NEW MUSIC FRIDAY REVIEW 14.02.25 #19 (Part one)
Super Bowl LIX halftime show—Kendrick Lamar (9/10)
There was a storyline, there was art, there were beautiful features that stunned the crowd, and he managed to do all of this while as chill as a cucumber. The way he merged so many songs into a smooth transition and fit it into a short show is stunning, and the memorisation is also fabulous. Anyone hating on this clearly doesn't know what real rap is because this is going to go down as one of the most memorable performances at the Super Bowl, and the chart performance shows that this was a great step forward in his career too.
Somebody Loves Me—PARTYNEXTDOOR/Drake (1.8/10)
This was so lame that it pissed me off. PARTYNEXTDOOR has the worst verse with autotune that drowned his voice, and Drake's verse shows that he will only make a good song when his career is at stake. This served as one of Drake's most boring vocal performances ever that lacks anything to boost the song. The beat will make you tired in one listen. It takes you back to level one production that doesn't match what else is happening. They'll put it out anyway, though, because there are low-quality artists, contenders for the worst song of 2025. This is utter garbage.
Busy Woman—Sabrina Carpenter (2/10)
Just like the three pushed singles from Short N Sweet, this is terrible. It was pushed on the deluxe edition of the album along with three other new singles, which I doubt I'll waste my time on. You get the idea; Sabrina wants to get naked. She's singing in the same tone that's as bland as dry chicken for a roast Sunday, and it sounds like it's meant for social media.
Don't Panic—Anne Marie (6.3/10)
It nearly gets my pass; it just misses replay value. Only standing at 1:50 in length, 'Don't Panic' feels short but sweet in the ways that the melody is a catchy pop song that's not like Anne Marie's usual; it avoids being generic as it adds levels of uniqueness such as the rhythm and the lifting of the beat. I think a longer song with more of a radio hit sound would work well here. This has potential for radio, but I think it needs a few tweaks and more of a focus on the hook rather than feeling like a shorter song to cover an album.
I don't like your boyfriend—Anne Marie (5.5/10).
Meh, it gets an extra 0.5 just because I can see she's trying to incorporate stylish elements into her music so it sounds less stereotypical. It does go along with her first single, 'Don't Panic,' but I see why this wasn't pushed; it feels like a step down. It also feels like something that's less likely to get praised for being authentic because it's really not. It's not bad, though; it's a shame to see a great artist having two mid songs out, though.
Wheels Fall Off—Ty Dolla $ign/Kanye West (3/10)
Even in this song, Kanye still can't stop talking about his wife being naked. From Bully to X to vultures 3 to this, it's utter rap crap. They tried to give an R&B song, which was ruined by Kanye; his verse is not only forgettable, but it stinks. He doesn't match Ty at all, and if Ty keeps collaborating with Kanye, then the end result will only be a hit to his career.
Dear Miss - Zach Bryan (6.7/10)
This feels like a great song to just sit and chill to in the outdoors; every instrument was played really well along with your voice. It's classic Zach, but this era of him seems to be a lot better.
High Fashion—Addison Rae (2/10)
I knew I wasn't going to like it before I even listened; that's how much trauma her past singles have given me. The only thing I'll slightly applaud here is the fact that she always tends to aim for something that isn't done as often, a more experimental stance. This time though, things take a droopy turn as the song feels mixed up and hard to vibe to; it's a miss.
Set You Free—Jack Harlow (7.2/10)
Oooooooh, I like this! And I notice Harlow's change in music; the past few years he was making mainstream sounds like 'First Class,' 'Lovin On Me,' and also featuring on Jungkook's '3D,' but the past few singles feel like they're actually trying to make a change for the audience and give a more respected rap sound, something that more underground artists are praised for doing, and his step away from making sounds just for the sake of hitting #1 has actually worked well; every song feels clean in a new type of way. The production on this is a lot more worked on than any other song by him; it feels more natural to what the artist wants to put out. Glad to see this!
