The singer has yet to discover a sound or sensibility that truly distinguishes her.
Charli XCX describes “Good Ones” as “twisted, dramatic, and quite frankly electrifying.”
Iconic Swedish pop group ABBA have announced ABBA Voyage, a new concert experience and first album in four decades.
Kanye West’s Donda is about human fallibility and the desire for salvation even when we may not deserve it.
Suzanne Santo’s sophomore effort, Yard Sale, is a roots album that feels fresh and fully of the moment.
Halsey’s If I Can’t Have Love, I Want Power thrillingly homes in on notions of self and identity.
Big Red Machine’s How Long Do You Think It’s Gonna Last? leans into traditional song structures and fully fleshed-out arrangements.
Chvrches’s fourth album, Screen Violence, is imbued with a more overt sense of political purpose, but it’s also abundant in hooks.
The singer presents herself as a pop star in exile.
The album proves that McMurtry’s nearly peerless ability to tear our hearts out with a good yarn hasn’t waned a bit.
The boldest expressive choices on Martha Wainwright’s Love Will Be Reborn are vocal rather than thematic.
Orla Gartland’s Woman on the Internet attempts to challenge social norms but gets mired in lyrical abstractions.
The songs on the Killers’s Pressure Machine take their sweet time unfurling, luxuriating in subtle details.
Still Woozy’s If This Isn’t Nice, I Don’t Know What Is conveys even its confessions of distress with triumphant confidence.
Lingua Ignota’s Sinner Get Ready presents the so-called forces of good and evil as intertwined.
Billie Eilish pours her heart out in the self-directed music video for ‘Happier Than Ever.’
The songs on Billie Eilish’s Happier Than Ever seamlessly trace the singer’s path to happiness, or something close to it.
Torres’s fifth album, Thirstier, straddles the line between art pop and art rock.
While Nicolas Jaar and Dave Harrington assemble an array of mesmerizing sounds on Darkside’s Spiral, a larger vision eludes them.
Sling is less commercial than Clairo’s debut, but it’s also more thematically and musically myopic.
Thom Yorke reimagines Radiohead’s “Creep” as nine-minute acoustic dirge.