An Update

Hey there! Long time no blog. Despite my best efforts to maintain a schedule airtight enough to get everything done and allow time for me to indulge my hobbies while getting enough sleep, the past month was relentlessly busy and, because of that, you haven’t heard from me recently. But now that the craziest of times have more or less passed, I have returned with an update as to where I’ve been and where I’d like to take this blog in the coming months. Generally, things are going excellently well, and even though I regret not posting for a month, I am ecstatic for why that just wasn’t feasible, and I’m excited for you to hear why today.

A lot has happened in the past four weeks. Let’s retrace my steps in chronological order, starting with the fact that I have found and moved into a wonderful new apartment with my amazing girlfriend. The hunt for the perfect place mirrored the ways I often find major life milestones- without looking very hard for them. We had done plenty of online research for apartments, narrowing down square footage and amenities while looking for areas within our budget. After a disappointing tour at another complex, Kaylyn and I decided not to end the day on a low note and to instead go to the nearest community just to look. When we pulled into the gated community right up the road just next to Chastain Park in North Buckhead, we knew we were home. Beautiful tree coverage, protective security measures, and a young vibe checked all of the boxes for what we wanted. The unit itself is fantastic, with two spacious bedrooms, a cozy patio, a modern kitchen, and a big living room that we’re already filling with furniture. The Georgia State University Lofts and Patton Hall were a great home for four years, but we are delighted and ready for a change and an upgrade.

Why were we moving in the first place, you ask? We just graduated college. It still feels a bit strange to type that on the keyboard or say it out loud, but it’s true nonetheless. I have earned my Bachelor’s degree in English, graduating with high honors as Magna Cum Laude. My time at GSU will stay with me forever. Lifelong friends, great memories, and so many interesting courses gave me a unique and irreplaceable college experience that I’m forever grateful for. I leave Georgia State Panther strong, ready to make my mark on the world.

Unpacking boxes, hosting gatherings, working full-time, and finding time enough for myself and loved ones has been a task to behold recently. But as things begin to settle down and I get to transition into the next phase of life, it is promising to look forward and to plan the next steps. As far as my blog goes, I want to set a reasonable and sustainable goal that won’t add pressure to me creating content here. For now, I am going to aim for one blog post per week. That includes more album reviews, more style spotlight posts (I may have just purchased some long-awaited pieces - don’t worry, I’m still saving my $), and plenty of other favorites of mine to feature here. It’s good to practice, and it makes me happy to do what I love.

Thanks for sticking around and caring enough to read through this update of mine. Everything that is happening is hitting me in waves, but I don’t think it has all fully registered yet. I have enjoyed every second of these formative milestone occasions. I am ready and confident to step into the next chapter in stride. I have felt more gratitude and support in recent weeks than ever before, and I am endlessly grateful for my circumstances and who I have in my life. With all of that being said, it’s good to be back.

Album Review: ROADRUNNER: NEW LIGHT, NEW MACHINE - BROCKHAMPTON

BROCKHAMPTON took the internet by storm with the release of their SATURATION trilogy in 2017, which consisted of three inventive albums with hard-hitting beats and unique personalities. The group has achieved a moderate level of mainstream success since then, in large part due to songs like “SUGAR”, which became radio hits. The following albums that the group released, iridescence and GINGER, reflected the hardships and interpersonal conflicts the group had been navigating after one of their primary members left due to scandals and accusations. This led to major introspection and less of an uplifting atmosphere to a lot of their releases, but not too much to their detriment. After a brief hiatus in 2020, the self-proclaimed “hardest working boyband in the world” has returned with their newest album ROADRUNNER: NEW LIGHT, NEW MACHINE. Frontman Kevin Abstract has said this is the first of two albums the group will release in 2021, which will also be their final two projects. I had high expectations after the group built hype surrounding this project leading to its release, and luckily, those hopes were exceeded.

