4/10
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Gus Dapperton’s debut album is a shoddy mix of all the most agreeable sounds to have been popularized in the indie scene over the past decade.
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Weezer’s Black Album resumes the band’s nosedive.
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Harverd Dropout sounds more refined and slicker than its self-titled predecessor, but is all the worse for it.
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Bawskee 2 sounds like something a South Florida rapper would’ve uploaded to Soundcloud two years ago.
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Gallipoli lacks the romance and wonder that made Beirut great in the first place.
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Soap&Skin’s first album in six years is sadly marred by awkward additional instrumentation and songwriting that’s lackluster compared to her previous work.
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Dummy Boy has a handful of highlights, but 6ix9ine barely shows up for many of the tracks, leaving them to be made or broken by the features.
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Come Over When You’re Sober, Pt. 2 features more dynamic vocal performances and a more diverse instrumental palette than its predecessor, but is still let down by shallow songwriting and bland production.
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Takeoff’s solo debut does virtually nothing to stand out in the current trap rap wave.
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If nothing else, Quavo Huncho suggests that Quavo’s dependence on Takeoff and Offset doesn’t run quite as deep as one might think. But what little appeal the album ends up having has less to do with him, and more to do with the features and variety of production.
