Ramirez – “Tha Playa$ Manual II” review

Here is the 5th studio LP from San Francisco, California emcee Ramirez. Emerging as a longtime affiliate of the $uicideboy$, he would go on to co-found to the New Orleans-based indie label G*59 Record$ with them & build himself as an artist by dropping 8 mixtapes, his last dozen EPs & 4 full-lengths. Tha Playa$ Manual was his best LP yet with it’s g-funk production from Rocci & is looks to mark a new chapter with the sequel on his newly formed EMPIRE Distribution imprint Velvet Note Records over a week after G*59 announced his departure to go do his own thing.

After the “Velvet Note Lounge” skit, the first song “Hollow Tips” was a synth-funk intro & skittering hi-hats introducing y’all to his heater if you even try to make a move on him whereas the jazzy “Cut Throat Game” advises to get back up no matter how hard you fall. “Playas Need Love” fuses both g-funk & jazz to talk about that very subject in hand, but then the 2nd single “True Playas” suggests not to trip because fortune favored the strong putting a synth-heavy feel on the Mobb sound.

“I’m Not Yo Daddy” fuses trap & synth-funk together suggesting you come take a ride with him just before “Boulevard Nights” featuring Jason Joshua & Rocci matches a seducing instrumental that wears it’s jazz influences more during the 2nd half with all 3 of them sharing a melodic delivery. After the “Playing a Fool” skit, “Money Don’t Stop for You” jazzily sings of wanting nothing more to waste his time with a woman he’d fall for while “Shake Junt Hoes”proved to be a Memphis inspired final single.

Meanwhile on “Pushin’ on Some Paper”, we have the Lil Homewrecker talking about pimpin’ being second nature to him & making it look easy while the lead single “Chain Swangin’” turns the Mobb influences back up explaining that he’s still the same playa with a deadly weapon on him. “Scrapin’ tha Corner” throws back to the phonk undertones of Tha Playa$ Manual to talk about being on some larger shit while “Never Listen” offers invest in oneself as his best advice.

“Don’t Lose Hope” gets back on the g-funk/synth-funk crossovers wanting to hold his romantic interest tight because he wants her to know she’ll always be safe around him in any possible situation & “Cadillac Burnin’” featuring Rocci ahead of the “Goodbye & Goodnight” outro properly finishing Ramirez’ debut of Velvet Note with a captivating duet feeling reminiscent of something you’d hear during the 70s & I mean that as a compliment instead of implying any indication of it being outdated.

Tha Playa$ Manual has been regarded by many in the G*59 fandom to be the crown jewel of the label’s entire discography & I’d have to say it’s aged astonishingly well as a modern g-funk classic since it came out down the 2020 COVID-19 lockdowns. Tha Playa$ Manual II as a sequel raises his artistic stakes even higher than I would’ve thought. There are a few songs where he takes a break from delivering bars of the gangsta life to favor towards sung vocals with on top of the best production he’s had in a few years culminating in elements of g-funk, Memphis rap, pop rap, jazz rap, synth-funk & Mobb music.

Score: 4.5/5

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Trae tha Truth – “Angel” review

Houston, Texas veteran Trae tha Truth celebrating his 45th birthday with his 17th studio LP. A member of the Screwed Up Click collective, he would go on to join the Guerilla Maab & ABN with over a dozen solo efforts under his belt. Stuck in Motion & Crowd Control were both received mixed-to-negatively in the past couple years, hoping of making up for the lackluster reception of his most recent outputs by channeling all the pain he’s endured onto Angel pushing it back from it’s initial May release.

The intro opens up with Trae singing his heart out over bare pianos of losing faith & needing a savior whereas “All This Time” passionately admits to feeling like the world around him wants him deleted. “Letter 2 Truth 2” brings a drumlessly cloudier vibe instrumentally speaking to his daughter until “Alright” featuring Lecrae blends some synths & gospel choir vocals for a religiously themed direction in terms of subject.

“Where Did You Go?” gives off a cloudy trap feeling addressing the people he wishes he could see for the last time just before “The Gathering” featuring Vory finds the 2 talking about feeling like they’ve been on the edge lately & other going as far to thinking they were finished. “Lord Know” speaks of everything he’s been going through in recent years being the type of shit to give you grey hairs leading into the gospel-trap crossover “Amen” talking about his being head down because he was praying.

