anderson .paak - malibu

going into this album, i didn't know what to expect. i knew .paak by way of tokimonsta first; he captivated me with his feature on her song realla. however, even though i fully enjoy that song, i never sought out any of his own music. that was back in 2014, but fast forward to late 2015 and his name emerges again as a primary contributor to dr. dre's comback album compton. every song he featured on was one of the highlights of the project and i'd go as far to say that without him, the album would be awfully bland. continue forward to the present day and malibu keeps the energy he brought forth with dre and mixes it with textures that would fit well on kendrick lamar's to pimp a butterfly as well as flying lotus' you're dead! albums.

.paak is great at switching up his flows, the most obvious being his ability to sing and rap well. his vocabulary is also something to be noted, i really enjoyed how he said things even if i wasn't feeling the subject matter with the same passion. it's a very mellow vibed project, a bit too long though. when you look at each individual song, there's really nothing wrong with any of them, but as a whole, some of it runs together. nevertheless, this is a strong mainstream debut and i do hope to hear more from him in the future.

favorite tracks: am i wrong, parking lot, room in here, light weight

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score: 81

future - purple reign

to be perfectly honest, i don't know if i needed another future project so quickly after his last, i still feel like i don't fully appreciate ds2 for what it is, even though i really enjoy many of the tracks on it. and with that in mind seeing "executive produced by dj esco and metro boomin" on the cover art, i'm left with a feeling of joy and uncertainty. prior to listening, i was certain that i was going to hear some beats that would knock. i was also mildly upset that this would turn out to be a re-hash of territory already dominated.

purple reign is more of the same, there's no ifs, ands or buts about it. depending on the mood, i'm entirely okay with this. he puts on a couple new flows and feelings here and there; perkys calling brings out some turmoil that climaxes on the title track and he even does a great fetty wap impression on the hook for drippin (how u luv dat). these things are different but they're not really pushing any new boundaries; inside the mattress feels like a march madness clone. despite that, it's one of the best tracks here.

on the other hand, esco and boomin, they got it on smash, so why change what isn't really broken?

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score: 71

david bowie - blackstar

i found myself entranced by the atmosphere surrounding this album's release, way before i even experienced the music. normally, the background of a project only matters so much, but i think this one's so intertwined with its musicality that to ignore bowie's state of being concerning it would be unfair. personally, i don't know of many albums made with the artist's death in mind. the energy exuded on this album is incredibly haunting, even of its own accord. each track seems so distant, his vocals almost faint at times. it's also very raw and disjointed, very jazzy and adventurous.

lazarus is an incredible song, and in retrospect gains so much more significance. to sing about impending death in such a way just makes you think of where his mind was at in his final times. it makes me consider where i'm going even. the instrumentation is impeccably appropriate for this kind of thought process.

even though i'm no david bowie fan prior to this album, i can safely say that i am one now. this album is simply awesome, a great journey from start to finish. can't say i see myself revisiting it that often, but i am glad to have known its existence.

favorite tracks: lazarus, sue (or in a season of crime), dollar days

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score: 87

fetty wap - fetty wap

fetty wap's debut is entirely charismatic and sincere. he's not beating around the bush, he straight up talks about what he knows and what he likes, even if that scope is limited. the redeeming factor is his tonality and the texture of his music. switching between crooning and rapping overlaid over constant faint ad libbing provides a squad-like atmosphere even when he's doing the track alone. this helps create an energy that is nothing but driving, you really don't get a chance to relax because there's another voice when the main one stops. combine this with very infectious production and you get great songs - trap queen, 679, my way, etc. why change it up? he knows this works well, the three songs i mention here being singles prior to the album's release. and that's why you get an album entirely of bangers (a couple slower ones here and there) because it just works.

the shortcomings are clear; the aforementioned similarities from track to track, the sometimes garbled lyrics, the lyrical repetition. but they're only really bad if you let them be bad. if it all sounds like one track, you can think of it as such, but it's one hell of a track. if the lyrics become garbled, fall victim to how they sound (i learned this from future). if you're looking for lyrical prowess, turn of the album, grab your jansport and leave because we don't want you around when we play this. 

i say "we" because this album is all about the group, the squad, the gang. 1738 references  litter the album along with monty features. this album is for the boys (and girls). let's all hit the bando.

top 3 + bottom none: trap queen, 679, again

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score: 86

drake and future - what a time to be alive

you can tell a lot about a person through their nicknames sometimes. drake's frequently referred to himself as the 6 God, and the name has stuck. it's a very literal name, implying that he is the highest being of toronto and its surrounding area. future has got a few names outside of his obvious stage name as well, one being the appendage of hendrix to his name. no doubt a reference to jimi hendrix, one of the guitar gods (there's that word again) of yesteryear, a man known for pushing the boundaries of music. two titans in their own right, decided to belittle their competition by joining forces, but too much of a good thing isn't always what we need.

