Recommend me some 2022 albums +1000th album halp

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 91: Computer Controlled Acoustic Instruments pt2 by Aphex Twin

After a particularly bad album, it's nice to go into something you expect to like. Aphex Twin released this EP two days ago, and it's supposed to be much more experimental than Syro. Let's give it a try.

There are 13 tracks on this EP, but only 5 of them go beyond two minutes, and an equal 5 being fragments under a minute. The short tracks are completely superfluous, ranging from jungle beats that are too short to be interesting (0035 1-Audio, diskhat2) to banging on a piano (disk aud1_12) to NOTHING BUT BANGING ON A SNARE FOR 20 SECONDS (if you get this EP you'll know which track it is). The longer tracks are mostly interesting in terms of experimentation but far too empty to really maintain interest, bar the first track, diskhat ALL prepared1mixed 13. I don't really have much else to say about this album.

That first track is really good. The rest is mostly self-indulgent noodling. And the song titles suck. I say give it a shot anyways. This does not kill the pain of Lil Wayne.

Best Track: diskhat ALL prepared1mixed 13
Rating: 4/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 92: Exit! by Fire! Orchestra (Album Choice: Lord Of Sushi)

No real attempts at an first paragraph. Actually screw it, no attempts at all. Let's just hop right into this one.

There's two songs on this album. They both fall under the genre of free jazz, though they're considerably more melodic than most free jazz songs, with some soulful vocals to top it off. The first song has two sections. First there's a whole lot of glorious cacophony over a repeating three note bassline and some singing about glue shoes. Then it moves into a slower, groovier section topped off by funky guitar, more noisy improv and more singing about who knows what, plus a spoons and glass solo. This is a really cool first track. That sentence alone sucks.

The second track starts with an unnerving 3 and a half minutes of nothingness, some piano plinking and creepy vocals, before beginning to crescendo into some minor-key cacophony mess. Then it gets quiet again and moves into another empty section, except replace the piano with brass, and make it not at all creepy, and instead rather grating. And that section lasts for 14 minutes. Why?

Seriously why? Why end your thus far great album on such a crappy note? hose last 14 minutes could've been something good and not obnoxious. Whatever. These reviews as of recent I feel have been pretty shitty but I don't care. This album, coming from a guy not into jazz much, has a great first track, and half of a great second track. That's like 30 minutes of great content. Then 14 minutes of annoyingness. Theoretically the ratio means this album should get a middling score but nah.

Best Track: Exit! Part One
Rating: 7/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 93: Watching Movies With The Sound Off by Mac Miller (Album Choice: Nemesis)

I dunno, I've never been one to enjoy Caucasian rap. I respect Eminem but his discography is far too hit-or-miss for me to really enjoy, like I'd be damned if even one of his unnecessarily 70 minute albums didn't have 40 minutes of filler. I can dig the Beastie Boys at times, other times they're just annoying. Who else is big in white rap? Macklemore? TRASH. Iggy Azalea? Confirmed TRASH. Vanilla Ice? Limp Bizkit? I think I've made my point clear. Call it discrimination, but I don't really care. I mean, I'm a fan of Beck if that counts as white rap. But either way, I'm definitely gonna go into this with a fresh mind, because I can't remember one damn song from this guy. The closest thing to a song from this guy I remember is his guest verse on Earl Sweatshirt's Guild. That was one of the 2 worst songs on the album. I'll remember a single when I inevitably hear it, because I'm pretty sure at least one of the singles from this album got big.

I haven't heard any singles, but I'm only halfway through. What I can tell you about this album thus far is that it's actually pretty good. I think. The best part of this album by far are the beats, which sound stoned and hazy in the best way possible, often with an array of subtle samples and instruments. There's a wide amount of variety thus far, yet there's a clear theme, and everything is aurally pleasing enough for this album to breeze by relatively quick (which, when you're dealing with 70 minutes, is a VERY good thing). But this isn't an instrumental album. And therein lies literally all of the problem. Mac has a decent voice. Mac has flow. What Mac doesn't have is lyrical talent. Seriously, this may be one of the dumbest releases I've heard lyrically ever that wasn't satirical, this guy's writing skills are barely above a Lil B release, and this guy isn't pooping out a new 2-hour mixtape every 12 days.

