Reply
  • safe 🪩
    Oct 23, 2020

    Pixel Bath

    written in the style of classic pitchfork cause I love the writing style of their old reviews

    Throughout Jean Dawson’s debut album, listeners will hear computer generated woman’s voice gently guiding much of the album. On a standout track ’06 Burst’ the voice repeats ‘I don’t keep score/I keep scoring’ over the electronic heavy outro. The line feels like a perfect mantra for Jean Dawson’s year. From a relatively unknown newcomer, to cosigns from A$AP Rocky, Miguel, Rick Rubin, Zane Lowe and more. Yet despite the meteoric rise to success, Dawson isn’t keeping score. While other artists may lean into commerciality after finding this success, Pixel Bath is far from an attempt to break through into mainstream appeal, rather a complete doubling down on his challenging musical vision.

    The 24-year-old Tijuana native and now Los Angeles based Dawson first started to receive attention from blogs following the release of his debut EP ‘Bad Sports’ in late 2019. He’s also vocally unsigned, choosing to share Pixel Bath through a distribution deal with Dew Process, an Australian indie label. While ‘Bad Sports’ offered a solid glimpse into the potential and the incredibly high creative output of Dawson, it often felt hindered by mediocre songwriting and production choices that often favored originality and edge over appeal. Comparatively, Pixel Bath is a revolution.

    The songwriting growth on Pixel Bath is astounding. Dawson effortlessly constructs incredibly unique and challenging structures to songs with an excellent grasp of melody. Songs switch in a blink between stripped back singing in the vein of Indie Pop and aggressive rap that is instantly comparable to the late XXXTENTACION. While Bad Sports showed Dawson unable to execute the songwriting at a level to fully fulfill his audacious musical vision, Pixel Bath has Dawson comfortably threading together wildly contrasting sounds and styles within the constraints of short individual songs. Bridges, hooks, adlibs, instruments feel extremely carefully placed and labored over and the result is an intrinsically satisfying and addictive product. The standout single ‘Power Freaks’ is perhaps the epitome of this with smooth vocals over an extremely minimal beat to open the track before opening into a percussion heavy vocal chopped breakdown. This is followed by an aggressive rap verse that is best described as ‘punk rap’ before the song strips everything back yet again before bringing it again. It’s this constant switching that makes the album feel so of the moment. Many have described the so-called ADHD Generation and this album fully embraces the short attention span keeping viewers engaged to a point of overwhelming them. Dawson described in an interview an understanding that he had a limited time to capture a listeners attention and Pixel Bath epitomizes this attitude in the most effective manner. Pixel Bath is impossible to tune out and impossible to put down.

    That overwhelming nature is arguably one of the few issues with the album. The album feels like an acid trip that is constantly toeing the line of sensory overload. Production changes entirely within split seconds, vocals are modulated and pitched everywhere and heavy synths and other instruments seem to glitch at times. From a purely vision perspective, the album is a roaringly successful piece in achieving this style. But from a practical standpoint this is almost too much. A prime example is the only track with a guest feature - Triple Double featuring rapper A$AP Rocky. The track rapidly switches halfway into a Rocky verse. The album is overwhelming already but introducing another voice into the ever-changing sea of colors and instruments borders on excessive. The track is still an extremely strong track with Rocky carving a pocket in the unconventional production to unleash a strong verse. The use of guests will be an interesting issue in the future, and effectively implementing guests will be something that needs to be carefully considered, much like electronic artist Flume’s difficulty in bringing guest vocals into his challenging electronic soundscapes.

    Production wise, the album is nothing short of stunning. Much of the credit for that must go to Zach Fogarty, who first started to break out with his production on Brockhampton affiliate Roy Blair’s 2017 debut ‘Cat Heaven’. Fogarty weaves together an incredibly compelling sonic landscape of genres. The production is distinctly modern and electronic and yet fits Dawson’s vocals and songwriting like a glove. Both the production and vocals feel reactive to each other as if both had been composed having already heard how the other would sound. There’s elements of PC Music sound design here as well with various instruments sounding like they come straight out of the London-based collective’s playbook. Not to be overlooked is the vocal effects and modulation on the album. Jean Dawson specifically mentioned Frank Ocean and Bon Iver and both these artists have heavily leant on electronic vocal processing to push their music forward. Pixel Bath’s vocal modulation feels like this on acid. Everything from pitch shifting and glitching to using the vocals as instruments is present throughout the record and it’s this vocal modulation that allows the album to truly shine. Backing vocals shift into synthesizers and back into vocals that then appear in the forefront. As he raps Dawson’s voice naturally shifts into what could be described as part-voice, part-saw synthesizer and most importantly thanks to the excellent songwriting and Fogarty’s incredible production it feels incredibly consistent and rarely if ever forced.

