The album sounds beamed in from an earlier decade, but it runs deeper than nostalgia.
Throughout, Lewis grapples with the quirks and perils of relationships with humor and honesty.
A refreshing assuredness permeates the entirety of the singer’s fourth album.
The album is the culmination of the French singer’s ambitious approach to pop conventions.
The irony of the album’s gussied-up nature is that its best songs are often the most direct.
The album is an economical calling card and the sound of a band coming into their own.
In 2003, both artists faced charges of “selling out” with pop albums which require no apologies.
The music is notably grimmer than the lyrics, but even its lyrical themes return again and again to the subject of isolation.
The Weeknd, Playboi Carti, and Madonna wax poetic on the perils of fame.
The album amounts to a relatively familiar reflection on aging and the passage of time.
The album expands the scope of the band’s music by incorporating disparate styles and dynamics.
The album aims to showcase a more meditative side to the customarily libertine Chicago rapper but is only partly successful.
Notwithstanding a few interesting compositional quirks, the album feels like an imitation of Thom Yorke’s saturnine shtick.
The rapper and drummer’s music is a modern, often jarring synthesis of hip-hop and jazz.
Producer Kaytranada and rapper Aminé’s first collaborative album is a carefree summer soundtrack.
The album articulates a working thesis for the singer’s artistry that exists independently from commercial exhibitionism.
In both content and style, the album serves as a homecoming for the singer-songwriter.
The album is as lacking in curiosity as its straightforward title implies.
Throughout the album, the ever-changing tides of everyday living are hardly explored with much complexity.
It’s when the singer embraces her inner weirdo that her music feels truly inventive.
The Chicago producer turns Footwork’s influences and spins them into something that sounds like a totally new language.