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Double O – Maliibu Miitch review

The effortlessly charming and Maliibu Miitch has dropped another single, titled “Double O”. The track may appear off of her anticipated debut album If Dead Men Could Talk. On “Double O”, Mali continues to show off her hoarse deep voice that instantly attracts the listener. Mali is in her zone, hyper flows over chill and sinister beats, tinged with mob boss flair.

Rating: Palpable

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Say So (Nicki Minaj Remix) - Doja Cat Single

Nicki Minaj adds a few verses and vocals to Doja Cat’s Top 10 single, “Say So”.

Nicki references lays down disses and references her former Bisexuality in a telling and entertaining addition to this track. However, it outweighs the fun, floaty vibe “Say So” originally carries.

At the end of the day, the hype around the Queen of Rap teaming up with the rising star Doja Cat makes for an entertaining listen.

Rating: Funky

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Savage (Beyonce Remix) - Megan thee Stallion track

A dream is now a reality. Megan Thee Stallion has added another impressive feature under her repetoire all before her first album. Queen Bee joins Thee Stalli on a remix of the Tik Tok sensation single, Savage.

Beyonce adds her own verses on “Savage”. Noting her clothing company Ivy Park and OnlyFans. Needless to say, Bey incorporates pop culture and a shameless plug to show off her reign as a queen, along side an emeging princess of Rap music.

Rating: you choose (classy, bougie, nasty, or savage)

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SAWAYAMA – Rina Sawayama Album Review

Rina Sawayama is here to stay. After tempting us for three years, Japanese-British singer-songwriter Rina Sawayama has now released her debut album, titled “Sawayama”. This full circle moment completes a three year wait from her mini album, “Rina”. On this album, Rina unpacks a deeply project surrounding identify for oneself and family amidst opposing cultures; All while trying to coexist as between comfort and stereotypes when home is never the same.

Rina blends pop, electropop and nu metal genres together for a flavorful take of 2000’s pop. Across her debut album, Rina is able to look introspectively, culturally and spiritually about her current state of affairs, while making music for therapy and entertainment. Each track is carefully thought out and unabashedly creative. “Sawayama” shows a promising future for a chameleon-like pop artist. Rating: 8.5/10

1.       Dynasty: Horns and strings tip an avalanche of an opening track. Rina conveys a familiar and familial pain felt through generations. It all erupting into a wall stomping Nu Metal sound after the first chorus. Very reminiscent of Evanescence.  

2.       XS: Sawayama makes fun of consumption on this track. “XS” flows between nu metal crunches and 00’s acoustic guitar strums with ease. Rina’s passionate voice helps balance the two distinct sounds with ease.

3.       STFU!: “STFU!” is the first single off of “SAWAYAMA”. To ease her frustrations with the micro-aggressions and racial anti-Japanese comments, Rina adapted nu-metal and rock to vent her anger. This track is directed to anyone of color facing microaggressions.

4.       Comme des Garcons (Like the Boys): The second lead single from the album. Rina blends numerous different genres of music (disco, dance, funk and house) into one fierce track. While in a literal sense, the track is a huge confidence boost and fills the space with perfectly with enough groove to get you out of you seat and take a shot at voguing.

5.       Akasaka Sad: Hot off the previous track, Rina slows things down with an 00’s R&B type slink. Rina parallels her current state of feeling displaced from Japan to how her parents may have felt when they immigrated to London. Sawayama also sings in Japanese, which is distinctly set apart from the rest of the production of the track to add emphasis to the lyrics. Since the parallels she’s drawn feel strong enough to meditates on inhabiting sadness.

6.       Paradisin: Rina aims to create a theme song to her life. Sonically, it feels like a Japanese arcade game with a crowd cheering her and her saxophone solo on. Rina’s idea of paradise are the memories she’s made from her childhood. Sonically, this puts the theme songs to iCarly and Zoey 101 to shame.

7.       Love Me 4 Me: Over breezy mellotron, Rina wrestles with self-love. This track is an uptempo song with a shimmery guitar solo that precedes the interlude. On top of that, Rina has spliced Rupaul’s catchphrase (if you can’t love yourself, how are you going to love somebody else?) into the lyrics at the intro and interlude. It’s a sweet sentiment that doesn’t rely on a 2010’s anthemic chorus.