    Lyrically the album fits very closely with the theme of ADHD-like attention span. Lyrics switch from braggadocio to depressing to socially conscious, often within the same track. On another standout ‘Pegasus’ Dawson sings “Super sunset, P**** Magnet” only to immediately follow it up with “I dropped out of college, I was anxious”. Later in the track he aptly describes himself as “Black Bjork” before proclaiming “I don’t f*** with feds.” There are clear standouts in terms of lyrics as well, on ‘Policía’ he switches between Spanish and English to deftly denounce the police and on ‘Clear Bones’ he delves into existentialism and death. Some may find Dawson at his best when the lyrics stick to a theme like these standouts, especially when the style and sonic approach to each track is everchanging, but it’s incredibly difficult to attack the lyricism of this album. There’s a distinct self awareness in the lyrics to the record that is often masked by how self assured the album is. Dawson seems acutely aware of what he’s doing musically and has a sharp sense of wit. There’s a sense of wry irony on lines like “I lied when she asked if I was in a band” and singing “I’m better on my own” on Triple Double - the only track with a guest verse. For a debut album, it’s far from weak especially in the current climate. If there is anything critical that can be said about the lyrics, it’s that Dawson and the track falters slightly when the lyrics toe too far into immaturity but these moments are rare and sporadic on the album.

    Perhaps the most distinctive element of Pixel Bath comes from the way Dawson and Fogarty use and exhibit their influences throughout the album. Everything from electronica in the vein of pioneers like Arca, to shoe gaze, to punk, to Indie/Alternative like Bon Iver and Frank Ocean and to both modern and classic Hip-Hop appears throughout this album.The combination of genres is almost impossible to explain and truly capture in words and yet is immaculately executed to create something that feels almost entirely new.

    From a visual standpoint, the album yet again shines. The album cover is both incredibly compelling and incredibly in tune with the sound of the album. It’s hard not to associate the music with the bright saturated hyper processed cover art. Music Videos for the album feel startlingly original and effective. Despite being an unsigned up and comer, Dawson has succeeded in forming a team around him who understand and buy into his vision and the surrounding work for the album is clear proof of this. It’s rare for newcomers to have such a strong idea of who they are visually but even with Bad Sports, Dawson has barely missed a step if at all. As his popularity rises and budgets inevitably increase it will be fascinating to see how far Dawson and his team can push the visuals around the music.

    Simply put, Pixel Bath is a sonic masterpiece. It weaves together an incredible, psychedelic quilt of genres from every end of the spectrum. The album easily finds a place among the best albums of the year and some of the strongest debuts of the last decade. Refreshing, challenging and unique, Pixel Bath is both forward thinking and incredibly of the moment. Instead of the album feeling like a glimpse into the future, it feels like an inevitable paradigm shifter. It isn’t likely that many artists will seek or be able to come close to pulling off a replication of the project but the album feels like a framework for other artists to draw from and take what they most identify with. The album cements Dawson and the team around him as a force to be reckoned with in the coming decade and as a threat to the current status quo in the music industry.

    on the wild off chance Jean, Zach or anyone from their team is reading this - I’ve got a couple things I’d love to get in contact about

  • Oct 23, 2020
    ·
    1 reply

    @safe doing album reviews

  • safe 🪩
    OP
    Oct 23, 2020

    If you wanted one song to listen to I recommend trying this one

  • Oct 23, 2020

  • safe 🪩
    OP
    Oct 23, 2020
    beast444

    @safe doing album reviews

    Rare haha But I really loved this album so I wanted to do one

  • Oct 23, 2020
    ·
    1 reply
    safe

    Pixel Bath

    written in the style of classic pitchfork cause I love the writing style of their old reviews

    Throughout Jean Dawson’s debut album, listeners will hear computer generated woman’s voice gently guiding much of the album. On a standout track ’06 Burst’ the voice repeats ‘I don’t keep score/I keep scoring’ over the electronic heavy outro. The line feels like a perfect mantra for Jean Dawson’s year. From a relatively unknown newcomer, to cosigns from A$AP Rocky, Miguel, Rick Rubin, Zane Lowe and more. Yet despite the meteoric rise to success, Dawson isn’t keeping score. While other artists may lean into commerciality after finding this success, Pixel Bath is far from an attempt to break through into mainstream appeal, rather a complete doubling down on his challenging musical vision.