Valentine's Day Freestyle '25 - JPEGMAFIA (8.3/10)
You can tell that he paid close attention to the production; every single part of this has meaning and value, and this feels like a huge step up. As someone who hated his past single, I'm so glad I was shown the skill that this man can have on tracks. The guitar with rap is a route not often chosen, but JPEG mastered it well, and the female singing voice gave a 90s-sounding atmosphere. He didn't play it safe, and it worked incredibly well. That's the type of rap we love!
Scared of Loving You—Selena Gomez/Benny Blanco (4/10)
The song itself is just cringe; there's no real errors in the beat or any skill issues. It's simply that the way the love song was spoken sounds like it was for CBeebies, and I know it's supposed to be sweet and all, and Gomez didn't say anything overly cringe, but I guess it just does cringe me… idk why.
Last night I dreamt I fell in love—Alok/Kylie Minogue (4.8/10).
Damn, this sound is so overused; you went for the cheapest EDM sound, and the fact that this is produced by Alok makes it even more laughable. I've heard better from David Guetta. I'm more convinced that they bought this beat from a home DJ on Fiverr. And I'm being generous with my rating seeing that Kylie Minogue was a mid vocal choice for this.
Everything is peaceful love—Bon Iver (6.3/10).
It has a really relaxing sound, and I also love the music video.
Love Worth Saving—David Kushner (6/10)
This had more depth to it, and I love to see that from David. His last few singles felt like a sad song that was lost without any real surface, but this has it, and I'm glad.
Love is a stillness—Sam Smith (8/10)
This is beautiful; now all we need to do is unrelease 'Unholy' and then delete the clips of Sam Smith dressing for probably some secret underground zesty party, and then we have the old Sam Smith back! In all seriousness though, this was given the moving music he was making over a decade ago; it really took me back; it has artistic value too; it should be longer.
Earthquake—JISOO (5/10)
The best attention this song will get is either 1. featured in a Samsung advert or 2. It's played in a mall.
Lick Back—Coi Leray (4/10)
Oh, I beg you to stop! After 'Players,' the gig was over; Coi Leray became Coi Overlerayted. This song took everything back to basics; the simplest lyrics provide no value whatsoever, nor does the beat. Give it some character, Coi!
Por Esos Ojos - Fuerza Regida (5.2/10)
Listening to Fuerza Regida has begun to feel like a chore; it's the same damn thing every time!!
*sshole—The Lumineers (6.2/10)
Maybe we just needed some old school back in our lives because this was such a refresh and takes you back to the 70s and before sound.
Slow Grind—Muni Long (8/10)
I was not expecting something that gives this level of satisfaction and soothing sounds from Muni; it's taking me back to the 90s—early 00s R&B music but instead released in modern day, and Muni plays the role the song needs perfectly; her voice is like an angel. I'm blessed to hear this!
Preference—Gucci Mane (4.8/10)
You aren't making it out of the hood with this one ??? so general in everything.
Fire—Alessia Cara (6.2/10)
This song is feeling so rudimentary in all aspects, but I guess I can praise the softness and the calming ambience of the work.
I guess we're not the same—Sammy Virji (5/10).
How does this man have serious hype as a must-listen in the dance/electronic fanbase? Everything he makes is continuing his mundane style; it's nothing new and most likely never will be.
Cluck—Kodak Black (0/10)
He legit sounds as if he's a baby on really powerful drugs and has a mouth full of food; I can understand Goo Goo ga ga language better than whatever he's yapping about. I'm not even joking when I say that this might be the worst vocals I've ever heard in my life. The lyrical value? Beyond rap crap, here is a summary of the worst lyrics in the song: "She got ants in her pants" & "This b*tch just wants to milk me like I'm a cow," and this... " Baow, baow, baow, baow.
Hit him with that baow; he goes wow.
Wow, wow, wow, wow, and this: "Makeup on her face, that's my lil' clown." Rose Mulet has delivered better lyrics than this. The beat is extremely depressing, low effort, and does nothing to add to the song; give it a listen if you want to hear possibly the worst song you might ever hear. Contender for worst song of 2025.
IMA H*E TOO - Dababy/Yung Miami (5.6/10)
One of DaBaby's best performances, the background and vocals were speedy, creating a more pleasing, catchy sound, but that's the best it does.
