A Lot on My Crate🎵

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  • Why You Should Spin: Popstar by Tinashe

    Why You Should Spin: Popstar by Tinashe

    Tinashe Jorgensen Kachingwe is a pop and R&B singer, dancer, actress and Lexington, Kentucky native (wooooo). First song I’ve heard of her was the beautiful and moody “Superlove” from the Joyride cycle, that sounds like a blast from the past with those lovesick synths from the Y2K era. This was years ago, but she already had her foot at the door to the industry and gains much praise and fans. I followed her in her 333 album cycle and these were some solid alternative R&B tracks, which made me put her in a space of teetering on the conventional and unconventional side of R&B. That album was ok, but inconsistent. Then I think people really focused on her craft when the BB/Ang3l EP and Quantum Baby album took flight, especially when “Nasty” or “No Broke Boys” were played everywhere and including being memed to hell. So, she produces the hits and her talent is undeniable, but she never had an album that actually floored me until Popstar. It’s still a pop and alternative R&B album, but now it’s nothing like her past works and you can hear that in the very first opening. This is not only her most innovative, but her most commercially successful one as well. I don’t know what made her pivot to this, but please more of this. This album has Tinashe touching points of self introspective, what it’s like to keep it together, and preserve who you really are. There are many creative ideas here executed with a surgical knife in these brief sixteen tracks with a near forty minute runtime, so it’s tight and cohesive as well. The Popstar is glamorous and dramatic, but what’s great about these tracks is that not only is the songwriting poignant (and horny, damn there are so many horny bars), but these would all work well on a dance floor setting as popheads and R&B fans would lap this right up. The Tinashe fans are already aware and have been vocal about their praises for this album, so let me vocalize mine here.

    When you hear “Sunglasses” you know this album is going to be something special. It’s a very avant-garde opening statement for an artist who hasn’t really gone out of the bounds of their music, so this was a very pleasant surprise. It’s glitchy and abstract with these tight crisp electronics and punchy kicks. So when the vocals come in so clean with that crescendo, it made a payoff that became a justified high about her escapism. And what do you expect, but greatness from the producers who made this one being Arca and Machinedrum? “Too Easy” is a catwalk anthem that is backed with this primal, but playful energy that transitions seamlessly into “Melatnonin”, as this song could also be used on a catwalk. Tinashe does a good Shygirl impression as this primal energy turns into sass to deflect the figures that are hateful. It is a spiteful, negative mood she undeniably brings, but is made into a party club bop. “Empty Stadium” is Tinashe showing an insecure vulnerability that she shares of losing success and an audience. It’s a sad and valid fear, especially if you gained so much love through your art, only to lose it all as your fans might leave you in the dark. I do hope that won’t be the case in Tinashe’s or any other passionate musician’s future to be honest. I’m confident that won’t happen. “Flashbacks” has its intimate piano and glitchy production, with Tinashe reminiscing the good times. The nasty, dirty good times. The bounce bouncing of course had me chuckling. “I’d Rather Be Alone” is an R&B track that is beautiful in its harmonies making it empowering to listen to. “Crash Out” is a brooding trap R&B that has someone on the edge when poked and prodded past the threshold. Despite her being a popstar, of course she should be seen as a human being.

    We get into another horny song with a light “Pillow Fight”. The instrumental doesn’t need to provide much as the lyrics and chorus do a lot of the heavy lifting…and thrusting. We’re getting into Britney territory with “Nobody Wanna Dance Anymore” and it has a little bit of a country flair to be honest. The path is long and hard as she talks about it in “Twentyfive Eight”. She had her laser focus sight on one thing, fame. It’s definitely a peek into her dark side and all that hard work paid off, with poignant lines like winning a rat race, but still being a rat. It sounds like somebody scrambling and who knows after her breakout and commercial success, if that persona is still inside or if she becomes complacent? “Popstar” being the titular track is her singing her soul and what she sounds like now that’s on the top. The blood, sweat, and tears paid off finally as she channels a Rihanna like energy here. Okay, I know the title of “Brainrot” will roll eyes and the braggadocious and mocking energy doesn’t help here either, however it’s hypnotizing stopping power is undeniable, which has its character being desensitized to her surroundings after all the hurdles. Desensitized to the point of being numb. She’s still having fun and it becomes contagious in this song. Another song that is contagious, but in a state of bliss is “Cloud 9”. It’s one of my favorite songs here and would definitely get you out of a rut. This mood is definitely appropriate after the hump that is “Brainrot” and we have our heroine being at her emotional high. And then we get our acoustic closer that is a light at the tunnel, but having Tinashe express her struggles within. We don’t know what’s next for her, but even when they obtained what they want, it doesn’t mean everything is all hunky dory now. She wishes herself the best.

    I love the tracks for the most part, but there were only a few hiccups. I really like “Empty Stadium’s” songwriting as I applaud her being brave for sharing her biggest fear. It’s just the melody itself doesn’t do it for me. There are some interludes there that I’m lukewarm on, but I understand why they’re there. Despite the closer being expressive and able to drive sympathy, sonically the ending being acoustic is kind of a cop out. This is comparing to all the other stellar songs on here.

    I love this album. In fact, I will confidently say, after hearing many pop albums in 2026, this one is the best so far. And I’ll confidently times two say, that Popstar is going to be talked about years to come and will be referenced among the pop and R&B contemporaries of the 2020s. It’s impressive the hits while brief, are memorable with their hooks and choruses and we got an inside scoop of Tinashe’s persona. It’s amazing you can play and thump to this music in the car or in the club, while hearing very thoughtful songwriting. She deserves this. She’s come a long way and all that hard work has finally got her a spot. May her heart and her stadiums be kept full.

    FAVORITE TRACKS: SUNGLASSES, TOO EASY, MELATONIN, FLASHBACKS, I’D RATHER BE ALONE, CRASH OUT, PILLOW FIGHT, TWENTYFIVE EIGHT, POPSTAR, BRAINROT, CLOUD 9

    LEAST FAVORITE: HEAVY WEIGHT

    Her discography is available for streaming. Links down below.

    [Apple Music]﹡[TIDAL]

  • Why You Should Spin: Who Loves the Sun by Chat Pile

    Why You Should Spin: Who Loves the Sun by Chat Pile

    Sludge metal and noise rock outfit that come from the abyss that is Oklahoma, as this album has been my most anticipated release and it paid off in sludge spades. I’ve been a fan of these guys since their debut release of God’s Country. That album was haunting, heavy, and harrowing with all of those attributes being the aesthetic for the bleak social commentary on how we as a first world country do not take care of our own. They’ve touched on points of homelessness, poverty, school shootings, mental health, worker exploitation, etc. Fun stuff, yo! So yeah, they’re not all sunshine and rainbows, but that’s why I love their nihilistic realism and that crushing sound is what makes them memorable. And it makes you feel seen and heard. I talked about them before from the early days of Crate. I’m that big of a fan to the point that I can even confidently say their sophomore record, Cool World is still my favorite album of 2024. As opposed to God’s Country, that album was all thrills and no frills with the tracks being concise, but memorable on their riffs. Their message seems to be the same there as their haunting screams pound into your ears that atrocities are still happening here and overseas. They did a collab album that I was not that into, but recognize the talent was there. “Radioactive Dreams” is a must listen on that album. And that thought process seemed to be consistent here on Who Loves the Sun, because boy howdy…when it comes to their studio albums, they are now three for three with this one. Cool World is still my favorite from them, but this album is not that far off. It’s probably their second best for my tastes. They still gives you an miasma of dread especially in Raygun Busch’s vocal performances, in which he absolutely resonates with his haunting act. It’s not just screaming his brains out, it’s putting life into characters that is tormented with their inner and outer demons. Or they’re doing the tormenting themselves. Chat Pile’s confrontations with the displayed topics are concentrating on making you uncomfortable, while placing the ones in charge of these untenable crimes with their heads on a pike. Sometimes they reference other forms of media and art to get the message across. Their purpose is to give criminals of humanity whiplash and focus on our impending doom, as they touch subjects like technology, climate change, incels, and infanticide. The title of the album could be referring to how we take the things that give us life for granted, however even though they can give, they can take it away too.

    The opener “Creature” reminds me of Nirvana with Raygun sounding absolutely unhinged like an actual creature. The impending doom is there as we have been placed a hex on our own actions that our civilization is now destined to be underwater. It’s an appropriate topic concerning the next track being “Deep Blue” with them touching the subject on AI plaguing the internet right now. Loved this as a single, as it’s their catchiest song here and the pitch change on the second chorus is one of my favorite moments and is worth putting this song on repeat. “Same Rules” sounds defeatist in people telling him there’s a God and bottling it all in. And I need to say something about “PEN I S MALL”, despite it being released as a single and having the most hilarious song title of 2026, I was not into this at first. I thought the riff and instrumental was ok, but then I listened to this song multiple times and I think Raygun channeling his goblin energy won me over. His manic vocal performance about corporate exploitation is absolutely insane and probably gives him a headache every time they had to perform this. It’s now one of my favorite cuts here. “Shrine” has these twangy riffs that progress into a hulking monster every time they reach the chorus. The monster laments on how people’s lives withers into nothing as they say yours is worth nothing at all. Every time it gets compelling whenever the chorus has him to “share his grieving”. “Christabel ’26” is a warning that behooves you to realize that these tech oligarchs will leech off of you like again…a parasite. And yeah, we’ve seen that people are tired of their governments letting their “true constituents” suck the livelihood of the people they are supposed to serve.

