Echoes that I Keep

• Genre: East-Coast Hip-Hop.
• Favorite Tracks: "Bring da Ruckus", "Shame on a N****","Da Mystery of Chessboxin'" "Wu-Tang Clan Ain't Nothing ta F' Wit, "C.R.E.A.M."

Since not enough people have talked about this album, here is another opinion on it!

This is a classic for a reason. It came out in '93 and it still goes hard to this day. The supergroup, then consisting of members RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa and ODB (Old Dirty Bastard) broke out with an insane debut album in "Enter the Wu-Tang".

In terms of themes, there isn't that much here that's different from what would come later. Poverty, survival and gun violence are a key component here. The way that this album still stands out today is because of its production, humor and martial arts movies samples.

The way they incorporate lines from movies like "Shaolin and Wu-Tang" or "Ten Tigers from Kwangtung" sound menacing, but also confident and masterful. It's confidence and braggadociousness in the way a kung-fu master would show it. Without even trying.

The production of the beats itself is very rugged and raw, even for 1993, with ODB even "singing" (I use this term VERY loosely) to fill the background music and harmonize better with the beat itself. Still, I love it. It's a classic then, and it's still a classic now. Standouts include "Bring da Ruckus" for and aggressive intro to the album, "Da Mystery of Chessboxin'" for an unusual quick flow for '93 and "C.R.E.A.M.", another straight up classic from this amazing record.

And so, a drink. This one you either go local or sophisticated. This time, I went with the latter, and chose a "Rusty Nail" cocktail. Rough, aggressive and old. A drink that will never lose its bite. Straight from the slums of Shaolin.

• Genre: Punk-Rock, Industrial Rock.
• Favorite Tracks: "War", "Grounds","Kill Them With Kindness" "Model Village", "Reigns"

IDLES, and their vocalist, Joe Talbot are... Interesting.

This is a band that takes the title of "Punk-Rock" very seriously, not just in its booming guitars and drums, but also in its themes, being a very anti-government band. At the same time, though, Talbot is a very liberal guy. So much so that there is a literal song on here of him screaming his lungs out about consent and the importance of personal space.

"Ultra Mono" is the band's third record, and if there's one thing I can take away from this project is that there's something here, be it the walls of sound that hit you frenetically or Talbot's raspy, angry, growly voice, that make me wanna revert to my base primal instincts and just start smashing shit.

This is an angry, revolted (as a Punk album should.), but also extremely funny record. In one song, Talbot is talking about gentrification and racism, in another he's describing David Attenborough clubbing seal clubbers with Lebron James. The soundscapes are what it says on the tin: Punk + Industrial. Aggressive and noisy. Talbot's voice is also a highlight, mixing percussive sounds with some good old fashioned raging drunk screams. (Trust me, in the context of this dirty-ass sound, it works)

The adrenaline this album gives me is enough to make me feral. Of course, I'm a civilized bartender, so this establishment will always be impeccably clean and pristine. But yeah, there's songs on here that make me wanna start breaking shit. Standouts include "War" for an amazing opener to this record, and it also sounding like the middle of an active battlefield, "Grounds" for some grungy, ominous sounds and vocals and "Model Village" for some really funny lyrics and hooks that get dementedly stuck in your head.

Since this is a "Fuck the Bourgeoisie, Hail the Working Class" type of album, I knew I wanted to go with something simple and strong. And so, I've gone with a "Boilermaker". Just a simple shot of scotch, chased by a pint of ice-cold beer. And to finish this one, let's end it with some lyrics from another track on here, "Mr. Motivator": "Let's seize the day. All hold hands, chase the pricks away."

Beautifully said.

• Genre: Conscious Hip-Hop.
• Favorite Tracks: "Tantor", "Down wit It","Shakedown" "Hanami", "Bass Jam"

And so, we have Danny Brown's "sober" album.

Fortunately, and after releasing "Atrocity Exhibition", Danny realized he needed some help. And after said help, he sobered up and made a change in his life. No more drugs. No more partying like you're 20. Because now you're 40 (Heh, Quaranta. Get it?)

"Quaranta" comes at a really vulnerable time in Danny's life. After selling his house at a loss and going through a break up from a longstanding relationship, he decides to move to his native Detroit. Not just to reconnect with old friends and hangout spots, but also to get his creative juices flowing for his next project.

He calls "Quaranta" a spiritual successor to his "XXX" record, in the sense that, while "XXX" was an abrasive, drug-fuelled, sex-romper of a record, "Quaranta" is a more mature project, one aimed at Danny himself and his vulnerabilities, his past, the way that it shaped him, and how he sees the world, and himself, in a different light since getting cleaned up.

It's also a quite... Hopeful record (in contrast to its cover) Danny describes some shitty moments in his life, be it from the last year or 30 years ago, but never loses a sense of... Fondness for these memories. He doesn't outright cherish them, but knows that he probably wouldn't still be here without those lessons.

The production, in contrast with "Atrocity Exhibition" goes for a more focused, more sincere and adult approach. It's slower and more methodical as well, adopting a 90s style of rapping and, at some points, almost sounding like it came from that era. It's (obviously) much more to my liking and of course there are standouts, like "Tantor", with some crazy production work and Danny's signature voice, "Shakedown" for some laid-back bops and "Bass Jam" for a nice closer to the album, Danny reveling in his nostalgia.

For this one, I could think of nothing better than a classic "Boulevardier". Bitter, moody, but not completely "funless", like an "Old Fashioned". As the party dies out, Danny's life officially begins.

• Genre: Alt- R&B, Electronic.
• Favorite Tracks: "Spirit 2.0", "Dancing Circles","Only" "Evidence", "What If You Hypnotise Me?"

I don't even know how to start this one. Maybe with some context on the artist.

Sampha is an artist from the UK, whose ONLY work I've listened to was his feature on "Father Time" off of Kendrick's "Mr. Morale and the Big Steppers". His vocal performance was a delight to listen to. A breathy, slightly deep voice that sounds like a vocal hug.

So imagine my excitement when this album came along. I had been interested in Sampha ever since then, so an entire album's worth sounded like it was going to be massive. Naturally, my expectations were high.

At the same time, I also knew that having these sorts of unrealistic expectations was inevitably going to lead me into a disappointment of my own creation. And so, with expectations toned down, I gave this a listen.

Putting this record's themes, nuances, lyrical work and production into words is next to impossible. To me, it can't be described in musical genres. It's an album that feels like, and in a way, IS bigger than music itself.

Ok, WHOA, slow down, let's stop glazing this fucking thing and actually give some objective points on why I like it so much.

It's a record that focuses on Love. Love for your family, love for your friends, love for your children and love for yourself. it also focuses on themes of connections between people and generations, the illusion of time and learning to let go of the weight of your past, spiritual growth and the erasure of isolation through strong bonds and unity between family/friends/lovers.

Yeah... This one's a lot.

These are themes that Sampha handles brilliantly, be it through his soft-spoken vocal performance, or his insanely varied production, this is an album that sounds different. Like a turning point in your life. And I love it because It reminded me of my own turning points.

Ultimately, this record became personal to me because it reminded me of the person I was, and am now. Of the changes I made, the things about me I decided I wanted different. It also reaffirmed my belief that there really is only one truth to life. Love. And that we should always strive to make it that way. Standouts include "Spirit 2.0" for some production that makes me feel like I'm "ascending", "Evidence" for one of the sweetest songs I've heard about an artist's daughter and "What If You Hypnotise Me?" for some... Relatable themes.

I didn't want something intensely sweet and fuzzy. That's not what this album is about. Instead, I wanted something that felt weightless, like drinking a cloud, something that could represent what this album "feels" like. So, I'm going with a "Ramos Fizz", a drink that not only looks like a cloud in a glass, but also feels like it while drinking. Celebrate your family, your partners, your friends. Give them that hug you've been meaning to give.

• Genre: Alt-Pop, Pop-Punk
• Favorite Tracks: "all-american bitch", "ballad of a homeschooled girl","making the bed" "pretty isn't pretty".

Alright, the experience of being a teenage girl transitioning into adulthood. Now that's something I can talk about!

Yeah... Let's just say that my life experience in that front doesn't really help me out here, so... I'm just gonna be speaking from the perspective of an adult guy for this one.

This is the second studio album from up-and-comer Olivia Rodrigo, and being that she wrote this when she was 18, this is an album positively filled with teenage angst and "boy troubles".

Sounds like something that, personally, I would despise. But in the end, we're left with an album whose themes can be VERY one-dimensional, but its production and Olivia's voice and lyrical skill end up making a very enjoyable listen.

It has a very different production from your typical "lovesick teenager" album, incorporating elements of grunge, punk and even 80s synths into the mix. When it gets emotional, it tends to go for the more common piano sounds, but even then, Olivia's delivery of her amazing voice, and the way she describes the situations she finds herself in can be sad, but at the same time, very funny.

I, unexpectedly, ended up liking this album way more than thought I would. For a record whose themes are "I'm the ugliest duckling in my class" and "I gotta get back with my ex", It's unrelatable themes (to me) that are delivered in a stunning way, and honestly, I'm hopeful for her later records, as she matures into a woman, and an artist.

Standouts include "all-american-bitch", for a bombastic intro, "making the bed" for some nice inner conflict (wouldn't be teen angst without it!) and "pretty isn't pretty", a song that did end up making me feel sad for all the girls that never thought they were enough.

And so, a drink! I thought about this one for a while, but this record isn't classy. It's messy, it's stupid, it's young and it's free, so I went for the classic begginer's drink, the Whiskey-Coke. Save this one for your next bad idea.

• Genre: Alt-Rap
• Favorite Tracks: "TRUST!", "GOD DON'T LIKE UGLY!","OG!" "THE GHOST OF RANKING DREAD!", "DAM! DAM! DAM!".

