Album Review: Dragon New Warm Mountain I Believe In You - Big Thief

On February 11th, 2022, Brooklyn-based indie rock outfit Big Thief released their fifth studio album Dragon New Warm Mountain I Believe In You. After the releases of multiple singles leading up to the album’s drop date, many fans wondered if there wasn’t enough unknown about the new project to live up to sky-high expectations. Luckily, to the relief of many Big Thief enthusiasts, Dragon… offered many new ideas, sounds, and themes across its 20-song, 80-minute runtime. I enjoy releasing my album reviews soon after their initial releases, but with this project, it has taken weeks to fully digest the epic new journey that Big Thief has brought to the table.

Albums with as long of a runtime as Dragon… are often overly-thematic, bloated, or stretched unnecessarily. That isn’t the case here, though, because while this project is consistent in sound and intention, it’s also fluid and non-chronological is a very accessible sense. Emotional weight varies from track to track, as “Change” reflects on the many seasons of life and death, while “Spud Infinity” playfully jests about self-acceptance and the folly of man just two tracks later behind a playful indie instrumentation. This yo-yo effect isn’t distracting; instead, it reinforces the natural bipolarity of a well-rounded life full of ebbs, flows, and everything in-between.

Dragon… is able to tackle an astounding amount of complicated, intricate topics and themes with ease, as lead singer Adrianne Lenker’s poetic lyrics facilitate easy-access introspection. This outreaching for substance isn’t just performative, either, as Lenker’s poeticism shines with lyrics like those from the album’s title-track: “When the topsoil is kicking up into the storm / And the dust goes dancing and a billion planets are born / I believe in you, even when you need to recoil.” Tangible expressions of compassion, love, and companionship are found throughout the often stripped-back, acoustic instrumental backings on every track.

There are really only positive things to say about this album aside from one or two tracks that could have been cut without dismantling the core of its quality and substance. “Sparrow” re-writes the biblical story of Adam and Eve, “No Reason” touches on the isolation from the earliest days of the COVID-19 pandemic, “12,000 Lines” is one of the greatest sonic tributes to Joni Mitchell in recent memory, and the addictive guitar riffs that close “Simulation Swarm” follow the meditation of the intensity of modern life and technological advancement. All of this is achieved without force, naturally assembling into a grand narrative made up of small stories larger than the sum of their parts.

Big Thief replicates a nostalgic, fun, familiar indie aesthetic on Dragon New Warm Mountain I Believe In You while simultaneously claiming this sound as their own. Adrianne Lenker’s vocal delivery, lyricism, and vulnerability pair wonderfully with the rest of the band’s simple-going but incredibly-skillful instrumental skills. The self-awareness found throughout such a wide-ranging, all-encompassing project is refreshing, and is capped off fantastically by the playful “Okay, what should we do now?” from one of the band’s members. This is a must-listen, and while it doesn’t fully steal my attention with every listen, I find myself consistently returning to this project to unravel its many ideas and pursuits.

Favorite tracks: “Change”, “Time Escaping”, “Spud Infinity”, “Certainty”, “Dragon New Warm Mountain I Believe In You”, “Sparrow”, “Little Things”, “Heavy Bend”, “Red Moon”, “Dried Roses”, “No Reason”, “12,000 Lines”, “Simulation Swarm”, “Blue Lightning”

SCORE: 9/10

Album Review: Ants From Up There - Black Country, New Road

A year to the day after the release of their critically-acclaimed debut album For the first time, English rock band Black Country, New Road has returned with their highly-anticipated sophomore follow-up Ants From Up There. Despite their overnight success and seemingly limitless potential, the group recently announced that lead vocalist and lyricist Isaac Wood is leaving the group indefinitely, citing mental health reasons for his departure. Wood’s unique vocal delivery, revealing and introspective lyricism, and unbelievable chemistry with the rest of the band leave fans wondering how the group will move forward. For now, however, they are encouraging their fans to enjoy and appreciate Ants From Up There — a project that is self-evidently the product of musical genius and unique circumstance. Ants From Up There is a feat; simultaneously wider in scope and scale than most rock music in recent memory, while delivering intimate themes and vocals throughout all of its impeccable tracks. Regardless of what the future holds for BC,NR, we are lucky to have been graced by the release of this incredible record.

