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I'm leaving the final score at the bottom because I want you guys to see why I gave it this number. Supposed to be Kanye’s “magnus opus”, I just don’t see the hype around My Beautiful Dark Twisted Fantasy. My Beautiful Dark Twisted Fantasy or MBDTF is THE Kanye album of all time. Boasting nearly all of Kanye’s hits, this album is supposed to forever cement him in rap history. I want to begin by saying that MBDTF is a rollercoaster ride. Each song tells a different story and the sudden tonal shift of the album is incredibly well done, however the latter half of the album is littered with so many little issues, MBDTF is in a limbo from being a 10 or an 8. Dark Fantasy In my opinion, the greatest album opener, Dark Fantasy sets the tone for a lyrically rich, storytelling experience that is woven deep into the album. The opening is a reimagining of an excerpt written by Roal Dahl and exerts itself over the listener as a small lore dump for the creation of this album. The excerpt in my opinion is perfect, theres just one problem. Nicki Minaj has a shit British accent. Her corny, phony ass voice causes a deep irritation and only gets worse as her mouth does not shut up. Her delivery isn’t necessarily bad, just get a fucking British person. And when the beats come in. its gorgeous. The shimmers in the background continues to build up the song as a tale, something magical, and yet it fights Kanye’s rapping. And here is where Kanye brings on his A game, his lyrics are top-notch, pushing the boundaries of good music, and the emotion he slathers onto these lyrics is just amazing. Now the chorus. Can we get much higher? Is the one piece real? Dark Fantasy proves there is. And therefore, a strong 9. Gorgeous From Kid Cudi’s melodic hooks to the stylish loop of the electric guitar, Gorgeous is simply gorgeous. Kanye openly talks about racism and the experiences he faces as a black person. He also critiques the way the media portrays him and fucking love it. The guitar solo towards the end of the track provided by Mike Dean elevates Kid Cudi’s singing and humming. This track has the most solid singing from Kid Cudi and its so funny watching him cook as a feature and yet be so flat in his own projects. Gorgeous is a deeply rich track diving deep into harder themes and displaying Kanye’s creativity as a lyricist. Gorgeous is a strong 8. Power Powerful, loud, delusional. Kanye’s vocals are strong, hard, blurry, as he tries to drive home what it feels like on a power trip. You watch him spiral, lose himself, and yet he continues to move forward, writing powerful lyrics backed by a masterful sample. Its rhythmic switches and drum switchups keep the energy Kanye creates and its so good. Power may be overrated and overdone, but who gives a shit. If it’s a good song it’s a good song. Power is a strong 9. All Of The Lights (Interlude) Piano and violin. That’s all I need to say. Interlude is a solid 8. All Of The Lights Tacky, overrated, poopy. Is what I would have said if I was Fantano. All Of the Lights has a lot of good ideas, its just unfortunate that it does too much too quickly. Its structure is a little out of wack and it feels too messy. The beats and instrumentals go hard. Rihanna is good, and the bridge is honestly beautiful. But despite being so well made, I have to give it a weak 8. I love the song so much but giving it a strong 8 or even a 9 feels wrong. (I might edit this opinion in the future if people are pissed) Monster Its violent, dark, and horrific instrumentals reflect perfectly on the song’s name. Its beats are heavy, like a monster stopping and Rick Ross’ introduction is a perfect way to introduce the song as it boasts a strong roster of features. Kanye’s rapping is top notch however the lyrics are a bit of a head scratcher. The lyrics itself envoke the idea of a praying of innocence or the monsters you become due to the rapper life. Kanye’s lyrics are at times diabolical and down right horrendous. “Have you ever had sex with a pharaoh, put that pussy in a sarcophagus.” What in the actual fuck. Are you putting the pussy in the sarcophagus because you want to fuck it? Or do you want to fuck it to the point its dead? I’m so confused. This line pisses me off so much and its not even funny. Also “Mix that Goose and Malibu, I call it Malibooyauh” Ok this one is pretty funny. Its just so stupid its like what the fuck. “Goose and Malibu? Malibooyauh?” Kill me. Kill me. KILL ME PLEASE. Anyways, besides these small fuckdumpster lines, Kanye’s rap is solid. But Jay-Z on the other hand… Someone needs to give him a list of monsters. He opens up with like specific monsters and then just starts listing basic ass monsters. And then he adds some stupid thing in the end to make it rhyme. Jay-Z its so bad im so sorry, fucking loch ness zombie with no conscious. Kill me. And then another bar is “Rape and pillage, a village, women and children” What the actual fuck is Jay-Z on. Rape pillage a village? No way you went for that specific rhyming scheme and then proceeded to use those specific words. Also rape a child? This some Drake shit and its just so bad. Jay-Z’s rap is so mid except for a few good bars so like eurghghh. But I think the most contentious rap is Nicki Minaj’s. BASIC ASS BARS OH MY LORD. In that tonka the colour of willy Wonka. Youre joking. If her line delivery were as shit as her lines id give this song an honest 4. The beats are fire but its such a fun bad song I can’t look at the lyrics and go fuck ye this shit is good. Like, theres no way youre that impotent in writing lyrics. Anyways, Minaj’s deliveries and fluctuating tone is very enjoyable and a nice addition to Monster. Monster is a light 7. Ye, I can see people are gonna get fucking pissed about this. So Appalled Is honestly appalling. With a 6:37 runtime holy shit does this song drag out. Its instrumentals and sampling is good as usual because its motherfucking Kanye West but the raps are so forgettable, I’m so sorry. Now this song isn’t bad by any means, its just so lackluster compared to the rest of the track. It’s a song that exists and adds to My Beautiful Dark Twisted Fantasy’s tracklist. So Appalled is a mild 7. Devil In a New Dress 10. (I’ll probably do a dedicated review for it) Runaway. Runaway in my opinion, a good song. I don’t think its an overrated song because it is genuinely a good fucking song and tells a good fucking story. Its unique opening explains so much about Kanye’s mind and actions that led him to this creation. I also watched the short movie that accompanies this song and its fucking beautiful. The way the ballerinas shrink and grow as they bend to the powerful notes played on the piano. The