Passion Pit's Kindred is mired in a sonically limited pop vocabulary.
I Don't Like Shit, I Don't Go Outside sees Earl Sweatshirt digging even deeper into a psyche clouded with pot smoke and self-doubt.
Stranger Cat's In the Wilderness is an impressively well-formed debut.
With its chintzy synths, plastic horns, and feather-lite reggae and lifeless white-guy funk, the album might as well be made up of outtakes recorded 30 years ago.
Though it's a return to form for the band, Kintsugi falters is in its sacrifice of momentum for structure.
Sometimes I Sit and Think, and Sometimes I Just Sit isn't a leap forward so much as a sharpening of Courtney Barnett's observational wit.
Tidy this album isn't, but the uncompromising messiness is the point.
With Strangers to Ourselves, Modest Mouse surrenders too often to a prefab pop-rock idiom that isn't entirely their own.
Stevens has never made an album this nakedly autobiographical, so stripped of complex conceptual trappings.
Down to Believing favors cathartic bursts of energy rather than the weeping-over-my-guitar fare.
Twin Shadow's major-label debut, Eclipse, inflates his familiar traits to cartoonish proportions.
With Policy, Arcade Fire's Will Butler proves he's worth more than playing second or third fiddle.
On another eternity, Purity Ring displays a willingness to more intrepidly embrace the pop underpinnings of their debut.
Tucked inside this lumbering mass of songs is an album that would, under any other circumstances, make for Madonna's best in at least a decade.
The songs on Piece by Piece should ostensibly inspire nostalgia, but instead feel like they just rolled off a conveyor belt.
Gliss Riffer dissolves a multitude of nearly familiar fragments into a roiling broth.
True Romance is a personal body of work, an uncompromised expression of what defines Estelle as an artist.
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