Top Five Flawed Rap Albums from 2025

17 Nov

1. Chance the Rapper – STAR LINE

I didn’t really like Acid Rap and so Chance has never really stuck to me. I just haven’t really tracked his rise and fall beyond giving his albums a few spins each. Despite that, I found STAR LINE to be surprisingly fun.

The atonal rapping that defines him works a lot better when it’s not the only sound in the album. “Ride”, for example, is much more likeable when it’s mixed with other music. He’s not breaking any new ground when he tries contemporary sounds like in “Drapetomania” or “Gun In Yo Purse” but the diversity is welcome and he gets a bit of fusion in fragments of the songs.

So, when he returns to his comfort zone in “Pretty”, it underscores the confessions of the track. It lets us both sit down so that he can talk to us and the maneuver is very effective.

Nevertheless, there’s not enough here for the album to stick but it’s still a pleasant surprise and I’m glad to get an album that makes it so easy to appreciate Chance.

2. Tyler, the Creator – DON’T TAP THE GLASS

I appreciate an album that does something interesting either with the form of music or with the content of the album. Tyler’s trilogy had both. DON’T TAP THE GLASS has neither. His strength used to be how strongly he felt things. Nothing of that comes through with this album

It’s certainly competent music though. There are no weak tracks and plenty of earworms like “Ring Ring Ring.” He has found a space in which he’s very comfortable and he able to mine good music out of it effortlessly. Some sweat would have been nice though.

3. Young Thug — UY SCUTI

What’s left when you take the joy out of Young Thug? More than I expected, given how defined Young Thug is by his joy and energy, but still not enough for an album. There are moments here where he gets a sincere pain in his voice such as the “Do you know how it feel to see your face on the news?” of “On The News.” More interestingly, his flow is good enough by itself to carry you along for much of the album. It’s not as compelling without his usual freedom but it still stands strong as a reason to listen to him. “Whoopty Do” reminds you how interesting he is when he feels like himself but even in his duller tracks, he’s just a very talented rapper.

However, without the fun, the album sinks a bit into the morass of similar rap. It’s padded, like so many contemporaneous albums, and so, for the first time in Young Thug’s career, easily fades into the background.

4. Kid Cudi – Free

Vetinari in The Truth by Terry Pratchett posits that people don’t want the news as much as they want the olds. They want to read “Dog Bites Man” not “Man Bites Dog.” No man bites a dog in Free. Cudi does what he has always done.

As always, sometimes it works. “Submarine” is quite a bit of fun. It’s upbeat and psychedelic and reminds me of The Beatles. “Opiate” and “Salt Water” have sticky sounds. However, “Neverland” is .exhausting, “Past Life” draws from too much rather boring rock.

Kid Cudi is the same loner stoner that he has always been, both in music and in personality. It’s a strong image and one that he always sells well but there’s nothing left to say about it.

5. Earl Sweatshirt – Live Laugh Love

Earl’s music is never far from a drone. It’s so deep underwater and so muted and so sunken that it very easily just becomes murk. Normally, there’s at least a single cut like “Chum” or “Grief” to extract it from the morass and just enough propulsion in the raps and beats to keep it moving. Live Laugh Love misses both those pieces and suffers greatly for it.

HM. SABA – C0FFEE

Saba gets some credit here for trying out a variety of sounds but none of them really work. He brings little care, personality or energy to any of the tracks and the result is entirely forgettable.

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Five Pop Albums from 2025

3 Aug

PinkPantheress – Fancy That

Fame suits PinkPantheress well. Fancy That demonstrates more personality, more experience and more confidence than her earlier work. She’s comfortable now. This fame lets her build on her established sounds and to surprise you with their evolutions, especially in her lead single “Illegal”. It also lets her be much more flirtatious than before and the playfulness is excellent.

It never quite becomes a statement album though. It’s more of a stretch than a flex. It is simply a smart, fun pop album from a very likable artist.

KATSEYE – BEAUTIFUL CHAOS

I come to KATSEYE pretty fresh. I have not watched the reality show that brought them together. I don’t follow any of them on social media. I didn’t track their singles. This album is exciting enough without any of that.

