The song kicks off with piano and horns, so far, so good. “I’m still doing good, baby, just like I should”. The song starts with the chorus, then falls into a verse about Georgia. The mix seems appropriate with the vocals floating on top of the instrument bed, a particularly nice thing in this genre.

The vocals sound nice and phat. Nice, but limited, backing vocals. (I probably would have added more female backing vocals into the track). The bass guitar drives the song along with the fast 16th-note drum beats. Loving the horn section, definitely helps set a nice feel-good mood.

SCORE/Excellent: J-Rizzo (aka J. Mercer) has a very nice R&B/Soul voice. His new single “Still Doing Good” soars above the competition to deliver a sweet, horn-laden, soulful sound that would make his influences proud. If you dig Southern R&B or Soul, check out this new single before they run out. Excellent! Much love, Beth

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The opening track, Holy, sets the tone immediately with smooth, dreamy guitar work that nods to her soul and acoustic roots. Her voice slides in like butter, warm, tender, and sincere. There’s an emotional looseness in her delivery that’s captivating. As she moves through lines like “I need nothing more than good therapy” and “Living’s hard for me,” the lyrics spill over one another with a relaxed, effortless rhyme. In moments, her singing shifts into almost a talk-rap cadence that’s unexpectedly effective, adding texture and intimacy. It’s a technique that feels honest and unguarded, something she could absolutely lean into more in future releases. The background harmonies float just above her lead vocals, adding a soft, ethereal quality that gives shades of Dominic Fike without losing her unique imprint.

Pressure (Interlude) catches you off guard in the best way. You might expect a throwaway instrumental, but instead you get a delicate guitar-led moment with understated but affecting vocals. It’s a song about transformation, disconnection, and finding footing again. The line “I may come off too strong” feels confessional, almost whispered, and when she ends some phrases like she’s running out of breath, it only adds to the vulnerability. It’s a small track that feels big in meaning, a beautiful pause that lets the listener breathe while deepening the emotional world of the EP. Lines like “I’m in my zone” and the tongue-in-cheek “Don’t hate the player, hate the game” balance light swagger with existential weariness, all while keeping the vibe cool and unbothered.

Hippies comes in with a confident bassline and a head-nod-worthy drum groove. It’s arguably the most playful track on the EP but no less personal. She throws out clever lines like “I’m 21 and I have back pains,” which she repeats to great effect, it’s funny, but also weirdly poignant. There’s a particularly charming moment when a guy bets she doesn’t know his favorite song, and she deadpans agreement before letting out a quiet chuckle. These small moments are where Cargo G shines: the in-between beats of real life and unfiltered thought. The tone shift midway through the song is surprising but somehow seamless, proving she’s not afraid to take risks with structure and pacing. “I’m not selfish, but I’ve been greedy” is delivered with equal parts confession and shrug, making you feel like you’re eavesdropping on her inner monologue. The song’s abrupt ending might divide listeners; it’s jarring at first, but it could also be read as deliberate, a sonic “enough” that mirrors the lyrics’ theme of personal boundaries and wanting privacy.

SCORE/ Outstanding – Pressure as a whole feels like sitting down with someone at 2 a.m. who’s finally ready to talk. There’s a palpable sense of reflection, growth, and unresolved emotion flowing beneath every track. Cargo G isn’t here to overproduce or dazzle with complexity; she invites you into her world quietly, but purposefully. Her voice is full of subtle power, and her songwriting doesn’t need to shout to be heard. With this debut, she’s carved out a space for herself in the indie RnB landscape that feels honest, vulnerable, and full of promise.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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His love for music led him to begin his career as a studio engineer, during which he learned how to chose the right equipment to complement the right music. He also learned how to mix and layer music tracks to give a better finished product. He has also worked as a songwriter since the 2000s, and strongly infers that his early career propelled him to dive deeper in music.

His newest release, titled ‘The Storm Over You’ is currently out on various platforms.

