Will Smith – “Based on a True Story” review

Philadelphia, Pennsylvania actor, rapper & film producer Will Smith returning after 2 decades to put out his 5th studio LP. Breaking out as 1/2 of DJ Jazzy Jeff & The Fresh Prince, the duo put out 5 albums until disbanding as a result of Will’s acting career taking off. He made his solo debut in the summer of 1997 signing to Columbia Records for Big Willie Style, which was followed by Willenium & later Born to Reign fulfilling his contract. Big Willie went over to Interscope Records for Lost & Found celebrating it’s 20-year anniversary this weekend, focusing on acting up until Based on a True Story.

“Barbershop Day” by DJ Jazzy Jeff & The Fresh Prince reunites the duo to start us off talking about people cancelling him for slapping Chris Rock at the Oscars because of what he said regarding his wife Jada Pinkett Smith whereas “You Lookin’ for Me?” talks about not being so hard to find. After the “Rave Sermon” interlude, “Rave in the Wasteland” goes for more of a Christian hip hop vibe tackling themes of religion leading into “Bulletproof” talking about dancing in Hell & high waters.

Meanwhile on “Hard Times (Smile)”, we have The Fresh Prince talking about smiling through the pain one might be going through in their lives at the moment leading into the decent pop rap single “Beautiful Scars” featuring Big Sean addressing religious subject matter again. “Tantrum” featuring Joyner Lucas gives a glimpse of what’s to come from their upcoming collab effort even if it’s not that satisfying & “1st Love” was a decent Valentine’s Day cut with some Latin influences.

“Make It Look Easy” boasts that he’s the artist that they call for when they hard to mess up & after the “YCMI Sermon” interlude, “You Can Make It” produced by FNZ pulls from the Christian hip hop scene once again telling people to hold on & assuring them they’ll make it in the end. Ahead of the “WOA Sermon” outro, the final song “Work of Art” featuring his son Jaden on the hook & a verse from Russ was one of the worst singles of last year since it feels like the musical equivalent of having your parents telling you the music you listen to is trash.

Can’t say it’s one of the worst things that I’ve heard all year but almost 20 years to the day since Lost & Found, the Philly icon returns to his pop rap roots although it feels as mediocre as the Interscope-backed predecessor and even his final Columbia offering Born to Reign. I will say it’s cool to hear him adapting to the modern trap sounds & even trying to put together a Christian hip hop concept, although I can’t say the same for some of the production & the features.

Score: 2/5

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Lørd Skø – “PiFF” review

New York up-&-comer Lørd Skø signing to Fat Beats Records for his 3rd studio LP. Getting his start in the fall of 2020 off his debut EP 13th Angel, his profile would grow from there eventually hiring one of the greatest A&Rs in the industry Dante Ross as his manager & showing the world of what he’s capable of doing last summer when he put out his debut Museum. His sophomore effort United Palace was a great dedication to his neighborhood, returning a year & a half later to drop PiFF.

“Livin’ Life” is this jazzy intro talking about living right these days whereas “2nd Thought” produced by Statik Selektah proves to be a highlight as he shows off an aura that can’t be confused with anyone else. “Stubborn” works on this high-pitched gospel sample getting reckless in the middle of his block rockin’ 2 boots while “Bong Rips” featuring MAVI along with Harry Fraud behind the boards making reference to the current TNA World Tag Team Champion in his 3rd reign & inaugural 4th Rope World Tag Team Champion Jeff Hardy of The Hardy Boyz.

Curren$y joins Skø on the single “Understand” suggesting that even the haters gotta love it & turning their plugs into fans of their music just before “Girbaud Talk” featuring Grand Puba brings back the jazz thanks to Mike Shabb talking about checking the wave & sliding. “Robinhood” takes a more cloudier route with the beat likening himself to a vigilante, but then the lo-fi boom bap “Cigarette Butts” smacks the makeup off these clowns making them do 10s.