    “Intruder” is a call back to the 2019 Korean thriller film, Parasite (banger movie by the way), which makes total sense if you seen the movie and know the band’s usual motifs. It’s also, not surprising since Raygun is a huge film nerd. Both of these pieces of art touch on the theme that what goes around comes around when it comes to class indifference. “Influence” comes to us like a truck with their haunting refrains that hounds on us for being desensitized to the atrocities around the world via doomscrolling. Despite the news headers having some horrific reports, we’ve seen it happen when the public no longer cares about children being bombed, trafficked, or the subjects of school shootings. It’s infuriating, but people will gladly brush it aside to cope for their own mental health. Hell, I’m guilty of it too. And then we get into, “Family Funeral”…oh man. Even after a myriad of times I’ve listened to this song, I still don’t know how I’m going to talk about it on here. It’s not only the best song on here, but their best ever. It stays with you. Not only Raygun’s vocal performance just stays with you (especially the end), but the arc the character he plays stays with you too. It’s about the Greek mythological story of Jason and the Golden Fleece and the character of what Medea went through. I won’t spoil on what she does, but I’ll touch on how she feels. It’s disturbing. It’s one of the most disturbing cries for help and visceral anger I have heard in a song. What makes this song so brutal, is despite the story being a myth, the actions she does relates to real life very well. As you see a lot of headlines that match the crimes of what she does as you think, how can a human being do that? All Human beings have potential to become monsters. We needed a breather of a closer at “October All the Time”, but it’s still not a snoozer for sure. A beautiful reprieve is needed when things are gloomy and bleak. as I write this on October. But is the reprieve for us? Again, I’ve said this on my Neurosis overview, I do like the epitome that the Earth and the Sun will move on, but humanity will not win.

    Despite the political messaging resonating with me, there are only a few tracks where sonically I thought the tracks were good, but not as impactful. In “Same Rules”, I wish the songwriting was memorable as the other ones as well.

    Who Loves the Sun is cohesive, intense, and absolutely charged on ruffling my feathers. The messaging is some of the most intense I’ve heard this year. Cool World is still my favorite, but this one comes pretty damn close. I’ve been excited to talk about this one, as this got me riled up to talk about not only the bleak songwriting, but just this was another avenue to vent the follies of humanity as a whole. This will be one of my favorite records this year at its darkest. It’s a crushing sound that also sears into your brain and I’m glad people are sounding praise for this band. I cannot wait for what’s next for them as they are one of the most consistent groups that I’ve been following all this time. They evoke this feeling not on making you give up, but to fight for others. But David, if our destiny is dust, then would it still be worth it to fight for others? My thoughts in the microcosm of things and my voice into the void. Yes. I think people and this ugly world are always worth fighting for.

    FAVORITE TRACKS: CREATURE, DEEP BLUE, PEN I S MALL, SHRINE, INFLUENCE, FAMILY FUNERAL, OCTOBER ALL THE TIME

    LEAST FAVORITE: SAME RULES

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Why You Should Spin: Emotion Engine by Slow Magic

    Why You Should Spin: Emotion Engine by Slow Magic

    Who is the man behind the mask? Electronic producer from the US and your imaginary friend he claims. He has been making music and released an album in 2012 and this is the first I’ve heard of him. His forte is EDM and despite me not recognizing his moniker, he did do a collaboration with ODESZA, who are one of my favorite groups and were my gateway into the EDM space and subgenres. Speaking of ODESZA, it does seem safe to say our masked crusader does seem to wear their mood and influences on his sleeve. He and his contemporaries are on the chill side of the spectrum and his current album Emotion Engine, seems to be consistent with the vibes. And this album does give good vibes no doubt. It does its purpose, that if one feels down in the dumps, then Engine pats you on the back and tries to lift you back up. It has these pleasant and sweet melodic hooks and choruses. The synth poppy album has sunny, airy production with expanded drums and uplifting lyrics too, as this sound has been done before. Despite it being done, I still recommend it! I’ve said before that good art makes you express emotions (positive or negative). There has been a lot of EDM that sounds too saccharine to the point that they sound like wallpaper. But here, I’ve enjoyed the majority of my stay at Emotion Engine.

    It starts with “Memory Card” that is as epic as it is beautiful with its progression we crash through with these windy, jungle snares. It’s a welcome mat at the start of the album and Slow Magic establishes the atmosphere. Then we go into what sounds like a throwback to the 80s with these distant, punchy snares and drum machines in “Half Alive”. It already sounds like a bop and then comes Artemis Orion’s sweet, airy vocals that mesh well together alongside the percussion with her lyrics telling you to leave your worries by the doorstep. Listening to “Lost” struck a chord, as listening to Elohim on an EDM track sounds like it all sounds in place as it should be. As someone who listened to many tracks in the late 2010s it was nostalgic in a way and hearing her auto tuned, melancholic performance now is living proof that she didn’t lose that magic. “Celebrity” is an instrumental break with these choir vocal sample chops and drums that transitions into “Need U”, which has these chipmunk vocals juxtaposes with the ethereal space the production provides. I really liked “Critical Hit’s” hook and refrain that not only made it catchy, but emotional. I liked the touch of bedroom pop that made it intimate and the music displays for us that these songs don’t need to be that grandiose to pluck our heartstrings.

    “A train I never took”, could be classified as an intermission break, but it kind of slaps as an intermission. It has these sounds ethereal and ambient synth chops that make Slow Magic’s soundscape emulate a digital fantasy with a satisfying progression. Speaking of satisfying, “Promises” is not only that, but gratifying as well with its earworm of a chorus. “Hanami” is a colorful blend of keys, drums, and guitar folk chords performed by Yutaka Hirasaka. “Changing the Tide” has its charm, while Slow Magic puts their vocals in the line in this indie pop number. After the ambient slow burner that is “Dreams”, the album closes off with a banger. “End Credits” features The Chain Gang of 1974 and the chemistry that Mohager and Slow Magic have are undeniably in sync. The aesthetic sounds has these nostalgic synth leads and satisfying vocal chops that are well juxtaposed to Mohager’s vocals. It’s a great closer that makes the audience at your DJ set to raise those hands in the air.

    The album starts out strong and then it kind of takes a nosedive in the second half in my opinion. There are moments where it kind of succumbed to the pratfalls of EDM for me. Some of the tracks don’t have the memorable segments unlike my favorites here, as they do get kind of derivative. “Celebrity” definitely sounds the most awkward with the sample chops. And “Dreams” tries to be pensive, yet sounds sleepy to me.

    And I must conclude, that Emotion Engine passed the vibe check. I enjoyed it and after a listen I left with a net positive of…positivity? And I feel like that’s the purpose of projects like these, as Slow Magic says in EDM Identity, “I’m hoping Emotion Engine provides a sense of connection and captures emotions that don’t need to be explained.”. And yeah, I agree something as intangible and fluid as human emotions doesn’t need to be explained or dissected, especially on how to evoke them through your music. It doesn’t need to be deep, because if the world is as mechanical and easy, then explaining how you did the trick, would lose the luster or magic. All I’m saying is, anyone who is into EDM should give this album a spin. The reprieve for your mental will make your mind thank you.

    FAVORITE TRACKS: MEMORY CARD, HALF ALIVE, LOST, CRITICAL HIT, A TRAIN I NEVER TOOK, PROMISES, END CREDITS

    LEAST FAVORITE: DREAMS

    His discography is available for streaming. Links down below.

    [Apple Music]﹡[TIDAL]

  • Why You Should Spin: REDSTAR WU & THE WORLDWIDE SCOURGE by Genesis Owusu

    Why You Should Spin: REDSTAR WU & THE WORLDWIDE SCOURGE by Genesis Owusu

    Craters. That’s what I’m calling my readers. It is written. I am excited for this one. I’ve been wanting to write about this one for a while, but this album has been on my mind for the longest time. Genesis Owusu is a name that has been familiar with me with everyone praising his last two projects being Smiling with No Teeth and Struggler. He has always been on my list of musicians to listen, but time passes. Then procrastination then manifests as those albums collect dust on my TIDAL app. So, come the third album being Redstar, that is also critically acclaimed, gaining traction, and was just poking me in the cheek like a child with a giant lollipop. But my what ear candy Redstar is. I am still rocking this album as it is an amalgamation of many genres fusing into this angry commentary that is an art piece splashed with a myriad of colors. It consists of post punk, hip hop, new wave, neo-soul, and many other genres that I haven’t dipped my toes into that much. However, Redstar is a revitalization, a baptization, and a realization for anyone who is not angry enough at the people hurting our withering world and our neighbors. These unconventional hits are a flurries of iron fists canvassing my face. Not to mention the songs are catchy as hell. He was born Kofi Owusu-Ansah in Ghana, but he and his family moved to Austrailia not long after he was born. He has an older brother who is a rapper that goes by Citizen Kay, who pushed his brother to do more amazing art by featuring him in his music. After Owusu released his debut, Smiling with No Teeth, it seemed like the rest was history. It came to me with great regret that I haven’t hopped on the Genesis wagon earlier, but better to hop on at a later stop then getting left behind. Listening to his voice in Redstar, it’s tough to classify his style to a category. He is theatrical, comforting, cold, relentless, angry, poignant, suave, and just a well oiled machine. Or I can just say versatile. He’s versatile. And as far as Redstar, I mentioned this is a mix of many genres, but that’s what it is. Owusu is not a one trick pony as this is not a one dimensional album and that’s what I love most about it. I’ve been bobbing my head and my face has been stuck at the stank face for the entire listen. And the listen after that, the listen after that, and the listen after that. This is banger supreme with curb stomping commentary that will make the old folks shivering on their couches in fear of their youth being radicalized. There is something sick about our world and Owusu is on the megaphone, saying you’re not enraged enough.

