Diorvsyou – “So Cunt.” review

Atlanta, Georgia up-&-comer Diorvsyou with his 2nd EP of the year & the 4th in his discography overall. Coming up in 2021 off his debut EP Scoreboard, it wasn’t until I saw him open up for southsidesilhouette in Brooklyn the following November where I was personally introduced to his music & I was actually impressed with his set. The next EP w.t.f.i.dvy? (who the fuck is diorvsyou)? marked a bigger breakthrough for him artistically & returned up from the Ashes almost a year since Diorvsrxlvnd’s eponymous debut. The previous EP Untitled EP.9 came out a couple months ago & is already keeping himself busy with So Cunt..

“Slit Ya Throat” produced by Devstacks & Goxan is this regalia intro looking to swag all of his sorrows away & tryin’ not to pop shit even if it may seem difficult whereas “Nosferatu” works in a psychedelic trap instrumental talking about feeling like an extraterrestrial vampire. “I.S.S.” brings a plugg flare to the table thanks to Devstacks once more telling his hoe to be grateful & keep faithin’ leading into “I Wonder” taking a moment to think about whether or not if any of this shit means anything to him & Devstacks applying even more pressure behind the boards.

The quirky synthesizers from 406ahmad on “Outta Hea” are a nice touch being on whole new levels of zooted just before Cade gives “1 Mistake” a cloudier vibe referencing Boston Celtics player Jayson Tatum. “Rob a Bank” gets back on the plugg tip having his twin watching his flank during a robbery while “Royal Rumble” makes comparison to WWE’s signature 30-man battle royale in light of this year’s winner Jey Uso dethroning Gunther to become the new World Heavyweight Champion last weekend. “Pissed” closes with an ode to the rockstar life that MexikoDro laced wanting to die in a mosh pit.

Dior is somebody in the regalia subgenre of plugg music I’ve been covering for several years up until this point & I would HIGHLY suggest you listen to So Cunt. or really the whole Diorvsyou catalog for anyone reading this who got introduced to regalia through the new Dave Blunts album You Can’t Say That getting the polarizing reception it deserves. The best regalia producer in the game Devstacks producing half of this was a great call & Dior is a far more captivating performer than Dave Blunts ever could be.

Score: 4/5

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Nowaah the Flood – “The Anomaly” review

Dallas, Texas emcee Nowaah the Flood surprise-releasing his 23rd EP on Bandcamp. Breaking out in the summer of 2018 by releasing his first EP Trill Life Mathematiks around the same time as Nas’ 11th album NASIR fully produced by Ye formerly known as Kanye West, he would go on to drop 21 EPs along with The Nowaah & the Dewer’s eponymous debut album and roughly his last 6 proper full-lengths. Standouts for me personally include the DirtyDiggs-produced Private Stock, the Estee Nack collaborative effort Planted Seeds, The Infallible, the Stu Bangas-produced Respectfully, the Giallo Point-produced Right Over Left & it’s sequel, the DJ D-Styles-produced Crème de la Crème, the Kyo Itachi-produced Sudan Samurai Scrolls & recently Plans of the Diligent last Thanksgiving alongside Beluga roughly a month ago. Giallo Point coming back for The Anomaly caught my attention & I had to give it a listen.

“Afwaan” is this drumless intro reflecting on Ye biting the Trill Life Mathematiks artwork for NASIR similarly to how Maxo Kream has accused Ye of biting the Punken artwork for Bully whereas “The Mental” takes the boom bap route instrumentally talkin’ that science to each & every one of us. “Hate to Be You” works in some tubas & bagpipes admitting the state of sickness his mind is at while “Sazon” hits everybody with the Shaman flow.

To begin The Anomaly’s final half, “Fortune 500” ruggedly talks about being a certified art stealer who’s hard to figure out & has never fronted putting it on God leading into the aptly-named “Menace Anthem” darkly fuses hardcore hip hop & boom bap both aesthetically & lyrically. “The Meek” suggests that there won’t be an overtime for anyone trying to take him on making it clear to stay catching Ws in rap battles & the final song “Revelation of the Sundanese” feels a little unfinished after starting it off with a verse attached onto an half baked outro.