shuffle beats are amazing and really shows Kanye’s mastery over the filtration of the 808’s. Its chorus is beautiful, its verse’s are beautiful although the introduction is a little rough with the way he sings about sending nudes but all in all its solid. Pusha T’s rap verse is incredibly solid as well and opens up to arguably the best verse in all of My Beautiful Dark Twisted Fantasy. And the final 3 minutes is beautiful. At the start I didn’t really get it, I thought it was intrusive and disruptive to the already beautiful ending. But I get it now. The vocoder is genius, it displays the way Kanye functions and operates, and highlights Kanye’s identity from then on. No one can understand Kanye but only Kanye can understand Kanye. So in a way I can never truly understand this song. Runaway is a strong 9. I know, I know I didn’t give it a 10. Cry about it. Ten’s are something I hold dear to me and even though Runaway gets all up in my feely feels I still have to give it a 9. Hell Of A Life Lets be fucking honest for a second. The only reason why Hell Of A life is good or even listenable is the drums and the sample. So for that I have to give this song a light 7. Blame Game Oh my  god. John Legend you talented motherfucker. The sample is gorgeous, the drumming is gorgeous, the vocals are gorgeous. Its so rough, so dry, John Legend did such a good job in conveying the idea of a failing relationship and it honestly gets me in my feels. The lyrics are great even the bitch for short part because it fits the song and it fits the vibe. Now, Chris Rock. This song’s repeatability is a fat zero. Chris Rock’s bit at the end goes for way too long and it just gets so gross and stinky. Chris Rock’s skit isn’t necessarily bad, its just they should have released two versions of this song like in Runaway. Blame Game is one of my favourite songs on MBDTF and in return receives a strong 8. Lost in the world I just don’t fuck with the song to be honest. Like I don’t get the appeal and its always a skip when I listen to the album. Even as I’m writing this review I’ve only listened to half of the song. If people are upset by this review I’ll update it and listen to the full thing. For now Lost In the World is a light 6. I’m not going to review the last song because its just a thing that ends the story of MBDTF. This was the first time I listened to the album from front to back and I honestly can see songs in the tracklist that should be taken out if I’m going to call this Kanye’s Magnum Opus. MBDTF is a very solid album and a nice introduction to the GOOD music era. During the first half and parts of the latter half of the album I can see kanye push the boundaries on what rap music can be as well as experiment on what makes this story a twisted fantasy. Its album cover is a perfect representation of MBDTF and will always be an album I will recommend to whoever wants to get into Kanye’s music. Theres so much emotion in this album and its such a rollercoaster ride seeing someone talk about their ego, their relationships, and their effort to stay in the rap game. My Beautiful Dark Twisted Fantasy is living proof on what Kanye can do when he applies himself and produces art. My Beautiful Dark Twisted Fantasy just breaks through to a 9.

FUCKING SHIT. Kanye, my glorious king, how the mighty have fallen, my Icarus, you’ve finally flown too close to the sun. And now the Vultures have come, to pick apart your corpse and unravel your distasteful lyricism, crunchy beats, and shitty opinions. To begin this album review, we should travel to the beginning. The announcement of the album. Kanye, to put simply is my favourite artist. And hearing a new album being announced was very exciting. Fast forward to constant delays and political rants, I treated Vultures as the album that would reignite Kanye’s career and prove he was still in control of himself. Boy was I wrong. Vultures, in my honest opinion is the worst Kanye album. Now before Carnival fans start screaming and shouting about how I’m wrong, I have two words. Kill yourself. Shut the fuck up, stop huffing copium and wake up, this is a shit album, this is not Kanye, this is not music. Now, to begin this review I’ll break down a few songs and explore the positives and negatives they each possess. STARS: STARS. I like it. When listening to it, I was eating dinner after work. STARS actually got me pretty excited and I had a pretty positive outlook for the rest of the album. I was wrong. The soft (if that’s even the right word) angelic vocals at the start brought hopeful optimism, with its constant rhythmic switches, it constantly kept me on my feet, wanting to listen more and more. Ty really put his all in this album and I can hear his rough voice clashing against the clusterfuck of what Kanye calls drums, but through all of this, his vocals still proved worthy of high praise. Kanye on the hand, he was alright. It was nothing special, the bars were basic but solid and managed to fill much of the already soothing instrumental. But the stars fall out of alignment when I listened to paid. STARS, a strong 6. PAID: The beats, perfection, as usual Kanye’s producing is top notch despite sounding like he made it through garage band on a fucking iphone 6. Its clunky unfiltered drums made me feel like my speakers were broken but it somehow still worked and proved to be quite memorable and different. Ty’s vocals as usual provided a very enjoyable experience, his hooks are impressive, making me bop to “im just here to get paid” but as I was bopping to this groovy hook and to be honest a really good introduction to a song, I happened to notice weird high-pitched noises scattered in the background. Like Yoko Ono’s bloodcurdling shrieks of what she calls singing, Kanye’s high pitched shrieks was honestly just funny. His high-pitched deliveries sounded like he was a child. To support these childish deliveries, the lyrics or what braindead fans call “bars” matched its childish nature. A certain bar that spoke out to me was “old stomach is the new ass”. Kanye. Please. Despite Kanye’s gurgling, the instrumentals still kept the song intact and Ty’s verse was quite solid. PAID, a strong 4. BACK TO ME: Firstly, I love this song. The opening despite being a bit icky was still fun and displayed Kanye’s creativity in implementing the most random things and making it fit. The drums itself, is… perfect. Time and time again, Kanye shows that he mainstreamed the 808’s drums. But he does it in a way that I find mesmerizing. You see, he compliments these drums with something more primitive and authentic, Japanese taiko drums as well as African drums round out the fullness of the electronic stabs the 808’s possess, creating a very bumpy