
Doja Cat’s 1980s Extravagance Is Remarkable on ‘Vie’
On Vie, Doja Cat references the 1980s to prove that pop is one of many genres in her wheelhouse. Doja remains an elusive, genre-bending savant.

On Vie, Doja Cat references the 1980s to prove that pop is one of many genres in her wheelhouse. Doja remains an elusive, genre-bending savant.

Taylor Swift and Max Martin reunite for The Life of a Showgirl, a scattershot collection of pop bangers and meditations on fame that captures the zeitgeist.

Lindsey Buckingham and Stevie Nicks’ debut album, Buckingham Nicks, is a relic of 1970s Laurel Canyon folk-rock that hinted at superstardom to come.

Ava Max’s third album, Don’t Click Play, is a predictable disco-pop rehash, but comes with an intriguing media narrative

On his debut album I Barely Know Her, Sombr is a new version of a familiar pop phenomenon: sad, charismatic, and a rock star at heart.

Audrey Hobert’s loosely autobiographical, offbeat pop on Who’s the Clown? sets the tone for a new generation of mainstream music.

MGK’s genre-agnostic Lost Americana continues a pop-punk exploration while letting down his personal defenses.

Justin Bieber’s new album, Swag, takes a cautious approach to pop, adding depth to the pop star’s familiar oeuvre while highlighting his newfound contentment.

Benson Boone’s sophomore album American Heart treads the same ground as his debut: formulaic pop that is hard to ignore.

Maturity requires sacrifice, which, throughout her fourth album, Lorde discovers by separating herself from the person the world sees and often expects.

The title “I Quit” implies resignation, but throughout the record, Haim eschew a former glossiness and recommit to their signature moody rock sound.

The Head and the Heart return to their roots on Aperture, with traces of their pop explorations, and reflect on their place in the music industry.