Passion Pit’s Kindred is mired in a sonically limited pop vocabulary.
Though it’s a return to form for the band, Kintsugi falters is in its sacrifice of momentum for structure.
Lamar is greatly invested in the post-rap sound he’s aligned himself with, which is another pointed departure from Good Kid, M.A.A.D City.
The second half doesn’t always live up to the standard of poetic lyrics or dynamic pacing Moorer set on the best of her past releases.
True Romance is a personal body of work, an uncompromised expression of what defines Estelle as an artist.
Today Madonna trickled out three more tracks from her forthcoming album, Rebel Heart, bringing the (official) count up to nine.
With Blackbirds, Gretchen Peters betrays the notion that albums devoted to the subject of mortality are exclusively the province of men.
This is a race more of less between two albums: One great and daring, one mediocre and safe.
Ne-Yo may be a man of many talents, but his new album, Non-Fiction, makes it clear that the scope of those talents is limited.
What’s remained true since “Declare Independence” is her disinterest in a zeitgeist that at one time her participation helped shape.
The album is all about trying—striving to best a catalogue without peer, and sounding, minute-to-minute, like its makers might’ve done it.
Black Messiah is ever-worked, ever-tweaked, and perfected (in its distinctively imperfect way), but soul-bearing and raw like little else.
With Monster, Future turns a low point in his life into work that deepens the character of his art.
Otra Era agreeably splits the difference between commercial ambition and individualism.
Ypres is notable for, more than any other Tindersticks effort, indulging an avant-classical ambition.