Momoko Gill - Momoko (2026)

There’s real intention behind Momoko, but it doesn’t fully crystallize. I can hear the ambition — jazz phrasing, electronic texturing, political scope, moments of choral scale — and I respect the reach. The problem is cohesion and impact. The album moves between groove, experimental abstraction, and soulful introspection without always convincing me that those shifts are part of a larger arc.

The strongest moments land when rhythm drives the room — when the drums feel tactile and alive, and the production breathes. But too often the ideas feel sketched rather than fully engineered. It’s thoughtful, it’s textured, but it rarely locks into something inevitable. I leave appreciating the craft more than feeling compelled to return.

Pros

1. Rhythmic identity – The jazz-informed drumming gives the record a physical backbone; when it hits, it feels alive.

2. Textural curiosity – Electronic layers and production details add depth beyond straightforward jazz-soul.

3. Ambition of scale – The choral and political elements show vision beyond a standard debut.

Cons

1. Inconsistent cohesion – The stylistic shifts don’t always feel structurally unified.

2. Limited melodic stickiness – Few motifs or hooks linger after the listen.

3. Emotional distance – Conceptually strong, but rarely immersive or cathartic.

Genre: Jazz Pop
Country: UK

Final Verdict: 63% (Good Album)
Yearly Ranking: 79th / 141

Highlight: When Palestine Is Free


Made me think of:
Tirzah
Makaya McCraven
Sons of Kemet

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