QUICKSPINS: Early November Releases

The Cure dropped their latest album, Songs of a Lost World, on Nov. 1, their first since 2008. The record builds on the band’s previous work by exploring existing themes of love, heartbreak, and despair in their discography.

The opening song, “Alone,” showcases these themes, with long instrumental breaks characteristic of the band’s style. It is slow and sets a steady tone for the rest of the album.

On “Alone,” lead vocalist Robert Smith sings, “And we close our eyes to sleep/to dream a boy and a girl/who dream the world is nothing but a dream?” The repetition of “dream” is deliberately confusing in a poetic way, a recurring characteristic of Smith’s writing. 

This album is reflective and, at times, hopeful, such as on “And Nothing Is Forever.” The track’s unhurried drums and Smith’s morose delivery create a bittersweet tone that carries the album.

“Warsong” and “Drone:Nodrone” have the same deliberate pace with a faster tempo. The songs explore internal and external battles. “Warsong” speaks of anger and arguments, while “Drone:Nodrone” represents a lost or “misplaced” identity. 

After two more high-energy songs, the album tapers off with three classic melancholic pieces, ending with the hyper-literal “Endsong.”

“Left alone with nothing/nothing/nothing,” the album concludes.

Trial Track: “A Fragile Thing”

Score: 8/10

After almost two years without a new release from The Garden, the Shears twins return from their filthy rabbit holes to push a new precedent for contemporary (art-)punk rock. 

The Garden has nestled themselves into a “punk” label that continues to push boundaries with creatively playful samples, rambunctious instrumentals, and a sort of suburban catharsis that comes from being free to complain about life out loud, from the heart, as done on this EP.

Although this isn’t anything thematically new from the Californian duo, they are opening up new explorative capillaries of their unique style of alternative art-punk without straying too far from their usual musical toolkit. 

It’s clear with each track that The Garden leads their production with hardcore fun in mind. With the springy energy of the Looney Tunes in a mosh pit, The Garden has bounced off and out of the walls that confine the punk genre to nostalgia. Let’s just hope the next wall isn’t painted to look like a tunnel. 

Trial Track: “Man Of The People”

Score: 7.5/10

Lil Uzi Vert’s new album, Eternal Atake 2, released on Nov. 1, lacks the structure and eclectic purposiveness of its predecessor. 

In the opener, “We Good,” Uzi attempts to express that the nitrous gas they have been inhaling is not impeding their workflow. They repeat, “Alright, alright, alright, I swear everything’s alright,” but as the album progresses, it becomes harder to believe them.

The Philadelphia-born rapper’s flow and lyricism demonstrate a fear of growth. Nevertheless, Uzi includes an endless array of inventive phrases to prove that their pockets are fat (notably “the opposite of ozempic”). Paradoxically, this need to prove themselves makes them seem fearful of losing their wealth, even though they once had a reported $24 million diamond embedded in their forehead. 

Although the album’s production is filled with interesting sounds, such as zipper-like synths on “Light Year (Practice),” their mixes lack intimacy. The overuse of compression on “Chips and Dip” distills the high-frequency excitement of its theatrical beat, muddying the gunshots and synth sections.

Uzi may have moved on from the gemstone accessory, but the rapper has not expanded their lyrics or sound, instead finding safety in recycled topics, unpolished production, and arbitrary collaborations, limiting their creative potential.

Trial Track: “Not An Option”

Score: 5.5/10

Freddie Gibbs’ sixth studio album, You Only Die 1nce, plays out like a film noir, guiding listeners through a dark, vivid narrative of temptation and moral conflict. 

In the opening track, “Status,” Gibbs confronts the allure of vice or the “devil,” depicted as a force pulling him towards drug dealing, self-destructive behaviour, and a lifestyle fraught with morally compromising choices. These internal struggles form the backbone of the album, lending each track a sense of dramatic tension and reflection.

A lush and atmospheric soundscape blankets the album, crafted with layered percussion, warm basslines, and soulful samples. The intricate, steady drum work forms a solid foundation that supports the album’s introspective journey.

“Origami” is a standout cut that samples a quote from late Libyan revolutionary leader Muammar Gaddafi: “They love me, all my people with me, they love me all. But if they do love you, they will die to protect me, my, my people.” 

It adds to Gibbs’ exploration of his identity as the protagonist (or even antagonist) in this story, expanding on the album’s overarching theme of overcoming and conquering.

You Only Die 1nce is a refreshing addition to this year’s hip-hop releases, blending groovy beats with dark, introspective themes. It showcases Gibbs’ continued evolution as an artist and feels like an instant classic.

Trial Track: “Rabbit Island”

Score: 9/10

After 2023’s And Then You Pray For Me was met with less-than-stellar reviews for its bloated tracklist, Westside Gunn’s Still Praying scales back completely and focuses on delivering a tight fourteen-track offering of bars, braggadocio, and the Buffalo MC’s infamous adlibs. 

On “Beef Bar” he flexes five-star hotel rooms, expensive coats, and jet-skiing in Athens over a classy and luxurious-sounding boom-bap instrumental. The instrumental on “Dr. Britt Baker” boasts a similarly posh vibe that can make any listener feel like they’re on top of the world, or make a studio apartment feel like the Louvre. 

Though Gunn’s previous record received criticism for dipping too far into the trap landscape, “Speedy 40” uses woozy trap production and vocal distortion reminiscent of fellow New York native A$AP Rocky. 

The title track is a classic Griselda posse cut on which Benny the Butcher, Conway the Machine, Boldy James, and Stove God Cooks all provide verses that match the album’s arrogant attitude. Plus, no Gunn record would be complete without the now middle-school-aged Westside Pootie mercilessly calling out her father’s haters. 

The album cover pays homage to recently deceased wrestler “Sycho” Sid Eudy. Gunn maintains the pro-wrestling spirit on this record with his excessive bragging and showboating, which has kept avid listeners coming back. Gunn’s loyal fanbase is surely hungry for more. 

Trial Track: “LeSalle Station” 

Score: 9/10