We're really doing this. I guess we're doing this. Hi, everyone. Dothany Thistano here, the internet's busiest music nerd. It's time for a review of this new Yuno Miles album, Album.

Yuno Miles is a rapper, singer, songwriter, a guy who has been quite infamous on the music side of the internet for a minute now, dropping some of the most preposterous music ever recorded with wildly modulating off-tempo flows, out-of-key vocal lines, out-of-pocket bars and lyrics; just out, just out and about, just beyond the pale. He has been torturing both fans and haters alike with one single, one random track after another, one random music video after another for, for a while.

I even interviewed him when he was first starting to really gain steam, was his first interview from what he said, and from everything he told me in that conversation, I knew in that moment this man was going to go on to record some of the worst music of all time, some of the worst music in human history. It seems like with Album here, he has really come through. He has delivered on that promise because this record truly is an abomination, one of the biggest of 2025, you could say.

But you know what? It's very much a planned, and I would say carefully assembled, a strategic, abomination because there's a variety of different sounds and styles that are explored across this horrendous tracklist, and I feel like each song has a different story, a different angle, a different characteristic that makes it special. Like, for example, the opening track "That Way". It sounds like the synthy, sugary autotune track ballad you would typically hear someone like Dave Blunts make these days.

Even though that is not a sound, a style, an aesthetic Miles is usually known for, I think this track is still a significant one, not only because it starts the album off in a really bright, positive fashion, but I feel like Miles, without explicitly doing so, is almost like calling out Dave Blunts here saying, "Hey, I can essentially do your sound better than you, and in a way to where it doesn't make me sound like I should be restricted from being within 50 feet of a school." I mean, with a track like this out there, there's really no reason for Mr. Blunts to exist past this point. I think we're pretty much done.

After this we have "Racetrack", which is even more fun and sugary with these big background vocal choral sections that have me wondering, is this a plugin or something? Where are these voices coming from? Some of the production on this thing is surprisingly decked out, despite the fact that Miles knows that his music is usually pretty bad, pretty terrible. He's got a reputation for just making some of the worst tracks in the modern era. And yet seemingly, he is investing quite a bit into making some of the beats here sound really good. It would seem he's putting a bit more effort into his writing on this one.

I mean, you could take this track as maybe this surface level story about chasing after a girl, a woman who is moving fast through life. But I think her speed and the racetrack itself is a really deep metaphor for gender politics in the modern era.

Now, if you guys remember back to my original conversation with Miles, he actually cited one of his biggest influences and parts of his music diet to be emo music. Like, he just grew up listening to a lot of emo and pop punk, so he says. So while I did expect on some level that sound to make some kind of appearance on this album, I didn't know it would be in such a big way on cuts like "Hop In The Ride", where you do get these moody alt-guitar loops painting much of the song over a trap beat, of course, and some autotune vocal leads. It's not my favorite song on the record, but it is cool to see that Miles can genuinely attempt this sound and come out with a half-decent result.

Now, I will say I'm not too crazy about the fact that the dance beats and super sweet, sugar-coated production continues on to the next couple of tracks. It begins to really lose me. The record, that is. But things do pick up on "Tonight's the night", which interestingly is this poppy trap cut that brings in a refrain from Secondhand Serenade's "Fall For You".

So again, that emo influence coming back, "Tonight will be the night that I will fall for you!" Miles really hitting that emo inflection quite perfectly.

But following this, we begin to get the sort of rap cuts that I think fans have come to know and love and also, hate. Tracks that are redonkulous, absurd, outlandish. We have "Head Ahh", we have "Pushups", we have "6'2". A track that, in my opinion, was absolutely necessary because people who are over 6 feet, that community really needs to be brought down a peg.

Also, we have the song "Hi", which brings a bit of a vibe that is aligned with maybe a track or two off of Kendrick Lamar's recent GNX record. Miles, even when trying to sound as annoying as possible, he can't hide the fact that, I think, underneath the mask, underneath the performance, he does have some good taste, and it is seeping out.

In a way, this project really is the tale of two albums because the first half is so much different than the second half, which I think by comparison is a lot more unhinged because in this section of the record, you do also get "Bobo's Chicken", which is this insane harmonica sampling trap cut that features this interpolation that I'm pretty sure is lifted straight out of that Jones barbecue foot massage internet commercial meme. And not only does Miles sound incredibly fucking annoying on this track, there's a terrible feature, too. From what I understand, the only actual feature on the record. This guy is saying, "cockadoodle doo," this guy also says something about being a melon and her spitting out his seed. It's absolutely vile. It's disgusting. Whoever wrote this should die.

Also, what the hell is this closing "Scooby Doo" track? And why does it have a warped synth melody that sounds like the fucking John Cena entrance theme?

Look, guys, I'm not really sure how to end this. Did I have some fun moments while listening to this record? Sure, I suppose I did on some level, but simultaneously, I wish I could have all that time back. I'm never going to listen to this record again. It's got to be one of the worst thing that's ever been recorded by man. This has got to be one of the worst projects to come out this year, this decade so far, in hip hop music, and music of all time. I've pulled off farts that have been nicer to listen to, and I think I just got to slap this with a 0 out of 10, a big fat zero out of 10, and just leave it right there.

Anthony Fantano, Yuno Miles, Forever.