The song definitely infuses licks of blues, jazz and rhythm and blues mixed into one. It generally has a downtempo feel, matching the theme of the track. J’s vocals oscillate between slightly off-putting and a warm croon.

I just generally think that the levels of the vocals are not equalised properly to match the intensity of the backing track, which has lots of character in the beginning but has too much of a ‘presence’ afterwards, masking the lyrical flow.

I don’t think the song is conceptually bad, but if the instrumental is somewhat recursive and has the same loop, you have to distract the audience with sublime mastering, and even the ‘backing vocals’ recounting the words ‘over you’ seem to have a muskiness to it. I think if this song were mastered right, it would be absolutely stunning.

I hope the artist does not take offence at my comments; rather, I really want his track to shine. It’s just that the mastering issues do generally retract me from enjoying the track, as an outsider. If he wants to engage more audiences, perhaps just tweak the mastering.

SCORE/Mediocre to Good: The Storm Over You is a song that has a lot of promising potential but the mismatch between the vocal tracks and the timbre of the instrumental really prevented me from enjoying this track. I hope these issues are rectified in grace, and I’m not saying this out of spite, I just think this track needs to be honoured properly.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Street Art is the product of introspection, healing, and reinvention. After the loss of his father, Herb invested in himself, both spiritually and musically, learning the ropes of production and creating a space where he could shape sound on his own terms. The result is The Mastered Demos Vol. 1, a genre-blurring, soul-forward exploration of identity, grief, and love. It’s R&B. It’s rock. It’s folk. It’s lo-fi and high-emotion. It’s not easily categorized, just like Herb himself.

The opening track, “Street Talking,” sets the tone with its low-fi charm and layered backing vocals that echo like memories. Herb channels Prince’s mellower side here, groovy yet calm, personal yet universal. It’s the kind of song that finds its home on a lonely, late-night bus ride, looping in your ears like a mantra.

“The Rain” follows with soothing, butter-smooth vocals and simple, nostalgic guitar chords reminiscent of beabadoobee’s acoustic vulnerability. It’s a warm, soul-filled track that leans into love and serenity, showing Herb’s range as a vocalist and emotional narrator.

With “Paper Plane,” Herb gives us a moment to breathe and reflect. The consistent drumbeat offers a steady pulse, inviting you to close your eyes and simply exist in the music. Though the song stretches out in length, it never drags, anchored by strong vocals and a calming tone that envelops you like a dream.

A tonal shift arrives with “Lie to Me (Invisible Man),” diving into anxiety and emotional disconnection. It’s more upbeat, with a kinetic energy that contrasts the earlier calm. The mood shift continues in “Good Love,” a quirky, off-center track that feels like a genre wildcard. Herb explores the sacrifices made for love, right down to changing his diet, making even the mundane feel poetic.

“Jungle Karaoke” pushes further into experimental territory with club-ready intensity. The Ibiza-style beat pulses under soft, almost monotone vocals, a juxtaposition that shouldn’t work, but somehow does. It’s unconventional, but uniquely Herb.

“Queen Athena” brings the guitar back, centering Herb’s voice around wisdom, reverence, and devotion. A modern ode to divine femininity, it’s where Herb sounds most grounded, melodically and emotionally.

Tracks like “I Don’t Need This Work” and “I Ain’t Running” blend groove with introspection, marrying soulful guitar licks with themes of longing and emotional resilience. These moments show Herb’s ability to straddle genres while keeping his emotional narrative intact.

“U Deserve Better” takes us to the California coast with its breezy guitars and self-deprecating lyrics. It’s as if Herb is telling his love interest she’s outgrown him, but he’s doing it with a smile and a beach soundtrack. “Man on the Moon” continues the theme of love as distance and effort, blending dreamy chords with click-along rhythms and clever metaphors of abandonment.

The final trio of songs brings Street Art to a graceful, heartfelt close. “Paper Plane Pt. 2” loops us back to the album’s core sonic identity, lo-fi, introspective, and emotionally resonant. Then comes “Aunt Joan,” the emotional peak. A tribute to a lost loved one, this piano-led track is a raw, honest eulogy that contemplates the afterlife, memory, and the weight of grief. It’s where the album’s heart reveals itself most openly.