Let's start this one off by saying that, yes, I know the title of the Spotify embed down there is different. Here's what's going on:

"LP!" is JPEG's fourth album, and the last one he released with record label Republic. Upon releasing it, the samples he used had a LOT of trouble being cleared for it to be available for streaming, and so, Republic made JPEG make a different version of "LP!". One with a lot of cuts and changes compared to the original.

And so, we have 2 versions of the "same" album. "ONLINE", which is the shitty version (yes), and "OFFLINE" which is JPEG's full vision of what he wanted to release... Which is 20 tracks in total.

And I know. 20 tracks is a huge commitment from a listener to an album, but then again, that's why I'm here talking about it. What is it that makes "LP!" special?

So, you know how I showed "Veteran" on here and described it as "A schizophrenic's thoughts on his worst day"? This album sounds like an insane person that's managed to tame his personal demons. Yeah, sure, that's a good comparison (It's not).

What I MEAN to say is unlike "Veteran", which to me sounds insane, sometimes to the point of incohesion, "LP!" is insanity refined. Unlike "Veteran", there is a method to the madness here, as JPEG decides to still keep a lot of the crazy production, but adds a more stable and concussive percussion to the project.

It actually SOUNDS like a rap album this time, and as a consequence, makes the album a more cohesive experience. Narratively, the record is somber and heavier than "Veteran" focusing on JPEG's disdain of the music industry as a whole, and later delving on darker thoughts of suicide and drug abuse.

I debated on showing this album here or not, mainly because I had already showed "Veteran". But "LP!" stands by itself as an improvement on the formula, and in my opinion, a step forward. Standouts include "TRUST!" for a track satirizing "feel-good" songs, "GOD DON'T LIKE UGLY!" for some criticism directed at artists who don't write or produce their own tracks and "DAM! DAM! DAM!" for some extra vulnerability, right at the end.

So, I recently discovered a cocktail that, I think, goes perfect with this, and that is the "Jungle Bird". I'm not gonna tell you anything about it. This is one you're just gonna have to taste to get what I mean. A record that feels spiteful, but sweet at the same time.

• Genre: East-Coast Hip-Hop
• Favorite Tracks: "The Ruler's Back", "Heart of the City (Ain't No Love)","Never Change" "All I Need", "Blueprint (Momma Loves Me)".

So, an album that came out on September 11, 2001... Let's not talk about that.

And talk about this album! I'm not a huge fan of Jay-Z as a rapper, his voice just doesn't... Do it for me as a rap/ hip-hop enjoyer. But what really sells this album isn't (just) Jay-Z. It's the producers behind every single track on here.

This album marks a HUGE turning point in the genre. Not only do you have Jay-Z, a star in his own right, but this record marks the beginning of a lot of people's careers and showcases their talents beautifully.

Kanye West produces many of the tracks on here and, I mean, you can instantly tell when It's a Ye production, 'cause It sounds absolutely out of this world good. You also have the beginnings of Just Blaze, one of the greatest hip-hop producers of all time, as well as Timbaland appearing on here.

More than that, and this one shocked me the most, you have a single guest appearance on here, both producing AND rapping, and that is Eminem himself. Very young, full of energy and ready to prove himself to the world. His lyricism is crazy. His production is even crazier.

This one is a classic for a reason. It was a "Lightning in a Bottle" moment, where some of the greatest rappers and producers came together (some not even famous yet) and created an absolute masterpiece of a record.

I will say... A lot of the lyrics on here DO NOT age well, so... This was a record that came out in 2001... Standouts include "The Ruler's Back" for some strong, confident beats and lyrics, "Heart of the City (Ain't No Love)" for an amazing West production, and "All I Need" for, guess what? More amazing production.

I think this one deserves no less than one of the classiest cocktails around, and that's the "Sidecar". A classic, simple cocktail, for the discerning customer. For one at the top, staring into a horizon of possibilities. Preferably with sunglasses and a cigar.

• Genre: East Coast Hip-Hop (Boom-Bap), Jazz Rap
• Favorite Tracks: "Waves","FromdaTomb$", "Survival Tactics", "Snakes", "Don't Front"

Everything about Joey is awesome... Except the "Bada$$" part.

Don't know what it is. Don't like that word as an artist name. Just sounds extremely tryhard and pretentious. That being said...

I had listened to Joey before. Not an entire album, mind you, but snippets from "B4-Da-$$" and"ALL-AMERIKKKAN BADASS" and liked them a lot. His style of rapping is, for better or worse, what I grew up with. Very old-school flows from the 90s, particularly "Boom-Bap", a style of rapping heavily associated with the East-Coast. (As opposed to G-Funk in the West Coast)

"1999" is not even his first album. It's his first mixtape that, in 2012, he published online for free so people could first listen to his work. It's a bit roughly produced, It's a very "samey" record... So why do I like this mixtape so much?

Maybe the fact that I already LOVE the style of music this follows helps, sure... But the thing I like about it the most is that it came out in 2012. This record sounds like it could've come out in the early 90s, in flow, in penmanship and in sounds.

This, plus the fact that Joey was 17 when he released this shows a respect and a dedication to this genre I don't think I've seen in a long time. Standouts include "Waves" for some really nice sample usage, "Survival Tactics" for some amazing lyricism and "Snakes" for some really, chilled out vibes.

For this one I decided to go with a "Manhattan". THE New Yorkian drink for a New Yorkian record. In a 90s state of mind.

• Genre: Hip-Hop, Soul, R&B
• Favorite Tracks: "Introvert","Woman", "I Love You, I Hate You", "Little Q Pt. 1/2", "How Did you Get Here"

The Female Kendrick Lamar.

Is a term, I think, a lot of people are going to use to describe Little Simz. Even though it ends up being diminutive to her talent and character. Notwithstanding, she is outrageously talented.

If you know me, you know I harbor a deep infatuation with Kendrick Lamar. So when I heard "Sometimes I Might be Introvert" the similarities in themes weren't there... But the lyrical athleticism and poetry skills were.

Simz is an absolute wordsmith in this album, one that talks about being introverted in an extroverted industry (and world, for that matter), being a woman in a VERY male-centric hip-hop scene and one that delves deeper into her character, her struggles and her achievements. The record switches between very vulnerable, emotional songs, to some heavy, confident beats from one track to another, highlighting her conflicting duality. Being more reserved and shy VS feeling like you deserve everything you've worked for.

Now, if it sounds like I'm one step away from putting this woman on a pedestal, guess again. This is a UK hip-hop album. Its style of rapping is different, and it is not for everyone. I don't normally like UK rap or Drill, but what sells this album is her pen game and the orchestration.

This project is GRAND. Like, you're watching a play in a gigantic concert hall. It starts insanely with "Introvert" and it only gets better. Almost every single track on here has either a choir chanting or some sort of Big Band instrumentation, some almost sounding Bond movie-esque.

And in just 19 tracks (Yeah, this one long) I fell in love with this album. The stories it tells, its themes and how they are presented sound like a huge stage play and I could not get enough of it. Standouts include "Introvert" for an amazing intro to this record, "Little Q Pt 1/2" for some crazy hooks that are still stuck in my head and "How Did you Get Here", a very feel-good track about accomplishing the impossible.

A drink for this one was really tough. It's a very British album in its grandiosity and "high class", in certain respects, but It's also very down-to-earth and realistic. I decided to go for a quintessential English cocktail, and that is the "Pimm's Cup". Sweet, sour, all of the above. Who are we, when no one is watching?

• Genre: Indie Rock, Noise, Experimental Pop
• Favorite Tracks: "Time Today","Flyway", "Dump", "Swimming"

Where do I start with this album...?

Let's talk about the band first. Kero Kero Bonito is composed of three members, with the lead singer being Sarah Perry, a Japanese-British woman who moved to England when she was 13. The other two members are Gus Lobban and Jamie Bulled, being the two main producers of their sound, with Sarah adding the vocal work.

This one is really hard to talk about because it is so... Abstract, but also quite delightful and nostalgia fuelled in its own way. The entire album feels like you're coasting on a dream (except for the parts that don't... I'll get to those in a second) of childhood and times gone by, longing mixed with glee.

Their previous album "Bonito Generation" was very "bubbly", clearly inspired by some contemporary J-Pop and Dream Pop, and while this one retains that same foundation of sounds, it also decides to go a bit... Crazy. The "Noise" tag I put up there is not for show. The guitars used in this album can sometimes get distorted beyond belief, out of nowhere, creating this... Eerie feeling.

Bringing it back to the theme of being in a dream, you know how, when you're having a good dream, sometimes there's this weird, unsettling thing that just kinda... happens, or is just there? That's what the "noise" portion of this album sounds like. Not necessarily creepy or scary (With the exception of the song "Only Acting"... That one is... Intense) but unsettling, in some parts.

It's also a record that absolutely detests harmonies. There are consistent beats in it, you can vibe to it, but there is not a consistent harmony in this entire project. Sarah may be singing in a sequence of keys, only to drop her voice to a low growl out of nowhere. The magic is that it never stops sounding bad. Weird, maybe, but never off-key or just completely wrong. Only, again... Eerie.

In the end, I love this album. It won't be to everyone's taste, but the "cuteness" and overt "kawaii-ness" of Sarah's voice and production, mixed in with some very interesting lyrics and "noise" production, make this album a must-have for me. Standouts include "Time Today" for a very, VERY nice feel-good song, "Flyway" for some clear Indie Rock mixed with J-Rock influences and "Swimming", just another dreamy, feel-good vibe.

And so, a drink that symbolizes teenage glee and nostalgia, mixed with some some REALLY creepy and eerie moments, possibly triggered by some sort of psychosomatic trauma. Yeah, this won't be a hard choice at all.

