NorthBeachAsian

'Nurture', the sophomore album from Porter Robinson, begins wonderfully with the sonically cathartic 'Lifelike.' The invigorating violin, starry synths and piano complete a lively instrumental that could blossom a colourful landscape of flowers. 'Look Up the Sky' is an uplifting anthem of hope. The production is an elegant beam of colours through pleasingly energising percussion, revving patterns of synths and vocal chops and segments of acoustic guitar and piano keys. Additionally, Porter Robinson is blissful in vocals here, both when raw and autotuned. A pleasant track of perseverance follows in 'Get Your Wish.' The production is similarly uplifting to 'Look At The Sky' as Porter Robinson continues to satisfy through pitched-up vocals. After 'Wind Tempos', 'Nurture' reaches one of the more personal chapters in 'Musician.' Here, Porter is conflicted with himself. Throughout the track, he questions whether being a musician

'Bruiser Body' begins Conway the Machine's 'La Maquina' decently. Immediately Conway unleashes his machine gun ad-libs that could shatter bulletproof glass. Over breezy chimes, Conway is pleasingly braggadocious. He is 'back in that zone, back in the trenches, back at home, that's back to back MVP calibre season like Pat Mahomes.' His punchlines additionally hit hard like 'Drago versus Apollo.' It is primetime now at '6.30 Tip-Off.' The blood rushing percussion and uplifting horns complete an instrumental that would be fitting to hype up an NBA finals game before the opening tip-off. Conway is charismatic in his verse as he is about to get 'another ring like when LeBron went to the bubble' and 'triple-doubling' his money like 'James Harden.' The chilling vocal samples a pleasing touch to 'Clarity' as Conway continues his braggadocious punchlines. His 'ice on his chest goes with his cold heart' as he

'Slime Language II' opens somewhat decently with 'Slatty.' Southside's production is bombastic, Young Thug delivers an average hook, yet Yak Gotti's verse shines through his satisfyingly grunty delivery. 'Ski' begins promisingly. The instrumental is sweetly punchy and flashy, supplementing the charming chemistry between Gunna and Young Thug. However, Young Thug's hook is weak. There had to be something better than saying 'Yeah' multiple times with a sprinkle of ad-libs. Producer Turbo stomps the accelerator as he unleashes one of Slime Language II's more revving trap beats in the Travis Scott featured 'Diamonds Dancing.' The track is a glistening hailstorm as Young Thug delivers a better, catchy chorus where he likens himself to 'Martin Luther King' and boasts the 'black diamonds on his wrist.' Scott's feature is the cream of the crop in 'Diamonds Dancing' as his sweetly autotuned verse feels like him k

  Immediately, AJ Tracey begins his sophomore album, 'Flu Game', with the satisfying synthy frostbite of an anthem with 'Anxious.' Tracey is 'recession-proof' as he runs his 'London Town' with a breezy flow. He then turns up the dial in the NAV featured 'Kukoc.' The trap instrumental is satisfyingly murky as a charismatic Tracey likens his influence on British youth to Phil Jackson coaching the Chicago Bulls. As a result, the rapper got the British kids 'shooting like Kukoc.' Nice. Additionally, NAV is serviceable in the track, as he delivers a decent hook and verse. The enjoyable sports references do not stop, especially in the banging 'Bringing It Back.' The 'whee' adlib after the 'I locked up the food for the like Boris and then let it go like Rashford' is humourous, likewise for Digga D's 'slap that PR, saw them Crouch.' The chemistry between AJ Tracey and Digga D is satisfying, especially within th

  Riveting introspections and anecdotes from both Kevin Abstract and Joba are when "ROADRUNNER: NEW LIGHT, NEW MACHINE" is at its most compelling. However, an inconsistent first half that included some disappointing lows probably makes 'ROADRUNNER' far from BROCKHAMPTON's best output. 'BUZZCUT' is a decent opener. The production is pleasing vertigo that complements an ecstatic Kevin Abstract reflecting on making it to 'Hollywood' and his mother. Abstract recounts a touching moment with his mother, where she drove to California due to fears of Abstract having COVID-19, the first instance of Kevin reflecting on his relationship with his mother. Following BUZZCUT's rather mediocre hook, Danny Brwon delivers signature grittiness in his verse as he joyfully condemns incels. 'CHAIN ON', a track criticising police brutality,  follows in a somewhat disappointing matter. Instrumental is flavourless with a minimal bassline and flickering synths,

Six spoken-word interludes are the stars of Jazmine Sullivan's 'Heaux Tales' EP, each serving as backdrops for one or two tracks that, respectively, tackle love, lust, infidelity and self-respect while completing a mostly pleasant constellation of R&B and soul. Minimalistic synths and rhythmic claps drive the strong opener of 'Bodies-Intro' as Sullivan pleasantly self-reflects as she recounts waking up after supposedly a night of excessive drinking. Anxiety skyrockets within her as she worries about her mother being disappointed 'if she knew about what happened. Additionally, she also shows concern for whoever took her home. Was it a friend or a friend of a friend? Was it a he or she? If it was a he, was he a 'four or a ten'? Eventually, Sullivan admits she needs to 'get it together', as this has not been the first time. Following 'Antoinette's Tale', the first of six spoken-word interludes throughout the EP, 'Pick Up Your Fee