Chance the Rapper joins Trae on “Thank You” turning the gospel influences up even higher giving their praises to God for everything he’s done for them while “Daddy Miss You” strips the drums & pens an open letter to his daughter on the road telling her how much he misses her. Kocky Ka makes for the weakest of the 2 guests on the “Alone” remix despite Lil Poppa’s verse being no issue, but then the acoustic trap fusion “Out Here” talks about people being a joke lately.

“I’m Human” pushes the 2nd leg further responding back to the people who’ve turned on him & suggesting some of it might have to do with his own mistakes he’s taking accountability for while “Reaching Arms” advises not to blow the only few chances you got at making it over a drumless gospel flip. “Bet on Me” radiates a sample-woven trap energy in terms of the beat talking about everything being heavy on him while “Ain’t tha Truth” featuring Hunxho asks what the deal is with the cap.

Dave East & Trae get together during “Down on Me” talking about needing to get better over a trap instrumental with sped-up sampling & after “All Luv” featuring Jeremih takes a trap soul route always standing up for something different, “Before I Die” atmospherically finds himself with the foot on the gas taking aim at the individuals who think they know what his eyes have seen.

“I’m In” laughs off those who think they’re bigger than the program & getting honest of this becoming his moment of revenge on ‘em while “S.4.T.W. (Struggle 4 the World)” suggests the idea of their hardships being for entertainment purposes only & to stand on business if it’s pressure. “Let It Go” caps off Angel with a drumless soul flip not needing the pain because he’s big alone along for you to wake up.

For at least several months, Trae tha Truth has been saying for the past several months that Restless could have competition for the #1 spot in his discography & I can completely understand what he meant by that since it’s far well conceived than his last couple dudes. Heavily inspired by his daughter & the journey they’ve taken together, it all made for the most deeply introspective he’s been in his almost 3 decade career.

Score: 4/5

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1300SAINT – “4” review

Atlanta, Georgia recording artist 1300SAINT dropping his 2nd EP only 48 hours in preparation for 9 Vicious’ upcoming 3rd album For Nothing. 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 full-length debut 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. All Hail marked his debut for the label & Saint Season a couple months later was a tight homage to his mentor, delivering a 4 pack coinciding the announcement of Saint having a verse on UY SCUTI.

“Charli XCX” opens the EP by giving a nod to the new Hardrock album Slimyfella even if I felt that it was more average compared to some of his previous stuff while “Life Jacket” talks about possibly drowning in the pussy & having a lot of clientele. “Pay for It” produced by 406ahmad & PROJECT4PLAY could’ve had a longer verse although the bar at the end “Hopped in the double R & I call KanKan” was fire, but “Foreign Shit” featuring Yung Kayo & 9 Vicious finishes with the trio talking about their desire for foreign materials.

Only a couple EPs & an LP under his belt within 9 months of being under Thug’s wing 1300 shuts down those feeling like he’s fallen off by putting out mid all year by cooking up a couple dope trap songs where he’s by himself & then a couple collaborations with the very person YSL signed after him where a labelmate who’s been around since the beginning of this current decade joins them to reflect their respective eras coming together. Looking to be an interesting summer for the Young Stoner Life crew.

Score: 3.5/5

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72 Reezy – “Drop $hit Militia” review

72 Reezy is a 29 year old underground trap musician, model & influencer from Detroit, Michigan beginning to record music when he was only 6 & has become distinct in Detroit trap for his numerous flows. Garnering the attention of the city’s biggest groups in recent memory the ShittyBoyz, he would go on to become a member of their Dog $hit Militia collective signed to Lando Bando’s own The Hip Hop Lab Records & looks to drop his debut EP only a month alongside Beannskii’s sophomore effort Green Bean following MJPAID & Fordi’s own debut albums Paid Ponzi & Fordi Milligrams respectively.

“Thousandaire” hops over an ominous instrumental with some 808s flexing his bank account status being in the thousands whereas “GettinAtGang” talks about what he does whenever he’s not getting the paper. “Trenches News” featuring YBN Lil Bro fuses Detroit trap & dirty south bringing to you live from their hoods prior to “Cookin’ wit’ Kya” talking about people taking pictures with the same money.