8.       Bad Friend: Taken from the song title, we can all name a few bad friends here and there. Maybe even ourselves and Rina isn’t afraid to admit it. On “Bad Friend” Rina parallels the mischief with her bestie and turns it onto herself for her absence. Rina sings over a slow building beat that sprouts from finger snaps to rousing percussion.

9.       Fuck This World (Interlude): Chime like beats below a heavy vocoder vocals. However, the subject is set to a grander scale. Rina wants to a change of pace, even if it means finding a new planet. This interlude is about the frustration with the current global climate crisis.

10.   Who’s Gonna Save U Now?: It opens with a crowd chanting Rina’s name. In the style of a live concert, Rina inhabit an arena rock production on this track. Sawayama passionately sings in the vein of Lady Gaga in “A Star is Born” and Freddie Mercury’s iconic stage presence. It’s her rock anthem moment and she gleefully lives for it.

11.   Tokyo Love Hotel: “Tokyo Love Hotel” explores Rina’s struggles with feeling like an outsider in Japan. She notices how tourists use Tokyo for its glamor and accessibility (such as love hotels). A tourist’s fascination is her world and Rina won’t accept her home as a commodity.

12.   Chosen Family: We can all relate to this song on some level. Our closest friends can be our chosen family at times. On this relaxed production, Rina celebrates the bond friends can have with one another despite the differences among one another. The production of the track is a mix of notable PC music electronics and acoustic instruments.  

13.   Snakeskin: On this closing track of Rina’s debut, Rina sheds her personal and professional inhibitions. The dreamy yet intense production supports strong vocal acrobatics. Rina takes her personal issues with stride with pulsing production

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Back to Me - Lindsey Lohan track review

In a sudden turn of events, Lindsey Lohan has returned to music. 15 years since the release of her second record “A Little More Personal (Raw)” which was followed by an Odyssey of personal strife.

Now, Lohan has returned to making music with this sepf empowerment anthem. It fits the stock music for any reality show cutscene or party backdrop with party drama antelbellum.

For Lindsey’s standards, its a good song. How genuineher contribution to music is still questionable, but anything is possible with Lindsay.

Rating: Okay

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Future Nostalgia – Dua Lipa Album Review

The future seems to be in Dua’s hands. Albanian model turned bonafide pop phenom Dua Lipa has returned with her second studio album, “Future Nostalgia”. Dua made her debut in 2015 with the single “Be the One” and then released her self-titled first album in 2017. Cultivating a strong stan base and commercial success, it’s been full steam ahead for Lipa since then. With a successful Calvin Harris collab and a Grammy under her belt, Lipa has the pop hemisphere wrapped around her finger.

On this second album, Dua embraces more disco and electro sounds with (dare we say it) nostalgic embellishments from past decades in music.  Whereas her first album as inspired by Nelly Furtado, P!nk and Destiny’s Child, this record takes inspiration from Madonna, Blondie, and Gwen Stefani. Incorporating genres like funk, house and R&B into the mix. Lipa explores themes of relationships, hookups, and feminism on this record. 

After listening through, the album seems to be like a story line of moving past a former relationship, finding potential in someone else, and recognizing former patterns that may have plagued earlier relationships. All while ending on a surprising and refreshing note. While there are questionable stylistic risks on the album, it’s stemming from a place of intellect and respect for music.

Album Rating: 8/10

1.      Future Nostalgia – On the album opener, Lipa flexes her creativity with the distinctions between the chorus’ and verses of this song. Lipa shines with the chorus, blending well with the funk influences as mystified whispers and robots utter “future” throughout the. Gives it a sort of Twin Peaks vibe. However, to me her verses paired with the simplicity of the beat are like nails on a chalkboard.

2.      Don’t Start Now – Here we have the lead single from the album. A groovy house cut where Dua stand her ground against heartbreak. She refuses to hide and tells her ex-lover to get used to it. The beat, the verses and chorus all work wonders together.

3.      Cool – “Cool” has a steady thumping electro beat that illustrates Lipa’s effort to keep herself together amidst the attention of a new lover. A solid cut from the album.

4.      Physical – (previous reviewed https://recordisms.tumblr.com/post/190559592715/physical-dua-lipa-quick-track-review )

5.      Levitating – Lipa works her earworm tricks with this increasingly fan favorite cut from the album. “Levitatiing” finds the pop star floating above ground in the sights of lover. She wants an out of this world romance and the spacey back beat blends well with the subject matter. The lyrics are bubblegum pop sweet and highlight Lipa’s bliss.