Instrumentation and raw musical ability have been a high point of all of the group’s releases up until this point, and that doesn’t change on their newest project. The opener “Intro” sets the sonic tone and mood for the rest of the project, which is upbeat but urgent all the same. The sense of a push and pull between the good and the bad, the fragile and cemented, is a theme often revisited throughout the album. “Chaos Space Marine” follows, a high-tempo track that utilizes Wood’s unique writing style. The group has described this track as “A voyage… a sea shanty… a space trip,” which astutely captures the essence of this comparatively welcoming and accessible track. This easygoing tone is countered by the following “Concorde" which introduces the airplane metaphor that graces the album’s fantastic cover art. Wood likens the group’s success to a Concorde jet, limitless and more powerful than he could’ve ever imagined. The recent discovery of his departure adds more emotional weight to many lines in this song, such as: “But for less for a moment / We’d share the same sky / And then Isaac will suffer / Concorde will fly” which is heartbreakingly poignant. The following instrumental riff is triumphant and prideful, a sign that Wood knows leaving is what is best for both him and the group.

“Bread Song” was one of the singles for this album, and it aptly uses outlandish metaphors to drive home specific and unique themes - something this group is now known for. While on its surface this song seems to discuss eating toast, its substance is navigating intimate relationships in the digital age. Its instrumentation swells to a cathartic second half, and like many tracks on this album, its payoff justifies its extended runtime. “Good Will Hunting” is another fun track, and one I’m surprised the band didn’t use as a lead single for the album. Its chorus, which assembles tidbits from others’ conversations, is more of a pop outfit than their typical tracks, with Wood adopting more of a sung delivery than his signature spoken-word style. “Haldern”, named after one of the group’s shows at the Haldern Pop Festival, recreates what was an entirely improvised track. The keys, saxophone, and Wood’s vocals blend wonderfully together, culminating in a powerful instrumental second half.

“Mark’s Theme” pays tribute to the family member of one of the band’s members who died of COVID-19 in 2021, furthering the album’s sonic themes and adding gravity to an already heavy project. The final three songs on the album are what separate the great from the masterful, as the group flourishes more than ever before. “The Place Where He Inserted The Blade” discusses the intricate complexities of navigating a partner’s previous traumas. The pre-chorus of “ I know you’re scared / Well, I’m scared too / But every time I try to make lunch for anyone else, in my head / I end up dreaming of you” gets stuck in my head so easily that this is essentially all I’ve listened to since the album’s release. “Snow Globes” is another track that rewards patient listening and cathartic payoff, as the 9-minute long track slowly builds and crescendos with manic drums and vocals.

The album’s final track, “Basketball Shoes”, already has a bit of a reputation from fans who have listened to the group’s live performances of it. Nearly 13 minutes in length, this closing track is immediately in contention for 2022’s song of the year. All of the project’s previous themes appear again, acting as closure for this bittersweet project. Many lines from this song stick with me, but none more than: “We’re all working on ourselves / And we’re praying that the rest don’t mind how much we’ve changed / So if you see me looking strange with a fresh style / I’m still not feeling that great” which perfectly captures mental health struggles despite outward successes. Essentially a medley of the rest of the project, this is exactly what a closer is supposed to do - recap everything that has been said so far, while leaving the listener in awe and just wanting more. This journey of a track ends so strongly and triumphantly that despite Wood’s departure, I have no doubt that Black Country, New Road will continue to innovate, grow, and release more incredible music together in the future.

A famous phrase states that “All good things must come to an end.” While this isn’t necessarily “the end” for Black Country, New Road, it will forever be seen as an inflection point for the group with Isaac’s departure. Never before have I watched a band achieve and surpass its potential so quickly, as Black Country, New Road has seemingly released its magnum opus in just its second release. Sonically, this project is unmatched and unlike any music being released today. Lyrically, this project has mass appeal while being hyper-specific at times. I wish the best for Isaac Wood and the rest of the band moving forward, and I thank them for sharing such a perfect album with us all.

Favorite tracks: All

SCORE: 10/10

Album Review: Dawn FM - The Weeknd

Two years have passed since the release of The Weeknd’s critically-acclaimed album After Hours. One of my favorite projects to release in 2020, After Hours was packed full of smash hits and refined the many sounds and aesthetics that Abel had explored up until that point. Since its release, The Weeknd has garnered more fanfare and popularity than ever, including his spectacular Super Bowl halftime show last year. Abel has started 2022 off quickly and confidently with the release of his fifth studio album, Dawn FM, which continues to display growth and evolution, but at times suffers to identify itself as cohesively and tangibly as After Hours did. While this project is still good, has a lot to offer, and will likely perform impressively, it feels somewhat like a creative step backward for one of my favorite pop artists in the industry.

