Album Review: Melt My Eyez See Your Future - Denzel Curry

Denzel Curry has felt criminally underrated to me since I first heard the South Florida superstar’s music. A rapper whose bars are undeniable, whose production is unbelievable, and whose angst is untamable like Curry should be doing bigger numbers, headlining more festivals, and becoming more of a household name than he currently is. Luckily, early projects like TA1300 and ZUU gained enough critical acclaim and fandom approval that 2020’s EP UNLOCKED began to make waves. Ever an opportunist looking to evolve, adapt, and grow, Curry decided to pursue his most challenging and thought-provoking project yet with the recently-released Melt My Eyez See Your Future. More self-reflective, socially aware, and brashly confident than ever before, Melt My Eyez is a welcomed progression of the ear-catching sound Curry has curated over the years.

Luckily for day-one fans of Curry’s discography, the core elements of his easily-recognizable sound seem like they are here to stay. Curry has always toyed with new ways to reinvent his rhyme schemes, align lyrics with fitting instrumentals, and switch flows when needed to keep things from getting stale. These core elements return with Melt My Eyez, but what makes the project stand out as unique are Curry’s contemplative tone and socially conscious themes found throughout. Denzel is consistently challenging his listeners to question the world around them, all while still conveying the personal struggles he has gone through in recent years. Anyone new to Curry’s music will be hooked by the hard-hitting and stellar production, but will likely stick around to hear his impassioned lyricism.

Attention to detail and a clear effort to make the project as cohesive as possible are made evident as the opening track “Melt Session #1 (Feat. Robert Glasper)” transitions into the excellent “Walkin” that follows. The beat switch halfway through this track works incredibly well, and while this is a banger, Curry still stays self-aware with lyrics like “Walkin' with my back against the sun / I've been runnin' all my life, that's way before my life begun / Since my birth and seconds on Earth, I been the first one to confront / All of these cycles that get recycled, makin' it stifle while I stunt.”

The middle stretch of the project is my favorite on the album, with hit after hit, staying fresh and avoiding repetition that would be to the album’s detriment. “The Last” sees Curry experiment with a slightly more vocally expressive delivery instead of his traditional bars. “Mental (Feat. Saul Williams & Bridget Perez)” utilizes its features masterfully, and Curry’s rhyme schemes are just slightly more intricate than the sophisticated but minimal instrumental backing. “Troubles (Feat. T-Pain)” enlists one of the most unlikely collaborations on the project, but a catchy chorus and great verses brings this track together. “Ain’t No Way (Feat. 6LACK, Rico Nasty, J.I.D, Jasiah, Powers Pleasant, Kitty Ka$h)” is a true lightning-in-a-bottle posse cut that brings together many talented artists and culminates in one of Curry’s best verses of all time. This fantastic offering is topped off by Curry’s early contender for lyric of the year: “Ain’t no way I was gonna take what people sell me / Run The Jewels ‘cuz I kill a mic on any LP” which simply made my jaw drop.

The rest of the project is up to the same high standard that Curry sets early on, with the exception of one or two tracks. While “Sanjuro (Feat. 454)” is a grimy, powerful track despite its short runtime, “The Smell Of Death” seems to forgettably miss the mark for me. While “Zatoichi (Feat. slowthai)” brings a dream collaboration to life and doesn’t disappoint, “Angelz (Feat. Karriem Riggins)” leaves something to be desired. Luckily, “The Ills” is a captivating and compelling piano-backed chorus that confirms this project’s defining characteristic is its consciousness: of self, of society, and of what the genre needs to excel.

Denzel Curry is still underrated. I’m glad that Melt My Eyez See Your Future is receiving widespread critical acclaim, and I hope that’s indicative of an awakening to the reality that Curry is one of the most consistent rappers in the game at the moment. His confidence is powerful, his self-reflection is admirable, and his music is consistently great. I can’t wait to watch where his future takes him.

Favorite tracks: “Walkin”, “The Last”, “Mental (Feat. Saul Williams & Bridget Perez)”, “Troubles (Feat. T-Pain)”, “Ain’t No Way (Feat. 6LACK, Rico Nasty, J.I.D, Jasiah, Powers Pleasant, Kitty Ka$h)”, “X-Wing”, “Sanjuro (Feat. 454), “Zatoichi (Feat. slowthai)”, “The Ills”

SCORE: 8/10

Album Review: CRASH - Charli XCX

Charli XCX has long been referred to as “the pop star of the future,” with production that often sounds like it’s from the next century. From Pop 2 onward to Charli and how i’m feeling now, Charli XCX’s sound hasn’t changed as much as it has evolved and matured, exploring new sonic and lyrical ideas and concepts that only she can achieve every time. The overcrowded, radio-friendly pop genre makes it hard for many artists to stand out, but Charli XCX has once again resisted certain tropes to create yet another captivating record that will likely pull the industry forward with her latest album CRASH.

