“The Roster” is a series created by Aneesh Batchu. Each week, a tier list of the best, most average, and worst new releases is published alongside blistering hot takes. First, Batchu tackles the latest singles, and then his team comments on the most recent albums.
Singles
Good
🏆 Cordae, Anderson .Paak – “Summer Drop,” while nearly too late for the title, was clearly produced and intended for the season. Within the classic J. Cole-inspired production, the sunny combination of a comforting beat and warm lyricism is a success.
A$AP Rocky – “Tailor Swif,” the newly released single from the highly-anticipated album, did what it was supposed to: it continued to match the tone A$AP has built around the next record.
Sleepy Hallow, Gray Hawken – “Nostalgia“ …is a solid name for this song, with its so-familiar melodic backing track and narrative-type lyricism. Sleepy’s delivery of these lines is ultimately what makes the song powerful.
Mustafa – “Old Life” …is a melodious ode to the passing of time. Over a beautifully plucky backing melody, Mustafa conveys a distinct emotional story.
Mid
Drake – “No Face” …is definitely Drake’s attempt to return to relevancy after the beef, but if viewed only as a mosh song, it’s TOUGH. Truthfully, Carti’s addition and removal to this song went unnoticed — he barely changed anything (sorry, vamps).
Victoria Monet, USHER – “SOS (Sex on Sight)” …is a bold title, yet fitting for the incredibly provocative lyricism of the song. This track makes no attempts to hide its intentions, with both Monet and USHER moaning insanities into the mic for over four minutes.
Tommy Richman – “THOUGHT YOU WERE THE ONE” …shows that not all experimental styles end up working well. While I applaud Richman’s long-awaited shift in tone from “Million Dollar Baby,” this was not the style he should have chosen for his vocals.
Swedish House Mafia, Alicia Keys – “Finally” …is a collaboration that was neither expected nor necessarily wanted by anyone, but I did not hate it. However, it did not feel like a full song, as much as it felt like something that would be mixed by a random DJ in a nightclub.
Lil Tecca – “BAD TIME” …is an average time. It’s another Tecca song, and there’s nothing new here. Tecca knows what he is good at and sticks to his lane, making him a consistent force – boring, but consistent.
Foushee – “100 bux” …did not give its 100%. This song felt like it was escalating without reason to a total lack of payoff. It was directional, and oddly, uselessly so.
Drake – “Circadian Rhythm” …could put most listeners to sleep. Its repetitive (haha), and a carbon copy of Drake’s monotonous music from the last couple of years. This easily could have been, and likely was, a deleted track from “For All the Dogs.”
The Chainsmokers, Guru Randhawa, Jonita Gandhi, Zerb, Ink – “Addicted” …is not how I would describe my feelings toward this song. While a beautiful attempt at fusion music, the track wastes the Indian style on an over-produced electronic piece that functions more as a remix.
JVKE – “her” …feels like JVKE is lost. Simultaneously, he’s somehow hanging onto the “Golden Hour” atmosphere and trying to work in a new vibe with his staccato accented vocals. The mix just feels wrong.
Bad
John Summit, Subtronics, Tape B, Sage The Gemini – “Gas Pedal Remix” …did not need to exist. In all fairness, I was not even a fan of the original, but this atrocity makes it “Gas Pedal” even worse by combining its existing, annoying melody with an assault of overproduced noise.
Kay Flock, Lil Tjay – “Fed Up” … is exactly right – fed up. This feels like a Lil Mabu song and I do mean that to be as insulting as it is.
Albums
Good
Fireboy DML – “adedamola,” named after the artist himself, is a beautiful afrobeat and R&B project that captivates audiences with its production, vocals, and unique tone. For novice afrobeat listeners, this is a perfect album to start with. – A. Batchu
Strick – “ALL TIME HIGH” …is a gorgeous, minimalist ode to Strick’s lyricism and trap roots. With mellow beats and pulsing undertones, ATH creates a blend of energetic lyricism and laid-back tunes. Each song stands on its own, but the album’s cohesiveness makes it easy to put on in the background or crank up at a party. Further, its vibrant ode-to-nightlife energy doesn’t allow it to become repetitive, either. – T. Millenson-Wilens
Big Sean – “Better Me Than You” …demands space for one of mainstream hip-hop’s most overlooked artists. Sean’s energy throughout the album evokes how self-assured he is in both his craft and his story. Bangers like “It is What It Is” and “Break the Cycle” capture the essence of who Big Sean is, how his sound defined hip-hop, and how his music continues to define the genre today. The evolution of Sean’s sound and subject matter is loud and clear on this lengthy yet ‘iconic’ record. – E. Cruz
Duster – “In Dreams” …is the album for overwhelmingly emotional and crunchy guitar layered over an ambient and psychedelic atmosphere. Duster’s surprise album takes aspects from “Stratosphere” and molds them into something new. One might even say that Duster has mastered the art of slowcore. – L. Avelar
Mid
Zedd – “Telos” …is definitely an exciting album release for fans of EDM. It is admirable how well Zedd explores such a diverse range of sound and beats in one album. However, the record comes off as overwhelming and confusing to some listeners. – R. Ho
Doechii – “Alligator Bites Never Heal” …is an album that excels in mediocrity. While Doechii presents many interesting ideas on this record, the lack of memorable moments prevents us from coming back to it. Unlike artists like JPEGMAFIA and Little Simz delivering unique and fresh sounds in the alternative rap scene, Doechii gives us an album that will be forgotten by next month. – S. Putta
Kehlani – “While We Wait 2” fall asleep would be a better name for this album, because its repetitive sound had that effect on me. While this could have been more of a hit for R&B purists, this project fell short of my expectations in the face of her previous album’s experimental take on pop, which was more innovative and fresh. – A. Batchu
Bad
Destroy Lonely – “LOVE LASTS FOREVER” …is an unfortunate title, as there is no love for this album. This 21-song, 64-minute abomination epitomizes everything wrong with hip-hop pretenders today. Destroy Lonely tries to do his best (worst) Carti impression, filling each track with uninventive and mumbled rhymes doused in autotune. The unmemorable tracks morph into one mess, leaving the listener wondering when the experience will end. Even the features fall flat with subpar performances from Uzi and Ken Carson, leaving the only redeeming part of this album to be the production. If you are thinking of listening to this album, save yourself the hour and turn to Carti’s catalog instead. – S. Kundra
David Kushner – “The Dichotomy” …is music for Tik-Tok edits and Netflix reality TV show back-tracks. The album tries really hard to be edgy, but ends up feeling like it was made for 12-year-olds. – H. Leschen
