new release.

3.7/10

Ever since the beginning of the pandemic, I have felt a societal inclination towards a more independent lifestyle. I’ve noticed an online encouragement towards taking oneself out to dinner, for a movie, on a date — especially after quarantine — all in the name of self-care. However, a concert may not present itself as an obvious solo adventure. What kind of music would you be okay dancing alone to rather than with friends? What kind of band presents that kind of scene?

On Monday night at the Royale nightclub on Tremont Street, 100 gecs performed at a concert which excelled at providing such an atmosphere. Contained within a small sector of music is the recently popularized band 100 gecs, made up of co-producers Laura Les and Dylan Brady.

Though many fans were excited for the music — the loud bass and intoxicating electric beats — I found it to be upstaged: The most powerful aspect of the 100 gecs performance was its crowd and energy of inclusiveness.

When hyperpop first appeared on Spotify in August 2019, the platform defined the microgenre — which started as a playlist — as “that weird pop music the kids are listening to.” But beyond just the music, it’s an attitude. In a discussion of its appeal with Rolling Stone, 100 gecs’s Les says the music “doesn’t take itself too seriously.”

This can lead to a heavily misconstrued reflection of the crowd. Especially in this day and age of post-irony, it has proven to be a bit harder for older generations, or generally anyone who isn’t chronically online, to decipher the seriousness, or lack thereof, of 100 gecs or other small hyperpop artists.

With the plethora of lyrics holding references to viral memes, those with a bigger online presence might find greater appeal in them. But here’s why the lyrics don’t have to be good or be serious: the fast-paced, repetitive beats offer the same instant gratification that can be produced by many social media sites — and this might offer the same appeal to neurodivergent fans.

100 gecs’s music with relentlessly repetitive dance beats, which, in some cases, can produce the same effect as stimming activities for neurodivergent individuals. According to Healthline, stimming is the production of repetitive movements or noises as a means of self-stimulation. It can help adolescents or young adults with autism, ADHD, Aspergers or just in general release tensions or cope with difficult emotions. Dance is proven to be a quite helpful stimming behavior.

Additionally, it makes sense that the band would attract an extensive queer fan base with its inherent queerness. Les acknowledged in the online magazine them. the influence being transgender has had on her exploration of different vocal styles, eventually landing on “nightcore.” These artists and the music they create are meaningful to queer youth, making the concert one of those essential spaces of acceptance that has always been imperative throughout queer history.

Ultimately, I was not the only one there alone nor had any reason to be self-conscious about this. In many corners of the dance floor, lone wolves awkwardly swayed or head bopped. Yet, the same number of lone wolves were jumping and head-bobbing, almost violently.

I quickly realized that all these people were granted the freedom to be whatever they wanted here. People were wearing pajamas, dressed scantily clad, holding hands, drinking and dancing. Even those on the sidelines were in the background because they could be. The attitude centric to 100 gec’s music was just as deeply cemented in this atmosphere.

The music was purely danceable. I do not recall seeing a single person standing still. With such intensive repetition, it is quite easy to just move without thinking. Half of the crowd was wearing earplugs, myself included. The base was so loud I could feel every beat in my chest — it drummed louder than my own heart. This kind of experience, with hearing protection, is physically liberating. I could quite literally feel nothing except the music. Although I’m not a huge fan of the childish lyrics, I must say that the music certainly helped reduce my relentless restless leg fidgeting. Maybe 100 gecs could get you to stop biting or tapping your nails.

I only worry about how long it will take before Les and Brady reach their “Sound of Metal” arc.

The songs would get stuck in my head, I almost found myself wishing some beats would never end. It was a completely new experience hearing high-pitched electronic music played live. All in all, I was ultimately impressed at the band’s ability to keep the crowd hype throughout the night, especially with consideration to its smaller size.

Regardless of its helpfulness, the duo consistently reaffirms that the music is not a joke despite the inspiration in memes or humorous jingles. I have to agree. The music is calculated and easily excels at getting stuck in the listener’s head. That should be enough to qualify as a good song. What 100 gecs brought to Boston at the Royale on Monday night proves that the city does not just enjoy its tea parties, but will also get down for a Kiki.