It isn't perfect, but it might be—Olivia Dean (6.4/10).
Olivia Dean delivers a great vocal performance but fails to have it be remembered for distinctiveness.
There's a field—Daniel Caesar/Rex Orange County (7/10).
Oooooh, nice layers in the production with the easy-sounding guitars and vocals, really chill. I don't see who wouldn't be chill with this. It also continues the legacy left from both artists past singles.
Remember My Name - Sam Fender (7.8/10)
What a beautiful ballad tOlivia Dean delivers a great vocal performance but fails to have it be remembered for distinctiveness.o honour his dead relatives; his voice is perfect for this song, and it's truly heartbreaking to listen to, but yet you feel good because it's Sam Fender. This album is set to be a great one if the new singles keep on being this good!
Morena - Neton Vega/Peso Pluma (6/10)
Wow, one rare time where I actually enjoyed the reggaeton-pop music even in its most traditional roots; I guess the constant change in pattern is what keeps me listening.
Home—Isabel Larosa (7.4/10)
It's good; the sharp pitch changes are really smooth and blend well with the track, and Isabel's vocals are good enough to handle the power this song has. I suggest listening to this.
All The Love—Ayra Starr (5.8/10)
The voice holding up with those notes being hit was beautiful! I've known Ayra since 2022, when she charted in the UK Top 40 with 'Rush,' but sadly she never seems to hit the peak of that song. That song was perfect, and it just saddens me that we will probably never get something that magical again. Thinking about that song makes me all emotional. I support you, Starr, but I beg you to do something like that again.
TEN - OFFSET (4/10)
It just fits into the realm of rap crap, although I really liked the loop that kicked in in the song's second half; it was a break from the autotune and oversimplified sound; it reminded me of the sound used in segments of The Masked Singer.
Check - bbno$ (7.8/10)
OH HELL YEAH!!! He's actually cooking with this! What a power punch! It's not too cheeky to get bleeped by every radio, but it's enough to laugh at. If radio caught onto this, then we could have a proper hit single on our hands! It's fun, it has an amazing hook, and it avoids rap crap territory in all areas.
One Hit Wonder—Real Boston Richey (3.5/10)
If you keep releasing the average rap crap, then you definitely will be a one-hit wonder.
Trippin on a yacht—Cash Cobain/Bay Swag/Rob49 (1.9/10)
Depressing as a Drake filler song, from the little I've heard from Cash Cobain, his slogan "play cash cobain" is extremely unconvincing; he never makes anything good. The top comment on this song's YouTube video was talking about how bad it was, and you have to be terrible to not even let your own fanbase dominate the comments section. Don't play Cash Cobain; this is awful and, of course, rap crap.
Welcome home, warrior—Clipping. (7.7/10)
The start was really well made; it felt like a good intro in the song, and the chord changes were clean. I'm not a fan of the blasphemy, though, so -1 point for that one.
OUTLANDER—Westside Gunn (1/10)
I couldn't even bear to get through all this crap, straight ass. This song's only reason to gain views is blasphemy because there's no talent; he talks about how he's apparently Jesus in his past life and goes on a rant about how he's a drug dealer and he's on his dick. Shut your mouth. He obviously doesn't know the Bible either because he states, "in the water like Moses." Moses never went inside water in the Bible; he parted it. I don't think Jesus Christ would be that stupid to get information about his own religious book wrong. Contender for worst song of 2025.
Pipeline—Logic/Oddisee (7/10)
Only a month after his EP, Logic is back and is taking on the serious issues of the world, and it's definitely touching to see the rap community connect more with the things that shouldn't be happening. I like that Logic keeps things real; going to the actual making of the beat, it's pretty basic, and that's the biggest problem here. It may fit the way the song is going, but not in the most replayable way. This song provides more of a reflection rather than trying to deliver a hit.
Mega Circuit - Japanese Breakfast (6/10)
Not as good as their last single, kind of hard to understand as well; it's still alright, though.
Honeycomb—Panchiko (7.2/10)
The flow was so enjoyable; it was a really nice listen and a memorable one.
