Knife Party – Abandon Ship (2014)

Knife Party are notably a musical duo from Australia. Early pieces, such as Internet Friends were club classics, and great tunes too. They released this, their first and only album so far, in 2014. Is it up to scratch? Let’s have a listen to the music here.

We begin with Reconnect. It has a psychedelic intro with a spoken voice letting the world know that Knife Party are here. It’s a good listen and a nice way to kick off the album.

After this, we go to Resistance, a nice piece with some house and dubstep overtones. The breakdown is intense. There are some African sounding drums in this breakdown, we hit party central with an awesome groove. This is a refreshing listen compared to the RnB of today, it’s fantastic. These guys are fantastic at what they do, the music here is great.

Boss Mode begins with some freaky distorted chimes, before knocking down the competition with a Hip Hop style groove and distorted dubstep riffs. It is a great tune here, the sampled lyrics pointing to a higher level of consciousness. Our sonic journey on this track is wonderful. It ends with some gunshots. Mint.

EDM Trend Machine is a piece that sounds much more mellow, along with some good male soul like singing. It’s a good one to relax to after a heavy night of clubbing, assuming that people enjoy this sort of thing for that purpose. It’s way different than the tracks before it. Automated dance music for the people.

The following piece 404 sounds a little weird. It has some Chiptune sort of noises in the track, before going into a static sounding bliss. Rotating drums capture our attention, before launching into a very good piece in the style of Knife Party. It’s a good listen, taking us into the future of music and sounds we have not heard before. There are a few twists and turns in this one, being very suspenseful indeed.

We Begin Again with some poly rhythmic beats and we hit sonic waves afterwards. The vocals, which have a sense of urgency, then kick in. Honestly, this piece is not as good as the ones before, which is disappointing. But it fits the album well anyway. There are some good samples in the middle of the track as well.

A more dubstep driven Give It Up with some reggae influences comes next. It is a good uptempo and busy sounding piece that sounds club ready. A progressive and semi-psychedelic listen here. A nice effort. The dubstep bassline is fantastic here.

D.I.M.H. sounds much more mainstream and House based, you can seriously dance to this tune. It has some interesting sound effects, and vocals comparing music to God. It sounds like a rework of an old 1980’s song, but seriously, it is much better than that for sure. It’s a greatly textured piece.

Micropenis is a strange tune that begins with a strangely sampled situation, before leading into a piece that has beats galore everywhere. It had some rather metallic sounds in it as well. It’s okay, but not fantastic, mind you. There are some Sufjan Stevens like melodies in the breakdown here. The second half is far better than the first half by far.

The next song Superstar is outright awful. It sounds like a poor take on a disco track here. Worth avoiding, and enough said about this number. Noel Gallagher’s High Flying Birds do a better job at disco than what Knife Party do here, and that’s saying something.

The follow up Red Dawn is a far better tune, something indeed to listen to at sunrise, for all you party animals out there. It has some middle eastern melodies and cut up vocals for your enjoyment. It’s a good dance number. Some neat intricate backwards loops occur, before banging beats hit you. A good way to liven up the listen towards the end of the album. A ghostly outro makes it better, too.

Kaleidoscope is the last one on the album. It’s a laid back and chill tune, for those who made it through this album. A good downtempo, deep house sort of joutney. It has suspense all the way through. We then finish the album.

This is a good album, not a great one. It does have its moments, but for the most part, could have been bettered. It’s still listenable, especially for you young nightclub goers. Having said that, it is worth a listen anyway.

7/10

Uberzone – Ideology (2007)

Nobody does the hybrid of techno and breakbeat better than Uberzone do. This album is a good one. It features a variety of tracks and instrumentation. Let’s dive in and have a listen.

Okay begins our cyber journey into bliss. With robotic voices and a great beat kicking along, it sounds so different to everything else out there it is refreshing. It’s a good introduction to this album. It must be heard to be believed. There are acid sounds here too, a nice touch. The breakdown sounds great here as well.

4 Bit sounds so 1980’s in a good way that it makes one feel nostalgic. The beat kicks in, and what a beat it is! The grinding bassline makes this song greater than your typical EDM piece. Overall, this album so far is a great sonic trip. This tune is enjoyable as well. There are many unique sounds in the music here, a great piece to listen to when the mood strikes. It fades out mysteriously.

