It’s been a while, hasn’t it? Pretty much a whole summer. I’m finally back at my reviewing desk, also known as my bed. While I plan to write full-length reviews soon, a lot of music came out this summer, and I would be remiss not to talk about it. To avoid spending all of fall catching up, for the first time in this column’s existence, let’s do a rapid-fire roundup of some big albums that dropped over the summer. I will not be reviewing every major release, just the ones I had something interesting to say about. I will go in order of release date.
Lil Wayne — “The Carter VI”
Starting with the opposite of a bang, we have “The Carter VI,” an album for which I had low expectations that still somehow disappointed me. I just don’t think Lil Wayne has the juice anymore. Most of the rapping here is half-hearted, the writing lacks creativity or charm, and the instrumentals are even more baffling than usual. I’m not even talking about “Peanuts 2 N Elephant,” which was honestly one of my favorite tracks here in spite of its terrible beat; I’m talking about that awful Weezer interpolation on “Island Holiday.” Maybe the worst track I’ve heard all year.
McKinley Dixon — “Magic, Alive!”
On the complete opposite end of the spectrum, this was a phenomenal album. Underground rapper Dixon takes his trademark eclectic jazz rap from his previous records to another level, filled to the brim with tracks that are both distinct and cohesive within the album’s tone. Tracks like “Run, Run, Run Pt. II” and the title track stand out as especially well-produced and well-written, with Dixon’s flow improving throughout and his incredibly personal, poetic writing.
Tropical Fuck Storm — “Fairyland Codex”
Another great June release, “Fairyland Codex” marks a return to top form for the Australian punk band after a disappointing 2021 record. The sounds are even rougher, wilder, and experimental, with longer and more progressive tracks that allow for a wider scope of ideas. The writing is as sharp as ever, with lead singer Gareth Liddiard’s trademark cynical edge shining through gorgeously on every track.
Clipse — “Let God Sort Em Out”
Arguably the biggest release of the summer—and one I’m a little sad to relegate to a mini-review—this comeback album from the legendary rap duo of Pusha T and Malice is a towering achievement. Everything is in top form: The flows are incredible, the production from Pharrell is fantastic, and every feature from Tyler, The Creator, to Kendrick Lamar gives heat. This album is also packed with some of the most memorable one-liners you’ll hear all year. If you’re looking for an album in this list that I recommend the most, it’s this one.
Justin Bieber — “SWAG”
On the flip side, I have shockingly little to say about this album. It’s not the disaster that the comically simple title would suggest, nor is it the incredible new direction I hope Bieber will one day take. It’s simply a solid, if somewhat forgettable, collection of contemporary R&B and pop. It certainly did not need to be 21 songs long—the pacing slows drastically after the first third—but overall, it’s fine.
JACKBOYS and Travis Scott — “JACKBOYS 2”
Unfortunately, in a written medium, I can’t just make a loud fart noise for 30 seconds to express my opinions on an album, so I’ll have to use words. This one was rough, that frustrating mix of being both terrible to listen to and boring as sin. The production has some interesting ideas but is poorly served by this selection of artists, all of whom underdeliver with bland performances. This was terrible and proof that Travis Scott needs to rebuild his sound from the ground up before making another “JACKBOYS 2.”
Tyler, The Creator — “DON’T TAP THE GLASS”
My thoughts on this album are about as brief as its runtime. It’s a fun record with a few standout bangers, like “Sugar On My Tongue” and “Big Poe,” but overall, I don’t come back to this one often. It feels too slight to make an impact. I appreciate that Tyler just wanted to make something fun after the emotional rollercoaster of “CHROMAKOPIA”—and it is fun—but it hasn’t stuck with me.