So... Yeah, I've decided to go with a "Bramble" for this one. It's still sweet, with the blackberry liqueur, the crushed ice gives the drink some "roughness", and the gin gives it that sharp kick, so you never feel too comfortable in this dream. Perfect sounds, beautifully broken.

• Genre: Dream Pop, Psychedelic Rock
• Favorite Tracks: "Ultraviolence","West Coast", "Sad Girl", "Pretty When you Cry"

And so, another Lana record. Who would've thought?

Just like "Alfredo", this is a short project, with only 11 tracks to its name, but there's something... Different to me about this album.

While Lana's style has most recently been switching between Americana and Folk Pop, this is her third studio album, and apparently back then, she was more into what I like to call "The sad background music that plays in the speakers of a dingy bar while two characters talk about how fucked up their day has been"

At least to me that's what this album sounds like. There's a lot of rawness in this, being in its lyrics or its production. A lot of guitars and drums accompany this record, some just straight up blues-influenced and some more orchestral, Bond movie title sequence-like. It's a mixture of sounds I was not expecting and one I was very pleasantly surprised by.

And maybe the reason I love this album is precisely because of the fact that it sounds great and it doesn't overstay its welcome. It's a very "vibes" based album, and there's songs on here that kind of... "Appeal", I guess, to the self-destruction fantasy.

Of course, that doesn't mean I want to start doing drugs or shit like that, but there's this side of me that looks at characters like Butcher from "The Boys" or Tyler Durden from "Fight Club" and thinks "Man, what a piece of shit! Wish I could be as cool as him". I dunno, maybe it's just me. Standouts include "Ultraviolence" for a song that sounds like it could be played during the ending of "Blade Runner 2049", "Sad Girl", for fucked up vibes, and "Pretty When you Cry" for hey! More fucked up vibes!

A drink for this record has to be raw and brooding. Something you could drink slowly, but also strong, impactful. So I've decided to keep it simple with a "Black Russian", but with around 25% coffee liqueur and 75% vodka, over ice. Feel the Burn.

• Genre: Dance, House, R&B
• Favorite Tracks: "COZY","CUFF IT", "BREAK MY SOUL", "CHURCH GIRL", "VIRGO'S GROOVE"

Holy. Fuck.

How about we talk about this album? It's Beyoncé's seventh studio album, It was recorded during the pandemic and It was nominated for nine categories in the Grammies, winning four of them, thus making Ms. Knowles THE most awarded artist in the history of the event. So what is it about?

"RENAISSANCE" is part 1 of a trilogy of albums that Beyoncé is currently releasing, with each one being a departure, of sorts, from her usual pop-friendly style. This one leans more towards a Disco/90s House feel, paying homage to not only black culture, clubbing culture but also queer culture, and celebrating all of them at once.

It is an overwhelmingly positive album. Being released during the pandemic lockdown, Beyoncé wanted music to "uplift" people in those depressing times, thus, she found the answer to that in dancing, and consequently, loving oneself.

Every single track on here has at least one portion that focuses on self-love and acceptance. It is a ridiculously uplifting album, and obviously, the production and Beyoncé's incredible voice help achieve that feat.

Now, let's stop being analytical and talk about what I like about this album. I am a straight male human being... And this album makes me feel like a fucking diva. There are tracks on here that sound like they were made for a fashion show, or a voguing competition. It makes me feel like I am the absolute greatest and sexiest human being alive, and honestly, I think that's the secret sauce of this record.

It's confident as hell, but without being braggadocious or pretentious. It's DEEPLY sexy, but not in a nasty way, and the parts that are dirty or pretentious are almost played as a small joke. Some of my favorite lines on here are Beyoncé saying the phrase "Pretty Tig ol' Bitties" and mentioning she has stretch marks in her breasts, in a confident way. It's pure, unadulterated, love in oneself.

The way the record is mixed is also interesting, as one song flows completely into another, making it sound like part of continuous DJ set. Standouts are LITERALLY EVERY SINGLE ONE OF THESE TRACKS. But sure, I'll boil it down to "BREAK MY SOUL", "VIRGO'S GROOVE" and "CHURCH GIRL" (With the latter being SUCH a fun banger)

Again, whatever I write here cannot compare to the vice grip this album has had on me ever since I first listened to it. And so... A drink. I decided to go with an "Espresso Martini" for this one. Stylish, slim, and a jolt for that extra DJ set at 3:00 AM. This one's going on the collection.

• Genre: Hip-hop
• Favorite Tracks: "God is Perfect","Scottie Beam", "Frank Lucas","Something to Rap About", "Baby Shit".

And so, I present to you, the shortest album yet. (At least I think so, I'm just too lazy to go fact check)

"Alfredo" is a 10 track collaborative album between rapper Freddie Gibbs and producer The Alchemist, with not really any themes to talk about (with the exception of the cover being inspired by "The Godfather") and it sounds absolutely amazing.

I had heard The Alchemist's work before on other projects, but honestly, it never really stuck out in my mind as being anything too special. To me it just sounded like... A very basic production for rap and trap records.

"Alfredo" is different. This is their first album together and second collaboration overall, and you can tell by listening that they had fun making this. It has its serious moments, but overall, the project itself does not take it too seriously and just has fun with its tracks.

That, obviously, does not mean they sound amateurish. Freddie's deep voice and rhyming style compliment The Alchemist's production perfectly, being a very laid-back album. Some tracks sound like a mix between R&B and Hip-Hop, but others are very aggressive in its production and style, without being too abrasive to the listener. It's also a very short album, with it not overstaying its welcome too much.

Ultimately, It ends up being an almost perfect chill record. It's short, to the point, fun/laid-back, and really, not every album needs to tell a story. Sometimes, you just need have fun to make good music. Standouts include "God is Perfect", "Frank Lucas" and "Baby Shit" (<-- You can tell they had fun with this one)

If only in keeping with the album's cover, I decided to go for the classic "Godfather" cocktail. Just some good old-fashioned Scotch and some Amaretto, in a glass with some ice. And an orange peel to give it that extra zest. And no, don't ask me if I cook Fettucine Alfredo here.

• Genre: K-Pop, Hip-hop
• Favorite Tracks: "Body to Body", "Merry Go Round","Like Animals", "One More Night", "Please".

So this one's gonna be a bit different.

This is the first album I'm talking about as a request (note the title) and, If the disclaimer in the intro wasn't enough, let me make this perfectly clear.

I am not a music critic. I did not study music theory or composition. I am simply a guy, who owns a bar, where he shows off music that he loves. It's all vibe-based, nothing more.

That being said, this post is gonna come off more as a review than anything else, so fair warning, both to the people reading, and the person that requested this album. No hard feelings.

I think I can start off by saying that BTS, and really, K-Pop in general is this huge, and I mean, HUGE industry. Its revenues are upwards of billions not just for the bands themselves, but for the country of South Korea in general. So much so, that the country gets millions of tourists every year, and obviously this cultural phenomenon plays a huge part in that.

Now, what I mean by all this is that BTS (and again, K-Pop in general) probably can't really... Change their sound too much. I'm not saying its members don't want to do different sounding music or their voices are bad (far from it!) but this is such a huge industry, that there is a reason the K-Pop sound is very... Unchanging. With songs very rarely diverging in their composition from one another.

Are they being pressured into doing the same sort of sound over and over again? I don't know, and honestly, I'm just a bartender. So let's talk about the album itself.

"Arirang" is the name of the album, and also of a traditional Korean folk song. One that they sample on the very first track, "Body to Body". This is also a double genre album, with the first half being mainly Hip-Hop, and the second being K-Pop. If you couldn't tell by this blog already, I listen to a LOT of Hip-Hop and Rap, so my opinions on it are always going to be a bit more... Demanding.

I'm just gonna say that the first half of this album (besides "Body to Body") is not for me, and that's ok. There are tracks on here that are produced by well known artists like JPEGMAFIA (who I covered last week) and Mr. Kevin Parker (Tame Impala) so when I got to them, well... The JPEG one,"Fya", you can tell right off the bat it sounds different, clearly produced by him, but then it very quickly turns into a very normal synth beat production.

The Tame Impala one, "Merry go Round", at least, is a Kevin Parker production through and through, with it not just sounding like something off a B-Side of Currents, but with BTS's voices (No, I cannot remember their names, forgive me) going in a very similar pitch Kevin adopted in that same album.

All in all, for a person that hasn't really listened to all their projects, but is familiar with their sort of sound, "Arirang" ends up feeling very similar to other outings they may have had in the past, or really, to the sound of K-Pop in general, which If you're already a fan, and wanted more from the group, great! This one's for you! If you're an outsider looking in, like me, it just ends up sounding very similar to other tracks you may have listened to.

I'll still point out my personal standouts in "Body to Body", "Merry go Round" and "One More Night", the three of them being my personal composition and production standouts.

A cocktail for this one is... Hard. Without much context or history with the band and their sound, I didn't really know what to go for. So, in the end, and with this being a comeback album from their military service, I decided to go with a "Somaek" cocktail. An unpretentious, familiar, easy drink to make and sip, just cold beer, topped with Soju. Simple, familiar... Something along those lines.

• Genre: French House, Disco
• Favorite Tracks: "One More Time", "Harder, Better, Faster, Stronger","Crescendolls", "Something About Us", "Voyager", "Face to Face".

And now, we get to an absolute classic in the disco scene.

Before "Discovery", I'd listened to "Random Access Memories", Daft Punk's last album, and... I liked it. It didn't wow me in any particular fashion, but overall, It was a more than decent way to end their musical careers. In my opinion, though... There's just something special about "Discovery".

It's a very easy listen and a bit of a "one-note" album, as it isn't as varied in its sounds as "RAM", but the composition of every single track here just sound like absolute house/disco perfection.

