Kaitlyn Aurelia Smith’s relationship with sound is in constant flux, and with her new album, her sonics disintegrate and rematerialize in fascinating new forms.
Hot Chip’s Freakout/Release is an extraordinary display of synthpop versatility and invention, born of collaboration, improvisation, and the psychological mess of lockdown.
With Disney deep in her past, pop star Hayley Kiyoko’s Panorama navigates queer relationships with self-assuredness, packaged in accessible pop hooks.
ODESZA’s The Last Goodbye is impressively diverse and wide-ranging; there are moments of elysian pop, broody angst, thrilling dance, and smart wit.
Aretha Franklin’s comeback with ‘Who’s Zoomin’ Who?’ wasn’t an awkward attempt to be hip. Instead, she entered the cool, synth-sluiced 1980s with aplomb.
Swedish synthpop revolutionary Jonna Lee revives her iamamiwhoami moniker and takes on time to give us her forceful folk album, Be Here Soon.
Forty years ago, Roxy Music stepped away from the recording studio, but not before leaving behind an album that defined the 1980s. It’s the ultimate marriage of high concept, high art, and high-quality popular music.
Harry Styles’ Harry’s House is, to reference his debut solo single, a “Sign of the Times”, experimenting with 1980s synths and 1970s confessional writing.
Thomas Dolby’s 40-year-old debut The Golden Age of Wireless is a definitive synthpop album that raises many questions but only answers a few of them.