On Seen It All, Jeezy proves you don't need to overcome your own one-dimensional lyrical perspective in order to become a trap star.
Goddess is not exactly Top 40 fodder, but that's exactly where Banks deserves to be.
Moonshine in the Trunk is composed of one part willfully idiotic pandering and two parts loose, fun, and rocking party country.
My Everything tries to expand Grande's horizons with headache-inducing electro-pop and darker, edgier shades of R&B.
Like the band's best work, Brill Bruisers keeps you on your toes with its unrelenting minutiae.
Manipulator is the work of an artist who's still intent on tearing things up, but possesses an understanding of how to shape interesting music out of the remnants.
Though there are moments of frayed musical charm throughout Alvvays, it exhibits an unexpected level of versatility for a debut.
Blacc Hollywood is remarkable only as a ghostly portrait of a half-formed figure prowling the fringes of success.
Junto finds Basement Jaxx looking over their shoulder, perhaps tacitly relieved that the future isn't their problem anymore.
LP1 is 40 minutes of sex and touching, and it intertwines repulsion with attraction to the point that the two are indistinct.
Live from Atlanta comes as close as possible to capturing the live Lucero experience.
On Nobody's Smiling, a rejuvenated Common returns to the war-torn streets of Southside Chicago as a wise and focused veteran.
With They Want My Soul, Spoon expertly aligns their trademark raucousness with bouts of sobriety, thoughtfulness, and anguish.
Bear in Heaven returns with a refreshing dose of new-wave prog with Time Is Over One Day Old.
V is almost cinematic, conjuring up rich, kaleidoscopic vistas as the band transforms from stoned-out beach bums to wide-eyed globetrotters.
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