It also spawned some of the biggest songs ever, not just in replays, but in sample usage, with "One More Time" and "Harder, Better, Faster, Stronger". Paving the way for other artists to sample their sounds.

In the end, we're left with an absolutely groundbreaking album, one that even got its own movie, "Interstella 555", creating its own narrative around all the tracks in the album. It's an extremely easy listen, and one that I love. Standouts include "One More Time" for a song that is now 25 years old, that still sounds great, "Harder, Better, Faster, Stronger" for the exact same reason, and, If any of you ever wonder what style of music I like the most, look no further than "Something About Us". Probably my favorite Daft Punk track ever.

I was so torn between two cocktails for this one, I just said fuck it, and I'm putting them both in. It's your choice between a "French 75" (classy, french drink, very "Daft Punk") or a "Midori Sour" (colorful aesthetic, Japanese liquor, very "Interstella 555"), taking you back to 2001.

• Genre: Experimental Hip-Hop, Industrial Hip-Hop
• Favorite Tracks: "Real Nega", "Thug Tears","Baby, I'm Bleeding", "RockNRoll is Dead", "Panic Emoji", "Rainbow Six".

Another case of an album not corresponding to its genre tags AT ALL.

Let's talk the project itself. Its lyrical content and subject matter are decent. It has... Themes... And it talks about... Things...

Most of it, though, is just JPEG talking about whatever he likes and dislikes. What really makes this album stand out is its production and sound. It evokes a lot of "Death Grips" inspiration, in the sense that it sounds like a schizophrenic's thoughts during his worst day.

And maybe that sounds like I'm bashing the album. I'm not. This record has some of the craziest shit (pardon my french) I've heard in my entire life. Some tracks use a backing sample of Old Dirty Bastard doing the voice from the "Ring" movie girl, slowly turning into a singing voice, and others have a sound that's like someone licking the inside of your right ear through the entirety of the track. All while JPEG switches between rapping and screaming his lungs out.

In an album with 19 tracks, it is mind-boggling how he managed to make every single one of them sound different."Real Nega" sounds completely distinct from "Thug Tears", and vice-versa. It's a rollercoaster of a record, never really letting you feel comfortable in its sound. Kanye's "Yeezus" is a similar venture into this sort of sound, but it sounds tame compared to "Veteran". Standouts include "Baby, I'm Bleeding", "RockNRoll is Dead" and "Panic Emoji", all for the same reason. They sound fucking crazy.

A good drink for this one would probably be something abrasive and complex, so I went for a Mezcal based "Negroni". Very sour and agressive, but very complex in its construction and aftertaste. A method to the madness that is this record.

• Genre: Alt-Pop, Americana
• Favorite Tracks: "Did you know that there's a tunnel under Ocean Blv?", "A&W", "Fingertips", "Paris, Texas".

So this one's different.

Lana has always been that one artist I just could not get into. Be it because of her style of music, be it for her voice, whatever the case, There was something about her (and honestly, about "Americana" music, in general) that is just not for me.

Until, you guessed it, this one. This is her most recent project (so far) and before this, I had listened to what is probably her most known record, "Norman Fucking Rockwell" and honestly, I didn't even finish it, so I just thought that her style was not for me and chalked it up to that. This, though, is a much more somber and introspectual album, and right off the bat, I just said "Hey, I like being depressed! Let's give this one a shot!".

I kid, but this is exactly what I described above. It's an in-depth look into Lana as an artist and a person, her fears of being forgotten, and the joys of times past. It's an album that doesn't really end with a resolution to her problems, but exposes them to her audience. There are stories she tells in this that are absolutely heart-wrenching, but some that are so steeped in nostalgic bliss you can't help but feel happy as she tells them.

The title of the album, "Did you know there is a tunnel under Ocean blvd?" is in exact reference to the biggest theme of this album. The idea of being forgotten and trying to keep the memory of people that have passed alive. And yes, there is a tunnel under Ocean blvd, in Long Beach. People just never really took it to get anywhere.

After thinking what would go well with this one for a while, I decided to go for a "Hanky Panky", a very old cocktail created by one Ada Coleman in the early 20th century. One that is, to this day, still enjoyed. Not forgotten.

• Genre: Indie Rock, Garage Rock, Post-Punk Revival.
• Favorite Tracks: "I Bet you Look Good on the Dancefloor", "Dancing Shoes", "Mardy Bum", "Perhaps Vampires is a bit Strong, but...", "When the Sun Goes Down".

And so, we talk about Arctic Monkeys's first album, one with a long ass name. It's also my favorite one.

This is a raw, youthful, angry and even hopeful album, a cacophany of sounds from dingy clubs that just exude teenage youth and vigor.

Being that it's their first album, It's quite clear that the sound isn't completely refined yet. There's a certain edge that accompanies every track on here, making them sound like the band is playing on energy and anger alone. But It's not all angry, as there's tracks that just get lost in youthful reverie, on times spent and teenage shenanigans.

And, as a Punk Rock album should, for the entirety of it, it sounds like Alex is always one word away from telling either its audience or the world to fuck off, and I absolutely love it. It's aggressive even on its softer tracks like "Riot Van". Standouts include "Dancing Shoes" for an absolute bop, "Mardy Bum" for another bop, and "Perhaps Vampires is a bit strong, but..." for an even bigger bop. (Not my most intellectual argument, but this album doesn't really need intellectual discourse)

This one to me is the simplest one so far. Just a classic pint of Lager. Can't really go any other way with this one. They wouldn't let you.

• Genre: Post-Punk, Alt Rock, New Wave
• Favorite Tracks: "The News", "Running Out of Time","C'est Comme Ça", "Big Man, Little Dignity", "Figure 8".

No, this is not an April Fools joke, I swear.

Paramore was that one alt rock band sensation of 2008/2009 that everyone listened to... Except me. Kind of...

You couldn't really get away from them. Their music would be playing everywhere, in movies, in TV shows, I remember watching MTV (back when it was a music focused TV channel...) and it just being a matter of time before "Misery Business" would come on. I didn't mind them at the time, but I also didn't feel too strongly about them either.

And this just might be my personal opinion, but I feel that after "Riot!", the band's luster may have... Died out? At least, I think so, because they just kind of... Faded into obscurity. They kept releasing other projects, so they never officially stopped producing, but it just never hit that high mark that they had achieved before.

That's when "This is Why" comes in. After a lot of change-ups with its band members (Excluding the vocalist, Hayley Williams), they released this album, almost out of nowhere, and bringing with it a... Renovation of their sound. It's still very punky, very alt rock, but it's also much more subdued, calm and introspective in its themes. It speaks a lot about renovation as an artist, and also touches on the political landscape of lately (which, again, very common for an alt rock album)

Hayley's vocal performance still shines, as always, but the band's overall performance is also of note. It's one of those albums where everything sounds in-sync, like they practiced these songs in their sleep and never miss a single beat. Standouts include "The News" for some terrific Post-Punk vibes, "C'est Comme Ça" for a song that, the moment I listen to it, gets dementedly stuck in my head, and "Figure 8", for a choice of tempo I don't think I've ever seen coming from a punk rock band.

I knew I had to choose a kind of "rebellious" drink for this one, so I decided to go with a "Spicy Paloma". A colorful, but also very acidic drink. The perfect complement. Unfiltered.

• Genre: R&B, Hip-hop, Neo-Soul
• Favorite Tracks: "The Bird", "Am I Wrong", "Room in Here","Celebrate", "The Dreamer"

And now for some "sunset on a beach" vibes.

Paak is one of those artists that I would always see in features, be it with Kendrick Lamar or his whole duo album with Bruno Mars, "Silk Sonic", but I had never really listened to a solo project of his. "Malibu" is his second album, preceded by his debut "Venice", and it was my introduction to his main style of music, as well as the type of person he is and the upbringing he had.

The record is Paak's life journey up until now. From literal homelessness to an artist recognized by millions, and the struggle and survival, but also the love and gratitude that comes with said transformation. Its tracks can be heavy in its storytelling and themes... But they never stop sounding joyful or even sexy. It's an album that praises and celebrates life, while keeping its depictions of it realistic and grounded.

Certain tracks on here have a certain spell on me. Such that I can't really relisten to them that much, due to them eliciting a "bigger than normal" emotional response out of me. It doesn't mean I don't like them, it just means that some of them come with a lot of sand that will eventually get stuck in my eyes.

Standouts include "The Bird" for a nice, cruising intro to the rest of the album, "Room in Here" for some velvety, "Silk Sonic" vibes and "The Dreamer", probably the one song I can't really listen to that much. Although I absolutely love it, both in its own, and as the album ender.

For this one you can't possibly go wrong with a "Mai Tai". Perfect look, taste and feel for this album. This is one to be sipped, staring into the setting sun on a beach, thinking "we made it.". Maybe I'll open a beach bar one day...

• Genre: Psychedelic Rock, Psychedelic Soul, Funk
• Favorite Tracks: "the BLACK seminole", "running out of time", "THE zone~", "drive ME crazy!", "REACH THE SUNSHINE".

Never thought I would actually like a Lil Yachty production. I mean, this is a guy that made his entire career around auto-tune rap. I don't judge tastes, but... I did not enjoy anything the guy made until this album.

"Let's Start Here" says what it's about on the title. A beginning, a reinvention. Yachty got extremely tired of his production and decided to go a completely different route, taking inspiration from Pink Floyd and Jimmy Hendrix, he decided to make, out of nowhere, a Psychedelic Rock album.

Emphasis on the "Psychedelic" part, 'cause this album is a journey. Besides the tonal shock that changing up your style of music completely brings, it's also highly experimental, be it on the vocals or the production, with a lot of synths and heavy drums accompanying a performance that, thankfully, is auto-tuneless.