This record’s title, tracklisting, and well-thought-out transitions quickly establish that it is a concept album, and this cinematic presentation is one of its biggest highlights. Abel has proven his commitment to the artistry and symbolism behind his albums, and that doesn’t change for Dawn FM. The project’s rollout was enticing, relatively fast, and led directly to higher anticipation upon its release, which came with an excellent Amazon Music live stream. The mysterious use of old-age makeup, the inclusion of Jim Carrey as a radio broadcaster and narrator, and production from Thriller legend Quincy Jones all had me very intrigued going into this album. The first leg of the project, especially tracks 1-4, did not disappoint in the slightest.

“Dawn FM” functions well as an opening track that establishes the album’s ethereal tone and contemplative themes, while also introducing Carrey’s narration without overstaying its welcome. “Gasoline” utilizes strange vocal pitches in its verses over an upbeat instrumental, but Abel’s usual vocal performance comes through to deliver a surprisingly morbid and nihilistic chorus that stands in contrast to the song’s overall sonic tone. “How Do I Make You Love Me?” is next, and starts one of the greatest runs in all of Abel’s discography. Production from Calvin Harris and Swedish House Mafia are certainly influential on tracks like this, with more of an electronic sound than ever before for Abel. I can easily see this song being a huge radio hit, right along with the following lead single “Take My Breath”.

The use of the extended version of “Take My Breath” was an incredible stroke of genius from The Weeknd. Having the listener already familiar with the track makes all anticipation grow so much more as the instrumental swells and as the synths cascade around Abel’s vocals. Sonically a direct successor to After Hours, “Take My Breath” is filthy in the best way and easily my favorite song on this project - maybe one of my favorites that The Weeknd has ever released. “Sacrifice” has already received strong positive feedback from fans, and was the first album track to release a music video. The song’s instrumental is memorable and addicting, and Abel delivers yet another strong vocal performance here.

“A Tale By Quincy” is a reflective refrain and interlude that lets Quincy Jones look back on his upbringing, which I believe ties into the aged makeup aesthetic on the project’s front cover. I’m still wrapping my mind around all of that, and certainly prefer the alternate art, but at least there is plenty to contemplate there. “Out of Time” slows things down for the first time on the project, and while it’s a nice listen, this track doesn’t try to reinvent the wheel. The following “Here We Go… Again (feat. Tyler, The Creator)” was one of my most anticipated collaborations on this album, but unfortunately, its execution comes off as underbaked and incomplete in many ways. Thematically, I’m not sure what this song is going for. Tyler’s sound has become more malleable over the years, but it feels quite out of place on this particular track, as his verse is too short and not substantive enough to justify that length. “Best Friends” finds Abel essentially singing out friend-zoning someone he has developed a physical relationship with, which comes off as a bit laughable. The lyricism is weak here, too, solidifying the middle of this project as forgettable at best.

“Is There Someone Else?” reminds me sonically of Beauty Behind The Madness, which is definitely to the song’s benefit. At the same time, however, the song’s overall purpose in the tracklisting is lost on me. It does transition fantastically into “Starry Eyes”, which solidifies one of the project’s most common themes of entering into a new relationship despite fully understanding that it could leave you hurt again but doing so anyway. This poignancy is another high point in the tracklisting, but its momentum is slowed down by the weird “Every Angel Is Terrifying”, which comes off as an “Adult Swimification” of a track from Abel. The end of the track would come off as funny in any other context, but it halting the project’s momentum is more distracting than humorous.

Some of that lost momentum is regained on “Don’t Break My Heart”, a lowkey electropop track that likens new love to drugs and a feeling of paralyzation. “I Heard You’re Married (feat. Lil Wayne)” follows, and quickly cements its place at the bottom of my list of songs on this project. Weezy is an all-timer and hip-hop legend, but his aesthetic and contributions to projects are highly dependent on their tone and subject matter. Dawn FM is just not the right album for Lil Wayne to shine on, and yet again, this project’s features feel tacked on and unnecessary.