6.      Pretty Please – In a Selena Gomez style slink, Dua begs for relief. The beat and Dua’s voice slow down for her to mediate on the affection she so desires. At the end, it’s a throwaway pop track that isn’t too memorable.

7.      Hallucinate – A standout track. Lipa offers interesting highs in dips in her vocal delivery on this track. Shimmery twinkles of electro scattered throughout the house inspired track. Lyrically, Dua Lipa The track gives off a commendable Madonna vibe.

8.      Love Again – Love Again opens with tender strings (reminisce of  backing strings in“Don’t Start Now”). They buildup to a chorus that glides into dance production. The song has a evenly distributed production and is one of Dua’s best to date. There a perfect amount of space for each instrument and her voice. One of the best of the album.

9.      Break My Heart – Another tenderly crafted disco cut. “Break My Heat” is a meditation of the relationship choices Lipa has made. It feels like the yang to the ying of “Don’t Start Now”. While she is brave enough to fight for her happiness, it is not without healthy self-reflection. A well though out lyrical cut atop of a luminous disco embellishment.

10.  Good In Bed – Dua takes a stylistic risk on this song. The comedy is there and her and her lover’s sex life but her vocal delivery is questionable with a vocals that need more help than necessary. However, it shows that she doesn’t take herself too seriously (if shaving her armpit of the IDGAF single cover didn’t solidify that already). Its humorously irritating but refreshing.

11.  Boys Will Be Boys – In a surprising turn on the albums closer, Dua takes a political stance that shifts the story and rhythm of the record. Nodding The Who, The #MeToo movement and Pink Floyd’s “Another Brick in the Wall”. Dua boldly proclaims “Boys will be boys, but girls will be women”. Whether a generalized statement to the public or a refreshing ending to a lust and breakup storyline, Dua Lips delivers a surprising and thoughtful closer to the album.

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Velvet – Adam Lambert Album Review

The King of queens is back! Adam Lambert blends his velvet voice to a sound wall of funk, disco and pop rock. It’s been five years after the release of Lambert’s third album “The Original High”. The American Idol heartthrob gained a cult following and praise from modern and older music enthusiasts since 2008. With his charm and powerhouse vocals, Adam was bestowed with the honor of touring with the rock band Queen. Not only that, he became the front man of their joint collaborative effort, Queen + Adam Lambert, doing Freddie Mercury justice.

Since the numerous tours and music teases, Lambert dropped the Velvet EP in 2019, with all songs appearing on today’s full-length LP plus some more. On this project, we see a more playful and confident Lambert adjust to funk,  disco and soul influenced pop rock. Lambert also exhibits more vocal control and different ways to challenge his delivery. All of which create a satisfying space for these rock influences. However, the albums does have its faults where points fade out from the new sonic direction, and the record ends on an anti-climactic note. Above all, Lambert is still carving out a space for one of American Idol’s greatest gems.

Album Rating: 7.5/10

1.       Velvet – Enter this funk laden track. Lambert finds a perfect balance of instruments and room for his golden voice to soar.

2.       Superpower – The initial lead single off the Velvet EP. “Superpower” finds Adam playing with his delivery and experimenting with funk inspirations. There’s a dash of Prince and a hell of a lot of energy in this track. The track ends with a arena rock guitar solo with echo’s of Lambert’s personal super power, his voice.

3.       Stranger You Are – While embracing a new funk direction, “Stranger You Are” has some hint of folk-rock guitars and includes a healthy touch of horns. An entrancing piece of pop dedicated to flaunting the oddities inside of us.

4.       Loverboy – Derived of passion, Lambert laments that he is not another body. Lambert seeks a fiery connection.

5.       Roses (with Nile Rodgers) – This track is reminiscing of Adam Lambert past moodier material. Continuing the albums sonic direction, Lambert’s vocal control and delivery are a standout piece of this track. More controlled than his belting numbers. On this track, Adam sings to an emotionally distant lover, and wants to know how real it is.

6.       Closer to You – Adam wants to get closer to his lover, whatever way it takes. This piano driven track is classic Lambert; belting vocals and brooding melodies. Sonically, this track is blander than the rest of the initial cuts. But, more space for Adam’s voice is never an issue.

