Over spring break I listened to a lot of music. I hadn’t had that kind of time in a while so I knew I had to make the most of it. From new releases to classics I wanted to revisit, my week was filled with non-stop listening. So instead of just reviewing one album, I thought I could discuss, rate, and recommend a handful of new ones that came out over the break.

100 gecs – “10,000 gecs”

After nearly 4 years, the hyperpop duo return with their sophomore effort featuring even more punch and goofy detours.

Dylan Brady and Laura Les continue their hot-streak with an album that made me a fully-formed 100 gecs fan. I would go as far to say that this is their best work to date, mixing their distorted and abrasive pop style with thicker bass, brazen guitars, as well as more conventional song structure and vocal melodies. Tracks like “Dumbest Girl Alive,” “Hollywood Baby,” and “Billy Knows Jamie” are prime examples of this switch-up as both share similarities from nu-metal to pop-punk.

The duo can also let loose a little, bringing ska and polka to the forefront on tracks like “I Got My Tooth Removed” and “Frog on the Floor,” with the former probably being my favorite off the entire tracklist because of just how ridiculous and catchy it is.

There are also plenty of songs reminiscent of their debut, “1000 gecs,” as well like “757,” “Doritos & Fritos,” and the closer “mememe.”

Overall I really enjoyed “10,000 gecs.” I can understand if they’re not really your vibe, but take it from someone who once had that mindset, there’s a little something for everyone on this album. From rock, pop, and even ska, this album really isn’t meant to be anything but fun, and there’s nothing wrong with that.

My rating: 8.7/10

Lana Del Rey – “Did you know that there’s a tunnel under Ocean Blvd”

I want to preface that I’ve never been much of a Lana Del Rey fan and this album hasn’t changed that, but there’s still a lot to admire from this release.

“Ocean Blvd” may be Rey’s most personal record thus far, dealing with themes of loss, family, relationships, and the emotional turmoil that comes with all of that. Rey’s songwriting is as expected but also feels amped up in spots, especially on “Kintsugi” and “Paris, Texas.” 

The production, again primarily from Jack Antanoff, is stellar and dreamy. Opener “The Grants” and “Let the Light In” with Father John Misty come to mind first. Of course I have to mention “A&W” with that phenomenal beat-switch as well.

The variety of features add a lot to the project too. Jon Batiste may be the most unexpected and most rewarding for me. His contributions on the keys and soothing background vocals on “Candy Necklace” make the song for me. He also gets his own little interlude right after.

Though this is where the album falters a bit for me. I don’t think it needed to be nearly 80 minutes for one. Also, the interludes and wavering instrumentals, while I understand their inclusions, don’t feel like they add much to the rest of the LP.

I’ve just never been head over heels for Rey’s voice and overall style anyway and this album doesn’t do enough to sway me. The ideas, production, and instrumentation are all impressive for sure, it’s just nothing I would go back to personally, though I understand why people love her so much.

My rating: 6.5/10

JPEGMAFIA & Danny Brown – “Scaring the Hoes”

If you are a rap fan looking for something more challenging, fast-paced, and expansive, look no further than the potential collaboration of the year.

I’ve been a fan of JPEGMAFIA for a few years now and he never ceases to impress me with his eccentric style of production and sampling. So when I heard he would be collaborating with one of the most unique and versatile voices to come out of hip-hop in recent memory, Danny Brown, how could I not be ecstatic?

The beats and overall production are at the forefront of this record. You’ll find at least one sample on every track, from Michael Jackson on “Orange Juice Jones” to “Milkshake” by Kelis on the outro of “Fentanyl Tester.” Sometimes the outlandish beats and sample choices can even overshadow JPEG and Brown’s performances, but I think that was a stylistic choice. When you can hear both of them clearly, their verses are full of hilarious punchlines and thought-provoking one-liners. “Muddy Waters” features one of my favorite verses JPEG has spit in a minute and “Jack Harlow Combo Meal” sees Brown doing what he’s done best since his early mixtape days.

We also get stone cold bangers like “Burfict!” and “God Loves You” that are loud, bombastic, and just straight up fun. Another key moment on the LP is “Kingdom Hearts Key” where we get a softer, low-key instrumental with some great verses from the two as well as the sole feature on the album, redveil. Who is an artist I’ve been keeping tabs on lately as he’s slowly been gaining more traction. If you’re into artists like Earl Sweatshirt or Denzel Curry at all I’d definitely give him a listen.

With a strong start and even stronger finish, I could definitely see this being one of my most played albums of the year. These guys’ style isn’t going to be for everybody, but for anyone who is trying to expand their horizon and looking for something a bit more shocking, or scary perhaps, then this may be right up your alley.

My rating: 9.2/10