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.
Gigaton sounds like Pearl Jam convincingly doing their very best to not sound like Pearl Jam. Liberated from their past and their expectations, the band have freed themselves to take some long overdue risks.
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.
The good outweighs the not so good on the Avett Brothers' Closer Than Together, but not by a lot. Is it time for producer Rick Rubin to move on?
The Book of Traps and Lessons reveals Kate Tempest's disdain with contemporary society while also envisioning a future where it all can be changed. With a flair for hip-hop laced with Marxism, the album is poetic artistry.
Of Monsters and Men lose some uniqueness and quality jumping on a more commercial bandwagon, but their beloved singularity is mostly intact on Fever Dream.