Aside from that, I don’t really have any other complaints about this EP since a vast majority of the material here during the 20 minute run turns the back-to-back caliber of quality underground hip hop that Plans of the Diligent & Beluga both had to offer into a 3-peat. Giallo Point’s production is a consistent blend of drumless & boom bap with Nowaah handling all the performances by himself instead of having only 1 feature like he did last month on Beluga similarly to Plans of the Diligent not having any guests.

Score: 4.5/5

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Ray Vaughn – “The Good, The Bad, The $1 Menu” review

Ray Vaughn is a 31 year old recording artist from Long Beach, California emerging in the summer of 2018 off his debut EP Blame Summer followed by the full-length studio debut Idle & 2 more EPs; Projects & Peer Pressure. The latter coming almost immediately after Top Dawg Entertainment had signed him to the label in fall of 2021, making up for the large handful of singles since by finally letting him drop a debut mixtape after being pushed back from last weekend to the last week of April.

“Flocker’s Remorse” begins the tape by talking about life hitting him hardly as of late whereas “XXXL Tee” takes the trap route instrumentally clarifying that the only thing he starts is business shit. “$1 Menu” discusses the Pop Out concert leaving the opps shook & them crying wolf just before “Flat Shasta” featuring Ash Leone talks about the woman he loves more than his own father.

Moving on from there, “3PM @ Dairy’s” keeps the trap vibes going painting an image of spending an afternoon at a local establishment that’s looked out for generations of local families leading into “East Chatt” featuring Isaiah Rashad asking to imagine what it’d be like if the gave a fuck. “Klown Dance” featuring Jay Rock talks about them continuing to plot & scheme leading into “Look @ God” featuring LaRussell going hyphy to boast making money daily.

“Janky Moral Compass” featuring Samara Cyn gets the final leg of The Good, The Bad, The $1 Menu talking about picking themselves up because they can feel themselves falling while “Miles Away from Heaven” heads for a stripped-back approach talking about showing you a better way. “Suburban Kidz” wraps things up by telling everyone listening who’s still in the suburbs to keep fighting & it’ll all work out in the end.

The Good, The Bad, The $1 Menu after 3 & a half long years in the making has to be the most conceptual body of work in Ray’s entire discography & an official TDE debut that many Long Beach natives will find themselves familiar with taking us on a journey from his adolescence to landing a record deal exploring both the positive & negative aspects of his career.

Score: 3.5/5

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Zukenee – “Slaytanic” review

Here we have the sophomore effort from Atlanta, Georgia up-&-comer Zukenee. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing last summer. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best since both of them were released in the span of a year & a half until Player Slayer came last spring. Cade was brought in to produce the highly acclaimed Guillotine EP the previous summer, coming off Birth of St. Slay from on Halloween with Slaytanic.

“Cut Ya Hand” is an anthemic regalia intro with strings, organs & retro trap drums referencing one of my favorite clothing brands ア・ベイシング・エイプ founded by ニゴー whereas “Game Winner” produced by Cade & Murda Beatz talks about the real relating to him in addition to the fakest backstabbing him. “Bromance” shows off an effortlessly distinct flow admitting that he’s fallen in love with the money he’s been making prior to “Hindu” finds him rapping as if the rent is due.

Meanwhile on “Roof Roof”, we have Zukenee boasting about this girl being just as equally wild as he is mixing that with some street talk just before “Stoopid Fool” talks about his preference in women who’re insane to the point where they gotta have new screws in their heads. “Gimmie Gimmie” boasts catching the Holy Spirit the way he baptizin’ these racks leading into “Nun” embarking us on a trip to the trap house right ‘round the village.

“Sticks & Swords” pulls influence from Playboi Carti’s new album MUSIC down to the Cardo instrumental & “Yoga” finds him flipping a 0 into a 100 until “Spontaneous Slay” speaks on living that Slayer life the weekend after former Slayer guitarist Kerry King performed during the intro of former ROH World Television Champion, World Heavyweight Champion, WWE United States Champion, 4-time WWE tag team champion & NXT North American Champion Damian Priest at WrestleMania XLI.