“Gabriela” is the best expression of what makes them so interesting. When your K-pop group is international, it makes possible a section where your Latina member can have a Spanish verse. It’s a natural fit, especially when you consider how much new Latin musics like reggaeton and corridos draw from the same well as K-pop. It’s still a breathtaking innovation and one done perfectly. Le Sserafim delving into afrobeats seemed like the forerunner of a new space in K-Pop and this is a welcome development there.

Having said that, I never see the point of reimagining “Jolene.” The rewrites are always scared of the honesty of the original. I do appreciate the homoeroticism in “Gabriela” though, even as I could have done with much more of it.

I also really like the blending in of hyperpop through the album. “Gnarly” works very well as the aggressive edge to it and “M.I.A” on the other side of the album shows its more dancefloor while remaining dense and layered.

They do well in traditional K-Pop as well. “Gameboy” is fairly standard and it’s done well. It has a great, light tone and a catchy hook. “Mean Girls” is perfectly acceptable slow pop even as they do much better for more energy.

The manufactory is inextricable from KATSEYE, as it should be for a pop group. They are exciting, not despite it, but through it. This is the natural meeting point of the reality TV music group, the emergence of hyperpop and the internationalization of K-pop. This is exactly what all three should be in this moment.

Addison Rae – Addison

I’ll be the first to admit that Addison has some great pop. I really liked “Obsessed” and the narcissism of its hook even as it had the worst music video of all time. Addison starts out strong too. “New York” is glittering modern pop with a good pace and a story that it sells.

It’s a tired story though. The back story of a small town girl longing for a big city was hackneyed in the 1930s and Addison does nothing to update it. Popstars need hooks every bit as badly as pop songs and all of Addison’s hooks are too blunt to snag me.

I have yet to like a single one of her looks. I don’t understand how a TikTok star has such abysmal choreography. I think the grindset philosophy is poorly considered.

So, we get to a song like “In The Rain” that has interesting parts but ones that she repeats rather than develops. There’s neither sophistication nor subtlety in her songcrafting. The constant repetition shows a lack of respect. It positions me as a follower rather than a fan and when I’m treated like this, I find that I’m neither one.

So much of the album falls into filler this way. “High Fashion” and “Diet Pepsi” both could have been quite good had they developed their themes further. “Aquamarine” is better but is overlong and every maneuver in the song is predictable, particularly the boring spoken word interlude. “Times Like These” is too trite to make any impact. “Summer Forever”, like “High Fashion”, are very LDR but without the edge that made Born to Die so interesting. Also, Lana has moved a lot in the past decade. I don’t see a reason to return to 2015.

For all of that, she can still make good pop. None of these songs are music that you would object to hearing at a mall. However, it’s all too serious and too manufactured. Some play and some fun would be undeniable music given her strong ear but it’s clear that’s not why she’s here.

Selena Gomez – I Said I Love You First

I don’t think Selena Gomez gets enough credit as one of the great chameleons of our time. She has done than dabble, she has defining hits in both reggaeton and in afrobeats and her KPop excursion is still infectious.

She tries classic Hollywood for much of I Said I Love You First and it works both visually and musically. “Sunset Blvd” and “You Said You Were Sorry” both work well. “How Does It Feel To Be Forgotten” does well in LDR’s space and “Cowboy” is another standout like this.

Some of her other experiments here don’t do as well. I’m a big fan of the Charli sound but “Bluest Flame” doesn’t do anything interesting with Selena. The Charli chorus is fun but it’s insufficient without Selena adding something of her own. The 80s synths of “Don’t Wanna Cry” are fine but uninteresting. “Do You Wanna Be Perfect” is unbelievably trite and highlights how inchoate the album is.

The stronger vein is what the album promises from the jump; the Selena Gomez / Benny Blanco relationship. It’s easy to feel happy for them and you can feel it in “Scared of Loving You” strongly enough to lift it above the shallow lyrics. “I Can’t Get Enough” is both of them in their comfort zone and so one of the strongest songs in the album

I’m not very well versed in Selena lore myself. I don’t understand anything in “Call Me When You Break Up” for instance. However, their very public engagement has consistently been a very positive spectacle and this album may not be the best pop around but it’s still another successful maneuver in what I hope ends up a total success.

Justin Bieber – SWAG

On the plus side, “YUKON” is an excellent song. There is some interesting R&B in this album. “BUTTERFLIES” also works well as does the opener “ALL I CAN TAKE.”

