Over 20 years on, I Am Shelby Lynne’s reissue reasserts the record a lynchpin in the artist’s catalog, and produces bonus material that matches the…
Requiem maintains Korn’s reliable floor, even as the record feels notably too safe. A remarkably consistent band, all things considered, Korn is still with us in…
Donda 2 is an essential Ye album even in its likely unfinished form, taking his curative, experimental approach to record-making to its most thrilling extreme…
Big Thief’s latest is yet another impressively cogent, boundary-shattering work from indie rock’s preeminent musicians. After double-dipping in 2019 with U.F.O.F. and Two Hands, Big…
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 record. …
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 Block…
Slut Pop is a dull novelty record about sex without much to offer beyond shock value and a desperate bid for naughtiness. In the past…
The Weeknd might not be loved by all, but he knows how to ride a trend, and Dawn FM continues that streak. These days, Abel…
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, Earl…
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, it’s…
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 bus…
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 Antidawn…
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 only…
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, Punch…
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 yet…
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 the…
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 my…
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, and…
The Lumineers might have commercial accolades behind them, but Brightside offers further proof of their artistic devolution. After a slower rollout than normal, The Lumineers…
Barn is a languorous record, and a better late-career effort that most artists can muster. Neil Young again pairs with Crazy Horse for the 14th…
4NEM is the latest proof that Chief Keef’s singularity and eccentricity are second to none in the world of hip hop. While there’s been little…