    “PIRATE RADIO” is a great opener that the sinister synths not only won me over, but Owusu calling Elon Musk a “fucking weirdo” is what takes the cake. And boy he ate, and ate the incels, Nazis, and Kanye zealots for lunch. “STAMPEDE” was the single that made me aware of this album and it still holds up. The hook and the beat are still so good, while Owusu being the piper tells us to take action and drown these rats. These rats that have been plaguing and leeching off its people. “HELLSTAR” is a funky jam with bubbling synth basses and guitar bass lines that are sensual, that Owusu and rapper Duckwrth sees the beauty and the strength in all of you. It sounds like a good soundtrack to a fashion runaway and the activists are having their time on the catwalk. He says you are the star and apathy can go kick rocks. “FALLING BOTH WAYS” comes with a killer bass again and Owusu sounding stoic and nihilistic here. The cynicism seeps through with “Is there heaven on Earth? Is the heaven on fire?”. “THE WORLDWIDE SCOURGE” is time on the podium and a call to arms on how the West worships money and elect Nazi sympathizers. He also goes into knife cutting lyrics about racism, worshiping abusers, trans rights, and even how it is a head scratcher on how people are still unable to call what’s happening in Gaza an atrocity. I do love the patois-like chorus refrains too that makes this song stick out. We are in neo soul territory with “BLESSED ARE THE MEEK” with those gentle guitars that would Erykah Badu clap with the beat. I think she’d also be down to the message on how comforting and embracing it is. It’s all about turning the poison into an antidote and redirecting it into something positive or a catalyst of change. What I loved about “LIFE KEEPS GOING” has this percussive element to it with the beats and high hat snares straying on the IDM side. Owusu plays this beat like a fiddle and doesn’t overplay until the song progresses from the bridge to the climax. C’est la vie is a way of saying in Owusu’s lyricism with, “Black clouds, look at what it drew to me. I got all the time for all the foolery. This is down right lunacy. Life is such a beautiful contumacy.” I love the character arc this mobile song turned out to be, compared from beginning to end.

    So, not only does life keeps going, but the bangers keep comin’! We have “MOST NORMAL AMERICAN VOTER”, with these sharp guitar bars and a reverberating Owusu sounding absolutely hysterical. He feeds the paranoia with the “missing information” refrain sounding like “misinformation” and you know right off the bat it’s all about online discourse and propaganda. “DEATH CULT ZOMBIE” has Owusu sounding like his best impression of Damon Albarn. This song is a jab against the false idols and the followers that blind themselves to kiss their feet. It’s exactly what they are…zombies… stupid motherfuckers…you know, morons. My favorite part is the Andrew Tate bar with the rug pull on you thinking Owusu was going to rhyme fitness with ‘bitches’. “SITUATIONS” is more reserved and is more of a moment of self-reflection and unification. This time he tries to win you over by empathy, in which to some it may sound like a weakness, but you’d be surprised on how that kind of healing is irreversible. “4LIFE” is a beautiful moment in which, Owusu goes into a more younger character with his vocals pitched to show how he contemplates and recalls the memories that made life more fun and worthwhile. It’s tragic when one hits that point in adulthood and realize those times are gone as your scope gets bigger and life gets harder. “RUNNIN OUTTA TIME” is a new wave homage with groovy bass lines that make me think New Order. Owusu is running down the street hoping the poison of the world doesn’t catch up to him. I absolutely love how peaceful it sounds, while simultaneously it’s contemplative too. Although, you hear the words of him coping, he is still teetering on the brink of losing his self preservation. “BIG DOG” is a fun uplifting jam that shows getting knocked out means getting back up again. Again loving the Elon jab with the ketamine bar. It’s like a sticks and stones song when you have been unleashing your anger and it becomes sobering when we get to the eye of the storm. “ONE4ALL” is a closing of the curtain of this whole thrilling ride of an album. He tells the fans to have a good night and go home, while comforting you that things will be all right. As he is saying that he sounds exhausted himself. It’s understandable, since fighters can’t fight forever, although it kind of hints at us at the end that he won’t quit.

    I’m going to say this. The only flaw with the album is the end. I like the sentiment and solace it provided. And I also liked how he wanted to close out, but sonically I wish it was more captivating. Other than that, this album is near perfect.

    This album has me floored to this day since its release. It’s amazing there are so many talented people out there that can impact our ears and make us listen. Yes, Redstar can provide good vibes, but it’s more than that. It makes people feel seen. The songwriting will make certain people uncomfortable, but you know what? Good. People who like to punch down have been comfortable for far too long. I found it inspiring when Genesis Owusu had this to say about Redstar in an interview with DIY Mag:

    “I want the music to inspire people, look at the world but don’t be beaten down by it. Know that other people are feeling what you’re feeling, find those people and figure out the first steps towards change. “

    Owusu, Genesis, Interview. Conducted by Rhys Buchanan of DIY Magazine.

    Redstar Wu and the Worldwide Scourge is a masterpiece. I’ve listened to the whole thing repeatedly and some of the songs have been in my heavy rotation. It’s tough to pick a favorite among the tracklist and its generous run time. I implore you to listen to this album as it will light a fire inside you. It tells us that empathy for others is not a weakness, but a power that makes humanity so great.

    FAVORITE TRACKS: PIRATE RADIO, STAMPEDE, HELLSTAR, FALLING BOTH WAYS, THE WORLDWIDE SCOURGE, BLESSED ARE THE MEEK, LIFE KEEPS GOING, MOST NORMAL AMERICAN VOTER:, DEATH CULT ZOMBIE, SITUATIONS, 4LIFE, RUNNIN OUTTA TIME, BIG DOG

    LEAST FAVORITE: ONE4ALL

    You can purchase this album on Bandcamp and his discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Why You Should Spin: My Days of 58 by Bill Callahan

    Why You Should Spin: My Days of 58 by Bill Callahan

    For an album that talks about how he became 58, this singer-songwriter is 60 as of right now. Not a jab against Bill Callahan. It just goes to show how long he invested to craft this album. This man has been in the game for so long, while working under the band of Smog. He then decides to ride solo in the late 2000s and he has built a reputation of himself as a great in the scene of folk and Americana. Apparently according to an interview with Pitchfork, he started to work on various songs for a long time as far fifteen years even, but Callahan states that his cancer diagnosis was the inception of his writing. So, Callahan confronting his own mortality is of course going to make him contemplate his life as it “inspires” his songwriting. Thankfully, his cancer has subsided and we can only hope he will get better from here. I only came across this album whenever there was buzz happening around, so I checked out to see what the hubbub was about. I think his baritone voice helps with that, but there is some earnest songwriting here. The emotions he displays is a vast spectrum and he doesn’t need a big band to achieve this. His songwriting gets the message across. He goes through feelings of loneliness, mortality, his experiences as a father, the pratfalls from technology, and even making a playful tune about Lake Winnebago. You can even hear him being hilarious on the darker songs too. On the facade, if death doesn’t seem to bother this man, then we feel all right. Right? My Days of 58 is comfort food in a wooden cabin during a heavy snowstorm. For a man that emotes many expressions no matter what path this album goes to, it leads to just warmth and solace, including parts that make me chuckle. And might I add? For an album that is an hour long, it really doesn’t feel like that. Therefore, my very first impressions of my first experience with Callahan is super favorable as he comes across as a comforting human being.

    You get an embrace on “Why Do Men Sing” it really got to me when he goes:

    “An old friend didn’t show. And now there’s nowhere for this feeling to go.”

    Bill Callahan, “Why Do Men Sing”

    It seriously gets beautiful at parts and you want to raise your hands in the sings about not bottling your emotions and getting out of your shell. I absolutely love the “let it ride, let it ride” refrain. This is an absolute great introduction to 58. Even when Callahan goes into something serious about his mental and physical health, he’s still resilient and stalwart on “The Man I’m Supposed to Be”. He does something that I won’t spoil here at the last second of the end, but it makes me laugh every time. Not only does he laugh in the face of death, but laughs at himself on “Pathol O.G.” and he exercises his curiosity, his modesty, and his whimsy. Why so serious? “Stepping out for Air sounds heart wrenching on someone who is struggling to see the beauty of living. He knows how to express his melancholy without overstepping the saccharine or being whiny. Listen to the instrumentals when he says he’s stepping out for air. Fun fact, the refrain at the end made me learn what semantic satiation is. I do like songs that romanticize or personalize places such as “Lonely City” and it is a slow jammer. It’s like a setting can be a character itself and it’s also relatable when we see all kinds of cities change before our very eyes. In my opinion, “Empathy” is probably the most personal and heartfelt track, which makes this the top billing of the album for me. He talks about his experiences of fatherhood and the wanting to be the better version of his father. The only thing that matters for him is to his two kids to be the better version of him. Listening to this song in a quiet room is very surreal as it is beautiful and relatable.

