Denzel Curry: Unlocked
Release date: February 7th, 2020
Denzel Curry returns in collaboration with Kenny Beats to deliver his third EP Unlocked, only less than a year after his fourth studio release album ZUU back in May 2019.
In 18 minutes, we learn that Denzel doesn’t need the beat, the beat needs him.
Kenny Beats delivers 90s inspired boom bap beats, with dashes of synthetic spacey sounds and classic funky melodies. These beats accompanied by Denzel’s relentless high energy rap style creates a final product that comes off as unorthodox, yet still pleasing to the ear. Chill yet energetic, Denzel brings organized chaos with his unique rap style while Kenny keeps it old school.
I was impressed by the breadth of Curry’s rapping techniques. He switches up his flow A LOT. He’s working hard for the beat with various cadence and tone changes throughout each song. There’s no shortage of internal rhymes and complex rhyme schemes. Denzel goes hard as per usual. The man is a conscious and self-aware rapper, with the ever-present theme of black empowerment and no shortage of slick historical references.
In “So.Incredible.pkg” we get a thick buzzy base complimented with clicky sharp high hats, crisp snares, and heavy kicks. The baseline that enters gives the song a groovy kick that makes you want to bob your head.
Curry ends the EP off with the strong message of “Now you gotta answer to the cosmic” What is the cosmic? God? The universe?
The message sounds more like a warning to heed.
Denzel at this point in the game has shown overall consistency. He has a strong grasp on his craft and style. It makes me wonder if he can even release something objectively bad. If so, I’ll be waiting.
At the end of the day, the EP makes me think there’s only something bigger in store for 2020. Curry usually will release a smaller EP before unveiling the bigger project behind the curtains. If UNLOCKED is only a sampling of what’s to come, then I’m invested in what comes next. He’s proven at this point that he has the skills to pay the bills.
Soccer Mommy: Color Theory
Release date: February 28, 2020
Soccer Mommy’s second album Color Theory is an honest and vulnerable look into the mind of singer/songwriter Sophie Allison. In this coming of age album, Allison focuses on the new problems one runs into as they get older and acts as a spokesperson for a younger generation filled with stress, fear, and uncertainty.
The album feels surprisingly nostalgic with a melancholic 90s alt sound that remains throughout. Her bright and plain voice paired with dark lyrics and upbeat instrumentals creates a brutal yet tender atmosphere. “Bloodstream” juxtaposes being a carefree child to growing older and battling depression. In “night swimming” the single guitar echoes alone as we hear clips of crowds murmuring in the distance, all while Allison sings “I want someone who's following a dream/
To want like me.” She portrays the irony of overwhelming loneliness even while being amongst big crowds.
The longest song on the album, “yellow is the color of her eyes” serves as Allison’s bleek realization that time is fleeting as she sings about her terminally ill mother. “Lucy” deals with Allison confronting her own morality as she asks the devil to “quit taunting me.”
The album concludes with the track “gray light,” ending on the bleak note of dealing with death and losing all hope. “I'm watching my mother drown” is the lyric that Color Theory ends on, signaling that there is no happy ending here. Allison turned inward for this album and bared all. She wasn’t afraid to show the messiness of her emotions, sharing herself so openly in a way that forms a meaningful connection with the listeners. The album is truly confessional and raw.
Soccer Mommy was formerly an up-and-coming artist, but Color Theory proves this title needs reevaluating because Sophie Allison has most definitely arrived.
NCT 127: Neo Zone
Release date: March 6, 2020
NCT 127’s sophomore album Neo Zone proves that this ten-man K-pop group has what it takes to be a worldwide sensation. NCT or “Neo culture technology” is certainly embraced on this fresh, yet old school album.
Neo Zone is full of twists and turns, but each one of the tracks has its own flavor and is radio-ready. The harmonies between their voices blend and melt together with ease on every track, but those awaiting the album expected nothing less than great vocal arrangements. What takes this album to the next level is the seamless genre-bending that occurs between tracks, or even within the songs.
We start with “Elevator (127F),” an upbeat pop song that makes you want to put a pep in your step as you walk down the street. This is followed by the intense and aggressive martial arts-inspired “Kick It.” Later we get “Pandora’s Box,” a song that sounds like it could have come from the 90s Mariah Carey era.
“Day Dream” is relaxing and dreamlike. The light and airy chorus envelops you while the jazzy percussion carries you through the song. This is what a daydream feels like. The soft and cozy feeling is then flipped on its end with the following track, “MAD DOG.” Another hard-hitting rap song, it is simple but layered. This track features lots of trill, fast claps, and tough melodic chants.