The opening track and lead single for this project, “BUZZCUT (feat. Danny Brown)”, is the epitome of the type of music that put BROCKHAMPTON on the map. A loud and colorful beat with sharp production and abrasive lyricism gets things off to an extremely strong and confident start. The Danny Brown feature is used perfectly, as his eclectic delivery fits this beat perfectly. The song’s music video is appropriately fitting, as well, and cements this as one of the strongest opening tracks on any of the group’s projects so far. Next up is “CHAIN ON (feat. JPEGMAFIA)”, which has been reworked since its debut as a part of the group’s Technical Difficulties singles that released last year. Peggy’s verse is packed tight with impressive bars, and its minimal beat is a nice contrast to the opening track. Dom’s closing verse is a new addition to this track and delivers quality as usual. The third track on the album “COUNT ON ME” is a summertime, windows down vibe with non-credited contributions from A$AP Rocky. This track has grown on me quite a bit since its initial release.

“BANKROLL (feat. A$AP Rocky & A$AP Ferg)” is the beginning of this album’s producers really starting to show off their skills. This beat is intricate, multi-layered, and textured in a way that allows each member’s contributions to shine. I particularly enjoyed Merlyn’s verse on this track. “THE LIGHT” is one of this group’s highest points, with an incredibly crisp and guitar-backed instrumental and lets Joba begin his takeover of this project. The revelation that Joba’s father killed himself last year becomes an anchor for this album’s themes, creating a dark and vulnerable tone that is handled with aggressive and powerful delivery. This album is continually changing in its tone but in a useful and enjoyable way. “WINDOWS (feat. SoGone SoFlexy)” is a traditional hip-hop beat allowing each member to spit their hearts out. The “Go Merlyn! Go Merlyn!” refrain during his verse brought a smile to my face. Matt Champion’s flow is impressive, and despite this track’s 6+ minute runtime, it doesn’t overstay its welcome.

“I’LL TAKE YOU ON (feat. Charlie Wilson) is another smooth pop-inspired track with a warm atmosphere that channels GINGER more than any of their previous projects. This is one of the less abrasive tracks on the album, serving as a strong transition into “OLD NEWS (feat. Baird)”, which feels like a traditional BROCKHAMPTON track. Again, Joba’s closing verse is a bright highlight that closes this track strongly. “WHAT’S THE OCCASION?” is another guitar-based track with reverberating vocal deliveries from Matt Champion and Joba. The first few minutes of this track are solid, but its closing instrumental peak is otherworldly, culminating in a beautiful closing that leads well into the next track.

“WHEN I BALL” has one of my favorite instrumentals on this project, channeling The College Dropout-era Kanye West in its smooth and piano-packed summertime sound. Dom’s verses are few and far between on this album, unfortunately, but he brings the heat every time. The soft and accessible sounds from the previous tracks come to a grinding halt with “DON’T SHOOT UP THE PARTY”, which is as sonically aggressive as SATURATION III’s opening track “BOOGIE”, but with more intense subject matter. Kevin Abstract’s verse is very strong, and the song’s screeching chorus is addictive.

The penultimate track “DEAR LORD” is a completely stripped-back, anthemic, and choral performance that allows the boys to harmonize in a very churchlike fashion. The sentiment of this track is beautiful, as it seems the group is pleading for positivity for their group members Kevin Abstract and Joba who have been through so much in recent months. This track still gives me goosebumps. “THE LIGHT PT. II” is an extremely raw and revealing closing track that brought tears to my eyes, as Joba reflects on his father’s death and reveals all of his thoughts regarding this tragedy with incredible clarity. BROCKHAMPTON has never shied away from sharing its vulnerabilities, but this takes that to the next level. An absolutely brilliant closing track for an astounding album - the group’s best yet.

It has been a pleasure to watch BROCKHAMPTON mature as artists and as people, sharing their journey all along the way. This album is their most refined, confident, and impressive yet, with hard-hitting tracks and emotional reflections that make it an incredibly compelling listen with high replay value. ROADRUNNER sets a new standard for this group, and I can’t wait to see if it can be topped with their final album release later this year.