    I can imagine a saloon playing “West Texas” on how down to earth it can be. Even though it’s chill, there are some lighthearted humorous deliveries here. “Computer” goes into how technology can just hijack your mind and self-preservation. “Lake Winnebago” and “Highway Born” are seriously great road trip tunes with the window down. The former sounding so adorable and sweet and the latter being uplifting of your spirits. He touches on romance with “And Dream Land” as the instrumental and this chugging sound effect sounds like someone is feeling anxious or is it excitement? I can understand the closer “The World Is Still” being considered bleak. However, it is realistic as one should live out their life as the world does not stop for me or you.

    Even on the songs I’m lukewarm about, I still find it enjoyable just to sit there and listen to the intriguing songwriting. I do wish he did more on “Computer” as I have heard many songs that criticize technology and this motif has been done before and I wish the ending went out with a bang, but I can see why Callahan would stay with his creative decision.

    The sound is not grandiose, but of course that’s intentional as it doesn’t have to be a big sound to show how small someone might feel. It’s one of the most personal albums I’ve heard this year and relatable (sans fatherhood). The songwriting is superb and the instrumentals can evoke so many emotions. I can definitely understand why a lot of people follow him. I wish the man and his family the best. For someone who is not familiar with Americana or indie folk, this did have an impact on me. I hope to look back to my experiences and learn whenever I turn 58. But the way I describe this album is like one big giant bear hug. I would like to think a whimsical character like Bill would like that comparison.

    FAVORITE TRACKS: WHY DO MEN SING, THE MAN I’M SUPPOSED TO BE, PATHOL O.G., STEPPING OUT FOR AIR, EMPATHY, LAKE WINNEBAGO, HIGHWAY BORN

    LEAST FAVORITE: COMPUTER

    You can purchase this album on Bandcamp and his discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Why You Should Spin: Vila by Fabiano do Nascimento & Vittor Santos Orchestra

    Why You Should Spin: Vila by Fabiano do Nascimento & Vittor Santos Orchestra

    Fabiano do Nascimento is a Brazilian-American guitarist and composer and he came across my way when I saw Brazilian Classical music was the selling point of Vila. I don’t have much Brazilian Classical knowledge, so my expectations were neutral and I didn’t anticipate the aura that was about to be brought down on me. Do Nascimento was self taught in his early years and has so many albums under his belt (sixteen projects in a span of 15 freaking years) as he now resides in either Los Angeles and Tokyo. I’m sorry, Mr. Do Nasimento. I didn’t know you had game. Someone else who also has the talent to pull this album off is producer and conductor of Vila, Vittor Santos. Santos and Do Nascimento has started working together during the pandemic. Do Nascimento said he was amazed when Santos sent him an arrangement of MIDI strings and that’s when they made Lendas without ever meeting face to face besides the one time. That is a lot of trust between two creators. And I think they pulled it off here. So, I am not well versed in contemporary classical, let alone Brazilian Classical music, so this is new ground-ish for me as I used to play concert band and symphony music in my education of my younger years. But when I stepped into Vila’s world, my my it was a wondrous feeling. The beautiful guitar arrangements from Do Nascimento and his clean technique just exudes a lot of atmosphere and warm feelings. The way his melodies dances with the orchestra as it seems like the spotlight is not on just him even though he is first billing, but the illustrious strings and band is accentuated as well. There are occasional vocals in this album, but the instrumental arrangements are the cream of the crop. It is impossible to not think of images or murals just canvassing the movie in your mind. The whole sonic experience is a flourish of watercolors and a dance between two entities only to spike your serotonin and massage said receptors. I’d say this would even be the right soundtrack to listen to while you’re walking in Brazil, a beach, or any European city where you ride around on those damn mopeds with someone grabbing on you for their dear life with a puppy in the basket up front. This listen ain’t cheese. This is Minas cheese that is applicable to many things to make the soul feel good.

    There are two parts to “O Tempo (Foi O Meu Mestre)” with the dulcet tones of Do Nascimento’s guitar melodies and the orchestra supporting that melody with each section getting their turn to answer its call. Then the latter part of the opener has Do Nascimento’s vocals taking us away as the instrumentals accompany at the side. It feels like I’m being transported back in time! I like “Spring Theme’s” raw acoustic performance with the strings swell in its blend of melancholy and solidarity. It almost creates a romantic stage. “Tema Em Harmônicos” gives us a tango and flamenco number with the guitar and instrumentals going into descending triplets juxtaposed with a hand drum and shakers. I absolutely love whoever is playing that fun trombone as they sound absolutely bonkers especially when they give those flourishes at the end of their phrases. Any contemplative thoughts can make “Uirapurú” your bus stop. It’s a simple guitar melody, but it does give a comforting feeling that things will be all right. I like “Trenzinho Imaginário”‘s constant chord progression keeps on moving as the breezy strings make it sound like a flowing of wind or a mobile nature. The plucking of the strings of “Valsa” makes this piece a sacred place. The brushing of the jazzy snares and the orchestra’s night vibes make it kind of ambient in a way. The city is about to go into slumber.

    “Floresta Dos Sonhos” is the longest runtime on this LP as it has many different melodies following Do Nascimento’s guitar. “Plateau” has the guitar doing “scales”! As it keeps on climbing and progressing! It’s rock solid! Sorry! This track doesn’t take a break as it is constantly moving and each instrumental section of Santo’s orchestra has their highlights. “Vittor e Fabi” is what I take it, a bromance that takes form in audio playwright. The orchestra representing Santo’s hemisphere goes along with these smooth jazz hand drums and toms with the strings, while letting Do Nascimento do what he does! He doesn’t showboat on that serene, pensive guitar. The piece has ambient elements again. It’s like witnessing an interpretive dance of two entities. The last track is the “Tema Em Harmônicos” from before, but with no orchestral strings. In case you want to hear it with no orchestral strings.

    If you’re into one sweet mood and don’t want to stray from it. Then this is your go to. Otherwise, don’t expect Vila to stray from what it does and does well. There are some tracks that kind of drag and the first half is stellar compared to the second half. “Floresta Dos Sonhos” kind of drags on with no memorable segments and the ending is kind of a head scratcher as it’s just the third track with no instrumentals. Technically a reprieve, but the strings is what also made “Tema Em Harmônicos”. So, the ending was kind of disappointing and I wish it was omitted.

    You know that feeling whenever a main character or a Disney princess walks through their introduction and exposition to show the initial peace of their character? Vila is a great soundtrack for that. No conflicts here, just a group of talented musicians working together to make this elegant, gorgeous album. This record is not only a dance, a beautiful arrangement, or a deep connection to someone’s space. It’s an open invitation. Sure when you get back home after that enchanting trip, you get the sinking feeling things still suck. So, you daydream the memories you have of the world Vila has provided. However, you’ll come back! Bring your moped! Entry is accessible and they’ll welcome you back with open arms as you relive that dream world all over again.

    FAVORITE TRACKS: O TEMPO (FOI O MEU MESTRE), SPRING THEME, TEMA EM HARMÔNICOS, UIRAPURÚ, TRENZINHO IMAGINÁRIO, VALSA, PLATEAU, VITTOR E FABI

    LEAST FAVORITE: TEMA EM HARMÔNICOS (NO STRINGS)

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Why You Should Spin: Nature Is Healing by horsegiirL

    Why You Should Spin: Nature Is Healing by horsegiirL

    Once upon a time in a barn far, far away there lived Horsegiirl. Half girl. Half horse. All aura. She’s from Berlin, Germany where she is a DJ who is not only a whimsical character, but is also elusive by wearing this hyper realistic horse mask everywhere she goes like a mythological creature. In my opinion, she could’ve been Dragongiirl, since she was born in 2000, but who am I to tell someone to stop horsing around? So, I do like the cut of her jib as she calls her fans, “farmies” and NME magazine calls her haters, “neigh-sayers”. This fantastical being has found a passion in DJing and when Germany is a haven of electronic music, it would make sense that Horsegiirl thrives in that habitat by finding her footing and dipping her hooves into many genres if it makes a dance club pop off. She does EDM in many breeds and colors, whether it’s acid techno and eurodance on “My Barn My Rules”, or whimsical hardstyle on “eat, sleep, slay”, or the one track that put her on the map for was “take it offff”, in which she tells me she does have the chops to make an infectious dance tune with these night shaded synths over techno kicks that I put on repeat for a myriad of days. So, her V.I.P. EP was decent, but honestly, I was hoping for more. Then not too long after, my friend told me about Nature Is Healing and I now predict that this is going to be a great stepping stone on how everyone will consume her art. She is ready to go into long form content in this album release and I must say, there are good bops here. The name of the album pertains to our green Earth, so it’s a noble cause and message. That makes sense, since she’s half animal, a horse of course. There are albums of course, a horse, that have done a tribute to nature in many different ways. For example, the Fables album by Isabell Pines I wrote about a while back was about the appreciation of nature and its soundscapes, but that was a serene, pensive experience. Nature Is Healing is all about dancing your ass off in the woodlands. She also provides her always sweet, airy vocals to appeal to the playful nature of this project. Not only that, she does a throwback to Y2K pop frequently here. So, while this is a fun EDM album, it has a backdrop that is a dance floor, while your MC wants you to admire this one planet we have to take care of.

