Katy Perry’s “Teenage Dream” is an album I never sat down and listened to in full, but somehow heard every song on the radio. Tracks like “California Gurls,” “Teenage Dream,” and “Last Friday Night” weren’t just great pop songs, but were also inescapable during the late 2010s. Listening to it again in 2025, I’d say […]
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Short n’ Sweet (Deluxe) – Sabrina Carpenter I’ve been putting this one off for a while, as I’ve grown to appreciate Sabrina Carpenter over the past year. Her song, 15 Minutes, on the recent deluxe, is one of my favorite ‘80s dance-pop revival songs from this past decade, and after hearing Espresso at a bar
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Mayhem – Lady Gaga Mayhem rides the wave of the current ’80s dance revival trend. While the production on this album is grand, slick, and clear, it feels like Lady Gaga doesn’t match its style. Songs like Abracadabra and Garden of Eden showcase her ability to construct atmospheric and boundary-pushing dance songs. Abracadabra specifically has
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Hurry Up Tomorrow is The Weeknd’s sixth studio album and the final album in his most recent trilogy. This concept album is also his last project under The Weeknd moniker. He ends his album run with a grand, boisterous, and synth-heavy album. Conceptually, this LP is brilliant. The Weeknd touches on themes like death and
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This is a required listen for anyone who is a fan of the punk genre—Vic somehow takes an interesting idea, and rips it to shreds. The lyrics are cringy, the instrumentals are lazily thrown together, and the worst part is the pop-punk influence. The way this album was marketed made me think it would be
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Che pushes the boundaries of rage, a raw and abrasive subgenre of trap. The beats go beyond the typical stripped-down saw synths, incorporating dance and digital hardcore elements. Distorted 808s blend surprisingly well with flute melodies, and Che’s boundary-pushing flows complement his use of autotune and vocal melodies. The mixing creates an atmosphere that feels
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Honestly, Nevermind is Drake’s 7th studio album, and one of his more ambitious albums to date. This project mixes elements of house, Afro-beats, and R&B, deviating from Drake’s typical pop-rap sound. Although the project has some great production, issues arise with Drake’s performance. Most of the songs feel like Drake attempted them on his second
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Relationship of Command, a staple in the post-hardcore scene, played a pivotal role in defining the genre. This album is renowned for its chaotic yet polished sound, a hallmark of early 2000s post-hardcore. While moments might seem disjointed, poorly mixed, or even unconventionally rough, these elements contribute to its unique appeal. Relationship of Command serves
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