Favorite tracks: “BUZZCUT (feat. Danny Brown)”, “CHAIN ON (feat. JPEGMAFIA)”, “COUNT ON ME”, “BANKROLL (feat. A$AP Rocky & A$AP Ferg)”, “THE LIGHT”, “WINDOWS (feat. SoGone SoFlexy)”, “OLD NEWS (feat. Baird)”, “WHAT’S THE OCCASION?”, “WHEN I BALL”, “DON’T SHOOT UP THE PARTY”, “DEAR LORD”, “THE LIGHT PART II”

SCORE: Strong 8/10

Album Review: Chemtrails Over The Country Club - Lana Del Rey

Lana Del Rey caught me off guard with the release of her 2019 album Norman Fucking Rockwell!. Refined, atmospheric, and poetically-written, NFR was a significant departure from the pop influence that made Del Rey’s earlier projects like Ultraviolence and Lust For Life such smash hits. I was a bit wary when I heard she was soon releasing new music, as I somewhat expected Del Rey to return to a mainstream sound with more accessible and radio-friendly songwriting. Luckily, the opposite is true. Chemtrails Over The Country Club is another step closer toward traditional indie songwriting, with minimal and acoustic production supporting potent and beautiful lyrical refrains. I had high hopes for this album, and I’m glad to say they were exceeded.

“White Dress” has a tough competitor in the title-track opener from her previous album, which immediately grabbed the listener’s attention with the introductory lyrics of “God damn man child, you fucked me so good that I almost said “I love you.’” “White Dress” isn’t immediately as gripping in terms of its lyrical content, but instead because of its delivery. Del Rey’s vocal style is more raw and emotional than ever before - a clear intentional decision to go into her upper register to deliver passionate but gentle lyrics about her past and her nostalgia for life before fame. The references to the color white denote a symbol of her perceived purity before falling into the scrutiny of the public eye, which she’ll now never be able to escape. The subject matter of this album is immediately reflective and powerful. This opener is followed by the title track, which was also one of the lead singles in the lead-up to this project. The eery contrast of chemtrails, which have previously been associated with conspiracy theories and paranoia, and a country club, which is often associated with relaxing and familial themes, evokes a sense of unease that pairs perfectly with the production from Jack Antonoff found throughout this album. I love the drum cymbal ending which quietly wraps this track up, sending us into another highlight.

“Tulsa Jesus Freak” feels like a song a long-time in the making, which makes sense when understanding that the chorus refrain of “white-hot forever” was originally going to be the title of this album. Del Rey’s vocal delivery is more recognizable and in her traditional style, but that doesn’t stop her from creatively implementing artistic approaches like the inclusion of background sound effects or tasteful autotune. Overall, this is a really great song. “Let Me Love You Like A Woman” follows, and this single fits very well into the tracklisting. This piano-backed ballad packs thoughtful and sentimental lyrics one after another until its instrumentation builds for a slightly more energetic conclusion. The vocal harmonizing is killer, as well. “Wild At Heart” explores the passions of a loving relationship that allows Del Rey to be exactly who she is and no one less. The chorus and verses intermingle with one another perfectly, and I’m reminded of how skilled of a songwriter Del Rey truly is.

“Dark But Just A Game” again explores the intricacies and difficulties that fame has forced upon Del Rey, who herself has often been in the public eye for questionable opinions and problematic statements. I feel more sympathy for her in this regard after tracks like this - it seems like she’s always coming from a good place, but that her words are often misconstrued. The chorus and verses transition masterfully, and Del Rey’s introspection continues to impress me. “Not All Who Wanted Are Lost” is one of the more straightforward tracks on the album, allowing for Del Rey to flex her vocal and harmonizing abilities while reflecting on her urges to simply explore. Her unconventional and untraditional lifestyle should be considered successful despite being much less rigid than most - an idea that seems well-explored from the singer.

“Yosemite” features a quick-paced and strong acoustic backing and explores the evergreen nature of truly healthy and successful relationships. Del Rey’s wordplay is absolutely incredible here as she finds the best ways to say things in the simplest ways. It seems that to her, a good relationship stems from being in it for all of the right reasons, which is something I can agree with. “Breaking Up Slowly” features an uncredited Nikki Lane who co-wrote the track with Del Rey. This track sounds nice but is a bit of a sonic and thematic departure from the fantastic tracks coming before it. Because of this, I wish it had instead been scrapped and released as a single. “Dance Till We Die” is a sweet homage to famous songwriters who paved the way for Del Rey to get to the level of success she has achieved. Tracks like this always impress me because of their humility. The final track, “For Free”, is a cover of one of the artists referenced in the song prior: Joni Mitchell. It features Zella Day and Weyes Blood, who I was ecstatic to see on the tracklisting. The cover chosen here was very clever and fitting stylistically, and the accompanying vocals mirror Del Rey’s perfectly. I adore anything Weyes Blood touches, so it’s safe to say that this familiar-sounding closer sat right with me. Suddenly the album is over, and Del Rey has delivered another fantastic project.