Herb Tha 4th has created something that feels handcrafted, personal, layered, and alive with emotion. Street Art is both a therapeutic release and an artistic statement, blending his inspirations (Prince, Pharrell Williams, Cee Lo, and Anderson Paak) into a sound that is unmistakably his own. In each track, you hear an artist not just making music, but reclaiming his voice.

SCORE/Mediocre – This isn’t just an album. It’s a story. A moodboard. A love letter. A farewell. Street Art is Herb Tha 4th at his most vulnerable, and his most compelling. If you want to go through the motions, this album is for you.

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From The Weeknd to Sabrina Carpenter, falling within the umbrella of 80s music mixed with the sensibilities of R&B seems to be a safe choice for most intending to churn out the next biggest hit and debut. Today’s artist, Devin Nash, falls right into this category, putting his own spin on it. Will all that glitters truly make him stand out in an oversaturated market? Let’s find out.

Devin Nash, a Baltimore native, is a singer, songwriter and a musician. His niche is particularly the intersection of the genres previously named, hoping to stand out with his raw talent and musical artistry. He intends to transport his listeners into a soul-searching emotional rollercoaster of love through his music. He has spent time amassing an audience, and with his newest EP ‘Sounds Like Pain‘, I’m sure he expects to expand further.

This 4-song EP is filled with tracks such as the title track, Scars, Remember, and Cry No More.

The title track almost starts off like a house track, before going into a song sequence that mimics a funkier 70s take merged with 80s synths. Devin’s vocals are very ‘safe’-sounding in this track. I think it fits the functional structure of what a person aware of this genre might expect from a song, but I can’t help but think about how generic this song somewhat sounds. There are ad-libs, and it closes with the same feel as the intro, but the song doesn’t stick out. I’m sure it would resonate with people who want a simple, straightforward groove.

The rest of the EP follows suit with the same formulaic structure, some delving into slight mastering issues with the vocals- even if the vocoder effect comes out as intentional. It unintentionally makes the mix murky. The second track has a bit more variation within experimentation of the synths, giving you more leeway to explore. It’s a little downtempo compared to the first track, but I like that Devin’s vocals aren’t ‘safe’ in this track. It definitely shows his vocal range and ability to connect with audiences better.

The third track is one of the most ‘commercially’ safe tracks on the EP, with its percussive syncopation and predictable chord structure. I know for a fact this song would do well on the charts, due to its structure and how it merges somewhat melancholic sounds with an upbeat feel to it, but it’s not resonating well with me personally. It does consist a bit of genre-blending, as I hear slight indie influences with the instrumentation. The last track honestly also fits this criteria, sounding like a mixture of the first and the last track.

All in all, I have to say that I do see a space for him commercially. His sound is definitely a sign of an individual with enough cultural awareness and technical proficiency to not be conflicting or bad to the ears, but to me personally, it doesn’t stick out. If someone like the Weeknd can fulfil this niche with a bit more edge, I think a bit of originality is needed to truly stand out. You don’t need to stray away from your genre too much, just think of a defining factor that can’t be replicated easily. Honestly, I think the artist’s previous singles like ‘Swayze’ and ‘Mocha’ performed much better in terms of merging the 80s influence, interesting chord structure, R&B vocal tone and having an aspect that truly stood out.

Otherwise, I think ‘Sounds Like Pain’ has the capacity to resonate with a large audience. It contains easy-to-follow songs with a distinct groove, combining the need to groove along with singing too. He could be on your next Spotify rotation!

