
Jill Scott’s New Music Is As Vibrant As Ever
Jill Scott’s new album fits seamlessly with pop’s retro-futuristic fascination with the 1980s. Her signature mix of poetry, hip-hop, jazz, and soul is as vibrant as ever.
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Jill Scott’s new album fits seamlessly with pop’s retro-futuristic fascination with the 1980s. Her signature mix of poetry, hip-hop, jazz, and soul is as vibrant as ever.

The Huntress casts aside simplified ideas about revenge and observes different ways to respond to a culture of misogynistic violence.

Joel Ross takes his usual pyrotechnics and funnels them into a refined ensemble sound that also channels sincere, powerful jazz with a gospel center.

The combination of African, South American, and Caribbean pop styles, timely themes, and impeccable club vibes make Da Cruz’s new album the best yet.

Singin’ to an Open Chair is a wonderful album that shows Ratboys revving their engine once again, ready to take another long, curious lap around the block.

The Olympians’ In Search of a Revival may be an odd album, but it’s not an unfriendly one. The dozen instrumental tracks offer friendly vibes.

Tigran Hamasyan’s Manifeste is a journey, profoundly personal and rooted in the world, seeking purpose within it. It’s moving and aurally rapturous.

The pop-punk institution Joyce Manor emphasize melody on another hooky collection of melancholy-tinged anthems.

Filmmakers of the horror movie Rock Springs sped past indicators to elevate the subject, drove right over the cliff, and plunged to rock bottom.

The reissue of Furry Lewis’ Back on My Feet Again captures a daylong recording session at Sun Records from 1961.

The ten tracks on Lucinda Williams’ World Gone Wrong are heavy. This ain’t no party record. There’s too much pain going around in the world.

Judging by Yeah Yeah Yeah, it seems Cast’s vinyl collection consists solely of Rubber Soul, Abbey Road, and The White Album.