On the negative side, the album is stuffed with boring music. “GO BABY GO” is a putrid ballad, “DAISIES” is uninteresting throwback pop, “SWEET SPOT” is a paint-by-number Sexyy Red cut.

On the disgusting side, the skits in the album and the social media filth as a rollout campaign.

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Top Five Rap Albums of 2025 That We Want To Talk About

11 Jun

1. Infinity Knives & Brian Ennals – A City Drowned In God’s Black Tears

I have never heard an album go this hard. Infinity Knives and Brian Ennals deserve a lot of credit for smart, unapologetic, fiercely political stances. Too many artists talk a big game when it comes to politics and then choose an anodyne all-is-love stance or try some pathetic anti-woke grifting. This album has the backbone to call a genocide a genocide and does so right from the opening track.

The preaching is clever too. Ennals is surprisingly funny across the album. He uses the weight of the politics to add heft to an already often-punched out flow. He also just stops you cold with lines like “Bambaataa was a pedophile, Russell’s a rapist / So how far can hip-hop really take us?” in “Live at the Chinese Buffet.”

After a while with the album though, it’s the breadth of music here that astonishes. “Sometimes, Papi Chulo” channels Lupe well but has a wonderfully complex beat, something Lupe only managed a handful of times in his career. It’s more modern than a Lupe joint too. The Latin sounds are an interesting wrinkle. “Two Headed Buffalo” could be a strong Neutral Milk Hotel cut. It’s very legitimate indie rock and one of the best songs in the album. “A City Drowning. God’s Black Tears” is powerful metal.

Sometimes across this breadth, the music doesn’t quite match the killer energy of the album as a while. “The Iron Wall” is sometimes musically flat, the flow is flat and disconnected from the beat. The beats are often unexpected though even if they don’t necessarily groove. The same can be said for “Live at the Chinese Buffet”. It’s unfortunate that the most political tracks are the least musical. Even if that’s intentional, it’s not a choice that I agree with. Meanwhile, “BAGGY” is interesting to add and the submerged beat is a good addition but not one of the stronger tracks on the album. Despite some very strong moments though, it’s too slow paced.

Mostly though, they’re a lot of fun. “Everyone I Love Is Depressed” has a great funk and a liveliness that works better with the anti-suicide messaging than the overly serious Kendrick or Logic. “Soft Pack Shorty” is a fun sex rap that finds time to ground itself in material considerations but finds a lot more time to get dirty.

A City Drowned In God’s Black Tears is dizzying and unmissable. There are no rules for talent like this and Infinity Knives and Brian Ennals glory in their ability to do whatever they want.

2. Saba and No I.D. – From the Private Collection of Saba and No I.D.

Cities are bigger than you think. Give a block of land a name and you think that you can abstract it into a single entity. The people of Lisbon are friendly, the food in Rome is great, and so a city of millions of souls boils down to a simple trait. So also can two musicians as disparate as Saba and No I.D. be welded together

The album has a strong Chicago sound. It’s very reminiscent of old-school Kanye or Common. Given how much space No I.D. has to breathe here, it’s no surprise. He runs great beats throughout the album and when he and Saba sync perfectly, as in “Woes of the World,” it’s exceptional.

Interestingly, there’s also a strong strain of Dilla in the album. “Reciprocity” lets No I.D. go deep in his bag and the Dilla comes through strongly in it as in the great “30secchop.” Dilla frequently collaborated with No I.D. but I never understood him as a Chicago sound until this album contextualized him like this.

Chicago doesn’t always work out as well for Saba and No I.D. though. “Acts 1.5” has an interesting beat that Saba wastes. “Westside Bound Pt. 4” feels perfunctory from both of them. “She Called It” tries an early Childish Gambino flow that doesn’t work despite a strong atonal chorus. “Every Painting Has A Price” could have been a filler Chance the Rapper track.

However, they hit more than they miss. “How to Impress God” lets Saba go hard and No I.D. provides the perfect framing for Saba’s choppy work. From the Private Collection may not be the best work from either half but it’s good reason for their hometown to be proud of both of them, as if further reason was necessary.

3. Xang – Watch Over My Body

Watch Over My Body is a dark, viscous sludge. It is at its best when it covers and suffocates you. It is unsurprising then that it is monotonous but perhaps it was avoidable. The punishment of the monotony fits the experience of the album but still caps its quality. There are not enough ideas in here to make the quite good music do more than be another example of how DMV rap is poised to break out but still looking for the final catalyst.