In terms of themes it talks about change and failure, the reinvention of an artist (mirroring what happened with the Arctic Monkeys) and finding meaning in our universe. It's an exploration of what it means to change yourself, to explore other avenues and viewpoints. All while being transported by the otherworldy production this album brings. Seriously, some tracks sound like you're on a rocket ship to the moon. Standouts include "the BLACK seminole" for some clear "The Dark Side of the Moon" inspiration, "running out of time", for some psychedelic funk and "REACH THE SUNSHINE" for a bombastic conclusion to a trip of an album.

For this one, you cannot go wrong with an "Aviation" cocktail. Purple, floral, very much a trippy drink, made to be sipped. The first step into another universe.

• Genre: Post-Punk, Gothic Rock
• Favorite Tracks: "In ár gCroíthe go deo", "How Cold Love Is", "The Couple Across the Way", "I Love You", "Nabokov"

Good thing these are written, 'cause I would've never been able to pronounce that first track.

Fontaines D.C. are an irish gothic rock band established in 2014, and really, I don't think you can get any more niche than "Irish Gothic Rock". Nevertheless, they sound absolutely amazing. Focusing on the album in question, "Skinty Fia" ("The Damnation of the Deer" in Old Irish / Gaelic) is a very somber production, probably owing to the genre it takes after.

It's an album that's not interested in making you vibe to its tracks, as it focuses on Irish Identity, and what it means to be Irish, especially in different contexts of life. It talks about drug abuse, relationships, fame, ego and even politics, all using the extinct Irish Elk as symbolism for a country's identity being lost and/or changing overtime.

I love this album because it's HEAVY, the guitars are crunchy and distorted, the vocals are droning and captivating (The Irish accent is something I never expected would sound good sung) and really, when's the next time you're gonna be listening to "Gothic-Rock"? It's not depressing, like Radiohead, but it's also not... actively angry, like a lot of punk bands, It's more like a low roar than a loud one. It, of course, does have its share of loud moments, but it mostly sticks to a low tone throughout.

Standouts include "In ár gCroíthe go deo" for an absolutely amazing intro to the album, "How Cold Love is" for a song that I feel exemplifies perfectly the feelings of addiction and dependency, and "The Couple Across the Way" for a very somber and, even sad depiction of what a very late-stage relationship may look like, all backed by an accordion (Yes, really)

For this one, the obvious choice would be just neat Irish Whiskey, and while I do accept that, I thought some other choices, especially for people that don't appreciate whiskey, would also go well with this album, so I present either a "Black Velvet" or just a dry stout, on a pint glass. Honor the roots that grew you.

• Genre: Art Rock / Orchestral Rock / Funk
• Favorite Tracks: "There'd Better Be a Mirrorball", "Sculptures of Anything Goes", "Jet Skis on the Moat", "Body Paint", "Big Ideas"

"The Car" is weird. Especially if you're a fan of the Arctic Monkeys.

Why? Because people who haven't been following their recent releases might be surprised to find out that they sound completely different. Since their previous album "Tranquility Base Hotel and Casino", the band decided to change their musical style from punk rock to something more akin to a David Bowie production, like art rock. As Alex Turner grew older, he realized the band couldn't be making the exact same style of music forever, as his interests in music started shifting to a style that's more melodic, more understated, and overall, more... Abstract in nature.

I'm gonna be real for a second, and say that since I've started listening to them, the lyrics in Arctic Monkeys tracks have always been abstract to me. I stayed for their music because of the insane drumming and guitar play, but never for whatever the fuck Alex is talking about. Maybe I small brain, I dunno. "The Car" continues this tradition of having abstract themes and lyrics, but the production is sublime. Some tracks, like "Body Paint", just sound straight out of a David Bowie LP. The orchestration mixed with some of the sleaziest funk guitars this side of the 70s makes this album feel unique and fantastic.

Standouts include "There'd Better be a Mirrorball" for a perfect intro, showcasing the sounds the album will have, "Jet Skis on the Moat", for some of the "porniest" (you read that right) guitars since 70s porno, and "Big Ideas", an allegory in music form about how the band had to change to stay relevant.

For this one, I don't think you could go wrong with a "New York Sour". Sophisticated, but also theatrical in its composition. A drink confident enough to be sipped anywhere, any time. Just remember to drive slow.

• Genre: Psychedelic Pop / Disco
• Favorite Tracks: "One More Year", "Posthumous Forgiveness", "Breathe Deeper", "On Track", "It Might be Time".

And so, we're back with Mr. Impala, and my favourite album of his.

"The Slow Rush" is not as good of an album as "Currents", production-wise. It doesn't have as many hard-hitting songs as that album, Kevin (Mr. Impala himself) doesn't really vary his style of music as much as he did in that album, It's not as experimental and, perhaps therefore, not as interesting sounding as "Currents", and yet...

I love this album because of what it speaks about, as it focuses on time itself, and the ways that it controls us, worries us, heals us (or not.) and ultimately, shapes us as human beings. Compared to "Currents"'s theme of relationships, this one just speaks to me a bit more as I grow older and change.

Gonna try not to get too personal with this but, a long time ago, my father did something bad. Something he immediately regretted the moment he did it, all in front of 6 or 7 year-old me. It's this memory that's forever etched in my brain and growing up, as I've mentioned before, I never had a great relationship with him, I just ended up resenting him for his actions all the way into adulthood. He knew he made a mistake so he always tried to recover said relationship with gifts, but never by actually talking about what happened and admitting to his failure, making me understand his side.

I grew up hating. A lot. Hating people, relationships, school, everything that inconvenienced me in the slightest. When I met my wife, life did start changing for the better, and I as a person with it. And overtime, I realized that I had spent my entire childhood hating a person that would do anything for me. As people grow older, some start showing cracks in their stern exterior, and that was happening with my father. He became less violent and angry, and more loving and caring of those around him. I realized that I wouldn't (and really couldn't) ever forget what he had done... But I could, and did, forgive.

Now that I'm an adult, time takes a different meaning for me. I feel like I'm always rushing to do something, to take care of something. There's this feeling of always being late that never really fades. But as long as we keep a goal in mind, we're always going to be "on time" to make them happen. It doesn't matter if it happens now or 5 years from now, as long as we keep working on it, we are all on track for our own goals.

So hey, LET'S TALK ABOUT THE ALBUM, RIGHT? The production is still a Tame Impala one, absolutely perfect, and this time he goes on more of a Disco-Pop route, which is just absolute ear-candy. Standouts include "Posthumous Forgiveness", a song that speaks exactly about what I've just described above, "Breathe Deeper", for some amazing distortion and synths, and "On Track". If you ever feel like you're lagging behind in life, this one is the perfect pick-me-up.

Again, took a while to pick out a drink, but think I found the perfect one, and that is a modern "Tequila Sunrise". Night blending into day, perfectly reflecting the themes of the album. If you're gonna drink this one in a rush, just take it slow. (Man, I love puns)

• Genre: Progressive Rap
• Favorite Tracks: "Downward Spiral", "Ain't it Funny", "Really Doe", "White Lines", "When it Rain"

Yeah, this one's gonna be a hard sell... Literally a "Hear me out" moment...

I didn't know who the hell Danny Brown was. Never heard of him, didn't know what kind of music he made, nothing... And then I listened to "Atrocity Exhibition". Let me just say, right off the bat, the title of this album is perfect. It describes exactly it is. It's ugly, horrific and even downright creepy in some parts. It's an album that glorifies a spiral of madness and drugs that is (or was, hopefully he's doing better now) Danny Brown's career.

Not only is it not for everyone in its subject matter, it's also alienating in its production. This is an extremely experimental rap record, between tracks that sound like heavy bass mixed with distorted air horns, to tracks that sound like you're lost in a drug-fuelled rave, it's an album that doesn't like you, almost as much as it hates itself. Danny's vocal performance is another divider, switching between his normal "singing" voice, which just sounds like he's yelping a lot, to his actual regular guy voice, constantly. So... What is it about this album that makes me want to recommend it here?

Well... It's jarring. It's in your face. It's "This is my life, look at how fucking funny this is, I might die tomorrow". There's desperation, mixed with comedy, mixed with acceptance. it is insanity in an album. And I fucking love it. Just like Kanye's "Yeezus", you're not gonna listen to anything exactly like this in upcoming years.

It's clearly not for everybody, and I stretch to think if it's even FOR anybody, but at the end of the day, if you ever wondered what an insane, drug filled lifestyle sounds like, look no further. Standouts include "Downward Spiral", for the perfect intro into this rabbit hole of a record, "Ain't it Funny" with a jumpscare serving as the intro to more madness and "When it Rain" for what being lost in a hallucination of a drug filled rave sounds like. Fucking crazy.

This is an album that actively hates itself. Not something you listen to randomly at any given day so, for a drink I decided to go with something you try once and you either love it, or absolutely despise it, and that is a Fernet and Coke. Literally just the amaro liqueur Fernet with coke. Sounds simple and easy to drink, until you realize that Fernet is extremely bitter. Not for everyone, just like the album.

• Genre: Post-Punk Revival / Indie Rock / Alt Rock
• Favorite Tracks: "Brianstorm", "Only Ones who Know", "This House is a Circus", "505"

So, Arctic Monkeys! A band I never quite listened to, except on the radio when I didn't even know the music that was playing was theirs.

I say this because, when I was younger, Arctic Monkeys were known everywhere. Even a socially isolated person like me had heard of them, the new Punk rock sensation from the UK, people my age were going insane over it, and I, well... Just didn't really care. At the time, the only music I really listened to was OG Hip-Hop and Rap from the 90s, so my mind was kind of stuck in drug filled L.A. and New York, and not in Post-Punk Revival UK.