    After a fun SOPHIE-like intro, we get “that’s my beach!”, which is this hyperpop anthem that commends and anthropomorphizes a beach as a loving being that she loves of course…a horse. The bubblegum bass and the cheerleading vocals are all components that make this track a banger. “Hands hands hands” is for the Y2K lovers with those kicks and that bell tuned drum machine and Horsegiirl makes this track a more intimate encounter, but there is some quirkiness still lingering here. If you’re a fan of euro dance then “earth is turning” is your jam. “AURA” is a cute lovely hyperpop cut with this catchy chorus “Oh oh oh, you got that auraaaaa, like Minnesotaaaa”. It’s absolutely divine and I say it will guarantee you to move with your arms up in the air. What makes this album unique are tracks like “fun guy fungi”, in which Horsegiirl has fun with the psychonauts. Listening to this track is like imagining a bunch of Kodama from Princess Mononoke that are climbing all over you as you melt into colors in an animated Adult Swim acid trip.

    We have the title track that is “nature is healing” that is just so lovely and heartwarming. The whispering and delivery is such Annie Lennox and Kate Bush vibes that gives us this dream sequence of a song. It’s just her giving thanks to our planet Earth and all her wild inhabitants. Another highlight was “connect the dots”, is very Janet Jackson, but in…horse form. I love the night of day and velvety production with Horsegiirl’s hooks and vocal melodies on the chorus. Also, bonus points for any sexy saxophone. When I first heard “an apple a day”, I wasn’t into it, but in the context of the album and stepping off that entrancing “connect the dots”, “an apple a day’s” timing just puts you in a party state. It’s this hardstyle techno banger that gives us solid buildups and drops. I also vibe with the robotic “I’m so angry. I’m the doctor!” It’s now one of my favorite cuts here, so don’t knock it, until you bite it! Speaking of favorite cuts though, “organic intelligence (oi)” is probably my favorite track out of this whole apple pie of a record. It sounds so angelic and it’s very pro-not AI. It’s so brief, but I love everything about this track, with its ambient synths, meaty pads, strings, the catchy chorus, and something that sounds like some MIDI harmonica that comes in. But those fairy-like vocables! This track is the one that did the most healing in my non-animal opinion. Then we get a monster closer of 6 minutes and change with “MUSIC GOES ON” with Horsegiirl showboating with lots of hooks and ideas meshed together. It’s a statement of saying “more is on the way” and her journey is not done yet.

    Most of the tracks are not bad. Some are hit and miss though. I can take or leave “take me to venus” as it is kind of redundant in its energy as Horsegiirl did it better in other tracks. I really wanted to like the last track with how well made it was, but it wasn’t as captivating as something that closes out an album.

    If you love dance music, then keep following what Horsegiirl is doing. What she does is appealing to many fans around who are just into a good vibe and party. It’s nice to see what someone does with their activism and turn it into something catchy and magical. So you should listen to this of course…a horse. The farmies are down for her, but if you’re not into the horse thing, then it still shouldn’t deter you from knowing and listening to good art.

    FAVORITE TRACKS: 351%, THAT’S MY BEACH!, EARTH IS TURNING, AURA, NATURE IS HEALING, CONNECT THE DOTS, AN APPLE A DAY, ORGANIC INTELLIGENCE (OI)

    LEAST FAVORITE: TAKE ME TO VENUS

    Her discography is available for streaming. Links down below.

    [Apple Music]﹡[TIDAL]

  • Song of the Day: “Barely Breathing” by Duncan Sheik

    Song of the Day: “Barely Breathing” by Duncan Sheik

    Growing up in the 90s, I was entranced by this song every time it came up on the radio. There’s something about his voice and timbre that made it sound robotic when his vocals blend together and the chorus just hits. Just hearing it again after hearing of his tragic passing last week was a blast from the past. If one wants to hear what the top radio hits were like in the 90s, this is a great pop song to jam to. We’ve lost a good one indeed.

    The song is about the envy of a man manifested from this woman that he has been chasing. With these easy going guitars and those vocals that make the 90s, the character’s jealousy is self aware, since he knew this was a lost cause and all it gave back was hurt. He’s upset at her, but didn’t make himself on unlikable ground. This was a beautiful, relatable song about unrequited love. Definitely much more relatable if you were a naive lovesick teen back then. It was absolutely suffocating for this character. So, of course you wanted to root for the underdog. And Sheik killed that part. He played a great hopeless romantic here, and on “On a High”, another tremendous hit that charted in the early 2000s that I also recommend. He’s the hero in these songs we cheer for despite these hurdles, just to get eye level to that happiness. A man can dream.

    “Barely Breathing” found huge success and was on the Billboard Hot 100 for 55 consecutive weeks. He got a spotlight on David Letterman’s show and has done prolific work with many more albums afterwards. He struggled and survived a battle with alcoholism. His passion was composing and film scores, so he went on to do work at theater and soundtracks, which later got him awards after much hard work. But he also found that love of his life and they later had a child. Sheik is survived by his wife and seven year old daughter.

    So, this tragic passing at first glance may seem like a part of my childhood and teens have died, but it got me transported back to the past as I replay “Barely Breathing” again after the terrible news. Moments like that are so rare and surreal. I’m going to have to revisit his works again. We’ve been told by older generations that when their idols die more frequently, it’s just a sign that we’re getting older. Sorry, if that didn’t help you find solace, but I hope you find this song at least. Or would I be a fool for another day?

    RIP Duncan Sheik

    His discography is available for streaming. Links down below.

    [Apple Music]﹡[TIDAL]

  • Why You Should Spin: new avatar by Kelela

    Why You Should Spin: new avatar by Kelela

    Kelela Mizanekristos was born in Washington, D.C. with two Ethiopian immigrant parents and the world was her oyster at that point. She was inspired by legends such as Whitney Houston and Lauryn Hill according to Wonderland Magazine. Since she was a young person of color and a child to immigrants, she had an identity crisis, similar to Annahstasia’s situation who I wrote about too. I’m not going to psychoanalyze someone I don’t know, but I imagine this is a good motivator for someone who wants to improve their art. Her parents knew she has a gift and Kelela is well aware of that too. She went around genre hopping as she tried jazz and metal, but R&B seems to be her wheelhouse. She signed up for Warp records, which is one of my favorite labels by the way, and released a pivotal R&B record that is so forward and bold, named Take Me Apart. It had old school influences with a modern twist and I would die on this hill, that it is an essential album of the 2010s. Do yourself a favor, if you love your R&B, Take Me Apart will love you back. Listen to it! Ok, off my soapbox and back onto the podium. After so many years later, she released her sophomore album, Raven. That one had high critical reception, but it didn’t click for me as much, since it was too esoteric and I only liked a handful of tracks. Not too long after, we get a new Kelela album, in which I think she’s back. This one doesn’t top Take Me Apart in my opinion, but new avatar is still a breath of fresh air as she incorporates her forward thinking R&B sound into dance music inspired by the UK club scene. That aspect maybe accredited to Oscar Scheller who helped produced almost all of the songs here, who may have inspired that being he hails from London. You can still tell it has Kelela’s magical touch that this R&B is dance oriented and alternative rock coded. And as the world is more of aware of people like her, she takes advantage of that momentum and expands her space to transform new avatar her domain. Despite the lyrical content, it’s not just a breakup album, it is also a personal outreach that one should not betray themselves for someone else. This has been a great listen and I will do my best not to make any Avatar references throughout my walkthrough of this, airbending or Na’vi related as my lawyers sit behind me.

    The opener being “idea 1” has washed out production, but still sounds empowering with this growth throughout with these beautiful vocal harmonies and epic guitars. This is someone who is picking themselves out when they’re down. The next one, “point blank” has UK garage and jungle breakbeats that accompany a hurt and imprisoned Kelela who is making a prison break. She goes on point with “goin down” that she will pivot for a change without this former lover who made her felt small. “Outta time” popped off for me with its isolated hand claps and those night stalking guitars with that entrancing melody. Kelela’s hooks and chorus lines were just pure bliss. I do like the refrains of “against me”, it sounded like Kelela was giving them some accord, but there is subtext here that she did try her best and just let things lie and die. The bridge was absolutely killer though. It then transitions cleanly to “crystalize”. And I must say, this is not only my favorite song on the record, but this is one of her best songs she has ever made. It sounds just like her ethereal style and the chorus goes so hard with the back and forth. This climax of a song is what you want to shout on top of a mountain.

    Two words that hilariously don’t go together, here comes “retaliation lullaby” with Kelela pumping the brakes at the crossroads. “Linknb” is probably the grooviest track with its kicks and slick guitar. Although brief, she has her moment of clarity in her “new avatar”. The dreamy, “don’t piss me off” puts you in a hypnotic with those future garage breakbeats. She wants her win and her self agency by wanting to know this person still wants her. It gets very primal. The last moments were ok with the ornate “new life forms” that makes her feel like she’s floating. “The bridge” is a late nightclub banger with the smooth Kelela inflections having great chemistry with PinkPantheress playful free flowing delivery. A very sexy song with hypnotic refrains and has moments when it just makes your legs melt, especially when they both sing you to “one touch” and “give up the fight”. And the closer we have Kelela making out alive with “if we meet again”. It’s a nice sendoff that gives closure to this toxic former half as she declares, this ain’t even a memory worth keeping.

    I would say it picks up speed after a few songs in, but the start was slow as the breakbeats and guitars weren’t enough to grab me at first. The album is not as sleepy as Raven was, but I do wish some songs here were more fleshed out.

    This is definitely one of the most seductive and sexiest albums I’ve enjoyed this year. All I can think about is, this former lover who made her hurt, fumbled so hard. Kelela is an artist that just gives no shits and doesn’t get superficial throughout. The grooves are slick as hell. The aesthetic is there. The atmosphere is like a dream that you don’t want to wake up in good Kelela fashion. Again, this is more than an album about a breakup, it is an inner scope of her psyche and how ambitious she is in her art. I’m still excited on what she can do with R&B of today. Like new avatar, all good things come to a bittersweet end. Until the next time the fire nation attacks, of course!

