Creating their most conceptual, theatrical work, Florence + the Machine air out their lockdown grievances and ugly feelings by reminding us all to dance it out.
Earthling is a panoramic listen of all things Eddie Vedder, a showcase of defiance and loss, and above all, of acceptance, forgiveness, and perseverance.
Red (Taylor’s Version) is both an Intellectual Property strategy tool, and a prolepsis of the status that the 2012 album will uphold in the future.
To hear rookie Nicki Minaj and seasoned Minaj in the same record feels different now that we testified her dreams and predictions coming true.
Ben Howard’s Collections from the Whiteout, produced by the National’s Aaron Dessner, presents a refracted take on the singer-songwriter album.
Greta Van Fleet seem to lack even a passing familiarity with the last four decades of recorded music on The Battle at Garden’s Gate.
The Weeknd's After Hours naturally weaves together cinematic vignettes of debauched Hollywood and Las Vegas nights, following a new filmic tie to Uncut Gems and a prior decade of character building.
Mika's My Name Is Michael Holbrook contains some of his sharpest lyrical conceits and catchiest hooks, but is often undercut by its too-glossy production.