The song “Hot Ass Greece” boasts that nobody out here is poppin’ on the exact same level as he is preferring to count his wishes whilst blowing that stick simultaneously & the closing track “In the Woods” details his life in the streets along with the violence that comes with it, his sexual relationships, what it was like for him growing up in the hood & the constant conflict with the police conveyed through medieval metaphors.

Yes I didn’t get the chance to cover Birth of St. Slay, but I still thought it was fun way for him to celebrate the Halloween season listening to it almost 6 months ago & would tell you that Slaytanic in comparison reaches the same quality of trap his debut Player Slayer taking it a step or 2 down from Guillotine. The unique production on this one is prominently influenced by plugg pioneer Zaytoven, presenting a dark take on late 2010s pop rap & the early mixtape days of the 2000s.

Score: 3.5/5

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Vinnie Paz – “God Sent Vengeance” review

Here we have the 9th full-length solo LP from Philadelphia underground veteran Vinnie Paz. Breaking out as the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective, he put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively until returned in 2016 with The Cornerstone of the Corner Store. The Pain Collector would become my favorite of his since his first 2 but since as above so below, Paz has been staying consistent by delivering a new solo effort every year. Tortured in the Name of God’s Unconditional Love spawned a trilogy & All Are Guests in the House of God continued it, only for it to come to a close on God Sent Vengeance.

After the “Abudadein” intro, the first song “Shepherd’s Rod” is this soulful boom bap opener courtesy of Hobgoblin talking about slapping a few rappers because of them moving backwards whereas “2 Knights Forced” produced by Evidence asks if he has to tell anyone time & time again that they’re flat out wack. “Bulldozer” featuring Young Buck darkly makes it clear neither one of them are trying to be righteous in any way thanks to Stu Bangas while “Head of David” ruggedly talks about being the real bad man.

Lord Goat joins the Heavy Metal Kings on “Acid Teeth” aggressively venting what it was like for them to be born into pain just before the August Fanon-laced “Timetravel_0” talks about everyone adapting if it comes down to him having to drop a body. “Megaton Swords” featuring Cappadonna teams up to take aim at sucka MCs together leading into “Rafiki Books” talking about learning to take a stand instead of taking THE stand over a DJ Sam Seed instrumental.

“Perfect Enemy” reunites with C-Lance behind the boards referencing former 2-time NWA World Jr. Heavyweight Champion Héctor Guerrero and 3-time NWA National Heavyweight Champion, WCW World Television Champion, 3-time WCW World Tag Team Champion & WWE Hall of Famer Paul Orndorff just before “Battle Scars (Pharaoh Overlords)” comes through with this raw ass AotP posse cut making reference to the 2025 NBA MVP Shai Gilgeous-Alexander. “Chico’s Bail Bonds” ominously continues forward having the feeling that somebody’s gonna end up dying tonight, but then “All Guns Full Ammo” featuring Onyx finds the trio shooting shit up together.

Sick Jacken appears on the rugged “Sacrificio (De Muerte)” to send shots towards any man’s way over a Relense beat while “Heavy Chains” hauntingly talks about being afraid of himself. “Wings of Azrael” featuring Napoleon da Legend suggests for everyone to dance with the wolves while “Mao’s War on Sparrows” talks about there less Indians & more thieves these days. “Noise Drug” featuring Boob Bronx & Recognize Ali ends with all 3 of them coming for the weak.

Although the Jacinto’s Praying Mantis EP from last summer was a minor step down from the previous installments of the God trilogy, I still enjoyed it as a prelude & the final chapter of the saga finishes it off the way it started. The production is a mix of established veterans & lesser known beatsmiths on the come up focusing less on the trap elements of its predecessors in favor of a general hardcore hip hop direction.

Score: 4/5

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Tom MacDonald – “Proud to Be a Problem” review

Tom MacDonald is a 36 year old rapper, singer/songwriter, producer & former professional wrestler from Vancouver, British Columbia, Canada breaking out in the late 2010s off some of the worst singles of the previous decade from “Whiteboy” to “Everybody Hates Me” & “Straight White Male”. Tracks like “If I Was Black” & “People So Stupid” have also publicly professed himself as a racist & a transphobe, deciding to follow in the footsteps of Post Malone’s latest album F-1,000,000,000,000 by putting out a country LP of his own & his 9th overall.

