The Leeds junglist tells a story in the wrong order, in the right way.
Bloom may be less ambitious than its predecessor, but it frequently manages to do more with less.
By the end of the two-and-a-half-hour set, the entire band was rocking in lockstep.
Hunter is a bold and defiant statement on postgenderism through music that’s alternately elegant and raw.
Negro Swan is Blood Orange’s most assured, accomplished, and significant album to date.
Trite lyrical moments blemish the otherwise pristine musicality of Wild Nothing’s Indigo.
Justice’s Woman Worldwide at times feels like an inexplicable rehash of existing material.
We spoke with Nick Urata about the recording process and bringing his songs to life.
Sweetener is a reflection of Grande’s growing awareness of herself as an artist and her place in the world.
Interpol’s sixth studio album, Marauder, crackles with the energy of embracing life’s unpredictable turns.
Nicki Minaj’s Queen tries so hard to impress everyone that it risks failing to satisfy anyone.
Even as she continues to explore the dark parts of her soul lyrically, Mitski sounds more confident than ever.
Swimming is an openhearted meditation on self-love in the wake of heartbreak.
There’s a weariness beneath the surface of YG’s Stay Dangerous, which takes a step back from the topical.
Despite being less than 20 minutes in length, Survive the Summer is surprisingly enervating.
Swedish singer Robyn has dropped “Missing U,” her first solo single in eight years.
The Internet’s Hive Mind is the band’s most musically diverse and synergetic album to date.
Directed by Dave Meyers, “God Is a Woman” mixes animation, digital eye candy, and references to classic artwork.
With Sculptor, Luluc casts their characteristically serene and understated folk into a harsher, more challenging light.
On the aptly titled Delivery, Davis fearlessly conveys both the uncertainty and exhilaration of the creative process.
Leather doesn’t seem motivated by an affection for the past so much as an impulse to burn down rock ‘n’ roll.