4. Nino Paid – Love Me As I Am

Nino Paid is getting somewhere. Two albums in two years is no small feat and DMV rap is not far from a breakout moment. He has come as far as anyone into working it into something that can explode. Love Me As I Am isn’t all the way there but it’s getting tantalizingly close

Three tracks here highlight DMV rap as DMV rap; “Joey Story”, “Redemption” and “Play This At My Funeral.” If you want a quick taste to see if this is for you, try these three or at least just the last of them. These are cinematic, claustrophobic songs that are served well by Nino Paid’s storytelling and philosophizing. He’s fully engaged in this zone and his breathless rapping is very compelling.

I excerpt from the album because it does have an unfortunate amount of filler for a 5 minute album. “Be Safe” does nothing. “Progress Report” tries a softer beat and gets no energy from it. “Weekend in Paris” flirts with something more sultry but the mixture doesn’t work.

Much more interesting is “Try Me” that takes a pop maneuver that, while not seamless, adds some good variety. His voice is too sunken to really fit the beat and it doesn’t quite find the groove and gets lost against the peppy beat and hook but it nonetheless feels like the blueprint for something more to come.

Love Me As I Am is the same writ large. It’s not quite a full success as an album but it is both a schematic and a promise for great things to come.

5. Drake – $ome $exy $ongs 4U

Despite everything, this album reminds me how talented Drake is. As ever, he wastes it, but the talent is undeniable. Honestly, “CN TOWER” is Drake in great form. The cringe is over-the-top in his lyrics and that always works for him. The groove to “SPIDER-MAN SUPERMAN” that he plays with and denies expertly showcases how skilled a rapper he is.

The album is lazy though. “GIMME A HUG” has the framework of a great song but he doesn’t workshop it enough. He hams too much in “MEET YOUR PADRE.” He’s capable of much more finesse but pandering generates hits and Drake looks for the easiest route. That’s why so much of the album, like “SMALL TOWN FAME” or “DEEPER” is padding.

Overlooked in the memory of the feud is the energy it brought to Drake’s rap after such a long stretch of boredom. It’s a shame that the loss caused him to forget it too.

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Lady Gaga – MAYHEM

16 Mar

New Lady Gaga music is inherently exciting and MAYHEM starts strong. “Disease” and “Abracadabra” open the album with plenty of energy. Maybe fittingly, she delves deeply into nostalgic sounds for the album. Her pastiche goes pleasingly broad as well. She draws from alt-rock in the standout “Perfect Stranger” and from Prince and Bowie in the strong “Killah.”

This nostalgia undercuts the album though. There’s not enough of interest here and so it overstays its welcome. Where other necromancers like Rina Sawayama add new texture to the space, Gaga plays it very straight and so the album’s rewarming of stale sounds loses pace. It’s still overall a fun album but never much more than a diversion.

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Colle – Montalvo

7 Mar

Montalvo has great soundscapes. You can turn on any song here from “The Day You Told Me” to “Winter Garden” and it will give you a textured, vibrant backing to whatever else you might be doing. It cannot however do more. The music blends together too much and the lack of a clear single drastically worsens the problem. For all of its success as a soundtrack to the rest of your life, it still blends together too smoothly and leaves nothing behind.

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The Weeknd – Hurry Up Tomorrow

10 Feb

The Weeknd is unfortunately anodyne as a massive pop star. The sound is too well defined, the look is too safe and the edges are all gone. This is still the greatest male vocalist of all time and he is bigger now than he ever was and yet the music just doesn’t have the impact it once had.

His spectacular talent is enough to carry the occasional chunk of the album. He uses his voice to great effect in “Cry For Me” and in “Open Hearts,” songs that highlight his vocal range while simultaneously maintaining propulsion. He does very well in “Timeless” and uses Playboy Carti for an interesting wrinkle.

However, at no point does he muster the memorable images and lines from his earlier work and much of the music here is just pastiche of his better music. “Opening Night” is well in his comfort zone, it’s just uninteresting. “Sao Paolo” brings in new sounds but moves too slowly to be much better.

A few singles can’t really make up for a padded album and the singles aren’t as strong as they once were. I want more from superstars than this.

