bbno$- good luck, have fun

 It took a while for this record to win me over. Bbno$ has two sounds, depending on the producer he works with. I won’t lie, I’m more interested in what he has cooking up with Y2K, obviously he was the one responsible for their big breakthrough single La La La but most of my favorite bbno$ and Yung Gravy tracks.

Songs with Lentra have way less pop appeal, it sounds like the beat was doing everything to avoid being interesting a lot of the time. I was liking most of the singles from good luck have fun but the production was definitely the weakest link. I’ve grown to appreciate it more after hearing bb talking about it more, how it’s intensionally more percussion-based and minimal cause it gives him more space for his rapping. It definitely matches with bbno$’s understated performance and gives the album a very consistent mood. Sometimes it can even elevate a song, Man in the Mirror and Imma being prime examples. In the case of Man… the sad strings really set the vibe without overshadowing the personal verses bb delivers here. With Imma the simple beat manages to give the track a lot of momentum, it’s impressive how they managed to produce such a banger with so limited instrumentation.

Astronomy is a hilarious track with a tone of lyrical highlights. It has my favorite meta moment, where Alex says he doesn’t want to make a hook cause he doesn’t feel like it. Close second is on bubbles where he shouts “let me do some ad lips” followed by silence until the track ends. Both of those tracks suffer a little because the instrumentation is so one-dimensional it doesn’t complement the quirkiness of those songs one bit. With each listen I have gotten more and more used to the sound of the album and I started to appreciate it for what it is more and more. Only point where the record jumps at you with a major change of pace comes right at the end where bbno$ screams over some punk rock instrumentation for a minute and then the album ends.

It’s a solid project and the most consistent one in his discography so far. Still waiting for that album with Y2K though.

Rating: 7/10

Boy Pablo- Wachito Rice

Boy Pablos sudden rise to fame is both their biggest advantage and curse. Everytime is a cute song but thanks to YouTube algorithm everyone that has listened to Mac DeMarco at least once in their life was getting that track autoplayed on a regular bases. Luckily it’s not a song that gets annoying fast, I never bothered me when it randomly started playing.

Three years since that breakout single we finally get a debut LP from Boy Pablo and the reception from critics has been pretty lukewarm so far. I don’t know if it’s due to the Pablo being so overplayed or maybe I’m just the right target demographic for an album like this but I find Wachito Rice extremely enjoyable and have no idea where all the criticism is coming from. Sure, it rides the Mac DeMarco wave that so many bands gravitate towards, it might not be reinventing the wheel at any point but for me it’s more consistent than most albums in that vein I have heard in recent years. Most of those artists put out impressive singles but when it comes to full length albums it turns out they just can’t stay interesting for 40 minutes (Pony, Here Comes The Cowboy, I can go on). Wachito Rice is a chill record that manages to keep its momentum going for the entire 13 tracks without any real duds. Rest Up might have taken a few notes from Whitney but it's more calming than anything Whitney have recorded. Vocals might be a bit understated but the way they're layered and mixed works perfectly to set the tracks mood. Occasional language switches on te vas and wachito rice add a lot of character to the record. Speaking of the title track, its placement toward the end of the album is perfect, bringing some groove and energy before the melancholic. i <3 u. It's proof that Pablo can pull of a danceable cut as well.

Sure, Boy Pablo wears his influnces on his sleeve and has a long way ahead of him in terms of developing a sound unique to him. What Wachito Rice achieves though is being a chill, pleasant album that stays entertaining all the way through without ever falling to the background.

Rating: 8/10

Gorillaz- Song Machine Season 1: Strange Timez

 Gorillaz were dumping albums and singles for the last couple of years and none of them gave me hope
that they will reach the level of Plastic Beach again.

Everything changed with the Song Machine series. The only track I didn’t care that much for was the Tony Allen collaboration that turned out to land on the deluxe version anyway. The series reminded me of what was most impressive about Gorillaz in the first place- dabbling in so many different genres, collaborating with so many musicians and still having an unmistakable sound, that despite Damon Albarn handling most of the vocals doesn’t make me even think of Blur or his solo work.