Nobody Like You—Freddie Gibbs (5.7/10)
Overrated.
Alibi—SPELLING (7.7/10)
'Alibi' is the second released single from the upcoming album (out March 28th), and it's one where the more you listen, the more you understand it. It reminds me of one of the times where I hear a song with really good instrumental quality that works with the vocals. This played that role extremely well; it kind of had some qualities of older music despite being released this week.
Best Guess—Lucy Dacus (6.6/10)
Wow, so many songs this week about love; I guess it was Valentine's Day after all, though. I like the slow take; I think it was a better choice for this, and it's feeling like it's trying to give a dreamy, gentle state of mind, but it doesn't get me to that, so that's why I gave it a 6.6.
Heart So Pure—Sematary (7/10)
Something's telling me that I should've disliked this… probably because it's giving gangsta, emo. Although I actually like it… It's chaotic yet well produced; the vocals are more faded, which I like a lot more and prefer over scream rock, and the one piece of heavy autotune is used correctly and not too much to annoy; I'm impressed.
Back in the game—Mark Pritchard/Thom Yorke (8/10)
You know what would sample well into this song? The sound when you ask Jeremy, "Who wants to be a millionaire?" The song presents narration about trying to sober up and wanting everything to end, but it's more one I believe that's supposed to put you in a dreamlike mindset, which it did, and the visuals added to that too. Apparently this was made a lot longer ago but was only released now; it sounds ahead of time compared to the average listen back in the 90s.
Not In Surrender—Obongjayer (7.7/10)
This is great! We need to recognise this guy more as a solo artist; it's a huge shame he only gets looked at mainly from features. The Russian indie creative song really showcases his power in the industry and creates a more thoughtful mind for whoever is listening; if you want something that you probably won't ever hear anything like, then listen to this.
COLD—Nemzzz (6.4/10)
UK rap and drill have taken an upgrade with this one!
168 Hours—Toosii (5/10)
It reminds me of Rod Wave's style, the tuning, rap, R&B, and the production beat. As much as this isn't for me because it doesn't go out of the ordinary, I think this could do with a Rod Wave feature.
Super Bowl LIX halftime show—Kendrick Lamar (9/10)
There was a storyline, there was art, there were beautiful features that stunned the crowd, and he managed to do all of this while as chill as a cucumber. The way he merged so many songs into a smooth transition and fit it into a short show is stunning, and the memorisation is also fabulous. Anyone hating on this clearly doesn't know what real rap is because this is going to go down as one of the most memorable performances at the Super Bowl, and the chart performance shows that this was a great step forward in his career too.
Somebody Loves Me—PARTYNEXTDOOR/Drake (1.8/10)
This was so lame that it pissed me off. PARTYNEXTDOOR has the worst verse with autotune that drowned his voice, and Drake's verse shows that he will only make a good song when his career is at stake. This served as one of Drake's most boring vocal performances ever that lacks anything to boost the song. The beat will make you tired in one listen. It takes you back to level one production that doesn't match what else is happening. They'll put it out anyway, though, because there are low-quality artists, contenders for the worst song of 2025. This is utter garbage.
Busy Woman—Sabrina Carpenter (2/10)
Just like the three pushed singles from Short N Sweet, this is terrible. It was pushed on the deluxe edition of the album along with three other new singles, which I doubt I'll waste my time on. You get the idea; Sabrina wants to get naked. She's singing in the same tone that's as bland as dry chicken for a roast Sunday, and it sounds like it's meant for social media.
Don't Panic—Anne Marie (6.3/10)
It nearly gets my pass; it just misses replay value. Only standing at 1:50 in length, 'Don't Panic' feels short but sweet in the ways that the melody is a catchy pop song that's not like Anne Marie's usual; it avoids being generic as it adds levels of uniqueness such as the rhythm and the lifting of the beat. I think a longer song with more of a radio hit sound would work well here. This has potential for radio, but I think it needs a few tweaks and more of a focus on the hook rather than feeling like a shorter song to cover an album.
I don't like your boyfriend—Anne Marie (5.5/10).