    FAVORITE TRACKS: IDEA 1, OUTTA TIME, AGAINST ME, CRYSTALIZE, LINKNB, DON’T PISS ME OFF, THE BRIDGE

    LEAST FAVORITE: POINT BLANK

    You can purchase this album on Bandcamp and her discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Why You Should Spin: Miasmic Solitude by GOREWORM

    Why You Should Spin: Miasmic Solitude by GOREWORM

    I was browsing Bandcamp and was looking for metal albums specifically. So, I went back to a label that didn’t let me down being Transcending Obscurity Records that had a release I really loved back in 2024 being Infinite Mortality by Replicant. So, I give them thanks for leading me here, but what also grabbed my eye was the spider bro on the cover that looked like Zdzisław Beksiński’s universe. One listen later lead to this metal album being a fun experience, that it definitely merits documentation. I know very little about this genre so looking at the myriad number of tags and subgenres to this thing was daunting, but I was not bothered as this album just torn me asunder. They’ve been killing it since 2017 and hail from Canada. Miasmic Solitude is their sophomore album as this is my first run with them, but I do need to visit their first one since I enjoyed what I heard. But speaking of the cover art, Robert Miller as the vocalist stated the band tries to match the cover art and touch the theme of corruption, becoming, disaster in an interview by Distorted Noize. This technical death metal album does get technical as it has the riffs, the melodic progression, and the those guttural screams and growls that sounds like the underbelly of the underworld. These are the diabolical components that make Miasmic Solitude pop off and if you choose to take this hellish journey. Then let fasten that seatbelt. FYI, it’ll probably be ineffectual.

    No buildup or anything we immediately drop on this roller coaster ride that is “Conjuring” with these fast, technical riffs, machine drum patterns, and having both guttural and demonic screaming. It even has a church choir accompaniment! He talks about the arachnid god (spider bro) and says these lines to prove their fealty with, “I scoop my eyes out so you see I cut my tongue out so you speak. I rip my guts so you may feed. Offering all I am.” The opening track is a good litmus test of what to expect on this album. “Monuments of Murdering” have these insane guitar arpeggios, while vocalist Robert Miller changes identities jumping different vocal styles all around. I like the start of “The Enthralling Grave” as they start with growling guitars and it goes all power metal with a hyper guitar solo and climbing scales. The energy almost seems to slow down on “Orbweaver”, but no it was misleading as it picks itself back up.

    “No Reprieve” is a track that lives by its name, that’s for sure! It’s more speedy power metal goodness. I do love the beginning of “Eve of Flagellation” and how it developed into the vocal passages. “Strelly” is an all instrumental cut with the guitars sounding like insane power electronics. The last hurrah of the album being the titular track, is a satisfying conclusion, with the band sounding like they’ve ascending to space on a stage of fire with the guitars sounding like machine guns. They talk of a woman character being sacrificed to their God. Dang, hate to be her.

    This album does have one glaring issue that pervades the album for me. And that is it is not textured. It doesn’t stray from its style after that first track listen and if you expect any nuances, you’ll be left disappointed. So, the same vocal styles, riff patterns, and similar drum fill, may sometimes be a hit or miss. It’s tough to process these songs as memorable. I think it’s because the metalsphere is very alien to me still, so I can’t distinguish as well as other passionate fans. That might be on me.

    Miasmic Solitude is an album is all thrills and no frills. You have to be in a certain mood if you are searching for cool technical riffs and then you find yourself picking up your dismembered jaw off the floor. There are no brakes on this car ride to hell. It’s just goes from 11 and never stops. Among the ungodliness that is within this album, it’s just pure adrenaline and fun. A toast! To spider bro!

    FAVORITE TRACKS: CONJURING, MONUMENTS TO MURDERING, NO REPRIEVE, EVE OF FLAGELLATION, STRELLY, MIASMIC SOLITUDE

    LEAST FAVORITE: JARRELL

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Why You Should Spin: Theft World by Lip Critic

    Why You Should Spin: Theft World by Lip Critic

    If an album sounds noisy, harsh, and just thumps to the point that it makes you jump up and down. Then this sparks joy. When URGH by Mandy, Indiana released earlier made me go on an industrial kick so I’ve been listening to the genre’s past works. So, it was auspicious timing when their single “Legs in a Snare” fell onto my lap. It had elements of industrial punk and hip hop with these distorted samplers and loud drums just tickling my brain. It’s perfect. So, I was riding the high of these released singles, just waiting for the album’s release and twiddling my fingers like some evil lord. So, after many months after release I write that this is one of my favorite industrial albums. If you like your abrasive, eccentric, beats with nihilistic songwriting, then this is the jam. Since I’ve never heard of these guys before, I learned they’ve already released an album previously being Hex Dealer and from what I’ve heard, it has been received well. I still need to listen to that, because I’ve been loving Theft World ever since they released it on May. These beasts are from Brooklyn and consist of four members with Bret Kaser, Connor Kleitz, Danny Eberle, and Michael Sandvig. I thought there were guitars in this album, but this group has a vocalist, two drummers, and others working samplers. Their interview with Alternative Press, states they are just some dudes getting together who want to not take their music seriously, which they subconsciously gloriously failed at doing. They also love to pull as many influences as they can such as Death Grips and Machine Girl, so you can tell how they got their sound from. And with those influences, they have embraced a bombastic sound that Theft World became, and they slam their subtleties with a sledgehammer. And with 31 minutes and change, they don’t overstay their welcome and provides bangers for your bucks. The explosive destruction this album provides makes you want to move around and not caring what gets in the way. It’s a danceable listen indeed. Death Grips fans have probably already got onto this train, because the power this thing has makes you want to headbang as well. This album is all about expression and that expression is turned up to eleven. The idiosyncrasies would not pop as prominent without not only these out of world beats, but the delivery of Kaser’s vocals. He kind of reminds me of Fred Schneider of The B-52s on how he delivers, but gets jarring when he goes all screamo. It gives that not giving a fuck energy, which makes them punk heads to their audience. You can argue these guys make dance music, but it’s on their terms. Hell, look up their performance of “Legs in a Snare” inside a laundromat. They touch the serious topics without being serious as a form of escapism. Many reasons to escape are here, because we are forced to face the grim reality and Kaser touches these hard subjects. However, there is a lot of non-apologetic absurdity here, that you cannot deny this record has a personality.

    “Two Lucks” being the opener shows us how eccentric and aggressive they get, but you have bars like, “Always knowing eyes love the barrel and the barrel loves me.”, is a lot. “Jackpot” sounds like a pachinko machine that is on the fritz, while Kaser talks about trying to suppress an addiction, which is an appropriate subject on the sound. I loved this as a single and I still love it, as the beat is so unconventional and sounds like a march of some sort with these Stomp-like trashcan lids. I do love how the tone changes at the end with the character feeling regret. We see our character suffocating in “Debt Forest” when talking being let out into the harsh world after they snipped him off. The crushing beats on the downbeat tells us of our character just cannot take it as they never signed up for the obstacles that hinder our standard of living. Gross visualizations with “Talon” being next to this noise that just canvassed as much space as it possibly can with Kaser talking about split tongues and brain mush. It’s a song about someone’s self destruction, but what sounds grim about it is, it’s like they don’t want to be rescued. Despite “Charity Dinner” sounding uplifting our protagonist takes us on an acid trip of how he ends up in the hospital only to know how to feel again. “They did what they did, so I do what I do.” is such a profound bar. My favorite thing about “Drumming With Izzy” is the way Kaser has this nonchalance kept up while wishing for a sense of living even if it means dying. The hand drums definitely give a purpose of a man toppling down the metaphorical stairs.

    The distortion on the snares is so infectious on “My Blush (Strength of The Critic)” and Death Grips fans would definitely be attracted to this. “Shoplifting” sounds so bizarre, but the vibrating vocal samplers and tingy snares is a texture I never knew I needed. The way the sound echoes makes this madness all the more fun as we might as well have fun if you get branded as a degenerate. “Legs in a Snare” is still one of my favorites and this single still stands the test of time and is just put on repeat all the time. The fried distortion from the samplers absolutely sends me and percussion does the job well on being catchy. “Yard Sale (230 Take)” on how brief it is, is definitely mosh pit material, he’s giving it all away. You can guess on what that is from the context clues given. “200 Bottles On Eviction” is a bittersweet goodbye for your sanity, but hey at least you can stop lying to yourself. It’s a message Kaser says in the first line, in which I will have you listen to.

    I have very few complaints. It’s only if the beats weren’t interesting enough for me such as in “Talon” and “Charity Dinner”, I would’ve thought this album was perfect. It’s other than those two tracks (they’re still pretty good!), I still beseech you to listen to this.

    This album is a beautiful chaotic mess. It is a rage room where they give you a hammer to just smash every object here. I love how we follow this protagonist’s destruction in all shapes and sizes. The group knows how taxing living can be, so they try to ease up as much tension as they can. By making us dance and mosh until we bleed. Living is so miserable, might as well make it fun. That’s the sole purpose of it essentially, to have fun. Is this place named Theft World, because we have to steal from it, or is it because they’ve been stealing from you? How you do with that information is up to you, because that’s the magic of free will. The one thing they can’t steal from you.