When this guy tries to get metaphorical or introspective or whatever, the result is downright laughable. "There's a bird in the sky, look at him fly, why? (repeat why? ad nauseam)" What the hell is that supposed to mean? Am I supposed to go "DAAAAAAMN" or something? That's awful! And that's the least of it. How about "People selling drugs cause they can't find no job, wonder if Christ made a million off selling the cross"? Or try "God loves me, what if he does, what does it mean?". I get more intelligent meaning from Arab On Radar lyrics sheets. Sadly, the hackneyed attempts at being poetic are probably the least cringeworthy aspect of this guy's writing. His braggadocios range from "Spit the shit that leave a diaper brown, poo" " to "Your girl pussy smell like Sour Cream & Onion".

I think the best example of this problem would be REMember. It has a wonderfully melodic hook, a great chilled out beat with a mediocre guitar solo placed so well as to make it sound amazing, and smooth lazy delivery of what could be some of the most dreadful lyrics ever. I said "wow" when that guitar came in, and I said "What the hell why" when I heard "You had a girl, I kinda wish you knocked her up, so I could meet your son and talk you up".

I'm really torn on this album. I'm probably just gonna go with my benchmark rating, but seriously, lyricism is very important to hip-hop, and here it's absolutely dreadful. I don't think I've given enough credits to the beats, they're seriously wonderful most of the time. A few songs here and there lack, but this album definitely feels shorter than 70 minutes and it's all thanks to the beats. The dreamlike, psychedelic atmosphere with all those little touches (guitars, field recordings, bongos, cowbell, synths of all varieties, well actually not as much variety as I thought but whatever) really make this album enjoyable. Instrumental wise.

But those rhymes are ASS. Ugh I'm conflicted. Not on rating, I've already decided on a solid benchmark. I'm more conflicted on whether this one is worth keeping or not. An instrumental version would be most pleasing.

Best Track: I Am Who I Am (Killin' Time)
Rating: 6/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 94: Hello Everyone, Nice To Meet You, We Are Midori. by Midori (Album Choice: Lord of Sushi)

Pretty awesome album title, pretty unappealing album cover (how do you make boobs unappealing?). Another Japanese band, this one is described as jazz punk. Doing a short review. Expectations are weirdness.

Well, yeah, this is definitely weird. This one starts off annoyingly cutesy before moving into some really abrasive, experimental punk. I don't like either side. Then they attempt to mix both sides (Track 5 is an example of this) and it's both jarring and not enjoyable. By far, the most enjoyable tracks are when the jazz goes into full-play (track 7, all these titles are in Japanese so I'm not typing them out), but even then, the vocals are slightly cringeworthy. As a matter of fact, the last 4 tracks on this album blow away the trash first 6. Track 8 is fun sludge-pop which grates only a little bit, track 9 is schizophrenic hardcore punk mixed with piano rock, and track 10 is a gloriously noisy near-instrumental which is incredibly self-indulgent yet still enjoyable.

Overall, although it did redeem itself a bit at the end, not a fan of this album. I give props to the band for being extremely experimental, but with being experimental, you should also be enjoyable.

Best Track: Track 9
Rating: 4/10

[EzExZeRo7497]

Re: Meh, let's do it again, this time for a year

Midori is insanely gimmicky and considering your dislike for j-pop a la Perfume and Kyary Pamyu Pamyu, I'm really not surprised that you didn't like the album. Given, I do think you're being a little too level-headed with the album - it's really one of those albums where you shut your brain off and just listen to the intensity and goofiness of the tracks.

I don't necessarily agree with your review (I'd give it a 7.5 personally), but I can definitely see where you're coming from with the vocals being jarring, it's an acquired taste.

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 95: Fire of Unknown Origin by Blue Oyster Cult (Album Choice: Alie R)

These guys need no introduction. This time I'm not being lazy, they really don't. Random facts, I don't think I've ever heard a song by these guys. Maybe I've heard Don't Fear The Reaper in a restaurant or something but that obviously doesn't count. Never seeked these guys out because I'm not fond of their look I suppose.

The first 3 songs were good. Then it just felt cheesy. Not a fan.