Meh, it gets an extra 0.5 just because I can see she's trying to incorporate stylish elements into her music so it sounds less stereotypical. It does go along with her first single, 'Don't Panic,' but I see why this wasn't pushed; it feels like a step down. It also feels like something that's less likely to get praised for being authentic because it's really not. It's not bad, though; it's a shame to see a great artist having two mid songs out, though.
Wheels Fall Off—Ty Dolla $ign/Kanye West (3/10)
Even in this song, Kanye still can't stop talking about his wife being naked. From Bully to X to vultures 3 to this, it's utter rap crap. They tried to give an R&B song, which was ruined by Kanye; his verse is not only forgettable, but it stinks. He doesn't match Ty at all, and if Ty keeps collaborating with Kanye, then the end result will only be a hit to his career.
Dear Miss - Zach Bryan (6.7/10)
This feels like a great song to just sit and chill to in the outdoors; every instrument was played really well along with your voice. It's classic Zach, but this era of him seems to be a lot better.
High Fashion—Addison Rae (2/10)
I knew I wasn't going to like it before I even listened; that's how much trauma her past singles have given me. The only thing I'll slightly applaud here is the fact that she always tends to aim for something that isn't done as often, a more experimental stance. This time though, things take a droopy turn as the song feels mixed up and hard to vibe to; it's a miss.
Set You Free—Jack Harlow (7.2/10)
Oooooooh, I like this! And I notice Harlow's change in music; the past few years he was making mainstream sounds like 'First Class,' 'Lovin On Me,' and also featuring on Jungkook's '3D,' but the past few singles feel like they're actually trying to make a change for the audience and give a more respected rap sound, something that more underground artists are praised for doing, and his step away from making sounds just for the sake of hitting #1 has actually worked well; every song feels clean in a new type of way. The production on this is a lot more worked on than any other song by him; it feels more natural to what the artist wants to put out. Glad to see this!
Valentine's Day Freestyle '25 - JPEGMAFIA (8.3/10)
You can tell that he paid close attention to the production; every single part of this has meaning and value, and this feels like a huge step up. As someone who hated his past single, I'm so glad I was shown the skill that this man can have on tracks. The guitar with rap is a route not often chosen, but JPEG mastered it well, and the female singing voice gave a 90s-sounding atmosphere. He didn't play it safe, and it worked incredibly well. That's the type of rap we love!
Scared of Loving You—Selena Gomez/Benny Blanco (4/10)
The song itself is just cringe; there's no real errors in the beat or any skill issues. It's simply that the way the love song was spoken sounds like it was for CBeebies, and I know it's supposed to be sweet and all, and Gomez didn't say anything overly cringe, but I guess it just does cringe me… idk why.
Last night I dreamt I fell in love—Alok/Kylie Minogue (4.8/10).
Damn, this sound is so overused; you went for the cheapest EDM sound, and the fact that this is produced by Alok makes it even more laughable. I've heard better from David Guetta. I'm more convinced that they bought this beat from a home DJ on Fiverr. And I'm being generous with my rating seeing that Kylie Minogue was a mid vocal choice for this.
Everything is peaceful love—Bon Iver (6.3/10).
It has a really relaxing sound, and I also love the music video.
Love Worth Saving—David Kushner (6/10)
This had more depth to it, and I love to see that from David. His last few singles felt like a sad song that was lost without any real surface, but this has it, and I'm glad.
Love is a stillness—Sam Smith (8/10)
This is beautiful; now all we need to do is unrelease 'Unholy' and then delete the clips of Sam Smith dressing for probably some secret underground zesty party, and then we have the old Sam Smith back! In all seriousness though, this was given the moving music he was making over a decade ago; it really took me back; it has artistic value too; it should be longer.
Earthquake—JISOO (5/10)
The best attention this song will get is either 1. featured in a Samsung advert or 2. It's played in a mall.
Lick Back—Coi Leray (4/10)
Oh, I beg you to stop! After 'Players,' the gig was over; Coi Leray became Coi Overlerayted. This song took everything back to basics; the simplest lyrics provide no value whatsoever, nor does the beat. Give it some character, Coi!