    The 24-year-old Tijuana native and now Los Angeles based Dawson first started to receive attention from blogs following the release of his debut EP ‘Bad Sports’ in late 2019. He’s also vocally unsigned, choosing to share Pixel Bath through a distribution deal with Dew Process, an Australian indie label. While ‘Bad Sports’ offered a solid glimpse into the potential and the incredibly high creative output of Dawson, it often felt hindered by mediocre songwriting and production choices that often favored originality and edge over appeal. Comparatively, Pixel Bath is a revolution.

    The songwriting growth on Pixel Bath is astounding. Dawson effortlessly constructs incredibly unique and challenging structures to songs with an excellent grasp of melody. Songs switch in a blink between stripped back singing in the vein of Indie Pop and aggressive rap that is instantly comparable to the late XXXTENTACION. While Bad Sports showed Dawson unable to execute the songwriting at a level to fully fulfill his audacious musical vision, Pixel Bath has Dawson comfortably threading together wildly contrasting sounds and styles within the constraints of short individual songs. Bridges, hooks, adlibs, instruments feel extremely carefully placed and labored over and the result is an intrinsically satisfying and addictive product. The standout single ‘Power Freaks’ is perhaps the epitome of this with smooth vocals over an extremely minimal beat to open the track before opening into a percussion heavy vocal chopped breakdown. This is followed by an aggressive rap verse that is best described as ‘punk rap’ before the song strips everything back yet again before bringing it again. It’s this constant switching that makes the album feel so of the moment. Many have described the so-called ADHD Generation and this album fully embraces the short attention span keeping viewers engaged to a point of overwhelming them. Dawson described in an interview an understanding that he had a limited time to capture a listeners attention and Pixel Bath epitomizes this attitude in the most effective manner. Pixel Bath is impossible to tune out and impossible to put down.

    !https://www.youtube.com/watch?v=6CB5BzBNKYY

    That overwhelming nature is arguably one of the few issues with the album. The album feels like an acid trip that is constantly toeing the line of sensory overload. Production changes entirely within split seconds, vocals are modulated and pitched everywhere and heavy synths and other instruments seem to glitch at times. From a purely vision perspective, the album is a roaringly successful piece in achieving this style. But from a practical standpoint this is almost too much. A prime example is the only track with a guest feature - Triple Double featuring rapper A$AP Rocky. The track rapidly switches halfway into a Rocky verse. The album is overwhelming already but introducing another voice into the ever-changing sea of colors and instruments borders on excessive. The track is still an extremely strong track with Rocky carving a pocket in the unconventional production to unleash a strong verse. The use of guests will be an interesting issue in the future, and effectively implementing guests will be something that needs to be carefully considered, much like electronic artist Flume’s difficulty in bringing guest vocals into his challenging electronic soundscapes.

    Production wise, the album is nothing short of stunning. Much of the credit for that must go to Zach Fogarty, who first started to break out with his production on Brockhampton affiliate Roy Blair’s 2017 debut ‘Cat Heaven’. Fogarty weaves together an incredibly compelling sonic landscape of genres. The production is distinctly modern and electronic and yet fits Dawson’s vocals and songwriting like a glove. Both the production and vocals feel reactive to each other as if both had been composed having already heard how the other would sound. There’s elements of PC Music sound design here as well with various instruments sounding like they come straight out of the London-based collective’s playbook. Not to be overlooked is the vocal effects and modulation on the album. Jean Dawson specifically mentioned Frank Ocean and Bon Iver and both these artists have heavily leant on electronic vocal processing to push their music forward. Pixel Bath’s vocal modulation feels like this on acid. Everything from pitch shifting and glitching to using the vocals as instruments is present throughout the record and it’s this vocal modulation that allows the album to truly shine. Backing vocals shift into synthesizers and back into vocals that then appear in the forefront. As he raps Dawson’s voice naturally shifts into what could be described as part-voice, part-saw synthesizer and most importantly thanks to the excellent songwriting and Fogarty’s incredible production it feels incredibly consistent and rarely if ever forced.