The robotic nature of this sort of music returns with Vibrate. It’s a great piece for those who like this sort of music. It’s surprisingly dance able as well, given the genre of music that this is, despite the fact it is clearly for home listening. A great futuristic and robotic sounding track. It has some highly intelligent sounds here, likely mostly original too.

The unusual Satisfaction follows. No, it’s not the hit by Benny Benassi either. It’s just a good tech-breaks style romp. Some great sounds are found here, which are individual, idealistic and creative. An epic and excellent listen, with some great drum sounds in the middle of the track. Acid noises return as well, just for the ride. A nice piece.

Ideology is the title track, and it starts rather slowly. It’s more laidback than the other tracks here, with some unusual theremin like melodies. It seems quite melancholy here, but still is as consistent as the rest of the album. It’s a good, but not great piece when the mood strikes. Sounds a lot like Radiohead in their Kid A or Amnesiac phase, in fact. It ends with a clock ticking.

FUBAR is much more like it. It’s an excellent and catchy driven piece to boot. It is the sort of tune that could be stuck in your head for days. It’s a wonderfully intriguing listen, so put on your headphones and listen to it. It’s rather more progressive than other EDM tunes out there, too.

The next piece, Alphawave, is a great rhythmic piece with some unusually modified vocal samples as well. It has some great drum sounds as well. It’s just a kickass track with some awesome TB-303 sort of sounds to hear as well. This album is very consistent throughout, always a good thing for the listener. It sounds like it was recorded it 3007, not 2007. A great sonic experiment done well.

The next one sounds apocalyptic. Germs sounds freaky and futuristic. It has a basic rhythm, acid sounds and mechanical melodies to entrance you. It is no doubt one of the better ones on this album, and is musically structured very well.

Geisha samples some Geisha talk in Japanese. It’s a lot slower than some of the other tracks on this album, but sounds like a good head trip all the same. It’s brief, but a good listen.

Funny Noise is another robotic creation from Uberzone. It’s a great deal better than the last couple of tracks, but still very consistent overall. It just flows nicely this album. It’s a robotic and musical project intertwined in a great effort. In the middle of this track, we have a great dancefloor piece. Even through headphones at home, this album is a winner. This track is no exception in this regard.

The short Inner Space is a semi-ambient piece that lets you drift into outer space. There’s not much to it, but it is a nice addition to the album.

The next tune, M87, sounds like a sort of Dub like piece. It’s got some laidback beats and psychedelic noises in it. Whoever said that postmodern music was bad? Uberzone make great tunes, and this album is proof of that. This track sounds like a Sonic The Hedgehog video game soundtrack, no joke.

Black Hole has some strummed acoustic guitar and some real life sounding beats. It sounds different, but good all the same. There is a variety of sampled instrumentation here, from pianos to bongos. It breaks down into silence at the end.

Yes speaks for itself. No comments required for an 11 second track.

The extra track Octopus (Bonus Track) is a solid listen itself. It should have been placed on the original album, but fortunately it is found on some releases of the album. We finish our sonic journey, satisfied with the outcome.

This sort of music is regularly overlooked by critics and consumers alike. However, it is clear that perfect techno + perfect breaks = Uberzone. Do yourself a favour and have a listen to this if you haven’t done so already.

8/10

LMFAO – Sorry For Party Rocking (2011)

Probably one of the funniest albums this century, LMFAO’s Sorry For Party Rocking is pretty out there. Is it any good though? Let’s give it a listen and find out.

We begin with Rock The Beat II is obviously a joke piece which sounds sort of dubstep. It’s a great introduction to a very silly album here. These guys obviously can make music, yet at the same time don’t care about tomorrow. Brilliant.

The title track Sorry For Party Rocking is a millennial anthem for no tomorrow. It’s an all-in-all anthem for those who have made it in the music industry. It’s got some wacky lyrics in it about said experience. A must listen for fans of the album. It’s very profane as well.

Party Rock Anthem continues the madness in the scene, and was regularly played in nightclubs at the time. It sounds very nightclub ready indeed, and is a great listen to hear. It’s more civilised compared to other numbers that have come before. But hey, sorry for party rocking everyone. It’s futuristic and funtastic.

Sexy And I Know It is THAT song that was all over the radio at the time. The video clip is likely the most homosexual or appealing thing out there on YouTube, depending on your view. It’s still a great tune, and sounds awesome. It sounds very catchy.