The most surprising and experimental track on the album, “Sit down” balances tough and sweet in an unexpected way. We are led into the song with trap-banger verses and choruses, but then suddenly switch up to soft R&B in the refrain. This song is dynamic and keeps the listener on edge.
This album has addictive and repeatable qualities whether you are a new or returning listener. Neo Zone may be a mash-up of different genres and styles, but it is done in a way that feels cohesive. And really, the charm behind this boy band can’t be ignored.
Dua Lipa: Future Nostalgia
Release date: March 27, 2020
Dua Lipa’s sophomore album Future Nostalgia shows that she clearly has what it takes to climb the throne of pop. Solid and cohesive, Lipa delivers a timeless disco-pop sound.
Future Nostalgia covers the wide range of highs and lows love can provide, from commitment issues to the feeling of fierce independence of not needing love at all.
In the title track “Future Nostalgia,” Dua Lipa establishes herself as the “female alpha” over sharp and clean 80s synth. Following, her hit single “Don’t Stop Now” is independent, empowering, and anthemic. The sound is bouncy and has no shortage of funky bass lines. The album as a whole really has no shortage of funky bass lines.
“Levitating” is galactic and full of glittery funk. Dua Lipa’s smokey and sultry voice rides and glides across the groovy rhythm with ease. Catchy and addicting, this track could have easily been a hit single alongside “Don’t Stop Now.” “Hallucinate” sets itself up as being single-worthy as well, with Lipa describing it as being a festival song. The intoxicating and pulsating bass proves this much. The track takes influence from early 2000s EDM and recalls the experience of being so deliriously in love that it’s comparable to being on drugs.
The strings that open on “Love Again” make way for what appears could be an emotional ballad, but quickly the flavor of the song jumps back into a full and robust disco moment.
While the last two tracks “Good In Bed” and “Boys Will be Boys” fit the overall theme of the album, the space-funk sound becomes lost here. Up until these tracks, the album presents itself as an energetic no-skip album with bop after bop.
Many songs off of Future Nostalgia will undoubtedly find their way into many summer playlists. Future Nostalgia is meant for a night of dancing and deserves to be blasted at every roller rink in America. The entire mood of the album overflows with fun and uplifting vibes.
Each track off of Future Nostalgia has the capability to stand strongly on its own. Altogether, the punchy instrumentals paired with Dua Lipa’s smooth and effortless vocal performance creates an album that was bound to become an instant pop classic.
AWOLNATION: Angel Miners & Lightning Riders
Release date: April 24, 2020
AWOLNATION took the world by storm with its first hit single “Sail” in 2011. Nine years and three albums later, we get their fourth studio album “Angel Miners & Lightning Riders.” This album provides its audience with its signature, big alt-rock sound that they have maintained throughout the years.
The album is kicked off with the track “The Best,” which serves as a prelude to the rest of the album. This track shines with its 80s inspired synth and the heavy underscore that carries us through. Bruno sings about seeking greatness, saying “I’m hardly perfect, I’m barely good, Just shy of greatness… I just want to be the best.”
This leads into the track “Slam (Angel Miners).” This track starts off with a lullaby-like riff and eerie melody. The heavy buzzy synth that consumes the chorus is reminiscent of groups like Muse and the Gorillaz, or most recently, Billie Eilish’s hit single “Bad Guy.” Nonetheless,
a familiar sound that many are akin to.
“California Halo Blue” is by far the most emotive and raw song on the album. It has a lighter sound and details Bruno’s thought processes during the California wildfires. This song brings the listener back down after the theatrical and bombastic first half. However, the big stadium vocals that come in during the chorus does kind of kill the somber mood of the track.
Weezer’s frontman Rivers Cuomo makes an appearance on the track “Pacific Coast Highway In the Movies.” This track sounds nice, but is very safe. There’s not much to say about this track because there isn’t much there to start. Cuomo’s appearance on the track is exciting in theory, but doesn’t add much to the song.
The final track, “I’m a Wreck,” takes a shift and displays Bruno’s anger. This is the angriest we have him be on the entire album. The metal breakdown with the double bass and drum fills in the last half of the song makes it the most surprising on the album. Bruno gives us intense and guttural screams as he shouts “You f*ckin’ fake motherf*cker, you know who you are! I can’t take it anymore!” This is a nice and effective wrap up to the album.
The production of this album is big and no doubt fits their style, and the passion behind Aaron Bruno’s vocals can’t be denied. The overall issue with the album is that it really solidifies the direction of mainstream alternative rock as we know it. Bigger sound, bigger production, stadium-esque, cheesy lyrics, kinda cringy, and predictable. The biggest sin here is predictability, and predictability is, well, boring.