For this latest issue of the AMHS Album Review, I’ve listened to ten albums that you have suggested.

First, we have Mahal Kita by Hikes.  I really enjoyed this one.  “Been Thinkin” was a really cool opener with all of its special effects on the guitar and beautiful vocals.  There are a lot of ambient tracks on here, but also songs like “Extra Mile” that were more in your face.  I think the best song was “Jejune,” which featured something almost like a violent spasm in its outro.  The album as a whole was able to pack in such a variety of chord progressions and harmonies that made it so interesting into its relatively short runtime at just over 30 minutes.

Next, I listened to Stick Season by Noah Kahan.  I had only heard of Noah Kahan this past year when everyone started listening to this album and posting clips of it on social media, but it turns out this is actually his third album.  And from what I’ve gathered from other sources (and confirmed by me), this is his most introspective album yet, having written it almost entirely during the pandemic in his home state of Vermont.  The themes of the album include navigating adulthood through a pandemic and mental health issues.  As a whole, Stick Season reminded me of other folk-type music of recent years from artists like Phoebe Bridgers or Hozier.  The best song was “Northern Attitude.”

After that, I listened to Luv 4 Rent by Smino.  This one was interesting—in that Smino blended a lot of different genres of hip hop which ultimately led to a really smooth album overall.  So many songs on this album, like my favorite, “No L’s,” were catchy and upbeat.  However, after about the fifth track, I felt like I wasn’t getting the same quality of songs in the first half.  Yet all in all, the album was very laid-back, very mellow, and very creative.

Mr. Morale and the Big Steppers was Kendrick Lamar’s first full-length release in five years.  And while the album that preceded this was full of energy, Mr. Morale… was more introspective, giving us more of an insight into the most vulnerable parts of Kendrick as a person, not just a rapper.  The breadth of his emotion reveals itself especially during the second half of the album in tracks like “Auntie Diaries” and “Mother I Sober.”  “N95” is catchy and “We Cry Together” is a great song that I never want to hear again.  When the album was released in May of 2022, I remember enjoying “Die Hard” and “Purple Hearts,” which, upon this listen, remain my favorites.

Here’s a fun one: Trolls Band Together.  This was interesting, to say the least.  Somehow, Justin Timberlake and all the other artists here managed to sample every 90s hit ever.  It was nostalgic in this sense, considering that the Trolls remixes didn’t take away all of the integrity of the original, which was a pleasant surprise.  However, as expected, the soundtrack didn’t have a lot of depth to it and was mainly just filler dance-pop for the movie.

Next is My Love is Sick by Madds Buckley.  One thing that stuck out to me about this record was its very minimal “computerization” and mainly live-sounding recording.  Madds Buckley has a great voice and it was so entertaining to listen to her sing about the failure of a relationship, ironically.  The songs range from light pop-rock to moody ballads like its lead single, “My Love is Sick.”  The album’s story really flows well through each of its individual songs, and I think this was a really enjoyable album.

LONG.LIVE.A$AP was super cool to listen to in full.  The first four tracks had a cool vibe to them and set me up for a great listen.  “F**ckin’ Problems” was the only song I’ve heard before, but I really enjoyed “Pain” and “1Train.”  The album has a lot of features and I think everyone did a great job blending in and highlighting their own qualities while also letting Rocky shine on his debut album.  “Wild for the Night” was a bit corny, but everything else was great.

Obviously by Lake Street Dive made me think of a kinder-sounding Steely Dan.  I liked the soulful pop sound and it was definitely a feel-good, Sunday morning kind of album.  The best songs were “Hush Money” and “Same Old News.”  The melodies and rhythms were interestingly complex and the bass lines were jumping.  In the words of the person who suggested this album, “The vibes are just so good and it’s perfect for driving and studying.”

I must have been maybe twelve or so when I heard Post by Björk for the first time.  I was so confused as to what was going on between the production, lyricism, and everything else that made this album so unique and so intriguing.  It was really unconventional, but at the same time, I appreciated Björk’s creativity and how she pushed the boundaries of music by blending pop and other elements of music that are so foreign to Western ears.  For example, in my favorite song by her, “Army of Me,” the bass line uses the extremely uncommon (and what some would consider ugly) Locrian mode, but the song has become extremely popular nonetheless.  I always think about the music video for this song, too.

Lastly, I listened to The Miseducation of Lauryn Hill.  In the previous issue of The Talon, I reviewed The Score by the hip-hop trio Fugees.  Today, I’ll be reviewing the only solo album by its most distinctive member, Lauryn Hill.  Anyone who has listened to this album knows about Hill’s talents as a producer, singer, and rapper.  Like The Score, The Miseducation… is framed by its neo-soul and R&B roots, however, in terms of themes, centers around her personal life.  I really enjoyed songs like “Ex-Factor” and “Doo Wop (That Thing),” both of which are extremely popular to this day.  “To Zion” is a message dedicated to her son Zion David Marley, with whom she had with Rohan Marley, the son of reggae legend Bob Marley.  I also enjoyed her cover of “Can’t Take My Eyes Off of You.”

Thank you for these recommendations!  I’ll be sure to continue down my list for the next issue.