    FAVORITE TRACKS: TWO LUCKS, JACKPOT, DEBT FOREST, DRUMMING WITH IZZY, MY BLUSH (STRENGTH OF THE CRITIC), SHOPLIFTING, LEGS IN A SNARE, YARD SALE (230 TAKE), 200 BOTTLES ON EVICTION

    LEAST FAVORITE: TALON

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp]﹡[Apple Music]﹡[TIDAL]

  • Song of the Day: “Jolene” by Dolly Parton

    Song of the Day: “Jolene” by Dolly Parton

    This post of the series is just to lament the untimely passings of some celebrities that happened last week, but Dolly Parton has been influential to not only the music sphere, but also in the social zeitgeist. This isn’t to overshadow anyone else who has passed away, celebrity or not, it’s always a tragic subject. Despite her huge popularity as a musician, I was also contemplating whether to talk about this, since I don’t consider myself the most poignant person to touch this kind of sensitive subject that is death. What can I add to this already over talked discussion? I don’t blame them. But me typing this out, I just want to make this to help cope for myself. So, this won’t be too long.

    I’ve mentioned on here that I’m not a country fan, I think I recall. So, when it came to Dolly, I know she’s been worshiped here in Kentucky like some sort of benevolent prophet. I brushed her works aside since I kind of just dismissed her as a gimmick for the South. I mean I’ve been to Dollywood twice in Gatlinburg, Tennessee the past earlier years. She’s got that Southern belle style and got that twang that felt like she is the people’s people. But I didn’t realize she is exactly that. She is like the people. Not a pretender. Despite her always doll up her face of makeup, she never flaunts her success and only uses that success for powers of good. Here in the U.S. and overseas, her literacy program has provided books to many young children in inspiration to her father who was illiterate. That’s also not all she has done philanthropic-wise. She is pro-BLM and pro-LGBTQ, despite her target demographic being not all right with that. She is the sole example how a person who takes “Love thy neighbor” literally as opposed to much Christian hate that has been taking over people’s lives. I am not the most knowledgeable in Dolly’s history, but that info is good enough for me to tag you as good people.

    Years ago, I went back and listened to Coat of Many Colors, Jolene, and 9 to 5 Odd Jobs and I daresay, with risk of being made fun of, 9 to 5 is my favorite. It’s very theatrical, showy, and radio friendly, but 9 to 5 is just fun and had a lot of heart. It does have a little camp, which I find endearing. I might have to go back to the other two albums and give them another chance in the future, since they were too rustic for me, but even though 9 to 5 is my favorite album of hers, the song “Jolene” is her best work, hands down. And I bet you dollars that many others will also agree. The iconic chorus of Jolene’s name haunting Dolly’s mind as it was inspired by a bank employee having the attention of her husband, Carl Dean. But the name itself came from a young fan and Dolly said, “That’s a pretty name.” Music nerds have known the villain origin story of the song and it displaying Dolly’s envy has made her flawed and even more human. That is definitely why people loved her, they worshiped her like a religious idol, but she reminded them she’s like them.

    Celebrity worship can do damage to society and derail our principles. However, I also won’t fault anyone who grieves over celebrities if they’ve made an impact on their life. Tim Curry made an impact on mine by being eccentric in the movies I’ve watched. Hayden Panettiere will always be the cheerleader who saved the world and remembered those Titans. And Peter Cullen will always be Optimus Prime to me (met him once and he was one of the nicest people). Our time on Earth is very limited and is also a huge factor on how humanity can do great wonderful things. I think it’s safe to say, we can be picky on which celebrity we can admire, as long as we keep the parasocial weirdness out of it. When certain celebrities finish their work and then remind us they’re good humans, then yeah…I think the admiration is just. Rest in peace, everyone.

    Her discography is available for streaming. Links down below.

    [Apple Music]﹡[TIDAL]

  • Why You Should Spin: Inferno by Boards of Canada

    Why You Should Spin: Inferno by Boards of Canada

    Boards of Canada (who aren’t even from Canada!) are one of the most renowned electronic groups from the underground and Scotland (not Canada by the way). Mike Sandison and Marcus Eoin changed what IDM can be when they released their debut album, Music Has a Right to Children as that is one of my favorite electronic albums. It has this alien, haunting atmosphere that makes its world so esoteric and enigmatic. It’s an audio voyage everyone should try when they want to explore new uncharted spaces when it comes to an album experience. Them providing an atmosphere is what this duo’s forte is. Their production and sound are like crafted with care as they are able to make these eerie sounds with meticulous precision. Because to be honest, if any other group would try to do what they do, with all due respect as I commend them for trying, it would sound gimmicky. Most of their work seem to be like lost tapes in the void, as they either haunt or hypnotize the person listening to them. Even though their other releases aren’t my favorite, there is a strong cult following of Geogaddi, The Campfire Headphase, and Tomorrow’s Harvest. Even I cannot deny there are a handful of tracks in each LP to be impactful. Do yourself a favor, and listen to “Nothing Is Real”, which is my favorite track from Tomorrow’s Harvest and probably my favorite from them ever, and try to shake off whatever haunting spirit has stuck to ya. My first listening experience was “Dayvan Cowboy” and I was absolutely floored on how epic it was. And then I started down the rabbit hole/void that led to Music Has a Right to Children. So, anticipating for a Boards of Canada album is a patient art to the point that it has been a while that I was content with the art they left. And then…BOOM. All of a sudden, me and a lot of Board fans, or Boarders as everyone calls them of course…went cuckoo for Cocoa Puffs when that YouTube video dropped the release date for Inferno. Since the hiatus after Tomorrow’s Harvest has been thirteen years! So, of course I was hyped when this came out and I would have to say, I’m definitely into the vibe. Make no mistake, Inferno is a vibe to say the least, as it seems to emulate some kind of soundtrack of sorts. The aesthetic is eerie of sorts and is nostalgic for those VHS tape times when were kind to rewind. I do poke fun of this album as being Stranger Things coded, but it is more than that. There are so many sound palettes to digest in this album just like their previous projects as they put in as much effort to add all these synth layers. This record is dark, atmospheric, and very grand as we get lost into the abyss. And the abyss is soooo soooo deep. This one will definitely one my favorite electronic albums of the year and if anyone is on the hunt for vibes, then to be honest, the vibes might stalk you here on Inferno.

    If you want more convincing that this sounds like a soundtrack, with “Introit” going into our Feature Presentation! Presenting our opening, “Prophecy at 1420 MHz” as we get Middle Eastern instrumentals that go into these warm guitars. Not warm as in comforting, but warm as it is gradually getting to scorching levels. Hearing this track for the first time does a lot to someone who has been waiting for their music for thirteen years and you realize they still got it, with the creepy synths and the stoic pitched down vocals. I always visualize jets taking off and flying into the sunset, whenever this track comes on from now on. “Hydrogen Helium Lithium Leviathan” adds more of the darker atmosphere with these swelling synth beats and groove that sound like a good Halloween show, especially when those xylophones come in. It also won’t be a Boards of Canada album if it didn’t have a radio transmission or a chant from a disembodied guru voice in “Age of Capricorn”. “Father and Son” is a title of a track that should sound wholesome, but this is the antithesis of that. Just listen to how the vocals are chopped up, sped up, and distorted. You hear that humans should be offering support, but you even have these uneasy phrases like “I love you like I love the Lord.”, “He is sinning.”,or “I’m not calling him a liar.” A love that sounds so fake as their inner monsters are peeking their heads out. That’s how humans treat each other?! The goosebumps I got from this is why this one is a highlight for me. I usually don’t have much feelings for interludes, but “Somewhere Right Now in the Future” did make me feel something as it is pretty long for an interlude. However, it added a glimmer of hope. The hope is not as strong as it could be in this dark world we call our Earth. “Naraka”, the sanskrit of Hell, is a banger with its driving groove, but the melody from the Hindi chants is worth the listen here as it is an uplifting moment.

    “Memory Death” sounds like the beginning or an end with this suspenseful synth chord, some sort of vital signs monitor, and these ghostly vocals as it transitions perfectly into “The Word Becomes Flesh”. The laid back pads coming in on the beat with this alarming synth lead that makes you go into fight or flight mode. The track grows with more percussion and its groovy bass line that makes my worries go away, but the eeriness still remains. I really liked it when the robot and PSA like vocals come in when their syllables align with the beat. All this is happening while they’re rambling about biology. You feel like you’re about to launch into space or in orbit, when “Into the Magic Land” comes to play and “Blood in the Labyrinth” gives a mysterious vibe of a strange place with sitar melodies, hand drums, and ghost vocals again, as if you’re not supposed to be there. If you ever want to throw a rave in hell, then “All Reason Departs” is your go to for sure as it does have your spooks and your grooves. The bass line passages on “Arena Americanada” go so well with the drum fills, shakers, and synth leads that gives us some sense of marvel. It sounds cavalier to an extent. It’s as if these last few tracks could stand for themes of science footage. What grabbed me the interlude of the “The Process” is that it did sound chaotic and perilous, but has this beautiful melancholic piano melody within as it sets the tone of “You Retreat in Time and Space”. It’s the calm after the apocalyptic storm and has this uplifting atmosphere with its synths, bass, and some woodwinds that come in. This track on a first few listens I wasn’t into, but this one really grew on me on how hopeful this one is. It even reminds me of old Boards of Canada tracks too. Lastly, I did like how the whole album ended with “I Saw Through Platonia” doing a 180 on the mood. It leaves us in suspense of the dark void. Are things going to get better? The ending is intentionally ambiguous and leaves us at a cliffhanger. Well, it’s because us humans think we have total control of our fates, but it’s the cosmos that are the actual big cheese. Inferno is back at reminding us this is a dark album indeed.