Best Track: Fire Of Unknown Origin
Rating: 4/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 96: Origin of Symmetry by Muse (Album Choice: korny)

This band is from England. They do alternative rock that isn't usually called britpop. I like some britpop like Pulp but loathe the vast majority of it. That's not important since this isn't britpop. Anyways, that's literally all I know about these guys.

Why the hell is Club Nintendo so unreliable now? Did they not prepare for an influx of people which would inevitably come with the announcement of closure? What's their max capacity, 14 people? This guy sounds kinda like Thom Yorke. I swear I'm not saying that just because he's British. I may be saying that just because of the falsettos though.

I'm playing Cave Story, about to beat the campaign for what must be the 8th or 9th time, and I still completely suck at hell. What is this? These guys can make some pretty decent riffs I'll say. Not mindblowing, but catchy enough.

Yeah it's pretty obvious what kinda review I'm going for here, but I'm just about done with it because I'm too lazy to add any more filler. So straight up, these guys are good songwriters and riffmakers. But the lyrics can sometimes suck, and the vocals can seem overwrought or bombastic at times.

That was a good album.

Best Track: i dunno lol
Rating: 7/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 97: New World by Mord Fustang (Album Choice: Arkuski)

Okay, this is an EP under a genre called Complextro. What the hell is that? That's the stupidest name for a genre I've ever heard, or second worst next to crunkcore. Or third worst, next to deathcore. Or fourth worst, next to brostep. Actually there are a lot of horrible genre names. Anyways, time to a listening.

Eh, let's just do this one track-by-track:

A New World: Chiptunes + dubstep bass tones + chopped up vocals = I don't really care about this track. Is this what Complextro is? Man, such a stupid genre name.
Lick the Rainbow: Follows the same formula as the last track, but is much more danceable. Thus, it's better.
Milky Way: Not as good as the last track, better than the first. Not as chiptune-y as the others.
Super Meat Freeze: If it wasn't for the dubstep parts, this would remind me a lot of Homework. That's still the best Daft Punk album I don't care what you say about Discovery you're wrong.
The Electric Dream: CRAP MY HOT CHOCOLATE FELL OVER IN THE MICROWAVE

Well, this was okay. I'm not a dubstep fan, but those parts were minimal, the rest of the parts were good old electro house, which is a genre I find for the most part perfectly passable (some of it is really good, but most of it sounds insipid if not pleasant enough). While I clean up this hot chocolate I'll say that this made me want to dance like a dimwit more than a few times, which hopefully was the goal. Also worth noting, that's still a horrible genre name.

I think my ELA teacher is a casualty of the Woodstock epidemic of LSD brain-frying that man is completely bonkers.

Best Track: Lick The Rainbow
Rating: 6/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 98: The Queen Is Dead by The Smiths

Because something told me I need to listen to more gay bands, I've been listening to The Smiths albums in order, taking my sweet ass time. For some reason, I decided not to review the first two albums. I thought they were okay at best. Actually I'm only reviewing this to help me focus on my homework. I'm looking most forward to Strangeways because that one has all my favorite songs. This one has the best reviews so here we go. Let me finish my Hot *****. Yes, I'm listening to Hot ***** outside of a party context, shoot my stupid ass.

This opener is actually fantastic. It sounds a lot fuller and more produced than anything on the last two albums, which is probably why I like it more. This album as a whole sounds a bit better recorded than their previous two albums, especially the debut which I thought was quite tinny and needed a remaster. But since I like lo-fi anyways, let's discuss the actual songs. When these guys get sad, they know exactly what they're doing. The downbeat songs (title track, I Know It's Over, Never Had No One Ever do I really need to give song titles here?) are all fantastic. I wish I could say more about their jauntier songs, but really, they just seem way too smirky. They're still good melodically but the lyrical content is groanworthy. This is especially true of the closer. Some Girls Are Bigger Than Others? How the flying eff could anyone think that's a good idea for a song?

Yeah I liked this better than the last two albums thanks to a fuller production, but the comedic side made this pretty damn inconsistent. Also, I find Morrissey's voice to be incredibly grating at times. Still, not at all a bad album.

