Ecco2k: E (2019) (Pop,R&B)

Unorthodox in style, Drain Gang member Ecco2k succeeds in challenging perceptions of cloud rap and ambient pop with vague yet personal songs. Plenty of interesting eclectic ideas and tricks litter the 30-minute project, expect ethereal production with splashes of glitch and trap with Ecco's heavily corrected boyish vocals. Though the ethos remains consistent on the album Ecco will change his style and angel enough to give well-ranged snippets of his inner spirit, ranging from coyish songs (Sugar and Diesel, Don't Ask) to more confrontational and angsty cloud rap tracks (Cc, Time). Typically songs rely heavily on hooks and refrains, which Ecco executes in an intense melodic fashion, however, this may lead to some songs feeling underbaked.

Best Tracks: AAA Powerline, Peroxide, Cc, Calcium*, Sugar and Diesel, Security!*, Time




B+

Alternative R&B/Ambient Pop/ Art-Pop/ Cloud Rap/ Electronic 

Dua Lipa: Future Nostalgia (2020) (Pop)

Self-proclaimed female alpha, Dua Lipa's Future Nostalgia is a brightly produced, largely effective merger of disco and dance-pop. The production is often the best part of the album with funky basslines set to infect most hedonists. Dua's songwriting is usually quite safe and formulaic but she does hit some catchy groves (Don't Start Now and Levitating, Love Again) and the songwriting is a shade above the average top 40, with her singing about romance with a boss ass bitch air. However, there are also ear wrenching tunes like Physical and her vocals occasionally leave more to be desired. For the most part, Future Nostalgia is an enjoyable dance-pop album embracing disco and electro-pop, in a safe formulaic manner, maybe too safe to be truly groundbreaking.



Best Tracks: Future Nostalgia, Don't Start Now, Levitating, Love Again, Break My Heart 





B-

Dance-Pop/ Electro-Pop/ Nu-Disco

James Blake: Assume Form (2019) (Pop,R&B,Soul)

James Blake maintains his moody detached introspection with a large dose of sentimental, spacey tracks. The production and album's aesthetic are largely nocturnal but very modern with nods to trap, ambient and art-pop and very ponderous songwriting. There are also poppier tunes but where James really shines is in his subtle but emotively powerful songwriting as shown in songs Into The Red, I'll Come Too, and Don't Miss It. 

Best Tracks: Into The Red*, Barefoot In The Park*, Where's The Catch?*, I'll Come Too, Don't Miss It*

B+

Nocturnal Vibes/Ambient Soul/Art-Pop/R&B/

Childish Gambino: 3.15.20 (2020) (Experimental,Hip-hop,Pop,R&B,Soul)

In attempting to create an experimental record, Gambino sadly loses himself in the rubble. A lot of promise is in this record and it starts off well (Algorhythm being a highlight), however, the production is not as consistent and cutting edge as it may believe itself to be, and the Motown inspired gimmicks can seem forced and stale. It seems much of this album is filled with attempts to merger a profound message with futuristic, experimental sounds, many of which are nabbed from Yeezus. Gambino still has mellower tracks but these often feel breezy and inconsequential. Though you might find good moments, most of 3.15.20 is as bland as the cover art. 

Best Tracks: Algorhythm, 53.49

D-

Contemporary R&B/Experimental/ Hip-hop/ Neo-Soul/Pop

Brian Eno: Apollo (1983) (Ambient, Instrumental)

It's easy to see why Brian Eno is not only one of the most influential figures in ambient music but also music in general. The textures and soundscapes that he conjures are serene, meditative and ethereal keeping you in a hypnotic trance then bursting out in moments of subtle intensity when you least expect it, making it certain this album could not be dismissed as "just background music". This is largely due to the borrowed elements of sleepy country and classical music and the large, wonderous tone the album sets. Though an ambient album and much of it can be characterized as unintrusive, it was not long before I was taken in awe by creeping beauty and wonder that Brian Eno conjured on Apollo. 

Best Tracks: Under Stars, Signals, An Ending (Ascent)*, Under Stars II, Silver Morning, Deep Blue Day, Weightless*, Always Returning*, Stars

A+ Spacy Vibes/Ambient

The Weeknd: After Hours (2020) (Pop,R&B)

With a heavy drench of 80s new wave and synthpop sheen. The Weeknd rellies heavily on the merger of retro sounds and contemporary R&B, Trap. However, this focus on production does not impede the quality of the songs but rather makes them, for the most part, simpler and more digestible (not that the Weeknd ever was that Avantgarde in his song compositions). The songs are for the most part could be described as nocturnal synthpop, though The Weeknd still makes sure to include slower more airy R&B tracks that sometimes fall flat with the occasional, wispy, hushed vocals. I never found The Weeknd's voice to be the most compelling thing about him but with the support of the instrumentals and the simple, catchy song structures, After Hours succeeds the botched synth-pop attempt that was his previous album Starboy. A lot of worthwhile tracks.

Best Tracks: Too Late, Hardest To Love*, Scared To Live, Heartless*, Faith*, Blinding Lights*, In Your Eyes*, Save Your Tears, After Hours 





B+

Night Vibes/Alternative R&B/Synth-pop

D'eon: Music for Keyboards IV (2013) (Electronic,Folk,Instrumental)

Pleasant, minimalist, instrumental medieval Celtic tunes. The transitions from dreamy ambient to jumpy folk may seem jarring but the whole album embarks listeners on an earthy almost exalting journey, that manages to stay aesthetically consistent. Though very organic sounding, the melodies are executed in an electronic, poppy fashion by keyboard. At times the instrumental arrangments and patterns may feel a bit stiff, however, the instruments used and the simple approach allow for a fruitful listen. 

Best Tracks: Sewer Mine*, Blood Sport, Putrid Water, Seigneurial, Yout Father Used to See Airplanes in the Sky, Aviation Graveyard, Dread God*, The Birds Eat Our Corpses* 

B

Forest Vibes/ Folktronica/ Medieval Celtic