“Camel Eyes” featuring Conway the Machine psychedelically talks about both of their standards being high & being where they are now by staying on course prior to Feardorian bringing a woozy trap flare to the table on “Holding Me Up” featuring Polo Perks airing everyone moving wack. “Problem Child” soulfully telling his homies to stay safe moving dangerously & after a “Funkee Intermission”, he puts smoke in his “Lungz” like he always does daily.

The song “Not the Same” hits the backend of PiFF working in a crooning sample referencing WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley merely 19 years to the day he gave former 2-time AEW TNT Champion, WWE Hall of Famer, 11-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion & 15-time WWE tag team champion Adam Copeland married to WWE Hall of Famer & 4-time WWE Women’s Champion Beth Phoenix his best singles match.

“Randy Moss” closes it out comparing himself to the Pro Football Hall of Famer & my personal favorite WR of all-time temporarily playing with the New England Patriots at a point in time where his career was winding down, who was recently battling cancer this past winter & is now fortunately cancer free while the vinyl exclusive bonus track “Lesson Learned” reunites with Statik Selektah once again asking it all for the wrong reasons.

For his Fat Beats debut, Lørd Skø makes an example of cross-generational worldbuilding at its best with PiFF by referencing classic New York City hip hop while embracing today’s NYC sound much like he did on United Palace a year & a half ago. Inspired by the stoner wing of the Blog Era during his pre-teen years, he’s created a wide-reaching stoner-friendly future classic showcasing his evolution as an artist in full.

Score: 4.5/5

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Boldy James – “Hommage” review

Detroit veteran Boldy James enlisting local trap producer Antt Beatz for his 13th studio LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), the Detroit lyricist would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks, the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, hoping Hommage would do the same with Alphabet Highway produced by V Don dropping next weekend.

“Back on Top” hooks up a Detroit trap instrumental begging to differ regarding people telling him they be making money now whereas “Off the Richter” featuring Baby Money finds the pair talking about it best to keep things pushing since your life can be taken in an instant. “Brick James” gives off an atmospheric Detroit trap vibe delving into the gangsta lifestyle he lives leading into “Tetris” co-produced by Helluva showing a boastful side to him.

Moving on from there, “Concrete Connie” takes a pint of red & paints the entire town hall just before “Met Me” featuring BandGang Lonnie Bands talks about being evil genius gangsta intellectuals. “Super Mario” offers to show y’all how to turn a pitbull into a bouvier while “Himothy Mcveigh” gives off a soulful Detroit trap vibe talking about being unable to stand these boujee ass dudes.

“Street Cred” continues to push further towards the final moments of Hommage going behind the scenes with the clip & warning him not to roll the credits while “Talk Nice” puts a west coast spin Detroit trap recalling losing sight once as a pup in the middle of a full-blown dog fight. “Dead Flowers” wraps things up making it rain on your head & calling that a head shower, only to leave ‘em dead in the middle of a field.

Arguably the hardest working artist in Detroit balancing quantity & quality gets everyone prepared for Alphabet Highway by linking up with Antt Beatz for a Detroit trap album ending the 1st quarter of 2025 that I enjoy almost as much as Token of Appreciation from last month. Antt’s production is on par with Carlo Anthony’s roughly 3 months ago, both features come correct & Boldy shuts down those complaining of him venturing out to trap with his lyrics.

Score: 4/5

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Termanology – “Things I Seen” review

Lawrence, Massachusetts emcee/producer Termanology linking up with Detroit, Michigan producer Bronze Nazareth for his 13th studio LP. The leader of the ST. da Squad collective, he would also form the duos G.O.Y.A. (Gunz Or Yay Available) with Shortfyuz as well as 1982 with Statik Selektah or Fizzyology with Lil’ Fame & more recently Teknology with Tek. You also have a dozen albums of his that he’s released by himself, with standouts including the sophomore effort Politics as Usual or Bad Decisions & the Dame Grease-produced Set in Stone to name a few. 3 months after Teknology’s eponymous debut, Term’s putting the Things I Seen on wax.