Best Track: The Queen Is Dead
Rating: 7/10

[Kanzas]

Re: Meh, let's do it again, this time for a year

Still doing this? If so, Band: The Vincent Black Shadow - Album: Fears in the Water

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 99: $CALxTAPExONE$ by Cal Chuchesta

I'm like 2 or 3 months of reviews behind so I decided I'll do something nice, quick and easy. For three reviews. If you've never watched TheNeedleDrop, go look him up I suppose. He's the go-to source for the latest in whatever the hell hipsters care about. And even if I think his taste is questionable at times (a 10 for The Money Store? A 7 for OG Maco) I give him credit for knowledge and verbosity.

This is just 6 minutes of cheesy beats. Very obviously tongue-in-cheek (I always spell that as tounge first try) so judging quality is difficult. The Trap beat trio is effing hilarious, as is his use of christmas music (Gingle (Bells), Wintur Sang). Also impressive is that this haphazard collection of trash beats somehow sounds like one 6 minute song. Other than all that praise, it obviously and intentionally sucks.

This doesn't deserve a long review.

Best Trap: It's A Trap
Rating: I'm feeling a mid-to-low 4 on this one.

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 100: The 20/20 Experience by Justin Timberlake (Album Choice: Fresh)

Before I go back to reviewing TheHipsterDrop, I decided I should do something special, something grand for my 100th review. So I cherrypicked an album off the list... Why did I pick this one? I almost went with Natural Snow Buildings but for some reason decided to do this one instead. Ugh. Suit and Tie annoys the shit out of me, and that's the only song I remember from this album. Not looking forward to this one. Tell me, is this a good 100th album?

The first song actually wasn't so bad at first. The falsetto was kinda hilarious, and the lyrics are absolutely atrocious, but it wasn't so bad overall. Then it was. By the time we reached the 4 minute mark, I wondered "how effing long is this song?!" Then I saw I was only halfway through and in my mind I'm thinking "What is wrong with this idiot?!" because there is no reason for this song to be even half this length. And therein lies what I'm immediately going to assume is gonna be the biggest problem with this album. I assume since I'm only 3 tracks in. There are only 2 out of 10 damn tracks that are under 6 minutes. The median song length is 7:15, the average 7:01. THIS IS A POP SOUL ALBUM. These songs thus far do not justify their length at all. The second shortest song, Suit & Tie, could have easily been two and a half minutes instead of five and a half. Also, that song seems to give me nausea but it could just be the fact that I ate waffles with ice cream and fruit preserves. Don't Hold The Wall starts with an interesting enough tribal rhythm, then goes on for the next 50 years. The closest thus far a song has come to justifying its endlessness is Strawberry Bubblegum, which fades out 5 minutes in from garbage pop into a glorious Muzak-esque section. If only the first 5 minutes weren't so disgusting. And the Muzak only lasts for like a minute before the slimy lyrics come back.

Oh yeah, besides the inane song lengths, another major flaw is the disgusting song lyrics. "Porny and awful" is correct, this album has the lyricism of a 14-year-old future rapist. It makes me feel sleazy listening to it. "Don't ever change your flavor 'cause I love the taste" is just one example of how perverse this album can be at times, and it's not funny perverse, or seductive perverse, it's sex offender perverse. Tunnel Vision contains a sample of what sounds like an 8-year-old child repeating "I know you like it" over and over again. Does nobody in the studio find this to be incredibly wrong?

That Girl is the shortest song on the album at a smidge under 5 minutes. It could've easily been done in 3 minutes, but regardless, it's absolutely RIDICULOUS. The horns, the fake live intro, the absolutely hackneyed rhymes ("My pretty lady, you'll alway be my baby"), the corny rhythms and synths, well actually this whole album is full of that last one but it's extreme on this song, this song is hilarious! I can't take it as anything but self-parody, it's so overly sleazy it makes Midnite Vultures-era Beck sound like Elliott Smith... Okay maybe not that ridiculous but you get my drift.