Quadeca — “Vanisher, Horizon Scraper”
I really wish I liked this one more. Quadeca, a YouTuber-turned-indie rock and rap artist, has a lot of buzz, and while this is certainly a gorgeous collection of tracks, it feels lacking in identity. I complain a lot when an artist sounds too much like their influences, and while it’s nice to have another artist that reminds me of bands like Animal Collective or Bon Iver, I still struggle to find what makes Quadeca stand out in a landscape like this.
J.I.D — “God Does Like Ugly”
I only recently discovered how incredible “The Forever Story” was, so I was excited to see what this new album was all about. This album marks a new sound for him, moving from the gorgeous and layered production of “The Forever Story” to something a little more stripped-back and more trap-influenced. I hesitate to call it more commercial, but it is a little more mainstream. It’s solid, though my bias for “The Forever Story” definitely holds me back from loving this one as much.
Ninajirachi — “I Love My Computer”
While “Let God Sort Em Out” was my favorite album from the summer, “I Love My Computer” is definitely the one I listened to the most. I had never heard of Ninajirachi before, but now I’m a massive fan. This is loaded front to back with infectious electronic bops, fun writing, and stellar production layered with glitchy sounds and ear-swallowing synths. “Fuck My Computer” and “Delete” have been on repeat since I found this album.
Joey Valence & Brae — “HYPERYOUTH”
After an incredible breakout sophomore album in 2024 with “NO HANDS,” Joey Valence & Brae have opted to follow it up with incredible quickness through “HYPERYOUTH.” If “NO HANDS” was primarily pastiches of old-school, hard-core hip-hop like The Beastie Boys and Run-D.M.C., “HYPERYOUTH” is squarely in the 2000s, filled with dance-floor bops and throwbacks to 2000s club music, with influences of dubstep, crunk, and pop rap. It’s also Joey Valence & Brae’s first real foray into more emotional topics, a part that is really hit-or-miss, often coming with a massive amount of mood whiplash from the goofy bangers before it. The record plays pickleball with its tone, and while tracks like “HAVE TO CRY” and “PARTY’S OVER” are highlights, it ultimately feels a bit confused.
Deftones — “private music”
I’m not the biggest metalhead in the world—in fact, it’s probably the genre I listen to the least—so take my words on this album with a grain of salt: “private music” is great. Lead singer Chino Moreno’s vocals are still gold after 30 years, and the guitar and instrumental work is immaculate. Everything sounds so full and well-crafted that even as a non-metalhead, this satisfies every part of my brain.
Earl Sweatshirt — “Live Laugh Love”
Earl Sweatshirt, a rapper formerly of the rap supergroup Odd Future, has carved out a nice niche in abstract hip-hop, flipping old soul samples into something both awkward yet focused. “Live Laugh Love” deepens that sound, with Earl’s flow looser and more conversational than ever, yet the beats sound even more focused and streamlined. It’s a sound that might put you off if you’re looking for something with either more polish or more energy, but if you want a rap record with some good melancholic vibes, this is your jam.
Sabrina Carpenter — “Man’s Best Friend”
Unfortunately, I’m ending this roundup with another record that I have very little to talk about. While her short and sweet collection of songs on the very fittingly named “Short n’ Sweet” was palatable and catchy, with “Man’s Best Friend,” I’m starting to realize how little longevity Carpenter’s music has for me. I recall nothing from this whole experience. Her vocals are smooth, but the production and writing offer nothing new, simply blending back into the malaise of pop wallpaper without the personality of a Chappell Roan or a Billie Eilish to make her stand out.
And that’s everything I want to talk about from the summer. Starting next week, I’ll have some full-length reviews—beginning with that dreaded Taylor Swift album everyone is already pelting with tomatoes. See you all then.
Hello there stranger, this is Kate Megathlin, writer for weekly music reviews for the Seattle Collegian, here to assert how much more important her opinions are than yours. She is a Seattle Central student with a major love of music and music culture, and every week she’ll try to deliver reviews of new albums coming out, if you want to recommend albums for her to review, email her at Kate.Megathlin@seattlecollegian.com.
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