After the “Hex Murda” intro, the title track begins with this soulful boom bap beat talking about simply wanting to live whereas “Make It Flood”keeps it rugged instrumentally talking about being as smooth of an operator as he already is. “Beast Mode” gets back on the chipmunk soul vibe boasting his lyrical abilities just before “Fargo” featuring Wais P finds the 2 making too much money to be living in sorrow.

“Sometimes You Go” featuring Jon Connor sees the both of them talking about not living lavish & their passion being wherever they pass it while “History Lesson” also featuring Jon Connor goes back-to-back discussing God giving them the ability & that not being so much of a mystery. The “Do You Remember?” interlude should’ve been meshed with the actual song featuring SuperSTah Snuk since they tie-in well with each other chopping up the soul samples again so they can get reminiscent.

Marv Won joins Termanology on “Alotta Prose (I Know)” maintaining a soulful edge to the beat so both of them can brush off any small talk that comes their way since neither of them have any time for that shit & prior to the outro, the final song “Henny Cancer” featuring Bronze Nazareth himself & Salute da Kidd wraps officially concludes Things I Seen by getting the trio together for a hardcore hip hop barfest without a hook chasing a legacy.

Things I Seen bounces back from the mixed reception of Term’s last couple solo efforts representing the perfect intersection of two legendary forces in the underground scene bringing each of both parties’ unique flavor to the table to make an experience that transcends mere music by going on this audible journey through life, struggle & triumph. Bronze Nazareth’s unparalleled production & poetic lyricism joining forces with the ST. da Squad leader’s razor-sharp rhymes & magnetic presence results in an unrelenting dedication to their craft.

Score: 4.5/5

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Deafheaven – “Lonely People with Power” review

Deafheaven is a San Francisco, California blackgaze & post-metal band consisting of guitarist Kerry McCoy, drummer Daniel Tracy, guitarist/keyboardist Shiv Mehra, bassist Chris Johnson & frontman George Clarke. Being introduced to the at the end of my sophomore year of high school when Sunbather succeeded what Roads to Judah was going for. New Bermuda as well as Ordinary Corrupt Human Love & Infinite Granite were all incredible in their own regards, looking to make their debut for Roadrunner Recordswith the quintet’s 6th studio album.

After the “Incidental” intro, the first song “Doberman” begins with a cryptically introspective opener confessing his own fear whereas the lead single “Magnolia” viciously blends atmospheric black metal & thrash metal singing about the loss of a father figure. “The Garden Route” returns to their blackgaze origins wanting the world to see their growth as songwriters since Infinite Granite prior to the 2nd & final single “Heathen” secondarily explores post-metal, dream pop, post-rock & post-punk to put ourselves in the shoes of a person who’s given up on themselves.

“Amethyst” proves to be the most vital representation of Lonely People with Power giving a fresh take on the beloved post-metal subgenre these guys popularized thematically basing itself around the LP’s own artwork while “Revelator” after the 2nd “Incidental” intermission takes a look at the inside of Kerry’s mind throughout a great deal of the studio sessions making this. “Body Behavior” painfully dissects all of George’s insecurities while “Winona” following the final “Incidental” intermission takes 7 & half minutes to sing about being left with emptiness in the end. “The Marvelous Orange Tree” on the other hand finishes up with a swan song without redemption walking into blackness.

Rather than distancing themselves further from the blackgaze sound Deafheaven has become known for like Infinite Granite did, Kerry & company take it back to their origins for their inaugural LP under Roadrunner describing the globe in general to be Lonely People with Power in addition to them prioritizing post-metal post-rock, screamo & black metal as secondary influences harnessing roughly every different idea they’ve had for 15 years using a similarly precise execution that made Sunbather so special during my adolescence over a decade ago except it’s pushing more boundaries than what became my introduction to blackgaze had initially done.

