This new Calvin Harris album… Is pretty good. It’s been a while since I’ve been impressed by a collaborative record. In an episode of Complex’sEveryday Struggle, there was a segment where the anchors were talking about how the remix era is dead. While that statement might seem like a stretch, there is some truth behind it.

Around 2013-2014 there were various successful collaborative efforts between artists that happened through remixes and sparked careers. One of the most notable would be when Drake hopped on the Migos "Versace" single and elevated the song to a mainstream audience. This is when Migos started gaining more public attention and spread the sound of the Atlanta scene to East and West coast, much like Gucci Mane did in the early 2000’s. Meanwhile, Kendrick Lamar’s sleeping hit album Good Kid, M.A.A.D City was gaining more popularity, and then Jay-Z would be in the "Don’t Kill My Vibe" remix. This is where the remix era was at its peak. Starting with Big Sean, who at the time was G.O.O.D Music’s promise child, released his sophomore album along with various remixes that would cause a stir in the rap scene. The over the top "Mula Remix" featuring Meek Mill and the "10 2 10 Remix" featuring Rick Ross and the then up and coming Travi$ Scott. Finally, the infamous "Control Remix" featuring Kendrick Lamar and Jay Electronica. This was the song where ‘new’ rapper Kendrick would send explicit shots to all his competitors in the rap industry, even taking shots at Big Sean who wrote songs he’s being featured on. Bold move on Kendrick's side, after name dropping everyone he says “I got love for you all, but I’m tryna murder you n****s”.

One of the pioneers of the remix era dates back to the mid-2000’s when DJ Khaled was still… well, a Dj. Working the turntables for many radio stations in Miami and crossing paths with many upcoming artists of the south, such as the ensemble of Cash Money Records. Khaled’s first album We Takin Over would launch a lucrative career that continues to this day. Recently his latest album, Grateful, reached the number one spot on the Billboard Hot 100. Although Khaled does not make traditional albums in a sense that they do not follow one straight concept, he just makes what he calls "summer anthems." In the past- meaning the pre-Snapchat era of his career, Khaled was still a predominant driving force in the hip hop community. The artists he assembled together for a song were either a huge success or complete miss, there was never any in between. While many await the collaborative effort of Kendrick Lamar and Jermaine Cole; Khaled had already paired them up with a song in his 2011 album Kiss the Ring. Although Khaled might not be a "true" songwriter, he does have an ear for hits. But lately, lackluster albums such as Grateful only contain 25% serious hits and the rest is completely filler.

Nowadays you have remixes that don’t really make sense at all. Most notably rappers like Gucci Mane being featured in pop singles such as music from Bruno Mars and Fifth Harmony. Obviously, this is just a tactic used by the artist to reach an urban audience and be played in the hip hop radio stations. Ironically, 105.1 a predominantly hip hop based radio station in the tri-state area only plays Bruno Mars’ original version of “That’s What I Like” and not the remix that Gucci Mane is on. Also, Kendrick Lamar is featured on some Maroon 5 songs. I really wonder who was asking for that collab. Just seems so unnatural, but somehow it happens.

Now.. getting to this Calvin Harris album. Looking at the tracklist, one would think: Well how is a Young Thug X Ariana Grande collab supposed to work? One is an Atlanta trap star and the other is a child actor turned popstar. However, “Heatstroke” is surprisingly an exciting and refreshing track. Along with Pharrell, who brings in that early 2000’s Neptunes vibe, Thugger stays true to his persona by not holding back on those ridiculous ad libs he’s so famously known for.

Ariana Grande knocks it out of the park and I can just imagine Calvin Harris and his group of engineers throwing their hands in the air during the recording sessions. Of course the same could be said for the lead single of the album “Slide” with two thirds of Migos and Frank Ocean.

I’m also glad Takeoff got his verse later on the album in “Holiday” with Snoop and John Legend. Nicki Minaj is the one of the two artists to have her own song in Calvin’s album. “Skrt On Me” is not anything special, it sounds like the Nicki from the Pink Friday era when she was pushing out pop singles such as “Starships” (even her rap verse can’t save her from that awful hook).

If anyone heard Travi$ Scott’s contribution to Khaled’s Grateful album you'll know that they are all pretty forgettable. Just the most mediocre sound ever, even worse than anything on Birds in the Trap. So I didn't go with many expectations with “Prayer’s Up” but it turned out to be alright. With the help of A-Track, you get this electro-pop single sung in typical Travi$ Scott auto tune. Nothing new here, just Travi$ singing in a slower tempo and not on a Metro Boomin beat.

Kehlani did her thing on “Faking it” with Lil Yachty, and Jessie Reyez closed the album with a soothing guitar oriented song. What else? “Cash Out” with Schoolboy, PARTY, and DRAM was amazing, basically taking the elements of "Slide" and applying it again. So was Khalid and Future Hendrix on “Rollin”. Of Course, “Feels” with Pharrell, Katy Perry and Big Sean is the summer hit we had been waiting for (since "Slide" was released earlier this year). Really sucks for Katy how this song will be a bigger hit for her than anything on her new album. Overall this was an unexpected album filled with great surprises and even better collaborations.

I’ll be looking forward Calvin Harris’ next project.