Rating/Good  – ‘Sounds Like Pain’ is a fairly melodious EP that delivers Top 40-esque hits that combine the sensibilities of R&B with an 80s flair to it. It also merges some percussive elements from 70s music with safe, harmonious vocals that definitely come out with a flair at some points. It’s a safe body of work that will resonate with most people.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“Co-writers like Anais Preller, Suzanne Kiss, Heather Joseph, Carla Zipa, Sylvia Jones, Sheila Fabrizio, Vita Rose Taytro, Bonnie Lee Panda and Alex Bach bring the theme to life while adding layers of emotion and depth with either their voices and/or lyrics. The harmonies are further enriched by Kevin Monroe’s direction of the backup vocals and Devotion’s talents.”

“The recording sessions … at Horizon Music Studios in West Haven, CT, were overseen and produced by Vic Steffens and co-producer by Matt Oestreicher, who also handles the orchestrations. With music provided by The Collaborations Band, featuring notable award-winning musicians such as Bobby Torello, Scott Spray, Al Ferrante, Jon Peckman, Tim DeHuff, Bill Holloman and Dave Eggar on strings. Together, they bring each piece to life with skill and passion.”

As their bio reads, “In an era where the essence of music often gets lost amidst the cacophony of modern sounds, ‘Collaborations’ emerges as a beacon of hope for fans of profound lyrical narratives set against the timeless backdrop of the 60s, 70s, and 80s.” Sounds quite interesting.

So let’s have a listen …

The first track Let The Love In starts with a drum shuffle, then comes in a funky R&B progression and lovely vocal by Anais Preller that truly captures a classic 60s Motown vibe. Nice! I’m really digging the vocals and lyrics. Nice flute solo halfway through into the bridge and again at the end of the piece. Very well constructed song. I’m impressed.

The next song Time For You also features Anais Preller on the lead vocals. I love the classic horn section that kicks off this song. The vocal mix really stands out, everything sounds so good, great mixing, editing, and mastering. The vocals are very clear and understandable, which is often missing in a lot of what I hear and review. Very classic Motown type vibe. Loving the sax solo in the bridge. Anais does a great job singing this one.

The third song Running Out Of Tomorrows begins with an African vibe then with a nice background vocal chorus and then quickly transitions into another classic Motown vibe. This time a male and female vocalist duet featuring what I’m guessing is Ed on vocals with Anais. The male vocalist sounds fantastic, a really nice voice for this type of song. The song has a big distinctive chorus. I love the message of the lyrics in this song. Reach out, make a difference, come together, and equality, … we’re running out of tomorrow to change things, it’s up to you and I. I find the breaks and bridges in the song well constructed from a songwriter’s perspective. The song falls out to a vocal part sparsely populated with instrumentation and then kicks back into the power chorus full band. The mix is excellent.

Better get ready, Ready For Love the next song begins and I’m already loving the funk guitar riff that carries the song. And the horn section. New female vocalist Sheila Fabrizio singing this tune. She has such a classic Motown voice. It reminds me of Gladys Knight. The songwriting is tops.
Very tasty lead guitar solo before the last verse and chorus. If you’re reading this you better get ready … for Ed Daniels and Sheila Fabrizio bringing the love to you and your ears!

The next song I Wanna Know starts with an acoustic guitar strum. Very nice orchestration kicks in against the guitar. This time the female vocalist is Suzanne Kiss. Loving the string section parts in this song. Nice vocal, if not my favorite, but still really nice. Loving the background vocals. I love referring to God as “she”. This song has more of a religious vibe.

The next song Don’t You See features Sylvia Jones on the lead vocals. Again giving me a very 60s Motown vibe. The voice reminds me of Barbara Lewis (Baby I’m Yours). Loving the background female vocalist choir. Again the songwriting is excellent, just when you think the song needs a bridge, it delivers an interesting bridge. The vocals are clear against the mix. The song ends with “set yourself free”, the message of the song.

Doing Fine is another song sung by Suzanne Kiss. I like the syncopation in this song. Very nice piano part carries this tune, the playing is very lovely, and even throws in a few atonal chords that capture your ear but stay within the key of the song. I think the lyrics in this one could be better, it’s like they’re too straight-ahead and simple in their rhymes and word choice.