And yeah that song is the exception to the rule because the rest of this album is completely believable, and as a result it suffers. How could anyone think these lyrics are good? How could anyone believe this much falsetto is a good idea? How could anyone think these melodies would be good in 7+ minute song structures? Everything about this album is just "How?" and I'm not entirely sure about proper grammar after a question mark withing quotations so I'm writing this to make the sentence proper. Especially that last one, I don't understand how this is half of a two-part album when it's already double the length it should be. Even if it was half-length though, this album is just too seedy to be comfortable at all to listen to. Even the ballads are full of unwarranted libido. The closest physical feeling that compares to listening to this album I can give you is eating a stale hamburger off the ground as foreplay. I don't care if that doesn't make sense.

Best Track: That Girl
Rating: 2.5/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 101: My Beautiful Dark Twisted Fantasy by Kanye West (Album Choice: Phillip S.)

Perhaps this would've been a better 100th special choice. Meh, whatever. I'm only picking this album because of the Grammys yesterday. I know I'm not supposed to give a shit about the Grammys, but damnit I've loved Beck for years, and his comment about "respect the artistry" pissed me the hell off because, to keep mutilating the horse carcass, Beck wrote all of his own stuff on the album (admittedly Morning Phase was blah) and played 14 instruments on that album while Beyonce sang with the help of over 30 writers and producers. Say what you want about how it's still her project, I'll still tell you to eat it. This guy is immensely respected as one of the best in rap music, and based off the few singles I can remember, I don't understand why. Well I only actually remember two singles but who cares. Neither Stronger nor Gold Digger I found to be particularly impressive in terms of production, lyrical content or flow back when I was 10 years old. Everything else by him I've forgotten. I remember listening to Yeezus when it was new because it was new, and I remember thinking that it was trash. Let me go rate it on RYM now.

I gave it a 1.5 based off of memory. Anyways, let's see how "OH MY GOD THIS IS AMAZING" this album really is.

I'm not sure if this is reverse psychology or not, but I keep telling myself in my head "you're going to love this" and "you're gonna give this at least an 8". We'll see how accurate/successful that is. Thus far, I'm not fond of this first track. Nicki Minaj grates with a faux-English accent as much she does with her normal dumbass voice. The main beat is pretty good, albeit marred with that stupid sparkly sound, but the orchestral/choral bits are just plain annoying. And as for Kanye's rapping itself, whatever. It's not what I'd call bad, but it's inconsequential. I'm pretty sure most people who beat off to this guy's name (AKA most people who worship Pitchfork) agree that his rapping isn't even objectively good or impressive. Most people talk about his production as the highlight (despite the total co-producer count of 10, not that I'm gonna hold that against him). But the production of this first song isn't all that impressive. Nor is it impressive in the second song, which is also an unnecessary 6 minutes and boring the whole damn time.

The third song is the first time I've enjoyed myself here. My mind isn't blown or anything, but the use of subdued guitar and fantastic usage of samples of King Crimson (another artist that Pitchfork fluffers blow, but 21st Century Schizoid Man is a pretty good song, one that isn't too wanky) make this song pretty impressive. Also, I remembered All Of The Lights once I heard it, though I remember the beat being a bit different. Regardless, I'm quite fond of the synths-and-breakbeats beat, and all the backing guest vocalists are completely passable, but these lyrics are freaking horrible (MJ gone, our ***** dead, I slapped my girl, she called the feds) and his flow is amateurish in what sounds like an attempt to be grandiose. I can ignore it for the enjoyable enough beat, but Jesus.

Meanwhile, Monster doesn't even have a good beat to make up for the awful lyrics. This song is equal parts cringe-worthy and facepalm-inducing, and that right there is too much internet talk in one sentence for me. I'm not quoting the lyrics. I feel no need to. They're awful. And to make it worse, Nicki Minaj features. Eff this song.

In So Appalled, the word "Voila" is pronounced "Vwa-la". I'm nitpicking at this point, but... What? There is no reason to do that ever. That's not gonna improve your flow. That's not change the rhyme scheme. That's not gonna blow people's minds. That's JUST STUPID. Otherwise this song is pretty good. My biggest problem with this song is RZA's presence. Seriously, any time he's not on a Wu-Tang song or Wu-Tang related song, his presence on a song is completely superfluous, and it's frustrating because within the context of the Wu his verses are amazing (4th Chamber comes to mind). I haven't listened to A Better Tomorrow, do I want to?