    The second half is definitely the stronger of the two for me. It does stick with an aesthetic well, but it is very familiar. It might be a turnoff for people who aren’t into this kind of thing. There are some tracks on here I found to have went nowhere. Sometimes aesthetics aren’t enough, as “Age of Capricorn” with its recording effects were not as captivating. It’s similar to some other tracks on here that weren’t as engaging and felt like dragged on interludes.

    I was already at peace and accepted that Boards of Scotland might be calling it quits after hearing no signal after Tomorrow’s Harvest after all this time, but wow this was worth the wait. I can confidently say this is my second favorite album from them. Music Has a Right to Children is still my favorite, because it was so out there that I cannot find any album like it, even when you have other artists release works that were heavily influenced by them. Because comparatively, Inferno is not as genre changing as the former, but I did get the goosebumps and the grooves from this album. Groovebumps. It also has a solid theme with a well developed arc. I always love listening to their music as if I feel a lingering presence is behind me or coming out of a CRT TV in front of me. It’s impressive they can exude this haunting thrill without cheap tricks. Therefore, I just absolutely love how unnatural Inferno felt. This album is straight fire.

    FAVORITE TRACKS: PROPHECY AT 1420 MHZ, HYDROGEN HELIUM LITHIUM LEVIATHAN, FATHER AND SON, SOMEWHERE RIGHT NOW IN THE FUTURE, NARAKA, THE WORD BECOMES FLESH, INTO THE MAGIC LAND, ALL REASON DEPARTS, ARENA AMERICANADA, THE PROCESS, YOU RETREAT IN TIME AND SPACE, I SAW THROUGH PLATONIA

    LEAST FAVORITE: AGE OF CAPRICORN

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp][Apple Music][TIDAL]

  • What’s in My Bag? Atlanta Edition.

    What’s in My Bag? Atlanta Edition.

    So, It has been a long while since this trip, but I would like to show some pictures the time I visited Atlanta last March. Nothing good like getting away and dropping anchor from the SS Stress. Well, the main reason I went to Atlanta was to see FKA Twigs perform at the Coca Cola Roxy during her Body High Tour with a good friend of mine. She was my bucket list for a long time and boy howdy, she delivered. Stayed at a really nice hotel and vegged out. But me and my friend also went to a handful of record stores that she picked out as well as the aquarium and Coca-Cola World. Also ate great food. My friend is a champ for finding these record stores for me as that is what I would like to talk about and she took some of these photos too. I am a staunch defender of supporting small businesses and I encourage anyone to keep their local stores open by giving them your hard earned dollars. Better that than having Amazon warehouses running amok. Thought I would post here since some of the experiences were music related.

    Criminal Records

    Probably the largest store out of the three we went to. I immediately said “Wow!” when I entered the store and was giddy as hell. They had the most popular selections and new releases, but I did cop one record. The URGH album by Mandy, Indiana, which was an album I blogged about was there. I wasn’t on planning on seeing and not planning on acquiring, but I was persuaded to get one to help out the store. I like that their used section was called the “pre-loved” section.

    Wax ‘N Facts

    This storefront has first opened its doors at 1976 and is the oldest one out of the three places. I was in awe of the gargantuan selection of records that I have no idea what to cop. We had to leave since it was getting dusty, but their selection was exceptional. The whole time I was there I wished that my musical knowledge was vast to appreciate all of these used selections. Their personalized labels had a charm to them too. Also, loved their logo, since I love owls.

    Moods Music

    My favorite store out of the three was so cool in aesthetic. They had an extensive collection of hip-hop, soul, and blues. I was able to find two records that I didn’t have in my collection, which were ORQUÍDEAS by Kali Uchis and Diamond Life by Sade. These are two great records that are both similar in mood and beauty. While purchasing Diamond Life and showed the cashier my Sade record tote bag, he mentioned Sade’s son visits the store a lot and says it’s his favorite record store! I thought that was really neat.

    FKA Twigs

    It was cold getting to the Coca Cola Roxy to see FKA Twigs, but getting there was so worth it. We were close to the front at the lateral area by the rails. People went nuts when she first came out in this scantily clad outfit like her dance team was wearing. Must I say, it was a very zesty, but magnificent performance. She closed out with “Cellophane”, which is my favorite song from her thus far.

    That was it! We went to the World of Coca Cola and the Atlanta Aquarium and had a blast! I have other music central travel blog experiences I might share on here. Thanks to my friend for taking the best snaps on some of these!

  • Why You Should Spin: To Whom This May Concern by Jill Scott

    Why You Should Spin: To Whom This May Concern by Jill Scott

    This one was giving high praise by Anthony Fantano from the Needledrop, so I gave this one the old college try as this was the first time I’ve ever heard of her. She started out in music during the 2000s, but also dipped her toes in acting. Her music career is vast, but To Whom This May Concern came out of an eleven year hiatus from her previous release, so she’s back on the saddle. I’ll have to say, the time it took for this album to marinate does show. It sounds very well made with premium production and taken with great care. She specializes in neo soul, but this album is just jostling with a diverse amount of styles within that complements the well thought out songwriting. Also, her vocal chops! The vocals she provides you know she was born for music. However, her heart was into poetry from the very start and according to an interview with NPR, she blossomed into her music journey after being discovered by Questlove of the renowned musical group, The Roots. It’s highly recommended to read into the lyrics of this album, that’s for sure. Also, it’s no surprise her heart is in the right place by fighting for others too, in which there is a lot of social commentary with a simultaneous slap, punch, and kick here. This record is colorful, versatile, and a bombastic fighter. Again! Stellar songwriting. Sounding like a broken record (probably from the high heat of these songs, but it’s true!). She’s a fighter for acceptance of herself, is what she states in her NPR interview. It is a tribute to who she is, past and present and even did a tribute to her idol poet, Nikki Giovanni (in the song, “Ode to Nikki”). We love when the production and instrumentals go hard, but it’s always a treat in music when we listen to one’s words that may resonate with us. Jill Scott is the perfect candidate for that here.

    What makes “Be Great” so…great is that it is like a grandiose stage show. A big band is behind her that might as well blow out the auditorium’s lights. Scott is kicking down the saloon doors to let them know she’s more than what these people see her on surface level. I will always have a smile on my face during the chorus when the vocals jump octaves on “born to soar, born to be moreeee”. So much fun. “Beautiful People” is funk that Scott goes into a jazzy rhythm that gives this song an amorphous structure. It’s a blast from the past and past funk heads will appreciate this one. “Offdaback” is such a vibe, but it was very wholesome hearing Scott being grateful for her past idols that broke social barriers. Missy Elliott fans will absolutely love “Norf Side” and hearing Scott spitting bars with Tierra Whack is making a salute to their hometown that is Philadelphia as Queens of the North. “Pay U on Tuesday” is absolutely hilarious as the fact some fragile toes are definitely being stepped on. The type of music that you do chorus line kicks to. “Pressha” goes about how social pressure of course, eats oneself if they become someone else that’s not their authentic selves for her lover. Or could that lover be analogous as another group of people? The funky groove on “BPOTY” is so nostalgic for its time, but the time that is now is Scott commentating on how dire the state of living is comparing the whole situation like pimping someone out.

    In “A Universe”, she is smitten for someone who made her open up her whole world or universe in this slow jazzy jam by looking into his universe. Scott does a salute to her hero that is Nikki Giovanni, who was an influential African-American poet. There are definitely references flying over my head, but it is really wholesome hearing her doing slam poetry to honor her idol and Ab-Soul was killing it too. What a strong vocal performance from Jill Scott on “Don’t Play”. The absolute strength and sheer mother effing will of her character in this song definitely matches her voice with how much she projects her voice. “Àṣẹ” is like a comforting blanket with the warm soundscape and a heavenly choir surrounding us. And she keeps on cheering us on with her closer, “Sincerely Do”. It’s a nice way to wrap it up and keeping up the theme of self acceptance and self love. It’s a good send off to her audience and we hope we heed her words.

    There are a lot of dense material here and a lot of bangers. So, there are bound to be some misses and it kind of fell off in the midpoint for me and that is when the album is at its weakest. Jill Scott’s voice the strongest component here, no doubt about it. Some songs I didn’t mention to highlight just didn’t resonate with me.

    I’m glad for her receiving flowers for this album. Whenever I hear of her success from To Whom This May Concern, it gives me hope that talented musicians…and poets get their merit and due. And eleven years is a patient amount of time for this. This album has an infectious sound with a velvety groove that we cannot deny. It gets hypnotic at times and the production is luxurious as hell. Even her tribute to Nikki Giovanni even made me look up her work. I think she would be proud. To whom this may concern? Whoever stops by and takes the time to listen. For me, who is someone that is a novice of words, this one made an impact on me with her poetry. Sooooo, I had to brush up my whoever vs whomever usage. I’m a novice for sure!

    FAVORITE TRACKS: BE GREAT, OFFADABACK, NORF SIDE, PAY U ON TUESDAY, BPOTY, ME 4, ODE TO NIKKI, DON’T PLAY, TO B HONEST, ÀṢẸ

    LEAST FAVORITE: THE MATH

    Her discography is available for streaming. Links down below.

    [Apple Music][TIDAL]