Predictably, Red (Taylor’s Version) isn’t entirely convincing, but it’s another welcome assertion of autonomy from the ever-evolving artist. Red is the Taylor Swift album…
Kid A Mnesia is notable for its B-sides, deep cuts, and rough tracks, an opportunity for rediscovery that doesn’t disappoint. Around the turn of the…
Music of the Spheres represents a mostly successful reconfiguration for Coldplay, but one that suggests the band’s character might be too pure to register in…
Blue Bannisters is first Lana album in a while that isn’t exactly doing its own thing but it still presents occasional pleasures, even if it…
Still Sucks doesn’t suck, but a weak back-half suggests Limp Bizkit still isn’t sure where exactly to take their sound/brand. Limp Bizkit had been…
Trying Not to Think About It is a mature, introspective pop album, and definitive proof that JoJo is here to stay. JoJo’s 2020 album Good…
The latest live recording of A Love Supreme is a revelation, with Coltrane blowing the standards to smithereens. For decades, the only known live recording…
In the Meantime is a bit overstuffed with filler, but Alessia Cara’s latest makes for a pleasant background companion in our present reality. Alessia Cara…
The Yearbook immediately situates Baby Queen at the fore of contemporary pop. Baby Queen (real name Arabella Latham) debuted in the pop music scene in…
Solar Power isn’t an outright failure, but it holds little of the ecstatic energy that defined Lorde’s first two records. Lorde’s star rocketed in the…
Los Lobos’ Native Sons is a top-tier covers collection and a heartfelt love letter to Los Angeles. Long before their days of weighty concepts…
NEED finds 3OH!3 returning to their late-aughts party rap roots, and reminding how much current hyperpop stars are indebted to their earworm sound. It seems…
Happier Than Ever proves there’s plenty Eilish and her brother still have yet to reveal. “Do you know me?” Billie Eilish asks listeners at about…
Gold-Diggers Sound is a record of newfound honesty, a major step forward for the heretofore bed-hedging Bridges. After exploding on the scene six years ago,…
Sob Rock finds John Mayer effecting something between self-effacement and contrition, but it’s all couched in just more of the same soft-boy bravado. John Mayer…
Laura Mvula’s latest proves that nostalgic throwback records can still feel fresh, even if its artificial construction keeps things mostly, if pleasurably, surface-level. Listening…
F*ck Love 3 proves The Kid LAROI is still just as basic as he seems, seeking celebrity and fleeting pop trifles at the expense of…
Exit Wounds proves more rollicking that Dylan’s more introspective solo work, not a full success but still a testament to the easy pleasures of his…