    Lyrically the album fits very closely with the theme of ADHD-like attention span. Lyrics switch from braggadocio to depressing to socially conscious, often within the same track. On another standout ‘Pegasus’ Dawson sings “Super sunset, P**** Magnet” only to immediately follow it up with “I dropped out of college, I was anxious”. Later in the track he aptly describes himself as “Black Bjork” before proclaiming “I don’t f*** with feds.” There are clear standouts in terms of lyrics as well, on ‘Policía’ he switches between Spanish and English to deftly denounce the police and on ‘Clear Bones’ he delves into existentialism and death. Some may find Dawson at his best when the lyrics stick to a theme like these standouts, especially when the style and sonic approach to each track is everchanging, but it’s incredibly difficult to attack the lyricism of this album. There’s a distinct self awareness in the lyrics to the record that is often masked by how self assured the album is. Dawson seems acutely aware of what he’s doing musically and has a sharp sense of wit. There’s a sense of wry irony on lines like “I lied when she asked if I was in a band” and singing “I’m better on my own” on Triple Double - the only track with a guest verse. For a debut album, it’s far from weak especially in the current climate. If there is anything critical that can be said about the lyrics, it’s that Dawson and the track falters slightly when the lyrics toe too far into immaturity but these moments are rare and sporadic on the album.

    !https://www.youtube.com/watch?v=YYUiCP3eMAA

    Perhaps the most distinctive element of Pixel Bath comes from the way Dawson and Fogarty use and exhibit their influences throughout the album. Everything from electronica in the vein of pioneers like Arca, to shoe gaze, to punk, to Indie/Alternative like Bon Iver and Frank Ocean and to both modern and classic Hip-Hop appears throughout this album.The combination of genres is almost impossible to explain and truly capture in words and yet is immaculately executed to create something that feels almost entirely new.

    From a visual standpoint, the album yet again shines. The album cover is both incredibly compelling and incredibly in tune with the sound of the album. It’s hard not to associate the music with the bright saturated hyper processed cover art. Music Videos for the album feel startlingly original and effective. Despite being an unsigned up and comer, Dawson has succeeded in forming a team around him who understand and buy into his vision and the surrounding work for the album is clear proof of this. It’s rare for newcomers to have such a strong idea of who they are visually but even with Bad Sports, Dawson has barely missed a step if at all. As his popularity rises and budgets inevitably increase it will be fascinating to see how far Dawson and his team can push the visuals around the music.

    Simply put, Pixel Bath is a sonic masterpiece. It weaves together an incredible, psychedelic quilt of genres from every end of the spectrum. The album easily finds a place among the best albums of the year and some of the strongest debuts of the last decade. Refreshing, challenging and unique, Pixel Bath is both forward thinking and incredibly of the moment. Instead of the album feeling like a glimpse into the future, it feels like an inevitable paradigm shifter. It isn’t likely that many artists will seek or be able to come close to pulling off a replication of the project but the album feels like a framework for other artists to draw from and take what they most identify with. The album cements Dawson and the team around him as a force to be reckoned with in the coming decade and as a threat to the current status quo in the music industry.

    on the wild off chance Jean, Zach or anyone from their team is reading this - I’ve got a couple things I’d love to get in contact about

    my dawg, finally got though it. really next level for any artist I feel

  • safe 🪩
    OP
    Oct 23, 2020
    ·
    1 reply
    kybakyba

    my dawg, finally got though it. really next level for any artist I feel

    Fr
    Crazy talented guy

  • Oct 23, 2020
    safe

    Pixel Bath

    written in the style of classic pitchfork cause I love the writing style of their old reviews

    Throughout Jean Dawson’s debut album, listeners will hear computer generated woman’s voice gently guiding much of the album. On a standout track ’06 Burst’ the voice repeats ‘I don’t keep score/I keep scoring’ over the electronic heavy outro. The line feels like a perfect mantra for Jean Dawson’s year. From a relatively unknown newcomer, to cosigns from A$AP Rocky, Miguel, Rick Rubin, Zane Lowe and more. Yet despite the meteoric rise to success, Dawson isn’t keeping score. While other artists may lean into commerciality after finding this success, Pixel Bath is far from an attempt to break through into mainstream appeal, rather a complete doubling down on his challenging musical vision.

    The 24-year-old Tijuana native and now Los Angeles based Dawson first started to receive attention from blogs following the release of his debut EP ‘Bad Sports’ in late 2019. He’s also vocally unsigned, choosing to share Pixel Bath through a distribution deal with Dew Process, an Australian indie label. While ‘Bad Sports’ offered a solid glimpse into the potential and the incredibly high creative output of Dawson, it often felt hindered by mediocre songwriting and production choices that often favored originality and edge over appeal. Comparatively, Pixel Bath is a revolution.

