The album repeatedly stalls before it ever has a chance to really take off.
The producer’s second album is the work of an artist who’s more than willing and able to prove himself all over again.
While the singer’s intentions may be direct, the album fails to live up to its self-assured namesake.
As much as Smith tries to step out of the box, the singer still sounds most comfortable playing to their previously established strengths.
There’s little about the game that’s all that engaging, especially in regard to its barebones story.
Trippie Redd’s fifth studio album is repetitive, shoddily produced, and lacks any real structure.
The album is a paradoxically delicate yet fearless plunge into the unknown.
While the album’s title suggests a collection of songs rife with internal conflict, it rarely delivers on that promise.
The singer’s sophomore effort is an unwieldy, unruly, and, at times, deeply beautiful album.
Among other things, the rapper’s sixth EP proves that sometimes less really is more.
Too often, Stormzy sounds crushed under the weight of his own unrelenting seriousness.
Pokémon Violet is easily one of the sloppiest-looking triple AAA titles in recent memory.
The rapper’s 16th album often feels like a spartan exercise in pure technical ability.
For a game that relies on the fluidity of its mechanics, Sonic Frontiers often feels thoughtless.
This is, for all intents and purposes, a Drake album that just happens to feature 21 Savage.
The singer proves she’s unwilling to operate on anyone’s terms other than her own.
For Eno, late adulthood doesn’t just bring forth new perspectives on humanity or the universe at large, but on one’s own existence as well.
Since the rappers seem so averse to innovating their sound, perhaps a more fitting title for the album would be Culture 3.5.
Most of the material on the singer’s second album fails to connect on an emotional level.
The film rarely articulates the book’s ideas with any real sense of the outside world without resorting to easy exaggerations.