“Less Than Zero” is effectively the project’s final full track, and leaves the project’s narrative off on a low note despite the song’s generally upbeat sound. Abel is admitting that he has a long way to go in love and life, even though he has been through so much as the cover art suggests. “Phanton Regret by Jim” is the true closer to the project, and utilizes Jim Carrey’s abilities as well as any other time on this project. His poetic delivery brings home many of the themes very well, suggesting to the listener that the purgatory state that this album portrays can only be escaped internally, with the closing lines “You have got to be heaven to see heaven, may peace be with you” which is a positive note to end things on, through a song with many lines to reflect upon.

Dawn FM isn’t my favorite album that The Weeknd has released so far, but it’s certainly compelling and interesting enough to keep me coming back to listen more. Complicated artistry and themes like those explored here are meant to be enjoyed, contemplated, and discussed in-depth. While I prefer the aesthetics and sounds of After Hours, I respect Dawn FM’s ability to spark conversation and admit that at its best, it offers some of The Weeknd’s best moments. I think music fans are in for a treat in 2022, and I thank The Weeknd for kicking things off this year.

Favorite tracks: “Gasoline”, “How Do I Make You Love Me?”, “Take My Breath”, “Sacrifice”, “Out Of Time”, “Starry Eyes”, “Don’t Break My Heart”, “Less Than Zero”, “Phantom Regrets by Jim”

SCORE: 8/10

Top Albums of 2021

In a year defined by consistent uncertainty and adjustments, music quickly became one of 2021’s most reliable refuges. Not only were many of the albums released this year memorable, expressive, and rich in texture, but I regularly found myself discovering new artists that had so much talent to offer. It was difficult narrowing my list down to a final top ten, but after careful thought and consideration of these albums’ impacts, creativity, and importance, I am now able to present the list of my top albums of 2021.

There were many honorable mentions that nearly made the cut, but here are those that I would feel remiss not to mention: (20) Stand For Myself - Yola, (19) Donda - Kanye West, (18) TYRON - slowthai, (17) Friends That Break Your Heart - James Blake, (16) In These Silent Days - Brandi Carlile, (15) Cavalcade - Black Midi, (14) An Evening With Silk Sonic - Silk Sonic, (13) Nurture - Porter Robinson, (12) ROADRUNNER: NEW LIGHT, NEW MACHINE - BROCKHAMPTON, and (11) Sling - Clairo. These were all quality projects that are special to me in their own right, but just couldn’t quite make the cut. Without further ado…

10. Call Me If You Get Lost- Tyler, The Creator

Tyler, The Creator has cemented his place as not only one of the most inventive artists in hip-hop, but in music generally. Following up IGOR‘s expressive creativity was a monumental task that we are all lucky Tyler was up for. Call Me If You Get Lost is a mature and refined version of the playful, confident, and bold material Tyler was recognized for when he first released music. From the project’s flawless and strategic rollout and new Tyler “lore” to confessional lyrics and hard-hitting instrumentals, this album is special, and I can’t wait to see what Tyler creates next. SCORE: 8/10

9. For the first time - Black Country, New Road

For the first time is the debut album from lesser-known (at the time) London-based band Black Country, New Road. I can’t see that underground status lasting much longer, though, as this album quickly established this group as one to seriously look out for in the near future. The raw talent and multi-instrumental compositions found in many of this project’s lengthy tracks constantly cascade in new and exciting directions. The project’s angst, sense of urgency, and brash delivery were unrivaled this year, and I am already highly anticipating their upcoming sophomore album Ants From Up There coming in 2022. SCORE: 8/10

8. Happier Than Ever - Billie Eilish

After the release of her debut studio album When We All Fall Asleep, Where Do We Go? I wondered how Billie Eilish’s unique and original sound was going to evolve and mature. Luckily, those questions were quickly answered with the release of Happier Than Ever, which demonstrates the immense growth Billie has gone through in the past couple of years as an artist, but more importantly as a person. Sonically, aesthetically, and thematically, Happier Than Ever reflects the wisdom and growth of the wildly talented artist who created it. As long as Billie and her brother Finneas continue as their genuine selves when making music, not even the sky is a limit. Plus, it goes without saying, but the album’s title track is one of my favorites in Billie’s entire discography. SCORE: 8/10

7. LP! - JPEGMAFIA

JPEGMAFIA has already proven himself as one of the most talented musicians and producers in the industry with the releases of albums such as Veteran and All My Heroes Are Cornballs. Despite a rocky relationship with his record label, the passion that Peggy has for his art is abundantly clear on his most recent project LP!, and it’s truly inspiring to consider that he does all of his own recordings, mixing, and mastering. Rap and hip-hop are genres that can become stagnant at times, but releases like LP! remind artists and fans alike of their infinite possibilities. SCORE: Strong 8/10