    The songwriting growth on Pixel Bath is astounding. Dawson effortlessly constructs incredibly unique and challenging structures to songs with an excellent grasp of melody. Songs switch in a blink between stripped back singing in the vein of Indie Pop and aggressive rap that is instantly comparable to the late XXXTENTACION. While Bad Sports showed Dawson unable to execute the songwriting at a level to fully fulfill his audacious musical vision, Pixel Bath has Dawson comfortably threading together wildly contrasting sounds and styles within the constraints of short individual songs. Bridges, hooks, adlibs, instruments feel extremely carefully placed and labored over and the result is an intrinsically satisfying and addictive product. The standout single ‘Power Freaks’ is perhaps the epitome of this with smooth vocals over an extremely minimal beat to open the track before opening into a percussion heavy vocal chopped breakdown. This is followed by an aggressive rap verse that is best described as ‘punk rap’ before the song strips everything back yet again before bringing it again. It’s this constant switching that makes the album feel so of the moment. Many have described the so-called ADHD Generation and this album fully embraces the short attention span keeping viewers engaged to a point of overwhelming them. Dawson described in an interview an understanding that he had a limited time to capture a listeners attention and Pixel Bath epitomizes this attitude in the most effective manner. Pixel Bath is impossible to tune out and impossible to put down.

    !https://www.youtube.com/watch?v=6CB5BzBNKYY

    That overwhelming nature is arguably one of the few issues with the album. The album feels like an acid trip that is constantly toeing the line of sensory overload. Production changes entirely within split seconds, vocals are modulated and pitched everywhere and heavy synths and other instruments seem to glitch at times. From a purely vision perspective, the album is a roaringly successful piece in achieving this style. But from a practical standpoint this is almost too much. A prime example is the only track with a guest feature - Triple Double featuring rapper A$AP Rocky. The track rapidly switches halfway into a Rocky verse. The album is overwhelming already but introducing another voice into the ever-changing sea of colors and instruments borders on excessive. The track is still an extremely strong track with Rocky carving a pocket in the unconventional production to unleash a strong verse. The use of guests will be an interesting issue in the future, and effectively implementing guests will be something that needs to be carefully considered, much like electronic artist Flume’s difficulty in bringing guest vocals into his challenging electronic soundscapes.

    Production wise, the album is nothing short of stunning. Much of the credit for that must go to Zach Fogarty, who first started to break out with his production on Brockhampton affiliate Roy Blair’s 2017 debut ‘Cat Heaven’. Fogarty weaves together an incredibly compelling sonic landscape of genres. The production is distinctly modern and electronic and yet fits Dawson’s vocals and songwriting like a glove. Both the production and vocals feel reactive to each other as if both had been composed having already heard how the other would sound. There’s elements of PC Music sound design here as well with various instruments sounding like they come straight out of the London-based collective’s playbook. Not to be overlooked is the vocal effects and modulation on the album. Jean Dawson specifically mentioned Frank Ocean and Bon Iver and both these artists have heavily leant on electronic vocal processing to push their music forward. Pixel Bath’s vocal modulation feels like this on acid. Everything from pitch shifting and glitching to using the vocals as instruments is present throughout the record and it’s this vocal modulation that allows the album to truly shine. Backing vocals shift into synthesizers and back into vocals that then appear in the forefront. As he raps Dawson’s voice naturally shifts into what could be described as part-voice, part-saw synthesizer and most importantly thanks to the excellent songwriting and Fogarty’s incredible production it feels incredibly consistent and rarely if ever forced.

    Lyrically the album fits very closely with the theme of ADHD-like attention span. Lyrics switch from braggadocio to depressing to socially conscious, often within the same track. On another standout ‘Pegasus’ Dawson sings “Super sunset, P**** Magnet” only to immediately follow it up with “I dropped out of college, I was anxious”. Later in the track he aptly describes himself as “Black Bjork” before proclaiming “I don’t f*** with feds.” There are clear standouts in terms of lyrics as well, on ‘Policía’ he switches between Spanish and English to deftly denounce the police and on ‘Clear Bones’ he delves into existentialism and death. Some may find Dawson at his best when the lyrics stick to a theme like these standouts, especially when the style and sonic approach to each track is everchanging, but it’s incredibly difficult to attack the lyricism of this album. There’s a distinct self awareness in the lyrics to the record that is often masked by how self assured the album is. Dawson seems acutely aware of what he’s doing musically and has a sharp sense of wit. There’s a sense of wry irony on lines like “I lied when she asked if I was in a band” and singing “I’m better on my own” on Triple Double - the only track with a guest verse. For a debut album, it’s far from weak especially in the current climate. If there is anything critical that can be said about the lyrics, it’s that Dawson and the track falters slightly when the lyrics toe too far into immaturity but these moments are rare and sporadic on the album.