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FKA Twigs – EUSEXUA

3 Feb

I’m glad that FKA Twigs’ best work is also the one in which she has the most fun. She tends to be a little too serious and a little too high-art in her music and EUSEXUA could have very easily been another album of that nature.

This starts with the production. It’s absolutely good enough to carry curveballs like “Drums of Death” even before Twigs’ voice kicks it up to the next level. It’s also more playful than usual. The obvious one is the excellent “Childlike Things” but “Sticky” also feels like the best bit of an indie DJ set at a local club. It reminds me of Rockit in that the use of surprise in the beats is practically jazz fusion.

There are some weaknesses in the album, particularly “Wanderlust.” The ballad is a poor fit and uninteresting musically, as is unfortunately the case with the title track. However, the rest is bold and superb. Going from the already fantastic “Childlike Things” into the equally excellent but very different “Striptease” is a tremendous choice and the kind of flair that defines the album and makes it entirely unmissable.

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Bad Bunny – DeBÍ TiRAR MáS FOToS

20 Jan

DeBÍ TiRAR MáS FOToS immediately makes it clear that this is a Puerto Rican album. Bad Bunny has filled it with his hometown sounds. Bad Bunny’s Un Verano Sin Ti and reggaeton as a whole was largely a flavoring of the already dominant blend of singing and rapping that defines the past decade and a half of music. This is uncompromising in how it draws from a different well and very exciting music as a result.

Bad Bunny’s ability to make infectious music is what really makes this work though. He is an unquestionable hitmaker and incredibly sincere in his work. The album would have been lifted by a true single, but it’s consistent, likeable music and the deep Latin influence twisting the reggaeton is a pleasure.

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Kendrick Lamar – GNX

12 Dec

I come not to bury Kendrick but to praise him.

GNX is another victory lap in what has become a year of victory laps for Kendrick. It’s not just that he won the highest profile rap battle in twenty years, it’s that he took down Drake. It is very, very easy to root against Drake and Kendrick didn’t just take him down, he eviscerated him. He made a song calling Drake a pedophile into the sound of the year.

This new Kendrick comes out strong right from the start of the album. When he pulls out Wayne’s flow to mock him in “wacced out murals,” it’s the return of the angry Kendrick that we want now. When he drags out “I did that” in “tv off” to remind you of “a minor” in “Not Like Us” that’s a celebration we can all get behind.

This is what makes “peekaboo” great. It’s a legitimately threatening track. Kendrick has remade himself into a truly scary dude in that beef. The chorus of “What they talkin’ ‘bout? They ain’t talkin’ ‘bout nothin’” repeated is a chant that you now know that Kendrick can back up.

This new image works well for him in the first half of “reincarnated”. This has him channeling Em for some compelling storytelling and hard rap with an excellent, propulsive beat behind him. The overarching narrative of Kendrick as the reincarnation of each of the figures doesn’t work but the music and the tone are very well done.

It falls apart in the second half of the song though. His Christianity just doesn’t work as well anymore. Firstly, they’re just not as much fun as the bangers and the takedowns that we now look for and secondly, I think we can now admit that his grasp on the Christianity was always fumbling, especially as we’ve seen how quick he was to drop it when the chance for a feud came up just as he was quick to pick up homophobia and misogyny for cheap points.

At least “reincarnated” is good music. This issue is worse in “luther” and “dodger blue.” These cuts were always questionable but now are nothing more than a waste of time. Similarly, I have less patience for “gloria” than I used to. “I Used to Love H.E.R.” is completely played out by now.

“heart pt. 6” is a nice walk down memory lane. It reminds me a lot of Jay in his look-how-far-I’ve-come mode and is a fresh style of victory lap for Kendrick but I trust him less now than I did before the beef and there’s no value in a biography when you can’t count on the honesty of the author.

GNX is still quite a solid album. Kendrick can absolutely deliver bangers when he needs to and he’s still in the post-beef glow. He’s going to get bored with those bangers soon though and while it’s still recent enough for him to continue his celebrations, it’s not clear what’s left for him when the party stops.

Part 2 – Drake

I come not to praise Drake but to bury him.

It’s not normal for a musician to have more haters than fans. Even the ones with haters for days like Bieber or Swift have a balance clearly skewed towards fans both in numbers and in passion. The only one that I can think of before now is Nickelback.