6. The Turning Wheel - Spellling

One of the most theatrical and technically spotless records of the year, Spellling’s The Turning Wheel keeps me coming back for more. Upon its release, I was immediately immersed in the dazzling world that the project quickly builds. Spellling’s non-conventional vocal delivery may be jarring at first to some, but it complements the project’s ornate instrumentals splendidly. Tracks such as “Little Deer”, “Boys At School”, and “Revolution” are unlike anything I have ever heard, but in the best ways. I highly recommend going into this album with an open mind; Spellling knows what she’s doing here and then some. SCORE: Strong 8/10

5. By the Time I Get to Phoenix - Injury Reserve

Injury Reserve delivered one of the most emotionally potent albums of the year with By the Time I Get to Phoenix. This is the group’s first release since the untimely and tragic death of one of their members (Groggs,) and the grief and catharsis are profound on this project. The contextual significance of this project is uplifted and made more impactful by its inventiveness, ability to confidently experiment, and regular delivery of simple but stunning ideas throughout. “Knees” is simply one of my favorite songs of the year, as its refrain of “Knees hurt when I grow, and that’s a tough pill to swallow ‘cause I’m not getting taller-” truly stuck with me. This is a profoundly meaningful album, and I’m proud of Injury Reserve for honoring Groggs with its release. SCORE: Light 9/10

4. Daddy’s Home - St. Vincent

On Daddy’s Home, St. Vincent is able to instantly transport listeners to another era of music. On this record, she has channeled 1970’s era groove and made it look effortless. From the fantastically directed music videos that accompany the many great songs this album offers to atmospheric, Pink Floyd-esque offerings like “Live In The Dream”, St. Vincent’s commitment to her desired ambiance is admirable and catchy as hell. The slow moments on this project are few and far between, but contemplative and necessary. What’s not to love? SCORE = Light 9/10

3. SINNER GET READY - Lingua Ignota

Claiming this year’s bronze prize in the number three spot is an album that I surprisingly don’t often come back to. Lingua Ignota’s SINNER GET READY is a haunting and tormenting listen depicting the agonizing internal struggles of its creator Kristen Hayter. Made only more emotionally significant by recent revelations of the terrible events that inspired many of the project’s songs, SINNER GET READY epitomizes someone doing the hard work of moving on, letting go, and learning to forgive the unforgivable. The music itself isn’t disturbing in its own right; instead, what’s truly terrifying is the abyss someone must find themself in to create it as a form of self-expression. That willingness to share, as creatively and beautifully as this project does no less, is an act of kindness that Lingua Ignota deserves endless praise for. SCORE = 9/10

2. Sometimes I Might Be Introvert - Little Simz

When Little Simz released the lead single “Introvert” to her upcoming project Sometimes I Might Be Introvert, I knew that the hip-hop community was in for a treat. That opening track’s grandiosity and lavishness was no red herring, either, as this entire project is refined, textured, diverse, and grand in scale. Little Simz proved that she is a true wordsmith with the release of her critically-acclaimed Grey Area, but this project takes those skills to the next level. Her wordplay, revealing subject matter, and confidence are unmatched in the genre right now. Soul-inspired instrumentals rarely rely on samples, which is a feat in its own right, as this timeless sound seems made for Simz. This project’s poetic interludes perfectly transition its ever-evolving and genre-bending sounds, making it hard to believe that each unique song pairs so cohesively with the rest. “I Love You, I Hate You” is a standout among standouts here on a project that I couldn’t find flaws within even if I tried. SCORE = 10/10

1. Promises - Floating Points, Pharoah Sanders, London Symphony Orchestra

I try to refrain from making outlandish claims or using overused sentiments about albums, but I simply can’t stop myself from calling Promises a once-in-a-lifetime composition. It’s hard to imagine that a similar context will be recreated anytime soon, as this project was only made possible by world-class artists coming together with a vision and executing it masterfully. Floating Points’ idea to assemble a continuous piece made up of nine “movements” proved genius, as Promises doesn’t waste a second of its 46-minute runtime. Pharoah Sanders’ saxophone play, backed by the London Symphony Orchestra and Floating Points’ simple but addictive seven-note motif found throughout, is nothing short of breathtaking. That motif is simple but incredibly rich, as it is used to explore many new ideas throughout every Movement, culminating in a truly transcendent experience for its listeners. Movement 6, specifically, goes down as one of the most cathartic and rewarding pieces of music I’ve ever heard. No words can do an instrumental album like this justice, so instead, I strongly recommend that you give it a listen. This project will always have a special place in my heart, as it served as a soundtrack for some of the most formative and emotional moments of my life this year. For all of those reasons, Promises was an easy selection for my top album of 2021. SCORE = 10/10