Score: 4.5/5

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Black Josh – “YSL Bootleg” review

This is the 8th studio LP from Manchester, England, United Kingdom emcee/producer Black Josh. Known for being a member of the Cult of the Damned & LEVELZ collectives as well as 1/2 of the B-Movie Millionaires & the Super Sag Bros, he would make debut over a decade ago off an eponymous EP & the full-length debut Blick Flair’s Ape Mountain until signing to Blah Records. He went on to drop 6 more albums & 3 EPs under the London label, coming off Today’s the Day a couple years earlier with YSL Bootleg.

“Aw, Here It Goes” by the B-Movie Millionaires starts with them trading verses with each other over a Lee Scott beat fusing g-funk & boom bap whereas “CBA” co-produced by Sumgii talks about refusing to be assed when he tries hard replacing the g-funk elements with hints of cloud rap. “Flu Game” featuring Sly Moon maintains the boom bap vibes speaking of feeling themselves when they’re not exactly feeling themselves while “Drink Champs” featuring Stinkin’ Slumrok shouts out the mishaps making money.

King Grubb appears on the sinisterly dusty “Gutter” talking about good things coming to those who pull the weight just before “Mossy Tree” luxuriously talks about being ready whenever shit pops off, calling back to one of my all-time favorite Cypress Hill tracks. “Council Pop” featuring Sly Moon finds the 2 lyrically going back-&-forth with each other just before “Garfield” heads for a lo-fi direction instrumentally talking his bars wrapping his doubters up in a weed joint to light up, reserving the last 55 seconds for a jazzy synthesizer breakdown.

“Who’s on What” begins the final act hopping over a psychedelic boom bap beat talking about partying until the sun rises while the cavernously hardcore “Don Julio” likens himself to playing the role of a villain in a theatrical film & dismissing rappers who aren’t on Blah’s level of lyricism. “Yes, Man” featuring Sniff has this uncanny boom bap tone talking about getting whatever it is they ask while the closer “Tiger Blood” by the Super Sag Bros drumlessly makes a reference to Charlie Sheen’s infamous 2011 meltdown except they’re drinking Hennessy instead of a tiger’s actual blood.

The only complaint I have regarding YSL Bootleg was it being marketed as an extended play when it’s a dozen tracks & over a half hour long but nonetheless, I’d have to put it above Mannyfornia when it comes down to the greatest entry in Black Josh’s solo discography. Lee Scott’s production here captures Josh’s versatility better than Today’s the Day since it largely stuck to 1 unified sound & the latter sharpens his skills after opening for Danny Brown during the UK leg of the Quaranta tour for this next chapter of a career spanning over an entire decade.

Score: 4/5

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Ramson Badbonez – “White Rabbit” review

London, England, United Kingdom emcee Ramson Badbonez teaming up with Real Life Drama Records co-founder Leaf Dog to fully produce his 14th studio LP. An underwing of the Task Force, he would eventually sign to High Focus Records in 2013 making his debut for the label with A Year in the Life of Oscar the Slouch that same winter. Hypnodic, Jason Bonez, Mic Day the 13th, Death Mask & Fusion would all come out under the Hove, East Sussex imprint with White Rabbit now becoming the 7th raising my expectations with Leaf’s heavy involvement.

After the “Nothing Stops Him” intro, the first song “Hijack” is this sample-driven boom bap opener letting y’all know what he’s all about whereas “The Great” maintains a boom bap edge working in these horns boasting his lyrical technicality. “More 4 Less” featuring Smellington Piff instrumentally kinda reminds me of Mobb Deep talking about them being lyrically gifted until he looks back on getting called upon to take the “Dirt Road” to get where he is currently sampling a piano.

“Rabbit Hole” featuring mysdiggi finds the pair tryna open everyone’s heads in the midst of them getting deeply involved musically just before “Stolen Scrolls” gets back on the orchestral boom bap tip calling himself a professional dread expressionist with a vengeance list. “Try Not to Judge” featuring Verbz soulfully discusses their judgmental free tendencies, but then “Upside Down” featuring Cymarshall Law talks about the current state of the world.