And after that, everything is mostly passable. There are some standout moments, like I'm fond of the beat of Devil In A New Dress, and I'm floored that the 9-minute Runaway is at least 50 percent instrumental but doesn't sound wanky nor is it mindlessly repetitive. And then there are some bad moments, most blatant example, Chris Rock (he doesn't get bolded because he's not an artist) and his awful rant in Blame Game doesn't just come to mind but screams "I'M AWFUL". Otherwise, it's all passable.

I don't get it. This is supposed to be one of the most innovative hip-hop albums of all time? What's so special about it? I've heard much better, more challenging, more experimental, more raw hip-hop many, many times. The rapping on this album, as much as it's been stated that it's not the highlight of the album, is completely and consistently mediocre, with bland lyrics neither raw nor witty and a boring, unimpressive flow. The production on the other hand is pretty good at times, but there's no wow factor here. I feel underwhelmed in the end. This wasn't a bad album, but this seemed like a pretty complacent pop rap album, absolutely not a challenging, experimental, innovative album to be revered as a classic for years to come. Screw Pitchfork and screw their legion. Acid Rap doesn't even get one-tenth the cultish worship that this album does, but damn if that album was a lot more INTERESTING.

Regardless of my opinion, one question stands, why does this guy have an obsession with Beyonce? It's clearly not about the black artists losing, because if it was, he would've pointed out the ACTUAL crime that was Macklemore beating out Kendrick Lamar in 2014. Who are the stupid fucks that voted that year?

Best Track: Runaway
Rating: 6/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 102: Summer in Paradise by The Beach Boys

This album is legendary. It represents the absolute nadir of the Beach Boys, when Brian Wilson had left, Dennis had died and Mike Love had taken over the entire band. It's the sound of a band once the greatest in the world (that is an objective fact) now one of the worst in the world. Or so they say, I've never heard it. It sold less than 1000 copies at launch, was immediately maligned for having old white men attempting to rap about teen girls and for having John Stamos on it. I'm excited to hear just how bad this one is.

This first song isn't so bad. I mean, it's corny as hell with those bad bass synths, horn samples and painfully fakey drum sounds, but it's inoffensive trash radio pop. The bass vocal "yeah"s are awful though. They make this song way more sleazy than it should be.

Sleaze is by far the prevalent feeling in this album, and it's way worse than The 20/20 Experience was, partially because at this point in 1994 the guys were all reaching their mid 80s. Surfin sees them trying to recapture the corny throwaway classic of 1965, but they use a bootleg-Depeche Mode synth background and the vocals are made 100 times more disgusting. Summer of Love is the aforementioned rap track, and hoo boy is it HORRIBLE. Island Fever is surprisingly NOT racist as far as I can tell, but it has the distinction of making me physically ill with repugnance of seedy old men... To the sound of Carl Wilson's voice. No, that's not supposed to be possible. What is this mess? No, I refuse to push on.

No, I must continue.

Besides being disgusting (Strange Things Happen must be noted as a particularly sordid lowlight) and cheesy (Remember should be hilarious, but the sleaze factor is almost as high as the cheese factor), this entire album sounds corporate, like these were churned out by old men hoping to have a radio hit, which I'm 99 percent sure was the case with the other Beach Boys (it obviously was the intention of Mike Love). This is like a bad cover band made up of old men who still think they can make it big without a single original song by continuing to play in smoke-filled bars, hoping a big record label CEO will be wowed by their cover of Surfin USA and will offer them a 3-album contract. And then John Stamos comes up and sings the encore.

Why did I even listen to this?

Best Track: hahahahaha
Rating: 1/10

[rayword45]

Re: Meh, let's do it again, this time for a year

Day 103: ∆CALxTAPExTWO∆ by Cal Chuchesta

Yup, time for the second of these. I only have so much time to kill for now, but tonight I'm gonna release that Drake album that I'm assuming is horrid.

This mixtape features a lot more analog-type synthesizer than the last one. It also lacks the cohesive nature of the last mixtape, isn't as funny, and isn't nearly as enjoyable. In fact, this one isn't funny at all, it's just annoying, although I shall admit that sory this is so lowd (pilow) is kinda catchy.

Let's do one more review.

Best Track: sory this is so lowd (pilow)
Rating: I'm feeling a light 3 on this one