That’s quite a feat to pull off and after falling short of that goal during Humanz, Song Machine is a definite return to form. In some ways it’s even more impressive then their previous albums because of how out there certain collaborations are. On top of everything I just mentioned the band has to balance having Elton John and 6Lack on the same track and make it sound coherent. And they actually do. Production on the album is consistently on part with best moments on Demon Days. Track that sticks out the most is Pac Man. Overall the beat stays more or less the same but each segment of the song has a different and detailed instruentation that makes every part sound unique, every 30 seconds Pac Man is changing into something else. Also SchoolBoy absolutely killed it. Desole is another highlight, I'm glad Albarn decided to include the extended cut on the record, if any track need an longer outro it's this one.

I can't think of anything wrong with Song Machine. Maybe the St. Vicent track and MLS could have been switched, especially because MLS seems to be everyones favorite but I understand that they worried not to repeat Humanz mistake of the guest overtaking the entire track. Apart from that I'm amazed with the end product. After a decade, we finally have another 10/10 Gorillaz project.

Rating:  10/10

I Don't Know How But They Found Me- RAZZMATAZZ

 In a way RAZZMATAZZ is a big success. Despite being lacking in personality and original ideas IDKHOW manage to pull through with a record that’s engaging all the way through. There’s a tone of déjà vu moments on this album and listing all the other bands this album is pretty obviously influenced by would probably take up most of the review. Mostly I was getthing clear Soft Cell vibes, maybe because their my favorite synth-pop group. Vocals don’t bring much of a character to the record either, I can’t pin point exactly what they sound like the most but I would never be able to pick them out of a line up.

Luckily quality of the songs makes up for most of RAZZMATAZZes shortcomings. What works for me the most are the slower cuts. Nobody Likes An Opening Band is just adorable, I can see them starting their set as a supporting band with that track and immediately winning the audience over. From A Gallows is equally charming despite sounding a lot like Muse when it wants to sound a lot like Queen. At no point did the record drag or hit a low point of any sort but the band really saved best for last, Need You Here is a stunning pop anthem and the title track is epic, catchy and ends the record with a sax solo which automatically gives it extra points, every album should end with a sax solo and it’s a f*ckin joke that it doesn’t happen more often.
There was this little one little album this year that I actually have written about here, called West of Eden by the band HMLTD and it seem like the most obvious comparison to RAZZMATAZZ, being an over the top, contemporary synth-pop album that sounds kinda like Soft Cell. Out of those two I would pick West of Eden any day- it has a tone of character, songs are more diversed, vocals weirder and I still remember everything about that album after months which I don’t think will happen with RAZZ. Despite not breaking the mould exactly, it’s a solid synth pop record and if for anyone HMLTD sounded too bizzare, this might be a more digestable approach to synth-pop in 2020.
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Rating: 7/10

Paul McCartney- McCartney (1970)

 In a lot of ways I understand the hate this album received upon coming out. McCartney wasn't exacly the
medias favorite Beatle at that time, rather a villain who was trying to end the band. Even worse, someone who was trying to end the band and instead release albums like this. The restrain McCartney displayed on his debut solo venture is what's the most impressive about it.

For the majority of the running time, "McCartney" sounds like a series of efortless scetches without a trace of ambition to be anything more. In a way it seems ahead of it's time, both this and "Ram" could be categorised as proto-indie pop in a way. The DIY approach Paul took while making this record adds a tone of charm and makes for a very intimate listening experience. McCartneys songwriting talent comes through even in the simplest and shortest musical doodles. Some could acuse a large portion of the record of sounding like a bunch of demos but despite limited instrumentation and Paul filling empty spaces with his beatboxing I never feel like those tracks should be improved by a grand set of strings or anything of that nature. Somehow all those mild cuts manage to flow perfectly with "Maybe I'm Amazed", the only song that sounds like it could have been taken straight from a Beatles album. It's a great way for the record to gain some momentum before weird yet captivating closer - Kreen-Akrore. Paul had taken a tone of risks with this album but this might have been the biggest one, an instrumental cut that for the most part consists of a frum solo and heavy breathing.
I still might prefer "Ram" but both those records have proven themselver to be more ahead of their time than a lot of the projects released at that time by other Beatles. I'm glad they have eventually gotten the apprecieation they always deserved and hadn't received upon release.