but fun ride on the rollercoaster of beat making. BACK TO ME does the 808’s best, contrasting it with Lynn drums creating a very fulfilling drum and rhythm pattern. Back to BACK TO ME, Ty’s opening lines that then become the main hook of the song is fucking immaculate, the rhyming scheme etches itself into a corner of my mind that it becomes almost addictive, alluding me to a better version of the song without Kanye. Talking about Kanye, he asks some very philosophical questions like “Beautiful naked big Tiddy Butt-naked women, just don’t fall out the sky you know”, to my answer, no they don’t, and neither is your creative lyricism spread throughout your earlier works present in this shit storm of an album. This small “hook”, if that’s even the right word provides a very agonizing experience and drags out the song, making listeners uncomfortable and putting tension on the listening experience. Thankfully, Ty enters the song again and saves us from Kanye’s disastrous verse. With the beats going again, I was surprised to see a rap verse from Freddie Gibbs. His voice, his line delivery, and rhythm was very enjoyable and managed to make the song end on a high note. The main problem with this song is essentially just Kanye, Freddie Gibbs implemented Kanye’s hook and made it work so I don’t know what Kanye did wrong. But I do know, the Vultures fans just wont be happy when I say it. BACK TO ME strong 5. HOODRAT: Moving on, we go to HOODRAT. Theres not much to say here. The instrumentals are nice, Kanye puts on a very throaty voice when singing which I actually kinda liked? Ty as usual did a good job. Now the massive problem. The HOODRAT part. Its overdone, it becomes distasteful, and it just makes the instrumentals messy. HOODRAT is a solid 5. DO IT: DO IT is one of my favourite songs, despite its cringe opening lines, the beats, Ty’s voice, and Kanye’s rapping show the duo’s charm and the positive and fun attitude Ty and Kanye have to the production on this album. Strong 7. BURN: BURN. I actually listened to this song before the album came out and I enjoyed it a lot and looked forward to seeing its finished version. Somehow the finished version is worse. Ty’s verse is completely cut from the finished version of the album which is just a major head scratcher. Whats wrong with his verse? Anyways, the song is quite addictive and even Kanye’s rap is tolerable, if the song was over 2 minutes I’d probably become addicted to this song but for now I’m going to stick with the leaked version instead. BURN is a really solid song but it also highlights a massive problem that lingers throughout the album. The quality of sound. The album seems quite choppy and static. It doesn’t have the harsh sounds of Yeezus but the sounds remind me of a Nintendo DS. Ty’s vocals sound robotic, I don’t know what filter they put on all of the songs but its honestly not working. Also, Kanye’s lines of “are you not entertained” takes a jab at the obsession of ‘Old Kanye’, at the start I thought it was fun, proving that he can still make his fun old shit. However, it doesn’t really age well when the song you make fun of becomes one of the most streamed song on the album. Boasting a pitiful 1:50 seconds, BURN is a light 6. FUK SUMN: When listening to this song I was thinking, damn, despite the album being kinda shit, the energy is pretty fun, as well as the strong connection Kanye and Ty has. You can see Ty influence the lyrics of this album to make it more sexual so I wasn’t surprised when I saw a song called FUK SUMN. Instrumentals as usual is amazing, despite being clunky and a bit crushed, Kanye consistently destroys any doubt in my mind that he cant produce. The lyrics itself suffers from the same problems as DO IT being a bit too sexual. “Janet Jackson by the way I heard her screamin” was just blatantly disgusting. Also, what the fuck was the Alvin and the chipmunk bar. It goes to a point where its so bad its just entertaining. Weak 2. CARNIVAL: I hate this song. Its not good. I’m talking about carnival. Ill begin outlining the positives before diving into a more unchained and honest review on this piece of media. I’m not even gonna call this a song because its not. Carnival is a joke. A fuckfest of shit bars that try to resemble “music.” To start off with, the beats… very good. Kanye’s sampling is once again top notch and is the only time I can consistently give him praise. His production skills are something I admire, its just a shame that the lyrics on this piece make it so fucking shit. Some lines that stood out to me was: ·        Let her suck the dick, said she was a proIf she scrape with teeth, I'ma tell her to go ·        On my neck, a bubble bath ·        These hoes wanna fuck my car ·        They served us the porn, since the day we was born, Anybody pissed off, gotta make 'em drink the urine Some lines I did find very clever despite being disgusting, the line where he was going to put it in her ass like a ventriloquist was quite humorous but still, its disgusting crude, and disrespectful. Playboi Carti is a joke on this track as well, his signature cartinese was on full action so basically I cant understand what the fuck he’s trying to say. The hooligans on this track was a fun touch its just disappointing that the lyrics ruin this track. Majority of these lyrics in the track don’t even make sense, its somehow even worse than Taylor Swift’s metaphorical bullshit. Carnival. Weak 1. There i fucking said it. VULTURES: Now, I was going to review the main track of this entire album, Vultures but on further inspection and listens, im not even going to review it. So I’m just going to keep this as short as possible. Kanye, don’t joke about jews because its not fucking funny. Unreviewable. Just kidding, 2 out of 10000000. PROBLEMATIC: PROBLEMATIC’s opening reminded me of the start of Bound 2, its more somber tone surprised me and almost reminded me of a more Kanye as explored in the latter half of The Life Of Pablo. Ty’s singing is extremely well done when you ignore the shitty mixing of the vocals and instrumentals. Kanye’s rap was bearable for majority of the song and the ending line was a nice callback to So Appalled. As most reviews are biased I will bump up the score due to my nostalgia boner for older Kanye music. A nice song, strong 7. Ending thoughts: Vultures was just disappointing. I don’t agree with what The Needle Drop said about this album because a critic should be able to occasionally separate the artist from the art but in this case im separating a mad man from his sex doll of an album. Vultures has left an impression on me that will forever make me mad. I hope Vultures 2 will be better. My final thoughts end with: Vultures, a weak 2.