The change in sound from her last two albums is starting to feel more like a maturation than an anomaly. Lana Del Rey has solidified her signature sound and lyrical content and is now using that strong foundation to explore more universal but introspective concepts that make for great projects. Even more mature and refined than NFR’s still innocent sound, Chemtrails Over The Country Club is one of my favorite Lana Del Rey projects yet - and it still doesn’t feel like the peak of her potential.

Favorite tracks: “White Dress”, “Chemtrails Over The Country Club”, “Tulsa Jesus Freak”, “Let Me Love You Like A Woman”, “Wild At Heart”, “Dark But Just A Game”, “Not All Who Wander Are Lost”, “For Free”

SCORE: Light 7/10

Album Review: TYRON - slowthai

Before the COVID-19 pandemic, I was able to see rap group BROCKHAMPTON in concert at the Coca-Cola Roxy in Atlanta. After waiting in line for merch, my girlfriend and I made our way to our seats. I was pleasantly surprised to find out that slow that was opening for that show, which wasn’t long after the release of his debut studio album Nothing Great About Britain. Abrasive, aggressive, and full of energy, slowthai’s set was extremely memorable. It was so intense, in fact, that multiple audience members passed out in the middle of their mosh pits. I largely associated slowthai with this set from then on and assumed his music was mostly surface-level bangers. That is precisely why his sophomore album TYRON appeals to me so much - it’s a split record with half intense songs and half introspective cuts making up the tracklisting. Deeper than expected, this record impressed me on many levels.

Just because slowthai’s hard-hitting and energetic songs aren’t that deep doesn’t mean that they don’t chaotically slap. The record’s opener “45 SMOKE” facilitates slowthai’s confident grime delivery and lyricism perfectly. The bass kicks throughout and the only downside is slowthai’s different delivery toward the end of the track. “Cancelled (feat. Skepta)” is the epitome of grimy British rap in action, as the two essential declare that they are uncancellable. The production is bouncy and catchy here, as has become standard on slowthai’s records. “MAZZA (feat. A$AP Rocky)” is one of my favorite tracks on the record, as it utilizes its feature fantastically. This track is as mad and insane as its title suggests.

“VEX” is a shorter transitional track, but slowthai packs in as many bars as he can over the concise and bouncy beat behind him. “WOT” offers a luxurious and floor-shaking bass for its 48-second runtime, and mainly just leaves me wanting more evolution. It does transition well into “DEAD”, though, which features another killer beat and more introspective lyrics from slowthai as he begins to shift the album’s tone closer to the record’s second half. This is especially true with the last track on the A-side, “PLAY WITH FIRE”, which takes a turn to a softer and more mellow atmosphere. slowthai begins discussing deeper concepts here, which is refreshing to hear from him.

“i tried” is the first track on the second half of the album’s 14 song tracklisting, and we can immediately recognize the change in tone. A decadent and sentimental instrumental allows slowthai to explore more artistic and reflective bars, like “If hell’s meant for sinning, heaven’s never been for me.” Another indicator of the tonal change is the shift to lowercase song titles - a subtle but creative touch. “Focus” uses a very unique beat with ascending vocal backing, and again, slowthai gets more introspective than we’ve ever heard him. The beat evolves into something bouncier, but still subdued and calmer than typical.

“terms (feat. Dominic Fike & Denzel Curry)” is another highlight on this project, although I wish Denzel Curry was more involved than the pitched vocal before slowthai’s verses. slowthai discusses his upbringing and mindset, and Dominic Fike’s chorus pairs with the rest of the track perfectly. “push (feat. Deb Never)” introduced me to the featured artist, whose beautiful vocal opening really caught me off guard. The acoustic instrumental is minimal and gentle, adding a level of complexity to slowthai’s bars, which again are about his mindset and relationships with others.

