Cyndi Lauper’s debut, She’s So Unusual, stands the test of time: it’s an eccentric, weird record that revels in a subversive and quietly revolutionary oddness.
Troye Sivan’s new album falls short of its own standards, set high by the success of its predecessor and is lost in its ecstasy and provocative imagination.
Birthed from a competition show and debuting in the pandemic, K-pop boy band Enhypen may have finally found their artistic voice on their new arena tour.
A tribute and aural love letter to her husband and her Black musical heroes and heroines, Christina Aguilera’s Back to Basics still attracts an equal amount of disciples and denigrators.
Kylie Minogue understands that the best kind of dance-pop is pure, undiluted joy. With Tension, she’s shown that nobody does it better than her.
There’s nothing on Icona Pop’s Club Romantech of the caliber of their 2013 hit “I Love It”, but the slyly NSFW dance track “Spa” redeems the whole album.
On Hit Parade, Róisín Murphy takes her sound – a swirling cacophony of electropop, synthpop, and nu-disco – and looks to soul to elevate her music.
On Drama Queen, Idina Menzel moves away from adult contemporary vocal pop and into a sound familiar to the dancefloor at a gay club: disco-infused dance pop.
Carly Rae Jepsen’s The Loveliest Time expands her B-Sides offerings by creating a compilation that distinguishes itself from its predecessor.