    !https://www.youtube.com/watch?v=YYUiCP3eMAA

    Perhaps the most distinctive element of Pixel Bath comes from the way Dawson and Fogarty use and exhibit their influences throughout the album. Everything from electronica in the vein of pioneers like Arca, to shoe gaze, to punk, to Indie/Alternative like Bon Iver and Frank Ocean and to both modern and classic Hip-Hop appears throughout this album.The combination of genres is almost impossible to explain and truly capture in words and yet is immaculately executed to create something that feels almost entirely new.

    From a visual standpoint, the album yet again shines. The album cover is both incredibly compelling and incredibly in tune with the sound of the album. It’s hard not to associate the music with the bright saturated hyper processed cover art. Music Videos for the album feel startlingly original and effective. Despite being an unsigned up and comer, Dawson has succeeded in forming a team around him who understand and buy into his vision and the surrounding work for the album is clear proof of this. It’s rare for newcomers to have such a strong idea of who they are visually but even with Bad Sports, Dawson has barely missed a step if at all. As his popularity rises and budgets inevitably increase it will be fascinating to see how far Dawson and his team can push the visuals around the music.

    Simply put, Pixel Bath is a sonic masterpiece. It weaves together an incredible, psychedelic quilt of genres from every end of the spectrum. The album easily finds a place among the best albums of the year and some of the strongest debuts of the last decade. Refreshing, challenging and unique, Pixel Bath is both forward thinking and incredibly of the moment. Instead of the album feeling like a glimpse into the future, it feels like an inevitable paradigm shifter. It isn’t likely that many artists will seek or be able to come close to pulling off a replication of the project but the album feels like a framework for other artists to draw from and take what they most identify with. The album cements Dawson and the team around him as a force to be reckoned with in the coming decade and as a threat to the current status quo in the music industry.

    on the wild off chance Jean, Zach or anyone from their team is reading this - I’ve got a couple things I’d love to get in contact about

  • Oct 23, 2020
    ·
    1 reply
    safe

    Fr
    Crazy talented guy

    you really feel like his writing wasn’t good on Bad Sports? i thought he was feeling himself , even though he did advance with this one

  • safe 🪩
    OP
    Oct 23, 2020
    ·
    1 reply
    kybakyba

    you really feel like his writing wasn’t good on Bad Sports? i thought he was feeling himself , even though he did advance with this one

    It was a cool record
    Just didn’t quite have writing that matched what he was aiming for imo
    I feel like if you’re gonna push the boundaries like that you gotta have an incredibly strong feel for what conventional songwriting looks and sounds like so you can break the rules in the most effective way

  • Oct 23, 2020
    ·
    1 reply
    safe

    It was a cool record
    Just didn’t quite have writing that matched what he was aiming for imo
    I feel like if you’re gonna push the boundaries like that you gotta have an incredibly strong feel for what conventional songwriting looks and sounds like so you can break the rules in the most effective way

    i feel that, I guess I didn’t really doubt him bc I knew he only had that one project but the singles got me seeing the energy go hand in hand with the writing

  • Oct 23, 2020
    ·
    1 reply

    I saw you mention this earlier. I’ll listen to it tonight and read this after

  • safe 🪩
    OP
    Oct 23, 2020
    ·
    1 reply
    kybakyba

    i feel that, I guess I didn’t really doubt him bc I knew he only had that one project but the singles got me seeing the energy go hand in hand with the writing

    Exactly yea the singles felt like an immediate step up

  • safe 🪩
    OP
    Oct 23, 2020
    FKA STUFF

    I saw you mention this earlier. I’ll listen to it tonight and read this after

  • Oct 23, 2020

    fire review @safe i 100% agree this dude bringing the feeling back

  • Oct 23, 2020

    Album is absolutely fire. So fresh and magical, need to give it several more spins but it's the biggest surprise of the year for me. Such a fun listen

  • Oct 23, 2020
    safe

    Exactly yea the singles felt like an immediate step up

    damn right about that fam, I’m excited where his next step gonna be. Features would be a good next

  • safe 🪩
    OP
    Oct 23, 2020

    Well I was aiming to write it like Pitchfork so mission accomplished??

  • Oct 23, 2020

    in

  • Oct 23, 2020

    Shane Dawson making music now?