what a time to be alive is nothing but truth, and by that i mean that it is a great thing that two hip hop artists of such caliber can link up so easily and make music that would be desired by fans of both artists. what a time to be alive where a joint project between these artists can be outshined by both of their previous efforts in the year — and no one even cares.

this tape is solid, you really can't say otherwise. however, it's obviously what no one really expected. the chemistry is there but it really hasn't propagated yet. the effort to jive on an artist level is about as thought out as the stock photo that covers the album. still, the songs are infectious, big rings' enormously stupid hook really does get hooked in my mind, the 6/8 timing on plastic bag is phenomenal, and really, i'm the plug. i am. me. i'm the plug.

top 3 + bottom one: plastic bag, i'm the plug, diamonds dancing, jersey

score: 74

five for five: vol. 3

death grips - fashion week

  1. surprisingly catchy, no mc ride still works
  2. some beats are replay worthy, others not at all
  3. the erratic behavior and mysterious atmosphere still reigns supreme
  4. i would love to hear mc ride over these beats
  5. it's a nice respite in their discography
 

score: 64

dr. dre - compton

  1. overblown, larger than life sound but it's not really that hype
  2. anderson .paak is the best thing about this album, kendrick being a close second
  3. dr. dress crisp production is still impressive, but needs better verses on it
  4. i really don't need to listen to this project in full ever again
  5. i might not even listen to most of these songs again
 

score: 62

future - 56 nights

  1. MARCH MADNESS
  2. very concise tape, this is most appreciated
  3. production is nice, future is locked in
  4. never cared about future before this tape at all
  5. still think he's overhyped, but he is very interesting
 

score: 66

future - ds2

  1. the deluxe version tracks should replace the mid section of this album
  2. once again, production is crucial to future's success
  3. i could've embraced more features with an album this long, drake was welcomed
  4. lot of good bumpin tracks, wasn't feeling most of the slow songs
  5. it's surprising how replayable these songs are
 

score: 81

b.o.b - psycadelik thoughtz

  1. pretentious name for a pretentious project, it's not that deep fam
  2. plain jane has got to be the worst rap song i've heard in a minute
  3. some decent tracks/ideas interspersed here and there
  4. very boring psych rock blends though
  5. glad he pushed back towards his older sound, but this is still a miss
 

score: 42

the weeknd - beauty behind the madness

beauty behind the madness is smooth, sexual and supple. it's going to get you in the mood for loving and keep you there the entire time. it's very raw and explicit, lyrically wild and instrumentally dark. however this quality can run you pretty raw pretty quickly. there's no safe word like the pause button; if you're not all the way in, you might not enjoy what he's putting on you and that's what turns me off. there's only so much i can take in the way of dismal, drugged out, no strings attached relations with a woman.

the weekend can croon with the best of them and when he wants to sound like the late michael jackson, he sounds like a decent substitute yet twice as melancholy. r&b is rarely as brooding as abel makes it. the guests are also forced to play around in this muck, ed sheeran being the farthest away from this sound but fitting in pretty well. lana del rey sounds the best i've ever heard her, proving that her company and production are what keep her from being great in my eyes.

i will definitely revisit this when the mood is right but i can't guarantee that i can take much of the full ride again. this is not an album that moves and flows across the entirety, but this is an album perfect for a "one night stand."

top 3 + bottom one: can't feel my face, the hills, often, as you are

score: 58

five for five: vol. 2

alison wonderland - run

  1. pretty typical edm but i like female vocals
  2. lyricism is far from the strong point
  3. the best thing about this is that it kind of slaps
  4. i really don't need to listen to this much anymore
  5. this is like jack ü b-side material

score: 59

the maine - american candy

  1. the "pop rock band for the girls" aesthetic done right
  2. i don't really identify with this at all
  3. if rock was actually in right now this would be top 40 material
  4. i could see this being people's "guilty pleasure" album
  5. still too pretty for my regular consumption

score: 67

all time low - future hearts

  1. the "pop rock band for the girls" aesthetic done meh
  2. i shouldn't have listened to this
  3. the mark hoppus feature was entirely wasted on here and that's tragic
  4. i wanted pop punk and got rock pop
  5. these are like green day - uno dos tré b-sides and that's no good

