On Dope Don’t Sell Itself, the king of 2010s features feels more than a little dusty, ironically shown up by every feature on the…
Welcome to the Block Party is a buoyant, confident riff on the ’90s country-pop aesthetic. There’s nothing subtle about the title of Welcome to the…
Slut Pop is a dull novelty record about sex without much to offer beyond shock value and a desperate bid for naughtiness. In the…
Kanye West A new Ye record means yet another round of gleeful denouncements from an increasingly frail, corporate press apparatus, solemn assurances that this…
While nowadays regulated to the lowly status of a legacy act, mainly trotted out whenever some late-night comedian wants to make some forced joke…
The Weeknd might not be loved by all, but he knows how to ride a trend, and Dawn FM continues that streak. These days,…
SICK! lacks any real sense of cohesion, making it an album that seems content with doing as little as possible. Over the past half-decade,…
Caprisongs signals FKA Twigs’ transition into something brighter and fun-minded, and hints at something grander to come. After the melodramatic heights of 2019’s Magdalene,…
Age of Apathy is Aoife O’Donovan’s most grounded and assured album yet. Though recorded in lockdown, Age of Apathy dreams of motion. Songs catalog…
Antidawn may feel uneventful to the uninitiated, but for those who listen deeper, the rewards are rich. The defining characteristic of William Bevan’s 5-track…
There’s a definite ceiling for something like Covers, but Cat Power continues to break through. Cat Power made a name for herself across not…
Despite covering well-tread ground, Hell on Church Street is full of surprises. A terrific standalone album that’s perhaps done a disservice by its concept,…
The Weeknd These days, Abel Tesfaye occupies a pretty elite stratum of the pop music world as The Weeknd, straddling the line between consistent…
Let’s keep it simple — Gunna is at the top of the rap game. Well, he’s gone and done it again: Gunna has released…
Even when Frayed at Both Ends isn’t peddling Lewis’s particular propaganda, it’s a mostly turgid, mediocre affair. In July 2021, Aaron Lewis released “Am I…
With And Now, Let’s Turn the Page…, Cobb shares a brand of southern gospel keenly focused on a particular shared experience. Thinking back on…
Mitchell’s first solo work since Hadestown is a warm, lingering look into the past. Hadestown has ruled the last decade of Anaïs Mitchell’s career,…
The Lumineers might have commercial accolades behind them, but Brightside offers further proof of their artistic devolution. After a slower rollout than normal, The…