The next song starts slowly. Champagne Showers is an alcoholic’s anthem for the next generation. With digitised vocals and sound effects everywhere, it is a good party song for those who wish to hear it. It’s a great song to hear about getting wasted. The climax of the song is awesome.

The next club ready tune is One Day. It’s about chasing the finer pleasures in life, including chasing a girl. It’s more of the same, but hey, sorry for party rocking.

Put That A$$ To Work is a devotion to sexy girls out there. It’s about a sort of sexy up song about a real party girl that one could love, on the dancefloor. It’s about a girl’s ass, obviously these guys were very sexual about things. Still, it’s a good piece.

Take It To The Hole is obviously about you-know-what. Sounding cheesy and slightly annoying, it’s kitsch galore. These guys must have been pretty wasted writing pieces like this, but hey, sorry for party rocking. “I’ll beat it up!” is screamed here.

A lesser cut, We Came Here To Party, features a rap piece that sounds very flowing though. It’s about getting trashed. In fact, all these songs are about that. But that’s the great thing about this album. It talks about toasting to the good life at hand, nice to hear.

The next one is about a strange way of loving and appreciating someone. Reminds Me Of You is about finding someone to be with at a party environment. This song sounds like a computer game with beats – but hey, it’s a great listen. Wicked stuff. Mentions Calvin Harris as well, a nice touch.

Best Night is about having a crazy chick as a partner. It’s a more mediocre piece to a partytastic album for you crazy peeps out there. A good listen. It’s a little weaker here, despite the album being very consistent overall for this sort of music. Not bad. Let’s make this moment last forever.

All Night Long is a great piece about the necessity of seeing a partner. It’s a party devotion song. A nice piece for a lover at hand. There are many cameos here, all to good effect.

By this point, the album seems to tire. With You sounds lethargic. Could have been better, but hey, once again, sorry for party rocking. It’s about smoking weed though, a party thing for sure.

The next song Hot Dog is a sort of reprise of Sexy And I Know It. It’s hilarious and clubtastic. These guys were mega at the time, and time shows why. This song is excellent. A good listen.

I’m In Miami Bitch refers to a club heavy lifestyle that is fun and sexually explicit. It’s a great piece to hear on this album which talks about a “polka dot bikini girl” (Underworld reference here?). It’s a good fun romp.

Shots featuring Lil’ Jon is a great piece which samples seemingly the author of this website at the start of the song. It ends the album nicely, and we party hard to the finish. It’s repetitive, but works well.

If you want to get messed up big time, this is your album. It made the duo mega. Sadly, it fell apart for LMFAO after this. But hey, Sorry For Party Rocking.

8/10

The Chemical Brothers – Surrender (1999)

It had been two years since the previous album by The Chemical Brothers had been released. The (then) new album is a good mixture of quality tunes. Let’s dive in and have a listen.

We begin with Music:Response, a futuristic and funktastic piece which sounds expertly and wonderfully done. It has pounding beats, a robotic voice sample, funky guitar sounds and all sorts of twists and turns. Mint. It sounds surreal for sure. Tripped out to the max here.

The next cut Under The Influence of course, refers to drug use. It’s an uplifting and futuristic psychedelic piece here which is thoroughly enjoyable. “Who’s under the influence?” indeed. It concludes with subsonic bass and a statement saying: “Don’t run…” What were the duo implying?

Out Of Control is a great house music like piece featuring New Order singer Bernard Sumner and does well here to show off its musicality. It’s a great mainstream sort of piece here without being unoriginal. A good effort here. Some nice singing here and lyrics as well. “Could be that I am just losing my touch, or maybe you think my moustache is too much?” Great lyrical insight here.

Orange Wedge has some great plucked bass guitar parts and some interesting static squelches. It’s The Chemical Brothers broadening and expanding their sound. It’s perhaps not the greatest thing the duo ever did, but sounds interesting all the same. It’s trippy beyond words, however.

Probably the most depressing song Noel Gallagher ever contributed to, Let Forever Be is really depressing, but great. He comes across singing as a street preacher, before asking the quintessential question: “How does it feel like…to spend a little lifetime sitting in the gutter?” Sad yet this is a great song all the same. A great collaboration is here. It sounds like Joy Division in the 21st century, but with Noel Gallagher singing. A great piece. At the end it crashes into the abyss.

