Black Messiah is ever-worked, ever-tweaked, and perfected (in its distinctively imperfect way), but soul-bearing and raw like little else.
The Pinkprint is a nakedly introspective work that reduces Minaj's formerly freewheeling aesthetic to its bare components.
Sucker is a party album charged equally with punkish rebellion, hip-hop cool, and pop universality.
The Wu-Tang Clan struggles to present a unified front on what's purportedly the clan's last official album.
Although the 13 songs on Classics were written between 1930 and 1974, very few of them are old-fashioned time warps.
The London Sessions announces itself in its very title as a jaunt outside of Blige's comfort zone.
David Guetta's Listen only serves to kick more dirt on EDM's grave.
Alpha Mike Foxtrot presents a comprehensive survey of Wilco's long, strange evolution.
Despite the group's efforts to assert more control over their music, Four is a painful reminder of One Direction's status as a manufactured, focus-grouped pop entity.
Seeds stands on its own as a collection of lively, well-curated music, one that remains routinely effective despite its basic approach.
Broke with Expensive Taste is unfocused and sporadically brilliant, ranging between irritating moments of woolgathering oddness and ripe, sharply delivered wordplay.
The Hum is an exploration of motorik momentum, droning guitar distortion, and loud-quiet dynamics.
My Favourite Faded Fantasy is Damien Rice's most sonically cohesive album to date.
The Inevitable End excels when it splits the difference between brooding angst and wistful schmaltz.
Whitney Houston Live: Her Greatest Performances has only the most superficial comprehension of the artist's legacy.
With a mix of urban-leaning tracks and more radio-ready Top 40 fare, the album shrewdly distances Jonas from his former band's straightforward pop-rock.
On Motion, Calvin Harris either revitalizes tricks from earlier in his career or descends into self-parody.
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