“nhs” sounds very much like the BROCKHAMPTON songs that I listened to live after slowthai opened for them in 2019. This is a fairly happy-sounding song but is a little bleaker upon further analysis in that it basically states we can’t have happiness without sadness. This is a more mature concept than I expected slowthai to tackle on this record, and while the execution isn’t perfect, I still enjoy this track very much. I was excited to see James Black on “feel away (feat. James Blake & Mount Kimbie)”, and was not disappointed, as Blake delivered as per usual. Again, this track is deeper than it sounds on its surface, but in the best way possible. “adhd” reflects nicely on the album’s themes, and allows for slowthai to declare his new-found confidence and attitude toward life. It ends abruptly, but I think that was quite intentional. A solid closer to a great album.

It’s incredibly satisfying to watch artists mature sonically and lyrically. slowthai has a bright future ahead of him if he allows both sides of his unexpectedly complex personality to shine simultaneously. I saw slowthai open for BROCKHAMPTON accidentally, and now I’d pay to see his show. I can’t wait to see where he goes from here, and there’s no reason to think it’s anywhere but up. I highly recommend checking this record out.

Favorite tracks: “45 SMOKE”, “CANCELLED (feat. Skepta)”, “MAZZA (feat. A$AP Rocky)”, “PLAY WITH FIRE”, “i tried”, “terms (feat. Dominic Fike & Denzel Curry)”, “push (feat. Deb Never)”, “nhs”, “feel away (feat. James Blake & Mount Kimbie)”, “adhd”

SCORE: 7/10

Album Review: For the first time - Black Country, New Road

English rock band Black Country, New Road have officially made their debut with the release of their first album For the first time. Multiple singles from this project garnered critical acclaim and internet popularity, and the eventual release built up a sort of cult following ready to see what this eccentric and instrumentally skilled band had to offer. Luckily, this edgy, jazz-influenced art pop and post-punk album leaves very little to be desired. At only six tracks but a 40-minute runtime, this record goes by very quickly in the best ways possible.

The opening and self-describing track “Instrumental” is a multi-instrumental accomplishment. Each layer culminates by the end of this 5 and a half minute track, crescendoing intensely with saxophone backing and hard-hitting drums. The intensity sets the tone for what’s to come on the rest of this project impressively. “Athens, France” is our first exposure to Isaac Wood’s tormented vocals, which communicate their meaning impactfully. The instrumentation continues to wow throughout the track, as it never settles into a single identity. The closing jazz portion of this track is surprisingly calming, and it transitions well into track three.

“Science Fair” tackles a rather unexplored subject matter, which makes it all the more unsettling to listen to. Uncomfortably stacked electric guitars wail upon one another as the continuous drum backing never fails to continue on. The eventual synth breakdown is incredibly satisfying, as it definitely feels earned from the listener’s perspective. The end of this track is absolutely wild, as it feels like the entire band is playing their instruments as if they were at the forefront of the song. “Sunglasses” is arguably the band’s biggest single, and the album version was changed slightly from the original lyrics that took the internet by storm. Broken up into two parts, this song is one of the most exploratory on the album. Part one analyzes Isaac’s reluctance to age into what he sees as the worst characteristics of adulthood. Relatively relaxed instrumentation assists us along the way listening to Isaac’s struggles, but things take a positive shift toward the second act of the song. Isaac reflects on a mundane object that makes him feel better, which is the title sunglasses. As his confidence grows, he wishes that others could admire him. “I’m more than adequate, leave Kanye out of this” stands out as an especially memorable lyric on this great track.

“Track X” is the most understated song on the album, as it’s largely calm and atmospheric, especially when compared to the rest of the songs here. Mostly introspective and with some biblical imagery, this is a reprieve from the intensity of the surrounding tracks, which is especially needed before the closer. “Opus” finishes things off so intensely just as you start to think things are settling down. This song was supposedly written on the same day as “Instrumental,” which is insane yet believable. The angst on the track is palpable, and the horns ushering the song along are hypnotically relentless. The album ends just slowly enough to catch your breath and wonder where BC, NR will go from here.

This is a great debut album from a largely unknown group that I suspect will build a cult following of dedicated fans in no time. Every track is unique and intense in its own way, but not to the point that I haven’t had it on repeat since the project released. I highly suggest you check this one out.

Favorite tracks: “Instrumental”, “Athens, France”, “Sunglasses”, “Track X”, “Opus”

SCORE: 8/10