The next song Got A Feeling starts off with a horn section and gives off a Blues Brothers vibe, a barroom band vibe. This song features Heather Joseph on the lead vocals. The song itself reminds me of Tina Turner singing Proud Mary, but the arrangement of the song in this case is more interesting than that classic song. Loving the lead guitar solo in the bridge. This band is really tight. The vocalist reminds me of The Shirelles.

The ninth song is Think About It featuring Vita Rose Taytro on the lead vocals. Another classic Motown vibe song with a lovely string section. This album is packed with R&B gems, then comes in a very ear-catching lead guitar solo. I’m really liking the lyrics in this one. Very memorable hook.

Already There features Sheila Fabrizio again on the lead vocal. Starts off with a nice R&B electric guitar strum. I’m really digging Sheila’s voice, truly next level for this kind of music. The lyrics are fun and engaging in this song. Another nice funky lead guitar solo that perfectly fits the mood then back into the pre-chorus and chorus. The band is locked in the whole album. Some nice performances, mixing, and editing on these songs.

The final song Where We Belong starts with an acoustic guitar strum. This song features Carla Zipa on the lead vocals. Another really nice song. Loving the horn section, wish it was a bit louder. Another really tasty lead guitar solo in the bridge. The Carla’s vocals carry the tune. Nice way to close out this album of great songwriting, arranging, and performances. 

“‘Collaborations’ invites listeners to experience music that is not only crafted with skill but also imbued with meaning. It’s a journey back to when songs told stories, evoked emotions, and inspired change. For those who believe in the power of music to unite and uplift, ‘Collaborations’ is a project that resonates with purpose and passion.” It truly does. Give it a listen.

SCORE/Outstanding: The performances, editing, mixing and mastering on this album are top-shelf. If you love classic female vocalist R&B, this album is truly outstanding, and I don’t say that lightly. We get a lot of good and some not so good albums to review here at Music Review World, but this album is truly superior to most of the material that we receive. Virtually every song on this album could get radio play on an R&B format station. Even if you’re just casually into that classic Motown vibe, you should definitely buy this album, or at least listen to it. You’re guaranteed to dig it. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“I wanted to create something that felt smooth, intimate, and cinematic—like the soundtrack to a night drive or a moment of escape,” says A.L.I.A.S. Backseat captures that blend of emotion and movement, giving listeners something to vibe to, whether they’re unwinding or on the dance-floor.”

Right away you can hear top-quality production, which is always a plus! This track has a nice “hypnotic” late-night vibe, soulful vocals, rhythmic percussion, and infectious melodies. This “seamless fusion of genres makes it a perfect addition to R&B, Afrobeat, and crossover playlists.”

I like the echo on the drum beat intro. Nice rap voice, very smooth flow. I really like how the voice sounds in the upper registers. The female vocalist joins the flow in the middle of the song. The track has a very smooth jazz sound with the rap vocals acting like the melody instruments. I can feel the ocean laid back vibes, sipping on a Pina Colada in the bar by a beach.

I really enjoy the female vocals towards the end of the song, very catchy. Then there’s a break where a male rapper breaks into the song with a heavily effected voice, with the female vocals carrying the song again to its end. Loving the sweet lead guitar motif during the song. I would like more of it.

SCORE/Excellent: This interesting rap track features ocean vibes. Very chill and relaxing. I can see this track finding a large audience. Do yourself a favor and check out this song Backseat on Spotify. Much love, Beth

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HinnRYK and their new album It All Comes Alive is a solid demonstration of how things would look with a couple of more personally funky tweaks. Who is HinnRYK, essentially?

They are a musical duo from Iceland who emerged onto the scene in 2024 with a vibrant blend of funk, pop, R&B, and rap. This band comprises two talented musicians—The Baron, residing in Iceland, and Daniel Gray, based in Norway. Their music draws inspiration from a variety of genres and generally defies categorization.

With what seems to be a debut record, It All Comes Alive continues from the very first seconds to do what they do best: dive into infectious grooves, soaring melodies, and thought-provoking lyrics. However, my main question remains: is this record as genre-challenging as it was promoted?