Simply put, underwhelming. Its derivative instrumentals create a stale taste that lingers throughout the first half of the album. The once poppy and bombastic beats scattered throughout 1989 have been swapped out for dubious nothing burgers of pure emptiness. Its swirling instrumentals remind me of Taylor swift, scavenging away at the last remnants and unused tunes of Midnights. However, despite Midnights being one of my favourite Taylor Swift albums, the once hazy and smokey vocals of Midnights has been replaced with gasping breaths of a Lana Del Ray imitation.  Talking about Lana Del Ray, Taylor, through my judgment seems to be trying to replicate Lana Del Ray’s deep voice and emotional sorrow or even a watered-down version of Olivia Rodrigo, Guts. To get into the real meat and potatoes, I’ll pull apart some of the songs that caught my attention. And believe me there aren’t many, not to say that there aren’t any problems, but its because each song sounds the same and its honestly disappointing. Fortnight itself is a good album opener and I quite liked it. Its instrumentals, although basic still provided a familiar tone and sound reminiscent of Taylor Swift. Post Malones part was also quite nice, proving himself still worthy of a good artist. Tortured Poets Department on the other hand. Where do I fucking start. You left your typewriter at my apartment. Straight from the tortured poets department Fucking kill me. Taylor Swift, for a while has proven time and time again that her lyricism is as volatile as her relationships. This bland and cheesy opening line baffled me, confused me. Wake up Taylor, what is a tortured poets department? Do you mean Dead Poets Society, that you blatantly copied from? The typewriter itself is meant to establish a connection to Matty Healy. You were together for two months. This really raises an eyebrow because half of this album is about this man. Write something else for ONCE. The album is tiring and a pain to listen to, the same unoriginal story replaying over and over again, dragging this album lower and lower in my mind. These cringe-worthy bars are scattered all over the album and literally kill the poets that try to decipher what Taylor is trying to say. The next line: I think some things I never say Like, Who uses typewriters anyway? This weird fourth-wall breaking just makes me sad. It’s a filler line meant to show Taylor’s exploration and realisation of what shes writing but I really don’t think so. Its supposed to come off as witty, like shes examining and going over what shes saying. This thoughts-to-lyrics process is something quite common in songs but the way Taylor does it. Its just disappointing. Now, I personally dislike Taylor Swift but I do recognise her influence in the music industry and her talent. 1989 in my opinion is a 9/10, a certified banger so it just disappoints me seeing a wet fart of Tortured Poets Department. Moving on, I could write an entire thesis on the embarrassing Tortured Poets Department but I’ll move on to more positive aspects of the album. Despite the name, Down Bad actually left a strong impression on my second listening. The opening instrumentals is actually really nice. The weird tugs in the instrumental proved to be quite entertaining, to be honest, the instrumentals were very nice throughout the entire song. Taylor’s soft talk-singing also added a layer of smooth pure ecstasy that just made me want to close my eyes and reflect on my past relationships. The atmospheric add-ons spread throughout the track provided a very groovy experiment. Now to sum up, because I feel like I’m done with Taylor Swift, Tortured Poets Department was an underwhelming, derivative, and empty album. As usual, her chorus’s proved quite entertaining and hooked me in just as I was about to lose interest in her bland verse’s. Tortured Poets Department, tries so hard to be something Taylor Swift cannot do. The copy-cat vibes of Lana Del Ray just makes me want to listen to Lana Del Ray instead. Tortured poets department holds up to a strong 3.

A lot of you requested for me to finish the VULTURES 1 review by adding my review for KING. I originally skipped KING because when i heard the word antisemite i just got pissed. I thought the song was going to be a shit note to end on on and already shit album and I was fucking right. Now the beats, its good. I like the brash and harsh instrumentals because it sets the tone for a very dark and controversial song. Again, plagued by distasteful lyricism, I really have no words for KING. Crazy, bipolar, antisemite. And I'm still the king Like what am I even supposed to say to this. It reaches a state of delusion where not even the bravest of Kanye fan's can look at this and say yep this guy is in the right mindset. Its just sad to see someone so into their own delusion, this world that they paint themselves in, putting themselves on this pedestal despite being so far from it. Kanye fell off. I'm just sad to say that. Again, I'm tired of VULTURES 1 and my hopes for VULTURES 2 is at a near zero. Im sick of this shit man. I want to give this song a good review or even an unbiased one but im literally working with fucking nothing. Its such a shame because I do like Kanye, I just can't find any positives to this song. Like I guess Kanye's high notes actually match the track's energy but anything besides that is so bad. KING is a track I wish i didn't return to as it only further strengthens the idea that Kanye fell off and is now an empty shell of his former creative self. KING is a weak 3 and a disappointment to the disappointing album of VULTURES. I should also contain my now fixed rating for VULTURES and I change it to a strong 2.