Rating: 8/10

Oliver Tree- Ugly Is Beautiful

 It’s nearly impossible to judge the music on this record without brining up Oliver Tree is a character and all the drama surrounding its release. I used to like Tree a lot, his obsession with giant scooters really added to the entertainment value of his music. Sadly, because of latest interview he gave, my perception of him changed a little.

I know that being angry and sour has always been a part of his character but the pretentious comments, like calling himself a surrealist artist. I realize that his act is a way to market his songs but he seems to think his music is some incredible art statement. And it really isn’t. A lot of songs from “Ugly is Beautiful” made for entertaining singles, mostly thanks to the videos accompanying them but as a part of an album it all begins to feel extremely one-note and repetitive. Once in a while we’ll get a instrumental that stands out or a catchy melody but a majority of this record is Oliver shouting about not fitting in or how things always fall apart, all done over monotone beats. The only real change of pace we get is Alien Boy and maybe Introspective, the guitar line on this song is what sells it. I know I’m being very negative and the truth is I’ve been enjoying a lot of those songs as they were coming out as singles. Beyond the tracks that were already released though, there’s not much to enjoy. I’m aware that it wasn’t Olivers intent, he was very vocal about how he hated the albums rollout but still, it wouldn’t be a problem if the tracks that weren’t released yet were better.
It’s very possible that “Ugly is Beautiful” will remain Trees only album and to be honest I don’t really care if that’s the case. Lyrically he seemed limited to just a one topic, he displayed basically one emotion over the course of this record. It’s not even that unique, latest Hobo Johnson album a lot of the time had similar tone and went over similar topics but the lyrics on that project were more diverse and personal, meanwhile Oliver never went into anything in any detail. Even if he isn’t as serious as he says and it’s all an act, it’s not a particularly likeable one.

Rating: 5.5/10

Shawn Wasabi- MANGOTALE

 I know I’m a bit late to the party and probably will be again and again when it comes to majority albums   I'll be writing about in the coming days. Stress that came with the exam season didn’t allow me to do anything else but pretend to study or procrastinate. Along with Bonito Generation and 1000 gecs, MANGOTALE played a big role in keeping my mood up.

Sunny and optimistic to the point of bordering on cheesy beats and warm, calming voices of guest vocalist Shawn invites on the album was really the mix I needed. Nothing here is especially groundbreaking, Shawn borrows pretty heavily from other artists on certain tracks (HOME RUN sounds a lot a lot like something from Lordes debut). The charm and positivity of the record overpowers any drawbacks it has. One exception might be the track LEMONS. It’s a real shame because it has one of the prettiest instrumentals on the album but the mean-spirited lyrics feel very out of place. I understand that the song was making fun of a petty, jealous ex-girlfriend type but bringing eugenics into it or having the refrain be “I think she’s kinda ugly” makes it a bit of an unpleasant listen. Apart from that track most lyrics on MANGOTALE are just adorable, like the ANIMAL CROSSING song or the snack that smiles back, which is one of the cutest love songs I have heard in a while. His Midi Fighter 64 creates a consistent and unique sound to the record that elevates the more brief, instrumental cuts above plain filler and makes IGLOO a satisfying closer.

It’s been a really stressful month so MANGOTALE arrived at the best possible time for me, same thing happened with Bonito Generation in 2016. I knew that when I finally have time to write something again this album is going to be the first one I mention.

Rating: 8/10