As for “Loop Holes”, we have Badbonez over another piano-boom bap instrumental kicking hardcore lyricism for a few minutes while “Soul Searching” featuring Phoenix da Icefire talking about them being the butterfly effect that emerged from the chrysalis. “Can’t Give Up” soulfully gets on the motivational side lyrically & ahead of closing out with a “Wondaland” sequel, “Strike” featuring The 4 Owls gives a taste of what’s to come from the quartet’s upcoming 4th album.

Marrying his street poetry with the macabre at every turn, White Rabbit is a potent reminder of Badbonez at his lucid best & searches out the truth in the music he makes. Leaf Dog’s production provides a pitch-perfect soundtrack for Badbonez to showcase his full arsenal of multi-syllable flows, punchlines & infectious hooks as he adventures further down the rabbit hole.

Score: 4/5

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Nowaah the Flood – “Beluga” review

This is the 7th studio LP from Dallas, Texas emcee Nowaah the Flood. 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 or the Nazi 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. Almost exactly 4 months later, DJ D-Styles is returning for Beluga.

After the intro, the first song “On Sight” kicks it all off perfectly from the grimy synth-driven boom bap instrumental to Nowaah’s lyricism promising the way it’ll be to those who wanna front whereas “7,000°” ruggedly talks about turning the heat up on everyone. “Big Wheels” keeps it in the basement making a reminder of his murderous reputation, but then “As I Walk Out My Door” featuring DNTE speaks of being weight watchers on the way to a weight house suggesting Planet Fitness can’t even catch a cardio case now.

“No Safehaven” starts the 2nd half of Beluga with a beat feeling reminiscent of “Back Down” by 50 Cent taking no prisoners & showing no mercy while “Willie Bobo” remembers the late Latin jazz percussionist of the same name. “The Sleeping Giant” strips the drums comparing his bars going straight to your brain to blow while “Never Expected” returns to the boom bap for a 3 & a half minute lyrical attack. “Rent Due” wraps things up by waking up the snakes in the grass with a pistol.

Crème de la Crème remains one of the most beloved entries in Nowaah’s catalog & this sequel nearly 2 months after the divided reception of Smash & Grab (Vanglorious Vandals) was what he needed, myself personally annoying it as much as Plans of the Diligent last fall. He’s significantly more focused, DJ D-Styles’ production is stronger, the songs feel more fully structured out in contrast to the rushed state of Smash & Grab (Vanglorious Vandals) almost 8 weeks ago.

Score: 4.5/5

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Dutch Interior – “Moneyball” review

Dutch Interior is an indie rock band from Long Beach, California consisting of guitarist/vocalist Jack Nugent, guitarist/vocalist Conner Reeves, keyboardist/vocalist Shane Barton, drummer Hayden Barton, bassist/vocalist Davis Stewart & guitarist/vocalist Noah Kurtz. Their 2021 debut EP Kindergarten would prelude their full-length debut Blinded by Fame, the latter of which would become their most acclaimed project thus far & resulted in Fat Possum Records signing them earlier this winter. To coincide with spring, they’re making their debut for the label by putting out their sophomore effort.

“Canada” is this indie rock opener singing about seeing 2 sparrows flirting by the lake whereas “Sandcastle Molds” goes for more of an alt-country vibe dealing with holding on to your sense of self as the world descends into madness at a nauseating pace. “Wood Knot” keeps the alt-country influences going disregarding the idea of being a leaf when he’s a natural irregularity, but then “Science Fiction” sings about something shifted in his shape over acoustics & an organ.

The acknowledgement of self-awareness on “Sweet Time” of the world moving fast day by day is made clearly with it’s traditional country tone while “Life (So Crazy)” goes indie rock again singing that he misses the days when the moments were still until the weight came. “4th Street” embraces an Americana direction keeping their secrets close to the ground & the country-driven “Horse” dreams of living in the countryside. “Christ on the Mast” feels more alt-country feeling Hell bent & “Beekeeping” finishes their Fat Possum debut with a reflection on personal flaws.