SOLID 7. I think the only correct word to use to describe this album is noisy. Noeasy is a messy, noisy, and a rollercoaster that continues to hook me in but also make me fall asleep. Its loud instrumentals at times create stale moments that linger for way too long. Noeasy is an album that was released in 2021 by Kpop Group Stray Kids (as requested by Cyanne). CHEESE Ok ok, CHEESE’S opening is actually pretty cool. Its nice guitar hook at the start keeps the song high in energy and the clapping beats are honestly a really good touch. Each verse fits each member very well with Lee Know’s pre-chorus really shining through. Unfortunately this buildup to the chorus is a waste as the chorus is quite lackluster. Its rapping is cool I guess but its so empty before picking up momentum. And plus screaming “yeah” over and over again isn’t really something creative. Not to say that’s a problem its just quite mundane for something I thought would blow me away. The main attraction to this song is probably the instrumentals, cooked up by 3RACHA, so im quite pleased with how it came out. The strongest parts of the song is probably the start to be honest. From Hyunjin’s rap to Changbin’s rap, I was really hooked in so  good job. CHEESE is a strong 7 and a nice start to NOEASY. Thunderous Thunderous. This ones a bit iffy. Lets all be honest for a second and admit its trying to be God’s Menu. To its almost identical song structure, Thunderous tries to hold onto what God’s menu did so well and unfortunately becomes a stale imitation of its counterpart. Thunderous’ chorus is quite addictive and the song contains a lot of energy. Its outro is particularly impressive as it keeps a level of sound and volume and maximized the empty space very well. I mean theres barely anytime to breath besides the pre-chorus and Han’s rap in the second verse. Thunderous again tries to be God’s Menu and in return kinda loses its identity of being something different. Of course this isn’t really a problem because the song is good anyways, I just expected something different for a title track. Thunderous is a strong 7. DOMINO DOMINO. Now Stray Kids is really cooking. The intro rap with Changbin is immaculate. Changbin and autotune go hand in hand when it comes to the intro, the autotune enhances and brings out the vocal stings his rapping produces but also allows him to maintain a speed that both digestible and satisfying. Lee Know’s small rap is also really nice, his voice provides an experience that allowed me to slowly ease into the rest of the song. As usual the pre-chorus is split between the two vocalists and it’s nice. Their reliance on autotune is kind of ironic when theyre supposed to be the vocals of the group but if it works, it works. Hyunjin’s rap before the outro was also very nice, showing off his talent as a rapper but also allowed room for the instrumentals to pop off. Again, I’m out of my kpop phase so in return this song receives a moderate 8. SSICK. Makes me sick. The beats are fire but the volume, presence, and silence in the song is a problem. Theres so many loud noises it sounds like theyre trying to compensate for something. This used to be my favourite song on the album when I was in year 8. Its final review ends with a moderate 7. The View I have a big problem with The View. Its incredibly poor placement in the album is honestly just hilarious because after listening to hard hitting instrumentals I’m somehow teleported to the fucking beach. Not to say the beach is bad, I just don’t want to start sipping pina coladas after hearing someone scream different types of cheeses at me. The View is an  honest vibe though, its instrumental arrangement is colorful, groovy, and really drives home the idea of tropical fun. Each member brings life to the track and its very enjoyable to listen to. If it had better placement in the album I’d rate it much higher but its still a nice round 7. I’m gonna skip the next few songs because they are snoozefests. Every song is mid as fuck, over compensated and feels so out of wack. The album’s structure is a mess, jumping from different vibe to different vibe it’s a tad bit irritating. I like its big boom boom noises and its vocals are solid. I specifically like red lights a lot because the instrumentals are so good. Its moan-type singing is a little cringe but it’s still nice to listen to. Red Lights is a solid 8. Noeasy is an album that dives into the concept of big noises and brash instrumentals. Its ironic because it still sounds tame compared to the noises of Yeezus or even Igor. At times the loud noises feel like theyre trying to compensate for a lack of diversity or just being loud for the sake of being loud, you just need a purpose to do so. Vocals and rapping is incredibly strong and each member gets a chance to shine in this album. Noeasy has a solid 7.