Yes, absolutely.

The intro track, “She’s A Zero,” first gives you a taste of the catchy, rhythmic pop-like hook that transitions into a more formidable sound with some introspective rap delivery that catches and loops you inevitably into its hook.

“She’s A Zero” is not the only example that indicates how diverse and multi-dimensional the sound of this album is.

It All Comes Alive is not afraid of vulnerability or melodic moments, nor is it afraid to be direct and raw. The duo experiments with their sound, leveraging both their strengths and weaknesses from one track to the next. However, one thing is clear from track to track: the rapping is top-tier.

The energy of the vocals ranges from snarling to haunting on tracks like “Land Of Dreams,” which is simply exceptional. Even more notable is how the rapper’s style is not confined to one single type of beat, as is often the case with many rappers.

Furthermore, it is quite refreshing to hear more Scandinavian influence in the music nowadays, especially in their rapping ventures. The bouncy yet, at times, minimalistic production showcases more than needed, seamlessly expanding the narrative. Somehow, all these different influences—ranging from indie rock to pop-rap—give the band a new signature style that remotely reminds you of Twenty One Pilots, yet with understated soft beats that easily get you into that toe-tapping movement.

A blend of authentic tones and timeless influences feels cinematic and immersive, even though the tracks don’t always share a consistent sonic direction. The only thing uniting these tracks is the curiosity and authenticity you get from the artists, and the charm of tunes like “This Error,” which brings a brooding, introspective sound.

With 12 tracks on the record and a runtime of 41 minutes, the duo also delivers some empowering and dynamic sounds—among my favorites on the record are tracks like “Let Me In,” which is simply breathtaking, offering a hypnotic and expansive feel that stands out as a highlight. The Baron’s vocals on some of these hooks are charming, greatly complementing Gray’s impressive wordplay. Performances like “Let Me In” or “Not My Game” are moments where The Baron shines as brightly as a young star.

Going through such a concise and diverse tracklist, it’s hard to pinpoint any significant failures. Both members execute solidly, providing a very decent debut record that blends mainstream appeal with expansive, challenging sounds in one package. If I had to define what this record tries to achieve, I would say it’s an attempt to create a unique fusion of diverse influences that take pop-rap in an intriguing direction.

While I may not dig into some of the cuts toward the latter part of the album—tracks that feel a bit too soft and slightly less dynamic and energetic in their delivery—this doesn’t take away from the numerous advantages this album offers or the potential these guys truly have. I feel this record demonstrates that the duo can deliver an insane mix of layered, contemplative, and sometimes minimalistic sounds that feel both relatable and lush.

Score/Excellent: These guys prove throughout the record that they can make music in every way they want, achieving an immersive and excellent experience that is incredibly intricate.

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After a quite mixed reception of singles that Abel teased throughout the roll-out, the emotions and expectations surrounding the project were quite uncertain. Whether you heard a synth-pop, pop-rap inspired “Timeless” with Playboi Carti or “Sāo Paulo,” which finds itself in a subpar mix and a cheap imitation of Funk Madelāo, The Weeknd himself did not really participate in the roll-out either, barely promoting or supporting the theme of ‘Rebirth’ or ‘Death,’ which seemed to be the central topic of the record. All those factors combined, my expectations for the record were truly low, as The Weeknd was not really hitting the mark at some points during the roll-out.

However, with Hurry Up Tomorrow now here, were my expectations and worries valid?

Absolutely not.

Funnily enough, none of the singles serve as a clear indication of what the record sounds like. Hurry Up Tomorrow is where The Weeknd tries to combine elements from his career one by one and implement them into one solid foundation—whether it is the synth-wave production on “Wake Me Up,” combining the darkness and brightness of Abel’s previous records, or “Open Hearts,” which jumps fully into the dance-pop scene predominant on Dawn FM.

