I don't even know how I came across this album but man, I am SO glad I did. Though this is one of the more recent finds in the 'persistent picks' category I have been so enamored and obsessed with how Fiend distorts the samples, layer on and play with the drums. And I love how capturing the whole project is despite not sounding as intense or melancholic as most breakcore songs out there.

long winded description about the album.
200 characters max?
300? who knows.

less of an album, more of a greatest hits compilation. still. renard, right beside goreshit was one of the artists that ive picked up from my rhythm game days that shaped my taste in fast paced, drum overloaded music. and coming across this comp was such a joy.

babygirl return to your roots as a shitty soundcloud musician please…
as much as i enjoy some of his more recent works, i don’t think joji can ever replicate the emotions and rawness cbbv1 delivered. unsaved info saved my life fr fr fr
only thom and you suck charlie are officially considered cbbv1 songs but i consider it most of his old sc songs (it's unreleased anyways bro)

berhana is just so smoooooth on this record. the production is so clean and everything i want from an rnb record. g2g's guitar riffs just gets your attention and then the bass solo is absolutely everything.
the interludes resembling flight announcements complete the aesthetic of this album so well.

this mixtape brings me back to the worst time of my life lol. i cherish it dearly.
though i’ve tried reviewing this multiple times, i fail to articulate the waterfall of emotions that this brought me and still brings me without avail.
Thank you for teaching me empathy.

as much as i hate melancholic breakcore, this is the quintessential breakcore album. i had a long stint with playing a rhythm game in my formative years, and this was the most lasting thing it left me with. other than wrist strain.

one of the most influential electronic sounding albums honestly. the textures and design of the sound made me pay more close attention to the construction and building blocks of songs more.
it's just so FUN to listen to. it's insane that sophie melded and morphed all the bubble popping, metal clanging, leather stretching sounds from scratch instead of using samples. she just captures those sparks of day-to-day life so immaculately.

this was more than i bargained for. though not the first artist i ever liked, getting into fall out boy, analyzing the music, the lyrics, creating stuff about this band fundamentally changed how i intake music and how i approach the act of ‘liking’ a musician.

my first delve into hip-hop alongside BTI. the emotions that Earl put on this record made me drawn to this album. The production, Earl’s lyricism, the craftsmanship of his rhyme schemes played a huge part in shaping my taste in rap, and got me more acquainted with more ‘underground’ sounding hip-hop.

my taste in hip-hop was consistently moody and low energy, though i enjoyed more dynamic electronic music, it never really transferred over to my taste in hip-hop before listening to Yeezus. the experimental-electronic beats and the shock it gave me had such a huge influence in my taste leaning hard towards electronic hip-hop.

One of the first albums I remember listening to in full. Though i’ve enjoyed music from a young age, getting into p!atd was def my first step from a casual music listener to the music nerd i am today. Ryan Ross’s lyricism is unmatched.

one of my first hip-hop albums. as someone who had little to no understanding of rap it was a hard album to wrap my head around. but after going through a few more hip-hop albums and trying to understand the structure behind rap, this album flipped a switch in my brain.

the fact that this was my first hip-hop album listened to in full explains a lot about my taste. ambitious, all over the place, and at odds. it was exciting, getting to hear such a sonically diverse album. without it, i definitely would’ve thought that hip-hop was a boring one-note genre.

rekindled my love for breakcore once more. i love love love the diversity of sound in this album and machine girl’s discography in general. as someone who mostly enjoyed moody and ambient breakcore production, the harsher and louder sound of this album was a stepping stone into industrial hip-hop production for me.

brockhampton has always been such a diverse group in sound, but saturation 3 felt like it bridged the gap from bh’s more carefree DIY attitude to their matured sound onwards so smoothly. you can really feel each member’s touch and the bond between them on this album.

the first time i listened to reborn was probably an out of body experience. enough so that i had to put the title of it on my body. it’s bittersweet. i remember several hours i spent during the summer, half laying down in my dark room just spacing out as i listen and relate to the duo’s desire to keep moving forward.

everyone hates weezer. especially if you’re a fan. i don’t know how to feel about this band. but what i do know is that this is THE summer album. though i am sick of Cuomo’s pathetic nerd hopeless romantic lyricism nowadays, considering that I was in high school when i first came across this, i get my obsession with it at the time.

though i never liked paramore with the same intensity as p!atd or fob, i have always had a deep appreciation for the music they put out. i tend to lambast those previous two bands for selling out (deservedly) but never did paramore’s maturation and shifts in their sound feel jarring. especially bne, which was an excellent transitional album from riot and awkif’s grungy emo angst to their self titled’s matured adult with whimsy attitude.

i still remember the first time i was blown away by earl’s verse in rusty. the chain effect of that leading me to checking out earl’s discography, then giving this album a full spin, then odd future, and the rest is history. something about this era of tyler was just the perfect blend of spilled guts and absurdness i can’t get enough of. imagine having 48 and tamale on the same album. his range.

i tend to avoid most pop records, other than stripped down bedroom/indie pop or overprocessed and messy hyperpop. but this album was such a smooth listening experience. the circular nature of the album, the digital nostalgia mixed with a sound that evokes familiarity, like songs that you’ve heard on the radio. all wrapped with a shiny holographic pink foil.

short and sweet. the utilization of samples from what i assume are old cartoons or movies, reminded me of madlib (but much easier to listen to in my opinion lol..). the record was grimy yet polished. i loved denzel’s energy in this project. venomous yet sounds like he’s just playing.