To keep things rollin’, “Next Subject” goes for a psychedelic Detroit trap vibe boasting that he’s been getting money all his life with God as his witness while “Rack for Rack” featuring Babytron & Beannskii brings the D$M trio together trying to figure out who’s squad got the most bread stacked up. “Wish I Would” claps back at critics saying he sounds too much like Tron when they’re family & “3272” featuring 3200 Tre introduces us to a potential duo we could hear more of down the road.

“JBL” produced by Danny G lastly finishes up Drop $hit Militia by referencing the WWE Hall of Famer, former WWE Champion, WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Tag Team Champion & 17-time WWE Hardcore Champion himself recently appearing in the WME Group owned TKO Group Holdings division WWE’s newly acquired Lucha Libre AAA Worldwide (AAA) subsidiary a few weeks ago.

There hasn’t really been a whole lot of music at this point from 72 where I could judge him, but Drop $hit Militia in being his first EP will come off as simply inoffensive to those familiar with the Detroit trap style & a good introduction to the Dog $hit Militia member. Production feels like something you’d hear on a Babytron project in the most polite way imaginable, only 1 guest misses the landing & Reezy feels ready to take over the game with his squad.

Score: 3.5/5

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Daddy-O – “East New York Stories” review

Daddy-O is a 64 year old MC & producer from New York City notable for being the frontman of the original hip hop band Stetsasonic with 6 solo albums under his belt. The group officially reunited last spring signing to SpitSLAM Records & putting out Here We Go Again to warm welcoming praise after over 3 decades of inactivity last spring, initially signing to the label for 1st Team & the 9th full-length LP under his own name kept my fingers crossed it would do the same since I enjoyed the predecessor.

“Keep Dat” featuring Lena Jackson produced by C-Doc pairs the 2 over a soul sample with horns advising not to bring that wack shit over their direction whereas “Cheating” takes a bit of a soulful boom bap direction instrumentally playing harps in the ghetto. “Gloves Off” continues the sampling mixed with kicks & snares looking to bring it to you without any ifs or maybes until “Small Ting” talks about the posers & savages over a reggae beat.

Meanwhile on “CounterAttack”, we have Daddy-O speaking on chillin’ at a Brownsville party during a Friday evening & shots ringing out leading into the self-produced “Off Dem” explains that he felt taking up hip hop as a career was far better than a bitter alternative. “The Pros 2” featuring Choclatt fuses trap & reggae for a collaboration dedicated to the Brooklyn borough while “Clap” tells of a story ending in gun violence.

“Here But Gone” counts down the final minutes of East New York Stories sampling the late great Curtis Mayfield to talk about needing to be warned beforehand if you don’t know him by now refusing to erase his roots because grew up as a trooper & “Raised by Wolves (Ask Cavario)” wraps up the half hour collection of experiences with a drumless string instrumental refusing to call it quits until he gets his respect.

Many a Daddy-O album thus far has left Stetsasonic finds divided like You Can Be a Daddy, But Never Daddy-O as well as From My Hood 2 U or G.O.A.T. Antidote & only a week since Public Enemy returned to a Bomb Squad sound on Black Sky Over the Projects: Apartment 2025, the East Coast pioneer takes us on a trip through the neighborhood he grew up in from the hoods to the hustlers to the pros & the MCs.

Score: 4/5

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Big Herk – “Y’all Musta Forgot” review

Detroit, Michigan veteran Big Herk surprise-releasing a brand new EP. Known as a member of Rock Bottom, he would depart the group to form his own label Got’cha Back Entertainment following his full-length debut Guilty as Charged as well as the Still Guilty & Play Time’s Over mixtapes later on. He returned a decade after Guilty as Charged to drop his sophomore effort Overdose, coming back a dozen years later to make the streets remember who he is in case Y’all Musta Forgot.

“They Don’t Know” was a personal Detroit trap intro with a soulful hook talking about us having no idea what he’s been through in the past couple decades whereas “The Way That It Goes” produced by Helluva sticks out as my favorite track breaking down the hardships that come with the game. “Kenya” heavily samples “Brenda’s Got a Baby” by 2Pac to tell the story of a woman going by that name who ends up dead just before “Wut U Thought” featuring Devious leaves anyone who wants to fuck with them lined in chalk.