“Can’t Cancel All of Us” is this country alt-right intro claiming the right-wing can’t be criticized for being what they’re are & denying that they have prejudice against minorities when he’s made numerous racist or transphobic lines in some of his previous material whereas “I’m a Rock” compares himself to his father. “Bad Bitch” bitterly wishes death on every ex-boyfriend this crazy woman he knows has ever had just before “Wildfire” sings about his life being a wildfire.

The religious themes of “Man in the Sky” as a spiritual person feel inauthentic when you think of “Hide a Body” singing about his murderous tendencies offering to hide corpses for the safety of his loved ones right away later. “Watch You Leave” disturbingly expressed the joy & sadness he simultaneously feels seeing this woman being taken away by the police, but then “Diana” likens people fiending for clout referencing the late Princess Diana’s tragic death.

“Walls” tries to gaslight Tom’s critics by playing the victim blaming other’s for his shortcomings when he’s done this numerous times in his career to this very day leading into “Broke My Heart” wining about a breakup that he caused himself. “Good Die Young” sings about the “hardships” that he goes through when his supposed struggles are pandering towards the right-wingers who self-victimize as much as him while “Superman” fuses country pop & singer/songwriter asking for the Warner Bros. subsidiary DC Entertainment-owned hero who’s set to begin the DC Universe media franchise & shared universe this summer to appear.

As for “Sinner”, we have this cringeworthy comparison of his love towards his girlfriend of 8 years Nova Rockafeller to the Heroin Hero joke in the timeless Paramount Skydance Corporation-owned Comedy Central series South Park’s parody of the Guitar Hero franchise almost 2 decades back while “Hell & Back” sings about being called a loser since 2nd grade when I find that to be the case almost a decade into Tom’s popularity. “Do Me Wrong” warns what will happen to those who’ll end up crossing him when I guarantee you he’s pussy as the rest of the edgelords he appeals to while “Ugly” deflects his girl’s self-image so he can make it into a “woe is me” type deal.

“Still Need Saving” seems like a deliberate & embarrassing bite of “I’m Not Ok” off Jelly Roll’s major label debut Beautifully Broken while “Good Man Badass” sings about being the capability of being those 2 things at the same time when he’s simply an bigoted, intolerant asshole more than anything. “Under Construction” dejects the idea of self-destructing when he’s literally selling himself out stylistically trying to make a bigger breakthrough than he should’ve had while “Perfect” serves as a failed attempt at tackling the insecurities women find themselves facing.

The song “Drunk Dial” reads as a conservative country answer to my favorite Drake alternative R&B cut “Marvin’s Room” with Tom getting completely shitfaced on the alcohol taking it upon himself to contract a girl he’s no longer seeing at 3 in the morning assuring she’s still in love with him when she most likely moved on like he did because “Goodbye Joe” by GFBF comes off as a forced Joe Biden diss. The title track further embraces a country sound in general for the final time continuing to pander towards the far-right suggesting that they should be proud of being unsolvable.

Like I said when I reviewed WWE Hall of Famer Kid Rock’s most recent album Bad Reputation: I’m NOT democratic OR republican because I personally believe both sides of our 2-party system are flawed as much as most people don’t want to have that discussion unfortunately. However, Tom MacDonald’s music throughout his career has appealed to closeted racist white men to feel he represents them by crying about the struggles he suffers as a white man & he’s been only amplifying it the last year or so. Hip hop never has & never will be the culture for a far-right white agenda, end of story.

Score: 0/5

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Roy Wood$ – “Dark Nights” review

This is the 5th EP from Brampton, Ontario, Canada rapper & singer/songwriter Roy Wood$. Signing to Drake‘s very own OVO Sound a decade ago already, he has since gone on to release a total of 3 full-length studio LPs & 4 EPs, with the most notable of the handful being the 2015 debut EP Exis & of course the debut album Walking at Dawn the following winter. Rolling Stone back in December felt like a bunch of uninspired Weeknd runoff & is looking to take us on a journey through the Dark Nights nearly 2 months since Drizzy followed the current 4-time WWE Women’s Tag Team Champion Liv Morgan on social media regardless of her on-screen relationship with the newest WWE Intercontinental Champion Dominik Mysterio.