7.       Overglow – Standout track for Lambert. IF not the best track on the album. The track is reminiscent of Pink Floyd’s DSOTM with Lambert’s signature bursting choruses. This time around, there is more control in vocal delivery and is sung in a way that builds rousing tension in the verses. A newly minted Adam Lambert signature track.

8.       Comin In Hot – Slowing down from the previous track with more funk inflections. This slinky track highlights Lambert’s lust and what he wants his lover to do with him.  

9.       On the Moon – Lambert is in full slow motion and has us in his gravity. The narcotized lyrics slink along with the slow burn of this tension building track. Lambert inhabits the atmosphere of this track perfectly.

10.   Love Don’t –Lambert doesn’t want to give up on a certain love but love itself usually doesn’t stick with Lambert. He wrestles with a decision of what to do next over a very 80’s sounding rock track.

11.   Ready to Run – On this sleazy guitar track, Lambert will not settle for less. He’s packing up his things and ready to leave the shackles behind. Whether from a hateful place or a sordid lover, Lambert sets out to free himself.

12.   New Eyes – Adam has seen the crisp sky-blue light on another slinkly rock instrumental. Cracking his jaded shell, Lambert sees something more promising in the new eyes of a lover.

13.   Feel Something – An atmospheric closing track. Lambert gives himself room to meditate over piano driven chords. Looking to start fresh, Lambert doesn’t want an new lover, but a new rush. The emotional weight builds over the track and Lambert’s all power vocals are supported by a choir of background vocals. The track doesn’t give that satisfying emotional climax, and sonically, it’s noticeably different from the rest of the album. It wasn’t the best track to end on, but it’ notes an emotional journey for Lambert, who wants to break from the same habits that still follow him.

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COVID-19 - Please Stay Safe

Hello Hello!

This is Michael, head of Recordisms, and I want to take a moment to address the recent COVID-19 Pandemic. To anyone of my trusty viewers or followers, I personally want to urge everyone to be extra cautious during this time in our world. COVID-19 is nothing to snub your nose to. It is very surreal to watch states and countries go on lock down in an age with accessibility is at an all time high. While unnerving, these temporary and preventative measures are implicated to help us in the long wrong. It’s better to be safe than sorry.  

I implore everyone reading this to be more considerate of those around you and practice social distancing.  Please be cautious of the news outlets you subscribe or view as misinformation has spread rapidly too. Take it with a grain of salt unless it has a factual or trusted source. 

To all those displaced and affected by this virus, my heart is with you. Please take the this time to be kind to yourself and others because there is another tomorrow. And with that, is another opportunity to overcome our current situation. 

Practice social distancing, wash your hands, and eat all the carbs!

- Michael

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Lightning - Rico Nasty track review

Rico Nasty drops another track from her upcoming album,” Nightmare Vacation”. Known for her unique vocals and style, Rico hits a snag on this track. Across the song, Rico abandons good flows to stuff in braggadocious lyrics. At times it doesn’t seem like she has fully thought out what she wants to say, and lazily tailors it to the track at hand. In terms of instruments, the beat isn’t memorable nor engaging. For Rico, this track is not her best. Unfortunate for such as compelling artist.

Rating: Blah

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Suga - Megan Thee Stallion EP review

Megan Thee Stallion continues to bring THEE heat.

Thee Stallion has dropped a new EP titled “Suga” amidst a feud with her record label 1501 Entertainment. 1501 had shelved Megan’s music due to contractual obligations. Dissatisfied with her situation, the rapper took to social media to proclaim her side of the story and within days she was granted permission to release new music.

“Suga” introduces the titular new alter ego from Megan Thee Stallion. The EP is an extension of Thee Stallion’s dynamite flow and determination to solidify herself in rap history. Repping Houston, Texas and college hotties across the world, “Suga” highlights the rapper’s best traits over a new batch of fresh beats. Thee Stalli continues to make meme moment one liners with multiple flows and entrancing beats. While the one liners are there, she ends the project on some weaker songs that don’t o the project justice. He choice to sing does not support the EP either.

EP Rating: 5/10

Rating:

1.      Aint Equal – Thee Stallion bursts out the gate with an open heart. With the blessing of a fast-emerging career, comes with its blows. Megan has lost both her mother and grandmother last year before she went viral.

