Alec Benjamin’s (Un)Commentary gets caught up in the details. Is that good or bad? He acknowledges that his cerebral qualities are a strength of his music.
Capitalizing on early 2000s pop-punk nostalgia, Love Sux is an algorithm-appeasing record that feels like the most impersonal Avril Lavigne has ever been.
Unlike many pandemic music projects, there are no filler tracks or wasted space on Brandi Carlile’s In These Silent Days. Each song stands on its own stylistically.
Home in This World: Woody Guthrie’s Dust Bowl Ballads may not be as revelatory as the original album, but it’s still quite good and serves a worthwhile purpose.
Metallica took a huge risk on their fifth album, unsure and a little worried where it might take them, and the rest, as they say, is history.
Maisie Peters creates a loveable, introspective pop journey into the chaotic emotions that often accompany the transition into early adulthood.