“So Obvious” begins by talking about clearly seeing this woman in pain advising her to lay her problems out in front of him whereas “Stay with Me” after a brief interlude asks for his lover not to leave him & asking what he has to do for their love. “Whatchu Mean” comes off as another Weeknd bite addressing an individual who has no love for themselves just before “What I Used to Get Into” produced by Drumma Boy talks about being different as of late.

To start the 2nd half, “Like You” embraces an alternative R&B vibe continue to copy The Weeknd singing that he’s as fucked up as his romantic interest is while “You” asks how did he ever let this relationship go wrong. “Disrespectful” speaks on a woman who’s constantly talking over him & “Tell Me What I’m Living For” responds by saying respect isn’t hard to show.

Roy initially saying that Dark Nights was gonna mark a return had me hoping that he would improve from the lackluster reception his most recent output has been receiving, but it’s still the same ol’ generic alternative R&B & pop rap we’ve been getting from him in who knows how long at this point. I understand the situations of betrayal he’s been through are very much real, the execution of it is what leaves little to be desired.

Score: 2/5

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Fordio – “Fordi Milligrams” review

Michigan rapper Fordio releasing his full-length studio debut. Emerging in 2022 off his debut EP Foreva$camz, the follow-up Blame It on My Cup resulted the ShittyBoyz making him a member of their Dog $hit Militia collective signed to Lando Bando’s own The Hip Hop Lab Records dropping the Made & $tyle collab project with MJPaid & recently the Forever Juggin’ EP almost a year ago already. We literally got MJPaid’s own debut Paid Ponzi at the beginning of 2025 & here we are 3 months later with Fordio applying pressure on Fordi Milligrams.

“Rackz on Rackz” made for a cloudy Detroit trap intro imaging the YC & Future single of the same name whereas “No Lol” completely blocks out all the hate being spewed from the nosebleed section. “Aha” gives a spacious yet funky feeling to the beat making those who’ve turned on him regret their decisions while “Tell Me Sum” puts his faith in the drugs since he can’t trust a soul.

That subject matter gets delved deeper onto “Ain’t Feeling Luv” talking about taking percocets to help put him in a better mood leading into “Tryfe Lyfe” featuring Babytron refusing to give slices of their cheese since they’re too stingy with it. “Hot Boyz” featuring G.T. brings the pair together suggesting that people out here are more broke than they are tough while “Not Too Long” produced by Danny G talks about pouring up with 5 folks.

“Run” reaches the halfway point of the LP vowing to sprint until his legs don’t work anymore & counting his bread up until his hands go numb while “Dirty $oda Club” if you clearly couldn’t tell speaks of his love for sippin’ lean. “Jugg Anthem” experiments with plugg advising not to come around him if the loot isn’t a priority while “Y.N.B.W. (You N****s Better not Wait) talks about seeing millions coming in his dreams.

As for “IDK”, we have Fordio dismissing what others gotta say since he’s been in the v-cut & “PA All-Stars” featuring MJPaid & 72 Reezy unites the trio to talk about being the worst nightmare of any individual with nothing in their pockets until Baby Ghost outraps Glockboyz Teejaee on a song named after 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion, 2-time ROH World Tag Team Champion, 5-time IWA World Champion & former UFC fighter “CM Punk” finally getting his WrestleMania main event last weekend.

“Leanin’” featuring Certified Trapper kicks off the 4th quarter of the tape trading verses over a lowend instrumental while “Overtime” suggests not to mind him or the crew whenever they pull up to your town. “72mg” oozes of psychedelia explaining that his heart is beating fast due to the drugs he’s consuming while “NeedDat” finishes the album talks about not being a fool whenever it comes to the bag.

Not too far off from Paid Ponzi several months back, Fordi Milligrams similarly to what that previously mentioned debut had done displays what Fordio has to offer by himself & makes me hope the other 2 members of the collective catch up to them with projects of their own. The production is a step up from that early material & despite a few features I could’ve done without, many of their verses rival Fordi’s.