The following tune The Sunshine Underground is an ethereal piece that sounds psychedelic and great here as well. The slowed down drumbeat and chanted vocals here do well. It’s a Neo hippy delight. African drums are here to spice things up too. It then warps into a beatastic piece with wind chimes which sounds fantastic. This is a mega trip. A great effort here by The Chemical Brothers. At the end, we have some sunrays of colourful music come through here.

Asleep From Day is the next piece, with some beautiful vocals and intertwining textures that just kick ass. This is a good chillout sort of piece that works well. It has some interesting instrumentation in it and just sounds good. A nice tune. A computerised xylophone finishes this off.

Got Glint? is a psychedelic instrumental piece that seems a little lacklustre. But even so, it shines brightly this album overall, so that even a piece like this is quite good listening. It mixes some robotic statements with trippy sounds, a nice mix here of unusual sounds. The end is very quiet indeed.

The big hit from the album Hey Boy Hey Girl is a house based pounding beatastic number. It is interesting and radio ready, simply a good tune. Some surreal sounds are here, a must listen. The outro is tripped out.

Here we have the title track Surrender. This piece starts slow, then builds up into a colourful concoction of sounds. It seems a little repetitive, but sounds not out of place in a city like Tokyo. It’s really that well advanced here, and a good but not great listen.

Dream On is the last piece on the album. It doesn’t sound at all in its place here, and could have been rethought here. Sounds more like a rock band than The Chemical Brothers really. It’s not all that bad though. A twist at the end occurs which is surprising though.

This album is a good listen to after a heavy night out in the club. It’s perhaps not the best EDM album you’ll ever hear, but is a worthy addition to your collection. A 20th anniversary re-release is available for those who would like to seek out some extra tunes from the era.

Good album overall.

7/10

Primal Scream – Screamadelica (1991)

Primal Scream became a success with this album. Prior to this, they were very desperate to make some sort of success and had released some rather ordinary rock material. It’s not dissimilar a journey that fellow contemporaries Underworld had experienced. Once the single Loaded arrived, it was played heavily in clubs and underground raves everywhere.

This album came next. It is a genuine classic in its own right. It has a fusion of psychedelic and electronic sounds done so well that their earlier mediocre rock efforts are forgivable. Let’s listen through this, track by track.

Movin’ On Up is just that. It’s a gospel house like piece and introduced the group into their new format. The stoned sounding singing from Bobby Gillespie suits this piece very well. It’s a quick and catchy piece with a variety of instrumentation to boot. The screaming guitars are fantastic here. A nice start to the album.

Slip Inside This House was originally done by the 13th Floor Elevators on their own Easter Everywhere album. It features the ‘amen break’ and some great textures and a superb bassline. Still, the Primal Scream boys here match the 13th Floor Elevators effort with this cover. It’s catchy and brilliant. Welcome to the 1990s, ladies, and gentlemen.

The next piece Don’t Fight It, Feel It is another great piece featuring female vocals which suit this piece perfectly. “I’m going to live the life I love, I’m going to love the life I live.” is chanted here. It sounds very danceable and good quality, and unlike most dance music, this is not a throwaway piece. Some tripped out sounds are here too to keep you listening on.

After that, we go downtempo and heavily psychedelic with Higher Than The Sun. It talks directly about hallucinogenic drugs and enhancing one’s experience with such experiences from that. The stoned vocals are here again from Bobby Gillespie, the lead singer. It’s a brilliant and openly druggy piece. You can easily hear how inspired these guys were making this piece.

Inner Flight comes next. Some great vocal melodies kick off a minor key track, with a psychedelic keyboard patch that sounds a lot like Coldplay’s Clocks. No second-guessing where Coldplay stole that one from. But hey, it’s chilled and relaxing. Let the music guide you on this journey, as it is tasty listening. The outro has a wonderful vocal melody to boot.

Come Together is an extended piece, going over 10 minutes long. It’s a neo-hippie call to arms. It’s an ode to music and a very good one. There are numerous sounds, well-chosen and a great sample is here about the true nature of music. If you wish to hear a song that will destroy barriers for music listeners, this should be it. It never seems boring at all through the 10 minutes at all. Smile and enjoy the numerous textures and singing here.