On what I thought would be a painstakingly 1hr, I was surprised to see what Laufey cooked up and will forever be a casual fan of Laufey. Bewitched, is the 2024 album presented by Laufey, and what an honest vibe it is. From its title track, Dreamer, to its outro track, Goddess, I was delighted to hop on a boat and flow down a world of magic and wonder. Dreamer Dreamer is such a delicious into track. The opening vocals were a little unexpected as I did not think Laufey’s voice would be THAT low. Not to say it’s a problem, as it set a very nice calm mood for the rest of the track. The drumkit is superb, replicating the typical jazz pattern found in ballads and many other smoother jazz blends perfectly matches Laufey’s soothing vocal deliveries. Its brush sweep articulations made the song warm and fuzzy. The constant pauses in-between the instrumentals helped contain Laufey’s energy as well as providing groove to the track. Every once in a while ad-libs are added to the track, emphasizing catchy parts and bringing out Laufey’s ideas in a very whimsical way. The ending is also very nice and ends the song on a very soothing tone. Laufey’s voice fits perfectly in this genre of music and I cant wait to listen to the rest of the tracks. Dreamer is a moderate 9. Second Best Holy fuck. Taylor Swift take fucking notes on how to write lyrics. The story woven deep into the lyrics are emphasized incredibly with Laufey’s voice and what gets created is a beautiful web of sadness. The guitar opening at the start of the track opens the song in a very somber tone, and it only further gets accentuated when the violins come in. YES THERES VIOLINS. The drum kit is pulled back in this song and its honestly for the best. The long pauses Laufey does with her voice held tension exceptionally well but also lost tension efficiently, allowing the listener to have a very calm experience to a much sadder song. Its melancholic attitude is done extremely well and I couldn’t have asked for more. Just kidding, I can, and I did. This song was so entertaining I thought the runtime was short but I guess I was way into it because it goes for a solid runtime of 3:24. Second Best is a strong 8. Haunted Hm. I guess the best way to put it is that it made me sleepy. Not in a bad way, but it just felt simplistic. The lyrics and vocal performance are top notch it’s just the structure of vocal deliveries felt a little simplistic and dived into a lot of the negative tropes of jazz. Its opening is very nice and it’s a very strong song, theres not much that just stands out to me. Haunted is a strong 8. Must Be Love What sees to be my favourite track, Must Be Love is a strong 10. I fucking love guitars, man. Literally all I need for a Laufey song is a guitar and her singing. Her vocal deliveries are tasteful, the guitars are impressive, and the occasional orchestral pulls and echoes all contribute to this perfect song. The story it tells is just so nice. Her music is so bittersweet which is such a good idea to pair this up with jazz or elements from a jazz ballad. It reminds me a lot about Marceline’s songs from Adventure Time, which automatically makes me happy. Theres really no errors in this song and it kinda pisses me off? I normally take a piss at song reviews and deliberately pick the weaknesses and berate them, but Laufey’s music just makes me rethink what I’m doing. Im getting lost and immersed in her music and I love it. Her vocal deliveries when singing “I’m falling” is just so mesmerizing. This song puts me in a daze, a hypnotic trance of emptiness. You truly feel surrounded by nothing when listening to this song and I love it. At this point in the review I have a tiny little nitpick. Her music is kind of all the same, especially with this album at least. Its not really a problem because its really nice and she keeps it fresh, I guess its just causing ptsd from Taylor Swift’s generic bitching and moaning. While You Were sleeping is a very nice song that contributes to the more depressing undertones while immersing the listener in a state of bliss. The constant questioning of love, the things you would do for love, and the way you think when youre in love is a continuous that that’s spread throughout the albums, it was just heavily focused in this track and I really like it. While You Were Sleeping is a nice 8. Lovesick Lovesick. I think you all know what I’m gonna give it. Everything is just perfect. It’s a 10. California And Me Orchestral music will forever be peak. Laufey manages to somehow go band for band with a fucking orchestra so it just raises questions on what cant she do. The instrumentals are focused incredibly well with this track, creating a beautiful atmosphere for Laufey’s vocals to fill. I was so scared this song was going to be shit or did not know how to keep the momentum and energy built up from lovesick, but California and Me manages to keep me engaged. It’s a solid 8. Now I don’t really take interludes or skits into account for an album review unless they really stand out to me. Now heres gonna be the crazy part where definitely nobody saw coming, I really liked Nocturne. A small piano solo has grown into one of my favourite tracks of the album. Its jagged chord stabs contribute to the world building of this album, holding and releasing tension at will. Its sudden shifts are perfect, representing the tone of the album and just displaying the time and effort that went into this perfectly crafted album. Nocturne is a strong 9. Promise Promise is another incredibly well crafted song. I don’t believe its as good as Lovesick due to personal bias to the tone of Lovesick but Promise still leaves my mind as a moderate 9. From The Start What seems to be a blend between elevator music and jazz, From The Start is a very good song. I’m actually getting kind of tired complimenting her music so I’m just going to fire through a few songs. From the Start is a solid 9. Misty is a 9. Serendipity is a solid 8. Bored is a solid 8. Trouble is a solid 8. Bewitched Now moving on to another, Bewitched. What feels like something out of a Disney movie, Bewitched is a nice blend of something magical and whimsical. The lyrics as usual are solid. Bewitched is a nice song, I fuck with the song but I don’t fuck with the song as much as others. Bewitched is a solid 8. Goddess When writing the review for Goddess I wrote a massive paragraph on why the song was such a massive dropoff from the other songs due to the lack of attention and volume. I proceeded to delete the entire paragraph when I heard the last part. FUCKING HELL, let me find something to dislike. Goddess is literally the song you ask for to end on a good note. The ending is both haunting and thematic. It brings tear into my eyes. Goddess is a 10. The last time I listened to Laufey was 3 years ago, and what a mistake that was. Im so happy to come back to this genre of music and be able to review it so positively. Laufey has risen to one of my favourite female artists, and she has managed to persuade me into becoming an avid fan. I don’t give many tens to albums because the quality, storytelling, lyrics, and instrumentals has to be perfect. And yet Laufey seems to tick all these boxes. Bewitched: The Goddess Edition is a 10.