Many of the album’s themes that recur throughout such as power, self-destruction, and sex are addressed in the opening title track “Crash”. This song utilizes both hyper-pop sounds and traditional instrumental backing, as seen in the track’s closing guitar solo that sets the tone for what’s to come next. “New Shapes (feat. Christine and the Queens and Caroline Polachek)” follows, and as one of the most popular singles attached to this album, functions well when placed early on in the tracklisting. Both features meaningfully contribute to the aesthetic of the song, which is something that Charli has historically done well making sure of. “Good Ones” has a short runtime of just over two minutes, but the uptempo instrumental and synth-heavy chorus have kept it stuck in my head since its release. “Constant Repeat” has been well-known in Charli’s fandom for a while now as there have been multiple snippets released in the past, and this electro-pop moment helps Charli explore the emotional side of the project.

“Beg For You (feat. Rina Sawayama)” is next, and while I enjoy this track overall, I find that it could’ve benefitted from more compelling lyricism to leave a lasting impact. That being said, Sawayama’s feature is welcomed with open arms, as I see her becoming a big star in the near future. “Move Me” is a melancholic, moody, and reflective halfway point through the tracklisting that doesn’t do much to entice me. Relatively inoffensive, this song just doesn’t seem to earn its placement among its stronger peers. “Baby” is one of those stronger tracks found here, as Charli channels hyper-sexual and female empowerment energy to its benefit.

“Lightning” leaves me wanting just a little bit more complexity like “Move Me” did, but its vocoded chorus was a fantastic studio touch that proves Charli’s technical production is some of the best in the industry. “Every Rule” is a heartbroken ballad that was actually one of the earliest songs written for this project, even before how i’m feeling now’s release. Charli’s lyricism here is as strong as it has been over the course of her past few releases. This tone is immediately flipped on its head with “Yuck”, the charming, love-denying song that I can easily see becoming a radio hit this summer. Charli’s oldest fans will be extremely delighted to hear “Used To Know Me”, which has a club aesthetic that defined her early career but that is still very sonically appealing - this is the biggest bop on the album. “Twice” ends things off on another high note, as Charli reframes the tragedies in her life and decides to instead focus on what she has to appreciate, which is something we should all strive for in a world as crazy as ours.

Charli XCX’s final album on her label Atlantic Records has allowed her to fully embody her hyperpop aesthetic while, this time, catering more to a mainstream audience through the project’s cohesive and widespread rollout. CRASH proves that Charli’s two most recent projects weren’t anomalies, but that she really does have what it takes to live up to the “popstar of the future” reputation that she deservingly acquired early in her career. While not a perfect album, CRASH will still be on repeat for me for a while, and it has earned all of the praise it receives.

Favorite tracks: “Crash”, “New Shapes (feat. Christine and the Queens and Caroline Polachek)”, “Good Ones”, “Constant Repeat”, “Beg For You (feat. Rina Sawayama)”, “Baby”, “Every Rule”, “Yuck”, “Used To Know Me”

SCORE: 7/10

I Can't Stop Playing Elden Ring

Video games have played an important role in nearly every part of my life. Whether it was playing Ratchet and Clank with my friends growing up, rocking out to Guitar Hero and eating pizza every Friday night, or enjoying the cinematic quality of the Uncharted series with my parents as a teenager, I can correlate a game to any era or season. I know I’m not alone in relating so closely to the digital escapism that games provide, as video games have quickly become some of the most popular forms of media and entertainment on the planet. That is because these pieces of art aren’t simply escapism; instead, video games are able to teach us about our humanity, engage our mind’s eye, and take us on immersive emotional and spiritual journeys unlike any other medium.

It’s very possible that you’ve recently heard of a new release called Elden Ring that has taken the gaming world by storm. Part of the Souls series, Elden Ring is the product of years of development, devotion, and dedication from its founding studio From Software, creator Hidetaka Miyazaki, and “A Song of Ice and Fire” author George R. R. Martin. This series has garnered a reputation for its sprawling landscapes, extensive lore, and addicting yet punishing gameplay, but Elden Ring takes all of those qualities to the next level.

Completely open world and exploratory in style, Elden Ring channels the medieval intrigue of “The Lord of the Rings,” the mystical and magical nature of “Game of Thrones,” and the horseback epic storytelling of Red Dead Redemption. It’s quickly apparent that this game will hold your hand just enough to get your bearings, but its guidance doesn’t overstay its welcome as you are quickly thrown into the deep end. With little direction, the player is allowed to simply take on this brand new world after creating their character, while appreciating the enriched lore and spectacular graphics and landscapes that so incredibly hold the game together.

Elden Ring makes you the chosen one, in a way, starting from humble beginnings as a “Tarnished” and making your way to eventually attempt to rule all of the lands and become the Elden Lord. Throughout this absolutely incredible journey, you are taken to different locations, forced to fight different creatures, and introduced to various NPCs who help push the story along. Each one of these battles and interactions is satisfying, and the game never feels like it has a good stopping point despite providing hundreds hours of fresh and explorable content.

Although I haven’t beaten the game yet, (hell, I just started playing a few days ago,) I can already tell that Elden Ring will be a video game that I look back on fondly. Its larger-than-life scope was overwhelming at first, but now exploring all that it has to offer is starting to feel more and more accomplishable after every gaming session. The satisfaction after finally defeating a difficult boss level is unrivaled (especially you, Margit and Renalla,) and the giddy, child-like feeling that this world has given me is unparalleled. After being skeptical at first, I now understand the resounding and deserved acclaim Elden Ring is receiving, and I can’t stop playing. I suggest you start.

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