The original Andy Weatherall Loaded arrives with a sample from a cult film at the start, before going into Cuban style beats, piano, real bass guitar, and a melancholy slide guitar melody. Horns and fiddles join the mix too. It’s a truly great piece of music, and is very moving and enjoyable, all the way through. It proves that even using computers, human beings can create a great and emotional piece of music. The world of music never was the same after this song, in that respect.

After that, Damaged arrives. It’s a downtempo piece and sounds very gentle in approach. It sounds melancholic and loving towards a partner but has some great vocal harmonies in it as well. It’s a reflection on a past love but works well here. Some nice Fender Stratocaster sounding playing is here to top it all off amongst everything else. Good job.

I’m Comin’ Down is a very low-tempo and subdued piece. It, of course, refers to a post MDMA/Ecstasy come down, or a comedown of a drug of a similar sort. It has some truly interesting and wonderful saxophone and other electronic-based sounds here. It’s a gentle and kind piece to listen to. This album is really very awesome in many ways, and this proves the musicality of Primal Scream right here. A must-listen for relaxation.

Higher Than The Sun – A Dub Symphony In Two Parts has the legendary bassist Jah Wobble from early era Public Image Limited featured on this track. It’s very much a reprise of Higher Than The Sun and acts as an almost concept album like idea for a track. Although not officially a concept album, Screamadelica could be considered one. Some space like tripped out sounds makes up this piece. Good to hear that these guys had many ideas for our own listening enjoyment. The bassline and breakbeats are classy too.

The last cut, Shine Like Stars, sounds Syd Barrett-esque with the twinkling melody-based sound. It’s simply a nice song to finish off this album. It’s gentle and reassuring, sounding almost like King Crimson. Mint.

This album saved Primal Scream, both financially and musically. It sounds so well done, even today, blowing a lot of your mainstream R & B away. If you like to hear the most psychedelic electronic sounds out there, you should listen to this album. You will not be disappointed.

9/10

Ariana Grande – thank u, next (2019)

Ariana Grande fever hit a peak around the release of this album. Her previous album Sweetener had gotten attention for those who enjoy contemporary music. Ariana Grande quickly added fuel to her fire for her fans and released this album in early 2019.

It is perhaps not as consistent as Sweetener, but thank u, next is not a bad recording to hear. Let’s have an analysis of this recording.

We begin with imagine, which actually has nothing to do with John Lennon’s own song called Imagine. It’s just a way of Ariana Grande saying what she wants to do with a lover. It’s a great start to this recording. It sounds very full-on. The vocal melodies at the end are great.

Next is needy with a sort of Chrono Trigger (SNES game) electronic sound in the background. This one is not mixed that well, and the mix should have pushed Ariana’s voice further up through the mix. Still, it’s okay to hear. It seems a weaker effort overall, sadly, due to the mix. There are some interesting orchestral sounds at the end though.

NASA continues the overall concept of the album, which is talking about space travel in relation to Ariana Grande’s life. It’s an okay tune nonetheless. It’s an interesting topic to cover though.

bloodline has a strange conversation at the start, before going into a rather routing R & B song. It’s about keeping a lover at a distance. Since Ariana Grande has had many high profile lovers, this is the aftermath of all that had been going on. It’s not that good, could have been done better.

The intro at the beginning of fake smile sounds like something recorded in the 1930s or 1940s but quickly goes into a better (for this album) sounding piece than before. It’s about keeping up one’s guard in the realm of fame. It’s a good listen to. Ariana’s voice sounds really good here.

Next up is bad idea. This is a good piece, but not outstanding. Most of this album, at this point, is very ordinary. It could have been better done, in retrospect. Although the lyrics are merely reflecting Ariana Grande’s life, there is nothing that really sounds truly great at this point.

make up has more discordant sounds, to begin with, before launching into a forgive-and-forget type scenario lyrically. It’s okay to hear, but despite her popularity, this album seems a little pointless. It should not have been rushed in retrospect, and it sounds as though that is the case.

ghostin begins with some freakish atmospheric sounds before launching into a very personal experience with Ariana Grande herself. Admittedly, this piece is a big improvement on the others in the album. This shows that Ariana Grande can deliver very well, be it the correct song. And in this case, she does well here.

Next along is in my head. It’s a straightforward tune but there is a great vocal melody within it. The other elements of the song are very meh. Still, it’s a decent listen. Ariana’s singing is very good here.