The beef made it very clear that Drake has more haters than fans. Like Nickelback, you understand it. It feels like the entire world is saturated with mediocre Drake music and he pumps out far too much of it. He’s also just unsavory. It’s not hard to not message teenagers, to not hide children, to just be normal. We all know that this feud isn’t going to end Drake’s career and honestly probably won’t even really dent him, but music would be better without him and the deluge he brings with him.

So, it’s no surprise how dishonest the discourse was during the beef. Until the knockout punches of “Meet the Grahams” and “Not Like Us” the exchanges were pretty much even, maybe shading towards Drake. This beef brought back some of his interest in rap after a long period of boredom. He had the strong flip, he had some barbs that landed and he had some solid rap in there. Kendrick finished the battle and did so decisively, but there was a battle being had.

The hate for Drake was also enough that we let Kendrick get away with a lot that I’m still not comfortable with. I thought the homophobia was lazy when Em pulled it out in “Killshot” in 2018. This is well beyond that and Kendrick dropped in a bunch of extra bigotry to boot. Kendrick admitted to the cheating in his own songs and there’s just so much dishonesty in his narratives.

You really cannot accuse Drake of jumping on trap for profit when it was him on that “Versace” remix, just as it was him recording tracks with Bad Bunny before he crossed over. This is the reality of the past decade of music, many of the biggest trends, including trap, kpop, afrobeats and reggaeton are sounds that Drake paved the way for.

The thing is that rap has taken over the place of rock. It is now the second genre in music and has been for a while. This has been in the cards for a while. The meld of singing and rap and the pop appeal of that fusion has been obvious for a long time. Had Ms. Lauryn Hill been a more consistent musician or Ye been able to actually sing it might have been either of them. Instead, it’s Drake who actually succeeded and in doing so probably made the most significant advance in rap history.

A lot of what Drake is hated for is the stuff that made rap approachable. He’s soft, he’s preoccupied with pettiness, he’s cringe and he memes, these are all things that take away the menace of rap, things that turned rap into mall music and things that made rap vastly more successful than it has ever been before.

There’s no hidden benefits to his laziness though. He’s the only musician of this level of success to never have had a truly classic album. All of his latest music, save for the feud, has been phoned in, padded garbage meant to keep other musicians in the shade. Should this battle have ended him, there would just be so much space for music to outgrow him.

Of course, kayfabe aside, this won’t end him. He won’t even feel the need to record his own MBDTF to flip his image. He’ll just brazen it out, release more mediocre music and continue to dominate the charts. Nevertheless, imagining this obituary does two things at once; show how much of Drake there is to praise and show how welcome an obituary would be.

Part 3 – Pop

The other thing the beef made clear is how much pop has eaten the rest of music. Quite likely you were plugged enough into rap discourse for the beef to have been big but outside of rap circles, it just didn’t seem to make waves. Except for “Not Like Us” there wasn’t much crossover and that was more as a banger than as a diss.

Pop is always going to be the largest genre in music. That’s the definition of popular music. I’ve just never seen it be so dominant before.

Maybe when we look back at this period, the battle will be the first thing we think of but, when it happened, the Taylor-Travis relationship was bigger news. Honestly, brat and Sabrina Carpenter probably were as well. It has been decades since the last time the two biggest names in rap went at each other but this time it’s nothing more than a sideshow to the main pop events of the year.

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Arooj Aftab at Teatro Tivoli – 2024/10/28

29 Oct

Arooj Aftab is a lot of fun live. She has a tremendous voice and one that really benefits from a live stage. Her voice is incredibly rich and her Urdu music showcases it well. Additionally, she is both irreverent and hilarious and her crowd interactions are a highlight in themselves and a great counterpoint to a music that is often played too seriously.

The rest of the band does a great job laying soundscapes around her. It’s a textured sound and it evolves well over the course of each song. There’s an expert balance between the vocals and the instruments that allows the listener to move between the two smoothly. This led to a few cases where some of the instrumental solos felt like they had a hole the vocals could have filled but the excellent chemistry between the violin and guitar led to plenty of fun and an interesting new dimension to the sound.

When you put everything together, the total made for a wonderful show. There was more folksiness in both the English and Urdu songs than I expected and much more humor in the performance than I could have asked for. It’s hard to think of how this could have been more enjoyable than it was.

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