
‘EI8HT’ Is Shinedown’s Reflective Renewal
Shinedown’s EI8HT is relentless fun—a rip-roaring good time for concert-goers, commuters, and rock fans who treasure substance and hard-won wisdom in their head-bangers.

Shinedown’s EI8HT is relentless fun—a rip-roaring good time for concert-goers, commuters, and rock fans who treasure substance and hard-won wisdom in their head-bangers.

Ava Max’s third album, Don’t Click Play, is a predictable disco-pop rehash, but comes with an intriguing media narrative
Crash finds Kehlani playing to their strengths, establishing themselves as the reigning monarch of sultry, seductive, hot R&B.
Brat is next-level Charli XCX, a miracle and an instant classic. It’s the kind of album that makes you feel lucky to be alive at the same time as it.
Chemistry is a refined reintroduction to Kelly Clarkson as an entertainer rather than just the world’s first winner of American Idol.
After more than 35 minutes of masterful music on Every Loser, does Iggy Pop seem to be a winner, a loser, or somewhere between the two? He is true to himself.
For those who appreciate a certain branch of dance-pop, Ava Max’s Diamonds & Dancefloors is a euphoric escape from the harsh realities of adult life.
Death Cab for Cutie show their place in the indie rock pantheon on Asphalt Meadows while also producing music deserving of consideration with some of their best early work.
Lizzo’s Special is as much a celebration of the Twitter, Instagram, and Facebook cosmos as it is an in-person, post-Covid bacchanal.
Winona Oak’s Island of the Sun scores stories of sorrow and anguish with a thrilling cornucopia of sounds that practically spill in luscious waves.

Indie poppers Wallows stake out a new middle ground between alternative and pop and prepare for the streaming era on Tell Me That It’s Over.
Aretha Franklin’s Young, Gifted and Black became a brilliant capper to a dizzying five years that produced perhaps the greatest run of studio LPs in any artist’s discography.