Soulful, groovy, immaculate. 3 words to describe arguably the best album opening. I was very hesitant to listen to this album because I didn’t really understand his music and now im just disappointed that I didn’t listen to this sooner. Firstly, the album cover itself. It resonates with me, sings with me, just with the boisterous instrumentals spread throughout the album, the bombastic energy plastered on the album cover confirms that it will forever be a classic. Wesley’s Theory’s opening sample is amazing and sets a very groovy but serious tone that would carry this idea through the entire album. The instrumentals itself is essentially perfect. Its loud and funky beats mixed with what I believe are like very jazzy street drums just make me wanna jump and bop to the music. The vocals on the other hand feels kind of diluted with its weird voice filter however it just makes me focus the swirling fun of beats. Wesley’s theory is a strong 8. King Kunta: King Kunta, King Kunta KING KUNTA. That’s basically it. Moderate 9. I’d give it a strong but it’s a little repetitive, not to say its not good, but ehh, diversity. The bubbly instrumentals are such a unique tough and sets a very nice tone for the rest of the album. Kendrick's vocals also seem manipulated in a way that he sounds underwater, and it works really well. Institutionalized. Its lackluster and sudden beat switch from its overall instrumental and energy in the first two songs was a massive surprise but a nice one. Its more softer and more lyrics focused song worked like a charm on me and having Snoop Dogg as a feature was a very nice touch. The runtime however is something that’s been bugging me however Kendrick fans love it so I find no problem. Moderate 8. These Walls: These Walls, is fucking atmospheric. The instrumentals resemble something out of Grand Theft Auto and it’s a vibe. Kendrick Lamar, I don’t listen to much of your music but you’re doing a great job in making me a fan. The energy remains stagnant throughout most of the track and still manages to add depth to the album. Solid 8. U: U. I’m still trying to process what ive listened to. Strong 7. Its beat is nice, its vocals are intense and captivating, and really the main focus on this song. So far the album maintains a good balance of instrumentally driven and lyrically driven, so far TPAB will have a very positive review. Alright: Alright. The name of the song is very alluding. This song is far from alright, its almost perfect. From the massive instrumentals, to the vocals at the end, it keeps the song violent, cruel, beautiful. It hits you with so many things and overwhelms you at times. It’s a perfect song for me, so I’ll have to give it a 10. Momma is just a song that adds runtime and substance to the album. The beats are unique but nothing particularly outstanding or catching my attention. Lamar’s distinct voice puts this song in a tight rope of intense and ethereal. Overall it’s a solid song, a moderate 7. Hood Politics: I don’t fuck with Hood Politics. Sorry. The rhyming pattern is hilarious, the boo-boo part is such a weird add and it just removes the tension Kendrick normally builds up throughout the rest of the other songs. The lyrics are superb though so that bumps up this score to a moderate 7. How Much A Dollar Cost: How Much A Dollar Cost is immaculate. I don’t know if underrated is the right word but this just screams good rap. The instrumentals are perfect, it keeps the song going but still not intruding on the powerful lyricism Kendrick provides. The transitions are particularly nice with a small piano feature and auto-tuned vocals, it allows time to breath before dunking your head back into the murky voice of Mr Morale. How Much A Dollar Cost is an honest vibe, and an honest 8. The Blacker the Berry I don’t have much to say because im just gonna glaze the fuck out of this song. A strong 8. i: I love this song. The intro highlights the connection that Kendrick has to the masses. The rapping is phenomenal, the guitar is amazing. Even the fucking cowbell. This combination reminds me of Sofrito’s saxophone soli and its so groovy. The bridge is particularly fun as you hear a different combination of voices, guitar chords, and cowbells and how it immerses yourself in the mind of Lamar. i is an incredibly strong 9. TPAB is just another album that adds to Kendrick’s almost perfect discography. I tried to look through this album with a critical lense but its kinda hard when nearly every song is enjoyable. He manages to make a perfect blend of high energy rap, forceful rap, and chill rap. TPAB will cement itself in my list of favourite albums. TPAB is a moderate 9.

Big foot little foot get out of the way, Gambino’s back and makes his stay. The once poorly mixed, eye brow raising vocals, and empty instrumentals have been swapped out for a more complete vision for Gambino’s 2020 album 3.15.20. But are the newly mixed vocals, songs, and instrumentals able to transform 3.15.20 to the ending of Gambino’s musical adventure. I think it does and I’ll explain why. Atavista: For starters, this song is a new song, something that was not in 3.15.20 and I think it’s a really good addition to the album. Its opening is thought provoking, eerie, and puts you in a mood of wanting more Gambino. Its eerie chord progressions evoke something out of luigi’s mansion and I fucking love it. The static, keyboards blend with its smoother creamier counterparts, creating an irresistible blend for our ears to consume. Instrumentals are honestly just really solid. Its sudden shift to the main beat was also an excellent touch, something that just screams Gambino. The main instrumentals remind me of super mario sunshine, something much more tropical, a complete shift from its opening instrumentals. The song itself seems to fit into Gambino’s earlier works of Kauai, a very tropical, sexual, and cool album. Gambino’s voice itself, mm mm mm. The vocals seem much more fresh than 3.15.20 and I’m all for it. The lyrics are simple yet groovy due to the almost perfect vocal deliveries from Gambino. The glockenspiel was also a very nice touch, a nice lead into the second verse and continuing that nice smooth tropical tone. Overall the song is a nice opening to an album I never thought I would see. Solid 8. Algorythm Its ok. It seems almost identical to its predecessor but its blurry instrumentals, weirdly mixed vocals, and questionable song structure just makes this song an ok. The name itself is clever I guess but the song is just a little hard to listen to. Gambino’s voice is mixed to sound very menacing, trying to emphasize the idea of whatever hes trying to say to be honest. The lyrics itself are also quite strange, it seems like Gambino is trying to convey some cyberpunk idea but also dancing?? I have no. The song, despite being so complex just seems really bland, its concrete and stiff instrumentals give barely any room to think and comprehend what you’re listening and the rare times where Gambino