2.      Savage – I. Love. This. Whole. Vibe. The love the piano beat, and the different flows Megan conjures up throughout this song. Megan embraces all of her personalities

3.      Captain Hook –A quintessential Megan Thee Stallion track with meme-able quotes. Multiple flows, sexually powerful lyrics that reiterate independence and a dash of cognac.

4.      Hit My Phone (featuring Kehlani) – Megan and Kehlani deliver a good rhythm on this track. However, the track doesn’t feel completed. It just fades on while on Kehlani’s vocals.

5.      B.I.T.C.H. – previously reviewed (https://recordisms.tumblr.com/post/190505154710/bitch-megan-thee-stallion-track-review)

6.      Rich: A flash in the pan track. Great beat and lyrics, however, irritatingly shortlived.

7.      Stop Playing (featuring Gunna): Megan takes the mic and sings. While it isn’t her strong suit, it does keep the flow of the EP fresh. The xylophone beat and tone of the beat are reminiscent of past tracks like “Best You Ever Had”.

8.      Crying in the Car: Sorta of a dud track. Megan energy feels heartfelt, but her falsetto against the autotune don’t do the beat justice.

9.      What I Need: While similar to the previous track, Megan sings again on a hip-hop beat. Personally, I think the song sounds better that “Crying in The Car”, but my critiques sound the same. Doesn’t feel as satisfying to put the weaker track at the end of the project.

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Gaslighter - The Dixie Chicks track review

After 14 years, The Dixie Chicks have returned with the the titular single from their upcoming album, “Gaslighter”.

Its been quite the winding road for the country group. Infamous from the controversy of their political stance against the Iraq War, the band has wadded out a blacklist from the musical industry and have teamed up with super producer Jack Antonoff for their long awaited eighth studio album. Inspired from her divorce, lead singer, Natalie Maines has been inspired to write again and has assumed the same attitude that echoes from the band’s previous hit song, “Not Ready to Make Nice”.

Enter, “Gaslighter”. An upbeat acoustic guitar lead track. The song presumably parallels the falling out of Maines’ marriage to Adrian Pasdar. Once you read the lyrics for yourself, it’s an empowerment against those who try to silence us, a trope the Dixie Chicks know all too well; passionately geared into the next stage of their career.

Rating: Forthright

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Never Worn White - Katy Perry track review

Laced with the typical Katy Perry kitch, Perry has a proper return to form on “Never Worn White”. The song is a touching ballad that encapsulates Perry’s attitude towards her past and future. As she prepares to walk down the aisle (AND welcome a child into the world) she reflects on her past marriage with Russel Brand and acknowledges her frets for an idealistic “big day” with Orlando Bloom. “Never Worn White” is stripped down to piano chords and string arrangements that reference melodies used in every wedding ceremony. All of which are wrapped in a graceful bow of vocal runs from Perry. This is arguably one of Perry’s best pieces of work.

Rating: Masterful

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Wake Up - Kash Doll Track Review

The wait is over. That was fast. Kash Doll has dropped a new song a few months after from the release of her debut album, “Stacked”. With a beat reminisce of “Ice Me Out”, the delivery is humorous but kinda half baked. While we aren’t sleepin’ on Kash Doll, the song could have been a bombastic moment for Kash to challenge herself lyrically.

Track Rating: Groggy

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Miss Anthropocene – Grimes Album Review

There will never be a story like Grimes’. Otherwise known as Claire Boucher, we have reached the release of her fifth studio album, Miss Anthropocene. Since her last album, Grimes has been involved of a flurry of media attention, swaying from acclaim to critique. Whether clashing with her label, a tall tale from Azealia Banks, or media scrutiny from a high-profile romance, Miss Anthropocene is a very Grimes way of dealing with the collusion of her stardom.

In Grimes fifth record, she projects the bad reputation she’s received onto a being of ultimate destruction, the goddess of climate change named Miss Anthropocene. The name stems from the two words “misanthrope” and “Anthropocene”. This fifth studio album touches upon darker themes such as drug abuse, death, misanthropy, and destruction.  

While a new creative peak for Grimes, the album concept is not fully realized as interjections of Grimes’ personal life take center stage besides our titular villainess. And that’s the beauty in the flawed project. What shines through the character, are the most vulnerable sides to this captivating artist the public has ever seen. But, in terms of Grimes, and her reputation of cohesive work falls short sonically with this uneven album.

Album Rating: 6.5.10.