To begin the final leg of Y’all Musta Forgot, the song “Alright” chops up a soul sample to spin the block on a beautiful day staying optimistic of everything working itself out leading into J-Nutty linking with Herk on “Da Plug” fuses Detroit trap & synth-funk together so both parties can reflect on their days in the streets slangin’ dope. “Hold On” featuring Baby Herk, Knine Millie & Young Herk finishes the EP with the a family affair promising that you can live your dreams too as long as you keep it together.

Best remembered for collaborations with the likes of Slum Village to Obie Trice & Esham, the Got’cha Back Entertainment founder makes a comeback improving on the modern Detroit trap sound that Big Herk went for on Overdose compared to his older solo material & of course everything he put out during the Rock Bottom days. A noteworthy detail regarding the closer is that Herk has a collab tape coming out with his son this fall called The Bloodline, coinciding with Solo Sikoa dethroning Jacob Fatu to become the new WWE United States Champion this past weekend.

Score: 3.5/5

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King Combs – “Never Stop” review

King Combs is a 27 year old rapper & singer/songwriter from New York notable for the being the son of disgraced Bad Boy Entertainment founder, Sean John founder, Cîroc brand ambassador, Revolt founder & music industry mogul Puff Daddy a.k.a. P. Diddy or Diddy and the late Kim Porter. His debut mixtape 90’s Baby as well as his first couple EPs Cyncerely, C3 & C3 were all released either moderately or negatively, but Ye formerly known as Kanye West has decided to solely produce C3’s newest EP in the midst of Diddy’s ongoing trial coming to a close.

“Lonely Roads Still Go to Sunshine” produced by Ye, The Legendary Traxster & Mario Winans was teased on Twitter way back in March & one that Ye’s ex-wife Kim Kardashian had every right being mad at over their daughter North West appearing on the bridge regardless off The Hobbit’s weird relationship with a Tesla robot now whereas “Kim” remembers his mother over a chipmunk soul instrumental.

Ye actually appears on “People Like Me” chopping up a soul sample & throwing some hi-hats over it so he & King Combs can talk about needing people like them when one of them is a self-professed Nazi, but then “Diddy Free” unsurprisingly survived the In a Perfect World sessions by making it’s way onto this EP & King Combs not doing the beat any better than the man who made it did himself.

The song “Repeat Me” heavily builds itself around a slowed down sample of “Slauson Ave” by Karri subtly saying that this is his way of doing house compared compared to what Drake went with on Honestly, Nevermind ruined by the poor pop rap lyrics while “The List” makes it even worse with the “suck a n***a cock ’til I’m cockless” line. Finally, the closing track “Souls” butchers a chipmunk soul instrumental with repetitively annoying pop rap bars.

For all the hate Nasir for being rushed, at least an off-beat Nas was a far more interesting MC on there how King Combs sounds on Never Stop. I’ll play devil’s advocate & give him credit for actually writes his own lyrics unlike his father’s storied history with ghostwriters, although him getting the same treatment as everyone involved in the 2018 Wyoming sessions feels like a downgrade when you think of Ye’s production being wasted this way.

Score: 1.5/5

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Tech N9ne – “5816 Forest” review

Kansas City, Missouri veteran Tech N9ne kicking summer in full gear with his 26th studio LP. Starting out 3 decades back as a member of the groups Black Mafia as well as the 57th Street Rogue Dog Villians & the Nnutthowze, his profile began to increase in the late 90’s after landing a spot on the Gang Related soundtrack & becoming among the first to join Yukmouth’s then-newly formed collective The Regime. But after having issues with Interscope Records & Universal Music Group following the release of his iconic 3rd album Anghellic, that’s when Tech decided to form his own label with the help of a man at Paradise Originals named Travis O’Guin. Together, they would call it Strange Music & solidified itself as one of if not the biggest indie label in the world. Tech has made it a tradition to drop a project or 2 every year since Everready (The Religion) back in ‘06 except for 2022, returning the next summer with Bliss to mixed reception. C.O.S.M. (Class of Strange Music) became the best Collabos entry since my personal favorite Welcome to Strangeland & 5816 Forest looks outdo himself even more with only 2 guests on it because of people clowning him for overloading his projects with guests in the last 2-3 years or so.