The next piece is 7 rings. It is hardly original in approach. It’s a weak song about selfishness. Not exactly a decent tune, especially lyrically. Rather forgettable, to be fair. Could have been bettered.

thank u, next arrives. It’s immediately a catchy song, fortunately. The title track of the album is about relationship issues that Ariana Grande has had with her ex-boyfriends. It’s delivered well. Good job here.

break up with your girlfriend, i’m bored is a joke sort of title for a serious sort of song. It’s about Ariana Grande finding a new path in her life for herself. It’s a good listen for a laugh. The album concludes here.

The verdict with this album? Rather overrated and trashy. Perhaps more time could have been spent re-recording and editing certain sections. It is good but does not live up to the hype. Better luck next time Ariana.

6/10

Ariana Grande – Sweetener (2018)

The biggest artist in the postmodern world is Ariana Grande. She has become the highest artist listened to on postmodern music charts, and has a great batch of songs to boot. This album really set the ball rolling for her in terms of popularity and being recognised as an artist. Let’s see if this album lives up to the hype.

The introduction raindrops (an angel cried) is a great piece, revealing Ariana Grande’s multi range vocal. She really does well here, and is a great start to the record. She sings powerfully, and with deep emotion. Great stuff.

We then kick off with blazed which features rapper Pharrell Williams. It’s not really about weed smoking, but it’s more about love. The lyrics are typical R&B sort of stuff, but the song is good anyway. It’s very catchy.

the light is coming is another guest vocalist piece, this time along with Nicki Minaj. It’s a postmodern “girl power” sort of track. It’s kind of annoying after a while to listen to. But okay for R&B nonetheless.

R.E.M. is a piece about dreaming of a lover. It’s a laidback and chilled sort of listen. It compares such a dream to reality. It’s a nice piece to listen to and fits well on the album. It opens up lyrically in a personal way, which is very typical of Ariana Grande to do.

The follow up is a very powerful statement from Ariana Grande, God is a woman. Which is probably a realistic observation. It is very melodic sounding, and it talks about a personal affection as a woman like Ariana Grande. It’s quite emotional, the chanting at the end of this track is great.

The title track of the album, sweetener is a good poppy and upbeat song to listen to. It refers to a positive outcome from love. It’s just terrific listening. It’s a gentle statement from Ariana Grande.

successful is directly about the confidence that Ariana Grande feels in her spotlight as a singer. It’s perhaps bragging or boasting, but the chorus is catchy enough to forgive our singer for that. A nice variety of sounds are here as well. The word bae is frequently used here, google that one if you are unsure. Very good regardless.

everytime is a piece about dealing with the pressures of fame. It sounds very dark though, with Ariana Grande delivering similarly themed lyrics. It’s not bad though, but reveals a darker, more personal side to her music.

The following song breathin is a more melancholy piece for the listener. It’s about keeping on going through life, no matter whatever happens. The repeated lyric, “Just keep on breathing and breathing and breathing,” is delivered fantastically and wonderfully here. A good piece from Ariana Grande, especially in her singing.

We then launch into no tears left to cry, with Ariana Grande telling the listener to remain positive no matter what. The lyrics have a little bit of a hypocritical nature about it though. It’s okay though as a song.

borderline is a short song, with Ariana Grande referring to herself as a “wifey type”. Ariana Grande has had her fair share of relationships in the limelight, and this song directly covers some of these. Missy Elliot does a short rap part towards the end. Not too bad to hear.

better off begins with an organ, then Ariana sings, leading into a nicely melodic piece with a chilled vibe. She reveals that her type of love based relationship and admits her love is not just for anybody. We can see why this sort of thing is very popular today. It’s a good listen.

The next song, goodnight n go reveals a more bitter side in Ariana Grande’s music about frustrations in her personal life. It has an annoying melody in the chorus, but that is easily forgiven.

The short ode to her ex pete davidson is a sweet and melodic piece that barely goes for a minute. It is a kind, and retrospectively, wasted gesture. But still, it’s good.

get well soon is a good way to end the album. It is a nice devotion to those going through hardship. It ends with nearly two minutes of silence, then we have finished the album, feeling great.

This album is proof of the postmodern talent that is Ariana Grande. She continues to make great music to this day. For those who do not know R & B style pop music, you can’t go wrong by listening to this album. It’s an enjoyable listen, by all means. A variety of beats, sounds and singing go wonderfully here. Well done Ariana Grande.

8/10