So Heavy I Fell Through the Earth (Art Mix): A cinematic album opener. “So Heavy” touches upon Grimes accepting her new role as a mother. Via genius, Grimes described the feeling as a “loss of power”. The almost sinister production is a promising opening to the album, but we’ve already steered away from the concept of the project.

Darkseid (with 潘PAN): Named after a Justice League villain, “Darkseid” welcomes back 潘PAN (formerly known as Aristophanes). On the track, Grimes only sings “Unrest is in the soul, we don't move our bodies anymore”, while 潘PAN raps about the suicide of one of her friends. It’s a mixed bag of anguish, for different reasons. Makes me think, “Is grimes alluding to Instagram culture?” On account of constant filters and modifications so we can present ourselves. “Slim thick is that you?” The song features atmospheric industrial beats.

Delete Forever: A more stripped-down tone. Complete with guitar and echoing violins. The song touches about both losses from Grimes personal life, fellow contemporaries, and an epidemic plaguing the world, opioid addiction. Vulnerable is an understatement. Arguably an element to the destruction of the Miss Anthropocene, the personified viewpoint of Grimes overshadows our villainess.

Violence (with i_o): A pixie-like club banger. While enjoyable, the song deviates from the story of the album. Interpretations of the song have lead fans to believe that the song is a personification of humans versus climate change. It’s a fair metaphor but isn’t weighted by much since Grimes admitted this song was just a fun project to make. While direct, that song contributes to misanthropy in terms of violence against others.  

4Æm: The tipping point of the Miss Anthropocene project. This was the first song made in preparation for the new sonic direction of Grimes’ fifth album. Indian instruments and Grime’s notable fairy like vocals rule the song, as it transitions into techno reverberation. The loose connection to this overarching theme is the pending weather change.  

New Gods: Over a looming piano ballad, we prepare for new servitude. Grimes sings about the new Gods of our superficial culture. All seem to be coated in plastic.

My Name is Dark (Art Mix): Nu metal guitars swell into a chorus of Hell escaped pixies. Relating to her philosophy of cynicism, Grimes reflects about embracing her negativity to be creative. This touches upon the album’s theme of misanthropy.

You’ll miss me when I’m not around: Simple yet telling. Grimes reminds us that her impression will not be forgotten, despite the blows of her image. Lyrically, the songs is about an angel who kills itself and makes it to Heaven, begrudgingly. Yep, not too far from story created by Grimes. Insecurity from the misanthrope? Seems plausible.

Before the fever: Bleak and Beautiful. Grimes performs her stylized version of the end of times. All instruments are slower and muddled. There is no clear instrumental interjection besides Grimes voice, in a notably deep register.

IDORU: We open to a stereotypical fairy soundscape, birds chirping, Grime’s infantized vocals and mellotron production. For Grimes, the production value is kickass, and one of her best. Compared to the rest of album, lyrically and sonically, it does not fit at all. Grimes described the track as a hopeful ending to such a dark project, but it once again challenged the fluidity and cohesion of the record.

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Spotlight – Jessie Ware Track Review

Jessie Ware returns in a graceful return to form. Reinvigorated to write again, Ware got her groove back. Her enters Spotlight, a elegant disco/electronic track. Structured by strings, synths, groovy base, and hi-hats. Ware croons about her being hung up about sharing her night with someone, as she wants to soak in the moment for herself as well. The songs paints a picture of a couple dancing next to an orchestra in the moonlight. Its cinematic vibe and disco influence signals a new direction for Ware, and it’s one we are very excited for.

Track Rating: Decadent

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Stupid Love – Lady Gaga Track Review

Dance, Electronic, and Disco, quintessential for superstar Lady Gaga. On “Stupid Love”, Gaga returns to her breakout soundscape that assured her global domination in the music industry since 2010. The song is said to be the lead single off of Gaga’s upcoming sixth studio album (speculatively called “Chromatica”). The result, A rehash of previously released sounds, paired with the infectious Gaga spirit. The song feels very similar to “Do What U Want” from ARTPOP, and it certainly fits that album’s soundscape. Lyrically, Gaga demands the affection she’s been pining for. This is just the beginning of a new era, and what Gaga is best known for by now it her passion to create music, so a new batch of songs is bound to unveil another side of the pop enigma.