sings, it just gets drowned out by weirdly mixed echoes and beats that sound like 808’s phonk. Algorythm is a stiff and robotic 5. Time There are quite a few changes to this song, for better or for worse. First of all, the mixing is drastically different, bringing out the vocals better and the instrumentals sound less static. Its opening beat has also been diluted heavily, its original, boasted loud 8bit sounds and was accompanied with a more complex and stagnant beat. The new one on the other hand feels lighter but still highlights a robotic feel to it. Still going on with the robotic feel, the once echoey and strained vocals Gambino possessed on the track has been swapped out with a smoother and more tolerable  voice, matching perfectly with its feature, Ariana Grande. Gambino also has more vocals in the intro and Ariana accompanies this with adlibs and vocal runs. When the original song was released back in 2020, it was practically unlistenable for me so it was nice to see that I can actually enjoy and listen to this song fully. However, the last 2 minutes dive into a very weird territory, the instrumentals feel more off and the original song kicks in, Gambino’s vocals become more murky as the instrumentals are brought out to the front. This choice though, is something I’m quite happy with as the piano runs that then transforms to a short solo end the song on a very positive note. Time is a solid 7. Psilocybae Im a bit iffy with this song. It’s a solid song that doesn’t try to be something too loud and crazy and does what it wants to do best. Gambino’s vocal runs and vocals in general are highlighted very well in this song, pushing along the very simple but stoic instrumentals. Its lackluster beat however does sometimes make the song feel very long but its nothing bad or concerning. Its features are literally the only thing that keeps this ball of a song rolling. This song just feels really long and it really shows with its 6:30 runtime. The rap from 21k is solid and something I have no problems with. But just when you wanna fall asleep, Kadjha Bonet comes in and honestly saves this song. The instrumentals start to swirl, the beats kick in, and the stacked vocals are really nice. There are at times where the vocals get a bit overboard as well as the instrumentals with Gambino putting in really random noises reminiscent of a storm trooper laserbolt and really high pitched noises. This is a song that exists, adds depth to the album and I couldn’t ask for anything more. Psychobaby is a strong 6. To be Hunted: Arguably my favourite song in this entire album, I give this song a strong 9. This song was originally my favourite in 3.15.20 but there were so many small errors to the song that it bugged me on how these small problems could be avoided. Gambino seems to have listened to my prayers and changed nearly all of the small problems. First of all, the intro has been changed, there seems to be more instrumentals added to the main melody and its honestly so much better. 3.15.20 was littered with a lot of empty instrumentals and rushed parts so its nice to see the artistic vision Gambino wanted to make. The tune itself is groovy as fuck, the beats are choppy and heavy, and Gambino’s vocals fucking rock. Im just infatuated at the beats to be honest. Its heavy, blocky, chunky, and it pushes the song so well in terms of dynamics, timing, and just filling space. The lyrics are a little basic but it highlights exactly what Gambino wants to tell so I aint complaining. The stacked vocals and ad libs on top of the already empowering instrumentals just make this song so so fucking good. In the final parts of the song you hear the off-putting instrumentals return and at this point it just works so well, it seems to be a recurring theme Gambino adds, this constant ominous sound that lingers throughout the album is such a creative touch and it really pays off. This song’s repeatability is also so easy, the once empty hissing and ticking that plagued the ending is finally gone and just ends this song on such a solid note. To reiterate my score, very strong 9. Little Foot Big Foot is just genuinely a fun song. Its bubbly, whimsical energy really highlights Gambino’s performer side as this song embraces a very childish and comedic tone. The guitar is a vibe and the clapping beats just make this song really fun. The adlibs in this song are also very nice. Little Foot Big Foot continues to be repetitive but its so catchy you can’t even complain, and even when you hear the same thing over and over again, Gambino presents it in new ways that stays fresh and simple. The beat switches and vocal runs really keeps you locked in to the song and despite Gambino’s short and lackluster verses, the instrumentals and chorus makes sure to keep you entertained. The beat switch into the rap verse from Young Nudy was a little unexpected but the doubt only stays in your mind for a bit. I have never heard of Young Nudy before but he did a pretty good job. Little Foot Big Foot maintains a solid 8. I almost forgot to write my opinions for sweet thang. Uhm, it’s a song that fucking exists to be honest. The 7 minute runtime is a massive head scratcher because I don’t see anyone actually wanting to listen to that weak shit for 7 minutes but ehh I did so other people will. Its wacky and artistic but its so boring. The fact that I even forgot about this song proves how lackluster it is. Poopy-di scoop I give it a weak 5. (I’ll probably update this opinion in the future) Right now Human Sacrifice, and The Violence are both solid songs, theyre nice, vibrant and just add more to Atavista, both songs are solid 7. Finally, the big finale, Final Church. Final Church and To Be Hunted are my two favourite songs so this next paragraph is gonna contain a lot of glazing. Jumping straight into the song, Gambino opens up with chilling instrumentals and a scream sing that resonates throughout the rest of the track. The rapping-singing is amazing and captivated me throughout the entire song. Gambino is a ball of energy on this track, jumping from rapping to singing, and ending with a harrowing scream, the song ends the album on a very high, high. The beats are perfect, going band for band with Gambino’s vocals and the instrumentals that progressively get louder and louder. The song progressively gets more and more loud, more messy, more complex, and its just such a nice breath of fresh air. The haunting choir chants in the background all combine to add more and more layers to the song. Overall, Atavista is a vast improvement to its flawed predecessor. The mixing is much better and all vocals that remind me of “California” (Awaken my love) have been removed. The balance of sound is much better and the new instrumentals add a new layer of oomph. Atavista is a very strong opening track to a very strong album. I look forward to Gambino’s final album and I welcome the start of Gambino’s grand exit from the music world with a raving review. Atavista, a strong 8.