THE FUCKING ALBUM OF ALL TIME!!!!! im forever indebted to this project for what it brought to me. the production is distinctly korean in a way that’s modern yet traditional. the occultic and dark vibes alongside the conscious choice of writing lyrics that evoke old texts, the whole aesthetic and soundscape of this album is masterful in it’s worldbuilding. what an amazing concept album.

this was such a well polished yet raw project. it felt grotesque at times with frnk’s utilization of kim ximya’s vocals. chopping, reversing, and repeating the rapper’s words to cobble together an animalistic expression from both artists.

i don’t know how yves tumor managed to construct an album so polished yet biting. like a siren song. luring you in with the smoothness of gospel for a new century, then slowly strengthening its grip around you, dragging you deeper and deeper into this album. explosive and subdued, grandiose yet vulnerable. it's almost like a religious experience honestly.

back when i first found out about the brobecks, their discography was barely archived nor documented and it felt like uncovering lost records trying to find the full version of gnahpt. though dallon weeke’s doesn’t have much fondness for this record, i love the small scale tight knit feel of this album.

rnb isn’t a genre i particularly seek out, more so something i tangentially listen to because of its proximity to hip-hop. and maybe that’s the reason why i enjoy this album for its meld between hip-hop and alt rnb. there’s a fragility in jclef’s voice that makes you listen closer to what she has to say, but don’t be mistaken. the words she utters behind the veil of vulnerability are piercing.

waax brought me the sound i so desperately begged my favorite bands to return to with this record. the vocalist, Marie brings shaky and unstable quality to her performance that accentuates the uncertain and raw nature of this album. I love the more mature yet energetic punk-ness of their sound.

qm’s lyricism is undeniable. i have a particular fondness for deficiency expressed in lyrics. all the parts that we want other people not to notice, upfront and center. the shame, anger, and questions that qm paint are certainly relatable to me.

i swear i knew them before they were famous on tiktok. i love the range of this album so much. a good mix of songs to lay down on the floor and wallow to, and songs to scream out loud while driving. just a good ol simple indie rock record.

i feel like getting into jpegmafia is natural if your favorite kanye album is yeezus. veteran is such an eclectic mix of everything i like and didn’t know i liked. peggy’s production is genuinely mind melding. his utilization of drums ranks him as one of my favorite hip-hop producers.

though i’ve come across this album in my last year of high school, jerd’s lyrics that paint a creaky young adulthood were relatable. and as i’ve grown into the age that she was writing this album, it’s become more and more close to my heart.

i’ve come around from being a blonde hater but still, nothing tops how masterful channel orange is. it evokes so much summer nostalgia. not just in the beating sun, hot pavement type of way, but in the summer isolation, sinking into the bottom of the pool type way too.

ive watched the movie so much that the soundtrack has been ingrained in my mind for a while, but i never really listen to movie osts on their own so it’s just been stuck in the backburner for a while. but after deciding to put this on in the background while i was coding, everything just made sense. this really evokes such incomprehensible nostalgia in me.

as an avid drum sounds go BRRRRRRRR enjoyer, neo-boombap / drumless hip-hop eluded me for a while. sample heavy production was something i enjoyed even as a newcomer to the genre, but stripping down what was arguably one of the most defining features of the genre? thankfully big ghost ltd’s production brought the same energy and intensity as his reviews. convincing me that drumless can be as impactful to the eardrums as any other subgenre.

filthy as hell. this is such a raw ass fucking album in all the ways. danny’s lyrics, the way he raps those bars, and the production. THE PRODUCTION. if you only perceive experimental hip-hop as hip-hop with electronic or industrial beats, you need to listen to this album. it’s an exhilarating experience. fitting of its title.

i’ve known of dsel since quite a while back, i thought he was a talented producer but felt like his rap was rather generic. he had his moments in previous 30 projects, but this was when i felt like he came to his full potential. the impact of his voice and the humor of the lyrics, along with the experimental beats come together to make something that can only be described as ‘dsel’.

out of the several khh albums that ive listened to this year this album was one that i’ve enjoyed the production of so much. the lyrics stick around in your head and it’s incredibly hype to listen to this live, especially considering cwar’s energy on stage.

hoe scaring music. (im hoes)
backxwash was also one of the artists i’ve known about for a while but didn’t bother listening to mostly because of how hard to approach her aesthetic was. the sheer rawness and drive in her voice pulled me in and basically forced me to listen to the end.

black dresses have been on my radar since quite a while thanks to my social circle. but i’ve never had the courage to try their music as i was still into quite ‘soft’ music back then. thankfully i’ve kept their name in my mind because once i mustered the strength i was blown back by the catharsis this album evoked in me.

this was a gift youtube threw my way after noticing my watch history has been filled with breakcore and jersey club mixes. the influences are clear and loud, and whilst what could be classified as ‘genre cliches’ are present in the album, it does not sound derivative whatsoever.