Por Esos Ojos - Fuerza Regida (5.2/10)
Listening to Fuerza Regida has begun to feel like a chore; it's the same damn thing every time!!
*sshole—The Lumineers (6.2/10)
Maybe we just needed some old school back in our lives because this was such a refresh and takes you back to the 70s and before sound.
Slow Grind—Muni Long (8/10)
I was not expecting something that gives this level of satisfaction and soothing sounds from Muni; it's taking me back to the 90s—early 00s R&B music but instead released in modern day, and Muni plays the role the song needs perfectly; her voice is like an angel. I'm blessed to hear this!
Preference—Gucci Mane (4.8/10)
You aren't making it out of the hood with this one ??? so general in everything.
Fire—Alessia Cara (6.2/10)
This song is feeling so rudimentary in all aspects, but I guess I can praise the softness and the calming ambience of the work.
I guess we're not the same—Sammy Virji (5/10).
How does this man have serious hype as a must-listen in the dance/electronic fanbase? Everything he makes is continuing his mundane style; it's nothing new and most likely never will be.
Cluck—Kodak Black (0/10)
He legit sounds as if he's a baby on really powerful drugs and has a mouth full of food; I can understand Goo Goo ga ga language better than whatever he's yapping about. I'm not even joking when I say that this might be the worst vocals I've ever heard in my life. The lyrical value? Beyond rap crap, here is a summary of the worst lyrics in the song: "She got ants in her pants" & "This b*tch just wants to milk me like I'm a cow," and this... " Baow, baow, baow, baow.
Hit him with that baow; he goes wow.
Wow, wow, wow, wow, and this: "Makeup on her face, that's my lil' clown." Rose Mulet has delivered better lyrics than this. The beat is extremely depressing, low effort, and does nothing to add to the song; give it a listen if you want to hear possibly the worst song you might ever hear. Contender for worst song of 2025.
IMA H*E TOO - Dababy/Yung Miami (5.6/10)
One of DaBaby's best performances, the background and vocals were speedy, creating a more pleasing, catchy sound, but that's the best it does.
It isn't perfect, but it might be—Olivia Dean (6.4/10).
Olivia Dean delivers a great vocal performance but fails to have it be remembered for distinctiveness.
There's a field—Daniel Caesar/Rex Orange County (7/10).
Oooooh, nice layers in the production with the easy-sounding guitars and vocals, really chill. I don't see who wouldn't be chill with this. It also continues the legacy left from both artists past singles.
Remember My Name - Sam Fender (7.8/10)
What a beautiful ballad tOlivia Dean delivers a great vocal performance but fails to have it be remembered for distinctiveness.o honour his dead relatives; his voice is perfect for this song, and it's truly heartbreaking to listen to, but yet you feel good because it's Sam Fender. This album is set to be a great one if the new singles keep on being this good!
Morena - Neton Vega/Peso Pluma (6/10)
Wow, one rare time where I actually enjoyed the reggaeton-pop music even in its most traditional roots; I guess the constant change in pattern is what keeps me listening.
Home—Isabel Larosa (7.4/10)
It's good; the sharp pitch changes are really smooth and blend well with the track, and Isabel's vocals are good enough to handle the power this song has. I suggest listening to this.
All The Love—Ayra Starr (5.8/10)
The voice holding up with those notes being hit was beautiful! I've known Ayra since 2022, when she charted in the UK Top 40 with 'Rush,' but sadly she never seems to hit the peak of that song. That song was perfect, and it just saddens me that we will probably never get something that magical again. Thinking about that song makes me all emotional. I support you, Starr, but I beg you to do something like that again.
TEN - OFFSET (4/10)
It just fits into the realm of rap crap, although I really liked the loop that kicked in in the song's second half; it was a break from the autotune and oversimplified sound; it reminded me of the sound used in segments of The Masked Singer.
Check - bbno$ (7.8/10)
OH HELL YEAH!!! He's actually cooking with this! What a power punch! It's not too cheeky to get bleeped by every radio, but it's enough to laugh at. If radio caught onto this, then we could have a proper hit single on our hands! It's fun, it has an amazing hook, and it avoids rap crap territory in all areas.