That being said, this album fucking rocks (maybe not as much as their first one... But we'll get to that.) It has this youthful energy associated with it that transports you into this reality of being a teenager and going to concerts, having fun with your friends and getting your first awkward kiss. It's very much an album stuck in youthful chaos, and even makes it nostalgic to someone like me, a complete social outsider.

Besides the "Vibes", the band's performance is mesmerizing in this record. Everyone's in sync with each other and not a beat is missed, special shoutout to the drummer Matt Helders who goes absolutely bonkers in this entire album. Standouts include "Brianstorm" for a fantastic intro to this album, "This House is a Circus" for some amazing, fast-paced production and "Only Ones who Know" for a slow, lethargic song, breaking up the momentum perfectly.

For this one I was torn between going the classy route, or the dive bar route, so I'm just gonna put them both here. It's your pick between an Espresso Martini or a Whiskey Coke. Whatever you do, just do it fast. We're all still young.

• Genre: East-Coast Hip-Hop / Boom Bap / Jazz Rap
• Favorite Tracks: "Life's a Bitch", "The World is Yours", "Memory Lane (Sittin' in da Park)", "It ain't Hard to Tell"

Going back in time to the 90s this time! What is, to many, the golden age of Hip-Hop!

During this time, the Rap/Hip-Hop scene was mostly in the West Coast, with artists like Dr. Dre, Snoop Dogg and Tupac, so the East wasn't really producing at the same level. Artists like Notorious B.I.G, Mobb Deep and Wu-Tang were showing their presence, but again, West Coast rap in the 90s (also known as the G-Funk movement) was just on another level... Until this album came out.

"Illmatic" is Nas's very first album, one he wrote at the age of 16/17, as a tribute to 80s Hip-Hop, and it is astounding. Not necessarily because it has amazing tracks, not because it's innovative for its time... But because it's a "back to basics" album.

It encompasses every single element that makes a hip-hop album "hip-hop" and does it perfectly. From the incredible production, to the insane lyricism from Nas, depicting his childhood, growing up in Brooklyn, It's a perfect rap album for the 90s. Not a beat amiss, not a lyric unimportant.(Fair warning, though, some of the lyrics... Did not age well. If you're going to listen, keep in mind, this album is from '94, so...) Standouts include ""Life's a Bitch", "The World is Yours" and "It ain't Hard to Tell". All amazing tracks.

Since this is also a very real and "raw" album, with Nas detailing an infancy of gang violence and drug abuse, I was torn between two choices, so I'm just gonna put them both here. it's either a classic "Manhattan", the drink that defines the city the album takes place in, or just some cognac, neat, in a glass. For all the old-heads out there.

• Genre: Synth - Wave / New Wave / Pop Rock / Pop Funk
• Favorite Tracks: "Music for a Sushi Restaurant", "Grapejuice", "Cinema", "Daydreaming"

Now, for something a little less depressing!

Bet none of you would ever think that a guy who glazes Kendrick endlessly also loves a Harry Styles album, huh?

There's something I can't really explain about "Harry's House". The subject matter and content of the tracks aren't that interesting, I'm not the hugest fan of Harry's voice, and yet... Every single track on here is production perfection. Every single sound and beat nails ludicrously in sync and nothing is interrupted, there is space for every single sound to have its moment to shine in every track, and that is nothing short of amazing.

It's also a very easy listen. Some of the best "background" music I've ever listened to. This may come off as a jab to the album, but I can only imagine how hard it is to make music that sounds complex and interesting, but also serves as the perfect background for any task you might do during the day. Another thing that I personally picked up is how... "Cool" of an album is. It exudes coolness and confidence in spades, while never getting confrontational or braggy, effortlessly. Standouts include "Music for a Sushi Restaurant" for a bombastic intro to this album, "Grapejuice" for its bonkers instrumentation and production and "Cinema", for when you want to feel like the coolest person, doing literally anything.

For this one, I could not go with any other drink other than an "Aperol Spritz". Refreshing, sweet and easy, perfectly complementing the album's vibes. I also recommend some sunglasses while listening to this one.

• Genre: Conscious Hip-Hop
• Favorite Tracks: "United in Grief", "Die Hard","Father Time", "Count me Out", "Mr.Morale", "Mother I Sober"

So, two warnings before I talk about this one. 1: This is the album I talk about in the intro. 2. This one's going to get personal. I'll try to make it as short as possible, but this one I have a lot to talk about.

"Mr. Morale & The Big Steppers" came at a time in Kendrick's career where he was already one of the greatest in the music industry. He didn't need more fame, he didn't need more accolades, what he needed... Was help. This is an album he decided to make after a long hiatus, where he decided to undergo actual therapy and study spiritualism as a way of coping with trauma from his past, and because of that, this album comes off much more intimate and personal than other Kendrick projects. In fact, it has some of the most introspective and philosophical tracks I have ever listened to in my life.

This album tackles a veritable SHIT-TON of subjects: Self-care and self-worth, relationship dynamics, expectations of others and our failure in meeting them, generational curses and traumas... I could sit here all day talking about this, so I'm just gonna try to move on through.

So, how did this album affect me, well... Back in 2024, I had no job and certain responsibilities I wasn't being able to fulfill. I was stuck at home for entire days, repeatedly searching for job offers and applying, without any success. Being in that situation and lost in my own thoughts, in an empty house, was taking its toll on me because, again, I was just drowning in my own thoughts of failure and inadequacy. And then, one day, I find this Youtube channel. It's a reaction channel, but instead of exaggerated screams and faces, It's this guy, showing his dad music and albums he's never heard of. The dad's music tastes were still very much stuck in the 70s and 80s spectrum but, being a musician himself, he wanted, not only to be more updated on the music scene, but also to find more of a connection with his son, taste-wise.

They were the ones who introduced me to this album, and many others that would come. All of the albums that I've put in here so far, I listened with them first. It became this... Bonding activity, I guess, not only had I finally found out what moved me the most, it was through watching an activity that I would love to do. A connection I would love to have with my own father. And since one of the topics of the album was how a father (or mother) can sometimes pass his own traumas to his children, seeing both of them listening to music was this beautiful moment between generations that really... Inspired me, I guess, and made me realize how hurt I was due to certain actions from my parents that came from traumas from their OWN childhood.

It changed me. I decided to stop being so resentful of my past, and just decided to... Try and let go of all the weight that I carried. This and other albums made me realize that Love really is the answer to being happy, be it loving someone, a hobby or a place, that is the true essence of what we should aspire to be and do. To love and be loved. I still fail at this, I'm only human, but after listening to this album, this... Experience, I changed. And maybe, you will too.

FOCUSING ON THE ALBUM (Phew), It's almost impossible for me to give you some "standouts" in this album as I think It's almost perfect. Every single track on here is perfectly produced, executed and has something important to say (in my opinion). But, If I have to highlight some, I guess I would say "Father Time" is one of them, as it focuses on Kendrick's relationship with his father (painfully relatable), "Count Me Out" for a bit of light, hope and courage in the middle of a very heavy album, and I have to mention "Mother I Sober", THE heaviest and most sorrowful/hopeful track I have ever listened to in my life (yet).

I need a drink after that, and I'm guessing you do too, so! For this one, as you can probably correctly assume, I spent literal days trying to find out what would go well with this, and I decided to settle for a "Black Manhattan". A sweet, very "mature" drink that, I think, exemplifies this album really well. Maturing, while still retaining your "sweet" side. What makes you "you". Growing up, unburdened by past traumas, set free. We don't need to carry that weight.

• Genre: Conscious Hip-Hop
• Favorite Tracks: "DNA", "ELEMENT","FEEL", "XXX", "FEAR"

I think we can start this one off by saying that "DAMN." by Kendrick Lamar was the first, and so far, only Hip-Hop album to have been awarded a Pulitzer prize. This is not my favorite album of his, but mostly because I think there is a limit between achieving an artist's vision, and making it accessible to the general public. Sure, you can make something so abstract, so complex in its nature that it overshadows all your other work, but then, you're the only one who will fully understand it... Which is fine. I just like to have a minimum of understanding of what I am listening to.

If it sounds like I am berating this album, I am not. Saying that this is my second least favorite album of my favorite musician of all time (so far) is like saying this is the Apollo to my favorite album's Zeus. It is genuinely incredulous, the ammount of subtext, nuance, contrasts and social commentary implemented in this record. The album, just like "Good Kid, Maad City", tells a story. In fact, It even tells two stories. One if you listen to the album in order, and another If you listen in reverse order. To sum them up (which doesn't really do them justice, but we don't have all day) the "in order" story is a person rising up from their situation, It's hope in the face of doubt. The "reverse order" story is the exact opposite, a person that doesn't rise above their situation, a person that ends up becoming part of the problem. If it sounds like I'm being vague, that's because If I start talking about the themes and topics of this album I will not shut up, so...

In summary, "DAMN." is a crazy album, not just in the topics it addresses, not just in its song-writing, not just in the two stories intertwined but also for the fact that every song represents "Wickedness" or "Weakness", as the title track "BLOOD" introduces us to that concept. All in all, It's an album so... Big in its content that you honestly just have to listen for yourself. Standouts include "DNA" for an aggressive political banger, "XXX" for an understated track about gun violence featuring U2 (Not kidding) and "FEAR", where Kendrick reflects on how his fears have changed as he matured. It's not every day you get to listen to a modern rap album that also won a Pulitzer, so...

For this one, I present a "Whiskey Sour", but not like the previous one, this one has actual sugar inside instead of simple syrup, making the sweet and sour content much more balanced. A perfect complement on the theme. Is it Wickedness? Is it Weakness? You decide.

PS: As a side note, an alternate title for this album was "What Happens on Earth, Stays on Earth". I feel like It reflects what the album is about better than "DAMN." but hey... I'm not a multi-million dollar artist, so...

