As a music critic in my early twenties, I thought the official moment I lost touch with the appeal of what the younger generation was listening to was when I saw a figure I had never heard of by the name of Yes, Sitting comfortably near the top of the charts. Little did he know that it could get even worse. Signed to Playboi Carti’s burgeoning Opium record label, Destroy Lonely seems to have emerged with just his likeness, something that’s becoming increasingly common: Wikipedia’s first few paragraphs about him even point out his “unique aesthetic,” because it’s certainly not for your music. After releasing eight mixtapes and EPs since 2019—another real sign that this isn’t being given much thought—the 25-track if looks could kill it’s their official debut studio album, and there’s almost nothing of substance in its eighty-minute length. He is the type of rapper who is widely known for a Roblox concert and intersperses his beats with samples from Genshin Impact. With sickeningly repetitive rage beats and a flow that could only be described as muddled, offbeat nonsense, you’d easily believe it’s all an elaborate prank to deliberately make the music as unappealing as possible to see if the Gen Z audience would still will eat when the bright, jingling keys that represent everything around the music hang in front of them.
This is the kind of album where the complete lack of vision makes it abundantly clear when the first track could be the worst, and the longest track here is the only one marked as an “interlude.” As soon as the snare hits and reels, crackling chords of rage hit “how do you feel?” – in the first half, without accumulation, of course, as is the will of this cursed generation that would integrate a Subway Surfers gameplay video or an episode of Family man in Spotify UI if they could, it just makes you want to throw the headphones away, because they don’t line up rhythmically in the slightest. It gets even worse when Destroy Lonely starts rapping. Somehow, every time she hits a faster set of syllables or a moment where she deviates from the melody by one note, she hits the most awkward moment where the other two elements of the song are more disjointed. The songs on the whole are horribly mixed together, many of them curiously denouncing the TikTok rules the album seems to have been made for and looping ad nauseam, with some stretching right up to the 4-minute mark despite a complete lack of something interesting. The whole project makes it very clear that there are worse NAVs that only use music as a vehicle to gain fame.
Talking about individual songs is mostly useless here, as they are all mixed into the same mush. Yet another thing that makes the entire album completely unlistenable is Destroy Lonely’s slightly harsh and heavy voice that makes it sound like she doesn’t even bother to appear on her own songs. Coupled with the thin mix that often makes it sound like he’s recording from the other room, his delivery reminds me of one of those people you see on public transportation who are crazy about some kind of substance, rambling to themselves. about nothing, complete with the random increase and decrease in volume and a general demeanor that shows his mind is long gone. Half the time it seems like Destroy Lonely didn’t realize the line was ending, and embarrassed to try to quickly cram in all the syllables so as not to miss the next cue, while heavy Auto-Tune doesn’t help. not at all when it comes to troubleshooting mixing; as a result, it is almost impossible to hear a single word of what is said on the album. In fact, it sounds like the whale noises from Dory from Finding Nemo sometimes. It’s not like we have alluring beats to listen to underneath, either: you can choose between obnoxious and annoying chords or gloomy and boring piano melodies.
In terms of …. reflexes? The “new new” track is the only time the aforementioned rule on beats is broken, coming through with a bit more of a real Future-style trap beat without any of the less palatable elements breaking things up, despite Destroy Lonely flows. meandering constantly all over the track. “which”, on the other hand, is perhaps the most rhythmically aligned, simply because Destroy Lonely stuck to the most basic 4/4 flow you could possibly have, proving against all odds that it’s actually capable of holding the highest rating. -School, basic levels of musicality. However, his (seemingly accidental) melodic approach still makes him sound like he’s constantly deaf and out of tune.
If there is any real accusation of how much it seems like everyone involved was actively trying to convert people far From listening to the album, it’s the song “come in wit” which is the shortest song here but still manages to be the hardest to beat. Hilariously appearing right after “raver,” a song that features electric guitar wailing with reckless abandon in the background while Destroy Lonely delivers some deep-voiced ad-libs that end up sounding like burps, it turns out the chaotic guitar just wasn’t quite the thing. worse than you could back up with his voice. In a move that had me doubling down and legitimately checking to see if my computer, headphones, or any other gadget in my house was broken—because it couldn’t possibly have been in the music—the track features a recurring, ear-splitting, high-pitched screech. It’s one of the worst sounds I’ve ever heard in my life. I can’t imagine what kind of process he went through to get here.
Gosh, I don’t think I’ve ever been inspired to write so many words after only subjecting myself to a small handful of tracks on this album one more time, but I’m not sure I’ve ever heard anything like that either. puzzling from G-Eazy’s indie-folk fun. If music could kill, it would be six feet underground.
Favorite tracks: new new, which one
Least Favorite Track: Came With Wit