One Hit Wonder—Real Boston Richey (3.5/10)
If you keep releasing the average rap crap, then you definitely will be a one-hit wonder.
Trippin on a yacht—Cash Cobain/Bay Swag/Rob49 (1.9/10)
Depressing as a Drake filler song, from the little I've heard from Cash Cobain, his slogan "play cash cobain" is extremely unconvincing; he never makes anything good. The top comment on this song's YouTube video was talking about how bad it was, and you have to be terrible to not even let your own fanbase dominate the comments section. Don't play Cash Cobain; this is awful and, of course, rap crap.
Welcome home, warrior—Clipping. (7.7/10)
The start was really well made; it felt like a good intro in the song, and the chord changes were clean. I'm not a fan of the blasphemy, though, so -1 point for that one.
OUTLANDER—Westside Gunn (1/10)
I couldn't even bear to get through all this crap, straight ass. This song's only reason to gain views is blasphemy because there's no talent; he talks about how he's apparently Jesus in his past life and goes on a rant about how he's a drug dealer and he's on his dick. Shut your mouth. He obviously doesn't know the Bible either because he states, "in the water like Moses." Moses never went inside water in the Bible; he parted it. I don't think Jesus Christ would be that stupid to get information about his own religious book wrong. Contender for worst song of 2025.
Pipeline—Logic/Oddisee (7/10)
Only a month after his EP, Logic is back and is taking on the serious issues of the world, and it's definitely touching to see the rap community connect more with the things that shouldn't be happening. I like that Logic keeps things real; going to the actual making of the beat, it's pretty basic, and that's the biggest problem here. It may fit the way the song is going, but not in the most replayable way. This song provides more of a reflection rather than trying to deliver a hit.
Mega Circuit - Japanese Breakfast (6/10)
Not as good as their last single, kind of hard to understand as well; it's still alright, though.
Honeycomb—Panchiko (7.2/10)
The flow was so enjoyable; it was a really nice listen and a memorable one.
Nobody Like You—Freddie Gibbs (5.7/10)
Overrated.
Alibi—SPELLING (7.7/10)
'Alibi' is the second released single from the upcoming album (out March 28th), and it's one where the more you listen, the more you understand it. It reminds me of one of the times where I hear a song with really good instrumental quality that works with the vocals. This played that role extremely well; it kind of had some qualities of older music despite being released this week.
Best Guess—Lucy Dacus (6.6/10)
Wow, so many songs this week about love; I guess it was Valentine's Day after all, though. I like the slow take; I think it was a better choice for this, and it's feeling like it's trying to give a dreamy, gentle state of mind, but it doesn't get me to that, so that's why I gave it a 6.6.
Heart So Pure—Sematary (7/10)
Something's telling me that I should've disliked this… probably because it's giving gangsta, emo. Although I actually like it… It's chaotic yet well produced; the vocals are more faded, which I like a lot more and prefer over scream rock, and the one piece of heavy autotune is used correctly and not too much to annoy; I'm impressed.
Back in the game—Mark Pritchard/Thom Yorke (8/10)
You know what would sample well into this song? The sound when you ask Jeremy, "Who wants to be a millionaire?" The song presents narration about trying to sober up and wanting everything to end, but it's more one I believe that's supposed to put you in a dreamlike mindset, which it did, and the visuals added to that too. Apparently this was made a lot longer ago but was only released now; it sounds ahead of time compared to the average listen back in the 90s.
Not In Surrender—Obongjayer (7.7/10)
This is great! We need to recognise this guy more as a solo artist; it's a huge shame he only gets looked at mainly from features. The Russian indie creative song really showcases his power in the industry and creates a more thoughtful mind for whoever is listening; if you want something that you probably won't ever hear anything like, then listen to this.
COLD—Nemzzz (6.4/10)
UK rap and drill have taken an upgrade with this one!
168 Hours—Toosii (5/10)
It reminds me of Rod Wave's style, the tuning, rap, R&B, and the production beat. As much as this isn't for me because it doesn't go out of the ordinary, I think this could do with a Rod Wave feature.
