I'M THAT GIRL is a quite interesting track: it doesn't have any sort of structure, but rather takes the listener on a ride; perfect for an album opener.

COZY 

ALIEN SUPERSTAR, 

ENERGY has a nasty af beat. 

The only transition that doesn't seem on this album is the one from MOVE to HEATED. 

United in Grief

N95 absolutely slaps. 

The little beat switch in Worldwide Steppers is underrated and should have been longer. 

Kodak Black's inclusion in this album should be up for debate. 

Auntie Diaries is an interesting track. 

United in Grief is now associated with any sort of institutionalised trauma for me. The two chords come to mind. 

N95 absolutely slaps. 

The little beat switch in Worldwide Steppers is underrated and should have been longer. 

Rich (Interlude) has a really nice piano riff in the background. 

Kodak Black's inclusion in this album should be up for debate. 

Auntie Diaries is an interesting track. 

Gasoline is something new.. Sort of reminds me of Glass Table Girls. 

How Do I Make You Love Me? is a great dance-pop song. The hook and both lead-ups to it are my favourite parts of the track. The outro and transition to Take My Breath is very smooth: the kick pattern from Take My Breath is introduced and that's what makes the transition seamless.

Sacrifice has a 

The transition between Sacrifice and 'A Tale by Quincy' sounds a bit weird. 

Out of Time feels like the Scared to Live of this album: a throwback to '70s music. I 

Here We Go... Again featuring Tyler The Creator 

Best Friend, with its punchy bass, sharp drums, and synth stabs, is my second favourite track of this album. 

Is There Someone Else? is, no doubt, the best song on this album. The instrumental by itself could pass for a 

I thought Donda Chant was cool. It was definitely intended for the listening events because of how well the chant goes along with the flickering visuals of Donda West's life. Jail wasn't really for me; I thought the instrumental was too slow and didn't really feel the song until the drums popped in in the last 30 seconds. JAY-Z's verse has some weird bars and I didn't like the choppy flow, but it still is good to see him back with Ye. 

God Breathed is when shit really starts to go down. The rumbling bass, the loud vocal chops, the harmonising in the background, Vory's contribution, Kanye's catchy repetitive hook: they all work so well together. The part when suddenly there is a build up and the vocal chops get super loud is super cool too. I do think the outro is a bit too long tho; I mostly end up skipping the outro a minute early. 

Off The Grid is an iconic song already. Playboi Carti does his thing and fills the song with energy, and suddenly the beat switches from a trap beat to a drill beat. Fivio jumps on and raps on the beat like it owes him money. Then finally, Kanye drops a solid verse complete with classic Ye bars such as the 'holy water beverages' line and the 'God's my bestie' line. 

We finally got Hurricane after countless leaks and snippets. And there's nothing wrong with this version. The Weeknd brings the track to another level. Lil Baby dropped a really good verse that I didn't expect at all. Highlight of the track for me is Kanye's 'Mm mm mmm' flow and the 'Everybody so judgmental' part where it's just Kanye and the sub bass in the back. The final section where more drums come in is nice too. 

Praise God is a great song but tbh I didn't even notice that Travis was on the track. It was sorta like Wash Us In The Blood where he's gone too soon. Same thing with Kanye, I think he only does the hook for this song. Baby Keem spends too long "still outside" and "getting right". But once he goes in, he goes hard. The autotune is on point tho. He does a falsetto like three times and it sounds great all three times. The beat isn't too special but still sounds good nonetheless. I liked the crow sounds. 

Jonah has a unique hook by Vory. I like it but I can see how it might get repetitive for some people. The beeps in the beat go well with the atmospheric pads. Lil Durk's verse was the highlight for me. Ok Ok has a catchy hook by Kanye. Lil Yachty has such a solid verse that I didn't even notice it was him. Rooga's verse was good too. Junya was all about the ad libs and the energy, especially the Mm's. Especially towards the ending where I'm pretty sure they let some monkeys loose in the studio and recorded them. 

Believe What I Say is a classic solo Kanye song especially with the Lauryn Hill sample. But Kanye's verse and his hook carry the song. It's clear that there is no need for a feature here. I hoped this song would be released ever since I heard that snippet on Twitter. 24 wasn't really for me: it feels like a reassuring song, but I didn't really like Kanye's singing on this, besides the "We're gonna be okay" part. 

Remote Control has one of the best features in history. I can understand why people might not like the melody of the flow, but I personally do like it. With the whistle bridge, the snappy drums and the low growling bass, the instrumental is really good. Young Thug's part is great, especially the vocoded part. Young Thug definitely fits the vibe of this song. Finally, the star of show appears: The Globglobgabgalab, sampled from grandayy's 'Lil Globglobgobgalab' video, mostly inspired by videogamedunkey's parody Kanye song Golden Money (feat. Pitbull). I never would have expected this to happen. This truly is the first strand type album. 

Lorde's Solar Power  

Oceanic Feeling reminds me of A World Alone from her debut album, although this one is much calmer. 

45 SMOKE sets the feel of the album really well with raw production and 

WOT has one of the hardest beats I've ever heard.

The production behind DEAD 

Beautiful Trip is a good intro to start of the record with the classic In My Dreams (Cudder Anthem) jingle. 

The Intro is one of the most epic moments i

Green Light 

Liability is a nice little piano ballad, effectively setting the stage for Hard Feelings/Loveless

Hard Feelings/Loveless starts a bit slow, but gets more energetic as the song progresses. The best part of the song imo is the solo instrumental section right after the second chorus. The Loveless section of the track serves as an outro basically.  but the drum loop is quite good.

Sober II (Melodrama) is another one of my favourites on this record. The song centres around these violin layers, which later get support from some really nice trap drums. The trap beat is quite intricate with complex snare and hi hat patterns. I really liked Lorde's experimentation with her voice as well as she uses heavy autotune and distortion artistically on this song. Definitely something new, 4/5

Supercut is like the opposite of some others on this album where it starts energetically and becomes more somber as the song ends, setting us up for Liability (Reprise), 

Perfect Places closes the album on a high. Thematically, it feels like moving on to new things from the previous two tracks, but it still has the sense of looking back and reflecting. The last chorus, asking what even are perfect places, summarises the album quite well. 

Green Light starts the album well enough. 

Sober truly shows the album's potential with a mellow groovy track. The song almost feels sneaky with the percussion, and the brass coming in during the hook. There's also a weird sound in the right channel that sorta sounds like a mosquito or a fly. The melon criticised this song for endlessly building up something up but not releasing the tension. But I partially disagree; yes there could be more energy but the song is still very good as it is. 

Homemade Dynamite is, no joke, one of the best songs I've ever heard. The infectious hook, the 

Homemade Dynamite is, in my opinion, the best track of this record. Almost everything about this song is perfect: The drums slap. The swelling synths and the woodwinds in the hook slap. The hook is especially great with the beat cutting out right before punching in. Definitely makes the drop harder. The pre-chorus leads up well into the hook and the little "Now you know it's really gonna blow" bit adds a nice flair to the song.

The Lourve continues the streak with another interesting track. What I liked the most about this song is the hook. During the hook, the mixing becomes very industrial as you hear the distorted drums with the voices carouseling and echoing around you. It's executed very well. Liability has a nice little piano piece. It's an interlude that does well to set up the mood of the middle section of the album. It serves its purpose.