After the “Donnie Call” skit, “The Birth” takes a trip down memory lane over some keyboards from Matt Phoenix speaking candidly on his mother’s health struggles whereas “Fridee to Sundee” (Triality)” demonstrates his storytelling abilities & unique slang taking a darker trap approach to the beat. “Yoda” featuring Lil Wayne finds the 2 likening themselves to the Jedi Grand Master from The Walt Disney Company-owned Star Wars franchise until “Ball” recalls another story from his household growing up.

“RDV” after the “Alyia Call” skit throws it back to the days of old school hip hop instrumentally harking back to his 57th Street Rogue Dog Villians days & “Lola” takes it a step further remembering the woman to convince him to go from beatboxing to MCing. “Black Walt Street (The New Breed)” dabbles with hyphy a bit reminiscing of his middle school days when he took on the original moniker Black Walt, but then “Excited” cheerfully talks about making his days the brightest.

Wrapping up the first leg, “The Nice One” cloudily remembers when the “white ones” used to come up to his locker telling him what people have said regarding him while “The Punishment (Lockdown)” paints a picture of a formative childhood memory backed by some thick bass & organic percussion. The chipmunk soul-based “What I Do” recalls beginning to steal during his freshman year of high school & after the “Reign Call” skit, “No Rub” takes it back to a hyphy vibe suggesting he should’ve smashed raw.

“Fish Captain” remembers when his stepfather gave him a summer gig because of the kids he was rolling with at the time of his adolescence while “Sacrifice” featuring Strange Music signee Jehry Robinson acoustically admits to working on their craft instead of what regular kids did. After the “Bella Call” skit, “Livin’ in the Sky” brings a trap flare back refusing to write sad songs for those in his life who’ve passed on & can’t be with us today.

After the “Call with 2 Year Old Alina” skit, “This I Know” blends bright piano blinks beneath triumphant horns along with a loose bluesy guitar & a soul sample reaching back into his earliest memories to make a big screen-worthy image of his formative years prior to the closer “J6’s” finishing up talking about not knowing his life would change at some point when life deals you bad hands lot of times & avoiding these issues by coming up with a plan.

Maybe the most I’ve enjoyed a Tech album since N9na, it’s such a deeply personal & sonically ambitious LP that marks a significant chapter in a legendary career for the indie titan. 5816 Forest reminisces on legacy, loyalty & the roots of independence in hip hop revisiting the foundational moments that shaped him & Strange Music resulting in a raw, reflective body of work that combines hard-hitting lyricism with moments of vulnerability, grit & growth.

Score: 4.5/5

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Hardrock – “Slimyfella” review

In front of us is the 4th studio LP from Atlanta, Georgia recording artist Hardrock. Getting his start over 2 years ago off his debut EP Y.N.S. (Young N***a Shit), he would continue to build up anticipation by delivering 6 more EPs ahead of the commercial debut LP Next! & the breakout sophomore effort 808 Speaker Knockerz. The latter of which contains some of his best tracks to date like “H.Y.L.M.N.? (How You Like Me Now)”, “Madonna”, “New WRLD” & “Luigi Mansion”. The last album 1of1 matched the caliber of it’s predecessor & Slimyfella has finally arrived following the prelude My Gift to You immediately after signing to Victor Victor Worldwide/Republic Records.

“New Level” hops on top of a rage beat out the gate to talk about bossing up tremendously in the 14 months since we’ve last heard from him whereas “Watch Out” pulls from hypertrap once more talking about pullin’ up with them killas. “Biggest Soldier” produced by Devstacks proved to be the most reasonable choice as the sole single during the rollout to drum up anticipation hooking up these synthesizers & hi-hats to throw opps in the wild leading into “Slide” flexing about the body he just caught on camera.

Meanwhile on “Get Go”, we have Hardrock airing out the people who’ve been plotting on him from the very beginning while “Blood Sweat Tears” turns the bass up extremely high to talk about being timeless & putting his all into this music shit unlike those who ain’t making it out the hood. “They Know” shows a hypertrap influence again promising to live by the code & die by it maintaining the roll he’s been on unbeknownst to others prior to “Gimmie Dat” going for a plugg direction to talk about knowing people who want the whole loaf of bread.