Score: 4/5

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1300SAINT – “Saint Season” review

This is a brand new EP albeit YSL Records sophomore effort from Atlanta, Georgia up-&-comer 1300SAINT. Known for staying out of the box with a versatile sound & style drawing in listeners from all walks of life painting pictures of all colors & shapes to create a true experience for his audience, the heavy 808 based instrumentals he lays his smooth vocals over on his debut album Noir makes you feel every song a little more than usual & lead to Young Thug signing him to YSL not too long after he came home last Halloween. He made his YSL debut a couple months ago with All Hail & isn’t slowing down anytime soon by now ringing in Saint Season.

“Red Robin” kicks it all off with this trap intro talking about decapitating anyone who be playing with his team whereas “In Trouble” chaotically goes at the throats of the liable over a PROJECT4PLAY & Rafmade instrumental. “Shogun” boasts that he’s mastered his levels of swag while “Seeumsayin” talks about it not getting any bigger than this. “Blakk Trukk” flexes his status as a star stemming from Day 1 & “Southside Forever” produced by London on da Track ends by showing love to his city.

For an EP, I’m still impressed with what Saint Season was capable of delivering & reinforces 1300SAINT’s rising status in trap music almost 4 weeks after 9 Vicious made his YSL debut Tumblr Music to more mixed-to-negative reception than All Hail received. A homage to SLIME S3ASON obviously, he continues to push himself artistically by carrying over everything that made his sophomore effort from a couple months ago the most beloved entry on his catalog.

Score: 3.5/5

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Salami Rose Joe Louis – “Lorings” review

This is the 6th studio LP from San Diego, California singer/songwriter & producer Salami Rose Joe Louis. Coming up almost a decade ago off her full-length debut Son of a Sauce!, the subsequent sophomore effort Zlaty Sauce Nephew caught the attention of Flying Lotus & he wound up signing her to Brainfeeder Records distributed by Ninja Tune. Her debut for the label Zdenka 2080 would become the most revered entry of her entire catalog, coming off Chapters of Zdenka & Akousmatikous to invite us all on a personal exploration of her own through Lorings.

“Inside” begins with a 2nd single fusing elements of neo-psychedelia, art pop, indietronica & space ambient singing about being lost inside this person’s love whereas “Motorway” finds Flanafi bringing in a guitar & some percussion to express hope of those roaming the unfamiliar streets having mercy on her. “That Must Be Hard for You” sticks out to me as a least favorite of mine & it has to do with the repetition than the subject matter until the 5th & final single “A Sauna Sized Pill” sings about Michael Caine hiding under a rock in plain sight.

Meanwhile on “I Dunno Ways”, we have Lindsay spending 72 seconds repeatedly singing about her being unable to play the game because she doesn’t know the way while the minimalistic “I’ll Never Say” finds herself refusing to show this person what’s really deep inside of her mind. “Crow, Friendship” sings about carrying a loaf of rye on here trying to befriend a group of birds she regularly sees outside of her apartment leading into “Hobbies” opening up regarding her stepfather telling her to find a pastime, which I’d have to assume is music.

“Basketball” ends the 1st half with this 2 & a half minute composition that feels bittersweet just before the lead single “Arm Fell Asleep” blends neo-psychedelia, art pop, indietronica & ambient pop sings about an experience she had when going boat sailing. The 4th single “Fill the Void” kinda reminds me of Toro y Moi in a way explaining that she likes to ride on faith until “Upstairs” relies itself upon its dreamy instrumentation.

One of my favorite tracks would be “Wet Log” simply because of the raw emotion packed into only a minute & a half while “Dribs & Drags” sings about getting up off the ground & wanting to see the person she’s addressing being content with life. After the melancholic “A Pool to Cry In”, the final song “Farewell” preceding the “ Fill the void // house by the lake // coda” outro ties up all loose ends confessing that she wants to start a family in addition to making her family proud & wanting her partner to be more stable.

Compared to Zdenka 2080 & Akousmatikous, I’m a bit disappointed to say Lorings could be the weakest opus of the 3 she’s dropped since signing to Brainfeeder since I’d rank it above it’s predecessor & place Zdenka 2080 above it. I have no issue with the vulnerably introspective approach to indietronica, neo-psychedelia, art pop, ambient pop, bedroom pop & glitch pop carving out her personality over the course of 43 minutes. That said: There are a handful of moments where it feels like I’m listening to half baked demos due to the amount of ideas that sound incomplete.

Score: 3/5

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