• Genre: Hip-Hop
• Favorite Tracks: "I Thought About Killing You", "Yikes","No Mistakes", "Violent Crimes"

Ah, shit... Here we go again.

So... Why am I talking about Kanye again? Because honestly... This is my favorite album of his (coincidentally, his shortest one). For those that are "in the know" on Kanye's discography, I'm probably speaking blasphemy, I should be talking about "College Dropout" or "Graduation" or "Life of Pablo", but I don't give a shit, this is what I think.

For people that don't know, Kanye (besides being a crazy lunatic) is also bipolar, and has been on medication for years now. Does he take it? Is it working? Doesn't matter, because this is the only album where he decides to talk about it. His problems, his diagnosis and his fears, mostly for his daughter. Are they still covered under a veil of faux confidence? Yes, absolutely, but this album to me is like finding out a serial murderer loves dogs. It's like: "Oh, yeah, you're also a human."

That being said, I love this album. The production is, of course, excellent, and the rapping and lyrical content is... Better than most other Kanye outings out there. It's more vulnerable and therefore more interesting. There is a moment listening to this where you think Kanye will come to his senses, that he will stop saying and doing outrageous shit on the internet, that this album was his turning point. Obviously, It never was, but that shouldn't take away from the fact that It's still great and I actively enjoy it. Standouts include "I Thought About Killing You" for a highlight on how honest Kanye gets on this album, "No Mistakes" for just sublime sample using and production and "Violent Crimes" for an actual, endearing song about Kanye being a father and the responsibilities that come with it.

I was, again, torn between two drinks for this one, but I've decided to go for a "Whiskey Sour". A drink of conflicting flavors, the sweetness from the syrup contrasting perfectly with the whiskey and the lemon. Conflict from within, in a drink.

• Genres: West Coast hip-hop / Gangsta Rap
• Favorite Tracks: "Sherane AKA Master Splinter's Daughter", "The Art of Peer Pressure","Money Trees", "M.A.A.D City", Sing About Me, I'm Dying of Thirst"

Oh, man, I get to talk about Kendrick again, yay. (Clearly not a fan.)

This is only my second favorite album of his (I'll eventually talk about the first), and it is spectacular. I swear, I'm gonna try as much as I can to keep this post short.

The concept and idea behind this album is that it all takes place on a typical Compton day, during Kendrick's younger years. It is a true story, and one he does not shy away from telling in its most raw and vicious form. Every track is a new chapter in that singular day, and the way Kendrick tells this story is movie-like. He describes the details of the events of that day so well you feel like you're there with him, and by describing these events, he is also describing what life was for him, and many others, growing up in one of the roughest cities in America, surrounded by poverty, gang violence, and death, every single day.

Some of the tracks on here are an absolute masterclass in storytelling and tone-setting. "Sherane AKA Master Splinter's Daughter" is a perfect opening for what follows, "The Art of Peer Pressure" is, to my knowledge, one of the only songs that touches on that topic, in the context of gang affiliation, and "Sing About Me, I'm Dying of Thirst" is one of the most, if not THE most introspective and beautiful song I've heard yet in my life. Kendrick can be quite religious when it comes to being hopeful, but hey, I'm not religious, and this song is next level greatness.

So, I'd better shut up now (I'll reserve the monologue for my favorite album of his) and present you with a drink! This album has such a unique vibe to it, and since it transports you into this reality, I thought, there's two ways to go about this one, so I'm gonna include them both. It's either going to be a "Tommy's Margarita", with the tequila and the lime bringing those West Coast, sunny vibes, or, If you REALLY want to get into the vibe of the album, I could just sell you a 40.oz (Or a "Litrosa", for my Portuguese brothers out there), which is what Kendrick and his friends drink throughout the album. Unfiltered Sun.

PS: The album cover is an actual photo that shows Kendrick as a child, with two of his uncles and his grandfather. One of the uncles is displaying a Crips gang sign on his hand, and on the table there is the aforementioned 40.oz, but also a baby bottle. A perfect example of the reality of growing up in Compton.

• Genres: Alternative Hip-Hop / Jazz Rap
• Favorite Tracks: "Congratulations", "Dang!","Stay", "We", "God is Fair, Sexy Nasty"

As a bit of a breather after "Circles", I now present you "The Divine Feminine", my favorite album from Miller's discography. (I was saving this album for later, but eh... Valentine's is coming up, so fuck it.)

Back in 2016, Miller was dating singer/songwriter Ariana Grande and, since the only thing in his mind at the time was love, he decided to make an album out of it. It's a record that focuses a lot on the feeling in its many different forms, from the earliest of relationships to the oldest, and also talks about the process of men learning through women and their experiences in life.

It's an album that is absolutely lost in reverence of love and the feminine form, and that includes sex (of course). This is a VERY horny album and It's not afraid to show it, from the lyrics, to the sampling, It wears its heart on its sleeve. Unlike Silk Sonic, in which the subject of sex is tackled with a layer of braggadociousness and cockyness, "The Divine Feminine" is horny in the context of intimacy rather than pride, It's the difference between having sex, and making love. Standouts include "Congratulations" for a perfect intro to what this album is about, "Stay" for some amazing trumpets and production and, I have to give credit to "God is Fair, Sexy Nasty" for its ending, where Miller's actual grandmother talks about how she met her husband and what their relationship was like. Truly delightful.

For this one, I knew I wanted something more delicate, something that could feel young but also mature, so I decided to go for a "Rosé Spritz". Very easy to make, and to sip. A drink that encompasses what this album is about. A celebration of Love of all kinds, and Women in general. This one is for the ones in our lives.

• Genres: Hip-Hop / Funk / Emo Rap
• Favorite Tracks: "Complicated", "Blue World","I can See", "Woods", "Hand me Downs"

I think there's something to be said about the first album that I actively like from an artist being the posthumous one. Maybe It's the tone that it carries, the idea that these were the last tracks this person recorded before their end. I'm not sure. Fortunately, It's not the only album I like from Mac Miller, and it certainly is not my favorite, although I do want to talk about it.

Mac Miller died of an overdose on September 7th, 2018, and left this album unfinished. And so, his friend and producer Jon Brion, decided to ultimately finish the album, in accordance with Miller's vision for it. It ended up being a very... Somber album, but also hopeful in some tracks. Some of Miller's lyrics in this album are very foreboding, and now knowing that he was suffering from depression and drug abuse... It ends up being a very sad album, but at the same time, a very peaceful album.

I'm not a huge fan of Mac Miller's voice in general, It's very slow, very raspy, and It's just not for me. Except for the fact that, in this album, in this sound, I think It works wonders. As I've said before, It's a somber, but hopeful album. Cold and cozy at the same time. Think... The moment when you're finally at peace with dying. It's what this feels like. Standouts include "Blue World" for some amazing rythmic production, "I can See" for its crazy synths and "Woods" for... Vibes, I guess (This guy has no idea what the fuck he's talking about)

I didn't want to recommend something too strong or agressive for this one. As I've said, It's cozy facing the end. So I've decided to go for a "Hot Toddy". Something to warm you up for the last train home.

• Genres: Industrial Rap / Alternative Rap / Experimental / Electronic
• Favorite Tracks: "On Sight", "Black Skinhead","I am a God", "Blood on the Leaves"

Yeeeeeaaaaah, so...

I was debating If I should really talk about this guy or not, but at the end of the day, art is art, and I think it can be appreciated without actively liking or despising the artist. And honestly, after watching a documentary following his career, I mostly just feel sad for the schmuck, so...

Everyone knows who Kanye is, for better or worse, so let's focus on the album. "Yeezus" is absolutely insane, especially for the time It came out. Kanye woke up one day, sick of... Well, the world, really (a very Ye thing to do, nowadays), and decided to make an "industrial rap" album. To this day, I have not listened to anything like this album. Heavy, distorted, industrial riffs punctuate an angry discourse all along this record, making it sound like music made in a Y2K future. It's not meant for everyone, and It only gains from it.

Kanye, as always, does the entire production process himself which, again, leads to some insane choices in some of the tracks on here, be them lyrics or sampling-wise. It does not have a cover, as evidenced by the Spotify embed at the end of the post and really, the entire album ends up being a statement. Standouts include "On Sight", with its distorted synths welcoming you to the chaos that is about to unfold, "Black Skinhead" for the absolutely amazing production and "I am a God", a track that could best be described as "THE quintessential megalomania song".

A drink for this album has to be bitter. It has to be raw and unfiltered. And since I coulnd't decide between two options, I'm putting them both here. It's either gonna be a "Dirty Vodka Martini", with extra brine, or just straight vodka, neat. The shittier the brand, the better.

• Genres: Synth-Pop / Dance-Pop / R&B
• Favorite Tracks: "Take my Breath", "Sacrifice", "Out of Time", "Don't Break my Heart", "I Heard you're Married"

Let's start this one off by saying I'm not a fan of The Weeknd's... Demeanor in his discography.

Every single song this guy makes is about one of three things: 1. Heartbreak, 2. Breaking Hearts, 3. Taboo Shit e.g. Having casual sex with a married woman. It's not the subject matter that I hate, hell, Silk Sonic navigates it pretty well, but The Weeknd has always felt... Kinda slimy to me, I don't know...

That being said... This album's pretty good. Every record has a concept that it adheres to, a feeling, a story, even a color. Some records take that concept and just gloss over it lightly in their tracks. Then, there's albums like this, where from start to finish, you are listening to a radio station aptly called "Dawn FM". The idea is that It's a radio station in purgatory, the last things you hear before you die, all hosted by Jim Carrey (No, I am not kidding, the man has an angelic voice)

The soundscape this album brings is a return to 80s and 70s pop, sounds that are heavily inspired by Michael Jackson and Prince alike. A lot of synths and bass riffs complement The Weeknd's voice perfectly. Thematically, It's an album that mostly talks about the artist's personal insecurities and trust issues, mostly in regards to women in general. Not really something I can relate to on a personal level, but ultimately, can understand. Standouts include "Sacrifice", which is literally just MJ's "Thriller" if it was done today, "Out of Time" for the japanese city-pop inspired vibes and "I Heard you're Married" for two things: the impeccable 80s production and Lil Wayne's corny as fuck lyrics. "You like it dirty, and I'm Dirty Harry" makes me laugh every single time.

