Each week, Aneesh (Roster Chair) delivers his takes via a tier list of the best, average, and worst tracks for the week. First, here are his bite-sized reviews on April 5th’s new releases. Afterward, read on for more Amp writers’ thoughts on recent albums.
Good
“After Hours,” Kehlani: There are some beautiful production choices in this track. Kehlani’s melodic voice over this club beat worked out to be a great combination.
“86Sentra,” NxWorries, Andersoon .Paak, Knxwledge: This song reminds me of Pusha T’s production, so I am excited for the teased upcoming album.
“Bless,” Lil Wayne, Wheezy, Young Thug: On most Lil Wayne singles, I feel as though he talks rather than raps; this was a welcome switch-up.
“Good Time,” Cage The Elephant: The pauses in the first song, “Good Time” were jarring. Besides this, I enjoy how the production style differs from song to song on the EP. The band was able to capture a different essence with each track.
Mid
“Creatures in Heaven,” Glass Animals: I was expecting more experimentation from their first genuine return in years. However, this song could have been on “Dreamland.”
“I Don’t Wanna Wait,” David Guetta, OneRepublic: This song sounds so stereotypically OneRepublic and David Guetta. I’m almost tempted to ask if this single is AI generated…
“MADONNA & RIHANNA,” Rich Amiri: Amiri is so consistent — not consistently good, but consistent. It’s crazy, you could tell me this song was one of his other tracks, and I would never bat an eye.
“Hiding,” Two Friends, Arizona Zervas: I do appreciate that Arizona has been exploring music outside his normal sound. At this point, however, I think he’s done enough exploring.
“Mental,” Fivio Foreign, Gino Mondana: Fivio has tragically been on a downward slope. I had hoped this song would finally be his turning point… hopefully next time!
“put yo gun 2 use ontheradar freestyle,” 4batz: Can a musician still be an industry plant if they’re not necessarily a “bad” artist? Regardless, his use of the same production style in this track as in “act ii: date @ 8” feels lazy.
Bad
“Overtime,” Rainbow Kitten Surprise, Kacey Musgraves: This song is like the outro of a kids’ “how to” video… and not in an endearing way.
“Femme Fatale,” G-Eazy, Coi Leray, Kaliii: The background samples and ad-lib moans were incredibly uncomfortable and always off-beat.
“Dream State,” Kamasi Washington, André 3000: Whenever I review an André 3000 song, I expect it to be a flute-backed hip-hop song — but it’s always just flute. Every time.
“Club classics // B2b,” Charli XCX: These will never be club classics. If worth anything at all, they could be clipped into a club mashup edit.
“2Humpy is Back,” 2Rare: The brass instrumental mixed into the background might be the only positive aspect of this song.
Albums
Only God Was Above Us, Vampire Weekend: A record that would make for an excellent fondue dip. A melting, floaty mix of mellow rock subgenres united through the power of breakbeat, wack electronics, and cryptic lyricism. – P. Mihm
Scarlet 2 CLAUDE (Deluxe), Doja Cat: In the best way possible, the Deluxe side of this record is like chasing an old-fashioned with a melon soda. For the majority of tracks, Doja brings her characteristically weird flavor to clever, clean, and catchy verses and rhythms. – P. Mihm
Found Heaven, Conan Gray: Pop superstars like The Weeknd and Harry Styles have tried their hand at 80s revivalism, but Conan Grey seems to own the genre in a way that others have not. Grey’s vocal theatrics and use of bright synthesizers illuminate a refreshingly sunny outlook on heartbreak; his production and lyrics are a true match made in heaven. – W. Yuk
Bryson Tiller, Bryson Tiller: It’s a bit jarring listening to an artist who made his career with nocturnal R&B slow jams evolve to a new sound that modulates between summer dance hall beats and warm acoustics. However, I cannot fault Tiller for a sincere attempt at reinvention. – W. Yuk
YOUNG GENIUS, Lil Mabu: Surprisingly, YOUNG GENIUS is an entertaining album, even for someone who tends to not enjoy drill. However, Lil Mabu’s ego is ridiculous, considering his current talent and standings (i.e. the title lol). – A. Batchu
Fireworks & Rollerblades, Benson Boone: Boone’s sound is a combination of a childhood of AJR and later-in-life access to TikTok and new music technology. Somehow, this was the product, and I can get behind it — some of these tracks will stick with me. – A. Batchu
Townie, X Ambassadors: Townie is an album you could substitute for melatonin — it brought me back to when it was cool to hate country. How many times can a musician use the exact same tone over eight songs? The only highlight of this record was its last song because it sounded…different. – B. Joshua
Ohio Players, The Black Keys: A millennial band’s oblivious cheese fest built on retail commercial beats and saccharine over-sincerity. The saving grace of the record is Lil Noid’s featured Gorillaz-reminiscent flow over crunchy drums. – P. Mihm
Might Delete Later, J. Cole: In trying to assert his artistic maturation, J Cole exposes himself as a childish parody of who he thinks he is. Refined beats and strong flow are not enough to cover some of the sloppiest bars in his catalog. – W. Yuk