These guys’ disparate influences all converge on here shapeshifting oscillates between sharply hewn indie rock as well as alt-country along with hints of dissonant ambience & Americana, all while still sounding like a band who both speak their own private language & translate it into something universal. They take the observation of us existing in a tradition of American music & take that to places that are personal to them finds its way in terms of songwriting through its own humorous twists & turns, an undercurrent of omnipresent & steadfast declarations of love.

Score: 4.5/5

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Selena Gomez – “I Said I Love You First…& You Said It Back” review

Selena Gomez is a 32 year old actress, singer/songwriter, producer & businesswoman from Grand Prairie, Texas notable for emerging as Alex Russo on The Walt Disney Company owned Disney Channel sitcom Wizards of Waverly Place & & later the A24 Films crime satire Spring Breakers. She even put out 3 full-lengths Kiss & Tell, A Year Without Rain & When the Sun Goes Down under Hollywood Records with her band The Sceneuntil fulfilling her contract in the form of her solo debut Stars Dance & signing to Interscope Records thereafter. Revival & Rare were as decent as everything else she’s done, except her 4th LP produced by her fiancé benny blanco got my best interest even if people are more upset with Selena for crying on camera because of people being deported instead of Ye formerly known as Kanye West fresh off leaking his own album BULLY openly calling himself a Nazi.

After the titular intro, the first song “Younger & Hotter Than Me” produced with FINNEAS details self-hatred for thinking an ex of her’s was different & wishing she never loved him after moving on to someone younger & prettier whereas “Call Me When You Break Up” featuring Gracie Abrams co-produced by Cashmere Cat & Dylan Brady blends pop rock, dance-pop, synthpop & indie pop offering support to a friend after a breakup. Ojos Tristes” featuring The Marías samples “El Muchacho de los Ojos Tristes” by Jeannette for a Latin pop duet describing a boy with sad eyes finally finding a reason, but then “Don’t Wanna Cry” sings about finding another hand to hold.

“Sunset Blvd” was my favorite single fusing synthpop, bedroom pop, alt-pop, chillsynth & hypnagogic pop recalling her first date with benny just before “Cowboy” featuring Glorilla on the remix gets a little raunchier topically revolving around the themes of intercourse. “Bluest Flame” written with Charli XCX suggests a contrast or an overcoming of a set standard by evoking an intense & powerful feeling wanting to go insane all night leading into “How Does it Feel to Be Forgotten?” expresses hope that one will get to heal 1 day & asking what it’s like having her forget the individual that she has in mind.

After the “Do You Wanna Be Perfect?” interlude, “You Said You Were Sorry” opens up about a dream she had where someone finally apologized to her & them forgiving each other while “I Can’t Get Enough” dabbles with moombahton except it feels more like a J Balvin song. “Don’t Take It Personally” addresses a friend of benny’s that he used to talk to every day & things not being the same since she came around while “Scared of Loving You” is a folk pop, singer/songwriter & indie folk outro telling her fiancé that she’s afraid of losing him.

“That’s When I’ll Care” starts the deluxe run with a Rare outtake indifferently responding to those who’re so consumed about her personal life while “Talk” interpolates “Never There” by Cake yearning to have benny’s arms around her. “Stained” is another leftover from the Rare sessions singing about the damage Selena’s exes have inflicted upon her & the final bonus track “Guess You Could Say I’m in Love” featuring Greg Gonzalez puts their feet down regarding the pain that comes with love.

Growing up watching Selena Gomez on Wizards of Waverly Place during my adolescence, I could never get into really any of The Scene’s output or her last 3 solo efforts since it simply wasn’t for me personally. I Said I Love You First…& You Said It Back however went above & beyond my expectations for it beginning her impending hiatus from making music to focus more on her acting career by chronicling her & benny’s love story from around the time they first met to,l falling in love & looking to what the future holds showing influences of pop rock, dance-pop, synthpop, indie pop, bedroom pop, alt-pop, chillsynth, hypnagogic pop, moombahton, folk pop, singer/songwriter & indie folk.

Score: 4/5

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