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.
Singer/superproducer Clarence Clarity follows up his overwhelming and eargasmic debut album No Now with something a little easier to digest.
Horrendous takes a mighty step forward with the visceral and multi-faceted compositions that make up Idol.
YSL and Quality Control really should’ve kept these two on the bench.
Mudboy is one of the oddest trap rap albums I’ve heard in a while.
I Loved You at Your Darkest is a solid blackened death metal album that’s occasionally marred by Behemoth overextending itself, or treading the water it waded with The Satanist.
Twenty One Pilots take their catchy songwriting, genre blending, and emotional lyricism up a few notches on Trench.
Logic is, as always, well-intentioned and likable on YSIV, but his music remains middle-of-the-road.
Kero Kero Bonito make their Polyvinyl debut with a pretty radical departure from the signature sound cemented on Bonito Generation. Thankfully, Time ‘n’ Place is every bit as good as that album.
Among Tim Hecker’s least direct efforts, Konoyo at its best is sonically and conceptually rich thanks to contributions from gagaku ensemble Tokyo Gakuso. Unfortunately, the sound-play is lacking on a few of the pieces.