Some of the other performances on tracks like “Baptized In Fire” or “Cry For Me” remotely evoke what you might find on Kiss Land or Beauty Behind The Madness.

Is it to say that Abel’s new record doesn’t bring you anything new?

No, again.

The Weeknd’s latest record fills the sound with such colors that you might have never expected to hear or see, pushing vibrance and darkness right onto you. Abel easily builds up the suspense in various ways throughout.

On “Reflections Laughing,” the singer chases flashes of light with his harmonious vocals that transition into a luxurious guitar loop foreshadowing the darkness.

I am glad to see that Abel doesn’t solely pursue hard-hitting bangers like on “Timeless” but rather adds another layer of dynamic, gruesome yet empathetic sound. For example, “Given Up On Me” immerses you in a raw and brooding beat that abruptly transitions into gentle classic R&B with chic touches.

Furthermore, despite creating an immersive, curated elegance with sporadic bursts of raw energy, Abel delivers a dual sense of emotion throughout the record. Whether it is the mournful, cinematic part of “Wake Me Up” that later becomes ethereal, dreamy pop, or “Big Sleep,” which adds a nice touch of psychedelia and bizarreness to the record’s stability by bringing up the accumulated tension once again.

Throughout all these years, Abel has been one of the best at building tension and then striking with the most epic and exciting resolutions. This record is no exception.

Abel easily navigates through the diverse sounds he has developed throughout his career on this album, jumping from melancholy to crescendo-driven monumental sound.

Another thing to notice on this album is its direction and how well-collected and produced the record sounds. Despite my earlier criticism over sluggish single choices and uninspired music videos for these songs, the album gives you an absolutely unmatched idealism.

Every feature seems fitting, and while not excessive, they showcase the strong and experimental sides of everyone on it. For example, Travis delivers an insanely pitched deep voice on “Reflections Laughing” that was not showcased before—something absolutely contrary to the recent “4X4”—or the delicate yet striking touch of Lana Del Rey on “The Abyss.” I also feel that this is the record where Abel most embraces a fusion of hip-hop/trap influence with synth accompaniment, and if with “Timeless” I wasn’t a huge fan, something expansive like “Enjoy The Show” featuring Future works perfectly.

This record is also a good demonstration of where The Weeknd and Mike Dean really went at it; you can easily feel the dominance of distinctive synths. Lately, Dean’s mixing wasn’t on the highest echelon. However, here there is simply nothing to pick on regarding Dean’s mixing—except for sometimes louder instrumentals on “Cry For Me,” where Mike steps away from the “watered down” mix.

So, while Hurry Up Tomorrow is an undeniable masterpiece that immerses you in the unforgettable, cinematic warmth of music, it is still hard to crown it as the best of the new trilogy. The strong advantage the previous two records have for me over this new joint from Abel is simply the length. While After Hours clocks in at 56 minutes and Dawn FM at 52 minutes, Hurry Up Tomorrow exceeds 80 minutes. The new record certainly offers an extensive range, and considering it is Abel’s final The Weeknd album, that is actually advantageous. However, due to such an extensive track list, I had trouble remembering every song because the experience felt so smooth yet prolonged. The feeling of tension was omnipresent, but distinctiveness sometimes gets lost in such a wide range of songs.

So, the length is probably my only complaint, as it brings up issues with the album’s cohesiveness and its distinguishing sounds compared to previous records.

And, well, I still absolutely dislike São Paulo.

Score/Outstanding: To sum it all up, Hurry Up Tomorrow is a beautiful piece of art that confidently and cinematically closes out The Weeknd’s career. Its rhythmic waves, alongside the wavy aesthetic of the record, create a mind-blowing experience. It is gentle, expansive, rich, nostalgic, and experimental. It has all the attributes of The Weeknd’s perfect record, and, to no one’s surprise, Abel executed it perfectly.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Right from the beginning, we can tell what direction this album is going to go in. “Tiffanies (Intro)” pretty much sums up the entire package, giving the impression that I’m listening to an album that came out in the 2000’s, with the production being a bit more modern. Can’t say that the rest of the album gets out of this one sound, which is unfortunate, but one song stands out. “Bizarre”, I could confidently say, is the best song on here.

