Pop duo CMON mix and match contemporary and retro influences to craft the dark dance-pop on Confusing Mix of Nations.
That Kid's Crush stands out for its immediacy as a collection of light-hearted party music, but the project struggles with facelessness.
Engaged, confident, and better than ever, Dua Lipa's Future Nostalgia is a dancefloor fire-starter but just a shade away from being a true pop masterpiece.
Sam Sparro's Boombox Eternal is Jam & Lewis, Nile Rodgers, and Quincy Jones all nodding in unison. It is Day-Glo colors and endless mists of hairspray.
Former Lemon Jelly frontman Fred Deakin uses Kickstarter to fund a pop-rock passion project, but for all its good faith efforts, it ends up an unfocused mess.
Former Robyn producer Kleerup dropped a lovely solo debut in 2008 then largely disappeared before deciding to come back over a decade later. What happened to him in the intervening years? "Actually, I died twice but got sent back," he tells us.
Boniface unleash their debut album, a sophisticated coming-of-age statement, full of irresistible pop hooks and rhythms.
Kesha's fourth album, High Road, struggles to find something interesting about her new flask-toting flower child persona.
Four decades in the music business is no small feat, and yet the Pet Shop Boys enter the new decade sounding just as current and catchy as the pop landscape they helped construct.
Musically on Seeking Thrills, Georgia distills her various influences, pulling in synthpop, disco, Chicago House, and 1980s Detroit techno with sprinklings of UK garage, dancehall, and even post-punk.
Once of the Mowgli's, Colin Dieden's new Little Hurt project is unflinching in its rawness. "I used to think that meeting sadness head-on with happy songs was how I was going to move through it, but one day that stopped feeling honest to me."
Slayyyter's debut mixtape suggests not only nostalgia for, but an intrinsic value in, a long-dead version of celebrity in which artists needn't make statements to achieve icon status.
British pop legends Bananarama return with their first new music in 10 years and they tell us about their latest work as well as their lengthy career that took off in the 1980s.
After more than two decades apart, Siobhan Fahey and Marcella Detroit set aside differences to make new music and reclaim their shared creative chemistry. Shakespears Sister recall pregnancy, video stardom, and George Harrison's generosity.
Friendly Fires' first album in eight years, Inflorescent, brings the band's poppy, vibrant sensibilities to their full blast, a euphoria people definitely need in 2019.
In 2010, the quirky electropop outfit the bird and the bee scored a hit with an album of Hall & Oates covers. Now, almost a decade later, the duo reinvent the hair metal machismo of Van Halen into one of the most joyous albums you'll hear all year.
Fast rising Dublin pop/R&B artist Aimée releases her second single of dancey, soulful pop while baring her soul on "Break Me".
Over three discs and four hours, Cherry Red Records does a deep dive into the output of Liverpool's Inevitable Records, home to Pete Wylie and Pete Burns, among many others.
A medical scare forced ionnalee to make what she thought might be her last album, and asked her fans to crowdfund her tour. They funded it in five days, and once home, was inspired to write a whole new album ripe with optimism -- and right when we need it the most.
Wang Chung's Nick Feldman recalls making one of the band's biggest hits, working with one of film's greatest directors, and the future of Wang Chung itself.
With his long-awaited debut, The Cure to Loneliness, Jai Wolf pleases listeners without ever leaving much to remember.
Dutch DJ Deepend and Hanne Mjøen pull off a classic club tune with a pumping pop heart in "One Thing Left to Do" that should light up dancefloors throughout 2019.
Inspired by the suicide of a friend, Ephemeral is synthpop artist Mr. Kitty's eighth album and arrives March 8th via Negative Gain.
Betty Who's heart is always in the right place, and with her newfound artistic freedom, she's is crafting the kind of pop music that she wants to make.
It may not be the queer masterpiece that some were expecting, but in this day and age, Troye Sivan's Bloom proves that gay people need not rely on metaphors or "hints" to get their stories across and be accepted by the masses.