score: 22

carly rae jepsen - emotion

  1. i wish she'd stop being cute sometimes, like write a dirty song already
  2. i really like you is actually a very solid song despite its slight annoyance
  3. too bad taylor swift did 80s pop first because this album's better and gonna get slept on
  4. it's a little too long of an album though, could've easily knocked off like 5 tracks
  5. black heart or i didn't just come here to dance better be her next singles if she wants to pop off

score: 71

polyphia - muse

  1. very proficient guitar players, less proficient compositions
  2. these songs take so much effort to listen to because they're so solo heavy
  3. the chon feature has the best replay value
  4. the songs aren't inherently bad at all but with all the soloing it needs more low points
  5. the album would do better with vocals, honestly

score: 57

the money pit - the money pit

“sometimes i wanna, i wanna blow up everything”
— i want my money back

tom hanks stars in the money pit, a movie about a couple struggling to repair an old house. nic newsham and bobby darling star in the money pit, an album about a couple successfully repairing an old band. they're not looking to dwell on the past and neither should any listeners. we're all met with various staple gatsbys american dream stylings (staccato guitar riffs, sultry crooning, tasteful drumming), but they're done in a way that feels fresh and forward thinking.

the melodies on nearly every track feel so effortless and easy-going. it's hard not to get lost and vibe out and it would be wrong to fight that feeling. that's what the album feels like, a respite from all that is hectic in the world. for a solid 30 minutes, you don't have to care about a thing but your own enjoyment for once. follow the drums through a simple journey with complex accents. follow the bass lines to your soul and feel the grooves. fly away and hover low with the vocal tones. return home once it clicks and all elements work together. 

it's easy to get hooked on old memories of the house you've known for years, especially when no one was living in it. the house never really became dilapidated, either. the money pit isn't entirely a money pit when all it really took was a new coat of paint to make it all pop.

top 3 + bottom none: i want my money back, killing time in hawaii, devastator

guest review by @internaldivide 

The Money Pit is the return of two greats within the indie/alternative scene, Nic Newsham and Bobby Darling. This is their first musical venture together since Gatsbys American Dream's self-titled album in 2006. With this album, they show that they haven't lost a single step along the way.

One thing to be noted is that this is NOT a Gatsbys American Dream album and it should not be treated as such. It's a completely separate entity. At the same time, fans of Gatsbys American Dream can find familiarity in The Money Pit through the stacatto riffs and accidentals used on guitar, the smooth vocals, the hard-hitting drums, and the punchy bass. And that's where the comparison ends.

The Money Pit's self-titled album is one of those albums where one can completely vibe out with for its duration. I found myself engrossed as one song lead effortlessly into the next. The lyrics gets you thinking, chuckling, and feeling introspective. The music backs that up with plenty of variety and stylings where each song separates itself from the one before it, yet being cohesive overall.

Being one of my personal AOTY contenders, it makes me estatic to see these two back into making music again. Gatsbys American Dream's music has had a huge influence on the music that I aspire to make. It's the culmination of some of my previous muscial interests, one being pop-punk, and my current interests in progressive and experimental. Their music not only was something to jam to, but like a musical adventure with twists and turns as rhythms and time signatures changed throughout. It helped me become more analytical in all of the music I've come to listen to. I can't help myself in pointing out to others "hey this song is in 5/4 it's so interesting right?" as they roll their eyes. What they made in the past is something I truly have an appreciation for and I greatly look forward to what they have in store for the future.

top 3 + bottom none: I Want My Money Back, Control Everything, Blackout

score: 94

score: 93

album digitally available sept. 4th.
pre-orders available at their website.
follow them on twitter @moneypitmusic.
download 4 tracks from the album below.

made in heights - without my enemy what would i do

“if you can feel the beat / then why the hell we talking”
— pop it in 2

one part smooth production and one part sexy, faint vocals, made in heights is a duo poised on stealing your heart without even talking about it. the ambience that is created in 13 tracks is so entrancing, you can't help but sway to every single one. some tracks are meant to croon, they drag on you in a way that calms your mind. others have more kick to them; they make you wanna get up and dance but in a very reserved way, and that's refreshing.

the vocals are strong but never really push hard at all. one would think that this would be a deterrent, but it's their best asset. where the vocals simmer, the beat punches. it also never hits you very loudly, but each noise is so precisely placed that its cleanliness is a manner of hitting hard. the use of unconventional noises mixed in with trap staples is also incredibly catchy. it's an easy listen and surprisingly takes a few listens to grasp all of the vibes regardless of its apparent simplicity.

top 3 + lowest one: pop it in 2, ghosts, slow burn, silver droplets

score: 90