Production is at its best here, sounding pretty crisp, and the song is quite catchy. That being said, I can’t say much else about it, except that it’s a bit derivative, with the song’s chorus feeling ripped out of the main melody of Daft Punk’s “Get Lucky”, but that could be my ears just doing overtime.

I wish there was more I could say about this album, but there really isn’t. There are quite a few problems with this record, but they also happen to be prevalent in almost every song that comes after “Bizarre”, and I will go over them.

As I alluded to earlier, the production on this album is reminiscent of what I’ve heard from the 2000’s and through some of the 2010’s. Epiphanies & Tiffanies sounds outdated, and it’s quite unfortunate. Cootchill’s flow is much the same, as it can be heard in “She Needs Me” and “Not Girls”.

There is a common trend I’ve sensed throughout the album, and that is many of the instrumentals are based off of guitar arpeggios, kind of like what you would hear from Polo G and other third-rate rappers like him. You can hear this in songs like “Mamacita”, “Dangerous”, “Not Girls”, and “Diamond”. Things like this may seem inconsequential, but when you’ve reviewed thousands of albums, many of which have this exact same sound, it starts to get just a little irritating.

I also want to comment on the poor lyricism that is prevalent. I’ll show you a couple of bars that are Illogical.

From “Not Girls”: “You can take it to the top top – You take pride in your work and make that thang drop – But when the curtains close and the party fades I could tell you’re a not not.”

From “Mamacita”: “She peeped me like it’s Easter (Easter) – I peeped game like a teacher (teacher) (????) – I’m doing donuts in this parking lot – She’s running circles, guess my name is Urkel.” I also want to make the point that as a Latino, our women are already over-sexualized, so I don’t particularly appreciate the message of this song, especially from someone who wants to start “making love cool again.”

From “Latte”: Just play the entire song, you’ll understand.

From “I Would Never”: “Our friendship is a glass house but he’s throwing stones.” Easily my favorite one of the bunch. Who’s going to tell Cootchill that this isn’t how the “glass house” saying works?

Speaking of Cootchill himself, I would say that he’s not a bad singer. Granted, he’s not anything out of this world, but I’d say pretty decent. I sense that some auto-tune was used for “Bizarre”, but it seems more for effect, kind of the way Kanye would use it throughout 808s. Sadly though, that’s perhaps the best thing I can say about this artist.

Here are my ratings for each song on a scale of 0-4:

1. Tiffanies (Intro) – 2
2. Bizarre – 2
3. Mamacita – 0
4. She Needs Me – 1
5. Dangerous – 1
6. Can’t Say More Than God – 0
7. Epiphanies (Interlude) – N/A
8. Not Girls – 0
9. Latte – 0
10. Diamond – 1
11. I Would Never – 1
12. Wrong Places – 1

SCORE/Poor: Now, what can I say after a scathing review, especially to Cootchill? I’ll say the one thing that I’ve said to many independent artists on this website:

Get more creative.

Now, I should’ve said this earlier, but I’m not a big fan of R&B. Wait, let me clarify…I’m not a big fan of MODERN R&B. If you go back a couple of decades, the genre was doing fantastic, but that was due to many R&B artists trying different sounds and expanding the genre. This is especially true after hip-hop became dominant, with artists like Tyler the Creator, who just released a fantastic record that pushed both genres even further. Hell, we don’t even go back too far to see artists like Usher making great songs that are more creative than anything we’ve heard.

However, in the case of Cootchill, it’s not that there wasn’t anything original on this album, but there was nothing to really grab onto. This album, and many others like it, are the reason why I do not enjoy listening to R&B in 2024. This is the Buzz Lightyear meme where he’s surrounded by other copies on the shelf. So, for Cootchill, if you do continue to make music, make something that will give people a reason to go back. I wish you well in your endeavours.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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