“Disgusting” show off how filthy his pockets have been in the past few years with another plugg instrumental making it’s way to the fold while “Hot” ends the first half of Slimyfella working his thumbs by twisting his fingers counting his bands. “Mr. Spendalot” kicks off the 2nd leg of the LP with some peppy synthesizers talking about being the type to blow a bag until “Bloody Seats” references the late CFFC fighter Kimbo Slice who briefly fought in the UFC during the hook.

Nosaint & Toom of Vanguard Music Group help turn the rage back up in full effect during the standout “De La Cruz” smoking big blunts because he ain’t a rookie, but then “Solid” keeps it rollin’ by waking up & getting right to it. “Familia” kinda has this quirky trap edge to it declaring the squad as his real family in addition to asking for his pedigree to be checked while “Heaven (007)” hazily compares himself to James Bond.

“Koko” bombastically pushes forward boasting about his lifestyle while “No Time” with Y3rip & n9ck cloudily looks get the bags poppin’ the second he gets up. “Slime Stroll” gives regalia a shot doing what he does since he’s a boss acknowledging everyone out in the streets speaking cocky on him & “Cold Stare” caps it off with a synth-driven trap closer talking about not going anywhere without his finger on the trigger.

Catching on to him right when he started blowing up a few summers ago, it pains me to say that I found myself liking Slimyfella less than his last couple projects & it could be the most divisive offering in his discography. Although I love that he got Vanguard to oversee it & the engineering has improved greatly compared to his earlier material, it feels like it runs a little longer than it should’ve been.

Score: 3/5

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Frankie Cosmos – “Different Talking” review

Frankie Cosmos is a 31 year old singer/songwriter & musician from New York City releasing her first couple EPs Zentropy & Fit Me In ahead of the full-length studio debut Next Thing. The latter going on to catch the attention of Sub Pop Records, who signed her in the spring of 2017 & has remained on the Seattle indie label to this day. Vessel, the Haunted Items tetralogy, Close It Quietly & Inner World Peace have all been well-received in the bedroom pop subgenre of indie pop albeit not as much as Zentropy was. Something that I was hoping her 5th studio LP would change going into it & based on both singles that were teased ahead of time.

“Pressed Flower” opens with some acoustics singing about gentrification & rebirth whereas “1 of Each” confesses that she doesn’t know what she wants & not even gravity can hold onto her. “Against the Grain” maintains a steady indie rock direction singing about her preference of being along as of late while the 2nd & final single “Bitch Heart” finds herself missing who she was because she can’t go a day without being on her phone.

We get some synthesizers & jangly guitars colliding on “Porcelain” to address dissociation just before “1! Grey! Hair!” maintains a general indie rock vibe singing about the idea of growing up hardly crossing her mind & suggesting heartbreak occasionally means heartthrob. “Vanity” was a great lead single pulling from indie pop feeling as if she’s another victim of another’s careless futility leading into “Not Long” turning back to an indie rock direction singing about the relatable desire to stay in bed all day.

“Margareta” works in these warm riffs that give off a summertime feeling briefly summarizing our main character of the song rolling down the street in a run down car with her jacket hanging in the backseat while “Your Take On” delves further down the indie rock sound painting a love interest as a villain because it makes her worthy of being cherished. “High 5 Handshake” executes some of the most calmly passionate vocal performances throughout the album portraying, but then “You Become” laments over a friendship dissolving as a result of said former friend becoming a person she doesn’t recognize.

Dismissing the presumption of her passing away, Frankie rather insists she was taking more of a “Joy Ride” chillin’ in a bike lane of a restaurant since that’s where everything goes down while the twee-driven “Tomorrow” sings about not backing out from a show she has to perform in 24 hours. “Wonderland” continues down the final moments of Different Talking singing about getting to know herself more than with time while “Life Back” recalls feeling like she wasn’t gonna reclaim herself the day prior, feeling completely fine after some time to recollect. “Pothole” lastly caps it all off with colorful death of ego optimistically finding meaning in the world as we know it.

Vastly themed around growing up & figuring out how to know yourself, Different Talking redeems Frankie Cosmos from the lukewarm reception of her output since her label deal with the most insularly written AND sonically varied material of her entire career. Primarily combining indie rock & indie pop together, she furthermore takes the opportunity to focus less on twee pop than Inner World Peace did almost 3 years ago leaving the comforting bravery of her early adulthood behind due to the epiphany of that same person always living inside you no matter how much we change.

Score: 3.5/5

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