billy woods is the most underrated rapper. billy woods has been the most underrated rapper. billy woods will most likely remain the most underrated rapper. This album is conscious hip hop in its most boundary pushing, exquisite state. woods’ storytelling capabilities come out in full form here (believe it or not, he isn’t just saying words for the point of saying words) taking us through various perils and spoils of his everyday life, he describes getting stood up when he thought he would get laid, he describes his 11th grade friend shooting his own uncle, then showing up to school like nothing happened, he describes all this and more, and does so in a refreshingly well spoken, well worded, honest, and endlessly witty way.This album feels like a movie. This album feels like I’m sitting in the audience of The Truman Show, only instead of Jim Carrey, it's billy woods having the most comically depressing day of his life. Preservation proves himself time and time again throughout this project as an egregiously underrated producer. The production on Aethiopes is, at times, experimental, dissonant, and disjointed, while at other times stunningly pretty, and ALWAYS extremely competent, making it the perfect backdrop for woods’ dark yet self aware storytelling. Preservation covers a wide variety of sonic landscapes with his production, from Christine’s spacey, western guitar instrumental that almost sounds like it belongs on a modern Earth album to the dub groove on the song Versailles which sounds like Skream snuck into the studio while no one was looking. This is one of the most enjoyable and enthralling albums I’ve heard in the 2020s thus far. billy woods knows his capabilities. Billy woods knows he’s one of modern hip hop's greatest writers. Billy woods knows he is an artist that you, by no means should overlook - so why do you?

9.1/10

Bladee and Ecco 2k are peaking on Crest. When I listen to Crest it feels like I am peaking as well - peaking on acid with god in heaven. Crest is a masterclass in how to make an extremely progressive album while still retaining heavily accessible and beautiful pop sensibilities. The worldbuilding on this album is unbeatable. Along with producer Whitearmor, Bladee and Ecco drag you straight into their universe, with transitions and progressions that feel absolutely natural and completely seamless. The vocals on this album shine, almost wrapping around each other in a nearly unimaginable way, the auto tune used perfectly to help craft these clean and futuristic feeling songs. Bladee and Ecco play off of each other so well, it's hard not to believe they’re some kind of unified consciousness, one spirit split across two bodies (makes me sound like a new ager but, fuck it, that’s legitimately what it feels like). Crest is an album that never lets up and feels incredibly well calculated from start to finish, these don’t feel like individual songs, the album feels like an individual experience. This album is bold and shimmering. This album feels like it came from the Teletubbies universe in the best way possible. This album is like hyperpop if the overwhelming abrasion of someone like 100 gecs was swapped with the easily digested -yet- experimental progressive pop of Kero Kero Bonito. Listening to Crest is like living inside of a candy coated, ecstasy induced orgasm. It’ll be exciting to see where the Drain Gang goes from here - personally, I’m waiting for a T-Pain collab. Please Bladee, I’m begging.

8.3/10

Pusha T never fails to make me wish I was a coke dealer. Pusha T never fails to make my friends wish they were coke dealers. I’m sure if my grandmother found a Clipse album she too would have fantasies about pedaling the softwhite. On It’s Almost Dry, Pusha T is in incredibly fine form, retaining the hard, cocaine dedicated rhymes that he’s become so well known for while simultaneously presenting a more mature, untouchable presence. This is where Pusha T cements himself as a modern day great. Is this Pusha’s magnum opus? Possibly. Is this one of the best hip hop albums of the year? Absolutely. T isn’t the only one who shines on this album though, both Pharrell and Kanye West have impeccable returns to form. Pharrell’s production is dark and gritty, yet flashy and glamorous, his beats feel like they would be just as fit for the club as they would for the car ride to an assassination attempt, very reminisent of the work he did with Chad Hugo for Clipse. Kanye’s production is just as impressive, showing off his mastery of pitch shifted vocals, and endlessly looping, lush sounding samples. Where Pharell’s production is dark and stripped back, Kanye’s is bright and bold. The most impressive thing is how well it all works together, Pusha sounds completely at home on each of these beats. The never lacking flow of this album is truly a testament to how well these three individuals work together, it’s obvious that each of them has mastered their craft. It's obvious how long they have all been in the music industry. It’s obvious that none of them are even close to irrelevancy. All of the features on this album are more than satisfactory as well, even the ones that I found a bit questionable at first (looking at you, Mr. Atake). The return of Clipse on this album makes me hope and pray that the brothers are going to team up for another full project (hopefully with Pharell at the helm). Maybe I’m getting too ahead of myself though, no pressure Pusha. Overall this is an extremely well put together project by some of the most pivotal artists of this gneration and should most definitely not be missed. The dense production, the hard lines about coke dealing and money, the unbeatable flow and voice. All of these artists deliver, it's obvious that everyone who had anything to do with the making of this album was giving it their all. I know Pusha is the expert here, but from my perspective, this is FAR from dry.

8.8/10