It’s important to give others their flowers while they’re still around to smell them. I hope to do that by acknowledging and appreciating the artists whose creations help me try to define my own life. While 2021 has been quite tumultuous for the world, it was also the most formative and meaningful year I’ve had. I am grateful that this soundtrack of the top albums of 2021 will also take me back to a certain time and place, where I too have decided to stop and smell the roses by indulging my passion for art, creative vision, and self-expression.

Album Review: An Evening With Silk Sonic - Silk Sonic

After months of anticipation, pop superstar Bruno Mars and underground rapper extraordinaire Anderson .Paak have finally released their debut collaboration album An Evening With Silk Sonic. This ingenious duo took the music industry by storm with this project’s singles, including “Leave The Door Open”, “Skate”, and “Smokin Out The Window.” Blending their natural abilities with a soul-inspired sound all around, Silk Sonic brings timeless feel-good music back to the mainstream. With a runtime of just over 31 minutes, this fun-sized project left me wanting more, but the small offering of tracks is the epitome of quality over quantity.

“Silk Sonic Intro” sets the stage with the album’s “host,” self-proclaimed blaster of the universe Bootsy Collins. This short track does its job of capturing the essence and impression that this album is being performed in a small, intimate concert venue setting. “Leave The Door Open” follows, a now-familiar song that allows Bruno Mars’s vocals to shine and .Paak’s humor to thrive. This song’s music video encapsulates its luxurious aura and rich texture, as just like every song on this album, it is mixed masterfully. The following “Fly As Me” is an album-wide highlight for me, with a bassline so clean that Anderson .Paak could literally rap anything over it, and it would sound good. Luckily, his (and Bruno Mars’s) egos don’t come off as pretentious here, but instead, both artists just radiate well-earned confidence and swagger.

“After Last Night (with Thundercat and Bootsy Collins)” is likely my favorite song on the tracklisting, as every artist’s contribution to the three-part harmonies is necessary and nearly angelic at times. This track is equally sensual and humorous, as this project’s whole atmosphere encourages over-the-top lyricism without ever becoming unbelievably silly. Thundercat was the perfect guest feature for a project like this; the man’s skill on the bass is unparalleled. “Smokin Out The Window” continues this album’s hot streak, essentially offering a “she belongs to the streets” anthem. At first, the “This bitch…” that started each artist’s verses seemed a bit heavy-handed, but the lightheartedness of this song’s music video help me realize the levity intended here.

“Put On A Smile” is the darkest song on the album lyrically and tonally, as Mars and .Paak reflect on what it’s like trying to keep up appearances through heartbreak. I enjoy this track, but it isn’t as distinct or memorable as the others that keep me coming back for more. “777” wears its Bruno Mars influence on its sleeve, painting a picture of Las Vegas gambling and casino shenanigans in a lighthearted and with a fun-first attitude. We then have “Skate”, another solid feel-good single that channels many 70s sounds that complement each artist’s vocal abilities very well - even pushing .Paak further than I thought he was capable of going. Then, to close, .Paak takes the wheel with the silky smooth closer “Blast Off”, which will be a great send-off for their eventual live shows. The increasing pitch changes end this project on a high note, both literally and figuratively, but such a luscious final track would’ve had so much more gravity with just a few more tracks leading up to it, assuming that their quality would’ve delivered just as much without overstaying their welcome.

I see Silk Sonic as a one-time collaboration that seems to have caught lightning in a bottle. Mars and .Paal clearly had fun making this album, which translates to the final product, as this project is just feel-good soul-inspired bop after bop. While I wish there was more to chew on or think about after this album ended, it’s just long enough and varied in its composition to keep on repeat for quite a while.

Favorite tracks: “Leave The Door Open”, “Fly As Me”, “After Last Night (with Thundercat and Bootsy Collins)”, “Smokin Out The Window”, “777”, “Skate”

SCORE: 8/10