Finding a good drink for this album also took a while, because It's not quite neon drink at a nightclub nor a fancy cup at an equally fancy bar. In the end, I decided a good kick is better than a bright appearance, so I went with a "French 75" cocktail. A classic appearance, nothing too colorful or fancy, but upon tasting, the kick of the gin and champagne with the sourness of the lemon sends you straight into your next life. A drink that could be served at a nightclub... But only if you let go of yourself.

• Genres: Hip-Hop / Funk / R&B
• Favorite Tracks: "IGOR'S THEME", "I THINK", "RUNNING OUT OF TIME", "NEW MAGIC WAND", "PUPPET"

...And this is the other Tyler album that I like (so far)

Do you see the genre tags I put up there? That shit is a straight up suggestion. This is an insane album to categorize, It's not exactly hip-hop, It's not exactly R&B, It is its own beast. An out of order audio journey of breakup, control issues and being a slave to an impossible feeling. Told through blaring synths, distorted vocals and a soundscape that sounds like if Tame Impala made an angry breakup rap album.

It is considered, by many, to be Tyler's masterpiece album and even though I haven't listened to many others from him, IGOR feels special, definitive, like you're not gonna listen to anything exactly like this for years to come. It's very hard to write or talk about this album and describe its exact experience, but hey, I'm trying anyways. Favorite tracks are "IGOR'S THEME" for what is one of the best album openers I have ever heard in my life (no joke), "NEW MAGIC WAND" for an extremely aggressive track about wanting to kill a woman so he can be with her man (fun stuff, you know.) and "PUPPET", one of the only songs I've heard that speaks about the manipulation that can come with loving someone.

I tried to base the choice of drink for this one based on a description of the album that I found: "Neon Heartbreak at 2 a.m., Looping Thoughts, Obsession, and Emotional Whiplash". There were a lot of cocktails or drinks I could've chosen, but I've decided to go with a "Boulevardier". A bitter-sweet drink that accompanies the feelings of falling in love with later resentment for that relationship. The sweet vermouth is nice, but the bourbon is always there to remind you that jealousy and anger can consume you, If you let it.

• Genres: Hip-Hop / Jazz Rap / Neo Soul
• Favorite Tracks: "Foreword", "Where this Flower Blooms", "See you Again", "911 / Mr. Lonely", "November"

So! Here's my opinion of modern rap and hip-hop: It fucking sucks. It's extremely pretentious and "braggadocious", the production is always the same, some bass with drums and a snare, with the same fucking rhythm every single goddamn time. There's no story, It's just the artist rapping about how he has a shit ton of money and "bitches" and does drugs and whatever else he does with his penis.

That being said... I wanted to understand the appeal. What exactly is so interesting about this style of rap? Why do people like these modern day artists compared to the classics where they rapped about... Well, life, and how fucked up it is, really? I listened to a lot of artists trying to figure this out, and I just couldn't get it... Until I listened to Tyler.

Tyler Okonma is... Compulsive, excentric and "in your face". He dresses how he likes, he acts how he likes and, with the money that he knows he has, he buys whatever he wants and shows it off. The key is that it doesn't come off as braggadocious, or pretentious. This is his own person, almost like he was born like this. He's extremely confident, but without being disrespectful, the type of person where If you tell him he sucks, he will quite literally challenge you to a Mario Kart race and probably beat you (this happened many times, no, I'm not kidding). He also, unlike most other rap artists out there, produces his own songs, which means that every track he makes sounds extremely experimental, like no other artist out there. And that was what made me start liking (some) modern rap.

"Flower Boy" was the first album Tyler made where he decides to explore more of his feelings, and honestly, being a gay / bissexual black man must come with a lot of stories and experiences from his youth. His previous albums were aggressive statements, almost like Tyler rebelling against the world, or even himself, but this one is more introspective, more calm and accepting, having confidence in your own insecurities. There are moments of rage and frustration interspersed here and there, but It's mostly an album about acceptance of yourself, and nostalgia from better times. Standouts include "Where this Flower Blooms" for some amazing production and Frank Ocean vocals, "911 / Mr Lonely" for a double track feature about... Well, loneliness, and "November" where Tyler revels in his nostalgia of better times, lost in his own "November".

As for a drink, I'd probably go with a "Paloma" for this one. A very colorful drink, fooling you into thinking it's sweet, only to taste the tequila and the lime on it. Confident on the outside, but hiding it's insecurities inside. One to be sipped slowly, on a late afternoon.

• Genres: R&B / Soul / Funk
• Favorite Tracks: "Fly as Me", "After Last Night", "Smokin out the Window", "Put on a Smile"

SEX.

Now that I've gotten your attention, Let's talk about this album. It is the first and only (so far) album by the artist duo Silk Sonic, comprised of Bruno Mars and Anderson. Paak. A bit of a joint venture into 70s Funk, Soul and R&B, this album absolutely gushes with sexuality, It's clearly a love letter to the genre and It's not afraid to show it.

It's also composed perfectly as there is not one track that feels weaker or "out of left field", It all feels cohesive and sounds amazing, between Bruno's amazing vocals, and Paak's sublime production. Of note is that, yes, the album is sexy, but It's also funny, as both artists play on the stereotypes associated with this style of sound.

Personal favorites include "Fly as Me" If you want a shot of confidence straight through your earholes, "After Last Night" for a track so sexually charged you'd swear your headphones are made out of velvet and "Smokin out the Window", a good pseudo-breakup song with some funny-ass lyrics.

As for a drink, gotta go with an "Old Cuban". Rum and champagne for the class, mint and lime for an extra... Bite. Note: To drink this one, you MUST be wearing silk robes and always be near a bed/couch. I will stop with the sexual innuendos now.

• Genres: Synth Pop / Psychedelic Pop
• Favorite Tracks: "The Moment", "Yes, I'm Changing" "The Less I Know, the Better", "New Person, Same Old Mistakes"

One reason I wanted to explore music and albums as whole was that I would speak with my wife and our friends about certain songs from our youth that I would just not remember or even know at all. This was mostly due to a bit of a tough childhood growing up. I'm not the type of person to say that "I suffered this" or "I suffered that". In my mind, everyone's had sucky moments when they were kids, in my case It was mostly a combination of my parents getting into some quite abrasive arguments, some even getting into physical violence, and me having a front seat to it all. It kind of... Made it so that I would close my mind off certain things, almost like my brain would quarantine some parts of my memories so I wouldn't get to experience them again.

So what the fuck am I trying to say here, well, one day, I'm driving with my wife, and the radio is playing a song called "The Less I Know, The Better". Instantly, my wife starts singing along to it, and I'm taken aback, because It's a song she's heard from her youth... And I'm listening to it for the first time. And I love it. Did any of that make sense? No? I need another drink...

In reality, what I mean to say is that "Currents" by Tame Impala, who is ONE GUY, by the way, is absolutely great. An audio journey through failed relationships and new beginnings, only to realize we are doomed to make the same mistakes as before (I know, uplifting). It's an album that feels timeless in its sound, a lot of synths and a lot of drums makes a bartender happy, and if I ever get around to it, I'll add it to my collection. Standouts include the track "The Moment" for its infectious rhythm, "Yes, I'm Changing", a track perfectly made for the "couple's last slow dance ever", and the album ender "New Person, Same Old Mistakes", I think the title speaks for itself.

After thinking for a while about what pairs well with this one, I've decided to go with a Negroni "Sbagliato", It's literally your standard Negroni cocktail but "Wrong", as the italian word implies, because its extra ingredient is italian prosecco, making it bubblier and sweeter to drink. It has the maturity of a normal Negroni, but with a hint of change, of youth, of pasts best forgotten.

• Genres: Experimental hip-hop / Jazz rap
• Favorite Tracks: "Institutionalized" / "These Walls" / "Alright" / "How Much a Dollar Cost" / "The Blacker the Berry" / "You Ain't Gotta Lie (Momma said)"

Everything that could be said about this album has already been said a billion times. How It's rapper Kendrick Lamar's masterpiece, how It revolutionized the rap game, how It became the unofficial Black Lives Matter album. As for me... I like it. It's definitely not my favorite Kendrick project, I'll get to that eventually, but there is immense value in this album. It's just that, as a white man in his 30s, It's not an album that speaks to my experience in life. And that is more than ok.

Because this album matters. It matters for every single black person living in the states or abroad. It speaks of life in America, of life constantly under the thumb of consumerist capitalism, of how difficult it is for a black person to succeed in life when they were often raised in a reality of survival and then bring that lifestyle with them, to a time where they're finally successful. It also speaks of racism, obviously, in its many, many forms, of injustice, of inequality, and about how fame and money, in the hands of a person who previously had nothing, can make them a monster of self-destruction.

Tracks like "The Blacker the Berry" are emotion overflowing, anger spilling out in words of resentment and tiredness, while tracks like "Alright" are hopeful. Hopeful that better times are coming, that we will be alright. "u" is probably one of the most frustrating and relatable tracks I've ever heard, like looking into a reflection of your worst self. In the end, I like this album. The nuances of it all are too much to cover here, but hey... It's a classic for a reason.

For this one, I'd probably have to recommend another Old Fashioned. Either that or just neat whiskey. It's too raw and real of an album for anything else. No frills.