Track Rating: Reductive? (look it up)

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The Slow Rush - Tame Impala Album Review

The ever-elusive Kevin Parker is about to give us “The Slow Rush”, and it certainly has been one. Since Tame Impala’s third record “Currents”, Parker worked on numerous projects for music biggest stars; Lady Gaga, Travis Scott, and Kali Uchis to name a few. Now, with the same perfectionist pushbacks, we are closer to Tame Impala’s fourth record.

With each album, Parker unravels more complexities of personal growth; Which is evident in his last album, Currents. Parker continues to embrace the changes on his life, while dealing with heavier themes this time around. We’ll get deeper into that down below. So far, The Slow Rush incorporates different genres such as the band’s typical psychedelic sound. Now, it’s touched up with soft rock, disco and yacht rock finishes. Thematically, the songs cover loss, grief and healing.

Tame Impala continues to use blend intelligent subject matter along with distinct musical structure set against a gauzy psychedelic dream; Creating a sonic world where the songs this time around are repetitive and not as memorable as previous efforts. They production bleeds, stomps and glides, at times simultaneously. In tandem, it creates redundant and unmemorable tracks that can easily be overlooked as most songs are just metaphors for the same theme of looking forward but battling not to look back. Album Rating: 7/10

The track by track review is below

One More Year: A gauzy and galloping track. Parker is not concerned about the limits of time and aims to live it to the fullest. The songs builds up into a proclamation of how much time we literally have to spend and a gush of programming effects.

Instant Destiny: On this pop influenced cut, Parker meditates on marriage and the rest of his life. He’s “about to do something crazy” and a ring on his finger will have his future cut out for him. Parker seems to welcome it with open arms. It’s sweet to see Kevin gush and reveal such an intimate detail of his life.

Borderline: Parker philosophizes how love will reach him.; while intertwining elements of different uses of the use of the word “borderline” as a noun, such as mental illness and addiction. Parker’s falsetto galivants along lush piano runs, wailing backing guitars and bongos. The song is very fluid in rhythm, and more pop oriented release. “’Borderline” has distinctly groovy instruments that contrasts with a crumbling relationship.

Posthumous Forgiveness: One of the band’s most personal songs, Posthumous Forgiveness is a meditation on the loss of Parker’s father. The song is divided into the two parts. The first part reflects on the estranged relationship between Parker and his father. During the second part of the song, the song transforms from down tempo to uptempo. Parker exclaims all of what he wants to tell his father. The song builds upon epic mellotron rifts and buzzy guitar chords; In tandem with the records’ signature addition of bongos. The song leaves a lasting impression, but almost overstays its welcome.

Breathe Deeper: The glimmering sun-lit track includes house style piano riffs and groove laden synths. The track serves as a reminder that the simplest thing we can do is breathe deeper. Both and overstated and an understated philosophy. The track ends with a cool warp-like synth outro.

Tomorrow’s Dust: Shimmy shaking percussion and bongos welcome the listener.  It’s a breezy think piece on not looking back.

On Track: The bustling albums slows down at a bit at this mark. Parker reflects on his strides towards the future. Crashing waves of synths and acid glossy pianos carry the track. Carrying on the theme of time throughout the album, Parker reminds us to not focus on the past. Buzzing guitar riffs swell into the chorus.

Lost In Yesterday: Parker reconciles bad memories into meaningful lessons on this track. “Lost in Yesterday” is a dreamlike cut with imaginative musical programming. Psychedelic rock chords blend with Star Wars laser-like effects, and kaleidoscope like keys. Musically, it feels like the epic rush of emotion from a potent memory we all have. The one where you try to but to bed but just lingers, so you have no choice to embrace the negative and the positive.

Is it True: A groovy foot tapper, that features a notable bongo percussion and fuzzy guitar/synth combos that give a disco influence. Not too memorable of a track, though.

It Might Be Time: An simple yet charming track, Parker produces another track geared towards his now redundant subject matter. Change. Not much else to say.

Glimmer: A fever dream interlude of synthpop and disco.

One More Hour: A grand slam album ender. Clocking in at 7 minutes and 12 seconds, “One More Hour” closes out “ The Slow Rush”. A tedious and timid piano riff opens the track. Loud guitar riffs come in along with crooning vocals from Parker. Parker once again meditates on what brought him to this current moment of time, and how he can spend it for the better. H simply wants to love again. While he has a marriage and music career ahead of him, we see the latter take us to new heights on this triumphant closer.