Echoes that I Keep

• 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.