LÉON creates a synth-heavy work on Circles whose ambient sound conjures the feeling of calm after the storm, even if that calm might still be emotionally fraught.
Capitalizing on early 2000s pop-punk nostalgia, Love Sux is an algorithm-appeasing record that feels like the most impersonal Avril Lavigne has ever been.
Twelve years since her last album, Canadian pop-rock singer Fefe Dobson talks about her new music and speaks frankly about growing up in a music industry that wasn’t always on her side.
Canadian pop singer Alex Porat ruminates on the current lack of Asian representation in pop music. “It still feels like there’s a long way to go.”
Creating her best work with In the Meantime, Alessia Cara proves that any process of healing is never black or white and doesn’t exist on a straight line.
Even as Unbroken remains some of Demi Lovato’s best work, the artist would come to outgrow the sounds they experimented with on their third album.
On Star-Crossed, Kacey Musgraves continues to make use of her signature wounded wit to expose the hypocrisy that often lies within heteronormative gender roles.
Maisie Peters creates a loveable, introspective pop journey into the chaotic emotions that often accompany the transition into early adulthood.
Lorde’s Solar Power is a disorganized, hackneyed collection that doesn’t deepen her existing body of work but introduces a woman riddled with white privilege.
Even for a musical figure like Ben Platt whose stage presence and media personality are incredibly loveable, it would’ve been better to make an LP more like his debut.